"The Conjuring 2" Review: Wan is Back in the Zone!
Horror fans, indulge me for a moment. Think of all the elements that go into a masterful horror film: Nerve-jangling scares; a sense of dread permeating throughout; imagery that sticks with you and keeps you up at night; brilliant production design; a great score; believable performances; and yes, even genuine emotion.
It sounds too good to be true in today’s world, where fecal matter like Ouija, The Gallows, and The Forest clogs the toilet that is mainstream horror. Yet there is hope in the form of our savior, the almighty and all-knowing James Wan, who has come to show us the way. Wan has always been a master of his craft, as he has demonstrated in the original Saw, Insidious, and The Conjuring, but now he has perfected it. With The Conjuring 2, he has made a perfect horror film.
Yes. The Conjuring 2 is a perfect movie. As in, it has practically zero flaws.
Like its 2013 predecessor, The Conjuring 2 is set in the 1970s and delves into the so-called “true case files” of Ed and Lorraine Warren (played by Patrick Wilson and Vera Farmiga, respectively), a real-life husband-and-wife team of renowned demonologists. This time, the Warrens travel to Enfield, England, where a single mother (Frances O’Connor) and her four children are being tormented, possessed, and generally inconvenienced by a demonic presence.
What transpires at the Hodgson household is pretty standard stuff: A chair moving on its own, strange voices, bumps in the night. Of course, we’ve seen it all done before in plenty of other movies, but rarely have we seen it done so well. Like a certain Mr. Spielberg, Wan has a gift for manipulation, and not in a bad way—he meticulously crafts each individual moment for maximum effect, so that the audience is completely wrapped around his finger. The tension Wan creates is palpable, and while he often makes use of those dreaded jump scares, they never feel cheap and they always feel earned. The man simply knows what he’s doing.
He’s aided by terrific production design by Julie Berghoff and a spine-tingling score by Joseph Bishara. Both add authenticity to the period setting and an uncanny unease to the film’s atmosphere. Sweeping camerawork by director of photography Don Burgess glides placidly, putting the viewer on edge for what awaits just around the corner. And the performances—with standout turns once again by Wilson (TV’s Fargo) and Farmiga (TV’s Bates Motel)—bring humanity and heart to the spooky proceedings.
I loved this movie. As a horror fan, I want to shout it from the mountaintops: “The Conjuring 2 is not only the rare sequel that’s as good if not better than its predecessor, it’s a masterpiece of the genre!” It’s a rickety, demented funhouse ride that, despite its 135-minute running time, doesn’t overstay its welcome (unlike those pesky spirits). That’s quite an accomplishment. And though there have been some phenomenal indie horror films as of late, such as It Follows, The Babadook, and The Witch, James Wan is king as far as mainstream, wide-release horror goes. With all the heavenly blessings, I thank James Wan for turning down Fast 8 to direct this film. Horror is where he belongs.
Grade: A+
"Popstar: Never Stop Never Stopping" Review
Andy Samberg, Akiva Schaffer, and Jorma Taccone are known for their comedy sketches and parody videos as a part of The Lonely Island. They came to prominence with their Saturday Night Live digital short “Lazy Sunday”. Popstar: Never Stop Never Stopping is simply them coming together and fleshing out a feature length version of one of their videos. It’s a rock mockumentary for the popular culture of the 21st century, that’s actually funny.
Conner4real (Samberg) is a young singer/rapper at the top of his game. He started out in the hip hop group called The Style Boyz with his childhood friends, Owen (Taccone) and Lawrence (Schaffer). Stepping out from the group he catapulted himself to the top of the charts and hearts of his fans. After the huge success of his first album, we find Conner preparing for his latest, Connquest. To ensure the albums success, Conner wrote all of the songs and used 100 producers to create all of the beats.
With songs like “Equal Rights”, about marriage equality but stitched together with homophobic lines, and “Finest Girl” which makes references to killing Osama Bin Laden, Connquest tanks. The rest of the film is about Conner realizing he has a bunch of “yes men” around him and getting back to his roots.
While the set up is typical of a VH1 Behind the Music episode, that’s a part of what makes it wonderful. The film mocks pop culture, pop music, and hip hop in a way that’s right on the money by marrying the documentary style filmmaking with comedy. Popstar is written by Samberg, Schaffer, and Taccone and there is a palpable sense that they wanted to mock the culture while hitting dramatic beats and actually telling a story rather than stringing together numerous sketches.
As the film unfolds, numerous celebrity cameos of popular artists and comedians are woven into the film. Some are brief, and other’s continue to come back, but most of them add to the humor of the film because of the irony of making fun of the business they helped create or are still a part of. There are a few TMZ or CMZ as it’s called in the film, scenes that are hilarious! They nail Harvey Levin and crew’s office sessions.
This film is a little funnier than the trailer, and I cracked up watching the trailer. So if you don’t find the trailer funny, than you probably won’t find the film funny either. But there’s no escaping the fact that this is clever satire that encapsulates this social media/reality TV/need to be liked generation in an affectionate, genuine, comedic film.
Rating: B
"The Nice Guys" review
Co-writer/director Shane Black is back at it again with a buddy action-comedy film. Known for penning hits like Lethal Weapon, modern noir Kiss Kiss Bang Bang, and mixed genred Iron Man 3, this time around he’s cooked up a 70’s retro-noir starring Russell Crowe and Ryan Gosling. The duo come together to solve the case of an alleged suicide of a female porn star in The Nice Guys.
The film asks you to set aside your brain and understand that coincidences are going to happen from the opening sequence. A young boy is checking out his father’s adult magazine, when a car crashes into the house. The car happens to be driven by adult-film actress, Misty Mountains (Murielle Telio), the same woman the boy was just looking at in the magazine. From there, you can expect the rest of the story to follow suit.
Enter muscle-for-hire Jackson Healy (Crowe) and alcoholic/private eye Holland March (Gosling). Although they first meet when Healy breaks March’s arm for a seemingly separate case, they combine forces to search for a missing girl named Amelia (Margaret Qualley), who seems to be connected to the dead adult film star. As the two begin down the rabbit hole, they eventually run into plenty of dead bodies from the porn industry and uncover a large conspiracy.
Did I mention they allow March’s tween-age daughter, Holly (Angourie Rice) to tag along for a lot of the ride? While her character is a "girl who has had to grow up quickly by looking after her to-drunk-to-drive father" at times throughout the movie (and we can assume in the past), the humor that she’s supposed to infuse doesn’t always work. Should a little girl really be watching pornography at an adult industry party? Drunk or not, should March and Healy really allow her to tag along? (Although at times they do try to send her away.) Holly is a major part in the film who works and doesn’t work throughout the movie in such a way as to act as a speed bump rather than acceleration pad.
