"Terminator Genisys" Review: Please Stop Coming Back!
I’ve never had a dog, but I imagine “Terminator Genisys” is like having to put your dog down. You either don’t watch it because you don’t want to see what was once a great franchise brought to ruin, or you watch it because you’re trying to support it when it needs to take the long rest! It seems you can’t teach an old dog new tricks with this one.
The film starts with Kyle Reese (Jai Courtney) on the crux of going back in time to protect Sarah Connor (Emilia Clarke), the mother of John Connor (Jason Clarke), from being killed by the machines. When he goes back to 1984, nothing is as it should be. At least, it’s not how it should be in our minds if you know the “Terminator” cannon. Sarah is already the militant leader from “Judgment Day” because Arnold Schwarzenegger’s Terminator has been with her since she was a little girl. Kyle, the man who was supposed to have the answers for Sarah, is now the fish out of water trying to catch up.
As the film unfolds, the issue becomes the fact that there are so many wrinkles in time that it’s hard to tell what’s going on, but more importantly why! Why did Judgment Day get moved back from 1997 to 2017? Why is Skynet playing a game of cat and mouse through time? Why is Arnold fighting the T-800 version of himself? If you ask me, it’s just to make another terminator film.
The film has a few cool special FX, and introduces a new terminator that seems indestructible. Yet all of its FX and even Arnold fighting his younger self (which is kind of cool) can not mask over (no pun intended) the poor script. The film becomes more of a butterfly effect, that is difficult to keep up with the longer it goes on. When you throw in the lackluster performances by its leads, you have a movie that you will check your watch multiple times throughout.
I’d go as far as to say this film didn't need to be made. The terminator ride hasn’t been a good one since “Judgement Day”. Sometimes you have to just let an old dog go. In the case of cinema, it’s possible to have a franchise pick back up but it takes writing from the heart and not for a check. Unfortunately, it feels like this was put together for the latter reason. “Geniysys” should have searched its genesis and took notes.
Rating: D
"Inside Out" Review: Laugh. Cry. Repeat!
Laugh. Cry. Repeat. That pretty much sums up what Pixar’s latest and perhaps greatest film is guaranteed to make you do. “Inside Out” takes the complex theme of how we deal with our emotions and presents it in a simply beautiful and entertaining 94 minutes.
Riley Anderson is eleven years old. Her parents have just moved the family from Minnesota to San Francisco. She’s left behind her friends, champion hockey team and everything she knows. The voices in her head- Joy (Amy Poehler), Sadness (Phyllis Smith), Disgust (Mindy Kaling), Anger (Lewis Black), and Fear (Bill Hader)- are doing their best to help her deal with it from their headquarters in a tower high above all of her memories.
After a couple of days of being in the new house, Riley’s emotions really begin to tug on her, which means chaos for headquarters. The event sends Joy and Sadness on a journey to try and make Riley happy again. Visiting places like long term memory, Goofball Island, Friendship Island and more, the duo meet old friends along the way.
What makes this film great is the screenwriting! It perfectly blends what’s happening outside of Riley with the events that are taking place inside her mind. The cause and effect of her parents questioning her and Anger being at the controls make for plenty of laughs. Yet, Pixar delves into the intricacies of how a good memory can become bittersweet. Writer/director team Pete Docter and Ronaldo Del Carmen nail the natural growth that takes place when we encounter new life experiences which help to shape and mold our character!
Pixar has always been great at making films that appeal to children but that parents can appreciate as well. I saw the film with a mixed bag of children and adults and my only concern is that the parents seemed to identify more with the film than kids did. Perhaps it’s because many of them hadn’t reached Riley’s cinematic age themselves, or haven’t dealt with loss outside of a toy, etc. I in no way doubt a child’s ability to comprehend the film, but I wouldn’t be surprised if some kids don’t latch on quite as well as others.
“Inside Out” tells a universal story that puts humanity’s feelings on display in a way that hasn’t been seen before. It’s a great ride from beginning to end, and one of the best kids’ flicks to come out in a while proving that Pixar is still king of animation. It may be debated whether it’s one of Pixar’s greatest, but you should definitely see it this weekend and judge for yourself!
Rating: A
"Jurassic World" Review: The Park's Lost some Magic
“Jurassic Park” exploded on the big screen in 1993. It was magical, it opened a new world to CGI, and simply entertained. Since then we’ve had two films trying to continue that magic that didn’t fair as well. “Jurassic World” may be the best of the films that have followed, but the numerous plot holes can’t be excused to make it more than an OK film.
For some reason Simon Masrani (Irrfan Khan) thought it wise to create Jurassic World, a theme park where dinosaurs are the main attraction, on the same island that Jurassic Park was created barely twenty years before. Claire (Bryce Dallas Howard) is the straight laced business woman in charge of the park. In order to see a boost in attendance, they’ve created a new dinosaur with the help of lead scientist Dr. Henry Wu (BD Wong) (a nice throwback to Jurassic Park). While their creation is smarter and bigger than a T-Rex, the Indominus Rex has also been in isolation its entire life. The combination troubles resident velociraptor trainer Owen (Chris Pratt) who thinks of the animals as beings rather than assets.
To give us a view of the park, Claire’s nephews Gray (Ty Simpkins) and Zach (Nick Robinson), have come to visit their aunt. They’ve been sent out with VIP passes to enjoy the park since Claire is too busy with work to spend time with them after seven years of not seeing them. It’s in the scenes with the boys that we get to see the spectacle of the park in extreme wide and aerial shots. It allows us to imagine what it would look like if we were able to live and interact with dinosaurs. The grand scale of a brontosaurus, triceratops and other prehistoric creatures are displayed beautifully in these scenes. As lovely as it is, we’re really just waiting for the Indominus Rex to break out!
When the Indominus Rex finally gets out, the movie seems to finally start! Attempting to not have a PR nightmare, Clair and Masrani try to keep things under control as quietly as possible while security mogul Hoskins (Vincent D’Onofrio) attempts to use his militant security squad to take out the beast for his own self interests. In the meantime, Claire and Owen team up to save her nephews and protect park patrons.
