It’s Marvel Monday and we’re continuing the Road to Infinity War. Today’s movie is “Captain America: Civil War” (2016), the absolutely insane superhero rumble written by Christopher Markus & Stephen McFeely, and brought to the screen by Anthony & Joe Russo. It had a $250 million dollar budget, which paid off with $1.1 billion at the box office worldwide.

For me, this is the film that sets the standard for all the films to come, even “Avengers: Infinity War” (2018) this April. It could almost be called an Avengers movie, given the enormous cast, but at its heart, it remains a story about Steve Rogers (Chris Evans) and Bucky Barnes (Sebastian Stan), even while being saturated in continuity, almost a direct sequel to “Avengers: Age of Ultron” (2015).

The universe continuity is well done, and makes perfect sense eight years into the franchise. The amount of destruction among all the films is truly astonishing, and the Sokovia Accords make perfect sense, even while dividing the Avengers. It also makes sense to have the villain, Helmut Zemo (Daniel Brühl), motivated by the events in Sokovia. A great surprise to me was the way they expertly wove in Tony Stark (Robert Downey, Jr.) and the assassination of his parents. But the film doesn’t stop there, weaving in “Ant-Man” (2015), and introducing both “Spider-Man: Homecoming” (2017) and “Black Panther” (2018).

The complex story can only work if it can be brought to life on the screen, and the Russos did just that. The enormous cast leverages the franchise to not waste time with introductions, unless appropriate, as with Peter Parker (Tom Holland) and T’Challa (Chadwick Boseman). Special effects, sets, editing... everything leads up to the two sides lining up at the airport, ready to fight, a scene wholly earned over eight years of the franchise and perhaps one of the most important moments in movie history.

“Captain America: Civil War” (2016) is a film that succeeds by building expertly off the whole franchise, bringing to life a classic Marvel storyline within the bounds of the Marvel Cinematic Universe. It may not be my personal favorite, but it is, categorically, the best film in the franchise. If “Avengers: Infinity War” can even get close to this level of movie making, then we’re in for a treat this April.

Rotten Tomatoes: 91% (CERTIFIED)

Metacritic: 75

One Movie Punch: 10/10

“Captain America: Civil War” (2016) is rated PG-13 and is available wherever you enjoy movies.

Today’s movie is “Steamboat Bill, Jr.” (1928), Buster Keaton’s silent movie classic which would end up being his last with United Artists. The film was written by Buster Keaton, but credited to Carl Harbaugh, and was directed by Charles Reisner.

Buster Keaton stars as William Canfield, Jr., a son visiting his father Steamboat Bill (Ernest Torrence). Meanwhile, J.J. King (Tom McGuire), the town boss, has purchased his own steamboat to put Bill out of business. And to complicate matters further, King’s daughter Kitty (Marion Byron) and William, Jr. are developing a relationship. 

That’s the setup and that’s about as deep as the story goes. The film barely has a plot because it is intentionally structured as a series of Keaton’s classic slapstick gags and physical comedy, loosely based on that premise. And it ends with one of the most insane disaster sequences you’ll ever see committed to film.

And when I say classic gags and comedy, I mean scenes that will influence the entire comedy genre to come. Keaton did recycle some previous gags for this film, but it also includes well-known scenes like trying to smuggle tools into jail within a loaf of bread, and perhaps his most well-known scene, standing in front of a falling building façade to survive thanks to an attic window. Keaton did most of his own stunts for the entire film, including holding onto a tree pulled by crane over most of the set. It’s really amazing to watch, especially for the time period.

“Steamboat Bill, Jr.” (1928) was poorly received, both by the critics and the box office, and would be the last film for Buster Keaton Productions. However, it would also be massively influential, with so many homages to the house façade stunt, and to physical comedy as a whole. Later critics, having seen that influence, would see “Steamboat Bill, Jr.” (1928) as the classic it has become.

Rotten Tomatoes: 100%

Metacritic: NR

One Movie Punch: 8.0/10

“Steamboat Bill, Jr.” (1928) is not rated and is streaming on Amazon Prime.

