Year: 2017

Ewan McGregor, Johnny Lee Miller, Ewen Bremner, Robert Carlyle, Anjela Nedyalkova. Directed by Danny Boyle. Rated R. 117 minutes. 2017.

Stewing in nostalgia is no way to go through life, but it’s the only way the characters in T2 Trainspotting know how to live. The film, catching us up on the lives of characters to whom we were introduced in 1996’s rambunctiously enjoyable Trainspotting, also stews in that sense of nostalgia, much of it empty, because while the ending of the first film certainly hinted at an enormous amount of interpersonal conflict between its characters through the self-preservative actions of one of them, this film only deals with that conflict when the machinations of John Hodge’s screenplay allow it to do so. Instead of dealing honestly with its wounded characters, director Danny Boyle inserts each of them into separate plots, then shifts randomly between them. The sense of focus and rhythm has been replaced by routine.

One of the plots dedicated to these characters works surprisingly well, and that would be our reunion with Spud (Ewen Bremner), whose position as the comic-relief of the central foursome hasn’t really changed. There’s a sense of melancholy to the character this time around, as we learn that his wife Gail (Shirley Henderson) has left him, with their son in tow, after he relapsed and spiraled into the drug world once more. There’s also a lot of potential in what we learn about what Renton (Ewan McGregor), the de facto leader of the group, has done in the interim since making off with almost all of the money owed to the others. The only one to whom he gave any money was Spud, who of course abused his chance at an escape. Spud is in the middle of attempting suicide when Renton is reunited with him and saves his life.

If these two are the ones who are treated as genuine characters, the others in the group are treated as narrative devices. Sick Boy (Jonny Lee Miller) has been leading a life of con artistry with Veronica (Anjela Nedyalkova), blackmailing upper-class society people with forged sex tapes to take a considerable portion of their income. Begbie (Robert Carlyle) has been in prison, although he breaks out by staging a shivving with a fellow prisoner and being sent to hospital. When he gets out, he can’t wait to get back into his life of crime, even going so far as to employ his son in a scheme that nearly goes terribly awry. Much of these threads is played as comedy, although Sick Boy’s schemes quickly evaporate as the film sees less and less use for them and Begbie’s animosity toward Renton (once the film, in its last act, finally reunites the two) leads to a massive shift in tone as it all becomes a caper with a horror-movie killer as the predator.

Interwoven through this surprisingly thin material is a movie that consistently looks backward with an oddly misplaced sense of fondness that misses the point of the earlier film. There was at least a bit of optimism in that film, particularly when Renton twisted an anti-drug advertisement to look forward; here, he gets a similar moment that has itself been twisted into something as cynical as how he once viewed Scotland. He eventually turns to his old ways, which feels like an obligation in a screenplay that also contrives for Diane (Kelly Macdonald) to return for one scene to pass judgment on Renton. With T2 Trainspotting, Hodge and Boyle commit an act of revisionist history that feels dishonest, both toward its audience and toward characters who, for all of their flaws, deserve better.

Dacre Montgomery, Naomi Scott, RJ Cyler, Ludi Lin, Becky G. Directed by Dean Israelite. Rated PG-13. 124 minutes. 2017.

There is a solid start, as well as a firm foundation in its characters, to Power Rangers. That is a surprise for this adaptation of the goofy television series that has just recently entered its 24th season and is primarily known for the over-the-top brand of karate-infused acrobatics employed by the titular superheroes to defeat various, fantastical villains and monsters. In fact, director Dean Israelite and screenwriter John Gatins barely seem interested in introducing the Rangers of the title until the point at which its climax begins, and that ends up being a good decision. I’m getting ahead of myself, though, because for a long time, it’s easy to rally behind these misfits-turned-heroes, thanks to genuine chemistry between the actors and a screenplay that considers how they must end up being Rangers.

The effect is a nice deviation from the beats of the plot that we expect, but it only lasts so long. Until that point, we are introduced to those eventual heroes. The first three meet in detention. Jason (Dacre Montgomery), the Red Ranger, is a disgraced football champion who got into trouble with the law after an incident involving a male bull that was confused for a female cow (Think about it) and an ensuing chase with police. Kimberly (Naomi Scott), the Pink Ranger, was involved with an unfortunate candid-photo incident that drove her to knock a tooth from her boyfriend’s mouth. Billy (RJ Cyler), the Blue Ranger, accidentally blew up his lunchbox. There is an amusing energy to the scenes between the heroes, who also ultimately include Zack (Ludi Lin), the Black Ranger, and Trini (Becky G.), the Yellow Ranger.

This is especially true after the driving narrative is established. The fivesome merge after an incident at a closed-off work site leads them to some glowing rocks and a collision with a train that unintentionally binds each of them to the color signified above. They meet Zordon (Bryan Cranston), a former Ranger who died burying the rocks in order to secure the destiny of five future warriors, and Alpha 5 (voice of Bill Hader), the remarkably annoying robot who has been waiting 65 million years for these warriors. It becomes clear that the warriors could technically have been any five people who stumbled across the glowing rocks, but whatever: They must save the universe from the clutches of Rita Repulsa (Elizabeth Banks), a villainous villainess of villainy who is searching for some sort of other glowing rock thing that’s been hidden away in a Krispy Kreme location (seriously) and who has a leviathan made of gold as her main lackey.

The best scenes of the teenagers accepting their destinies as Rangers include the initial discoveries of their increased strength and speed, a training montage that might be a montage but seems more focused on the physical comedy of teenagers whose hormones are raging as much as their new powers, and a fireside chat in which we learn about some of the issues plaguing the kids (Zack’s mom is ill, Trini is currently questioning her sexuality, Billy is autistic, and Jason and Kimberly are suffering from the ennui of their dull existence in the town). The particulars of the plot held by Rita are hogwash whose conclusion has apparently been left to the inevitable sequel, and the build-up to the climactic action set piece, in which the characters don their suits for the first time, is so long that, when it comes, the visually ugly chaos that ensues is all but entirely anticlimactic. Power Rangers is intriguing enough to make one wonder where a series spent in the company of these characters might lead, but then it becomes a Power Rangers movie.