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Dwayne Johnson

Black Adam: The Dark Side of Heroes

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It’s no secret that the DC’s cinematic adventures in recent years have been inconsistent, at best. 

While entries like Aquaman and Shazam! have proven successful, others such as Wonder Woman 1984 and The Suicide Squad films have failed to hit with audiences. (And that’s not even addressing the two hotly-debated Justice League cuts.) Now, with the release of Black Adam, the DC Extended Universe attempts once again to refuel with renewed focus.

And, this time, they may have actually done it.

Black Adam tells the story of Teth Adam (Dwayne ‘The Rock’ Johnson), the iconic ‘champion’ of Kahndaq. Bestowed with the powers of the gods, Adam was believed to be the saviour of the nation but was imprisoned for nearly 5,000 years. However, when he is released from his earthly tomb by those in need of justice, Adam’s rage is unleashed upon the oppressors of his home country—and anyone else who stands in his way.

Directed by Jaume Collet-Serra, Black Adam is a wild and frenetic affair that eventually becomes one of the better entries into the DC cinematic universe. While the pacing is erratic at first, Black Adam has a fire in its belly that anchors the film and makes it compelling. Throwing the film on his massive shoulders, Johnson takes hold of the DCEU and supercharges it back to life. Even in moments when the writing feels inconsistent, Johnson’s natural charisma helps keep the film focused and moving forward with authority.

In addition to its titular hero himself, Black Adam also introduces the Justice Society into their cinematic canon. Featuring characters such as Dr. Fate (Pierce Brosnan), Hawkman (Aldis Hodge), Cyclone (Quintessa Swindell) and Atom Smasher (Noah Centenio), the Justice Society is well-known in the comics but are finally making their big screen debut. Admittedly, their inclusion does feels jarring as the script tends to assume that the viewer already knows these characters. This makes for a bit of a wonky start to the film instead of launching cleanly. However, the performances are so fun that one can’t help but welcome them into the action as the film unfolds. (It’s also worth noting that Hodge has some wonderful chemistry with Johnson as the two heroes clash over their different ideologies.)

Although Zack Snyder’s name is unattached, Black Adam feels as though it was made in his cinematic image. Featuring highly stylized violence and slow motion action sequences, Adam‘s visuals fit very neatly the DC world that Snyder established with Man of Steel and Justice League. As a result, Black Adam feels like somewhat of a course correct from Warner Bros. as they attempt to restore the faith of diehard fans of Snyder’s work, while still chartering a new direction for the franchise. (In fact, without any spoilers, it’s worth noting that the film’s post-credit sequence is certainly a signal that what has come before is far from erased.)

So, while WB remains unwilling to fully restore the Snyderverse, perhaps they intend to repair it? 

Although Black Adam seems to be one of the rare examples of the DCEU to have a sense of humour, the film is at its best when it’s not trying to joke around. Considering the gravitas that’s embedded within the heart of its central figure, the more serious moments are the ones that put the film at its best. Though he is begged to be a hero, Teth Adam has a heart fueled by a deep-seeded rage that stems from the scars of oppression and pain. 

To him, being the champion requires a willingness to not play by the rules. 

After all, for almost 30 years, the nation of Kahndaq has found themselves burdened under oppression and violence. From military checkpoints to flying hover sleds, the people are constantly under surveillance. (Incidentally, Kahndaq feels like a unique blend of the technological advancement of Black Panther‘s nation of Wakanda and the grounded realism of the modern Middle East.) Broken by subjugation, this is a culture that struggles to see the difference between right and wrong anymore, especially when one side claims to be doing things the right way. (“It’s easy to know what’s right and wrong when you’re the one drawing the lines of justice,” Teth Adam claims boldly.)

Interestingly, although virtually every other heroic character in the genre plays by some form of rules, Teth Adam is willing to break them all. Killing others without remorse, he constantly reminds those around him that he is no hero, even as they plead with him to become one. Although, ironically, this call to action seems to inspire the people. With Adam as their new ‘champion’, the people finally believe that they have someone who is hearing their cries. In him, they believe they have a model to reclaim power. 

After all, for Teth Adam, the best way to end oppression is to end the lives of the oppressors. 

Even so, Black Adam never loses its concern for the soul of its hero. Members of the Justice Society not only fight against evil, they also fight to redeem Teth Adam and his actions. They continuously cry for Adam to do the right thing, rather than succumb to his more violent tendencies. (At one point, Hawkman even warns him that “The more you give in to violence, the more it darkens your soul.”) But can one be heroic while allowing themselves to take the lives of others? This is the question that lies at the heart of Black Adam and actually makes it one of the more compelling entries of the DCEU. 

