"Jurassic World Rebirth: Enter At Your Own Risk"

Jurassic Park installations aren’t very innovative. Usually someone wants power, wealth and thinks they can achieve that by manipulating gigantic pre-historic creatures. There’s someone who has worked closely with the species or studied them heavily who gets pulled in to an adventure or nefarious task. There’s always the cool rebel who has street smarts and perhaps a military background. Probably most importantly, there’s some kid in the mix. Jurassic World Rebirth is the same formula, different mission, but still has elements of spectacle.

Probably the most interesting thing about this film is that it takes place in a world where people don’t care about dinosaurs anymore. They’re no longer flocked after by the masses in zoos or theme parks. In fact, they’re dying in climates outside of the equator. Rather than stay in a community where extinction is happening, Zora Bennet (Scarlett Johansson) is propositioned to go to a dangerous island where dinos are thriving to retrieve blood from some of the oldest dinosaurs to try to eradicate heart disease. The gun for hire is desperate for one last job that will allow her to retire, having spent most of her life on special ops, she’s the best person to lead the team being pulled together by pharmaceutical executive Martin Krebs (Rupert Friend). From there, they pull in Dr. Henry Loomis (Jonathan Bailey), Duncan Kincaid (Mahershala Ali), and some more rag tag mercenaries to round out the group. 

Simultaneously, a family is crossing the Atlantic in the middle of nowhere. In yet another place that writers Michael Chrichton and David Koepp miss the boat (hehe), this family dynamic is explained just enough for us to fill in the blanks on their current relationship but is barely developed over the course of the film. Reuben Delgado (Manuel Garcia-Rulfo) has his daughters, Teresa (Luna Blaise) and Isabella (Audrina Miranda) on this once in a lifetime trip. Teresa’s boyfriend, Xavier (David Iacono), is a lazy stoner who seemingly may have made the voyage under a condition for Teresa to go. Xavier is another character who is underwritten but may be one of the most captivating of the group. 

With that we have our characters for the film. Director Gareth Edwards does well when he seemingly pays homage to the Spielberg style of filmmaking. He uses camera angles that show  the scale of the dinosaurs versus humans. He pushes in for close-ups to give characters a pivotal line or to show the intensity of a moment. Cinematographer John Mathieson helps in these moments with the golden glow of light that captures a character in the frame. This is all counterbalanced by the visually alarming CGI that’s used. It felt more like the special effects from The Lost World (1925). A perfect example is a scene with a T-Rex waking up to come after  the Delgados. The initial camera work and suspense of the scene will have you hold your breath, but you can breathe out once the dino gets moving alongside the family. It looks like they’re superimposed in the frame.

This film brings into question the length of movies made today. Rebirth could have started at sea (about 25 minutes in) and still worked. Why do we have to assemble a team for twenty minutes? What if we meet the team in progress and learn about them during the mission? There is a two to three minute expositional dialogue between Bennet and Kincaid on the ship that is a drag. However, maybe it wouldn’t have been so boring if that was the background info we received on the characters instead of the drawn out set up prior. 

Jurassic World Rebirth is predictable and carries a nostalgic familiarity. There are glimpses of brilliance followed by segments of mundanity. It doesn’t know the film style it wants to rely on and is certainly two films in one that come together in the end. It’s entertaining for the moment and forgotten once you hit the lobby of the theater. I couldn’t justify the price for my family to see it in theaters, but nothing beats seeing a dinosaur on the big screen. Enter at your own risk.

Rating: D+

"Mission Impossible: The Final Reckoning": A Love Letter to Old School Action Blockbusters

If our lives are the sum of our choices, than Mission Impossible-The Final Reckoning is certainly the sum of its predecessors. After a bland Dead Reckoning, it all leads up to this film. Perhaps a love letter to big action blockbusters and cinema itself, Tom Cruise doesn’t hold back on stunts and action set pieces. In a franchise that’s all about the journey to an end, this entry doesn’t disappoint!

We get put right back into the action after the events of the last film. Ethan Hunt (Tom Cruise) is still wrestling with the loss of Ilsa (Rebecca Ferguson). Luther (Ving Rhames) is somewhere underground building a weapon that will defeat the Entity. Gabriel (Esai Morales), having failed The Entity by losing the cruciform key, is now on the outs but still desires proximity to the digital AI virus. The world is in chaos and on the brink of nuclear destruction. Only with the help of Grace (Hayley Atwell), Benji (Simon Pegg), Paris (Pom Klementieff) and Degas (Greg Tarzan Davis) and a few friends he doesn’t know yet can Ethan try to pull off the impossible. 

So that’s it. That’s the race against time. It’s understanding the race to extend time and the lives of billions that  becomes heavy after a long exposition of the stakes in the first thirty minutes. The theme of loss and perseverance through obstacles is hammered home as Ethan must once again sacrifice his feelings and perhaps life for the greater good. As soon as you start to think this proselytizing is becoming annoying, the movie is off and the magic sets in. Suddenly the dark themes and pressure laid on Ethan and his team turns into gigantic action set piece after gigantic action set piece that forces you to hold your breath in anxiety laced stunts that you’re enthralled in. 

If this is the last hoorah for Tom Cruise in the shoes of Ethan Hunt (although he’s alluded to it not being over) Cruise and co-writer/director Christopher McQuarrie decide to take us on a thrill ride on land, air and under the sea. Major stunts happen in places and ways that take something we’ve seen before but elevate it in unique ways. Cinematographer Fraser Taggart lights his subjects with an old school glow. It’s this nod to Indiana Jones and other old school blockbusters that used a splash of light across the eyes or to highlight the McMuffin in a scene that makes a moment important. It’s Cruise’s desire to entertain audiences by pushing his own body in stunt after stunt that gives a nod to the trailblazers who performed their own stunts in the early days of cinema.

The Final Reckoning feels is a broken mirror that slowly comes together, shard by shard. Occasionally we get glimpses of other shards that haven’t been placed on the board yet, but when has Mission Impossible not done that? It’s the fun of trying to put the pieces together and watching the one in a million chance opportunities work to create the suspense that makes a movie like this worth seeing in theaters! Grounded in a space of reality, I couldn’t help but think at one point, maybe this is what the world on the brink of nuclear extinction would look like.? It may not have all the memorable feats and set pieces of MI past, but it pays off. It’s definitely worth the ticket, popcorn and snacks this Memorial Day weekend.

Rating: B

"Gladiator II" Review: Standing In The Shadow of Its Predecessor

Twenty four years ago, the world of cinema was in a different place. Upon Gladiator’s 2000 release, CGI (computer generated imagery) was burgeoning. The film boasted of scenes of a coliseum built by a computer’s hand. A lot has changed since then. What once was done by trained professionals can be done by anyone with an app on their cell phone. This idea of a culture being shaped and moved into different directions by time is a theme within Gladiator II as well. What will become of our legacy? The statement that Maximus (Russell Crowe) made “What we do in this life echoes in eternity.” before his death, is still wrestled with here. The question is, is this legacy sequel worthy to stand with its predecessor?

