Film Review: “Captain America: Civil War”

Film Review by Jeremy Werner

Starring: Chris Evans, Robert Downey Jr. and Scarlett Johansson
Directed By: Joe and Anthony Russo
Rated: PG-13
Running Time: 146 minutes
Walt Disney Studios Motion Pictures
Our Score: 5 out of 5 Stars

Warner Bros. worst nightmare has come true. A much better comic book movie has been released with Batman V. Superman: Dawn of Justice still fresh in moviegoers minds. Actually, let me take that statement back. A near-perfect comic book movie has been released a month afterBatman V. Superman: Dawn of Justice, further solidifying Zack Snyder’s cinematic attempt as the shiny turd it is. Warner Bros. executives listen up. Purchase a ticket to Captain America: Civil War and see how comic book movies are really done.

This doesn’t feel like a Captain America movie, but more like a prequel to the next Avengers movie, and that’s perfectly fine. The loss of life and human casualties has finally caught up to the Avengers as the Secretary of State and the United Nations demand authority over the team. Tony Stark/Iron Man (Downey) is soaked in guilt, feeling that he’s done more harm than good. He believes the Avengers need a leash before they gallivant around the world fighting evildoers.

On the flip side of the coin is Captain America (Evans). He believes politics, as well as the looming threat of Hydra’s infiltration, would inhibit their ability to save the world at the drop of a hat. Both sides have their merits, but Captain’s opinion is tossed out the window when Bucky, the Winter Soldier (Sebastian Stan), commits a terroristic act at the U.N. killing dozens. Captain and Tony are at ends after this. Tony wants Bucky taken in and imprisoned, or killed, and Captain rightfully suspects something else is at work.

While Age of Ultron felt overwhelmed with over a dozen characters to juggle, Civil War seems to handle it with a calm demeanor. Even the introductions of Black Panther (Chadwick Boseman) and Spiderman (Tom Holland) are fluid, fun, and properly handled. The additions of a sleepy Ant-Man (Paul Rudd), a conflicted Scarlet Witch (Elizabeth Olsen), a stoic Vision (Paul Bettany) and a handful others never overwhelms the viewer.

For Marvel fans who’ve watched every movie, and possibly every show, their fan service is paid off throughout. As for the villain; He appears to be a little lacking, but upon further inspect, the bad guy says a lot about the fabric of comradery between the Avengers and how easily it can rip. It seems like every Captain America is a game changer. The first prefaced the Avengers assembling. The second movie scrapped S.H.I.E.L.D. to its bare bones. Now Civil War rearranges the chess board after flipping it off the table.

I feel like I say this nearly every time a new Marvel movie is released, but Marvel has seriously outdone themselves once again. Civil War is a near-flawless cinematic experience that neatly packages one of the most pivotal story lines in comic book history. As for what Marvel has up its sleeve before 2018’s release of Avengers: Infinity Wars, is anyone’s guess. But I assure you it’s in good hands. The same directors and writers behind Civil War are piecing together the next Avengers and if this movie is any indication, it’s going to be fantastic, if not a satisfying conclusion to decades of story building. I wish I could tell you more about Civil War, but it’s something you’re just going to have to see for yourselves. Like, right now.

Read Complete Article
Filed Under: Film Headlines, Film Reviews Tagged With: Captain America, Captain America: Civil War, Chris Evans, Civil War, film review, marvel, ...

Film Review “Papa: Hemingway in Cuba”

Starring: Giovanni Ribisi, Joely Richardson and Adrian Sparks
Directed By: Bob Yari
Rated: R
Running Time: 109 minutes
Yari Film Group

Our Score: 2.5 out of 5 Stars

Having to write about Ernest Hemingway is a daunting task, but having to write about “Papa: Hemingway in Cuba” is fairly simple task considering how humdrum it is about its biographical choice. So I’m lucky in the sense that I’m going to be telling you about the latter. I’m not lucky in having to admit I’ve never ready anything by Ernest Hemingway or know that much about the Pulitzer Prize winning author, so I can’t refute anything in this movie or speak about Hemingway with any familiarity.