While Black Adam is far from perfect, there’s no doubt that it flexes its muscles. Fun and furious, Adamsupercharges the DC extended universe and actually brings enthusiasm for the next chapter of its story. Though often brutal, Teth Adam’s journey to save Kandahq is compelling in its character work and thrilling in its action sequences.

But, more importantly, he may have also saved the entire DCEU as well.

Black Adam is available in theatres on Friday, October 21st, 2022.

DC League of Super-Pets: Pup, Up and Away

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They may be super but they’re not heroes yet.

Set in Metropolis, DC League of Super-Pets tells the story of Krypto the Super-Dog (Dwayne Johnson), Superman’s fearless Kryptonian pup and his best friend since childhood. Together, they are a powerful and (almost) unstoppable crime-fighting duo, ready to stand up to the most fearsome of villains. However, when Superman (John Krasinski) and the rest of the Justice League are kidnapped by a surprising foe, Krypto must assemble a pack of newly-powered pets to save the day. As Krypto tries to whip them into shape, these rookie heroes—Ace the Hound (Kevin Hart), PB the pot-bellied pig (Vanessa Bayer), Merton the turtle (Natasha Lyonne) and Chip the Squirrel (Diego Luna)—may be powerful but can they work with their new leader?

While the live-action films tend to take themselves more seriously, DC League of Super-Pets has no such concerns. Directed by Jared Stern, Super-Pets is fueled by goofy silliness, making it an entertaining entry into the DC Universe. Somehow, Stern manages to walk the line between both honoring and satirizing the source material. For example, John Williams’ iconic theme underscores Superman’s heroism, yet there’s also a subtle arrogance about him that stems from over-confidence. As such, Stern playfully mocks the Kryptonian while never causing us to lose respect for him. This type of sardonic humour flows throughout Super-Pets, engaging kids and parents alike. (In fact, there’s even some deep cut references for those who are paying attention, such as a shout out to Orwell’s dystopian Animal Farm.)

Though, what truly makes Super-Pets special is some strong work from its performers. Anchored by the real-life friendship of Hart and Johnson, Super-Pets features some delightfully over-the-top performances from its cast. Diego Luna, Vanessa Bayer, Daveed Diggs, Olivia Wilde, Jameela Jamil, Ben Schwartz and a joyfully pompous John Krasinski are all more than game for the film’s fast and frenetic tone yet still manage to bring emotion to their characters. (Also, I did not realize that I needed a Keanu Reeves-led Batman film until today. Make that happen WB.)

Though, amidst the all-star cast, the true stand-out remains its villain. Voiced by Kate McKinnon, Lulu the guinea pig (Don’t call her a hamster!) is an absolute delight as the sinister, all-powerful ‘beast’. With her team of monstrous guinea pigs behind her, Lulu yearns for world domination with maniacal aplomb. McKinnon has always been at her absolute best when she is allowed to go completely over the top and this works particularly well for the fiendish Lulu. 

Beneath the super action, Super-Pets is really a film about trusting others. Having been best friends since childhood, Superman and Krypto have an incredible relationship. They are always there for one another, willing to sacrifice themselves for each other whenever called upon. However, as Supers begins to settle down with Lois lane, Krypto becomes jealous. If Lois moves in, he fears that it will drive a wedge between the super buddies. Believing that he’ll be pushed aside, Krypto struggles to believe that his relationship with Superman is strong enough to survive this perceived interloper. 

In the same way, Krypto also seems to struggle to trust the abilities of his new super team. As each one of them grows in their powers, he sees the potential that they have yet, when push comes to shove, he still wants to do things himself. He believes that the responsibility to save humanity (and pets) lies with him and he refuses to put them in harm’s way. While some may think this is noble, it very much stems from his own sense of pride. For Krypto, heroism and arrogance are blended together in a complex mixture that taints his ability to lead. However, as he begins to humble himself and trust in the abilities of others, so too does he begin to understand what it takes to truly be a friend, both to Superman and his fellow Super-Pets. 

Although DC League of Super-Pets exists outside of the cinematic canon, one almost wishes they’d connect in some way. There’s an infectious joy within the film that manages to bring these characters to life in an entirely new way. 

DC League of Super-Pets is available in theatres on Friday, July 29th, 2022

Jungle Cruise: Watch Your Step

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“Over there are the remains of my last crew. You can tell they had a good time–look; they are still smiling!  Those smiles are just plastered right on their faces.”

One of the more unique rides at Disney World and Disneyland involves a boat cruise. No, I’m not talking about the Liberty Belle that circles Tom Sawyer Island. Instead, the Jungle Cruise is a fast-paced tour of a tropical river, complete with waterfalls, headhunters, hippos, and a wise-cracking tour guide with a penchant for perfectly horrible puns. The ride is fun, but is the newest film from Disney (of the same name) just as enjoyable?

