Category: Jeremy Allen White

THE MANDALORIAN AND GROGU

By Marc S. Sanders

The Mandalorian And The Grogu is an absolutely fun, rollicking adventure with no demands to overthink or criticize.  The film that is spun off from the hit Disney + show more than serves its purpose to just entertain.  It does not require much background knowledge from other Star Wars properties, and it allows anyone to watch the movie without ever seeing an episode of The Mandalorian. 

The armored Mandalorian (Pedro Pascal) roams the galaxy with his little friend Grogu, the “baby Yoda” as many have monikered him, who bears force like levitating powers.  Together, they operate as independent contractors, or bounty hunters, primarily for the New Republic. 

Following a thrilling pre-credits opening complete with snow covered Imperial walkers and plenty of shootouts and explosive fireballs, X-Wing Pilot Colonel Ward (Sigourney Weaver) assigns them to first settle a deal with a pair of Hutt gangster twins who want to reunite with Rodda The Hutt (Jeremy Allen White), their nephew and Jabba’s son.  In exchange, they will provide information on the whereabouts of a rouge Imperial commander.  Mando is ready to abide by the plan even if it means participating in a thrilling gladiator match with Rodda on a neon city planet that looks like the futuristic earth of Blade Runner.  Alas, Mando goes off script. That’s when the gangsters respond unfavorably allowing episodic and combative thrills to uphold this new creation from sci-fi geek loving writer/director Jon Favreau (Elf, the Iron Man films). 

I will not deny that the material of this movie released wide for theaters is not a large step above any of the episodes found on streaming TV.  It does not get weighty in lore and mythical revelations. As well, some fans and keyboard warriors are more than happy to declare Star Wars as “dead” and disappointing and misguided and so on.  Nevertheless, so what?  Find another studio other than Disney that invests so much into sustaining the classic looks and feels of George Lucas’ galaxy from a long time ago in a galaxy far, far away, his “used universe” inspired by classic westerns with Asian influences.  The Stormtroopers of fifty years ago remain.  The ships look beaten up, dented and stained, with the exception of Mando’s newly awarded Razor Crest vehicle, sleek with yellow trim.  Mando and Grogu have that familiar look descending from the classic characters of Boba Fett and Yoda.  The blasters are part of the same family we all know.  So are the droids and cantinas and electronics and set designs. 

I’ve always been a die-hard Star Wars fan.  It has influenced my preferences for storytelling with imagination and invention.  I will not deny that my wish was that this new film was going to delve deeper into the myth of its title characters, especially the lovable Grogu with his baby talk expressions and puppy dog eyes.  I still feel like there is more mystery to uncover about the little fella and while he’s given a lot to do here, I want more from him than just the hop around jumps and waddles he performs in most action scenes.  As best that I can recall, only two other characters in the Star Wars universe bear a resemblance to him.  Where does Grogu come from and why is he so valued to other interested parties that the Mandalorian has had to contend with? 

Unlike most of the Star Trek films, this film does not take advantage of going for big revelations.  Perhaps that is wise so general audiences can enjoy the picture.  Think about it, you can’t necessarily follow along with some of the Marvel and Harry Potter films if you just jump right in the middle of them.  The fact that The Mandalorian And Grogu does not hinge too heavily on what’s come before allows a creative freedom to just make a new adventure.

Jon Favreau set up fantastic scenes of action and excitement with an array of unusual monsters and aliens.  My favorite is the pearl-colored Dragon Snake located beneath a trap door.  It is actually inspired by original artist Ralph McQuarrie who designed much of the original Star Wars trilogy and this creature is a nasty bugger, complete with long fangs, a wide-open maw and a long flexible body.

I really like the Mandalorian side story of this vast universe.  Clint Eastwood’s “Man With No Name” and other westerns clearly inspire the character.  He’s a loner who roams the galaxy’s Outer Rim surviving from job to job.  Even his house originally found on the third season of the TV show bears a similar resemblance to Eastwood’s William Munny’s farmhouse in Unforgiven.  His cape is reminiscent of Eastwood’s poncho in the Dollars trilogy.  Neither character talks much and their distressed earth-toned color schemes are similar.  Maybe I’m sounding a little too personal about this but as a lover of both Eastwood and the original Boba Fett mythos, Favreau’s creation is a brilliantly welcome combination.