Ed Myers (Ribisi) is a Boston Globe reporter that became infatuated with writing after reading Ernest Hemingway’s (Sparks) works. He’s too timid to write Hemingway a letter, but a co-worker, behind his back, sends off a letter he’s been mulling over for years. Much to Myers’ surprise, Hemingway responds and gladly picks him up in his own boat off the coast of Florida. From there they head off to Cuba to enjoy drinks, laughs and musings.

The movie follows Myers and Hemingway’s relationship over the course of 1959. The problem that arises from the get-go of the movie is that the film never knows how to settle and focus. The movie reflects on Hemingway’s alcoholism, suicidal tendencies, funding and supplying of Cuban rebels, his possible PTSD, his tumultuous marriage, his writer’s block, and probably more that I’m forgetting. Hemingway was known for saying a lot within a few short words. “Papa: Hemingway in Cuba” barely say anything in 109 minutes.

The most interesting conflict, at least the bit that the actors chomp at, is Hemingway’s alcoholism and his seemingly toxic marriage with Mary (Richardson). Some of the tensest scenes involve Myers and the Hemingway’s. Their conversation goes from passive aggressive jabs to violent outbursts. Because so much happens within one scene, there’s the unshakeable feeling that “Papa: Hemingway in Cuba” may have been better off as a dramatic stage play. The theory is given further credence by presence of Adrian Sparks, a renowned stage actor.

Bob Yari may have not been the man to direct this movie since he only has one other credit to his name. He has produced some magnificent movies, but then he’s credited as the executive producer for the “Agent Cody Banks” movies. My research online yields articles and interviews about how this movie has been in the works for years, but “Papa: Hemingway in Cuba” seems like a passion project without any passion.

Yari doesn’t have the director’s touch. So much of “Papa: Hemingway in Cuba” feels like a TV movie with a few ‘F’ bombs to spice it up. There are transitions that feel like they should be followed by commercials or a spokesman for PBS asking me to donate money. Even the casual viewer will be able to notice awkward cutting in between scenes. It begs the question if Yari was a simple fill-in.

For all its faults, it’s well acted and has a lot of gripping ideas. For those who don’t know much about Hemingway, this could serve as a bridge to learning more about one of America’s greatest authors. If that’s the case, this movie does serve some importance. For Hemingway fans and those familiar with American literature, they’ll be scratching their heads and wondering if Hemingway is turning and tossing in his grave.

Read Complete Article
Filed Under: Film Reviews Tagged With: cuba, film, hemingway, papa, review

Film Review “Mother’s Day”

Starring: Jennifer Aniston, Kate Hudson and Julia Roberts
Directed By: Garry Marshall
Rated: PG-13
Running Time: 118 minutes
Open Road Films

Our Score: 1.5 out of 5 Stars

I typed out, “Are ensemble holiday-related movies doomed to be forever bad?” and realized that I answered my own question with the phrasing, ensemble holiday-related movies. Every time I watch them, I feel like I’m watching sitcom leftovers. So it only makes sense that Garry Marshall, who’s worked on dozens of sitcoms, would make “Mother’s Day”, a sappy, cornball movie. Of course this isn’t Marshall’s first rodeo, but I certainly hope it’s his last.

Like most of these movies, there are too many characters to go over, but they all have one thing in common, they’re dealing with some matriarchal problem. Sandy (Aniston) has to cope with her boys becoming attached to her ex-husband’s new squeeze. Jesse (Hudson) is dealing with avoiding telling her mom that she married an Indian man. Jesse’s sister, Gabi (Sarah Chalke) has the same problem, but instead it’s her inability to show off her life partner. The 81-year-old director surely must have thought a lesbian couple and a white woman marrying someone of a different race was groundbreaking material.

Then there’s Bradley (Jason Sudeikis), who’s dealing with the year anniversary of the loss of his wife. There’s also Kristin (Britt Robertson) who can’t handle that her boyfriend, and the father to her child, is proposing to her. Then Julia Roberts is kind of just floating around in the background as the “popular” HSN host. There are a lot more characters and a lot more actors looking for a paycheck that I’m sure I’m neglecting. Some of them connect and some of them don’t and live in their own personal bubble hell without having to bring anyone else into it.