Jungle Cruise certainly has its moments but leaves too much of the ride’s fun out at the expense of a journey that feels forced in the second half of the film. Nevertheless, there are some good reminders of heroism, trust, and sacrifice we all would be better off talking a look at.

Since I’ve already provided most of the film’s plot, it might be wise to introduce the main cadre of characters. MacGregor and Lily Houghton (Jack Whitehall and Emily Blunt) are a brother/sister pair who live in England during WWI and are trying to seek funding for an expedition to the Amazon. Their goal is to find the Tree of the Moon and recover some petals from it for healing. (Seriously, haven’t we seen and heard this plot device before?) He shares the proposal; she uses her expert cunning to acquire an arrowhead meant for Prince Joachim (Jesse Plemons) that may prove to be useful. She also knows how to pick locks, and it opens a lot of doors for her.

Upon their arrival at Porto Velho in Brazil, they meet Frank (Dwayne Johnson), a wisecracking tour guide who, well, cracks constant jokes and seems to have the entire jungle working to make his rapid-fire puns work to the delight (and disdain) of tourists. He needs funds to keep his boat going or Nilo (Paul Giamatti) will take it.

Enter Lily and MacGregor. She’s an adverturer; he’s like Princess Vespa in Spaceballs, complete with tons of luggage. Frank soon learns he’s met his match in Lily (other than the fact that she’s deathly afraid of water). The journey leads to numerous confrontations with said headhunters and Prince Joachim, who makes the journey to the Amazon in a submarine (too bad it went under).

Once Frank and crew nearly go over a waterfall, the story switches from fun-loving and joking to high-stakes adventure. To accomplish this Herculean task, Frank reveals some unique aspects about himself. Lily has to get over her fear of water (and receives a few kisses from Frank in an odd manner). The tree appears, but not before Prince Joachim shows up (along with various forms of Aguirre [Edgar Ramirez]–some of which are rather creepy). The tree blooms. You can probably guess what happens next.

Does the embellishment of a 20-minute ride into a 2-hour film work? I think that if the jokes were kept at a steady stream and the adventure was more unique, it would be quite good. Jungle Cruise is not a bad film, but certain things caused my mind to wander from the plot. For example, the Disney opening has a Metallica song playing underneath it. There’s a reason for it, but I’m not sure “Nothing Else Matters” quite fits. In addition, there’s a strange mishmash of films ranging from the Indiana Jones series, The Mummy, the Lord of the Rings trilogy, and even Beauty and the Beast (note the color of the tree petals and how the conflict is resolved in the end). It’s wacky and unrealistic, but there’s some fun—enough to justify the film’s run time of two hours.

Director Jaume Collet-Serra found two fantastic leads in Johnson and Blunt, and their chemistry is evident from the moment they lay eyes on each other. Whitehall is on the screen a good amount as well but comes off as wooden and uninspired. Prince Joachim is laughable for the wrong reasons. Outside of that, the main character of the film is the CGI. The river sequences are absolutely gorges in some places, a bit wonky in others (the waterfall sequence), and creepy when Aguirre shows up (hope you like snakes—they have a bit of a hissy fit).

I think it’s important to note that there are a number of specific themes that can be detected in Jungle Cruise—heroism, trust, and sacrifice being three of them. Another, more subtle, aspect to the film comes in the form of standing alongside those one cares about and loves. Although MacGregor and Lily are brother/sister, there’s a telling line about halfway through the movie. When Frank asks MacGregor why he is so close to Lily, he replies that she “stood by me, and for that, I would’ve followed her into a volcano.” It does have a Samwise Gamgee/Frodo feel to it, but that’s one aspect of true friendship.

The writer John Donne noted in Meditation 17 that “No man is an island, entire of itself.” (You can also translate that as “toucan do better than one can.”) It has been difficult for many people during the worldwide pandemic when physical distancing has been the norm. To that end, many have resorted to life in front of a computer, using programs like Zoom, Google Meet, or Microsoft Teams to create virtual community. Over time, however, the sense of unity has drifted further and further away from view, bringing some to a breaking point. My prayer is that we would take the time to communicate intentionally to those we love (even bringing back what worked a generation ago—a simple phone call) and growing those relationships. At some point in the near future, we will be able to stand by those people in real time, reminding them that friends are there in times of need (see Proverbs 18:24).

Until then, we can agree that puns are good things, the Rock and Emily Blunt need to be in more films together, and it’s okay to be there for those dear to us. If it takes Jungle Cruise to remind us, that’s perfectly fine.

Also remember that, if you feel your feet getting wet as you leave the boat, you’ve probably gone out the wrong side.

