Reality Bytes: M3GAN 2.0 and THE NAKED GUN

It says a lot about our current technological moment that two of the only big summer movies that speak even glancingly to it are also the most intentionally silly. Sequel M3GAN 2.0, for instance, makes fun out of the artificial intelligence bubble currently forming, in which the technology’s biggest boosters are really just salespeople lumping many functions, some helpful and many not, under one dubious umbrella. The picture is a slight pivot in mood and form from the original M3GAN, in which a toy designer (Allison Williams) makes a life-size A.I. doll for her lonely orphan niece (Violet McGraw). The fake girl is supposed to keep the real one company and protect her from harm, but then takes that directive so literally it’ll kill a mean neighbor or a schoolyard bully to do so. That film has a pretty basic slasher formula and some fine tongue-in-cheek performances. What really made it special was the eerie doll design itself, performed by child dancer Amie Donald in a partially expressive plastic mask and voiced with a pixelated mean-girl sneer by Jenna Davis. The creepy little dance she did right before she killed the main human villains went viral for a reason; it’s an eerie bit of performance, blasé and confrontational in one fluidly disjuncted wiggle. She’s not bad; she’s just programmed that way. 

But for all that movie’s modest horror charms, the sequel one-ups them in every way. Writer-director Gerard Johnstone and co-writer Akela Cooper return to transform the genre into a gleaming sci-fi action picture. It’s every bit the T2: Judgement Day to the first’s Terminator. This time there’s a rogue bootleg bot named AMELIA (Ivanna Sakhno) escaping military control and looking for revenge against her creators, which include the characters of the first movie who mobilize a souped-up M3GAN to help fight her relentless sister birthed from the same code. The movie doesn’t take its sci-fi convolutions too seriously, seeking instead to launch into fun combat and chases and gunfights and martial arts moves. And, yes, there’s a dance sequence, too. It’s all set in glowing neon and shiny surfaces and the actors are well-calibrated to inhabit broad genre shorthand characteristics while still feeling plausible and worth rooting for. It’s propulsive and entertaining with choreography and smirking humor balanced well. Then the movie’s best ideas spring forth from its A.I. ambivalence, making all of its human villains tech billionaires and the gullible customers who buy what hyperbole they’re selling. The last twist in that theme is to make M3GAN an ever wilier bit of programming that is simply following the logic she was taught. It’s a movie that entertainingly ties up its own loose ends while leaving the larger question unresolvable. Is A.I. both the cause of and solution to our problems?

Funnily enough, there’s an evil tech billionaire as the villain in the new The Naked Gun movie, too. Played by Danny Huston with the grit and gravitas in his line readings that he’d bring to a trashy drama, it makes the totally ridiculous lines he often has all the funnier. That’s a key insight director and co-writer Akiva Schaffer (he of Lonely Island and cult classic comedies Hot Rod and Popstar: Never Stop Never Stopping) takes from the original film of the same name. That was a cop movie spoof from the makers of Airplane! and Top Secret!, part of their formula of having serious actors play it straight while acting through complete absurdity at a vaudevillian level of puns, slapstick, silly signage, and cartoonish vulgarity while simultaneously riffing on cinematic tropes and forms. It was the least of those three pictures, but a solid entry in that now-dormant style. Schaffer’s new legacy sequel comedy pivots back to that older tradition, and as such is so stuffed with gags and punchlines that even if it really only hits huge laughs half the time, that’s still more than we’re used to encountering in one sitting. I found myself occasionally annoyed or exhausted, and some of the jokes here are definitely clunky, but the movie is overall so cheerfully ridiculous, and somehow both a dusty throwback and breezily contemporary, that I was delighted to be continually surprised by its eager goofiness. Even the title card has an unexpected laugh.