Today’s movie is “Roxanne Roxanne” (2017), the Netflix Original biopic about Lolita Gooden, aka Roxanne Shanté (Chanté Adams), the hip-hop musician and producer from Queensbridge, starting in her teenage years. The film was written and directed by Michael Larnell, produced with the help of Forest Whitaker and Pharrell Williams, and with music by none other than the RZA.

It’s hard to explain the significance of Queensbridge to the birth of hip-hop. Outdoor parties and rap battles were part of the landscape, and Shanté was one of the best, but by no means the only one. The landscape was saturated with talent, so much so that she did get her first radio single when Marley Marl (Kevin Phillips) asked her to do a quick rap while she was doing laundry for her mother.

“Roxanne Roxanne” (2017) doesn’t just tell a rising star story, but delves deep into the very real challenges in her life, including her drunken mother who had her nest egg stolen, the way the early record industry exploited her talent, and most disturbingly, her abusive relationship with Cross (Mahershala Ali). This film definitely deserves a trigger warning for domestic abuse. No one should go in expecting a happy story, at least not all of it.

My big criticism with the film is that Roxanne Shanté’s life, like most individuals, doesn’t have a classic story arc ready-made for a biopic, which brings challenges when adapting her story for a single film. Truth be told, you could probably make two or three films based on her life, allowing us to watch her grow, but instead the film feels like it’s on fast-forward. It is a good film, but it has too much, which stops it from possibly being a great film.

“Roxanne Roxanne” (2017) is by no means a bad film, though. Chanté Adams delivers a convincing performance, with or without a microphone. Everyone who watches this film will get the highlights of Roxanne Shanté’s life and career. Viewers interested in the birth of hip-hop, or exploring the New York projects in the 1980s, will definitely enjoy this film.

Rotten Tomatoes: 90

Metacritic: NR

One Movie Punch: 7.2/10

“Roxanne Roxanne” (2017) is rated TV-MA and is streaming on Netflix.

Today’s movie is “Valerian and the City of a Thousand Planets” (2017), Luc Besson’s big screen adaptation of the comic book series “Valerian & Laureline” by Pierre Christin and Jean-Claude Mézières. The film follows Valerian (Dane DeHaan) and Laureline (Cara Delevingne), officers in the federal security forces sucked into a conspiracy on Alpha, the City of a Thousand Planets.

There’s no denying that Luc Besson can create a visually stunning world. His breakout hit, “The Fifth Element”, introduced a hypercapitalist future that felt both familiar and exotic. His other franchises like “Taxi”, “La Femme Nikita”, “District 13” and “Taken” also have their own worlds, even if some are more based in the world we know. So, I was excited to see Besson’s take on “Valerian and Laureline”, which was a heavy influence on another little franchise called “Star Wars”.

The film is visually stunning, with multiple epic settings that took the amazing crawl of effects producers and programmers at the end of the film. The result is an immersive world, one that has details you could find with multiple viewings. The only way the epic could go wrong is telling a shallow story within the film. And they did.

The wrong script was used for introducing this world. We’re dropped in the middle of Valerian and Laureline’s career, with no origin stories or pretense about their romantic intentions. The dialogue is wooden, which influences the performances, and the pacing is at times too much, with fast paced introductions to cultures and/or worlds, and other times nauseatingly slow, usually during the high-dialogue sections. Even the awesome supporting cast of Clive Owen, Rihanna, Ethan Hawke and Herbie Hancock can’t help a bad story.

“Valerian and the City of a Thousand Planets” (2017) is visually stunning, but too much for a feature-length film. It would honestly be better as a series, one that explores the future and sections of Alpha instead of force-feeding content and plot to the audience. The film is enjoyable enough, but the flaws are too noticeable against the incredible effects. If you have the two hours and change to spare, though, and are a fan of the original comic book, then this film might delight you.

Rotten Tomatoes: 49%

Metacritic: 51

One Movie Punch: 6.2/10

“Valerian and the City of a Thousand Planets” (2017) is rated PG-13 and is currently streaming on Amazon Prime.