Photo Credit Cuba Scott

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Taking place sixteen years after the death of Maximus, a farmer-soldier named Hanno (Paul Mescal) stands between Rome and the impending conquest of his home, Numidia. Surviving the battle but losing the war makes Hanno a prisoner of war; he is sold into the gladiatorial system and shipped to Rome to become entertainment for her people. Of course, this means that he enters the system with a chip on his shoulder and a fury that burns for General Acacius (Pedro Pascal) who took away his former life and loved ones that existed in it. 

Rome has changed since we last saw it. It is now governed by twin Emperors Geta (Joseph Quinn) and Caracalla (Fred Hechinger). The twins lust for blood and conquering nations has secretly driven their hero General Acacius to be tired of all the bloodshed. He and his wife, Lucilla (Connie Nielsen), the daughter of Marcus Aurelius, are conspiring to overthrow the twins. This b story is perfect for Hanno’s storyline as he is proving himself to be a fierce competitor for gladiator trader Macrinus (Denzel Washington). Hanno’s one request in exchange for giving his all for Macrinus is the head of Acacius. Thus, a race between the two desires sets course, pitted against the backdrop of three days of Coliseum games. 

As different mysteries are revealed, the fading cloud of a dream that Marcus Aurelius had of Rome is continually brought to the forefront by characters. While various characters have their dream of how to achieve a better Rome, it’s clear, the current path and generation at the helm must be ousted. This is the difference between Gladiator and Gladiator II. The former had heart and conviction from a rooted  place, while the latter is a shadow imprinted by its forerunner. There is a breaking point in the film in which questions being answered and plots revealed totally let’s out the steam of this engine.

Photo Credit Paramount Pictures

That said, Gladiator II is a spectacle that should be seen on the big screen. Director Ridley Scott’s vision for this time period, the Coliseum, the games, and the bloodlust that still can be prevalent today is on full display. With fights involving baboons, sharks, a rhinoceros, and gladiators there is an impressive use of camera work and fight choreography. Costume designers David Crossman and Janty Yates craftsmanship is exquisite to look at as well.

Photo Credit Aidan Monaghan

Denzel Washington’s Macrinus is certainly worth the hype. As the film moves along and we get to know his character better, his delivery of dialogue and physical gestures may afford him a supporting actor nod if the hype machine is loud enough. Either way, he is fun to watch! 

Ultimately, Gladiator II, while uninspired in some ways is still an entertaining movie. Nostalgia is another character that interweaves itself in this storyline. It’s mixed into the opening credits and Harry Gregson-Williams score. It makes the film a popcorn blockbuster that will pass the time, but I’m not sure it will stand the test of time as a classic like Gladiator.

Rating: B-

"The Marvels" Review: An Entanglement Of Sorts

The Marvels feels like the crashing of three different Marvel shows. It’s a soup that doesn’t quite gel and yet was an alright meal at the same time. It’s another rung in the ladder of Marvel movies and TV shows that is setting us up for something greater! These days, that seems to be the familiar MO of Marvel but you have to start somewhere.

I watched the Infinity War and End Game battle sequences prepping for the movie based off of what I saw in the trailer. I was way off. As long as you’ve seen WandaVision, Ms. Marvel and Captain Marvel you’re good to go in knowing the characters. If you want to understand the plot just watch Captain Marvel as this film acts as a sequel to it. After taking down the Kree’s overseeing intelligence known as the Supreme Intelligence, Carol Danvers (Brie Larson) aka Captain Marvel, inadvertently created a new enemy in Dar-Been (Zawe Aston). In taking out the Supreme Intelligence she also took out the resources of Dar-Been’s home planet and that is something Dar-Been wants back.

While investigating a strange jump point that hasn’t closed, Monica Rambeau (Teyonah Parris), touches it at just the right time to get her powers entangled with her aunt Carol (whom she hasn’t seen in years) and Jersey City’s Kamala Khan (Iman Vellani) aka Ms. Marvel. It’s a strange, platonic love triangle that works for the emotional beats of the film. Ms. Marvel is obsessed with Captain Marvel as her biggest fan. Captain Rambeau has felt abandoned by her aunt Carol while watching Captain Marvel be everywhere for everyone except her. Captain Marvel has her reasons as to why she wasn’t there for Monica. It’s this gumbo of emotions that helps the movie have a heartbeat. The chemistry of the women is probably what saves the film from itself with a couple of random moments and set pieces.

Kamala Khan’s infusion in the MCU has brought the fun quirky teenage spirit. Credit has to be given to her family ensemble with her mom (Zenobia Shroff), dad (Mohan Kapur), and older brother (Saagar Shaikh) continually responding to situations as if their daughter/sister is not a superhero. That grounding of Kamala helps create emotional moments with her family and Kamala is able to share that love with the often emotionally guarded Captain Marvel. While much of the film is based on the consequences of past decisions, the message of the ability to grow and learn is on display.

My middle school-aged daughter enjoyed the film way more than me. So this is probably a good time for the kiddos at the movies! We both agreed that it felt like episodes of different MCU shows being pieced together. That start/stop approach to the overall film is what pulls it down but the lead performances are earnest and help smooth that over. The Marvels isn’t a memorable film but the mid-credit sequence will have geeks talking for sure!

Rating: C

"Transformers: Rise of The Beasts" Review: More of The Same & A Little New

I didn’t have big expectations going in to Transformers: Rise of The Beasts. I told my kids they could expect loud sound. I went to get snacks during the opening of the film. They ran out of the theater as I was coming back with snacks and said it was too loud. Just like my kids, over the course of the film, I got adjusted to the usual noise and wound up enjoying the experience. Let me explain.

Set in 1994, the film introduces us to Noah Diaz (Anthony Ramos), an army vet who is  looking for work while looking after his sick little brother, Kris (Dean Scott Vazquez). When an interview doesn’t work out as he’d hoped for due to some marks on his record, Noah turns to Reek (Tobe Nwigwe) to boost a car. Elsewhere in New York, Elena Wallace (Dominique Fishback) has found an interesting artifact (it’s always something “mysterious” with a Transformer logo that just needs to be touched or turned the right way) that even as an overqualified intern/expert in hieroglyphs and artifacts, she can’t figure out what it is. When the mysterious key starts working unbeknownst to her, it brings Autobots and Decepticons out of hiding, and thus Noah and Elena’s paths cross.

The big baddy this go round is Scourge (Peter Dinklage). Scourge wants the key to bring his planet eating master to dinner on Earth or a dinner of Earth.? Optimus Prime (Peter Cullen) sees it as a way to get off the planet and home. The race is on and thus you have another Transformers movie. 

Let’s get back to the noise I mentioned in the beginning. So many of these films have the same cliché beginning, middle and end. An average Joe gets stuck in the middle of an intergalactic feud and fights for the fate of the world. The dialogue and comedic punch lines feel so paint by the numbers you’d be hard pressed to laugh when the music dies down just enough for them to stick the line. That’s where this film fails. Even the heartwarming big bro, little bro relationship between the Diaz brothers feels forced rather than earned. Although, some credit should be given to the young Vazquez as he gives a pep talk to his older brother.