Crowe and Gosling give performances worth most of the buzz the film has been getting. Crowe’s straight man compliments Gosling’s entertaining physical humor. They play off each other well and own the dialogue.
Black has fully developed characters in The Nice Guys. He has nice touches of mystery and restraint with issues like Healy’s aversion to alcohol versus March’s indulgence. He hits many of the twists and turns that you expect from a film noir. Yet it’s the plot that is too convoluted, asking you to just go with it as the detectives make random connections through happenstance. I just wish the plot was as thorough as it’s likable characters.
Rating: C+
"Green Room" Review
Green Room is one of those films that probably won’t get the respect it deserves until a little while down the road, or when we film critics tell enough people how great it is. Which shouldn’t be a surprise, since it is written and directed by Blue Ruin’s Jeremy Saulnier (if you haven’t seen that film, you should). For a single location thriller about apunk rock band trying to fight for survival, the film tells a brilliantly written and executed, surprisingly universal human story...albeit an extremely violent one.
The Ain’t Rights are a punk band comprised of four friends: Pat (Anton Yelchin), Reece (Joe Cole), Sam (Alia Shawkat), and Tiger (Callum Turner). They’re purists when it comes to their music, and as far as we can tell they survive off it alone. Touring the west coast, the group is in a van big enough to haul them and their equipment. They syphon off gasoline to keep the van going and save what few dollars they have.
After getting hired to play a paying gig in a secluded club in the backwoods of Oregon, the group reluctantly obliges. They’ve been informed by Tad (David W. Thompson), a promoter and music reporter who owes them one for stiffing them, that the club is run by neo Nazis. They just didn’t know they would stumble upon a murder right after the show. Once the scene has been seen, it can’t be undone, and there can’t be witnesses. Which means the group has to play a game of wits and survival with the club owner, Darcy (Patrick Stewart).
The casting in this film is perfect. I couldn’t imagine anyone else in the role of Darcy, and Stewart’s years of experience gives the film a dangerous villain who never raises his voice. Yet, it’s not a film where Stewart’s presence saves the film, it only enhances and fortifies an already solidly casted movie. Each member of the band is a fully realized character that has a moment to shine. The same can be said about the skinheads as well.
Always a master of Pace, Saulnier knows how to build a scene, let it breathe and then shake things up a bit. Once the group is locked into the green room, the film is extremely tense until the end, but Saulnier is kind enough to intercut dark humor and moments to relax between violence. I was extremely pleased with everything prior to the murder discovery. Each scene was tightly edited by Julia Bloch and advanced the story with no room for fluff.
As with any group survival film, not everyone will make it to the end. Getting to the end is a huge adrenaline rush though! In a film where the protagonists are forced to face their mortality, Green Room finds plenty of human moments and jokes that will turn this into a cult classic.
Rating: A-
"Captain America: Civil War" Review
The world entered the Marvel Cinematic Universe (MCU) with 2008’s Ironman. Eight years later the MCU enters phase three with its latest installment, Captain America: Civil War. Believe me, the eight years you’ve devoted to following the MCU is well worth the culmination and seamless integration of characters, emotion, and action in this film!
Over the years some people have criticized the explosions and destruction in these films. Captain America: Civil War addresses the issue head on. It raises the ethical and moral questions of “what innocent collateral cost comes with superhero protection?” and “who watches the watchers?” in a way that Batman vs. Superman attempted to, but does a far superior job. After a mission with the Avengers stopping mercenaries from executing a terrorist plot ends with the loss of innocent lives, the United Nations steps in to put the team in check.
The UN draws up a huge document called the Accords that will stand as a law for super humans and those with powers to abide by. This sparks a rift between the Avengers in which they are forced to choose sides. While Captain America (Chris Evans) thinks there has to be another way, Iron Man (Robert Downey Jr.) thinks that being governed and held accountable makes sense. While this perspective seems unnatural for these characters (you might think it should be switched) it works well and makes for great conflict both internally and externally with our heroes!
While the team takes sides, a mysterious enemy named Zemo (Daniel Bruhl) creates problems that they must deal with. But with a rift in the team on how to handle situations, it becomes a squabble on numerous levels! The squabbling is awesome to watch! The action sequences are phenomenal. We get to see each character’s power used in ways that highlight their skill and supplement the team fights. There are so many scenes in which directors Andrew and Joe Russo let the action happen in front of the camera (don’t worry, you can follow the action on this, unlike the Avengers: Age of Ultron) in beautiful choreography between the two. One chase scene through a market feels like a verite documentary as the camera tries to keep up.
This installment introduces us to T’Challa aka Black Panther (Chadwick Boseman) and Peter Parker aka Spider-Man (Tom Holland). Both characters are introduced effortlessly and are showcased well! Holland may be the best Spider-Man to date (including Toby Macquire) in my opinion. Writers Christopher Markus and Stephen McFeely nailed Spidey’s trade humor, verboseness, and youthful energy. I can’t wait to see Boseman in his solo film in 2018! Ant-Man (Paul Rudd) made his entry into the MCU last year with Ant-Man, and we finally get to see him interact with the Avengers on a larger scale!
Captain America: Civil War fires on all cylinders, and is certainly the film to see this weekend! Save your money though, and see it in 2D. I saw it in IMAX 3D and it did nothing to enhance the film. Nonetheless, once again, Marvel reigns supreme!
Rating: A-
"The Jungle Book" Review
Lately, Disney seems to be rooting through its vault to find classics to remake into big-budget, live-action blockbusters. They stumbled early on with misfires like Alice in Wonderland and Maleficent, but they finally recaptured that Disney magic with last year’s Cinderella. And with live-action adaptations of Pete’s Dragon, Beauty and the Beast, Dumbo, and Peter Pan mapped out as far as 2020, it looks like we’re going to be stuck with this trend for a very long time.
Which won’t be a bad thing if these upcoming projects turn out to be even half as good as The Jungle Book.
This movie rocks. It freaking rocks!
Director Jon Favreau, who brought his proficiently crowd-pleasing sensibilities to such films as Iron Man and Cowboys and Aliens, knocks it out of the park once again here. He simply gets it. He gets what goes into making an effective film: a simple story, well-drawn characters, visual pizazz, and most importantly, heart. The Jungle Book does something that few movies nowadays are able to do: inspire wonder in its audience.
The story concerns a young human boy, Mowgli (Neel Sethi, destined to be a big star), who is abandoned in the jungle and raised by wolves. When a vicious tiger named Shere Khan (a menacing Idris Elba) threatens his life, Mowgli is forced to leave the jungle with the help of stern panther Bagheera (Sir Ben Kingsley) and lazy but lovable bear Baloo (Bill Murray).
