Tag: Adaptation

REVIEW: A Minecraft Movie

Maeve Ricks Leave a comment

WARNING: SPOILERS AHEAD.

“CHICKEN JOCKEY!!!!!” A family with young children screams behind me. Filled with joy and elation, they celebrate the iconic moments of A Minecraft Movie starring Jack Black and Jason Momoa. When a mysterious portal pulls four misfits into the cubic world of Minecraft, they’ll soon discover that all they’ve imagined can come true with the help of a pickaxe, a crafting table, and a man named Steve.

Now, let’s be very clear: A Minecraft Movie isn’t great. It’s not even good. It’s bad… very bad. It’s so bad, you can’t stop watching. In fact, it’s so bad that I want to go back to my local Ann Arbor Cinemark and pay to see it again. And seeing movies nowadays is expensive! A Minecraft Movie may be a bad movie, but it’s a movie worth paying $20 dollars and then some to see.

I’d argue that it may be the new Rocky Horror Picture Show, or at least it should be. Every spring, gamers should come together to scream out signature movie phrases, dress up, and throw popcorn at the screen. If Rocky Horror fans can throw toast at the screen once a year, let the minecrafters do the same. (Don’t twist my words and be a jerk though while it’s still in theatres this season.)

The movie doesn’t have a lot of bad elements. It’s actually well-constructed, and incredibly designed, but, unfortunately, there are a few glaring issues that take all the attention away from the good things happening in this movie. (1) The ridiculous plot lines; the worst one that comes to mind is when a Minecraft villager enters the human realm and falls in love with Jennifer Coolidge. It’s a type of relationship that feels like it should be illegal, but then again, it’s fiction; thank goodness. (2) The female characters are poorly written. If A Minecraft Movie passes the Bechdel test, it does so on a technicality. The screenwriting team consists of 5 men, and it shows. The most prominent female characters, Natalie and Dawn, serve only to support Henry, the young boy who is the movie’s catalyst. It’s unfortunate because Minecraft has such a diverse player base, with over 40% of those players identifying as women. I wonder how the movie would be rated if it had taken the time to invest in a more complex, diverse cast of characters that better aligns with the diverse players who actually play the game. 

Still, there’s a lot to love about this movie: the random songs that come in at unexpected times (thank you, Jack Black), the playful, cubic animations, the deep-cut game references, and odes to the people that built Minecraft’s platform (for example Technoblade’s memoriam, and using Minecraft YouTubers as extras). It’s a great movie to see with your friends. You’ll laugh; you’ll cry; you might even pee your pants; or you might accidentally fall asleep like I did. No matter, it will always be a bad movie, and you’ll always have fun watching it.

So, purchase your overpriced and oversalted popcorn, slather it in butter, and eat alongside Jack Black as he makes his infamous lava chicken because he sure isn’t making a cake.

REVIEW: Wicked

Sappy Leave a comment

After several disappointing movie-musical adaptations in recent years, I was skeptical that Wicked would be any different. As the first musical I had ever seen, and on Broadway in New York no less, I had especially high expectations. However, I was pleasantly surprised to discover that the hype surrounding the movie was justified. Under the guidance of director Jon M. Chu, with a talented main cast including Ariana Grande (Glinda), Cynthia Erivo (Elphaba), and Jonathan Bailey (Fiyero), Wicked offered a refreshing take with a charm that still retained the essence of the Broadway play that sparked my love for musical theatre.

Based on Gregory Maguire’s novel Wicked, the story is a prequel to The Wizard of Oz. The main character, Elphaba, grows up experiencing hardships due to her unusual green skin. Ostracized by even her own family, she is nonetheless loved by her nanny. Because of this, she grows up with a pure heart. When she sends her younger sister to Shiz University, Elphaba catches the eye of Madame Morrible, played by Michelle Yeoh. Morrible is a famous magical history professor and the object of admiration for Glinda, a beautiful and popular girl who has lived a life essentially the opposite of Elphaba’s. As the story progresses, it explores the complex relationship between the two women. Their character development is one of the highlights of the story, touching on themes of friendship, values, purpose, and societal expectations. Grande and Erivo’s chemistry, both on and off screen, brought this relationship to life brilliantly. 