Today’s movie is “Take Your Pills” (2018), the Netflix Original documentary directed by Alison Klayman about the use and abuse of prescription amphetamines at universities and in the workplace. The film covers the discovery of amphetamines, how they were marketed and regulated, and how and why the modern usage has skyrocketed.

As a fan of Jack Kerouac and William S. Burroughs, I’ve known for a long time about the use and abuse of amphetamines. Kerouac famously wrote “On The Road” in one sitting with the help of Benzadrine, a combination of two amphetamines, which was originally prescribed as a decongestant. And of course, I watched the rise of Ritalin for treating the likely over-diagnosed cases of Attention Deficit Hyperactivity Disorder. So, I know that Adderall and Vyvanse are just low-dose amphetamines, or legalized speed.

One of the major goals of “Take Your Pills” (2018) is to examine the modern usages of prescription amphetamines. Adderall has become the drug of choice for universities and workplaces, and not just for people living with ADHD. Klayman speaks with a broad spectrum of prescription amphetamine users, talking about the various reasons why they use it, how it makes them feel, any issues they’ve had, and eventually, their long-term concerns about use. And on a slight tangent, Klayman explores the use of microdosing psilocybin mushrooms and LSD as alternatives to treating various disorders.

The major strength of this documentary is the editing, led by Jennifer Fineran, in coordination with a substantial effects team for a documentary. Each section uses editing that mirrors either the effects *of* amphetamine usage or what are seen as the social triggers *for* amphetamine usage. The sections are tied together with a video game theme, a strong metaphor for the “level up” culture in our hypercompetitive world.

“Take Your Pills” (2018) is an excellent documentary, documenting historic and modern use and abuse of prescription amphetamines. Klayman finds amazing subjects who are able to speak about their experiences, both good and bad, with surprising honesty. The topic is seen at the individual and social level, with many questions about the problem, and at least a few solutions. And I can assure you once the prescription opioid epidemic falls away from the media spotlight, the prescription amphetamine epidemic will be right after it.

Rotten Tomatoes: 56%

Metacritic: 54

One Movie Punch: 8.6/10

“Take Your Pills“ (2018) is rated TV-14 and is streaming on Netflix.

Today’s movie is “Verónica” (2017), the Spanish (as in from Spain) independent horror film directed by Paco Plaza and written in collaboration with Fernando Navarro. The film follows Verónica (Sandra Escacena), a fifteen-year-old girl who uses a Ouija board with two friends during an eclipse, summoning an evil force that haunts Verónica and threatens her siblings.

Paco Plaza is best known as the creator of the [Rec] series, which I’ll admit, I haven’t seen. I’m not sure if that was a benefit or drawback when heading into this film. Demonic summoning films are a dime a dozen now, so I judge them on whether they bring something new to the genre, like last year’s “A Dark Song” (2017). And unfortunately, there’s nothing new here, other than the period piece setting.

However, that doesn’t mean this film isn’t worth watching. While the story is largely recycled, it is produced with above average practical and special effects, not to mention some well-composed scenes that really stand out. Plaza uses some great camera angles, particularly with the odd floor plan of the apartment, and I really enjoyed his use of reflections and imagery, particularly Sister Death.

I also thought the core cast was excellent. Escacena sells her lead role as Verónica, but her siblings Lucía (Bruna González), Irene (Claudia Placer), and Antoñito (Iván Chavero) provide awesome support. I expected more in the story from her two friends, but in the end, it made sense to concentrate on the events in the home, especially with the film teasing the ending at the very beginning.

“Verónica” (2017) is pretty standard fare for demonic summoning films, and while it doesn’t deliver anything new to the genre, it is executed with above average skill from the cast and crew. It doesn’t offer much for folks outside the horror genre, but for fans within the genre, it will provide a solid story with some great standout moments.

Rotten Tomatoes: 88%

Metacritic: NR

One Movie Punch: 7.2/10

“Verónica” (2017) is rated TV-MA and is streaming on Netflix.

Today’s movie is “Are We Not Cats?” (2018), written and directed by Xander Robin, a feature-length treatment of his short by the same name. The film follows Eli (Michael Patrick Nicholson), recently unemployed and homeless, who meets Anya (Chelsea Lopez) at a sludge metal show. The two share a habit of plucking and eating their own hair, which leads to some extremely surreal territory.