While it may sound familiar, this new version manages to pay loving tribute to both the Rudyard Kipling stories as well as the 1967 animated Disney film, while integrating certain elements from each in its own distinct narrative direction. However, like the other incarnations before it, this new version is quite episodic in its structure, with Mowgli wandering from one unrelated set piece to the next.
So while the story itself is pretty conventional fare, it’s how the story is told that is the crucial element, and it’s what Favreau and company get so right. The Jungle Book has it all. There is humor, most of it coming from Murray’s quippy asides. There are valuable morals about right and wrong, facing one’s fears, and the importance of family. And there is spectacle—from a hair-raising stampede to a trippy sequence involving the seductive snake Kaa (Scarlett Johansson), to an exciting and scary chase with the towering orangutan King Louie (the great Christopher Walken).
It cannot be understated how fantastic these sequences look. The visual effects featured here are pushing the boundaries of what can be done with visual effects. All one has to do is spend but a moment in the world of the film to be completely immersed in it. With state-of-the-art digital technology, viewers are transported to a jungle so tactile it’s easy to forget that it was shot on a soundstage with a green-screen backdrop. Here, they meet animals so lifelike it’s easy to forget that they were all rendered on someone’s computer. The illusion that these are real, flesh-and-blood animals is never broken. Not even when they break out into classic tunes like “The Bare Necessities” and “I Wanna Be Like You.”
There are many more remarkable things about The Jungle Book, but I recommend you go see the film to find out what they are for yourself. Bring the kids. See it on the biggest screen possible. And prepare to be taken on an exciting, imaginative journey.
Darn you, Disney. You’ve done it again.
Grade: A-
"Demolition" Review
Jake Gyllenhaal spends much of Demolition smashing things into tiny pieces with a hammer. I envied him. It’s what I wish I could have done to this film.
Demolition is a horrible movie about horrible people doing horrible things. In it, Gyllenhaal plays Davis Mitchell, a sociopath-slash-investment banker who watches his wife Julia (Heather Lind in a thankless role) die in a tragic car accident. Naturally, Davis’ next step is to reveal the private details of his loveless marriage, Julia’s death, and his whole life story in a series of complaint letters to a vending company after his Peanut M&M’s get stuck in the hospital vending machine. Yes, it’s really that contrived.
Karen Moreno (Naomi Watts, whose talents are completely wasted) is the woman reading these letters. She’s a sociopath-slash-customer service representative who takes pity upon Davis and begins to stalk him around town. Eventually the two meet, form a bond of some sort, and Davis learns to cope with the death of his wife by smashing his refrigerator full of San Pellegrino and Vita Coco with a large hammer. Or something.
The film is desperate to correlate this imagery of broken walls, furniture, and appliances with its message: that sometimes life needs to be broken down before it can be built back up again. A noble sentiment, but does it require symbolism that’s as subtle as a bulldozer driving through a house? Can’t the point be conveyed without having Davis literally drive a bulldozer through the luxurious modern home that he and his wife used to share?
This protagonist is toxic, hateful, and approximately a thousand times creepier than Gyllenhaal’s character in Nightcrawler (2014). Throughout the film, Davis lies to people, spies on people, manipulates people, belittles people, and generally acts like a selfish asshole. He impulsively destroys others’ property. He’s frigid and rude to his grieving in-laws (Chris Cooper and Polly Draper). He ignores his wife while she’s alive, and insults her memory when she’s dead.
I could go on and on, but I’ll let the MPAA’s R rating “for disturbing behavior” speak for itself. Needless to say, this abhorrent character made the act of watching the film extremely unpleasant. This is despite a fantastically committed performance by Gyllenhaal, who continually proves to be one of his generation’s greatest talents, and is far and away the best thing about the film.
The director, Jean-Marc Vallée (Dallas Buyers Club, Wild) attempts to give the limp, aimless story some kind of energy by stuffing the film with rock tunes, shaking the camera about, and employing some flashy, artsy editing flourishes. But these techniques can’t mask the falseness of writer Bryan Sipe’s script, which is flawed at its very core. Davis didn’t love his wife. He didn’t even like her very much. We know this because he writes it in one of his letters to Karen. So why is he acting out this way? It’s certainly not out of grief or despair. Thus, if the central conflict doesn’t make any sense, why should we as an audience care?
If one were to take a wrecking ball to Demolition and rebuild it from the ground up, it would be possible to create a powerful, sturdy foundation. But, despite the best efforts of Gyllenhaal, Watts, Cooper, and bright newcomer Judah Lewis as Karen’s rebellious teenage son, it’s a hollow shell of a film.
Grade: D+
"Batman V Superman: Dawn of Justice" Review: Little Brother Fights Back
Batman V Superman: Dawn of Justice had a lot riding on it. Forget the hardcore fanboys’ opinions, huge budget, and bringing major DC characters together on the big screen for the first time in this generation. If DC didn’t get this film right, it could have sunk the franchise. Period. With this installment, director Zack Snyder and the crew give us a very entertaining gateway into the next chapter of DC super hero cinema.
As to stay away from spoilers, let’s establish the rules of this review. I’ll keep it inside the lines of a few things: 1) nothing you haven’t seen outside of the trailers, 2) nothing you can’t deduce from the title, and 3) I will only paint pictures that color the cinema techniques in the film. Fair enough?
From the start you know that the film is in the hands of a visual director. Snyder has a distinct way of telling the story with the frame and dark palette cinematography. After a brief Bruce Wayne origin sequence, the film picks up with the title “Mankind is Introduced to The Superman”. We see what was going on from Bruce Wayne’s (Ben Affleck) perspective during the massive fight between Superman (Henry Cavill) and General Zod (Michael Shannon) from Man of Steel. It’s an incredible sequence that answers the question of “what was happening on the ground during the fight between these two super beings?” It immediately sets the stakes for the film. Is Superman someone that humans can trust, and with so much power, how can we keep him in check?
After the showdown in Metropolis, Bruce develops a grudge against the seemingly unstoppable alien. He spends time preparing to fight Superman, which obviously entails him having a level playing field because head to head there is no match. Jesse Eisenberg is introduced as Lex Luthor, and Eisenberg’s signature tics and fast talking antics from characters past really works for this Lex Luthor. He’s crafted an entitled, insecure, brilliant, low key maniac with just enough swag that for me worked well. Luthor’s money and intelligence allows him to have a pulse on what’s really going on in the world and gives him the power to influence it as he sees fit.
