Atomic Blonde

December 8, 2017 at 4:44 pm | Posted in 2017 | Leave a comment
Tags: , , , , , , ,

◊ ½

In deciding how to rank this film, my thinking was fairly simple. It’s really not worth paying to see, not even just a rental fee. However, if you can watch it for free some time, it is reasonably entertaining. Taking place in 1989, as the Berlin Wall is falling, it follows one MI-6 spy (Charlize Theron) as she tries to find a defector and save his life with the help of a deep cover spy, played by James McAvoy. We are clearly meant to be entertained by the back-and-forth, fight-or-flirt tension between them. However, it all felt too predictable to be charming. In fact, the film goes exactly where you think it will. Even the twists within twists were telegraphed 10 minutes in. I could imagine the writers feeling very pleased with the ending they came up with, but it was truly the only real option for an ending that wasn’t completely dull. That said, the action was relentless and oft times entertaining, in that relentless action kind of way. There was some jaded humor, even a few good lines, and a great 80s soundtrack, even if it was used ridiculously literally (e.g. Flock of Seagulls’s “I Ran” for a chase scene). This really was an absolutely adequate way to waste an evening. But it was absolutely nothing more than that.

Advertisements

Justice League

November 19, 2017 at 10:09 am | Posted in 2017 | Leave a comment
Tags: , , , , , , , , , , , , , , , , , , ,

◊ ◊ ◊ ½

Admittedly, the bar was low for this one. “Batman v. Superman: Dawn of Justice” was just a mess, with moments of visual wonder amongst the horrendous dialogue and muddled, overly-stuffed story line. I did not expect much as the curtain rose (I go to an old-timey theatre, where there actually still is two layers of curtains that do rise and a guy playing on the organ before the show starts). When the final credits rolled, I was pleasantly surprised by how much I enjoyed this film. Director Zac Snyder (“Batman v. Superman,” “The 300,” “The Watchmen”) has toned down the moody visuals he is known for. They were really the only thing I like about the last film, but they aren’t missed here. In their place, we get a tighter and less grim story arc, with genuine humor and even some actual character development. DC has a long way to go to match the camaraderie and complexity of the Avengers’s relationships. That said, I think Joss Whedon, who wrote the screenplay, does a good job of getting us halfway there. Each of these characters had his/her own distinct personality and way of interacting with the others. Even a character like Cyborg, who I had worried would get lost against the larger and more iconic characters, was a vital member of the team, with his own unique personality and compelling story. Whedon and Snyder even managed to create an Aquaman who was not wholly ridiculous. Much of that credit also goes to Jason Momoa who gave the character a sly humor and gravitas that he desperately needed. Most of the laughs centered around the Flash, with Ezra Miller well cast in the part. Miller’s Flash is hyperactive, giddy, wide-eyed and a bit goofy. He’s far more interesting than the boy-scout TV version. At times, the humor around him felt a bit forced and fell flat for me. But, the funniest laughs also centered around his character. Overall, I think this film lacked the comfortable humor of “Wonder Woman” and the action scenes were not quite as fun. That said, I found the plot here to be much more interesting, the story arc more satisfying, and the ending avoided the silliness that crept into “Wonder Woman’s” final moments. This was a fun, high action romp with characters I would love to see more of. In the end, I think DC did exactly what it needed to.

Thor: Ragnarok

November 5, 2017 at 9:52 am | Posted in 2017 | Leave a comment
Tags: , , , , , , , , , , , , , , , , , , , , ,

