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Film Features Film/TV

Now Playing in Memphis: From Boxing to Bunuel

With Creed III, Michael B. Jordan makes his directorial debut in the third installment of the boxing franchise that made him a superstar. Adonis Creed is on top of the world, until his old buddy from the neighborhood Dame Anderson (Jonathan Majors) gets out of prison. Back when they were both budding boxing prodigies, Dame took a rap for Donne, and now he wants the title he was denied. Now Donnie Creed is in for the fight of his life. 

Guy Ritchie does spies in Operation Fortune: Ruse de Guerre. Jason Statham is the smooth operator Orson Fortune who is hired by the British government to retrieve a weapon called The Handle. Aubrey Plaza co-stars as Fortune’s rival Sarah Fidel, who also wants to get a handle on things — or her things on The Handle. Josh Hartnett, Cary Elwes, and Hugh Grant are also along for the action comedy ride. 

Still feeling a big rush from last weekend’s box office results is Cocaine Bear. Elizabeth Banks’ ursinesploitation flick came on hard like … well, like a bear on cocaine. Don’t call it a guilty pleasure, because I don’t feel guilty about it.

It’s December 1941 in war-torn Europe. Czech freedom fighter Victor Lazlo (Paul Henreid) and his wife Ilsa Lund (Ingrid Bergman) are fleeing the Nazi juggernaut. They land in the North African port city of Casablanca, where they must enlist the help of American bar owner Rick Blaine (Humphrey Bogart). But Rick and Ilsa have a history Victor doesn’t know about. Will they choose love or duty? If you’ve never seen one of the greatest films of all times with an audience, don’t pass up your chance to check out Casablanca this Sunday afternoon at the Paradiso. “We’ll always have Paris.”

Long before Ralph Fiennes served his murderous meal in The Menu, another cinematic dinner party went hilariously badly. Four decades after Louis Bunuel became film’s first surrealist (watch his Salvador Dali collaboration “An Andalusian Dog” if you dare), he put a group of entitled diners through the ringer with 1973’s The Discreet Charm of the Bourgeoisie. Crosstown Arts is serving it up on Thursday, March 9th.

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Film Features Film/TV

The Meg

There is a terrible screech of fingernails across a blackboard, and the room is silenced. All eyes turn to the old fisherman in the back. He waits to speak until he is sure he has everyone’s attention.

“You know who I am,” he says in a clipped New England accent, unchanged since the time of Melville. “You know how I earn a living.”

Something about his battered blue hat and thousand-yard stare rings a bell. “You look like Quint, the old fisherman from Jaws.”

“Aye, Chief. That I am. If you want to make a movie, I’ll tell you how to make a movie. But it ain’t gonna be easy.

“First thing you gotta do is, you gotta get a shark. Now, some people say you don’t need a shark to make a movie. You get a giant octopus. Maybe a school of piranhas. Ole’ Jim Cameron tried piranhas. Didn’t work for him. He’ll be the first to tell ya.

“No, you need a shark. A shark with dead eyes, like a doll’s eyes. But with a twinkle in those dead eyes, a mischievous twinkle. You need a shark that’s got some playfulness to him, Chief. A shark that’s gonna sneak up behind ya, say boo.

“But it can’t just be any shark. Noooo. Bruce from Jaws, now there was a shark that understood showbiz, Chief. You gotta beat old Bruce, and Bruce was a big ‘un.

“No, you’re gonna need a megalodon — a 75-footer. For 20 million years, the megalodon swam the seas eating whales. Then they went extinct.”

Hmmm. “They’re extinct? That sounds like a problem if we need one for the movie.”

“Maybe more than one, Chief. I can find ’em for you. But we’re gonna need some gear, like a giant, state-of-the-art underwater laboratory with transparent tubes big enough for people, so the sharks can get a good look at ’em.

“The next thing we’re gonna need is Jason Statham. Shiny bald head, ripped body just poured into a wetsuit, Chief. Big, sexy Jason Statham, with his cold dead eyes, like a doll’s eyes. …

“Then we gotta give Statham a tragic backstory. Something involving sharks, Chief. For the dramatic irony. Now here’s where the man who doesn’t know about shark movies is going to steer you wrong. They’re gonna say, we should rip off Jaws. But that’s where they’re wrong. You don’t go with the Spielberg, you go with ole’ Jim Cameron. You take a little bit from The Abyss, Chief. Statham’s got this ex-wife, see. He’s a crack rescue diver, but he can’t keep a marriage together, because he’s haunted by the men he left behind to die in crippled nuclear submarine three years ago. He’s in Thailand, running a fishing boat and drinking himself to death. But he’s not fat from the booze. No, he’s super ripped, Chief. Muscles all a bulgin’ …

“Now his ex-wife Lori (Jessica McNamee) is trapped in a crippled submarine with a crew of landlubbers.”