Where the movie succeeds is allowing you to take in the spectacle of it all. Sure, some may say it’s CGI heavy, but it’s great seeing the Maximals take the stage, seeing the jungle of Peru, and the imaginary worlds created. Another win is the ‘90s soundtrack that the film is infused with. If you grew up during the decade and loved hip hop, there is plenty there. 

A few noteworthy performances are Anthony Ramos as the lead, Pete Davidson as Mirage, and Tobe Nwigwe as Reek. It’s easy to like Noah and root for him due to Ramos’s portrayal as an every man. Davidson doesn’t go too overboard with the black culture influenced Mirage that was probably written on the page. Thus, Mirage becomes a memorable Autobot. If you know you know when it comes to Tobe Nwigwe. It’s been amazing to watch his career. He’s an amazing creative and to see him go into film is great, but to see him actually create a well rounded bit character speaks to his talent.

Transformers: Rise of The Beasts is a summer, popcorn blockbuster. Nothing more. Nothing less. It’s a good choice for the movies this weekend if you haven’t already seen Spider-man: Across the Spider-verse. Just prepared to witness more of the same and just enough uniqueness to make this an alright installment in the franchise. 

Rating: C- 

"Creed III" Review: The Message in The Whisper

In 1 Kings YHWH speaks to Elijah in a whisper after an earthquake and a fire. Now, Creed III is not a Biblical epic nor am I putting it on that level. I’m only using that example to illustrate how it speaks in a whisper if you can see past the boxing action and grudge match rivalry, and the film did speak to my soul. It lands on a poignant character drama with themes of overcoming trauma, being emotionally vulnerable, letting go of grudges and of course, the underdog story we’ve come to love.

The film picks up at a time where Adonis (Michael B. Jordan) has decided to step away from the sport while he’s on top. No sooner does he do that than an old friend, Damian Anderson (Jonathan Majors) comes back into his life. Damian has been locked up for the past eighteen years. He’s watched Adonis’s meteoric rise to a position he feels should have been his. How their history is intertwined is a major key to the story.

This is a by-the-numbers Creed movie, infused with intimacy and originality that makes the film stand out. You get what you would expect but it continually strives to slip the predictable as well. From a technical perspective, Jordan (in his directorial debut) finds a way to show boxing visually from a fresh point of view. He uses the camera, sound and fight choreography to allow us to see the fight but step into the mentality of the fighter in the present moment of it. This is seen throughout the film but is beautifully executed in the final act.

Jonathan Majors is showing that he is a force to be reckoned with on screen. His physicality of Dame in the film is like a character choice from a Kurosawa picture. He has certain ticks that he repeats throughout the film that embody his raw rage. He’s carrying eighteen years of baggage internally and it comes out in his voice, movement and how he makes eye contact. He’s constantly studying. Jordan is serviceable as Adonis and gives a nuanced nod to being an aged fighter. Tessa Thompson gives Bianca a soul. Many times, the “wife” can be lost in the film as a side character, but here she is a present, integral part of Adonis’s life. Mila Davis-Kent is a welcomed addition as Amara Creed. Amara uses ASL to communicate and the relationship with her parents is beautiful.

Some may note the lack of a certain figure in this film. However, I think it’s intentional. Sylvester Stallone and the shadow of Rocky has been in the first two films. This installment allows Adonis Creed to make a name for himself. Ties have not been cut, and while Rocky’s absence is noticed it certainly doesn’t hinder the movie in anyway.

Whether you are looking for entertainment at the theater or dealing with middle aged thoughts and issues, this movie delivers on all levels. We’re reminded that at the heart of every Creed film, there is an intimate, dramatic story that is universally understood. You just might have to catch the message in the whisper!

Rating: A

"Black Panther: Wakanda Forever" Review: This Feels Personal

You can hear a pin drop in the first five minutes of Black Panther: Wakanda Forever. It’s intense  and doesn’t let go of wrestling with loss, the cycle of violence and how we respond to it all throughout its running time. Even with that, this film is a vibe! It pays tribute, takes you in directions that you expect and does an intentional job of curving your expectations at the right time. This is one of the best MCU (Marvel Cinematic Universe) installments in a while!

The loss of Chadwick Boseman shook the world. It was a death we didn’t expect. He was a talented actor and better human being to all who knew him. He endured in silence, proving his quiet strength and giving us a lot to think about in hindsight. Whether it was not to make fun of a celebrity’s (or anyone for that matter) weight loss because you don’t know what they’re dealing with or his words in interviews, we all had to wrestle with his death. Writer/director Ryan Coogler and the rest of the cast had to do this as well. The original sequel script had to be re-written. It’s in the spaces of deep pain as a reflection of deep love that you can get a focused script like Wakanda Forever. It’s not a perfect script/story, but it’s deeply personal in every frame.

This is a spoiler free review, so I’ll only speak based off of what you can gather from the trailer. The world of Wakanda is familiar yet matured here after the Blip. Her people are dealing with the loss of their leader. Queen Ramonda (Angela Bassett) is mourning as a mother would, with maturity and grace, while keeping the outside world at bay from using vibranium in a way that would harm others. Shuri (Letitia Wright) is going through it! Her grief is manifested in overworking and anger. 

In the outside world’s zest to find vibranium, a new underwater nation called Talokan is awoken. With a desire to stay hidden, its’ leader Namor (Tenoch Huerta), will do whatever it takes to make that happen. Even if it means taking down Wakanda to do it. So Wakanda calls on her heroes Nakia (Lupita Nyong’o), Okoye (Danai Gurira), M’Baku (Winston Duke) and new comer Riri Williams (Dominique Thorne).

Ruth Carter’s wardrobe in the film is once again Oscar worthy. Part of the reason the film is a vibe is because of how cool the cast looks throughout the film. Whether they are wearing street clothes or traditional garb, Carter nailed it! The production and art design is incredible grounded in a tangible future. The music from Ludwig Goransson is haunting, inspired and sets the right tone for the film. Listen to the music playing in the lab while Shuri is working. It fits seamlessly to the point you might miss it because so much thought has been put into this world from head to toe. 

There is an element of this film that we have to deal with. While the story does a great job of giving us Afro and Latino Futurism visions, the fact remains that the majority of the film is about two brown communities fighting each other. While the Talokan people are blue on land, they’re brown under water. They’re of Mayan origin. So it’s easy to forget this point. At a micro level, two brown nations are willing to go at each other in order to save themselves from colonizers out of fear of colonization. It’s not even guaranteed. It’s strategy for a possibility. Yet, it’s evident that they are two of the strongest nations in this world. There’s an invisible chain at play that just feels a little all too familiar for me.

That said, Black Panther: Wakanda Forever is a serious character drama with super hero action in the background. Their are noteworthy performances from Angela Bassett, Danai Gurira and Letitia Wright as the women take the stage in a way that feels lived in from my black experience! Equal to the performances are the character arcs of the protagonists and antagonist. Just as Killmonger (Michael B. Jordan) was a great idealogical foil to T’Challa, Namor is another villain who could be considered a hero depending on the side of the coin you align with. It’s an entertaining film that will be remembered in the MCU due to the loss of Chadwick Boseman and the universal themes it deals with. There’s only one post credit scene, so you don’t have to wait until the credits finishing rolling this time! 

