OPINION:
The fourth film in the latest reboot of the “Planet of the Apes” franchise delivers exactly what you’d expect with regard to its story. “The Fall Guy,” starring Ryan Gosling and Emily Blunt, is light. It’s fun. It’s clever. And … it’s got some problems. Netflix’s “Mother of the Bride” is one wedding invitation I’ll have to decline.
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Kingdom of the Plant of the Apes – In Theaters
When the first “Planet of the Apes” film came out in 1968, it was a national phenomenon, earning more than $32 million (about $290 million by today’s standards). It was nominated for two Academy Awards and earned makeup artist John Chambers an honorary Oscar for his work in creating the franchise’s unique primate faces. That film’s finale, in which astronaut George Taylor comes across a ruined Statue of Liberty, is one of the most iconic images from 1960s film.
Well, the franchise has dimmed in popularity. The makeup effects have been replaced by mo-cap enabled CGI. And frankly, it’s hard to hold the attention of an audience that already knows the twist ending.
But here we are with the fourth film in the new reboot series. And … it’s about what I’ve already described.
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Language makes a brief, somewhat comical appearance when Mae inadvertently teaches Noa the s-word. Violence floods the film as surely as water floods the vault Proximus tries to breach. And of course, there’s a bit of conversation about evolution, since the apes we see here haven’t progressed much further in the ways of speech and intelligence than the primitive humans they hunt.
These problems may be navigable for families with teens—it could even start some interesting conversations about the treatment of animals and the “hubris” of mankind (as the film tells us this led to humanity’s downfall).
But overall, “Kingdom of the Planet of the Apes” pales in comparison to the original flick. Because really, every good message that the franchise has tried to convey has already been said. And you just can’t recreate the intrigue of that original twist ending.
Read the rest of the review here. Watch the trailer here.
Mother of the Bride – Streaming on Netflix
As any well-meaning bride and groom will tell you, the last thing they want on their wedding day is unnecessary drama. But in “Mother of the Bride,” that’s all RJ and Emma (and we, the viewers) get.
The Netflix movie is your standard romantic comedy. It’s clear from the first minutes of the film where the plot will end. And while I’m not one to instantly discount cookie-cutter stories like this one (I’ll even admit that I can even be a sucker for them), “Mother of the Bride” ranks quite low on my enjoyment list even in that category, for a variety of reasons.
The characters are uninteresting and underdeveloped. The token gay couple appears to be there for little purpose beyond getting the film an LGBT checkmark. The kooky aunt exists purely to objectify men and get intoxicated. Even RJ, the groom himself, is a background character at his own wedding.
These people all take a backseat for Lana and Will, our two main characters who could solve the majority of their issues with a five-minute conversation. And (perhaps this is my main grievance), I’m not a big fan of romantic films where the big conflict is due to the love interests wasting two hours bumbling around because they aren’t willing to have that inevitable mature talk about their miscommunication.
In terms of other content issues, though it’s blurry, there’s a bit of rear nudity, too. Likewise, there will be plenty of sexual quips thrown by the end of the film.
At best, I’ll send a blender or a copy of “Codenames” from the registry. But “Mother of the Bride” is one wedding invitation I’ll have to decline.
Read the rest of the review here. Watch the trailer here.
The Fall Guy – In Theaters
On one hand, “The Fall Guy” — based (very) loosely on the 1980s TV show of the same name — offers moviegoers a dose of summer escapism. Ryan Gosling and Emily Blunt are eminently likable as Colt and Jody. The film is filled with plenty of winks and nods: Jody asks Colt whether in-movie split-screen scenes are effective or a gimmick … while engaging in a split-screen scene. Sometimes we’ll hear a weird, echoey sound effect when Colt is diving or leaping or doing something — an homage to “The Six Million Dollar Man” (Both “Six Million” and “The Fall Guy” TV show starred Lee Majors.) It’s light. It’s fun. It’s clever.
And it’s got problems.
As fun and frothy as the film feels, its nods to torture, suicide and murder belie the story’s lighthearted vibe. And while “The Fall Guy” is more romantic than sensual, lines and jokes are made that point to more intimate situations. As for the movie’s language — well, the harsh profanities push right up to an R-rating without actually stepping into it.
We mentioned that Colt and other stuntpeople are known for giving a thumbs-up sign after every stunt—unless, of course, their thumbs are actually broken. They might be bruised or bleeding or hurting like crazy, but they’re determined not to let anyone see even a hint of weakness—even if that weakness comes in the form of a separated shoulder. “I’m fine,” they’ll insist, even if that’s not quite so.
You could make the argument that “The Fall Guy” itself takes its lead from those admittedly brave, talented men and women who risk life and limb to entertain us. It, too, gives us the old “thumbs up.” “It’s light! It’s fun! It’s absolutely fine for the whole family!” It tells us. But that’s not quite so.
Read the rest of the review here. Watch the trailer here.
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Plugged In is a Focus on the Family publication designed to shine a light on the world of popular entertainment while giving families the essential tools they need to understand, navigate, and impact the culture in which they live. Through our reviews, articles and discussions, we hope to spark intellectual thought, spiritual growth and a desire to follow the command of Colossians 2:8: “See to it that no one takes you captive through hollow and deceptive philosophy, which depends on human tradition and the basic principles of this world rather than on Christ.”
Reviews written by Paul Asay, Emily Tsaio and Kennedy Unthank.