In the beginning of the film Claire says something to the effect of “20 years ago dinosaurs were magic, these days it just doesn’t matter to kids.” The same could be said about this film. “Jurassic Park” was original and magnificent. “Jurassic World” has the same plot as any mad science gone wrong film that has come out since then. Why humans think they can control dinosaurs and why Claire runs around in heels for the entire movie while trying to run for her life is lost on me! How do you train raptors? How does a jeep run after 20 years by simply replacing the battery? Where as many instances in “Jurassic Park” did have some, logic has absolutely nothing to do with this film.
Thankfully, the action and suspense is what you would desire to see in a film like this. The writers did a great job of sprinkling humor throughout the film to break up the intensity of certain scenes and monotony of the plot. There are plenty of laugh out loud, light hearted moments in the film, for the right reasons! There are also quite a few homages to the original film that will be delightful for JP fans.
If you decide to spend your hard earned cash on “Jurassic World” this weekend, you will be entertained. Just remember to hand over your brain with your dollars. Don’t rush the kids if you’re running behind and may miss a bit of the beginning of the movie. While seeing the film in IMAX was nice, the 3D effect didn’t do much for the film. Choose wisely.
Rating: C
"San Andreas" Review: Shout out to the 90's
Writer Carlton Cuse (Lost, Bates Motel) must be fond of 90’s action movies, because his newly penned “San Andreas” plays like an action blockbuster from that decade but set in 2015. Whether that’s a good thing or not depends on the viewer’s taste. Filled with suspense, action and drama, “San Andreas” falls through the cracks of being a great disaster film and lands in an awesomely bad popcorn movie!
Ray (Dwayne Johnson) is an LA police and fire rescue helicopter pilot. He’s just been served divorce papers from his wife Emma (Carla Cugino), and learned that she and their daughter Blake (Alexandra Daddario) are moving in with Emma’s new boyfriend (Ioan Gruffudd). Before he can deal with his feelings, he has to deal with the earthquake that just hit Nevada.
Lawrence (Paul Giamatti) is a seismology professor at Cal Tech who just happened to come up with a method that predicts Earthquakes. He warns the nation that there will be another massive quake to hit the San Andreas fault. With a helicopter in his possession and his estranged wife and daughter in danger, Ray goes after them.
The film plays out almost beat for beat as 90’s movies like “Cliffhanger” or “Independence Day”. There is a heart pounding, unbelievable (and I mean unbelievable) rescue in the beginning of the film. Then we get a splash of character development and background on our main characters, while simultaneously getting exposition from the “crazy earthquake soothsayer”. If you can get past the on-the-nose dialogue, corny one-liners, and one in a million death defying stunts, then you will be thoroughly entertained!
The truth of the matter is this is one of the most unapologetic, self-centered disaster films I’ve seen in a while. In “San Andreas” we have a rescue pilot that uses his position and skills to try and solely save his family. It’s so wrong, but at the same time perhaps so right. If one of the biggest earthquakes on record hit, the first thing I would do is try to save my family. Thus the film becomes a romantic comedy at times as Ray and Emma unite to try and save Blake. Lines like “Let’s go get our daughter.” become a punch line rather than a war cry.
“San Andreas” is a popcorn blockbuster that will likely get swept out of the box office after a good three to four week run. It’s a film that you’ll sit down to watch when it comes on TBS for the thirtieth time. If you’re looking for entertainment and humor in a movie that doesn’t quite realize it’s funny (or maybe it does), “San Andreas” is for you!
Rating: C-
"Mad Max: Fury Road" Review: Believe the Hype!
“Mad Max: Fury Road” is a cinematic sensory experience for the action movie genre, and movies in general! It’s truly the work of a writer/director who has had 30 years to think about the world that put him on the map, and go back to it with impeccable precision in his vision. Yes, George Miller has set another bar for the post-apocalyptic action genre, and challenges other artists to reach it.
The film doesn’t boast of intricate plot points. In fact, Max (Tom Hardy) informs us in the opening monologue that his mission in life is to survive, and that’s what the movie is in a nutshell. It’s the chase and how our heroes survive that’s so exciting.
In the opening scene, Max is captured by shirtless, branded warriors in white body paint. They use him as a living blood bag for a War Boy named Nux (Nicholas Hoult). After their ruler, Immortan Joe (Hugh Keays-Byrne), realizes one of his trusted drivers has taken off with his prized breeding wives, he chases after them with the War Boys. Nux, looking for glory, straps Max to the front of his car as an ornament and way to keep isolated from Max.
Imperator Furiosa (Charlize Theron) has one goal, to free the wives and get everyone in the stolen rig to the Green Land. After trying to lose her hunters in a massive sandstorm, everyone who survived wakes from the carnage. Finally free from his captors but carrying his chain gang War Boy Nux with him, Max gets free from his chain and commandeers Furiosa’s rig. While playing a quick game of “Can I trust you?” with weapons, Furiosa and Max decide they need each other to survive.
Max takes shotgun literally and figuratively to Furiosa for most of the rest of the film. This is what makes “Mad Max” great; Miller finds all kinds of creative ways to divert the norms of the genre and owns it. As Miller’s lead character plays support for his second billed, a beautiful chemistry forms between a woman who can hold her own against any man and a man who seeks redemption in helping her cause.
Theron’s Furiosa takes her seat with memorable female action heroes like Weaver’s Ripley and Hamilton’s Sarah Connor! Furiosa has an unmatched toughness, calculated intelligence, and compassion that knows when to cut through her fierce outer shell. Theron is able to convey so much with her eyes, which helps continue to push the story forward without having to spell it out. Hardy takes the reigns of the franchise with an equally stunning performance built from subtle moments. His character is a man of few words, but like Furiosa speaks volumes in his actions.
Miller uses all elements of filmmaking to his advantage. He makes you blink as your ride into the sand storm with Furiosa. The screen flashes hot white and cuts to black multiple times as though you’re in the storm. So many action films have roaring scores during chase sequences, and Miller jokingly throws a flame throwing guitarist on the front of a truck who plays the score along with another truck of drummers. As the score escalates at multiple points in the film, the on screen musicians jump in the frame and race forward on their rigs playing with diegetic and non-diegetic sound in a refreshing way. John Seale’s cinematography paints a vivid picture and eases into soft hues at the appropriate times that supplement the story. These are just a few examples of what makes this film a cohesively beautiful, innovative work of storytelling.