Rating: B+

P.S.

Look for the male extra on the left side of the screen dancing in white in the beginning of the film. Someone should have been watching the dailies to remind him to stay in character! He was having too much fun I guess. If it wasn’t such a serious moment…I would have been laughin’!

"Prey" Review: A Prequel On Par With The Original

In a world of streaming, Prey is one of those films that will be released directly on Hulu, but is worthy of the big screen! The beautiful landscape, scale of humans versus animals or Predator, and entertaining story would have been worth the summer blockbuster theater check-in. This film is on par with the original Predator in terms of entertainment and story! It’s worth the watch this weekend!

Naru (Amber Midthunder) is a young Comanche who wants to hunt like the men in her tribe, but isn’t given the same respect because she is a woman. Her older brother, Taabe (Dakota Beavers), recognizes her potential but also knows Naru has to earn her stripes. She’s an excellent tracker, knows natural medicine, and can throw an axe like the rest of the boys. Her opportunity comes in the form of a hunt for a big cat. Her much larger test however, comes from the sky and no one else seems to notice. In fact, she’s the only one to pick up on the signs of a much larger, dangerous being in their midst.

As with any of these movies, it takes a while before the Predator is revealed fully and that’s when the fun begins. The kills and weapons in Prey are creative and awesome for franchise fans! This particular predator has so many different weapons in its arsenal that we get to see used in creative ways. Similarly, because of the time period (late 1700s), our weapons are primitive in comparison. Yes, our weapons are always primitive in comparison to a Predator’s but this showdown calls for a primal fist to cuffs. It’s the stripped back, crude nature of this story that touches our basic needs and thus makes the movie a suspenseful and thrilling watch. Amber Midthunder is the heart of the film and a protagonist underdog we can get behind!

The battle of wits is what all Predator films come down to, but the camera work and editing are elements that make this exciting to watch as well. Director, Dan Trachtenberg (10 Cloverfield Lane) uses matching shots of wounds being cleaned and the fight for survival amongst predator and prey of all walks of life weave together a story that is understood through montage. Low angles show the scale of the Predator (Dane DiLiegro is a former basketball player) 6’9” frame towers over its competition. Aerial shots of high grass fields show the speed in which this Predator can move on its prey!

Perhaps an interesting point in this film is how the Predator only goes after what it deems as a threat or real competition. Similarly, Hulu should not be afraid to take on the competition in the box office if it has a movie like this on its hands! This likely would have done well by word of mouth. Instead, to take a line from the film, they said “This is as far as you go. No more. This is it.” Hopefully, the overwhelming response from fans will change their mind in the future!

Rating: B+

Top Gun: Maverick Review- Definition of A Must See!

This is why we go to the movies! It’s a cliche phrase that may be tossed around on some movie trailers or posters, but it’s not cliche when it’s true. Top Gun: Maverick is why we go to the movies! We want to be entertained, yes, but we also want emotional storytelling that tells us something about ourselves and the world around us. We want the thrill of suspense, to root for characters, to be in awe of cinematography, and to share the collective experience of unity in watching a film with strangers.This movie gives you that and more!

We catch up with Captain Pete ‘Maverick’ Mitchell (Tom Cruise) in present day. He’s a captain when he should be an admiral. The navy looks at him as a problem, but judging by the leather jacket he dawned over 30 years ago that’s now full of patches, he’s likely done more good than bad in his service. He’s still pushing the limits as he tests an expensive aircraft for the US Pacific Fleet. This film’s premise is simple and something we’ve seen before, but in the hands of a team of skilled writers (Ehren Kruger, Eric Warren Singer, Christopher McQuarrie) it somehow feels original.

Maverick is the best of the best and thus is called in to train the best of the best in the next generation of Top Gun pilots. There is a dangerous mission that anyone in their right mind would call a suicide mission. For the sake of space, the new recruits go by the call signs Phoenix (Monica Barbaro), Bob (Lewis Pullman), Payback (Jay Ellis), Fanboy (Danny Ramirez), and Hangman (Glen Powell). Perhaps the most important recruit is Lt. Bradley ‘Rooster’ Bradshaw (Miles Teller); he’s Goose’s (Maverick’s former wingman) son and there’s obvious history between Rooster and Maverick.

Here’s where the film soars. Exposition, history, and where relationships stand is told as needed and without belaboring the point. The audience can fill in the gaps, but the cast carries the weight of decisions made throughout the years in their performance. The theme of time and the facets of young vs. old, wisdom vs. fearlessness, and new birth vs. extinction are analyzed here. There’s a dual message happening on screen and off screen. On one hand, we see Maverick as he tries to whip the young recruits into shape. On the other, we see an aged Tom Cruise, one of the last of the Hollywood stars who would bring audiences out simply by name. The film is a summer blockbuster by definition and the cinematography of Claudio Miranda frames these characters in a larger than life way that harkens back to the days of Hollywood stars. Even the end credits seem to tip its hat to the era of movie stars who were inaccessible due to a lack of cell phones and social media, and therefore were giants in the public eye. There’s an intimacy and love from the cast and crew that went into making this movie that is both seen on the screen and felt as you watch it.

The nostalgic call backs and cameos help create that loving feeling. Minus one seen, they all work perfectly and don’t detract from the film but add to it. This sequel is a thousand times better than its Regan era, military propaganda predecessor, but there’s beauty in the way the two are linked decades apart. There’s beauty in seeing the aging of its characters physically across the films. There’s beauty in seeing a more mature, thoughtful film with a solid story and multiple things at stake.

This is a must see film. See it on the largest screen you can with the best sound system in theaters. I haven’t clapped, yelled in excitement, and cried with an audience in a theater in a long time! You feel like you’re in the cockpit with these pilots, there’s little to no fat in the story and each beat is earned in beautiful ways. You’re still reading? Get your keys, order your ticket and get to the theater!

Rating: A

"The Batman" Review: The Greatest Depiction of The World's Greatest Detective

The Batman is difficult to write about because there are so many things to talk about. Where do you start? Simply put, this may be the greatest depiction of the world’s greatest detective on the big screen! 

The film starts in a Gotham City where criminals fear the bat symbol in the sky, but the Gotham Police Department doesn’t quite trust the masked vigilante yet. That’s not entirely true, at least one person does, James Gordon (Jeffrey Wright). So when the mayor is killed by The Riddler (Paul Dano), Batman (Robert Pattinson) gets to visit the scene under skeptical eyes. 

This is the crux of this Neo-noir film. Key political figures in Gotham are getting picked off by The Riddler one at a time and Batman has to solve it. Along the way his paths intertwine with Selina Kyle (Zoe Kravitz) aka Catwoman. I’d rather you go into the film as cold as possible so that you can enjoy the movie like I did, but I will talk about key elements here that don’t spoil the plot.