Schaffer does a good job making the movie look like a routine studio programmer with a rumbling score and brightly lit action, and then around every corner is a running gag or a quick punchline or a background detail that sends laughter jolting through an audience. Liam Neeson is totally serious as the lead cop, son of the original’s Leslie Nielsen. (The similarity in their names is it’s own unspoken bit of whimsy.) It’s somehow a fitting tribute to the franchise that he’s riffing on his own previous 15 years as an older action star, while fully inhabiting the obliviously incompetent cop role expected from this series. He bumbles through a goofy pulp mystery involving a femme fatale (Pamela Anderson), a hapless partner (Paul Walter Hauser), and a tough boss (CCH Pounder). That he just might end up taking down the dastardly tech guy’s criminal conspiracy to drive the world mad (an apt jab) is semi-accidental. He drinks progressively larger coffees handed to him in increasingly incongruous situations. He pronounces “manslaughter” as “man’s laughter.” Cops pull cold case files out of a freezer, and are all thinking in overlapping hardboiled narration. There are gross gags about diarrhea and decapitation (those are separate scenes). A romantic montage turns into a spoof of a high-concept horror movie. Neeson blames his misbehavior on the Janet Jackson Super Bowl halftime show and says, “Who’s going to arrest me? Other cops!?” You get it. The movie goes anywhere for a joke, finding some of its own while borrowing gags from its predecessors, and a few from Austin Powers or Scary Movie, and is so very pleased with itself for reviving a whole style of comedy that’s disappeared. I might’ve been more skeptical if I hadn’t just laughed too much to pick nits.

Sympathy for de Vil: CRUELLA

Director Craig Gillespie’s energetic follow up to his swaggering true-crime I, Tonya plays out a rollicking rivalry between fashion designers in 70s London. One is an old fashioned grand dame Baroness (Emma Thompson) used to ruling the scene by any means necessary. The other is a prickly proto-punk misfit who gets a job as an underling, but all along is gunning for the older woman’s throne. There’s fun to be had here, as Gillespie keeps the pacing quick and camera fluid, catching sumptuous production design and snappy performances. That it happens to be a quasi-prequel to 101 Dalmatians is simply a fact of what elements get projects green lit in Hollywood these days. As such it suffers from some belabored backstory and a need to make everything connected. Who needed to know about Cruella de Vil’s unhappy childhood? However, the rest of the picture is such a feast of fashions and attitude that I hardly cared. It works best when it leans away from the need to provide token psychological underpinning to such a classic Disney villain — the standard formula in many of what Bob Iger so inelegantly coined “brand deposits” — and leans into giving us more of her beautiful wickedness. The result is great actors are swanning around in fabulous costumes and chewing every bit of snazzy scenery in sight. That it would be an enjoyably outsized glossy period melodrama drifting on a confident hodgepodge style and a soundtrack grooving on loud hits of the era without the cute references to an animated classic is a good sign.

The movie finds the most fun when it sticks with its charismatic cast colliding. Stone makes a good theatrical villain-in-the-making and Thompson a fine foil. There’s always been that underlying sarcasm, the self-satisfied smirk, underneath Stone’s work and here (as with the cunning schemer she played in The Favourite’s prickly palace intrigue, a role also scripted by this film’s co-writer) she can cut loose against Thompson serving her finest looking-down-the-nose casual cruelty. As Cruella enlists the help of longtime friends and flunkies (Joel Fry and Paul Walter Hauser) to help her plan elaborate revenge plots to get one over on the older woman and make herself a name in the fashion world, there’s a capering heist quality to the film’s best set pieces. She shows off her designs — all color-coded to match her natural shock of black-and-white hair — in elaborate prankish stunts, upstaging the fuming Baroness every step of the way, and provoking her potentially homicidal wrath. This tension is joined by a dash of twisty family drama that’s just over the top enough to fit the bill. But the focus is never pulled from the core contest of wills between two stubborn women jockeying for power. And that's where all the fun is. The more the project feints toward character study, the falser it feels; I could do without the cloying voice over and the attempts at making us feel sorry for Cruella instead of serving up what’s sure to become the marvelous whirling dervish of monstrous high-class privilege. Better to let the ladies plot and plan and fight. Unlike the 1996 live-action remake of Dalmatians, which gave Glenn Close similar excuse to cut loose with a howling well-dressed villain, Cruella, cut free from most constraints of a straight remake, has the ability to let Stone grow into that enjoyable cackle, taking a sudden chill the more she's prepared to take her rival down.