A large part of seeing Batman V Superman is not wondering what the outcome will be, but what will things look like? Is Affleck a good Batman. Yes. There is no point in which I didn’t think he was Batman or an older Bruce Wayne for that matter. When he’s in a scene with Cavill, you know who the seasoned actor is. Is Gal Gadot a good Wonder Woman? She fits in the film as it needs her, and when it does, she does a good job. Her introduction to this world felt a little clunky and forced, but seeing her fight...I look forward to future films (perhaps more so to see Wonder Woman’s powers more than Gadot’s acting). Overall, the acting in this film as a collective is solid.
The movie works really hard to engage your senses and thrust you into a cinematic experience. The weight of objects are seen visually, and heard aurally on an extremely detailed level. The sound and effects departments deserve a round of applause. One of the best sequences in which you can appreciate this is watching the batmobile tear through the streets, buildings, other cars, and then get tossed like a toy car when it runs into Superman. It’s a set up you know is coming (from the trailer) but works to show Superman’s power and strength. Let’s not leave out the amazing score from Hans Zimmer (my favorite film composer of all time) and Junkie XL! The score is its own character and pushes the story forward in all the right ways.
Batman V Superman has its issues. In fact, the film builds up to the ultimate showdown so well that once it gets there things get a bit awkward. In some ways it's like writers Chris Terrio and David S. Goyer had the beats they wanted to get to in the story outline but couldn't make smooth transitions between major plot points. However, it delivers on the spectacle that you want to see! For a team up film, everything comes together as it should, and sets us up for an entry of more characters in this world. It’s hard to bake the best cake ever, but the film is very tasty and satisfying! Will DC take the reigns from Marvel in the box office now? No. But little brother just got a good lick in that the rest of the world has to give him props for! I’d pay to see it a couple more times!
Rating: C+
"Allegiant" Review
“Stop. Put your pencils down. Close your test book.” That’s what the teachers used to say to us at the end of a big test. All I needed to see was five minutes of Allegiant before I wanted to tell the screenwriters, check writers, studio execs, and anyone else who can get another Divergent Series movie created to “Stop! Put your pencils down. Don’t make another one of these!”
Tris (Shailene Woodley), her boyfriend Four (Theo James), best friend Christina (Zoe Kravitz), brother Caleb (Ansel Elgort), and flip flop peer Peter (Miles Teller) are ready to see what’s on the other side of the wall this time. So they venture out against the orders of Evelyn (Naomi Watts), who took over as Chicago’s leader after the last film, Insurgent. It takes the usual outfoxing to get to the wall, but thank goodness for the genius that is Tris.
The problem (among many) with Allegiant is that it recycles themes from its previous films. As the world of Tris and her friends opens to a new and unknown world outside the wall of Chicago, we’re simply introduced to a new society that has separated people into categories: pure vs. damaged. The film does a terrible job of explaining why some people are damaged and other people are pure. I tried to pay attention, but it was a quite convoluted exposition monologue given by David (Jeff Daniels), the new leader of the new world. What was made clear, was that Tris holds the key to cracking into the pure human genome. Unfortunately, in this franchise, Tris is a poorly written heroine who seems to step up only after everyone around her has done the work needed to let her step on their backs. It’s a boring watch.
The only intriguing part of Allegiant is its images. The environments and architecture are beautiful. The invented technology in the film is unique and gives a vision for our world’s future tech. It’s sad that it’s all used on a film with little story crammed into two hours of something we’ve seen before. In short, Tris and the gang have jumped out of the pot and into the fire. They have a new “villain” to take down with the same old issues to fix.
Unless you’re a fanatic of the series, please save your money and don’t go to the theaters to see this film. The creators didn’t spend time putting something fresh and coherent together, and thus you shouldn’t spend your time and money viewing it. I’d fall asleep watching it on Netflix if I were you.
Rating: F
"Triple 9" Review
“Triple 9” is an adrenaline rush from start to ten minutes from the finish! That’s not necessarily a bad thing. It just means that this cop procedural, heist film with an all-star cast fell short of a homerun.
The film starts off at the beginning of a heist by a five man crew comprised of cops and former military: Michael Atwood (Chiwetel Ejiofor), Marcus Belmont (Anthony Mackie), Russell Welch (Norman Reedus), Gabe Welch (Aaron Paul), and Franco Rodriguez (Clifton Collins Jr.). By all means, it’s not a new way of kicking off a film, but the performances of the cast draw you in to their situation. As things take an unexpected turn, they have to adapt, showing their skills and technical precision.
We soon learn that Atwood has ties to the Russian mob in the form of his son’s mother Elena (Gal Gadot). Elena’s sister, Irina (Kate Winslet), runs the mob outfit while her husband is in prison. Irina has ice in her veins. She lures Atwood in for one more heist by hurting someone close to him and insinuating it could happen to his son. Atwood feels that the only way to pull off the heist is to create a 999, cop code for “officer down”, which will draw out all the cops in the city in response. Enter Chris Allen (Casey Affleck), Belmont’s new partner, and just the mark they need.
The film has a stellar cast, who truly do great work with the script they were provided. Director John Hillcoat immerses the viewer in the streets of Atlanta and creates a steady tension and sense of urgency throughout the film. The settings are gritty, the gang members don’t seem to be comprised of actors, and that realism makes the film that much more suspenseful.
“Triple 9” suffers from two big issues: the plot is overly complicated, and the film has no likeable characters except for Affleck’s Allen. It’s like watching three card monte; there are so many storylines to follow that if you check a text message in the midst of the film you may be confused as to what’s going on. Everyone is flawed and dirty accept Allen. Which makes it hard to root for any of the main characters.
It’s a shame that all the drama and tension leads up to an unsatisfying ending. It feels as though writer Matt Cook had to finish the film under deadline and decided to try to wrap things up quickly and cut off loose ends. But in a film where everyone’s dirty, a nicely tied ribbon on the end just doesn’t make sense or do the film and its cast justice.
Rating: C
"London Has Fallen" Review
You go to see London Has Fallen in the theater for two simple reasons: destruction and survival. How is London going to be destroyed? What does that look like on the big screen? Will our heroes survive, and if so, how? Outside of that, why else would you see a film that’s been done before but with different characters? Let’s talk about it.
In the sequel to Olympus Has Fallen, Gerard Butler is back as Mike Banning, a secret service agent assigned to President Benjamin Asher (Aaron Eckhart). After the funeral of the British Prime Minister brings the world’s leaders to London, a massive strike against them all takes everyone out, accept the president of the United States. With a target on the president’s head, terrorist Aamir Barkawi (Alon Aboutboul) and his son Kamran (Waleed Zuaiter) send all of their goons after Banning and Asher to insure their vengeance on behalf of their dead loved one is carried out.