The film has taken a little heat because of Miller’s feminist approach to the film as it introduces and highlights female road warriors, and a heroine who looks to free sex slaves. In actuality, it simply highlights what we rarely see in films like this. What do women who have to survive in a world like this actually look like? Butt-kickin’ survivors! Rather than giving us underwritten characters, every character shines through and has a moment in the film. That’s something to be celebrated!
“Mad Max: Fury Road” is a film achievement to see on the big screen! Believe the hype. It’s worth your hard earned cash this weekend, and next!
Rating: A
"Avengers: Age of Ultron" Review
After seeing “Avengers: Age Of Ultron”, I totally understand why beloved writer/director Joss Whedon is stepping down from the helm. While the latest installment of the Marvel Cinematic Universe is entertaining and has it’s high points, it also proves that Marvel may need to slow things down or at least not overwork their brilliant writer/directors.
The opening sequence shows our heroes are used to working as a team as they storm a Hydra base. They fight individually, using their incredible powers, and together with cool moves like Thor (Chris Hemsworth) striking Cap’s (Chris Evans) shield with his hammer to create a wave of energy. It’s the type of beginning that gets fanboys to start clapping and hollering. (It happened in the screening I saw.) Yet, Marvel movies aren’t number one in the super hero film world solely because of CGI awesomeness. They’re number one because of storytelling. That’s what separates them from the rest.
From the opening we’re introduced to a visually and script level busy movie. It’s hard to follow the action on screen, and once the movie gets started, it’s hard to follow the story. After storming the Hydra base to retrieve Loki’s scepter, Tony Stark aka Iron Man (Robert Downey Jr.) finds a secret lab housing Hydra experiments. Along the way, he and the team face opposition in the Maximoff Twins, Wanda (Elizabeth Olsen) and Pietro (Aaron Taylor-Johnson), two of Hydra’s human experiments bent on destroying Tony.
Always the rebel, Tony sleuths in his own lab and concludes that Hydra has been working on artificial intelligence. With the help of Bruce Banner (Mark Ruffalo), aka Hulk, the two are able to unknowingly finish Hydra’s research. In doing so, they create Ultron (voiced by James Spader), an omnipresent digital robot who was supposed to be Stark’s security guard for Earth. Instead, they get a powerful, schizophrenic bot with twisted dreams of a better world.
Ultron eventually breaks captivity and begins to build his own army. We get to see the Hulkbuster suit put into good use in a city demolishing scene after the Avengers try to capture Ultron! With an enemy that’s everywhere, the team retreats to the middle of nowhere and lays low with Hawkeye’s (Jeremy Renner) family. This is also when the team starts to go off separately on mini missions that aren’t quite fully fleshed out. We get our first look at the seeds for “Civil War” as Cap and Iron Man have a discussion while chopping firewood. Black Widow (Scarlett Johansson) makes all kinds of advances toward Bruce. It’s a lot of bread crumb excitement for future films with minimal direction.
Let’s wrap this up. There is a big fight between the Avengers and Ultron. Heroes do what heroes do, but not without taking an L along the way. We get a glimpse at a new Avenger team, and if you stick around at the end you can see the cliffhanger for what’s coming next in the MCU pipeline! The formula is an amazing business model, but in an effort to churn out films and stay on schedule and budget, I fear we may see more films like “Age of Ultron”. Sure, it’s an entertaining time at the movies, but so is a Michael Bay film. It has too much going on, understanding that it's a movie with plenty stand-alone-movie heroes in it. I'll let it go this time, but let’s not lose what makes Marvel films great Kevin Feige, superb storytelling. We didn’t set the bar, you did.
Rating: C+
"Unfriended" Review
The internet and social media rules our world. What happens when that world rules you? “Unfriended” is simply a gimmick in which writer Nelson Greaves won’t let us unplug from the desktop shown before us, and if you can get past that, it works.
Blaire (Shelley Hennig) and her friends, Val (Courtney Halverson), Mitch (Moses Storm), Adam (Will Peltz), Jess (Renee Olstead), and Ken (Jacob Wysocki) group chat via Skype. This particular evening is the anniversary of Laura’s (Heather Sossaman) death. Laura committed suicide after an embarrassing video hit the web and went viral. The entire story is told from the perspective of Blaire’s computer.
When the group chat is initialized, an unknown entity is also on the chat. As they try to figure out who it is, they all start receiving messages via various social media. Skype, Facebook, Spotify, and iMessaging all get used during the course of the evening. While things start out as what seems to be a joke, the unknown entity starts to put the group’s dirty secrets on display.
You could write the rest of the film. There are enough characters to start killing them off one by one. As the mysterious person takes over the social media handles of the late Laura, the group is forced to come to terms with the wrong that they did.
Sadly, there are no likable characters. We don’t even care about Laura. What makes the movie interesting is the use of the computer screen and seeing it from Blaire’s perspective. We’ve all been on the computer and typed a message, erased it, and then typed something else or cycled through applications while multitasking. Director Levan Gabriadze captures these moments extremely well. We spend a good portion of the time reading what Blaire is typing to her boyfriend Mitch or Laura as she contacts her on other apps. It’s intriguing and voyeuristic.
Gabriadze also uses the sounds that we hear on a daily basis to his advantage. The clicking of computer keys, mouse clicks, Skype’s ringtone for calls coming end or going off, and other sounds are used to create tension. Even connection and disconnection issues become a part of the suspense of the film.
Ultimately, “Unfriended” would end if the characters would just disconnect and walk away. Yet their curiosity to find out who is stalking them, and our curiosity to continue watching keeps the film going. It’s definitely not worth seeing on the big screen, but perhaps the small screen or even better, a laptop is where it could be most effective.
Rating: C
"Ex Machina" Review
When the lights go down in the theater I generally want one of two things. I’d like to be entertained or intellectually stimulated and challenged. “Ex Machina” is one of those films that does both!
