xXx: Return of Xander Cage
The last forty minutes of the movie do come together in a pretty diverting way.
Here's something I wasn't expecting: an aboriginal musical from Australia, set in a late hippie era and featuring production numbers with a dash of Bollywood. It isn't a masterpiece, but it is a good-hearted, sweet comedy, featuring an overland chase that isn't original but sure is energetic.
The movie opens with its two young lovers shyly making eyes at each other. They are the young teenagers Willie (Rocky McKenzie) and Rosie (Jessica Mauboy). They daringly peek into a local saloon, and the singer invites the pretty Rosie (but pointedly not Willie) inside. Rosie can't resist a chance at a microphone, and magically becomes the center of the movie's first dance number. The way everyone in the room seems to have rehearsed the choreography is the hint of Bollywood, where characters seem to arrange themselves instinctively into chorus lines.
Willie's pious mother is determined to see her son win respect and get a good job as a priest. She whisks him away from his hometown to a rather strange seminary, ruled by Father Benedictus (Geoffrey Rush), who has a German accent but not overmuch of the holy spirit.
Willie yearns for home and Rosie, and runs away, finds a hobo camp and is befriended by Uncle Tadpole (Ernie Dingo), who claims to be a relative but forgets about that in the morning. No matter. Uncle Tadpole comes along for the trip, and they hitch a ride in a van painted in a psychedelic 1960s style and piloted by two jolly hippies. Father Benedictus follows in an unconvincing and not very clerical fashion as he goes in pursuit, having forgotten, I guess, that Willie must want to be a priest and not be captured and forced.
Chaz Ebert highlights films with the potential to get us through the confusing political times of the Trump presidenc...
This message came to me from a reader named Peter Svensland. He and a fr...
A review of Netflix's new series, Lemony Snicket's "A Series of Unfortunate Events," which premieres January 13.
One of the most audacious American films from the 1960s is now available via the Criterion Collection.