“Hold on. Why is she in a submarine?”

“Turns out the Mariana Trench has a false bottom, and she’s down in it, exploring.”

“Well, that doesn’t make sense. Couldn’t we just use sonar to …”

“Don’t overthink it, Chief! And that big shark, The Meg, is down there with Lori and the crew, and she’s gonna eat ’em up. So Statham has to come out of retirement to save ’em. He gets ’em out all right, but in the process, he unwittingly releases The Meg. And that’s when all the other folks come in. You gotta have a lot of ’em, ready to fall in the water at the right time so your shark can chow down. You have one who’s rich, but nobody likes. Elon Musk type. Everybody cheers when he dies. Get Rainn Wilson to play him.”

“Nuclear submarines? Giant sharks? A beach full of expendable extras? A guy from The Office? This sounds expensive.”

“Oh, it’s as expensive as hell itself, Chief! You’re gonna need buckets and barrels and trucks full of money. That’s why you need the Chinese. See, us Americans, we’ve got all the shark movies we can handle. But the Chinese, they don’t have any shark movies. That’s why you gotta go and tell ’em, ‘You give us $178 million, and we’ll give you a shark movie the likes of which you never seen!'”

“But this sounds like every other shark movie ever.”

“They don’t know from shark movies. We’ll get Statham in there, barefoot, fighting The Meg with a knife in his teeth. They’ll eat it up.”

“Maybe the shark can live in a tornado!”

Quint shakes his head. “No. That would just be dumb.”

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Film Features Film/TV

Spy

I’ve always loved James Bond movies, especially the older ones like Thunderball and From Russia With Love. But these days, when I go back to watch Sean Connery swigging martinis while saving the free world, I can’t help but notice how sexist they read. I wouldn’t say the outdated sexual attitudes ruin the experience, exactly, but it definitely pulls me out of the action for a moment. Maybe that’s why I have a soft spot for George Lazenby’s sole effort, On Her Majesty’s Secret Service, where Bond actually falls in love with Diana Rigg instead of bedding women seemingly out of spite.

Melissa McCarthy’s new comedy vehicle takes dead aim at spy game sexism. Written and directed by Paul Feig, Spy is likely to satisfy McCarthy’s growing legion of fans and points the way to a bright future for the breakout star of Bridesmaids. McCarthy is Susan Cooper, a CIA analyst who spends her days in the high-tech basement of Langley whispering advice and intelligence into the satellite-linked earpiece of agent Bradley Fine (Jude Law). But when Fine is killed in a mission to track down a loose nuke, Susan is sent into the field to track down his murderer Rayna Boyanov (Rose Byrne) and retrieve the weapon before terrorists can get ahold of it.

Melissa McCarthy

No one takes Susan seriously, even though she’s clearly very skilled. Wringing comedy out of people misjudging her because of her sex or looks is like hitting softballs to McCarthy. Feig understands what kind of movie he’s making and keeps her, and her point of view, dead center for the entire story. McCarthy has plenty of people to bounce jokes off of: There’s Law, who is his usual impeccable self; Miranda Hart as Nancy, a fellow analyst who is Susan’s frumpy confidante; and Aldo (Peter Serafinowicz), a lecherous Italian agent. But surprisingly, McCarthy’s best sparring partner is Jason Statham as Rick Ford, a rogue agent miffed that the fat girl got the important assignment instead of him. Statham demonstrates masterful comic timing while sending up the kind of hypermasculine roles he usually gets cast in, suggesting there’s a lot more to him than Hollywood has been able to find a use for.

Spy is often funny, but it is not a well-oiled machine. The movie starts slow, only kicking into gear once McCarthy and Statham start trading barbs at about the half hour mark. Scenes run on way too long, as Feig was seemingly determined to keep every one of McCarthy’s remotely funny improvs in the final cut. There are way too many characters, many of whom seem to think they’re much funnier than they actually are. The plot is loose to the point of incoherence — I kept forgetting what the McGuffin was until the late third act reveal of the missing atom bomb made me go “Oh yeah.”

But McCarthy overcomes all of that, making the sloppy film watchable by sheer force of charisma alone. She can pack more emotion into an exasperated eye roll than most actresses can into an extended speech. I hope one of these days someone will write a Groundhog Day-level script for McCarthy, and she’ll finally get to create the classic her talent promises. But until then, Spy is a pretty agreeable time at the theater.