This movie is weird, almost a full-on concept film. Eli and Anya are written and directed to act like anthropomorphized cats, and not just because they eat their own hair. Both characters exude that rare combination of aloofness, focus and deadly seriousness found in both domesticated and stray cats, not just how they express themselves, but also how they interact with other people.

The practical effects are a huge strength of this film. The sets are great, especially Eli’s truck and Anya’s place, particularly her light machine activated by a record player. The makeup is great and the costumes are well chosen. The music is well suited for transitions and also integrated into the story. All these factors combine with a strange script and good performances to pull off a unique film. It shouldn’t work, but it did for me.

The film is pretty short, however, coming in at one hour and sixteen minutes, so my one criticism is how fast everything moves, especially the final act when we learn what happens when people eat human hair. In some ways, it fits the whole cat motif, but in other ways, it feels like a checklist of scenes that could have been expanded, especially with such strangely endearing characters.

“Are We Not Cats?” (2018) is really weird, but has its own strange charm. Maybe it’s the cat person in me, but I was captivated watching the film unfold. It has rough edges, but I think that only adds to its charm. But I’ll warn everyone right now, it can and does get graphic, and it can and does get weird. If you can handle that, then you might just find the same charm that I did.

Rotten Tomatoes: 91%

Metacritic: 68

One Movie Punch: 8.0/10

“Are We Not Cats?“ (2018) is not rated and is currently streaming on Amazon Prime.

It’s Marvel Monday and we’re back on the Road to Infinity War. Today’s movie is “Ant-Man” (2015), the film I never thought would work. The film was directed by Peyton Reed, with the story written by Edgar Wright and Joe Cornish, and additional input from Adam McKay and Paul Rudd. The film had a $130 million dollar budget and made over $500 million at the international box office. And it deserved every ticket.

The film follows Scott Lang (Paul Rudd), a self-styled corporate thief and electrical engineer, who is being released from San Quentin after serving time on felony burglary. Meanwhile, Dr. Hank Pym (Michael Douglas), formerly Ant-Man during the 1980s, has discovered his prodigy Darren Cross (Corey Stoll) is nearing a breakthrough on the Pym Particle, the amazing substance that fuels the incredible shrinking power of the Ant-Man suit. Hank recruits Scott to train with his daughter Hope (Evangeline Lilly) to become the Ant-Man and infiltrate Cross’ lab to destroy the research.

This film gets continuity right in so many ways. I really loved how they started with Scott Lang’s rendition of the character, but still allude to Dr. Hank Pym’s tenure in the 1980s, including a nice cameo by Hayley Atwell. We unknowingly are being set up for “Captain America: Civil War”, just two years before the Starks are assassinated. And Scott’s tangle with Falcon (Anthony Mackie) at the new Avengers facility is the right way to integrate the multiple threads in the universe. 

The film does comedy very well, especially Michael Peña’s comic relief as Luis, and Rudd makes Scott Lang hilarious. The story may be a bit cheesy, but the amazing special effects moving between perspectives and going subatomic make it work. I mean, going subatomic was one of the reasons I became so excited for “Doctor Strange” (2016), but we’ll get there.

“Ant-Man” (2015) is such a great film, and my criticisms are so few and far between that I won’t even bother to mention them. The film blends action/adventure, comedy, and family drama within San Francisco, with excellent pacing, insane special effects, and wonderful performances. The sequel, “Ant-Man and the Wasp” (2018), will follow in the giant footsteps of “Avengers: Infinity War” (2018) this July.

I can’t wait.

Rotten Tomatoes: 82% (CERTIFIED)

Metacritic: 64

One Movie Punch: 9.6/10

“Ant-Man” (2015) is rated PG-13 and is available wherever you enjoy movies.