The direction from writer/director Matt Reeves is spectacular. This is the same man that brought us films like Cloverfield, Dawn of The Planet of The Apes, and War of The Planet of The Apes. So every moment and action sequence is well thought out and planned. Reeves partnership with cinematographer, Greig Fraser, paints Gotham in shadows and red. The red hues of dusk and dawn are used throughout the film for exterior shots. Fire burns and bullets also fly to illuminate characters with natural lighting. It sets a tone for this film that is kept throughout.

The ensemble cast at work is amazing in part because of the writing and due to the diligence of the film’s performers. The characters feel lived in and real. They aren’t comic portrayals as we’ve seen in some iterations of Batman movies, but people with histories. While some of the history is told in the film, much of it is in the physicality of the actors. Zoe Kravitz is on one as she plays three roles in this film in my opinion. There’s the girl who works in the club, Selina and Catwoman. Each hat she wears has varying levels of vulnerability. Jeffrey Wright gives a solid, subdued character performance as usual. You may hear people say that Colin Farrell is unrecognizable as Oswald Cobblepot and it’s true. The makeup and prosthetics have a lot to do with that physically, but he brings the trauma that Oz (as he’s called) would have gone through over the years into this character who has a chip on his shoulder with visions of power. Multiple outlets have reported that Paul Dano lost sleep in getting into the Riddler’s mindset and it shows on screen. Not bags under his eyes, but the twisted evil genius is there. His motivation is palpable.

Perhaps the major question you want me to answer is how is Pattinson as Batman. If I answered that, I’d taint the film for you either way. However, this is one of the first times I’ve seen Batman as an authentically feared entity. Criminals are supposed to fear him and they have in prior films but not like this. Here, the score from Michael Giacchino is fantastic being both brooding and haunting. It can play as a horror score at times and western showdown at others. Sound and the lack of it is used to accentuate the mythic status Batman is starting to achieve in this world. Reeves camera pushes into the darkness and looks for the boogie man like it would in a horror film.  

The film is written in a style reminiscent of an old gumshoe. Batman narrates at points throughout the movie. As I said in the opening, this may be the greatest depiction of the world’s greatest detective because finally, we see the intelligent, detective side of Batman. We’re led throughout the two hour and fifty five minute run time by screenwriting that gives us what we need to know and keeps us asking what’s coming next. So use the restroom ahead of time and try not to get a large icee. This is absolutely one you don’t want to miss!

Rating: A

"Blacklight" Review

If you’ve seen a Liam Neeson action movie since he starred in Taken in 2008, you’ve seen Blacklight. It’s the same old, don’t let the wrinkles fool you, “this agent has forgotten more than you’ve learned kid” type of tale. Truth be told, I love these types of films. Give me my ninety minute running time, some snacks and I’m down for the ride. This, however, is a near two hours of Neeson phoning in his schtick and it’s barely worth a streaming watch.

Travis Block (Neeson) is a government operative who is ready to throw in the towel in search of a life where he can be a better grandpa. He wasn’t the best father to Helen (Yael Stone) and he wasn’t a good husband to her mother. While the chance at redemption is his focus, the recent death of political figure, Sofia Flores (Mel Jarnson), needs his attention. Travis has a best friend/former war buddy/handler of sorts with FBI director Gabriel Robinson (Aidan Quinn). Gabriel is the type of best friend that says he appreciates Travis making something happen only to call him his weapon later in the film. It’s the call me back in to the game that we’ve seen in films like “Fortress”, “Out of Death”, or “Survive the Game” that has been done better.

As the film moves along we’re introduced to Dusty Crane (Taylor John Smith). He’s the young operative that just might blow the “silent hand’s” cover. He must be stopped by Travis, but the closer that Travis gets to Dusty the more things aren’t as they seem. If Travis can’t help, who can? A journalist (Emmy Raver-Lapman) who is willing to tell the truth at all costs, that’s who! 

So it goes. Can everyone survive long enough to get the truth out to the world? Sprinkling in some nice chase sequences and fight scenes, writer/director Mark Williams has a bland action film that could be background noise as you do the dishes. This one just isn’t interesting.

Rating: D

"The 355" Review: You've Seen This...Done Better

The only thing refreshing about The 355 is an all female lead ensemble cast. It has the bones of a decent spy film but is missing the muscle and sinew to bring it all together. You’ve seen this before and done so much better!

The film starts with a military team crashing in on the house of a warlord. The shootout ends with one lone agent, Luis (Edgar Ramirez) retrieving a drive that has the power to take planes out of the sky and shut down power grids. It’s a weapon of mass destruction that will start World War III and that’s all you need to know because how it functions doesn’t really make much sense. Thus we have our McGuffin (an object in a movie that everyone wants) that the film keeps as the center. 

We’re slowly introduced to our cast of characters. Mace (Jessica Chastain) and Nick (Sebastian Stan) work for the CIA and are going after the drive when Marie (Diane Kruger) steps in to get it.  As not to spoil the plot, one by one other agents from agencies around the world come in to the fold. Khadijah (Lupita Nyong’o), Graciela (Penelope Cruz), and Lin Mi Sheng (Bingbing Fan) all step up willingly or unwillingly to help stop possible annihilation of the world.

Character development is poor in a genre that demands it. It takes smart writing to We’re given scenes that inform us that Khadijah has a boyfriend and Marie is a lone wolf trying to evade the shadow of her father’s past, but they don’t have any depth to them. The movie plays out like a beat sheet from a first draft of a better espionage flick. As much as I love Jessica Chastain, she is gifted two fight scenes that seem to go on far longer than needed in this film. Some of the choreography plays out like a one size fits all when it should have played to each particular character’s strengths and physicality.

Co-writer/director Simon Kinberg has good and great films to his producer credits: Logan, Deadpool, Deadpool 2, Chappie, and more. Producing is a different skill than directing though. This film lacks direction. The best action directors can get the audience acquainted with the setting and space a scene is being shot in with an establishing wide-shot and then push in on action. There are so many times where characters enter a setting but seem to have magically appeared in a space due to poor camera direction and editing. 

The 355 has the formula of a spy film but lacks needed elements to make the equation add up to a satisfying outcome. The cast have given us memorable performances in the past, but this will be a film that we quickly forget about and that they were involved in. It may be worthy of a Netflix night, but definitely not worth getting out in these COVID streets to see in theaters!

Rating: D+

"Eternals" Review: A Step In A New Direction!?

Eternals is far from the Marvel films we’ve come to expect. There is generally a formula to these films. You have a problem that occurs, heroes who respond, big action set pieces and spoon fulls of comedy sugar along the way. Co-writer/director Chloe Zhao takes this film in a dramatic direction with spoon fulls of action along the way. With a complex story and multiple characters to get to know, this is another step in the staircase of Marvel that feels like a set up to take us somewhere new.