So now you know the plot of the film. As far as the destruction of buildings, guns and weapons, it all looks good and sounds even better. London is really just a survive the night film, set predominately during the day. It has everything you need to get sucked in and believe the locations, weapons and technology.
What you won’t believe is that Banning is the only person in this cinematic world who can shoot and hit their target every time while managing to dodge every bullet and RGP sent his way. You won’t believe that the world leaders are always a couple steps behind Banning’s intellect, and have no clue what’s going on most of the film. Even President Asher seems more like a boy following his father for protection. You would think he learned how to hold a gun and fight since the last incident. As long as you suspend your disbelief for the film’s 99 minute run time, you’ll enjoy this bullet ridden, action thriller!
London Has Fallen looks like a flawless game of Call of Duty! Seriously, there is an awesome one take in which Banning and British Forces push down a street corridor guns blazing. It’s beautifully shot and executed, and would likely be where Call of Duty gets inspiration from when they turn the game into a feature film. Or maybe it was the reverse? I have to give it up for the banter in the film. Butler and Eckhart sell the Die Hard reminiscent lines and create nice buddy action chemistry on screen.
Save your money, and watch the film when it comes on Netflix. If you like action films where the main character’s bullets don’t miss and they pop off witty one liners, then this one is for you! The only question is, which city will this franchise destroy next?
Rating: C-
"Zootopia" Review
Never has the release of an animated film seemed quite so fortuitous. Consider the news headlines of police officers’ abuse of their power, the #BlackLivesMatter movement, and the discussion of prejudice and discrimination in our workforce and entertainment industry. Now consider the fact that Disney’s 55th animated feature, Zootopia, deals with all of these themes.
Yes. There lie important lessons about stereotypes, diversity, discrimination, and acceptance in what is effectively a children’s film. This is a big deal, especially in our current socio-political climate. But the timeliness and awareness of the film aside, the question remains: “Yeah, but is it any good?”
Yeah, it’s pretty good.
The almighty and all-powerful Walt Disney Company™ has been on a roll of hit animated films in the last few years, treating us to the creativity of Wreck-It Ralph, the marketability of Frozen, and the heart of Big Hero 6. So when trailers for Zootopia began to emerge, so too did the terrifying specter of Disney’s own 2006 monstrosity Chicken Little, which also featured anthropomorphic animals living together in harmony.
So praise be to the movie gods! Zootopia is not as smug nor as cynical as that slice of hot garbage. Instead, it’s exceedingly funny, often touching, and most of all, meaningful in a way that the aforementioned films are not. It deals with the here and the now—what is going on the world right at this very moment.
The story involves a spunky and optimistic rabbit named Judy Hopps (Ginnifer Goodwin), who leaves her small-town carrot farm for the big city of Zootopia to become a police officer. But when she arrives on the force, she discovers that her diminutive stature and cuddly appearance make her the subject of ridicule and prejudice among her fellow officers. Determined to prove herself, Officer Hopps tackles a disappearance case with the help of an unlikely partner—a sly, slick-talking fox named Nick Wilde (Jason Bateman).
For a majority of its surprisingly lengthy runtime (nearly two hours—rare for an animated film), Zootopia plays out like a police procedural. The film’s structure is fast and loose, as Nick and Officer Hopps traverse from one colorful location to the next, frantically in search of the next clue before it’s too late. This leads them to several amusing set pieces that rely mostly on animal-related puns, such as a DMV run entirely by sloths. As expected, this is all very charming.
But what may be less expected is how much underlying heart there is to this story, and it’s entirely to do with the relationship between Nick and Officer Hopps. These are fleshed-out and believable characters with strengths, weaknesses, and all of the facets in between. As we spend more time with them, the layers of their characters peel back, and we find deeper layers. They grow, change, and develop, almost as characters in a movie should do.
(Semi-Spoiler Alert: Skip to the last paragraph to miss a small gripe with the plot.)
Though its pros far outweigh its cons, Zootopia does have some detriments, the most glaring being the inclusion of the “twist villain.” The third-act reveal of a previously innocuous character as the “bad guy” is a plot contrivance that Disney has relied on for their last four features, and it’s getting a bit stale. In addition, there are a couple self-aware jokes that have no business being in this film, including a reference to Frozen that is so forced, it prompted an audible “Ughhh” from this reviewer.
Otherwise, Zootopia is a film that is not only charming, witty, heartwarming, and family-friendly—it’s important. It’s “woke,” as the kids say these days. It uses a seemingly simple story about cute animals as a vessel to relay deeper motivations and wise social commentary. And in a world that’s tumultuous, scary, and confusing, kids need movies like Zootopia. As Officer Hopps says, “No matter what type of animal you are, change starts with you. Change starts with me. Change starts with all of us.” That’s a powerful message for any film to convey, let alone one starring a talking bunny.
Rating: A-
Directed by Byron Howard (“Tangled,” “Bolt”) and Rich Moore (“Wreck-It Ralph,” “The Simpsons”), co-directed by Jared Bush (“Penn Zero: Part-Time Hero”), and produced by Clark Spencer (“Wreck-It Ralph”), Walt Disney Animation Studios’ comedy-adventure “Zootopia” opens in theaters on March 4, 2016.
Super Hero Films Won't Be The Same: "Deadpool" Review
Burnt butt naked fighting, a nude sex scene, and enough f-bombs to flatten New York. The latest installment in Fox Studio's X-men Universe has certainly taken things to a whole new realm in its world and ours. Super hero movies now have an option of fun for the whole family or 17 and up only thanks to Deadpool. So since they’ve taken it there, did they get it right?
I’ll be the first to admit that I’m no comic book fanboy. I’m a film head, but I love talking with my fanboy friends about the accuracy of the movie versus the comic book. When it comes to the tone of the film directed by Tim Miller, Deadpool certainly has its own. From the opening credits, rather than seeing actors’ names we see “A Hot Chick”, “British Villain”, or “A Gratuitous Cameo”. So, yes, the film is on point tonally as it plays with credits, the fourth wall, our sense of what a super hero movie should be, and knowing itself.
The film starts out in the middle of an action sequence on a high rise bridge with Deadpool (Ryan Reynolds) in the midst of taking out bad guys. He quickly makes us aware of his awareness of our presence by talking into the camera and takes us back to when he was just Wade Wilson, a former Special Forces operative turned mercenary, who spent his time intimidating people for money. He’s the anti-hero we can get behind because we see him putting pressure on a teenage pizza boy who’s stalking a female classmate. The first half of the film intercuts between the present day fight and Deadpool’s backstory.
Surprisingly in a world full of sarcastic humor and quick whit, the film does have an emotional heart. As Deadpool constantly reminds us, his film is a love story. After meeting Vanessa (Morena Baccarin), a woman who is every bit his equal verbally and mentally, he learns that he has terminal cancer. Rather than letting her watch him die, Wade leaves under the cloak of night to become a part of a government program that will cure him and give him super powers...after they torture him for months to awaken his mutant gene.