Writer/director Alex Garland pulls you into his world immediately in the first minutes of the film as Caleb (Domhnall Gleeson) is the winner of...well we don’t know what, but his colleagues are extremely jealous so it must be good. We soon learn that he’s won a week long stay with Nathan (Oscar Isaac). Nathan is a legend in the computer programming world. He invented Blue Book (think Google), the company Caleb works for, and lives on an estate so large that two hours of flying in a helicopter covers a portion of it.
Upon landing on the highly secured grounds, Caleb learns that Nathan has him there to perform a “Turing Test”. The test is for a human to converse with an artificial intelligence (AI) and reach a conclusion on whether it has human consciousness. Enter Ava (Alicia Vikander), Nathan’s AI machine with a pretty human face. Caleb participates in seven sessions with Ava, one per day he’s there. Yet, with each day that he’s there, Caleb must decipher who he can trust in the highly secretive world, Nathan or Ava.
Isaac continues to deliver as the tech guru. He blends arrogance into his prodigy character in just the right way where we like him enough to go for a drink after work but would never invite him over for dinner. Vikander’s performance is all in her face, literally, as the rest of the machine is parts. Thus, the fascination of every slight “micro-expression” (as she may call it) in what her face communicates is as intriguing for us as it is for Caleb. Gleeson portrays the pure passion and excitement of his character in such a way that we’re easily won over and happy for his journey.
With a stellar cast in place, the key is the script and directing. Fortunately, both are handled with precision by Garland. The script keeps you wondering what will happen next with subtext riddled throughout, while his controlled pace creates an uneasiness that sticks with you from the moment Caleb enters the compound. Garland uses the entire frame to tell his story. Characters in the foreground are strategically placed in juxtaposition with characters in the background to keep the audience drawing conclusions as to what is really going on.
“Ex Machina” is an intellectual movie that explores technology, morality, and even how we perceive beauty. I have a feeling if Ava’s face was scarred, deformed, or even just a machine the film wouldn’t work as well. So if you’re looking to be entertained and intellectually stimulated this weekend, “Ex Machina” will deliver!
Rating: A-
"Furious 7" Review: Film Won't Disappoint Fans!
It’s one thing to go into a movie to be entertained, but there’s something to be said about movies that you go into with baggage and expectations. With “Furious 7”, the untimely death of Paul Walker casts a shadow on the film, but doesn’t eclipse it. In fact, for die hard fans we got what we wanted; it’s the same high-octane, unbelievable stunts that we’ve come to love, tie-ins to prior films, and the proper send off to a major character in the franchise.
Picking up where “Fast & Furious 6” ended, we get one of the best slow reveal openings I’ve seen in a while. Deckard Shaw (Jason Statham) makes an oath to his unconscious brother Owen (Luke Shaw) to finish the job he started in putting the “family” in body bags. Deckard, of course, is ten times smarter and more ruthless than his brother. He’s an ex-black ops asset that was so skilled he turned into a ghost after his own government tried to terminate him due to all of the sensitive intel he knew. Deckard gets straight to it! He kills Han (Sung Kang) (as seen at the end of FF6), pays a visit to Hobbs (Dwayne Johnson) to secure the locations of Dominic Toretto’s (Vin Diesel) Crew, and sends a bomb to Dom’s old house.
With that, the gang is pulled back into the life. For Brian (Paul Walker), it’s a welcomed reunion as he “misses the bullets” as a now domesticated father and husband to Mia (Jordana Brewster). It’s the fine line between the old life, and new life for Brian that gives the film some of it’s emotional gravity. For Letty (Michelle Rodriguez), Tej (Ludacris), and Roman (Tyrese Gibson) it’s another day in the office.
How do you catch a ghost? Enter Mr. Nobody (Kurt Russell), something of a governmental ghost himself, who has been chasing Shaw for years. Mr. Nobody guarantees to help the family take down Shaw if they secure a much sought after, newly developed, global spy application called “God’s Eye”.
As per usual Dom’s crew gets strung along to do someone else’s dirty work in order to get their own personal needs met. The most annoying thing is that with each victory or setback, Shaw turns up like the kid copying off of your homework. Even with that, it doesn’t take away from the intense weight that each heist, fight, or stunt carries in the film.
*Spoiler Alert: Paul Walker Homage- skip the next paragraph*
I hate doing spoilers, but the construction of the Brian/Paul Walker send off was extremely well done and worth breaking down. First, the subtext of the entire ending was that while Brian is saying goodbye to Dom, the cast didn’t get to say goodbye to their friend in real life. As Dom pulls up to a crossroad, Brian joins him dressed in white and in a white car (no coincidence). Reminiscent of the two racing each other in the past, they both take off for a stretch, as Dom’s voiceover tells a story of their unbroken bond. The camera then cranes up as Brian’s car pulls off to the left from the main road. We follow Brian’s car for a while and then lift to the heavens as the screen dissolves to white. It’s an absolutely majestic way of saying so much without being on the nose, and a great homage to Paul Walker.
*End Spoiler*
“Furious 7” will not disappoint and it continues the new legacy of over the top action, hard nosed characters, and emotional beats to match. I would love to be in the writer’s room as they discuss “what could we do to top the last film and push this even further?”! It seems we’ll find out that answer in the 8th installment. For now, the true fans of the franchise will soak up and appreciate the beautiful film we were given in spite of the tragic real life occurrences in “Furious 7”. That has to be commended and respected!
Rating: B+
"Insurgent" Review
Of the many words that come to mind when I think of “Insurgent”, uncomfortable is the one I just can’t shake. The actors look uncomfortable in their wardrobe and performances. The fact that teenagers act like adults and adults like idiots is uncomfortable. More than anything, I was uncomfortable in my chair suffering through the 119 minute running time waiting for the film to be over.
Shailene Woodley reprises her role in the follow up to "Divergent" as Tris Pryor, a young girl who happens to be different in a world where everyone sticks to the tribal stereotype they’ve been tested into. It’s easy to pick out the Divergents in the film, just look for the actors who wear cool clothes and walk with a little swag. Everyone else looks uncomfortable in their wardrobe, and has a robot-like presence (no matter what faction, outside of Divergents and maybe the Factionless).