Jungle Cruise can be streamed on Disney+ or viewed at your local theater (depending on area).

Jungle Cruise: One Fun Ride

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Even though it’s a blockbuster based on a theme park ride that’s filled with bad puns, Jungle Cruise is one insane trip.

Jungle Cruise stars Dwayne “The Rock” Johnson as skipper Frank Wolff and Emily Blunt as Dr. Lily Houghton. Set in 1916, at the height of WWI, Lily Houghton (Emily Blunt) is a British doctor who reluctantly teams up with Frank, an expert tour guide of the Amazon. Setting sail on his rickety old boat, they go on a jungle adventure to acquire the petals of a magical tree that will change modern medicine and, potentially, even end the war. However, hot on their heels is the contemptable Prince Joachim (Jesse Plemons), a German aristocrat determine to use the petal for his own gain. 

In many ways, Cruise feels like a Marvel movie. Filled with witty and charming banter that’s just plain fun, the dialogue pops like the best MCU moments. In fact, there are moments when hearing The Rock banter with Blunt feels like those conversations between Iron Man and Captain America. The chemistry these two have is amazing and just feels so natural. What’ s more, action scenes are also well choreographed and take advantage of the beautiful amazon setting, including all creatures and supernatural elements that are involved. The over-arching supernatural/magical backstory is much more complex than initially expected which was a very pleasant surprise, especially considering it’s based on a fun little ride for vacationers.  

Personally, I loved that they were able to take an iconic Disney ride and make it into an intense action movie. As the tour guide of the ride, Frank even shares the same bad puns that you’d hear from the famed tour guides on the Jungle Cruise at Disney World. Featuring all the dangers of the island such as the natives and wildlife, Cruise really makes you feel you’re back in Florida on the ride itself (except, in a strange way, it feels even more immersive watching the movie.)  

With an eye on inclusion, Jungle Cruise seems to be one of Disney’s major steps toward “wokeness.” As a woman in the early 20th Century, Dr. Houghton gets absolutely no respect from the scientific community. In addition, her brother McGregor (Jack Whitehall), one of the very few rare gay characters in Disney’s movies, is also ostracized simply for his sexuality., Whereas the action genre is traditionally dominated by straight males, Jungle Cruise utilizes these two characters in a way where that highlights who they were and views them as equal

At the same time, Frank’s character arc is also closely tied with this. Without giving any spoilers, Frank has witnessed the absolute worst of people throughout his life. Broken by the pain of his past, he would rather die than spend another minute alive. However, Lily takes an alternative view. Instead of giving up, Lily sees the horror of this world but actively wants to change it for the better. Despite the frustrations that she sees and has experienced at the hands of a male-dominated society, Lily is committed to fighting for a new future, giving the film a more hopeful edge.  

Led by the dynamic duo of Dwayne “The Rock” Johnson and Emily Blunt, Jungle Cruise has everything you want and more from a Disney action movie. Funny and energetic, the film has an adventurous spirit that should entertain all ages. In short, Jungle Cruise is a fun ride.

Jungle Cruise is available in theatres and on Disney+ Premiere Access on July 30th, 2021.

GIVEAWAY: Digital Copy of JUMANJI: THE NEXT LEVEL

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When Spencer goes back into the fantastical world of Jumanji, pals Martha, Fridge and Bethany re-enter the game to bring him home. But the game is now broken — and fighting back. Everything the friends know about Jumanji is about to change, as they soon discover there’s more obstacles and more danger to overcome.

To enter, tell us your favourite video game film and why. For a bonus entry, like or share the post on Twitter, Facebook and/or Instagram.

The winner will receive a digital copy of Jumanji: The Next Level on iTunes.

All entries must be completed by 11:59pm on Thursday, March 26th, 2020.

To hear teenFish’s episode on JUMANJI, click here.

teenFish#8 JUMANJI: THE NEXT LEVEL

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Welcome to teenFish, a podcast series that lets teenagers speak about media that matters to them in their own voice. Hosted by Daniel Collins (Infinity Warm-Up), teenFish airs every month and invites local youth to engage the truth and lies of the shows and films that excite them.

When Spencer decides to re-enter the world of JUMANJI, his friends follow in order to save him from the dangers inside. However, when glitches in the game push the boundaries of their experience, the team is forced to take a hard look at themselves in order to decide who they really are and what they’re capable of. This month, Daniel and Jacob delve into JUMANJI: THE NEXT LEVEL to talk about finding our identity, purpose and reconnecting.

You can also stream the episode above on podomatic, Alexa (via Stitcher), or Spotify! Or, you can download the ep on Apple Podcasts or Google Play!