A group of immortal beings have been on Earth since BC time. They came and have helped civilization advance forward, but have remained in the shadows trying not to interfere as much as possible. The Eternals are a rag tag group with special powers. Ajak (Salma Hayek) leads the group as the maternal figure who has the power to heal and give wise advice. Ikaris (Richard Madden), Kingo (Kumail Nanjiani), Gilgamesh (Don Lee), and Thena (Angelina Jolie) are the frontline warriors, each imbued with unique powers to fight. The thinkers of the group are the young illusionist, Sprite (Lia McHugh), speedster Makkari (Lauren Ridloff), master inventor Phastos (Brian Tyree Henry) and telepath Druig (Barry Keoghan). Sersi (Gemma Chan), whom much of the film revolves around, can transmute inanimate matter and finds herself somewhere in between the warriors and thinkers.

The non-linear story jumps through history while grounding itself in present day, not long after the events of Avengers: Endgame. With fifty percent of the planet back, a countdown to an apocalyptic event has started. The Eternals must decide if they will intervene to protect the species they’ve grown to respect and love or continue to stand by.

Zhao’s vision for the film is fully manifested. Much of the movie’s flashbacks are shot at golden hour, giving a soft, warm hue to the cinematography. Her camera frames subjects in an affectionate way. She bottles the feeling you have when you’re falling in love with someone and in a room full of people, it’s just you and that person, and pours it on screen. It’s that tenderness that infuses throughout the film to give MCU fans something that feels wholly different and unique.

As beautiful as the film is, it can drag along at times with its two and a half hour plus running time. The character building and backstory that has to occur in an origin story is hum drum at times with certain characters receiving more love than others. With ten Eternals to introduce to an audience, that can be a task. Overall, the task is achieved but not without the price of a bit of fatigue in getting there.

Then there’s the topic of sexuality. Sexuality in this film feels forced rather than the “firsts” it desires to display. Parents of younger children be warned, two of the Eternals get busy in a mid-shot that shows them naked (while bodies cover private areas) but leaves no question to the thrusting going on. So if you haven’t had the sex talk, you’re going to have to after this. There’s a same sex kiss as well. The reason this all seems forced is because, well (semi-spoiler alert if you haven’t read the comics ahead), the Eternals are humanoids and can’t breed amongst themselves. So logically, reproduction and sexuality doesn’t seem to make sense as the story unfolds in this world.

Special attention needs to be given to the performance of Harish Patel as Karun. In the film, he follows Kingo around as his manager/personal cameraman. Patel provides not only humor throughout the film, but touching moments that would be hard to perform in the hands of a lesser character actor! Even though he is a side character, we should give that man his props and flowers for his performance!

Zhao and company shoot for the stars and land somewhere in Earth’s orbit. This isn’t a bad film. You can get lost in its entertainment. However, it truly feels like a stepping stone to open other parts of the MCU. This film feels like a door to opening more of the Marvel Cinematic Universe (MCU) in two ways. One is that the Eternals unlocks a new characters layer in the MCU as we learn about Eternals, Celestials and deviants. The second is the arthouse influence from Zhao’s direction that will shift the blockbuster feel we’ve experienced in the past to possibly give us more of an independent vibe in these films. We’ve seen the shift in Disney+ shows, but this is certainly different. Overall, if you’re a fan of the MCU you’ll be entertained. If not, you can catch up to this when it streams!

Rating: C+

"No Time To Die" Review

With the 25th Bond film out for release this week, No Time to Die is a perfect send-off for the longest tenure of the Bond series (Daniel Craig). Due to pandemic, the 2020 release received as many date changes as the screenwriters working on the script. And now the film is finally hitting the silver screen on October 8th. Also, as a caveat to the release, Daniel Craig is receiving a star on the Hollywood Walk of Fame, near fellow Bonder, Roger Moore (1973-85). As the ride for Craig comes to an end, it only made sense for Cary Joji Fukunaga (first American director of the Bond Film) to bring the cast together to deliver an action-packed nod to the last 15 years of the Bond series.  Although it follows the standard blueprint for a Bond film (the villain who has a plan for world domination, and the only agent that can get the job done is 007 with the help of MI6), this version gives us more of a look behind the curtain of Bond as a man, more than an agent.

The picture picks up after the Spectre, with Bond and Madeline (Lea Seydoux) living their best lives off the grid in Italy. While they’re enjoying their time together, Madeline reveals that she has some secrets that she wants to tell Bond, but she wants him to visit Vespers Tomb (love interest from Casino Royale) and say his final good-byes. Unfortunately, the Spectre assassins decide to intervene and lay waste to Bond. Thinking Madeline has something to do with this fiasco, Bond grows furious as he fends for his life and decides to go separate ways. 

Five years later, Bond is living well, enjoying retirement and out of pocket from MI6 (so much that the Agency actually thought he died), until his fellow friend Felix Leiter (Jeffery Wright) and his new partner Logan Ash (Billy Magnussen), ask him to come out of retirement and help them with a mission. The mission is to locate and take down Valdo Obruchev (Davis Dencik), a Russian scientist who has designed a bioweapon technology that could put the world at risk. After he declines their offer, he meets Nomi (Lashana Lynch, the new 007), who gives him some reasons to reconsider. His visit from Nomi causes Bond to go back to MI6 headquarters to talk to M (Ralph Fiennes) and their back-and-forth exchange ultimately leads Bond and the old 00 crew, Eve Moneypenny (Naomie Harris) and Q (Ben Whishaw) to help him to solve the mystery.  While digging, Bond later finds out that Lyutsifer Safin (Rami Malek), a terrorist leader, is behind all of the chaos. Bond’s goal is to stop Safin’s plan, as he realizes he has way more to fight for this time around.

One of the intriguing takeaways from this movie was the production. Linus Sandgren (known for Lala Land) worked wonders on some of the camera work and action angles. His work gives the experiential feeling that you’re in the passenger seat with Bond dodging every bullet with him. The movie has an End Game-like (Marvel) approach that involved closing a saga and a run time (not for the faint bladder). Clocking in at 2 hours and 43 minutes to be exact, while the film keeps you engaged and on the edge of your seat for the majority of the time, shaving fifteen minutes would have been welcomed. 

The acting is certainly one of the best parts of the film, as the new 00 characters and the old ones mesh well together. Lynch came in with a point to prove in showing she could be the new 007; she did justice to the character by matching Craig’s gritty and violent take, but in a noble way.  Ana de Armas (Paloma) debut as a 00 agent shows that Bond is not the only assassin that can wear formal wear and get the job done. Malek’s acting is usually superb (I still think of him as Freddy Mercury), but his role as Lyutsifer Safin wasn’t as momentous. Ernest Blofeld (Glenn Wrage) has more of an impact in the movie.

This movie was made for IMAX screens, so if you go to theatres, the IMAX experience is your best bet. The action scenes alone make it well worth it. I imagine this movie to be in the running for some award nods this season, whether for visuals, action, or score. If you’re a fan of opulent cars, innovative gadgets, live actions, super soldier guns and ammo, and/or lavish cities with an occasional scotch or stirred martini, you should enjoy this film. Bond fans won’t be disappointed. Also, if you stay until after the credits, you’ll also catch a quick teaser about the Bond Future (it’s not a Marvel post credit scene). For years Craig’s reported that he’s been ready to hang up the mantel, so in this movie they made sure his last ride was memorable and the one we’ll be referring to for a while (at least until the next 007 takes the helm). 