Despite both the musical and the movie running for roughly three hours, the movie only covers half of the original story. I did feel that the pacing dragged at times, with the plot progressing slowly—almost frustratingly so. However, this slower pace gave more creative freedom to the director and actors. Compared to the stage production, Elphaba and Glinda felt more alive in this version. Their characters were more developed and complex, which created a deeper connection with the audience. I particularly enjoyed Glinda’s nuanced portrayal, whereas in the play, she seemed more ditzy and one-dimensional.

Though I find live singing and dancing more impactful, the movie was still incredibly immersive. The film’s close-up shots of the characters, their costumes, and facial expressions added a level of intimacy that the stage production can’t match. The lighting and camera angles also contributed to a richer atmosphere. The movie was visually striking and the vivid colors truly brought the fantasy world of Oz to life. These added details allowed for more foreshadowing, extensive world-building, and deeper character development. It never felt like a simple recording of the play. 

A friend of mine, who is more versed in musical theatre techniques, also offered some insightful commentary on how film is a unique medium. On stage, only those sitting in the front row get to see the actors’ faces clearly, and even then, it’s impossible to catch all the small details. It’s difficult to compare movies and theatre because they offer different experiences and strengths. Perhaps that’s why I remain skeptical about many movie-musical adaptations retaining a high quality—they’re often unfairly compared to the original. Nevertheless, Wicked is proof that a great musical-movie adaptation is possible.

REVIEW: Normal People

Kellie M. Beck 1 Comment

At first glance, Sally Rooney’s novel, “Normal People”, is extremely simple. It tells the story of two high school students, Connell and Marianne, and their unusual and potent attraction to one another. The book follows the two through the end of their college careers, and the end of their relationship (which still deserves an ellipse and the phrase “for now” stuck on the end of it). The novel, recently turned into a limited series through the streaming platform Hulu, premiered late last month in its entirety. What the television series does so well is it reveals with great dexterity and skill the underlying tension and complexity of Marianne and Connell’s relationship.

Daisy Edgar Jones and Paul Mescal, the main actors playing Marianne and Connell, are fairly new faces to the screen. The series is full of a myriad of close-up shots of the two actors, and several intimate, long, and artfully-shot sex scenes. The two actors’ chemistry on-screen is undeniable, and their performances ground the series in genuine human connection. The ensemble of actors that join them on screen deserves much praise as well; Aislin McGuckin, the actress playing Marianne’s mother, Denise, and Fionn O’Shea, playing one of Marianne’s boyfriends, Jamie, in particular, come to mind for their performances.

One worry I often have when watching screen adaptations of books is not even so much the accuracy of the script, compared to the events in the book, but rather if the on-screen version will be able to capture the same magic and essence of the novel it is adapted from. I think it is telling that Sally Rooney had a hand in writing all twelve episodes; that is to say, it shows. The series has the same careful, diligent, and gentle approach that the novel is so renowned for.

The charm of “Normal People” lies in the title itself. It is a simple story, about two imperfect people who always manage to find their way back to one another. It is shaded by the belief in “soulmates”, and elevates two ordinary characters to an extraordinary love. “Normal People” represents something the majority of the population wants; true, unconditional love. The series is an effective adaptation because it understands the heart of the story, and doesn’t try too hard to extrapolate unneeded details from the source material. It is a simple show; not particularly flashy or thrilling, but it is refreshing to me that it does not have to be. The simplest shots are oftentimes the most captivating. Rooney and the rest of the creative team train the audience early on to find the magic in the details, whether it be the slight raise of Marianne’s eyebrow or the way Connell wrings his hands and laughs when faced with a serious question. “Normal People” has done an exceptional job of parring down the series to exactly what is needed and nothing more.

In a world of endless streaming options, whether it be movies, podcasts, or television series, it can be overwhelming to make a choice of what to view or listen to. I would highly encourage those that are looking for something true, genuine, and delicate to consider taking the time to watch “Normal People” in its entirety. It does more than justice to the beloved novel; it illuminates it.

PREVIEW: Ovid’s Metamorphoses in a Modern Theatrical Adaptation by Mary Zimmerman

Emma Pinchak Leave a comment

Published in the year 8, Ovid’s Metamorphoses are a group 15 books written as one epic poem. They describe, in a sometimes less-than-factual manner, the history of the world from creation to the stabbing of Caesar. The stories are independent, but connect through common themes, as Ovid was a great thinker, known for his philosophizing on the arts of falling in and out of love.