Due to her ability to be all types, Tris is labeled a Divergent. In fact, she’s The Divergent of all Divergents. Even though she’s “powerful”, her past won’t allow her to move forward. For most of the movie we’re forced to watch Tris lash out at others and doubt herself because of the self-imposed emotional load she carries around. She can’t forgive herself for the deaths that she has caused by her own hand or by association with her.
In the meantime, Jeanine (Kate Winslet) is hunting down Divergents and testing them to the point of death in an effort to open a mysterious box. This box has a message in it from the founders of their society, and only a powerful Divergent can open it. Four (Theo James) reunites with a long lost relative who just may help them turn the tide in the war against Erudite.
The cast performances in this film are just awful. While most of the main characters have given us wonderful performances in other films, they barely showed up for this one. Shailene Woodley plays an excellent fragile but strong character in “The Fault in Our Stars”, but the same magic doesn’t work in “Insurgent”. You never quite believe her as an action star, her screams are like nails on chalkboard (there is a lot of chalkboard throughout this movie) and she . Miles Teller was awesome in “Whiplash”, but doesn’t do more than recite his lines in this film. Kate Winslet brings nothing new to her role as well. The list goes on.
Will Jeanine get the box open? Will Tris forgive herself? Who cares?! If the movie gives us no reason to be invested in the characters and stakes, why should we care? This series already started out rocky, and this installment just cements the rockslide of cookie cut teen dystopia that we’re being forced to swallow. Don’t waste your money this weekend, especially in 3D or IMAX. If only the boatload of cash this film is going to see this weekend sunk with the series.
Rating: D
"Run All Night" Review
In his third collaboration with Liam Neeson (“Non-Stop”, “Unknown”), director Jaume Collete-Serra gives us another suspenseful action film. While there is nothing very original about the story, “Run All Night” is a buddy movie masquerading as a survive the night film. It’s the gravity of the relationships in the film that give it stakes that work for the genre.
Jimmy Conlon (Liam Neeson) is a washed up hitman, plagued by the faces of those he’s killed. Local mob boss, Sean Maguire (Ed Harris) keeps Jimmy’s basic needs met out of a twisted guilt for making him an abandoned, shell of a man due to deeds done under his leadership. Sean’s son Danny (Boyd Holbrook) tries to bring Albanian heroine into the family business but is rejected in a meeting before a Christmas party.
The rejection sends the Albanians after Danny to recoup the money they paid him to get his father’s blessing. In an ironic twist of fate, Mike (Joel Kinnaman), Jimmy’s estranged son and a limo driver, drives the Albanians to meet Danny. When Danny botches killing both Albanians, Mike witnesses Danny finish the job, and thus becomes Danny’s target. Before Danny can kill Mike, Jimmy puts a bullet in Danny’s neck.
From there, “Run All Night” becomes a master class in acting brought to you by Neeson and Harris. As the two old friends become instant enemies, Sean sends everyone on his payroll to find and kill the Conlon duo. This includes Price (Common) a hired assassin with a score to settle with Jimmy. Writer Brad Inglesby does a significant job in keeping the dialogue out of campy one liners, and uses subtext in such a way to build the tension and suspense. In one scene, Jimmy meets with Sean in a public restaurant to ask Sean to spare Michael’s life. They go from sharing a drink and fond memories together to laying out the rules of engagement in such a smooth way that could only be done after decades of friendship.
New York, New York in the hands of cinematographer Martin Ruhe is a very different New York than we’re used to. The bright lights can become scary when you have someone hunting you down, and Ruhe capitalizes on that in the film. Whether using the lights of Times Square, Madison Square Garden, or the grid patterns from an aerial shot, Ruhe is able to create something special that really adds to the tension of film.
The great thing about survival films is that there is usually a built in clock that keeps the pace moving and suspense thick. As Jimmy and Mike try to survive the night there are plenty of scenes from other films that get “Frakensteined” into this one. Yet, for what it is, this film succeeds in keeping your attention and will have you on the edge of your seat. After all, it is Liam Neeson with a gun!
Rating: B
"Focus" Review
Will Smith proves “After Earth” was a bump in his career with “Focus”. Written and directed by Gleen Ficarra and John Requa, the film is a well executed caper comedy. It's sure to keep you entertained this weekend!
Nicky (Will Smith) is a veteran con man. He meets Jess (Margot Robbie) after she tries to play him in a “bring you back to the hotel room so my husband can bust in and take your wallet” con in New York. Knowing he’s being played, he turns the tables on them and gives Jess a quick tutorial in the art of lifting before leaving. The key for the film to work is the chemistry between its main characters, and there’s enough to teach a high school class! (That was a little lame, but there is!) Their brief lesson in the snow is light hearted and playfully flirtatious, but continues throughout the rest of the film.
We then find ourselves in New Orleans for a Super Bowl. It’s the greatest place for a heist according to Nicky. With a team of thirty people in on the action, Jess joins the group after tracking Nicky down from New York. She fits in nicely with the crew in a beautifully choreographed sequence in the bustling French Quarters in which they lifts wallets, purses, rings, and more. A romance blossoms between Nicky and Jess, but the best part about it is as a viewer you constantly question what’s real. Is their “love” real? Is Jess playing Nicky or Nicky playing Jess?
The entire crew disperses to ensure nothing is traced. A few years after New Orleans, the two meet again as Jess descends down the stairs straight out of a classic film, into the middle of Nicky’s in progress con and back into his life. From there the film gets thick with distrust. You never know who is playing who, but not in such a way that it’s confusing or distracting. It keeps you on your toes in an entertaining way.
The camera work is great in the film. Occasionally the frame is in and out of focus, but more specifically the directors lead our eyes to what they want us to see. For instance, in one scene Jess walks into a designer store. We see her walking straight toward the camera, the camera dollies left, and we realize we’ve been watching her through a mirror as she walks past the camera on the left. It’s tricks like this that make it hard to trust our eyes as well as the story unfolding on the screen.
“Focus” is a sexy, fun ride that will keep you guessing. Will Smith still has it, and it proves that Margot Robbie is more than just the objectified, pretty woman that “The Wolf of Wall Street” made her out to be. If you want something to keep your attention off of your busy work week this weekend, “Focus” is the movie to do it!