Star Wars always works best when the unexpected occurs and Jon Favreau with his co-writer and modern day imagineer Dave Filoni deliver plenty of surprises. There are some fun Easter eggs to uncover for fans of the whole franchise and even collectors of the original vintage Kenner produced toy line.  Because so much was known of what was to come following George Lucas’ prequel trilogy, those films were somewhat paint by number.  This lone story, however, does not rely on what is known to occur at later times in the expansive story cycle of the galaxy. Therefore, it’s not limited by any boundaries.

The soundtrack is an orchestral variety that’s far from the familiar strings and horns of John Williams.  That’s a wise choice as it serves the western motif of these characters and the missions they follow.  Three-time Oscar winning composer Ludwig Göransson crafts a fantasy concert come to life within a Tolkien landscape.  Some numbers feel techno electronic.  Other pieces have a quiet, mysterious aura that complements the mask and body language of The Mandalorian. Newer material completes the expositions of new characters that may be friendly or demand caution upon approach.  All good, consistent stuff that tells a selection of stories.

Some of the dialogue is clunky.  Rodda The Hutt is a little corny in a pre-teen kid kind of way, but he’s also a hellava wrestler with his wormlike physicality.  Very creative fun with his visual designs and movements.  Jabba was lazily resigned to his throne room platform as a clear inspiration of Brando’s Vito Corleone (great stuff).  His son Rodda, flexes muscles, wields weapons and swiftly goes all over the place. 

A purple teddy bear-like guy called Zeb (Steve Blum) from the various animated Star Wars series is a likable comrade co-pilot for the heroes.  (Actually, McQuarrie’s initial concept for Chewbacca.) Like Rodda, he talks like he’s from a Saturday morning cartoon.  That’s okay though.  He’s fun for the kids.

Sigourney Weaver is not given anything to do and per her talents and legendary status with the Alien and Avatar franchises, I would not have minded if she had more impact to the simple story.  I mean this is Sigourney “Ripley” Weaver we are talking about. 

At least Martin Scorsese returns a favor to Favreau (The Wolf Of Wall Street) as a panicky hot dog street vendor with multiple arms and his signature bushy eyebrows. He’s fun.

What I was anticipating from this cinematic adventure is not all here but that did not hinder an exciting time at the movies again.  This Star Wars installment may be simplistic in its storytelling, but all of the images and thrilling action scenes feel fresh while also appearing familiar. That’s a wonderful balance.  It’s not a perfect film and yet I still loved my time with the whole experience, especially on IMAX.

The Mandalorian And Grogu might look just as good as any one of the TV show’s episodes on your flat screen at home, but this movie is so worth seeing with a cheering crowd in a darkened theatre and an immersive, booming audio system. The colors and sounds justify why going to the movies remains vital for our escapes into visual imagination.  Treat yourself to Star Wars again, where it serves its purpose best.  Go to the movies!!!!  You’ll be smiling for over two hours straight, and even on your drive home. 

This Is The Way!

 

THE IRON CLAW

By Marc S. Sanders

A compelling sports movie requires that uphill battle that must be overcome.  Rocky achieved that standard.  Raging Bull might not have reached a plateau for its protagonist to defy his faults, but Jake LaMotta’s demons were effectively on display. Reminiscent of that film, is The Iron Claw – the wrestling film that reenacts that supposed cursed theme linked with the famed all star Von Erich family. 

Writer/Director Sean Durkin opens his film with the patriarch of the family, Fritz Von Erich (Holt McCallany), in the ring and putting his signature move, THE IRON CLAW, on an opponent.  The title of the picture occupies the screen in big letters, and we jump to the late 1970s where the four sons of Fritz are having breakfast.  Fritz tells the youngest, Michael (Stanley Simons), that he needs to start working out, building his physique to catch up to his impressively built brothers if he wants to compete like them.  Fritz makes it clear he loves Mike the least but the rankings can change if he works at it.  Durkin’s breakfast scene sets off the pattern of the film where the four boys will have to live under the mantra of their father’s iron claw of unwavering expectations. 

The stand out role belongs to Zac Efron as Kevin Von Erich.  If he does not earn at least an Oscar nomination, then people have not been paying attention.  Kevin is establishing a name for himself in the nearby Texas wrestling federation, and Fritz sees opportunity for him to carry the torch of the family into national and worldwide championships.  What Fritz could not accomplish in his youth, he will ensure his sons complete.  If it is not Kevin, it’ll be one of the other boys.  Kevin is protective of his brothers, as best he can against their father.  The mother, Doris (Maura Tierney, another under the radar performance), makes it her mission to stay out of her husband’s controlling design of mentoring in a household where almighty God will lead the way, and handguns represent the American freedom to bear.