◊ ◊ ◊

I liked this film so much more than either of its prequels (“Thor” and “Thor: The Dark World“), which is admittedly a pretty low bar.  Those were both dull and overly serious, relying entirely on special effects to replace any meaningful plot or dialogue. Come to think of it, this film is not so different. It is mostly a special effects spectacle with largely silly dialogue and a plot so full of holes that it is hard to decide which ones to highlight. How about the utter lack of explanation for how Hulk ended up on this planet, or how Bruce Banner’s ominous fear about himself is utterly ignored in the end, or how a creature vanquished so easily at the beginning of the movie becomes all powerful when it returns. The list could go on, but then you might be tempted to think that I didn’t like this film and I did. Why? Because there was one critical difference between it and its predecessors; it had a sense of humor. New Zealand born director Taika Waititi, who is most known for the tedious “What We Do in the Shadows” and the lovely “Hunt for the Wilderpeople,” is primarily a comedy writer/director. He has brought that aesthetic to the Thor franchise, where it is much needed. This film was, first and foremost, a superhero action movie. As such, it had its main villain, played with delicious glee by Cate Blanchett. It had its various lesser baddies, played with varying levels of silliness, from the relatively straight Karl Urban (as “Skurge”) to the always over-the-top Jeff Goldblum (“Grandmaster”). And it had several well-choreographed fight scenes, including the Hulk/Thor battle that we have all seen in all the previews, and the final battle scene, which was beautifully scored to Led Zeppelin’s “Immigrant Song.” The best thing about these scenes was that the audience could actually follow the action, which has been a real problem in many CGI fight scenes in previous movies (think anything Michael Bay). But, as I mentioned, on top of all of this saving-the-universe-yet-again stuff, there was this nice layer of light comedy. At times it didn’t work, particularly when it was overly adolescent; I could have gotten through a Thor movie without ever hearing any masturbation, penis-size or anus jokes. But, what it did really well was to add dimension to two overly dramatic Marvel characters. Both Thor and The Hulk have suffered in overly serious films. Here, they suddenly became real people. These two characters were more alive in this film than in any film to date. Their buddy relationship was particularly fun to watch, as it allowed both actors to show a softer side to their characters, including warmth, humor, and self-doubt. I like this new Hulk a lot and I really like the new Thor who has evolved by the end of this story. I hope these are the two characters who show up in the “Infinity Wars” movies. I could definitely watch more of both of them.

Valerian and the City of a Thousand Planets

July 23, 2017 at 10:50 am | Posted in 2017 | Leave a comment
Tags: , , , , , , , , , ,

½

Based on a set of French comics that ran from 1967 – 2010, the film focuses on a Flash Gordon-type hero named Valerian and his partner, Laureline. They do amazing things and save the good guys from the bad guys. That’s hardly a revolutionary story line, though it doesn’t need to be. We go to films like this for a lot of reasons but being surprised isn’t typically one of them. However, we do expect to be entertained. And, in a movie so full of spectacle and action, I am sorry to say that I was bored, almost from the first scene to the last. The backbone of any good film is an engaging plot; it draws the audience in, creates the context for everything we see, and defines what’s at stake for the protagonists. But, right from the start, it’s clear that the emphasis is on surface over substance. Whole scenes are unnecessarily convoluted just as an excuse to play with more visuals and the plot as a whole makes virtually no sense. Similarly, the dialogue and character development feel frankly adolescent. Valerian and Laureline are supposed to be falling in love but the actors had no chemistry. In fact, none of them appeared to be trying particularly hard. Dane DeHaan, who played Valerian, is a terrific actor; watch him in “Kill Your Darlings.” But, here, he seemed to be channeling Keanu Reeves, as though Luc Besson thought he was making his own sort of “Matrix.” Besson, who is best known for directing “The Fifth Element,” shows all the subtlety here that he did there, though at least that film was visually arresting at times. Filmed almost entirely against a blue screen (there could not have been more than 3 or 4 actual sets in this whole film) for a whopping $180M, you would think “Valerian” would at least be fun to look at. You would be wrong. The imagery was all too much too often and without a coherent whole. Visuals were created just because they looked good and not because they served a consistent vision of this universe. The film lacked an internally compelling aesthetic. Also, because the characters all lacked depth, it did not matter that the CGI was good. None of their emotions meant anything. I kept thinking about the most recent “Planet of the Apes” and the character of Caesar. He was such a real and complex character that the CGI served to bring him to life. But CGI cannot animate the lifeless. As a tool, it can add new dimensions to film and allow the director/actors/audience to explore core truths in new and compelling ways. Or it can simply be gratuitous overload; visuals for the sake of the fact that you can create them. That’s what we have here. This film is all surface with nothing below a very thin veneer of pretty. Why bother? There are so many other better films to see. I can’t give this film a ∅. I mean, it didn’t offend me. It just felt like an 137 minute waste of time.

