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A30 PEOPLE & ARTS
Wednesday 6 March 2019
‘Captain Marvel’ gets an average introduction

By LINDSEY BAHR Angeles Blockbuster Video
Associated Press somewhere around 1995,
If there is one thing that’s which you know because
true of most of the movies there’s a “Babe” poster
in the Marvel Cinematic and a cardboard display
Universe, it’s that they have for “True Lies.” The film-
life and spirit to spare. It’s a makers have fun with all
kind of an intoxicating joy their mid-’90s references
that dares even the most from computers to musical
comic book-apathetic to cues (if you like angry ‘90s
get onboard and delight in girl pop anthems you’re in
the spectacle, and it usual- luck), but I wish someone
ly comes down to the char- would have been paying
acters. You might not care that much attention to the
about whatever Earth- continuity of Larson’s curls,
threatening foe is at large which change even in the
this time, but you care middle of scenes.
about Captain America, This image released by Disney-Marvel Studios shows Brie Larson in a scene from “Captain Marvel.” In LA, she comes across a
Black Panther and Black Associated Press young Nick Fury, played by
Widow and enjoy spending Boden and Ryan Fleck not in the first 10 minutes of the the Terminator. a digitally de-aged Samuel
a few hours with them. caring all that much about film that she needs to con- But this is also a script that L. Jackson, whose infec-
I spent over two hours with her beyond what her daz- trol her emotions, mostly by has Larson delivering eye- tious liveliness is a godsend.
Captain Marvel/Carol zling powers might mean Law. This is a charged thing rolling lines like “enough of Together they try to both
Danvers and I still have no for the next Avengers film, to say to a woman, but your mind games” with a track down shapeshifting
idea what her personality is. which is perhaps the lam- also confusing because straight face. She’s a great alien invaders called the
Sure, there’s a lot more go- est way of all to experience “emotional” is the last word actress, but that’s a tall or- Skrulls (led by Ben Men-
ing on in “Captain Marvel these movies. I would use to describe the der for the best of them. delsohn) and also get
,” but it’s a pretty egregious The story drops you in the character as she’s present- The film is meant to be dis- answers about her past,
failing considering that the middle of things and gives ed. She’s more impulsive orienting, especially at the which honestly sounds a lot
creative bigwigs at Marvel Carol Danvers a conve- and bullheaded than any- beginning. She’s confused more interesting than her
had 10 years and 20 films nient case of amnesia as thing else. Emotions and and so the audience must present. But this is the origin
to work it out. It’s hard to she tries to piece together heart don’t seem to have be too, I guess? But things story they went with and
say whether that’s a flaw in her past by dreaming of anything to do with her start to come together it does not include Bening
Brie Larson’s performance Annette Bening while train- decisions. At times it even when she crash-lands on teaching Larson how to fly
or a failure of the script, ing to be a soldier with Jude seems like she’s channeling Earth in the middle of a Los a fighter plane.q
but I came out of the film Law on the planet of Kree.
Reese Wynans hosts guitar
from writers/directors Anna She is told at least 10 times
summit on first solo album

By PABLO GORONDI
Associated Press
Reese Wynans & Friends, “Sweet
Release” (J&R Adventures)
With a career going back to the 1960s,
keyboard player Reese Wynans is proba-
bly best known for his time recording and
touring with Stevie Ray Vaughan.
So it’s not surprising that “Sweet Release,”
Wynans’ first solo album, is heavy on the
SRV connections, including appear-
ances by the Double Trouble tandem of
drummer Chris Layton and bass player
Tommy Shannon on several takes of the
Texan guitarist’s tunes, like “Say What!”
and “Riviera Paradise.” This cover image released by J&R Adventures
In fact, the album is enriched by a long shows “Sweet Release,” a solo album by
list of distinguished six-string masters, such Reese Wynans.
as Warren Haynes, Kenny Wayne Shep- Associated Press
herd, Doyle Bramhall II, Josh Smith, Keb’ Scaggs’ 1969 legendary Atlantic Re-
Mo’ and Jack Pearson. They all seem to cords debut, has eight lead vocalists —
make Wynans feel right at home and his including Haynes, Bonnie Bramlett, Vince
piano and organ playing bursts with en- Gill and Mo’ — but veers far from ever
ergy and taste. sounding like an over-wrought charity
Produced by Joe Bonamassa, who’s had song. Mo’ and Wynans duet on “I’ve Got
Wynans on his own records for years, the a Right to Be Blue,” sounding like Robert
album abounds with astonishing perfor- Johnson contemporaries; Haynes as-
mances. Sam Moore, half of Sam & sumes command on Les Dudek’s “Take
Dave, sings SRV classic “Crossfire” with the Time” like he’s running out of it; and
a passion like he’s the one ducking bul- Wynans’ instrumental prowess elevates
lets, while the title track, a tune from Boz the funky “Soul Island.” q