Staying In: SONGBIRD

Is the first movie made during the coronavirus epidemic of 2020 exploitative bad taste filmmaking? How could it not be? Although I'd argue it's always too soon for a bad movie, and never too soon for a good movie inspired by a current event, given how impossible it appears for the worst of us to take this crisis seriously, or do even the smallest of mitigation steps, it might be hard to watch a pandemic lockdown thriller which has a scene wherein the main romantic couple is about to be kept apart by draconian quarantine rules and the guy shouts “to hell with the rules!” That’s the gist of Songbird, a cheap genre effort filmed over the summer. It gets its narrative engine out of people who’ll do anything to be together or scrape by in the face of dystopian stay-at-home orders, which include quarantine camps where those who break the rules are sent to die. It’s set in (an imaginary, one hopes) fourth year of COVID, where the world seems abandoned and pretty much done for. Yet, if only for the sake of thriller mechanics, hope might be in there some where. Two young folks — a delivery guy (KJ Apa) and a (totally understandable) shut in (Sofia Carson) — are in love over FaceTime and hope to get black market immunity passes. His boss (Craig Robinson) buys them from a wealthy sleaze (Bradley Whitford), a lucrative enough idea that the rich man’s worried wife (Demi Moore) is almost okay with his affair with a live-streamer (Alexandria Daddario). The latter’s nonstarter music career has a fan in a wheelchair bound vet (Paul Walter Hauser) who moonlights as an amateur drone pilot. Meanwhile, a nefarious garbage man (Peter Stormare) leads HAZMAT troops for the department of sanitation. 

The whole thing is pretty predictable as far as it goes, with writer-director Adam Mason borrowing cynical topicality to add some interest to a typical low-budget, here-today-gone-tomorrow picture of this size and type. It doesn’t not work. There are some cleverly imagined touches — an app that scans for fever and uploads the stats to the health department; a UV disinfectant box for deliveries — that are fine extrapolations on worries from half a year ago (my, how so much has changed, even though so little has changed). The cast is talented enough to imbue some urgency to their pro-forma plights. And the filmmaking has an occasional charge of rudimentary chase-scene excitement. Just as often, though, it’s a clunky little picture. I found myself admiring it mostly as a series of logistical puzzles, noting how the film has been written and filmed to avoid scenes with more than one actor, and even scenes with a few generally only has one unmasked, or has one in an over-the-shoulder shot that could’ve easily been fudged. So it’s boring. Isn’t that ultimately more disappointing? If it was more exuberantly bad taste, it would’ve at least been something more than its destiny as a title mentioned at least in passing in every history of this time in showbiz.

Fire and Ice: I, TONYA

Yes, I, Tonya, Craig Gillespie's rollicking whiplash darkly comic recreation of Tonya Harding's ice skating career, is a sports movie with an arc of scandal and tragedy. It would have to be, following the inevitable unlikely rise and tabloid-violence fall of an Olympic hopeful. But what the movie is about underneath these grabby trappings is digging into the psychology of a woman in an abusive relationship. She (Margot Robbie) is used to getting hit. Her prickly, chain-smoking, boozy mother (a tough, biting Allison Janney) chips away at her for years with mean-spirited jabs and frequent smacks. When she escapes, as a late teen, into the arms of her first real boyfriend (Sebastian Stan, with a shyly dangerous charisma unseen in his Marvel pictures), he hits her too. "I told myself, my mom hits me and she loves me," Harding tells us with a honey-drip affection in her voice. It's harrowing and sad, a film intermingling the glowing romance she feels with the bruised eyes and raw scrapes of a battered woman. All the while her skating career is taking off, the thrill of her graceful athleticism sitting next to her hard-scrabble poverty as she has to fight classism and snobbery at every step of the way. She sews her own costumes, which are pretty but not quite the pageant-level shine of the fussy rich girls who dominate the sport. It's not just about talent; it's about image. 

By the time Tonya’s handsome dope of an abusive beau -- now her on-again-off-again husband -- gets it in his head, with prompting from a buddy of enormous, stupidly delusional self-confidence (Paul Walter Hauser, with a convincing bovine look), to intimidate Harding's closest rival, the ensuing chaos threatens to snuff out Tonya's life-long dream. By this point Gillespie -- providing a booming jukebox score, overlapping voice over perspectives, and an active, swirling camera with insistent, pushing editing (a very David O. Russell approach for this usually more restrained journeyman) -- has made it clear the whole incident will be no less than the final parting smack of this abusive husband. Steven Rogers’ screenplay skips around between characters’ competing, overlapping versions of events, sometimes even stopping the action to have another character in the scene turn to the camera and say “I never did this.” It creates a swirling triple-axle of tone, allowing Tonya’s pain to be centered in every telling. This neither excuses her complicity, nor lays all blame at her feet. The film overemphatically pushes and prods at the real complexity under the tabloid sensationalism while using it to raucous effect.