The new future of looking for a new 007 can play out different ways — whether it’s a prequel or continuation of where the story left off, we will be in uncharted territory.  Right now, it’s been reported that the next Bond search won’t begin until 2022, but Craig gave some stellar advice for the next character who takes on the role: “The best way to succeed is to Not be S#*t!” For whoever’s fortunate to step into the role next, they’ll have a tall order to fill — thanks to Daniel Craig. 

Rating: B

"Black Widow" Review: The Long Awaited MCU Espionage Thriller

Black Widow opens with arguably one of the top 3 openings in a Marvel film to date! Much like its television shows, Black Widow doesn’t feel like most Marvel films. It’s an espionage thriller with a mix of super heroes. It start strong, lulls, and finds its footing again. A solid entry in the development of a long-overdue solo film for Natasha Romanoff (Scarlett Johansson).

The film is a snapshot of what happened after the battle of Leipzig/Halle Airport in Captain America: Civil War. It starts further back in Natasha’s childhood, setting up an understanding of her psyche and her family dynamics. The opening sequence is equal parts you name it Spielberg kids scene and Jason Bourne action.  From there, the film is off to the races sending us to present post-battle life.

While this film struggled to the release finish line, the film’s secret weapon is its ensemble cast. Florence Pugh’s entrance into the Marvel Cinematic Universe (MCU) is worth the film being created alone. As Natasha’s sister, Yelena, Pugh establishes herself as a take no prisoners, dark humor, force to be reckoned with. There is no doubt that she will make a mark and quickly become a fan favorite in future films. David Harbour and Rachel Weisz bring the gravity and nuance to their roles as Natasha’s parents. Harbour’s comic timing as a dad reliving his greatest battles/missions is reminiscent of Mr. Incredible from The Incredibles, but a real life version.

There are some pacing issues with this stand alone film. Somewhere in act two the film comes to a halt as it settles into one of its themes of family. While the moment provides reflection and character building, it’s hard not to notice the difference in pace and change of tone. It’s as though we can see writer, Eric Pearson, step into a hole and try to write his way out without thinking of how to skip the hole in the first place.

Ultimately, Black Widow is a fun, espionage installment in the MCU with big set pieces and action sequences that give a nice curtain-call for Romanoff. We know her fate, but now we know a little more of her backstory. Most importantly, she has a sister that we’ll see a lot more of! 

Rating: B-

The Forever Purge Review: The Installments Keep Going, Why Shouldn't the Purge Itself?

The Purge franchise has seemed to always tell us something in its themes. We’ve seen racial tension touched in The First Purge, family strife in The Purge, and in the latest installment we see immigration tackled. The Forever Purge takes a look at what its America may look like if citizens continued The Purge after the most recent bloody 12 hour night.

The film opens with married couple Adela (Ana De La Reguera) and Juan (Tenoch Huerta), giving coyotes money to get them across the border from Mexico into America in search for a better life. Ten months later they seem to be on that path. Adela works in a kitchen while Juan works on the wealthy Tucker family’s ranch. The Tucker patriarch, Caleb (Will Patton), is impressed by Juan but Caleb’s son, Dylan (Josh Lucas), has issues with the hired help. 

As the work day ends, preparation for The Purge begins. The Tucker family locks down in their secure home while Adela and Juan take a bus full of Mexican workers to a space that provides armed protection. This Purge isn’t about the 12 hours of mayhem though, it’s about what happens after. As Adela and Juan return to work, it becomes clear that some people are extending the annual sanctioned mayhem by continuing to kill and destroy. Thus, the survive the night films that we’ve become accustomed to seeing starts.

This installment is full of sermons and lectures on America’s malicious history of disenfranchising the poor and people of color. Colonialism and The American Dream are parts of conversations. In one scene, a swastika tattooed prisoner calls out every gun that he hears firing; he talks about the specific rhythm of the guns and calls it “American music”. It’s meant to be a creepy moment, but it rings full of authentic truth. We’re known for the fight for our 2nd amendment rights, so the film continues its analysis of who we are as Americans yet also continues its awkward handling of truth. It gives us stereotypes and archetypes to make its points.

Perhaps its most ironic moment is found in Americans running for the Mexican border in order to escape the Forever Purge. The film pays specific attention to the white Americans reliance on Mexican and Indigenous help to get across the border while being chased by white Americans who believe the country should be purged of those who don’t look like them. It’s a matching bookend to its beginning as Mexican news talks about American “Dreamers”. 

Director Everardo Gout handles the action and blocking of scenes well. The film is entertaining for what it is and what you’d expect. Ana De La Reguera is a refreshing addition to women who can handle themselves in the killing fields. As her character navigates the turn of events, its evident there is much more to her than meets the eye, but it’s De La Reguera’s performance that is fun to watch. While writer/creator James DeMonaco may have written something that could have been straight from the headlines a year ago when it was supposed to be initially released (it was filmed in 2019), the film feels a bit dated.

However, you wade through its social commentary, the action and kills you’ve come to expect are there. I saw this at home and that’s just the way this film should be seen in my opinion! It’s a great streaming flick but not necessary for your first time back in theaters!

Rating: C+

"F9" Review: For True Fans Only

There’s no question, F9 is for the fans! If you have a problem with submarines, shootouts where trained military miraculously miss one person running away, airstrips that last forever…you’ve probably checked out a couple installments ago anyway. This film gives you the story rooted in family that you’ve grown to love and the superhuman, physics law breakin’ action true fans have come to expect. I’ll admit, this die hard fan is a ten second car away from riding off to the sunset on this franchise as well.

The film starts in the past to give us more backstory on Dom (Vin Diesel). From there the film plays out exactly as you would expect. There’s a big action set piece to get our heroes back in the action after finding out a world destroying weapon has potentially gotten into the hands of new villain, Jakob (John Cena), who is Dom’s long lost brother. (This is all trailer info of course.) In fact, the trailer gives away most surprises. The question is, how does it all connect?

How does it all connect is a question that, like family, is a through line through the franchise. How did Han (Sung Kang) survive? How have we never heard about Dom’s brother? Are they really going to space with a car? All questions are answered in their own zany ways. In fact, the film gets meta as Roman (Tyrese Gibson) and Tej (Chris Bridges) talk about how they never get killed or seriously hurt throughout all of their adventures. 

Has the Fast & Furious franchise jumped the shark? You would have thought it had when they jumped a submarine, but it persists and we love it for its insanity. However, this installment is really pushing its limits. Whether they talk about invincibility or Dom lands like Superman with an explosion behind him (close enough that you’d think he’d feel it or cover his head) we’re entering Marvel territory here. My grandfather used to tell me a story of how he fought 100 men on a bridge in the Korean War. It’s a classic in our family, but we knew it was fake. Some screenwriter must have heard grandpa’s story though and took it seriously! This can’t go on much further like this. Check the record, I’m a huge fan! So I say this with absolute love and respect. The franchise needs young blood and a change of direction, otherwise 10 should be the final bow.