Once he is able to escape, Wade vows to get revenge on the people who left him with deformed skin and the ability to rapidly heal from anything (which is kind of ironic in itself). His enemies have names, Francis (Ed Skrein) who has no physical feeling due to lost nerves and Angel Dust (Gina Carano) who is a super strong woman. Deadpool desires to tell Vanessa he’s still alive but believes his disfigurement is so bad a mother wouldn’t even love him so he vows to stay away. Yet, your worst enemy and the love of your life have to meet at some point in a super hero film right?
Deadpool almost feels like a sitcom at times, throwing out jokes every thirty seconds. The likelihood of each joke sticking is slim, unless you like sophomoric humor, but many of them work. We’re constantly reminded that we’re in a world comprised from other films with Deadpool making jokes about Green Lantern, the Blade franchise, and Wolverine (all films in which Reynolds was in). As Deadpool is visited by Colossus (Stefan Kapicic) and Negasonic Teenage Warhead (Brianna Hildebrand), two X-men in the film, Deadpool manages to get off an excellent comment about how large their mansion is but we only see the two of them as though the studio couldn’t pay for more characters to be in the movie. The combination of developing Deadpool’s tender heart beneath all of the jokes, the love between Wade and Vanessa that is certainly all their own, and being pummeled with well thought out humor (outside of potty jokes) makes Deadpool work as a stand alone film/character.
As Marvel movies continues to grow (no matter the studio it comes from), an occasional off-beat character serves well for two reasons: it gives audiences a break from the major tent pole characters, and allows the studios to bring in new characters down the road. Deadpool is definitely an original and fresh character that I probably would have rather spent an hour and a half with rather than its almost two hour running time. However, for a fresh face every few years, I don’t see him going anywhere anytime soon! Just remember parents with kids under 17, this film is rated R for a reason!
Rating: B-
"Kung Fu Panda 3" Review
There’s no doubt that you make it to a third film in a franchise by either having great content or creating a film for cheap but getting large profit margins these days. Dream Works Animation’s Kung Fu Panda 3 (KFP3) has certainly made it here by the former. However, is the third time a charm?
Jack Black lends his voice again as Po, the bumbling but lovable panda. The old crew is still with him: Angelina Jolie as Tigress, Seth Rogen as Mantis, Lucy Liu as Viper, Jackie Chan as Monkey and Dustin Hoffman as Master Shifu. Yet, in this installment, Po is on his way to becoming the Dragon Warrior. As if the journey for the student becoming the master wasn’t enough for Po, his long lost father Li (Bryan Cranston) comes on the scene to further distract him.
While Po reunites with his family (introducing us to new, memorable pandas), an old enemy from the spirit world, Kai (J.K. Simmons) has found a way to return to the mortal world by stealing other master’s chi. As Kai begins to defeat the Kung Fu Masters in China, he accumulates their chi in the form of jade miniatures of each master that he can wear on his belt. The jade miniature animations sound and look so real. The need for Po to ascend to the Dragon Warrior he’s supposed to be is even more pertinent.
With KFP3 you get the same incredible animated visuals you’ve come to expect, but the story doesn’t feel as fresh this time around. The film plays out in a way that feels more convenient to storytelling rather than exciting and integral. As Po unites with his father, tension arises between his bio dad and step dad, Mr. Ping (James Hong). As if finding his family wasn’t enough, Po also has to deal with pleasing the family he’s always known versus his new found relatives. Unfortunately, it feels almost negligent on Po’s part that he deals with his family issues while his comrades are loosing their “lives”.
By the end of the film we see Po’s growth and ascension into the role of Dragon Warrior with a message of “be yourself” that’s worthwhile for children of all ages. The animation in the film is top notch. While Po has a satisfying character arch and growth in the film, the furious five (Tigress, Mantis, Viper, Monkey, Master Shifu) are virtually silenced. Regardless, my 3 year old loved it, and I’m sure any child under the age of 13 will love the film too!
Rating: B-
"Alvin and The Chipmunks: The Road Chip" Review
Alvin and the Chipmunks: The Road Chip is classic chipmunks with a bit of heart. Sure, it's sappy and somewhat unoriginal, but it has its moments. It’s certainly not for adult viewing alone, but it’s definitely a good choice for a movie with the kids this weekend!
How does any Chipmunks episode, or movie start? With Alvin (Justin Long) doing something to pull everyone else into trouble and adventure. This time Alvin thinks Dave (Jason Lee) is going to propose to his new girlfriend (Kimberly Williams-Paisley) after seeing Dave put a ring in his bag before leaving for Miami on business. Of course, Simon (Matthew Gray Gubler) and Theodore (Jesse McCartney) are convinced they have to help Alvin stop Dave from proposing, especially since the marriage would mean that they would be step brothers with Miles (Josh Green).
Miles is a bully, and he bullies the chipmunks behind Dave and his mother’s back. Since Miles grew up with out a father, he has a chip (no pun intended) on his shoulder and feels that he doesn’t need one in the form of Dave. With a mutual desire, the chipmunks and Miles come together long enough to take a road trip to Miami to thwart the proposal.
This is one of those children’s films that have the adults acting like children and children like adults. If you’re like me, and watch the tv show with your kids you’re quite accustomed to it. However, with an addition like Tony Hale (Arrested Development) playing Agent Suggs, the air marshal hot on the trail to get the chipmunks after an incident in the sky grounds them, that makes this imaginary world where chipmunks talk quite fun. With Hale, you get a genuine man-child performance that is pretty hilarious. Hale brings impressive physical comic relief to the film, making it fun for adults who may have enjoyed him as Buster in Arrested Development.
“Road Chip” certainly delivers on toe-tapping songs at every stop along the way. Whether in the French Quarters of New Orleans or a party in Miami, the chipmunks know how to have a good time. Your kids will certainly have fun and if you don’t go in expecting much, you just might too!
Rating: C
"The Big Short" review
Every now and again it happens, a film receives a nomination before it is released to the general public. If you’re like me, these early nominations work as a major thumbs up — a sign that this is a can’t miss film. The Big Short is one of those films. So far, it has nominations from the Screen Actors Guild, Critics’ Choice and the Golden Globes. And notably, the film’s nominations are quite diverse with nods for the screenplay, individual performances and editing. If the race to the Oscars is your thing, then The Big Short needs to be added to your weekend to-do list. This fresh and funny film is absolutely one to watch.
