“This is where I’m from, but you’re where I belong.” Paddington in Peru and Captain America: Brave New World

Advanced warning, this will be a short one. I admit, I escaped to the movie theater today, my place of comfort and retreat, while mover men clambered all around our house packing up all of our worldly possessions. (Side note: today and tomorrow are vacation days for me, although given all that activity it’s hardly what I would call a rejuvenating 48 hours.)

Yesterday, I stayed in the house on conference calls, while the movers were doing their work, and I just couldn’t take it again today. I’m so excited about the future, but it feels like the end of an era to be honest, watching as 20+ years of beloved possessions are packed away by very nice, but complete strangers, seeing a house we have loved so much look increasingly like a war zone. Plus, if one more worker came around the corner and said to me, “Gosh, there sure is a lot more stuff than was in the estimate,” I was likely to scream bloody murder.

So how did I pass the time? By catching up with a double feature of sequel entries in beloved franchises, two films that are perfectly serviceable, completely entertaining, but don’t hold the luster of their predecessors: Paddington in Peru and Captain America: Brave New World.

Surprising no one who has seen the previous two Paddington films, that one was the stronger entry here. It doesn’t quite have the arch, scruffy wit of its forebears, but it still retains all of the warmth and sweetness. I may have cried some ugly tears at the end. It could simply be from exhaustion with this move, but I was deeply affected as Paddington rediscovered his roots in deepest, darkest Peru. The little CGI bear is ably supported by a wonderful cast, including new additions, Olivia Colman, as a literal singing, slightly devious nun and Antonio Banderas, as a non-singing, slightly devious boat captain. Both have a hell of a time, chewing every bit of scenery in their wake, and it works very well.

But the secret weapon of these films remains Paddington, so winsomely voiced by Ben Whishaw. All it takes is one melty glance from the little bear and the film has you in the palm of its hand. When Paddington explains to his adopted human family – The Browns – “This is where I’m from [Peru], but you’re where I belong,” I dare your heart not to pang. It’s worth your time if looking for a late February escape.

Captain America: Brave New World is fine, but seems like a shadow of the superhero spy, clockwork genius of Captain America: Winter Soldier or even Captain America: Civil WarBrave New World fills in all the expected story beats smoothly, but still feels like a diet soda, full of fizz and empty calories. The cast is uniformly excellent and deserves a better script, notably, a gruff and flinty Harrison Ford – is there any other kind of Harrison Ford at this point? Anthony Mackie is terrific as the new Captain America, full of steely swagger and enough side-eyed bewilderment to keep his character interesting. I hope the Marvel machine makes better use of him in the future.

I should also admit that I had to field about four work calls and two calls from the movers during Brave New World so it’s quite possible I missed something integral to the plot, but it says something about the film that every time I returned it didn’t feel like I’d actually missed much at all.

The Movies We Loved in 2014 — By Friends of the Blog

Proud to be in such esteemed company! Thanks, Gabriel, for including me! Here’s my contribution – be sure to read the complete blog post at Gabriel’s site …

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Nightcrawler
by Roy Sexton

The movies this year that spoke to me at the most instinctive and visceral levels all seem to focus on people living in the margins, people faced with a world that chews them up and spits them out, people who won’t go down without a fight. Bad Words, Foxcatcher, Whiplash, Still Alice, and Nightcrawler all still resonate with me for these reasons – I was immersed in those five cinematic, corrosive worlds and I can’t (won’t) shake them off.

Perhaps this reflects a midlife dyspepsia on my part, but these films captured my feelings toward a culture that seems more combative by the minute. In a strange way, they gave me hope – that there are others (the respective filmmakers) who view things as I do.

As individuals, we are all one bad day away from utter collapse, but a kind word, a career opportunity, a tough life lesson, a toxic moment might save our souls, while still damning us to hell.

Of these five films, Nightcrawler haunts me most. Jake Gyllenhaal and Rene Russo are dynamite as two sides of the same Horatio Alger coin. Americans can be opportunistic and relentless to a fault, but the film never writes these characters off as sick parasites. We are them, and they are us. Bathed in noir blue light, Gyllenhaal’s predatory hustle is a fractured fairy tale of the American Dream as it exists today. Everyone wants to be an American Idol, a Snooki, a Kardashian. We don’t like admitting it, but we want to be something, to be remembered, perhaps at any cost. Nightcrawler is a cinematic allegory for the ages – of the lengths we can go to survive and thrive – giving us the antihero our troubled times deserve.

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Roy Sexton is a theatre actor and movie critic based out of Ann Arbor, MI. He writes witty, insightful film reviews at Reel Roy Reviews, you can check out his books, and he is closely involved with The Penny Seats theatre company.

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