The other brothers consist of Kerry (Jeremy Allen White) and David (Harris Dickinson).  Kerry was on his way to Olympic gold in shot put until the United States opted to withdraw from the games.  Thereafter, Fritz directs his boy’s focus on wrestling as well. Kerry eventually finds himself in the center ring spotlight too. Durkin’s film shapes out each boy’s destiny as cause and effect based on the outcomes of the other boys.

I do not want to share much more.  While I had heard of the Von Erich family, I was not familiar with what they encountered during the boys’ young adult upbringing and within the spotlight.  Sean Durkin writes well drawn characters based on the real-life figures.  Fritz was a villain, a harsh antagonist, who was not so much a father as he was a chess player using his sons as pawns to win and win again.  If a setback occurred, then he turned to another athletic boy in his regiment to step up and fill a void.  If one of the boys were progressing, then he became the father’s primary focus, while another was pushed down a notch.  Holt McCallany is astonishing in this role. Fritz was a coach and hardly a father.  Any scene he occupies defines the obedience his character expects of his family.  Along with many others involved in the film, he is worthy of Oscar recognition as well.

Zac Efron has gone full method with a chiseled body and a mop top haircut that is a full departure from his pretty boy athletic physique.  As Kevin, what he’s done with his body should garner applause, but Efron’s character is tormented with never accomplishing enough, while accepting his father’s oversight when opportunity presents itself with one of his other brothers.  Kevin and his siblings are absolutely forbidden to cry at loss or setback.  This only allows the pain to remain unhidden on Efron’s face.  With no dialogue, the lead actor puts his insecurities and suffering on display whether he’s in the ring, working out or crouched in bed.  This is a stellar performance, in line with Robert DeNiro’s unforgettable portrayal of Jake LaMotta – a tortured, yet talented soul and athletic fighter imprisoned within inescapable circumstances.

Efron has terrific chemistry with Lily James as Pam, Kevin’s wife.  She is an impressive actress worthy of more attention to her career.  Lily James is not the headliner of this picture, but her response to scenes with Efron and a particular one with Maura Tierny make her acting partners all the more effective.

As the mother to these powerful men, Maura Tierny mostly hides in the background.  Should there be a chance she earns an Oscar nomination, the scene where she simply stares despondently at a black dress offers enough evidence.  This one standout moment deserves a lot of attention.

Sean Durkin is worthy of enormous accolades.  He has an ability to depict multiple stories occurring in one caption.  There’s a dizzying moment where Kevin, Kerry and David are working through their own respective progress.  Durkin blends the three athletes together, where you eventually see one hulking, flexing chest.  Above, are the blurred, sweaty faces of the three men meshed together and over one another, while working through their regimental exercises.  Their faces are layered upon each other.  

A later scene will show Kevin and Kerry practicing in an outdoor ring, with Kerry fighting a hard physical challenge.  In the foreground of this nighttime exercise, is a flashlight moving through the fields.  A subsequent moment will explain that significance.  Sean Durkin beautifully balances several biographies within this famed family.  You are viewing multiple stories at once, and nothing is ever distracting. This amounts to outstanding writing and directing that demands multiple layers.  

I became aware later that there is another son who remains unaccounted for in this picture.  Apparently, that story was cut for pacing issues.  I’m not sure I’d say it’s unfair to disregard that person within the confines of this picture.  Most biographical films take certain liberties to assemble an engaging structure, and frankly the destiny of that son is similar to what occurs with others in the movie.  Durkin opted to avoid appearing repetitive in his storytelling.  So, I stand by this decision.  

The Iron Claw is certainly the most surprising film of the year for me.  Based upon what happened within the Von Erich family, it seems so apparent that a movie would eventually be generated.  Yet, falling into melodramatic schmaltz with a drama like this is an easy trap.  Sean Durkin dodged that obstacle with a sensational cast.  There is not one weak performance in this picture.  You could make a separate film out of each perspective offered.  It’s fortunate that Durkin found a way to balance everything beautifully.

The Iron Claw is one of the best pictures of the year.