War for the Planet of the Apes

July 15, 2017 at 9:25 am | Posted in 2017 | Leave a comment
Tags: , , , , , , , ,

◊ ◊ ◊ ◊

Director Matt Reeves made his name as the writer and director for the “Felicity” t.v. series. He then went on to direct “Cloverfield,” “Let Me In,” and the last “Planet of the Apes” film.  “The Batman” is next on his roster. Reeves brought a much needed depth to the previous “Apes” film. The first one had little to offer beyond the (then revolutionary) CGI. The story itself was painful. Reeves is now also the writer of “War” and has further developed the story established in “Dawn of the Planet of the Apes.” Taking place just 2 years after that film, we are in the middle of the war between humans and apes that started at the end of the “Dawn.” Caesar (Andy Serkis) and his troop have been hiding deep in the woods until they are forced to look for a new, safer home. This film is less of an action/sci fi film and really more of a psychological drama. It explores how someone deals with trauma, battle fatigue, mistrust, rage and hatred, while still trying to be a leader to his people. The CGI is now good enough that a film like this can allow for a whole range and depth of emotions to play across a character’s face and Andy Serkis is a master actor. Though Reeves has cleverly evolved Caesar’s speaking abilities with each film, he does not rely on dialogue to convey most of the emotions we see on screen. Instead, we get beautiful close ups of Caesar’s and the other ape’s faces as they wrestle with complex and sometimes heartbreaking emotions. This film works because Caesar is such a beautifully realized character. The action scenes are fine, though nothing stands out as being as impressive as the Golden Gate Bridge scene from the first film. Also, there was a welcome amount of humor in an otherwise very serious story. But those are not the reasons I am recommending this film. Rather, see it because it completes the story arc in a really satisfying way. Though I am sure there will be more in the series, this trilogy is a better character study than most. See this film because it is beautifully acted. See it because it is touching. See it because I was surprised by how moved I was by its final moments. See it because great acting is always worth watching.

Spider-Man: Homecoming

July 9, 2017 at 10:53 am | Posted in 2017 | Leave a comment
Tags: , , , , , , , , , , , , , , , , , ,

◊ ◊ ◊ ½

The Spider-Man franchise, in its various incarnations, has been the gold standard for superhero franchises, having brought in just over $4 billion in its 15 year run. Not bad for a kid in tights. So, expectations have been high for this reboot, especially after the Andrew Garfield one failed to take off. Right from the start, they were off to a good start because Marvel was back in control of the franchise and they have shown a deft hand at translating even the goofiest of characters to the screen (think “The Guardians of the Galaxy), where others have failed, even with hugely popular characters (think “The Fantastic Four”). Marvel chose to bring Spider-Man right back to his roots. What made him unique when he debuted in 1963 was that he was an awkward teenager, so unlike the cool and supremely talented heroes we had seen in comics to date. I think this is part of why Garfield’s Spidey never worked; he was too cocksure and smirky. Nothing about him read awkward teen. This time, Marvel hired the youngest actor yet to play Peter Parker, 21 year old British actor Tom Holland (“The Impossible,” “In the Heart of the Sea”). Unlike previous actors, Holland is able to believably play a 15 year old. In fact, the real contribution of this film to the genre is in just how different its hero is. This Spider-Man is every bit the nerdy, self-conscious, angst-ridden teen. He is impulsive, eager to please, clumsy and incredibly endearing. Holland’s charm as the character is what makes the film work. The storyline is not particularly better or worse than any of the other films. Again, the writers have dragged out a couple of classic Spider-Man villains. This time it is The Shocker and The Vulture. Robert Downey Jr’s cameo as Iron Man adds some humor and deeper context, but only if you are a fan who has watched all the other Marvel movies. Otherwise, he looks like a confusing add-on. Far funnier were Chris Evans’s cameos as Captain America. They were brilliantly clever (make sure you wait until after the final credits to see the last one). But the real star to watch was Michael Keaton as The Vulture. Keaton is having a well deserved revival after “Birdman” reminded everyone of how brilliant he is. He imbues this villain with just the right balance of menace, cynicism and blasé attitude. He is the perfect foil for Spider-Man’s goofy energy, wide-eyed wonder and perkiness. I found their in-costume battle scenes to be a bit dull, but when they were face-to-face, sparring verbally, that was just a joy. Keaton commanded every one of those scenes, but that’s okay because he should have. This geeky boy, despite his super powers, was no intellectual match for his enemy. I love that Marvel was willing to give us such an incomplete hero here. Usually, super heroes are all so automatically super and heroic. Even previous Spider-Men (Men? Mans? What’s the right grammar here?), had a “learning my powers montage” or two and then were remarkably proficient. I loved that this film chose to tackle the character so differently. As an action movie, this was about par with the most of them and not nearly as good as the likes of last month’s “Wonder Woman.” But, as a character study, this is really one of the best superhero films we have had to date.