It might be hard to believe, but this ancient work has been adapted to affect a modern audience over two millennia later. If you love the classics, need something to do this weekend, or are interested in disproving your skepticism, I invite you to attend the theatre RC’s production.

Showtimes include:

Friday, January 17 at 7pm
Saturday, January 18 at 7pm
Sunday, January 19 at 7pm

all at the Keene Theater, 701 East University. Doors open at 6:45pm.

While this is a free event, the cast and crew worked tirelessly on this project, so there is a suggested donation of $5/person.

REVIEW: If Beale Street Could Talk

Laura Dzubay Leave a comment

The Oscar nominations came out today, and as always, such an occurrence is bound to spark a fire of controversy about such-and-such films being snubbed while other films enjoyed perhaps more than their due of appreciation. Yet it does not feel like a reaching statement to say that If Beale Street Could Talk was indeed snubbed. The romantic drama, directed by Moonlight‘s Barry Jenkins and based on the 1974 novel of the same name by James Baldwin, received only three nominations: Best Supporting Actress (for Regina King), Best Adapted Screenplay, and Best Original Score. Three is a startling dearth of recognition for a film that succeeds in terms of acting, visual efficacy, and overall emotional impact.

If Beale Street Could Talk tells the love story of Tish Rivers (KiKi Layne, Chicago Med) and Fonny Hunt (Stephan James, Race), a young couple in New York City who are falling in love while also dealing with racism and racial tension. This culminates in Fonny’s wrongful arrest for rape, which coincides with Tish’s learning that she is pregnant. Much of the movie is concerned with the ripple effect that Fonny’s arrest produces throughout both their lives, as individuals and as a couple, and the lives of their families and friends. Tish and her mother, Sharon (King, Seven Seconds), fight for Fonny’s freedom, while Fonny struggles through the experience of incarceration and tries to retain both his sense of self and his relationship with Tish. The storytelling is accomplished in part through alternating timelines, which switch between the development of Tish and Fonny’s relationship prior to Fonny’s arrest and the fallout that occurs afterward.

One of the film’s most masterful accomplishments lies in its very careful attention to each character as an individual. A particularly telling scene occurs when Tish first visits Fonny in jail and they get into an argument; it is clear that the argument is borne not from anything lacking in their relationship itself, but from their own individual frustrations and respective inabilities to completely understand the other’s situation. Tish feels helpless and scared because she cannot help Fonny and is facing the prospect of pregnancy while he is in jail; Fonny is frustrated because he has been wrongfully imprisoned and is unable to be there for Tish. The fact that even in this scene, they come around from their respective frustrations and reaffirm their love and support for each other, only strengthens the sense of the gravity and wholeness of their love. Another standout is of course Regina King’s performance as Sharon, whose visit to Puerto Rico in order to plead with the rape survivor Victoria (Emily Rios, Breaking Bad) to admit Fonny’s innocence is perhaps the most finely crafted and emotionally resonant scene of the entire film.

If Beale Street Could Talk is a masterpiece on a visual and tonal level, echoing much of the slow-burn pacing and colorful cohesion that Jenkins trademarked two years ago with Moonlight. From the brief and bemusing appearance of Dave Franco as a Jewish realtor to the haunting, wholly incredible monologue of Fonny’s friend Daniel (Brian Tyree Henry, Widows), it is a film packed with rich feeling and timeliness. It speaks to the careful attentiveness and thought of everyone involved in creating it, and one can only hope that audiences respond to it with similar attention.

PREVIEW: If Beale Street Could Talk

Laura Dzubay Leave a comment

If Beale Street Could Talk only hit local theaters recently, but it is already garnering an impressive reputation. An adaptation of the 1974 novel of the same name by James Baldwin, the film has accrued several award nominations, including three at the Golden Globes for Best Motion Picture — Drama, Best Supporting Actress, and Best Screenplay. Directed by Barry Jenkins of Moonlight fame, the film stars KiKi Layne and Stephan James as Tish and Fonny, a young couple whose romance is derailed and tested when Fonny is falsely accused of rape and Tish discovers that she is pregnant. If Beale Street Could Talk is currently playing at the State Theatre, as well as other local Ann Arbor theaters such as the Ann Arbor 20 IMAX and the Quality 16.