Rating: B
"Kingsman: The Secret Service" Review
If Samuel L. Jackson with a lisp isn’t enough to get you to go see “Kingsman: The Secret Service”, perhaps the smart script will. Rather than going for “Get Smart” or “Austin Powers” funny, writers Jane Goldman and Matthew Vaughn take aim for the difficult middle ground of a serious spy film that is self aware. The result, is a preposterous spy movie that’s an exciting ride!
The film starts off with an infiltration operation in which a helicopter shoots missiles into a castle. As rubble from the explosion falls to the ground it turns into letters for the opening credits. Its this nod to the audience that puts you at ease, but the ensuing scene is equally edgy and solemn, setting us up for a constant exchange of emotion throughout the film.
Eggsy (Taron Egerton) is your classic case of a teenager growing up without a father. His mother is in an abusive relationship with the local tough guy. He’s highly intelligent, but pickpockets and boosts cars to get attention. After his most recent illegal joy ride gets him in police custody, Eggsy calls the number on the back of a pendant passed down to him from his father. Little does Eggsy know that he’s just called the Kingsman, a super secret spy organization made of fashionably dressed gentlemen.
Once Harry (Colin Firth), whose code name is Galahad, gets Eggsy out of jail, the typical heroes journey/recruitment begins. In the mean time, Valentine (Samuel L. Jackson), a megalomaniac villian of sorts, is recruiting international leaders in a “get down or lay down” scheme. Either the leaders get down with his world domination plan, or they are held in captivity until he can hit the reset button on a world that he feels is headed for destruction.
The violence in this film is as high as you would expect from the director of “Kick Ass”, but at times doesn’t serve the film except for shock value. Gazelle (Sofia Boutella), Valentine’s right hand woman with swords for legs, is the embodiment of that violence for no reason other than a cool idea or visual. Certain gags, like Jackson’s lisp (which is a perfect choice for one of the best wordsmiths in the business), start out funny but becomes more of a thorn in the film’s side.
“Kingsman” is exactly what you thought it would be based on the trailer, escapist fun. Director Matthew Vaughn has created a solid film during the time that most Hollywood films are forgettable and laughable. In truth, while it too may be forgotten by the end of the year, it produces some good laughs that are worth your hard earned cash this weekend.
Rating: B-
"Jupiter Ascending" Review
I thought it would be Channing Tatum’s dirty blonde goatee, aversion to shirts throughout the film, and poor acting skills that ruined “Jupiter Ascending” for me. Truth be told, I’m predicting Tatum may be the next McConaughey, as years from now we may say “wasn’t he the guy from those Step Up movies?” Instead it was a bloated script and poor female lead that did it. For the first epic tale of the year, “Jupiter Ascending” is a waste of cinematic innovation and imagination, but it didn’t have to be.
The Wachowski’s have once again created a dazzling cinematic universe. The worlds are sprawling, the technology is advanced, and the variety of life forms are diverse. Although the exposition of it all isn’t always explained clearly, you can follow what’s happening. The issue is the wooden, superficial dialogue that makes up the film. Instead of giving us a Cinderella-esque story, we get a high school for the performing arts thesis script.
Mila Kunis is in over her head as Jupiter Jones. Jupiter was born an alien. Not the type you may think would be in an intergalactic film, but she was born in the middle of the ocean on a cargo ship. If only her being a space alien explained why she’s the genetic “reincarnation” of the late matriarch of the Abrasax family, who rules the universe, things would flow a bit better. However, that’s the theme of the movie- introduce lofty ideas with no logical explanation (understanding this is Sci-Fi). Due to her genes, she is entitled to everything the late matriarch owned, making her the most powerful being in the universe if she can claim her title.
Jupiter spends her days cleaning rich people’s homes. After her genetic code comes on the radar while trying to sell her eggs, Jupiter becomes a target of the Abrasax family in their interior war for power. While no one in the Abrasax family’s motives are clear, Caine Wise’s (Channing Tatum) are. Caine is a bounty hunter whose mission is to retrieve Jupiter for Titus Abrasax (Douglas Booth), the youngest and wildest of the family, but falls for her in the midst of it. Don’t worry, Jupiter falls for him literally and figuratively throughout the film. Whether it’s from great heights, landing in his arms while screaming, or constantly making innuendoes about how she wants to be with him, the point is made.
The short of it all is the oldest Abrasax family member with the most power, Balem Abrasax (Eddie Redmayne), wants her dead. Redmayne has to pray that the Academy voted before seeing the film because he definitely gave a Razzy worthy performance. Kunis will probably join him for her underwhelming performance as one of the least appealing damsels in distress.
“Jupiter Ascending” could have been so much more. It’s epic in scope and cinematically beautiful, which is why it isn’t an epic fail. With more time at the writer’s table, and better casting choices we could have been talking about this film for a while. I just hope we’re not witnessing the decent of the Wachowski’s.
Rating: D
"Project Almanac" Review
Director Dean Israelite's “Project Almanac” is one of those time travel movies that you rent for a weekend view and wake up only to try and re-watch it because it put you to sleep. It’s a film that you stay awake in the theater to watch because you paid $11+ for. It starts out fun, but winds up collapsing in on its own confusing rules of time travel.
David Raskin (Jonny Weston) is a brilliant senior in high school who just got accepted to MIT. Unfortunately, MIT’s financial aid isn’t enough to get him in, but if he can come up with an amazing project/experiment it just may help. David sets out to find an idea for an experiment by digging around in his father’s old work in the attic. His father, who died mysteriously on the day of his 7th birthday party, just happened to be a super brilliant, secret government contractor.
With the help of his friends Quinn (Sam Lerner), Adam (Allen Evangelista), and sister Christina (Virginia Gardner), David begins tinkering with a mystery box they find in the basement with instructions entitled Project Almanac. The film starts out as exciting as discovering a time machine should be. On an old camera with footage from David’s 7th birthday they catch a glimpse of the present 17 year old David in a mirror at the party, confirming to them that it works. (Did anyone notice the ink stain is on the wrong side of his shirt in the footage and that’s never explained?) At first they take small controlled steps and make things go back in time. Along the way the prettiest girl in school, Jessie (Sofia Black-D’Elia), happens to walk in on an experiment to give us a little love story in the film, and gets to join the crew.