Today’s movie is “Sunset Boulevard” (1950), the genre-defying classic directed by Billy Wilder and written in collaboration with Charles Brackett and D.M. Marshman, Jr. The film follows the life of Joe Gillis (William Holden), a struggling screenwriter who stumbles into a live-in writing gig with famous silent film star Norma Desmond (Gloria Swanson) to edit her epic “Salome”. Meanwhile, Joe is trying to write a screenplay on the side with Betty Schaefer (Nancy Olsen), and having conflicting feelings.

The story truly defies genre, at times feeling like a noir thriller, other times a romantic comedy, and still other times a psychological horror film. Gloria Swanson’s performance as Norma Desmond is intentionally melodramatic, at first endearing and then later, deadly. Holden and Olsen have great chemistry on screen, a welcome light to some dark material. And roles by Cecil B. DeMille and Buster Keaton don’t hurt as well.

The film doesn’t have a lot of great things to say about Hollywood. Norma is the quintessential delusional celebrity, so encased in a bubble with so much wealth that they have lost touch with the business. Joe and Betty show the harsh process for writing and reviewing screenplays, even while showing the joy of collaboration. The business changes every character for the worse by the end of the film. Especially Joe.

This was the first time I had seen “Sunset Boulevard”, and I found it to be just above average, despite the generally high praise it has received from the critics over the years. I really liked the script and the cast, and the clever use of the Paramount lot. But I always cringe when any film utilizes posthumous narration, unless coming back from the dead is a viable possibility. And the film ends up mostly just being one tragedy after another, clashing with the more humorous elements. I may also be suffering from knowing too much going in, because it was also predictable in some respects.

“Sunset Boulevard” (1950) is an excellent film, and I’m willing to admit my lack of enthusiasm for it is a matter of personal taste. I’m actually surprised it got past the Motion Picture Production Code in 1950, given the content. Anyone who is a fan of classic films, and noir films in particular, will enjoy this film immensely.

And now, Mr. DeMille, I’m ready for my close-up.

Rotten Tomatoes: 98% (CERTIFIED)

Metacritic: NR

One Movie Punch: 7.8/10

“Sunset Boulevard” (1950) is not rated and is currently streaming on Netflix.

Today’s movie is “Benji” (2018), the Netflix Original reboot of the beloved franchise. The film is produced by Blumhouse Productions, and written and directed by Brandon Camp, the son of the franchise creator, Joe Camp. If any reboot of this franchise were possible, this would be the team to do it.

It’s worth mentioning that Joe Camp’s original “Benji” (1974) was turned down for distribution by every studio in Hollywood. That film had a budget of $500,000 and grossed $45 million in 1974, which is about $194 million at the box office today. No one believed in the concept, and the critics ravaged it, but it still hit the mark for an entire generation and franchise to follow.

It’s not an uncommon divide in Hollywood’s history for the audience to enjoy films that the critics and studios do not. This reboot follows in the steps of the original film, from the tear-jerking origin story to a kidnapping thriller. Benji is taken in by two children, Carter (Gabriel Bateman) and his sister Frankie (Darby Camp), who have recently lost their father. Their mother, Whitney (Kiele Sanchez), forces them to give up the dog, but Benji persists in following the children. While attempting to buy back their father’s watch, the children stumble into a robbery, and are kidnapped. With the help of Benji, Whitney and Sam (Gralen Bryant Banks), a New Orleans police officer, follow a trail of clues to rescue the children. 

Honestly, I had a mess of tears watching this film, knowing full well I was being manipulated by a slightly saccharine script and tear-pulling direction and composition. And sure, the characters border on caricature, and the costumes and sets are all quite unlikely. But that’s the formula, and that’s what made the original “Benji” (1974) such a hit with the audience, and this film follows the same mold.

“Benji” (2018) is what it is, and it can be a successful start of a new generation of films, if Brandon Camp wants it. No one should walk into the film expecting an epic retelling or a gritty, noir reboot. This is a family film, made to tug at heartstrings and tear ducts, about a dog rescuing children, but it works for what it is. Franchise fans will definitely enjoy this film, and I suspect a whole new generation will grow up with at least a few new films.

Rotten Tomatoes: NR

Metacritic: 47

One Movie Punch: 7.0/10

“Benji” (2018) is TV-PG and is currently streaming on Netflix.