Baby Driver

July 2, 2017 at 5:20 pm | Posted in 2017 | Leave a comment
Tags: , , , , , , , , ,

◊ ◊ ◊

It was impossible to not think of Nicolas Winding Refn’s brilliant “Drive” throughout this film. Both tell the story of a getaway driver who tries to leave the life after falling in love. And Refn’s film was so vital and bold that it feels like I saw it yesterday, even though it was almost 5 years ago. This was hardly a fair thing to do to “Baby Driver,” which can only suffer by comparison. That film was brilliant; this one was merely very very entertaining. But worth the price of admission, none-the-less. Beyond the similarities in story, these films could not be more different. The tone, temper, pacing, acting, and visual palettes were virtually opposite each other. Refn’s “Drive” was a sort of minimalist masterpiece. The pace was deliberately slow and brooding and all of the acting was appropriately understated. Scenes seethed with unstated tension. And the lighting was dark, long night scenes, and lots of orange/red hues. But “Baby Driver” goes in the opposite direction. Director Edgar Wright (“Sean of the Dead,” “Hot Fuzz,” “Scott Pilgrim vs The World”) loves excess and draws over-the-top performances from his actors. From the first moments of the first scene, “Baby Driver” takes off and keeps going at an almost unrelenting pace for its entire 113 minutes. Every single performance is bursting with energy. Where Ryan Gosling’s driver was all coiled potential energy, Ansel Elgort’s Baby cannot stop moving. He is endless kinetic energy. The villains are equally as manic. Jon Bernthal’s Griff made his “Punisher” from the “Daredevil” t.v. series seem realistic by comparison. This is not a bad thing. In fact, it adds to the fun of a film that is clearly just meant to be fun. Jon Hamm appears to be having the time of his life as the absurdly one-dimensional Buddy. This film is all flash and buzz and hi-octane energy. It’s a cotton-candy thrill ride that knows how to be that, exactly that, and nothing more. Go, settle into your seat with a big bag of popcorn, and enjoy the ride.

 

Okja

July 2, 2017 at 4:47 pm | Posted in 2017 | Leave a comment
Tags: , , , , , , , , , , ,

◊ ◊ ◊ ◊

You could possibly accuse me of cheating with this review, as the film has been released on Netflix and will not ever get a wide-release in the U.S. That said, Bong is a major director, this film has had wide-release in other countries and was shown at Cannes. So, I decided to treat it like any new release. Plus, it is one of my favorite films of the year, to date. Bong Joon-ho is responsible for some of my favorite Korean films, including “The Host” and the beautifully creepy “Mother.” He has an eye for the bizarre and loves a fantastic parable, as in the less successful “Snowpiercer.” Here, he takes on factory farming, evil corporations and mass consumption, in general. At times his message is as poignant as it is pointed. And at other times it feels a bit one-dimensional; his depiction of The Animal Liberation Front seems like propaganda, better suited for one of their flyers. But, look beyond that and what you’ll find is a remarkably funny, heart-wrenching and provocative story. Lucy Mirando (Tilda Swinton) is CEO of a company that has secretly bred genetically modified pigs and now wants to send them all to mass slaughter. But 13 year old Mija (Ahn Seo-Hyun) has fallen in love with one of them. When the evil corporation takes Okja away, Mija goes on an epic journey to get her back. Swinton loves playing extreme characters and does a brilliant job of it, she was the best part of “Snowpiercer,” and she does not disappoint here. Jake Gyllenhaal also gives a full on, over-the-top performance as the far less than stable Johnny Wilcox. But the real credit goes to the young Ahn and the CGI team that created Okja. The creature was genuinely beautiful and expressive. The love between the two felt completely believable. In Ahn’s hands, Mija is an incredibly strong and unrelenting hero, and you can’t help but root for her every step of the way. This film was equal parts social commentary, laugh-out-loud comedy and non-stop action film. Every scene was a joy to watch. It will surprise and amuse and maybe annoy you, but it is unlikely to ever bore you.