The problem with “Project Almanac” is that the writing has the attention span of its’ teenage characters. Once they start pushing time travel past an hour to days and weeks (which takes far too long), things start to get confusing. Trust me, you don’t have to explain too much to me in a time travel movie, my suspension of disbelief is in high gear, but you do have to explain why the world you return to after jumping is vastly different. As the traveling becomes more frequent and less methodical, the screenwriters ask you to pay attention to certain things and then throw it out the window. It’s as though after brainstorming ideas of what teenagers would do with a time machine, they forgot to figure out how to string those ideas and important subtleties into a fulfilling movie.
As you can guess, things get out of control toward the end. David does what he thinks must be done to fix things, but the final scene of the film once again undermines everything that was done before it. This is one time travel movie you can save yourself the trouble and time of viewing.
Rating: D
"Annie" 2014 Review
I was really looking forward to the new “Annie”. The trailer boasted of a diverse cast, a hip hop twist on some classic songs, and a new vision for a classic tale; what’s not to be excited about? While you’re kids may enjoy it, it’s a hard knock off for us!
Quvenzhane Wallis is Annie, a bright eyed foster kid living in Harlem. Her bitter foster mother Ms. Hannigan (Cameron Diaz) provides four walls and a roof over Annie and her foster sisters’ heads, but only for the paycheck. Annie wants to find her biological parents, and works hard at the local bodega ran by Lou (David Zayas) to earn under the table cash to get documents about her parents.
Elsewhere in Manhattan, billionaire cell phone mogul William Stacks (Jamie Foxx) is running for mayor and having a tough time seeing the poll numbers rise in his favor due to his lack of interpersonal skills. His assistant Grace (Rose Byrne) is a master political strategist with insecurity issues and a secret (or not) interest in her boss. Stacks pays Guy (Bobby Cannavale) to do his dirty work in politics.
After an awkward day of hitting the streets to help the homeless for political gain, Stacks’ SUV is put out of commission. He decides to walk for clarity and peace, and walks right into Annie. After saving her from near death (on cell phone footage from a bystander that’s miraculously cut together from two angles) the polls start moving in Stacks’ favor. Hence, the plot device for Annie to move in with Stacks and help him win the election.
Annie is hip to the political hustle and goes along with the story in exchange for her own demands. This is one of many issues with the film. Wallis has played the little girl who had to grow up too fast before in “Beasts of the Southern Wild” (an incredible performance), but it comes across as cheeky and artificial here. She fades in and out of confidence and being lost in the role. It doesn’t help that most of the adults around her are giving comical performances reminiscent of something from a mid 90’s Nickelodeon sitcom. Yeah, think “Keenan & Kel”. Foxx seems to be the only person aware of how poor the movie is as he steals the scenes he’s in, eventually culminating in hoping that he’s in every scene.
The main problem is that this remake has no heart and soul. It’s just a formulaic blockbuster that makes caricatures out of its characters rather than giving them room to deal with their insecurities, illiteracy, greed, alcoholism and other flaws that are touched on but barely explored. Perhaps a couple more weeks at the writer’s table could have helped.
There are a few nice moments, and songs in the film but that’s not saying much. The sun will come out tomorrow, but I doubt it will be shining favorably on this “Annie”.
Rating: D
"Top Five" Review
I canʼt remember the last film I saw that I didnʼt want to come to an end while watching it in the theater. Itʼs rare. “Top Five” is a hilarious ride that you donʼt want to get off of.
Chris Rock knocks the ball out of the park as his third time in the directorʼs chair. Heplays Andre Allen, a comedian who has lost his mojo, and is on the verge of marrying his reality TV star fiancee Erica (Gabrielle Union). Heʼs promoting his latest “serious” film, Uprize, and is making the press circuit. Chelsea Brown (Rosario Dawson) is assigned at the last minute to spend the next couple of days interviewing him. They find commonality as recovering alcoholics, and ask for absolute honesty in an effort to keep the interview unique.
The film is a talkie piece reminiscent of Woody Allenʼs “Annie Hall” or “Stardust Memories”. Andre and Chelsea stay in motion with witty back and forth conversation as they duck into town cars, Sirius radioʼs office, and all the other promotional stops through the course of the day. Itʼs the A/B parallel of the duo slowly revealing their private life and business that comes in to the film and gives it heart. The two make stops at Chelseaʼs house, where Andre meets her mother and daughter. Andre stops through the “hood” and visits his own family in a hilarious scene where his father Carl (Ben Vereen), Tracy Morgan, Leslie Jordan, Sherri Shepherd, and Hassan Johnson totally rip into their “Hollywood” family member. You can totally see where Andre got his humor from, and itʼs an opportunity to let the former SNL stars shine. As Andre and Chelsea continue to talk, it’s clear that they share a chemistry that turns into one of the best romantic comedies of 2014.
Throughout the course of the film Rock infuses his comedic timing as Andre Allen. Sure, heʼs not the best actor, but heʼs playing a comedian which isnʼt a stretch. Itʼs like when Beyonce plays a singer, and we actually get a decent performance. Rosario Dawson is perfect in the role as the quick-witted journalist. Every supporting character and cameo is placed with thought and intention. They all deliver, but most importantly serve the film in such a way to advance the story.
The film is a great love story, and it’s as raw and on point as Rock’s stand up hitting on politics, hip hop, and pop culture issues. Be warned, there is a scene with Cedric the Entertainer in the hotel room in Houston that you can’t unsee. I’m still having nightmares. On the flip side, I think the cameo with Jerry Seinfeld and DMX will be talked about for a while. “Top Five” is one of those films that you would buy the DVD on the spot if they were on sell when you exited the theater. A great choice for the movies this weekend!
Rating: A
"The Skeleton Twins" Review
“The Skeleton Twins” is one of those movies that you might breeze over judging a movie by its trailer. If you give it a chance, you’ll probably be pleasantly surprised at the story that’s told.