Based on the book by the same name, The Big Short is the story of a group of financial misfits who catch wind of the housing collapse several years before everything comes tumbling down. Things start out innocently with Michael Burry (Christian Bale), a fund manager and top-notch numbers guy. After noticing a trend in thousands and thousands of housing bonds — the loans comprising the bonds are all primed to default around the same time — Burry decides to gamble against the big banks, and more importantly, the always stable housing market. It’s a bold move and slowly a small group of other financiers grab on to the idea. They’re going to short the housing market and it’s an idea that could earn them millions.
As a lady, one of the first noteworthy pieces to The Big Short is its cast. It is as if director Adam McKay decided to fill his film like a well-stocked fishing farm of beautiful, funny men. To name a few: Christian Bale, Brad Pitt, Steve Carell, Ryan Gosling, Finn Wittrock, Hamish Linklater...hold on I need to take a breath, but I think you get the point. Typically, well-stocked ensemble casts like this one are a gimmick, an easy way to get a lot of people into the theater. However, for this film the performances demand these performers. The way in which they play off of one another takes the comedy to a whole other level and turns the almost non-stop dialogue into a sharp sparring match between friends, making this cast an absolute pleasure to watch.
Another can’t-miss aspect to this film is seemingly everything else that makes a film fun to watch? The film was shot and edited in an almost erratic mockumentary fashion. As the story moves along, the financial risks become bigger layers and layers of big bank BS become more obvious. Simultaneously, the aesthetics of the film match your steadily growing heart rate. The live camera edits, rapid-fire b-roll and pop-heavy soundtrack create the perfect build-up to the eventual housing collapse. As an audience member you almost breathe a sigh of relief as the financial world comes crashing down. Your heart rates slows and you realize you’re actually somewhat relieved that housing market bubble has finally burst.
It seems unfair to compare The Big Short to The Wolf of Wall Street, but the similarities are worth noting. Like Wolf of Wall Street, The Big Short is a comedy taking on a harsh truth. Deceptive banking practices are not inherently a fun topic, but with the right touch, the subject can be commented on in a way that is both entertaining and educational. The Big Short accomplishes this and I am excited to see which trophies it will walk away with this awards season.
Rating: A
"Star Wars: The Force Awakens" Review
I wasn’t alive when the original Star Wars hit the big screen. I saw them all on VHS though! I was alive and in the theater when all of the episodes that will not be mentioned hit the big screen. *crickets* With the release of Star Wars: The Force Awakens I finally know what it’s like to sit through a good, entertaining, albeit safe, Star Wars film installment in the theater!
Picking up 30 years after the last film, there is only one jedi left in the universe and he hasn’t been seen for decades. The First Order (basically the super power remanence of Darth Vader’s evil empire) is seeking to hunt down Luke Skywalker to kill him and secure an uneven balance to the force. The Order is led by Supreme Leader Snoke (Andy Serkis) and his all powerful apprentice Kylo Ren (Adam Driver). After receiving a portion of a map to where Skywalker is located, Poe Dameron (Oscar Isaac), the most skilled fighter pilot in The Resistance, manages to hide it in his BB-8 (the upgraded, rolling R2-D2) just as the First Order invades planet Jakku.
With that, BB-8 becomes the most sought after droid in the galaxy! We’re introduced to ex-storm trooper Finn (John Boyega) and scavenger Rey (Daisy Ridley), who both want to protect the hot potato that is BB-8. As they take action to do so, they run into Han Solo (Harrison Ford) and Chewy (Peter Mayhew). It’s a smart move. By having the new characters link up with the old, a mentorship occurs on screen and at a franchise level, guiding it back to the original, fun and playful spirit of the films of old.
The script is very tight, moves quickly, and wastes no space. In fact, all of the above probably gets things under way within the first fifteen minutes. The rest of the space adventure follows that of "The Hero’s Journey" to the letter, introducing us to old friends and new ones.
It’s obvious that co-writer/director JJ Abrams absolutely loves and respects the franchise. His direction honors the past, and charts a way for the future. Yet in his adoration, he doesn’t step too far out of the box to create something fresh. The film, while updated from a technology point of view, is predictable at times, borrowing old themes and plot points. That being said, it is a gorgeous film and well directed.
For instance, in a scene near the climax, a hangar door opens high above a walkway, illuminating the walkway below and the characters facing each other on it. In a wide shot, most of the space in the frame is dark except for the light streaming through the door, down onto the walkway. It’s an epic frame that gives a moment for the audience to take in the emotional gravity of the scene. Abrams allows plenty of moments like this throughout the film, guiding us through the roller coaster of feelings of wonder and adventure that Star Wars of old used to give.
While most of the ensemble is well casted, Adam Driver is a sore spot. As long as Kylo Ren keeps his mask on, he’s a ferocious beast. Any time Driver’s face is on screen, you can expect the scene to slow down. Outside of that, even the bit characters do their thing!
Star Wars: The Force Awakens will renew your faith in the franchise! Not only that, it gives a little fuel to your faith in movies, because it is an experience. From the buzz leading up to this film, the chatter you hear while purchasing your popcorn, to the John Williams score blasting in the opening frame, the film entertains! It’s probably worth standing in line this weekend if you don’t want to hear spoilers, but a must see in theaters!
Rating: B+
"Creed" Review: Embracing the Legacy while Charting New Territory
When I was a kid I used to watch Rocky on VHS over and over until the tape wore out. I would work out with Rocky during the training montages in Rocky IV, and I could probably still quote not just the dialogue, but the sound effects in the fights and montages as well. So when it comes to Creed, I know that I’m not alone in thinking that the new film has to stand on it’s own, while honoring the past. Folks, the torch has been passed, and Creed goes the distance!
Michael B. Jordan is Adonis “Donny” Johnson, son of the late champ Apollo Creed (Carl Weathers). While he never met his father, fighting is in his blood. Whether fighting other kids in foster homes, juvenile detention, or fighting the feeling of illegitimacy, Donny’s life starts out on a fast track to nowhere. His father’s widow, Mary Anne (Phylicia Rashad), steps in and helps save him from the system.
While his new life trajectory puts him in a more affluent position, his thirst to fight is still unquenched. Fighting underground in Mexico on occasional weekends, Donny wants to take a real stab at professional boxing in the States but no one will train him. He turns to Philadelphia, to find Rocky (Sylvester Stallone), hoping to find not just a trainer but perhaps answers to questions about his father from the Italian Stallion as well.
From there, the story writes itself, following the underdog layout of films before with themes of determination, romance, struggle, and the will to overcome against odds. This new story is told beautifully however, and performed by a skilled cast. Sylvester Stallone has lived with the character he penned for over three decades now and it shows in his performance. The history of Rocky is on his face, and the relationships he’s had and lost (Apollo, Adrian (Talia Shire), Paulie (Burt Young)) can be heard in his speech. Michael B. Jordan gives an absolutely stellar show as Adonis. Both his physical transformation and his internal struggle as Donny, blend together to create a genuine character that the audience can get behind.