Wonder Woman

June 4, 2017 at 10:28 am | Posted in 2017 | Leave a comment
Tags: , , , , , , , , , , , , , ,

◊ ◊ ◊ ½

I don’t think I need much from a movie in this genre. Mostly, it just needs to be fun. Some great visual effects, frequent and creative action sequences, and humor are really probably all I need. It’s an added bonus if there is a great story arc and compelling, multilayered characters. In DC’s newest superhero movie, and the first ever with a female lead, we get a lot of the first three things on my list but not much of the second two. Humor has mostly eluded DC until now. Their cadre of films (The “Dark Knight” series, “Man of Steel,” “Batman v. Superman,” “Watchmen”) have all been pretty grim affairs. Fortunately, under the direction of Patty Jenkins, they seem to have finally found their sense of humor. Jenkins, who has only directed one other feature film (2003’s brilliant “Monster”), knows how to develop strong female leads, as she did in that film and on the tv series “The Killing.” Here, she uses Gal Gadot to great effect, giving us strong doses of her emotional strength, physical strength and compassion. This film works largely because she works so well in the role. There is nothing campy or silly about this Wonder Woman, which then gives space for humor that feels more like laughing with, rather than laughing at, the characters. Jenkins’s visuals were also dazzling. I loved the choreography of her fight scenes and the way she continually slowed down the camera so that we could watch what was happening. Some might find that technique affected, especially with how frequently she used it, but I loved it. Far too often in CGI films, action happens too quickly for the audience to track it. Here, we were able to see all of the great dexterity and grace that Gadot and Jenkins instilled into this character’s fighting abilities. I found myself smiling over and over again at the creativity and fun of those scenes. More and more often, comic book films are able to look like the actual comic book panels that inspired them. The 12-year-old boy in me loves that. What I did not love quite as much was the silly gods-heavy plot line, which effectively minimized the travesty of war by laying the blame conveniently not at our feet. It also set up the very corny, saccharine ending that made me groan out loud at one point (actually, I think I said, “Oh, come on! Really?”). Fortunately, the worst of it comes in the last five or so minutes of an otherwise thoroughly entertaining and thoroughly fun adventure. I hope this film brings us a great deal more of all three of these women: Gal Gadot, Patty Jenkins and, of course, Wonder Woman.

 

Alien: Covenant

May 21, 2017 at 7:42 pm | Posted in 2017 | Leave a comment
Tags: , , , , , , , , , , , ,

◊ ◊

The genius’s curse. A filmmaker redefines the industry with a groundbreaking film. The second in the series is as good as, or better than, the first. And then it all goes down hill… And we end up with “The Godfather, Part III,” ewoks and Jar Jar Binks, and now “Prometheus” and “Covenant.” In fact, it seems that Ridley Scott has fallen into the same trap that George Lucas did– the need to over explain, and therefore over complicate. Everything was fine when the Force was just the Force and evil aliens wreaked havoc on unsuspecting crew members. But now we have midichlorians and an unbelievably complicated backstory about how humans and the aliens came into being. It is all so ponderous and complex that it cannot help but slow the story down. When this film is focused on the aliens, it works. Scott has faithfully captured HR Giger’s imagery beautifully. We spin through disorientingly similar passageways on spaceships and in dead alien cities. There are some great scary moments and several good jumps to be had, just not nearly enough of them. These scenes, which helped to make the first movies such classics, are painfully few and far between. The rest of the time, we get Michael Fassbender talking to himself about life, morality and who cares what else. Too much of this film was tedious and sometimes baffling. There was an air of weightyness that hung over the whole story, as though Scott has something important he wants to say. Unfortunately, that becomes the focus of the film. The audience would have been better served had he simply made another really good horror film. It seems that, as soon as a director understands that they have created something important, they shouldn’t be allowed to keep working on it. The line between importance and self-importance seems to be an awfully thin one that is just too easy to cross.

Next Page »

Create a free website or blog at WordPress.com.
Entries and comments feeds.