Creating a Rampage: 1on1 with Jaron Presant (cinematographer, RAMPAGE)

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In Rampage, primatologist Davis Okoye (global action icon, Dwayne ‘The Rock’ Johnson) shares an unshakable bond with George, an extraordinarily intelligent silverback gorilla who has been in his care since his youth. However, when a genetic experiment goes wrong and George is one of several animals transformed into raging giant beasts, Okoye must race against the clock to find an antidote to save his friend before the monsters destroy everything in their path.

With a wild premise filled with enormous action set pieces, Rampage delivers an action thrill ride with incredible visuals. As such, cinematographer Jaron Presant felt an enormous responsibility to see director Brad Peyton’s vision come to life. A veteran of over twenty years behind the camera, Presant believes that good cinematography is essential in creating the proper environment for storytelling.

“To me, cinematography is figuring out a way to set up the viewer to best receive the story that you’re trying to tell,” he reflects. “So, you’re trying to look for visual ways to tell the emotion of the scene, like to tell where the characters are or what the feeling is that you’re trying to convey in a scene or movie. On another level, it’s very technical and you have to actually implement a lot of technique to achieve that emotional, visual storytelling. To me, it’s about this balancing act between art and technique, which is why I find it so fascinating and especially today when we’re on the throws of so much technological change.”

Having worked with on a number of high profile projects, ranging from Star Wars: The Last Jedi to San Andreas, Presant has also worked a wide range of directors as well. As a result, he maintains that each situation requires him to understand their expectations of him.

“Every situation is different and, especially with each director. Each director has a different kind of workflow that they subscribe to and so you, as a cinematographer, you’re adjusting your own approach to the director. Rian [Johnson, director of Star Wars: The Last Jedi] has every shot already in his head and what I do with him is elaborate on those shots that he’s already got. So, when we get to the scene, I’m suggesting that we can also do this kind of shot or change it like this but Rian has a real sense of what he’s going for visually.”

“Then, there are other directors who don’t, like Tobe Hooper (director of Mortuary). [May he] rest in peace. I mean, Tobe was just fantastic to work with, but Tobe had a totally different approach. When he showed up, he didn’t have any sense of what he wanted visually and he would turn to me and say, how do you want to cover it? What do you want to do? We would start discussing it. I would have an idea of what would work well for the scene and then we would work off of that and bounce ideas back and forth. With Brad [Peyton, director of Rampage], he’s sort of in the middle and I loved working with him. He has an approach which is both very well-conceived and very open. Generally speaking, from the standpoint of each shot, you’re trying to find something that is the style you’ve decided on for the show but that also works the best for the emotion of that moment in the movie.”

After conversations regarding tone and style between director and cinematographer have taken place, Presant feels that that is when the film begins to take shape visually.

“Now that the visual style of the thing is set up, you go over it, prep it and come up with an approach that informs every single shot,” he states. “Once you create the approach, then it’s applying that idea to each scene and within each scene to each shot. You’re trying to like carry the viewer along on a journey for the character’s arc and the story arcs, so you want the visuals to mirror those arcs.”

As his projects have become more high profile, one thing that has increased is the budgets on movies on which he’s had the privilege to work. Though every film is different, Presant feels that, ultimately, the process remains the same.

“Yeah, it is very much the same process in that you’re still designing a single frame in which you have to tell a story,” he explains. “The difference when you get into scale is how much you can prep things and how much things can go awry on the day. The reason that you need more prep is because there’s a higher level of complexity to what you’re trying to achieve and there is less of a margin of error for things not going right on the day. So if you’ve got Dwayne [Johnson], he is on set shooting and you need to shoot something that is going to be great that’s going to be in the film.”

“You can’t afford to have some piece of equipment not work. That’s not to say that you can’t have flexibility, but you need to know that if you’re planning a really complicated shot that has to work, you need to make sure it will work and that’s what drives up the cost. If you have a bigger budget movie, you need to be able to know that things will execute on the day smoothly because the time on set is so expensive at that scale…But beyond that, the actual crux of what you’re doing is exactly the same. You’re trying to tell the story, trying to figure out visually what will represent the emotion of the scene best and how to convey that story visually with camera and lighting.

Over the course of his career, Presant has had the privilege to work with directors like Rian Johnson or Brad Peyton on multiple occasions. During that time, he has also built up solid working relationships with them, a process that allows him more freedom creatively in the long run.

“I think that the industry and the process that we go through lends itself to [working with the same team],” Presant claims. “When you find people that you like to work with creatively, you’re going to gravitate towards working with them more. If you can do better work together than you could do a part, you’re going to gravitate back to those people because you do better work, right? You elevate each other’s work to a better place. So that’s, I think that’s, to me that’s actually the end goal of all of the networking is that you’re trying to find the people that you do the best to work with even because if the process is the best it can be, you’re going to yield the best work that you can.”