Coming off of Fruitvale Station, co-writer/director Ryan Coogler understands how to boil down a big story to an intimate character drama. With the weight of the Rocky franchise, Creed could have been an epic story that’s all pomp and no heart. Instead, Coogler finds the root of the underdog theme of the franchise and creates beautiful character moments in an ultimately well crafted story.
Creed is a love letter to both the films of the past, and more importantly the essence of what has made the franchise endure in the hearts of fans globally for years! It won’t disappoint. So after you finish eating turkey and all the fixings, wake up and make sure you head out to the local theater for the main event!
Rating: A
"Secret in Their Eyes" Review
It’s hard acknowledging the appeal of murder mystery films. They tap into a dark, but ultimately curious side of their fans, and I admittedly will most likely always say yes to any crime related movie. Maybe it was a childhood fascination for the game Clue (and the film) or maybe it’s too many episodes of Law and Order, but there is something thrilling about watching the steps it takes to solve a crime. Secret in Their Eyes is the story of a heinous murder (cue Law and Order theme song), but it is not the murder mystery you might expect.
In 2002, post-911, counterterrorism was the name of the game — it was top priority. The film begins with a group of investigators tasked with fighting terrorism, and its domestic roots in Los Angeles. Their jobs and lives are forever changed when a call about a dead body, near a mosque under their surveillance, comes in. Their arrival to the scene is ordinary, but that quickly changes when one of the investigators realizes the body of the young woman in the dumpster belongs to Carolyn (Zoe Graham), the daughter of Jess (Julia Roberts), one of their team members.
Rather than focusing on evidence and clues, Secret in Their Eyes is a deeply personal look at the repercussions of the choices we do and do not make. Carolyn’s murder affected (and still affects) the whole team of investigators involved, and the film’s story revolves around each of the characters’ different attempts to either absolve themselves or simply get over the fact that the killer slipped through their fingers, despite their best efforts. The main crusader, Ray (Chiwetel Ejiofor), has spent the last 13 years working the crime after hours, obsessively combing databases for the killer’s current whereabouts. Then there is Claire (Nicole Kidman), a young lawyer when Carolyn was killed, who has worked her way to District Attorney while still haunted by the case. Even Jess seems to have pushed the dark days behind her, making her way to lead investigator. All of their best efforts to avoid the unsolved murder come to head when Ray announces that he has found the killer -- forcing everyone to dive back into the feelings they’ve run away from for over a decade. It’s an interesting approach for this kind of film, where one expects the majority of the time to be spent on street chases and DNA labs. Instead, the film is an ode to relationships and the mistakes we don’t realize we’ve made until it’s too late.
The downside to Secret in Their Eyes is it simply lacks the thrill of the expectations set by the trailer. For those looking for Kiss the Girls or The Bone Collector, this movie isn’t it. The pacing is slow and the crime is more of a backdrop, rather than a driving force. Julia Roberts delivers a notably visceral performance as a grieving mother — her ability to control even just minor movements in her body is both perplexing and commendable. Chiwetel Ejiofor gives a comfortable performance as a mission-driven man out to set things right. The duos acting chops would’ve been put to much better use within a more worthwhile story however. It’s not one worth spending money on folks, wait for the Netflix release.
Grade: C+
"The Hunger Games: Mockingjay- Part 2" Review
After a dramatic two hour trailer in Mockingjay- Part 1 that led up to this, The Hunger Games: Mockingjay- Part 2 is finally here. While it’s predecessor was more of a political thriller, the finale delivers more on action. Unfortunately, the film’s closing act may be appreciated by book fans but leave film fans clueless.
After being attacked by Peeta (Josh Hutcherson), Katniss (Jennifer Lawrence) is ready to kill President Snow (Donald Sutherland) with extreme prejudice. Of course, that’s perfectly fine for President Coin (Julianne Moore) who has plans to become the new voice of power once the smoke clears. Tired of the politics, staged “propos”, and being a puppet/symbol for the opposition, Katniss decides she’s not going to listen to Coin’s orders (no surprise there) to stay behind the danger zone and get into the Capitol to kill Snow by any means necessary.
With a hybrid elite crew of soldiers we know, and those that we’re just meeting, Katniss slowly moves toward the Capitol under the leadership of Boggs (Mahershala Ali), protection of Gale (Liam Hemsworth), and wildcard addition of Peeta. Getting to the Capitol will be no easy feat, as the blocks surrounding it are layered with traps straight from the games, they have to rely on a Playstation like controller to detect the traps that are mapped- and it’s an old map, leaving room for possible unknowns.
The fight to get to the Capitol is filled with action, and the occasional heartwarming conversation between soldiers willing to fight for one another, and the collective freedom of Panem. Unfortunately, there is a lot of allusion to the love triangle of Katniss, Peeta, and Gale that slows the film down. Rather than having a straight up conversation about it, Katniss fakes sleeping while the boys talk, Gale makes a comment about kissing Katniss being like kissing a drunk person, and other moments are made in a clear attempt to adapt the triangle from the novel to the screen. It’s cringeworthy.
Without giving anything away, once Katniss arrives at her destination, the film relies on the crutch it has seemed to be in a pattern of using. Something happens, Katniss wakes up, and everything is explained to us. It’s a poor way of storytelling that is undeserved for such an iconic female heroine that we’ve grown to love. Especially when the outcome would have been more earned and satisfying.
The ensemble amassed for the The Hunger Games series is quite impressive. Names like Jennifer Lawrence, Donald Sutherland, Julianne Moore, Philip Seymour Hoffman, Stanley Tucci, Woody Harrelson-- I could keep going but I think my point is made-- are a hollywood dream team. It’s part of the reason that for adults we’ve easily forgotten that the film is based off of Young Adult material. In that sense, it’s been a pleasure to watch. Unfortunately, Josh Hutcherson is out of his league, and in such a key role, brings down the film. While he’s had some growth over the past four films, he still looks like a fish out of water, and is a weak link that in retrospect should have been replaced.
The Hunger Games: Mockingjay- Part 2 is an action-packed, melodramatic bookend to a rather exciting series. Director Francis Lawrence deserves a lot of credit for making the world of Panem come to life. At no point do you feel like you’re watching a CG heavy film, but every setting feels real and every explosion has palpable weight, creating an immersive experience for the viewer. It’s just too bad that we get a final act away from the finish line, only to be tripped, and spoon fed an ending to a redefining genre film.
Rating: C+