Kristen Wiig and Bill Hader are Maggie & Milo, twins who haven’t spoken to each other in ten years. After Milo attempts to commit suicide, Maggie is called as his next of kin ironically at the very same time she’s about to attempt suicide. The initial reunion is awkward. What do you say after ten years? How do you support your sibling who is in an obviously dark place, when you are as well? This is the core of the film as the two begin to mend their relationship.
Milo moves in with Maggie and her husband Lance (Luke Wilson) to recover. Lance is the unknowingly obnoxious guy you don’t want to see your sister with, but has a good heart. He’s fired up about the baby that he and Maggie are trying for, but Maggie has her own plans that she’s kept from Lance. In fact, each twin has their own bag of secrets that they’ve developed over the past ten years. As the film moves forward, secrets are shared amongst the twins and then told in spite.
The film’s strength rides on the relationship between the twins, but it also is brought down because of the twins relationship. They have an obvious chemistry and connection as siblings that at times is fun to watch, but it’s a lot like watching two people that have inside jokes that you don’t understand. Most of the movie you peer in to the lives of the main characters, but never really care about them.
The movie does provide some laughs and funny moments. Unfortunately, due to the lack of relatability to the characters, the film can drag at times. Regardless, this is a solid film that is worth a Netflix viewing.
Rating: B
"The Hunger Games: Mockingjay Pt. 1" Review
It’s pretty shocking that “The Hunger Games: Mockingjay Part 1” is such a suspenseful film. This time around there is less action and more talking. In fact, you could say that “Mockingjay Pt 1” is more of a political thriller this time around, and somehow it still manages to keep you glued to the screen.
Katniss Everdeen (Jennifer Lawrence) is still the reluctant hero. She is broken from the games. She can’t sleep without having a nightmare. No matter how hard she tries to separate herself from “the games”, she’s pulled back in by the rebels who rescued her after she destroyed the Quarter Quell. The rebellion, led by President Alma Coin (Julianne Moore), is now going head to head with the diabolical President Snow (Donald Sutherland) in a battle of propaganda campaigns to try and stir the remaining districts to action or submission.
After seeing her home, District 12 now reduced to rubble and human remains at the hands of the Capitol, Katniss decides to become the rebellion’s mockingjay as long as her fellow Victors in the hands of the Capitol receive immunity. The mockingjay will be the symbol for the rebellion. On the flip side, the Capitol has made Peeta (Josh Hutcherson) their symbol. As each side tries to get their message out to the remaining districts an interesting commentary on how we’re influenced by media in the real world comes to the forefront. Each side appeals to stopping the loss of life, but from differing perspectives. One side wants the freedom to live, while the other wants self-serving order at the threat of killing more people to achieve it.
It’s easy to forget that you’re watching a movie based on a Young Adult book because of it’s political commentary but largely because of its stellar cast. Jennifer Lawrence’s ability to move from female action hero to complex, layered and lovable around the way girl reminds us why she’s an Oscar winner. Liam Hemsworth gets to step up from Katniss’ side romance to a more meaty role as Gale. Whether it’s newcomer Mahershala Ali (“House of Cards”) or veteran Philip Seymour Hoffman (in his final role) the acting is top notch across the board.
“Mockingjay Pt 1” is a good time at the movies. It slows down the franchise in a way that allows it to nail the tone of unrest and anticipation of things to come. Although we could have done without the splitting up of the film, it sets things up for an action oriented showdown next year!
Rating: B-
"The Homesman" Review
“The Homesman” isn’t a glamorized western. Writer/director Tommy Lee Jones gives us an authentic look at what life on the western frontier was like, and a feminist critique of the genre/time. It’s a tough movie for most people to sit through and swallow, but it’s guaranteed to give you something to chew on after the closing credits.
Hillary Swank is Mary Bee Cuddy, a 31 year old, principled, hardworking single woman. Whatever happened up until this point in her life, it’s obvious that her work ethic has brought her the “American Dream of the time” minus a husband and kids. In the opening scenes of the film, Bob Giffen (Evan Jones), the local single man likely to be her suitor, gives her the adjectives of “plain and bossy” as the reason he won’t marry her. She’s obviously far from plain, amassing her own lot and cattle on the edge of the unknown of U.S. territory. She’s what you may call an independent woman today, but she’s referred to as an “uncommon” woman in the film.
When three women in their small town take a mental turn for the worst, no man has the guts to make the journey back east to take the women to a place where they can receive care. Mary Bee does. She secures the help of George Briggs (Tommy Lee Jones) after saving him from death by hanging. George is an unkempt, self-centered drifter; he’s everything Mary Bee is not. While Mary Bee is on a mission to ensure the safety of the three women, George is on a mission to earn $300 for assisting with the “cuckoo clocks”.
Each woman being transported has their own issues wrapped in feminine disenfranchisements of the time. Gro Svendsen (Sonja Richter), a Norwegian woman who has been repeatedly raped by her husband in an effort to give him a son, howls and bites at anyone who comes near her. Arabella Sours (Grace Gummer), only 19 years old, doesn’t move much or speak. She just holds on to a rag doll that subs for the three children she lost to diphtheria. Theoline Belknap (Miranda Otto), drowned her own baby in an outhouse.
As the group makes the journey east, it’s clear that nature itself is not going to make it an easy ride. Winter is brutal, nights are cold, food is scarce, and bridges haven’t been built to walk over streams or rivers. The harsh reality of survival during that time is made clear as each day passes in the film.
Jones is able to put a magnifying glass on the time and deconstruct the role that women and men played throughout “The Homesman”. While he pushes for feminist context, he trips over it by missing wonderful opportunities for female empowerment. As the duo gets closer to their destination, Mary Bee, despite all of her wonderful qualities and material possessions, feels incomplete as a woman without a husband and makes choices that shatter her weight in the film. All of the women in the film have an identity that is closely associated to a man or lack their of.
“The Homesman” shows us that the frontier was a man’s world. A strong moral compass could get you killed, and self-interest would help you thrive during that era. Jones’ statement on women during the time is made clear throughout the movie, but fell short of something remarkable. Regardless, the film is memorable, and will make you grateful you only had to watch a movie about the frontier rather than live it out.
Rating: C+