Of course, one of the great challenges of cinematography in big budget films is maximizing on the use of computer-generated images to achieve the best possible impact. With this in mind, Presant thinks that one of the most complicated elements to CGI work is the fact that you are forced to account for images that aren’t directly in front of you during filming.

“I actually think that when you’re getting into CG work, you need to be more creative on some level than you do when everything is practical because you have to conceive of things that don’t exist,” he responds. “It’s simplistic to say there’ll be a big gorilla and a big building there. But then, you need to start thinking, ‘wait, there’s going to be a building there so that’s actually going to create a bunch of negative fill.’ Now, all of a sudden there can’t be light coming from that direction and if the gorilla is moving–and how big is the gorilla–and what kind of shadow is that starting to place on it. Where do we want the light to come in?” 

“Granted you’re just entirely on the stage at this point so which way is the sun going to come within the context of this scene relative to these buildings and animals that don’t exist?,” he continues. “It starts getting to a place where you actually have to conceive of a lot of things that don’t exist and try to build them in because that integration of a light more than anything is a huge element selling the CG. It’s an integration of a bunch of different departments to make sure how we’re going to play the sun coming out and when it’s going to happen, how’s it going to happen, etc. [before] we’re shooting practically with Dwayne. Though, [much of the work is] going to happen three months from now [it is pre-conceived]. and it’s getting everybody on the same page that they know that’s going to happen.”

With this in mind, he has seen tremendous developments in terms of technology over the years. With all the improvements to areas such as CG and color matching, he believes that this is an exciting time for the film industry on a creative level.

“Color meters to me are really funny because I have had them around for years but they have never been super accurate,” he explains. “When you add quarter green like it suggests, It doesn’t really look like right. This is really due to metamerism coupled with the lack of accuracy of the meter, but we now have a system that’s so precise—using spectrometers and lighting with x,y chromaticity coordinates. There’s this one plane sequence on Rampagewhere we took x,y readings off actual flames and fed that into an array of sky panels for an explosion. The explosion doesn’t exist obviously. It’s a CG explosion on a CGI plane but the light that we’re getting off that explosion is absolutely precise. It all pulls together in terms of color so seamlessly.”

When all of these elements come together, Presant says that, as a cinematographer, there is a moment when you simply know that you’ve achieved the perfect shot.

“I think that are some shots where you do it and things just feel like they’ve clicked. Just like the flow in pro sports, you get into this place where everything is just in perfect sync and, when that happens, you know you’ve got something that’s right. On some level, I feel like that happens on every shot. There’s this really funny thing that happens where you set up a shot with the stand-ins and it looks good… and then Dwayne or whoever the actor walks on and it just comes alive somehow. It always blows my mind. It’s like it’s everything just brought together in that one moment and it’s a powerful moment on set for me. I think that’s actually one of the things I enjoy most about cinematography is that you’re their first. It’s a really amazing moment.”

Rampage is in theaters now.

For full audio of our interview with Jaron, click here.

 

Baywatch: The Rock Saves the Bay

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In Baywatch, Lt. Mitch Buchannon (Dwayne Johnson) and his team of lifeguards, including second-in-commmand Stephanie Holden (Ilfenesh Holden) and veteran C.J. Parker (Kelly Rohrback), protect the beaches and the bay in Emerald Bay, Florida. Having made over 500 rescues in his career, Mitch is beloved by the community, to the annoyance of local beat cop Garner Ellerbee and Mitch’s superior, Captain Thorne. Mitch and his team view themselves as the Bay’s last line of defense, risking their and even solving major crimes.  After adding newcomers to their squad, including reckless Olympian Matt Brody (Zac Efron), they soon find themselves in too deep when a nefarious landowner (Priyanka Chopra) begins to stir up trouble and they also discover a potential new drug that threatens their entire beach and its patrons.

Running from 1989-2001, the original Baywatch quickly became one of the most watched television series of all time, becoming known for its emphasis on tanned beach bodies and, yes, slow-motion running.  Reigniting the career of 80s star David Hasselhoff (Knight Rider) and helping Pamela Anderson to become a household name, Baywatch appeared to take itself seriously as an intense drama about saving lives.  (The problem with this approach is that more people were watching for the bikinis—and, yes, slow-motion running—than the dramatic tension.)

The reboot, however, wisely sidesteps the show’s false sincerity by constantly winking at the camera.  (“This all sounds like the plot of a cheesy, old tv series,” Efron muses.)  Attempting to enjoy the same success as the recent 21 Jump Street series, Baywatch has marketed itself as a fun, action adventure which, for the most part, it seems to be.  While the script lacks the sharpness of the Jump Street films, the film’s desire to poke fun at the show’s (and genre) conventions and the light-hearted atmosphere on set helps Baywatch to stay afloat.