Real fans will not be disappointed, but I believe your faith will be tested. The film’s pacing is a bit clunky as we deal with so many flashbacks to explain one particular aspect of the past. However, the family theme is there, nearly all major characters are here and the insane action is definitely front and center! I’d highly suggest watching 1, 4, 5, and 6 if you want to go into this with a fresh memory of who is who and what’s what. Otherwise, get ready for an entertaining time at the movies. See it in theaters for the best experience!

Rating: C+

"The Marksman" Review: A Paint By Numbers Flick

What if the man with a particular set of skills was being chased by men with a particular set of skills? I’m mixing movies, but “The Marksman” is a slow burn film more in line with a Clint Eastwood “get off my lawn” type of film. In fact, the main character says “why’d you have to cross my land?” at some point in the movie. It’s the mixture of storylines we’ve seen before with no innovation that makes this film marked for death. 

Jim (Liam Neeson) is a recent widower who is trying to keep his ranch afloat. His wife’s battle with cancer has taken a toll financially and he’s behind on his mortgage. While he tries to figure out how to make ends meet, he does find comfort at the bottom of a bottle. 

In an instant, his life is changed when Rosa (Teresa Ruiz) and her eleven year old son, Miguel (Jacob Perez), try to cross his land on the Mexico/US border. The mother/son duo are running from Maurico (Juan Pablo Raba), an underboss in a nameless Mexican cartel. Jim has a standoff with the cartel that ends with people dead on both sides. This results in Jim reluctantly honoring Miguel’s mother’s dying wish to get him to Chicago to reunite with family. 

The film becomes more of a buddy road trip picture over action film as Jim begins to bond with Miguel. Jim is from an older time. He doesn’t carry a cell phone, has to use a map to get across the country, and automatically assumes Miguel doesn’t speak English because he doesn’t speak (which gives some rather cringeworthy moments of dialogue as Jim tries to communicate). As most movies like this go, both characters eventually open up to one another and grow together as they try to evade the cartel.

Mark Patten’s cinematography is beautiful. The undeniable majesty of sunsets and country landscapes are captured exquisitely throughout the film. The extreme wides of an old western flick mixes in with the tight shots of modern action giving the film a nostalgic feel, much like its protagonist. Particular attention should be given to Juan Pablo Raba’s performance as Maurico. The villain of the film has to be believable and Maurico is scary. At any time he seems like he could go crazy, but he’s also a soldier who has a considerable amount of constraint. Rather than playing Maurico as full on bad guy, Raba gives him glimpses of humanity throughout different beats of the film that don’t make Maurico look weak but rather a human who has evolved into a monster. 

There’s so much about this film that is predictable unfortunately. A trained marine who uses his credit card along the highways while being chased by the cartel doesn’t make much sense. A map is dropped with the destination point circled in bold red. It’s a very paint by numbers film with less emphasis on action than conversation. Neeson is certainly filling the shoes of the aged, stoic action hero Clint Eastwood has left behind. Unfortunately, this movie misses the mark and will get left behind in the genre as well.

Rating: C-

"Wonder Woman 1984" Review: A Made For TV Hero Film

It’s not that “Wonder Woman 1984” is not entertaining. I found myself invested in Diana Prince’s (Gal Gadot) journey by the time it was coming to a close. It’s just not as inspired and handled with the same care that director Patty Jenkins had with its predecessor, Wonder Woman. While the studio was brave in releasing the film in 2020 to HBO Max and theaters during COVID, this film is suited for small screen excitement. It’s not much of a visual spectacle and suffers from a predictable story.

The last time we learned about Diana Prince’s back story it was focused during World War I. This time we’re in Washington D.C. in 1984. (As a 10 year DMV resident, D.C. is displayed well in the film.) Diana works at the Smithsonian and is burdened by her responsibilities as a protector of her city, while not having a true relationship with anyone due to her double life. After a jewelry heist she thwarted reveals precious artifacts were squirreled away in said store, the artifacts wind up coming to the Smithsonian to be analyzed by Dr. Barbara Minerva (Kristen Wiig). 

Barbara is the overlooked lab geek that just wants to be noticed. She gets special attention from Maxwell Lord (Pedro Pascal), a failing serial entrepreneur, who is driven to succeed at all costs. He's after the crystal that’s recently come into her possession and seems to be the only person who knows it is a Dream Stone. Anyone who touches it and makes a wish will have it granted at a price. That’s it. That’s the bad guy, the McGuffin, and the lesson. Be careful what you wish for. Diana, Barbara, and Maxwell all get a chance to make a wish, knowingly or unknowingly.

The story is unremarkable and the characters are dull. The problem with characterization in this film is that every person that you think “something ain’t right with him/her”, you’re correct. There is no subtlety in the design and depth of these characters. Everyone as written, whether child actors, villains or heroes are stereotypes of archetypes we’ve seen before. Even the glow up of Kristen Wiig from baggy clothed nerd to beauty feels pedestrian. 

Gal Gadot has a strong on screen presence throughout the two and a half hour running time. In fact, her earnest performance is what makes the film palatable. In a year in which we’ve had an unprecedented lack of super hero films, it’s nice to have a moment to escape! I highly recommend seeing it in the comfort of your home over seeing it in theaters. You won’t regret it. Oh, and stick around mid credit roll to see a nice cameo!

Rating: C

"TENET" Review: The Rubik's Cube Of Movies

Have you ever wondered if a Rubik’s cube could be described as a movie? If you said yes, then I give you the equally perplexing and entertaining movie, TENET! Directed by Christopher Nolan, in his one of a kind, high quality, action-packed and gritty style! If you’ve experienced one of his prior films, (Dunkirk, Inception, The Dark Knight Trilogy, any one from his catalogue really) you can understand how watching a Nolan movie pulls you in immediately and keeps you feeling an ebb and flow of emotions. Honestly, the previews do this movie no justice.

The film starts with The Protagonist (John D. Washington) being selected for a mission that’s described as a job to prevent a Third World War. During this assignment he learns about inversion (a temporal anomaly which an event happens in reverse). For example, when he drops his gun in an inverse its actually him catching the gun. If that example left you perplexed, don’t worry, you’re in the right place. Throughout this assignment he meets Kat (Elizabeth Debicki), the wife of Andrei Sator (Kenneth Branagh) whom he must protect as she’s a key for saving the past from the future.

John D. Washington and Robert Pattinson’s characters have great chemistry, and their performances are ideal. Washington is a natural lead with Washington performing all his stunts. One of the flaws of the movie is that it was hard to hear some of the dialogue because of the fast-paced scenes and the music being overbearing at times. 

This movie continuously keeps you on a rollercoaster ride to figure out what’s going on. As soon as you think you know where the film is headed, it dips in another direction. The cinematography of Nolan’s constant collaborator, Hoyte Van Hoytema, and production in this movie were top tier as expected. I predict a few Oscar nods. This is a well-crafted story that may take a couple of views to fully understand what you’ve seen. The IMAX experience is necessary for this film so I’d recommend seeing in theaters if you can or are willing to go in person (practice social distancing). When you walk out of the theater, you’ll feel as accomplished as if you finished a Rubik’s cube…or at least one side.

Rating: B+