Holding it all together, though, is Johnson himself.  It is no coincidence that he is the centrepiece of all promotional materials.  In fact, a film like this is a reminder of why he is the highest paid actor in the business today.  The man has such charisma that he seems able to elevate any material that he’s given.  A fault line destroying the coast in San Andreas?  Sure!  Stalling franchises like Fast and the Furious or GI Joe?  Send him in!  (For crying out loud, news of a potential presidential bid was circling the internet last week… and people loved the idea!)

In this regard, Baywatch is no different.  Despite the fact that the jokes don’t always work and the material is lacking at times, Johnson’s ability to display both bravado and self-deprecation simultaneously draws you in.  Perhaps the best example of this comes in the film’s title card reveal.  Johnson emerges from the waters with fire in his eyes, carrying the body of an injured swimmer.  Suddenly, the title emerges from the horizon in grandiose style, filling the rest of the screen behind him.  It’s a scene that received giggles from our audience… but, given the over-the-top nature of the visuals, we also know that we’ve been invited to do so.  (Incidentally, those giggles soon turned to cheers, as well.)  In moments like this, we can see that he’s having a blast, so we’re willing to hop on the ride as well.

Usually at this time, I would shift the conversation to discuss some of the more theological themes that break into the film.  While I could easily delve into ideas about the nature of sacrificing our lives for others or the public’s responsibility to care for one another, honestly, that’s not what this film is about.  While Mitch is definitely a community example in the way he conducts himself, the film, ultimately, concerns itself most with its desire to satirize its own genre.  (Although, to be fair, Mitch’s objective standard of doing what is right does shines a light on his entire community and calls them all to a standard higher than their own… hey, look!  I did it!)

Eventually, there will come a time where Johnson’s star is not the center of Hollywood’s universe.  It happens to everyone and, at some point, his films will eventually lose their sheer sense of glee.

But Baywatch will not be that film.

Special features on the Blu-ray combo pack include “Meet the Lifeguards” and “Continuing the Legacy,” while deleted and extended scenes add to the behind-the-scenes look at the stunts and training to make the film work. 

 

Adventures in Sand and Snow: An Interview with Amin Joseph (Baywatch, Snowfall)

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Amin Joseph likes a challenge.

Whether it’s going toe-to-toe with a former WWE Champion in Baywatch or delving into a character drama like Snowfall, Joseph seems to thoroughly enjoy being pushed in ways that further him as an actor.

Says Joseph, “[They’re both] completely different.  I still bring my sensibilities to things so it always feels like a continuation of my craft and whatever I bring to each project.”

When offered the role of the villainous Frankie in the reboot of the Baywatch franchise, Joseph jumped at the prospect. When asked what attracted him to the project, Joseph quickly asserts that, ultimately, it all came down to the quality of the script.

“What initially drew me to the script was that this was a different take on the original installment,” he begins.  “It skews towards comedy and action, [and] has the sexy [element, too]. It doesn’t take itself as seriously as the original. So, that was the first thing. We’re taking the franchise in a different way and everyone was kinda enthusiastic about that…  It’s not just going to be about abs and the perfect swimming form on the beach. Then, when I found out about The Rock and just how much physicality was going to be involved, I really took a liking to it.”

Playing henchman to the villainous Victoria Leeds (Priyanka Chopra), Joseph also appreciated the fact that the script broke several stereotypes in the genre as well.

“It was kinda cool working with Priyanka Chopra and [she] wasn’t the stereotypical villain.  She’s the kinda upscale villain [and I’m] not your quintessential henchmen but it is more like the Bond thing, where they’re kind of well-dressed. It’s only because of the circumstances that makes them villains at all.  To see a woman play the main villain is quite interesting too.”

Of course, one of the more unique opportunities in a film like Baywatch was the chance to square off in a fight scene with co-star Dwayne ‘The Rock’ Johnson.

“We worked on the choreography… for quite a while,” he remembers.  “It just makes sense some time to do your own stunts because you don’t have to cut away.  So, I did a lot of those stunts.  I also had a stunt performer.  I think it’s great to rely on your stunt performer to do certain things and also be a physical actor…  You don’t have to take every fall.”

Furthermore, Joseph argues that the process of developing such a scene is incredibly complex, involving everyone from screenwriters, to stunt performers and the film’s stars.  However, he also believes that the best action sequences feel natural to the script and enhance the overall story itself.

“I believe that every fight has their own choreography and tells their own story within the larger story of the film.  That’s what the writer is trying to convey,” he argues. “Then, the stunt unit comes in and tries to bring whatever that writer put on paper into the real world.  In there, there’s a lot of interpretations of how that should be seen.  Then you have the star of the film that’s probably done a hundred or more… Let’s just think about how many fight sequences Dwayne has done in his career… and I’ve done several… It’s all of these different variables.  How big is the space?  Is this a scene where we’re kicking?… All of those things together… it’s sort of like watching something organically happen even though it might seem like it would be paint by numbers.”

Of course, despite the rigorous physical challenges of his role at times, Joseph maintains that the atmosphere on set was a lighthearted and fun experience.

“It was easy.  I mean, it can’t get too hard when you’re working with beautiful people on a beach.  Who am I to complain?  (laughs) Everyone had a warm disposition and you’re working with some of the most charismatic people in the business.”

“I think they did a great job of the casting because there’s a lot of newcomers…,” he continues. “The zingers that Rock and Zac share is just a lot of funny stuff.  Even my character had some moments of levity, some comical moments.  The fact that you have that already written there and that you give us an opportunity to play in between things, it makes it all the more fun and laid-back type of experience.”

Moving on from the beaches of Baywatch, however, Joseph opted to choose a wildly different experience for his next role by joining John Singleton’s upcoming FX series, Snowfall.  Taking place in 1983, Snowfall tells the story of the rise of the crack epidemic in Los Angeles. A fictitious story in a historical setting, Joseph believes that having the option to create new narratives allows them the opportunity to explore some deeper themes.

“This story of Franklin Saint is an original story in a historical period where a lot of things ring true.  But I think it gives the story a little bit more life being able to show things that didn’t happen in one particular person’s story but to be able to expand and show how this drug [was] coming in and this drug trade sponsoring wars. To be able to embellish a bit.”

Nevertheless, Joseph also notes that the real heart of Snowfall lies within the journeys of the young families within the story, as opposed to the larger scope of the drug trade itself.

“It’s one thing to say all drug dealers are bad… but how does that look when you’re dealing with a family?… It’s just interesting to see those stories in a very small way as part of a larger story.  I think Snowfall does a remarkable job of that and I’m pretty proud of that obviously.  When I first read the pilot, I wasn’t able to see that.  It seemed like everything was compartmentalized and you see all these different sects: Israeli mobsters, CIA, etc… and to see that all come together and paint a story that feels like nobody is being demonized.  Even with the CIA, you realize the humanity of people just working their jobs and just trying to better their lives.  It’s just really interesting.”

Of course, one of the great challenges in a role like this can be inhabiting a character that you cannot always relate to their backstory or history.

“With this particular piece, the difficulty [lay] in that I was not from Los Angeles,” he reflects.  “And, being a period piece, because the audience has seen films like Boyz N The Hood, we’ve kind of seen what that stereotypical guy from South Central Los Angeles looks like and acts like—whether or not he actually acts like that or not. To start from the ground up with a character, we got to think of the history of this character.  Where did they migrate from?… What can you kind of infect into these people that gives them an authenticity, bring some things that we haven’t seen before.  Bring some specificity.”

Of course, it is also in these moments where series producer Singleton could most demonstrate his value to his crew.  Having grown up in South Central Los Angeles, Singleton’s years of experience helped him mentor his young team in ways that would help bring some authenticity to the world they were creating.

“John is a stickler. As an EP, he was always in our ear, giving us advice,” Joseph muses gratefully. “He grew up in South Central.  This is his place. I remember on my first day of shooting, John walked up to me and said, ‘Hey man, I know you’re from New York but some of my guys around here are gonna be mad if you don’t get this right.’ I was like, ‘Thank you, John.’ (laughs)… He was always around giving little details… To me, it’s almost like a treasure chest of information. You know, to have someone that really rolls around in those times.”

For Amin, despite the fact that two experiences may have been wildly diverse, both have helped him continue in his development as an actor.  In any case, both Baywatch and Snowfall have allowed Joseph to enjoy his moment in the sun.

To hear the full audio of our interview with Amin, click the link below.

Baywatch is in theaters now.

Snowfall will air on FX starting June 5th, 2017.

3.17 Fighting the FATE OF THE FURIOUS

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Breaking box office records, FATE OF THE FURIOUS filled theatres because of it’s (many) big booms and stunts… but is there more to the film?  What keeps us coming back to this franchise, despite the fact that they get more outlandish with each entry.  In a relaxed episode, Steve welcomes back Greg Banik and ScreenFish newbie Julie Levac to explore the world of the FURIOUS franchise.

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

3.17 Fate of the Furious

Thanks Greg and Julie for coming on the show!