The only thing this movie is missing is canned laughter or the gratuitous audience applause after someone stands up for themselves. The conflicts are forced, outdated, and their resolutions are equally as audacious to reality. I’ll go ahead and gloss over the fact that there’s obnoxious product placement. I mean, how many eight and 10-year-old siblings are going to get excited about going to IHOP? And don’t forget that any beverage must be drunk, has the label on the outside so that the camera can read it.

At times I did find it sentimental, oddly enough. Maybe it’s because I set my brain to cruise control or because there is a universal feeling that moms do go underappreciated. “Mother’s Day” does kind of touch on that, but it could be by accident. As for all you hard working moms in the world out there, you do deserve a movie that loves and supports you, but “Mother’s Day” is not that movie. Let’s spend Mother’s Day with our mom and stop attending these recycled holiday movies.

Read Complete Article
Filed Under: Film Reviews Tagged With: day, film, mothers, review

Film Review “Green Room”

Starring: Anton Yelchin, Imogen Poots and Patrick Stewart
Directed By: Jeremy Saulnier
Rated: R
Running Time: 94 minutes
A24 Films

Our Score: 2 out of 5 Stars

You’d think killing neo-Nazis would be more fun, or at the very least, more savagely joyful and campy. “Green Room” has the extreme close-ups of graphic violence, like broken bones and lacerations, which we’re accustomed to. We also get to watch characters use multiple tools for stabbing and pit bulls chewing out people’s throats. Sure, that’s not everyone’s cup of tea. But some movies find that gruesome sweet spot and have a lot of fun with it. However, “Green Room” feels devoid of any purpose, in its excessive gore and in its story.

The Ain’t Rights, made up of Pat (Yelchin), Sam (Alia Shawkat), Reece (Joe Cole), and Tiger (Callum Turner), find themselves playing to a room full of tattooed freaks at a white supremacist club. They’re in the middle of nowhere Oregon, playing for some pissed off skinheads, after a series of poor gig scheduling events on their end. Their current predicament isn’t helped by the fact that their setlist starts with a cover of the Dead Kennedy’s song, “Nazi Punks Fuck Off”.

After miraculously escaping their set unharmed, they prepare to leave, but accidentally witness the post-fallout of a murder in their green room. Things deteriorate quickly for the punk quartet and the hate group organizers. Weapons are drawn, hostages are taken, and the neo-Nazi leader is called in to get everything squared away. It’s only after the leader, Darcy Banker (Stewart), arrives that the Ain’t Rights truly recognize the severity of their situation.

Despite Stewart’s performance as a cold and calculating killer, there’s not a lot of tension in this concert version of “Panic Room”. Which is really unfortunate since the band is in the vast and quiet wilderness, with sociopaths at every turn. The setting is there, but the mood is lacking. A lot of it has to do with the fact that the band isn’t necessarily the brightest or most likeable. The band siphons gas because they don’t make enough money and they’re unnecessarily bitter and violent towards people they just met.

Darcy maps out every intricate detail to the neo-Nazi’s clean-up plan, which is constantly evolving and shifting based on the reactions of the band barricaded in his bar. He’s the most interesting of the characters and the movie would have benefitted more following him around a little more. But instead we’re trapped in the green room, listening to poor attempts at exposition, humor, and back story to a handful of dopey characters.

“Green Room” viewers may benefit from beers, pals, and a twisted sense of humor, but that same trio of items may have helped when writing it. Director/Writer Jeremy Saulnier definitely displays his visual prowess and his ability to create ocular terror and Yelchin and gang yam it up and find plenty of scenery to chew up, but it’s simply not enough. Once we get our fill of Nazi symbolism, hidden drug rooms, and knives to the stomach and throat, the “Green Room” is forgettable.

Read Complete Article
Filed Under: Film Reviews Tagged With: film, green, review, room

Film Review “The Invitation”

Starring: Logan Marshall-Green, Tammy Blanchard and Michiel Huisman
Directed By: Karyn Kusama
Rated: R
Running Time: 100 minutes
Drafthouse Films

Our Score: 4 out of 5 Stars

How long are you willing to let little inconsistencies nag at you before you passive aggressively leave, or better yet, uncomfortably point them out in a room full of people? “The Invitation” doesn’t necessarily ask that question, but depending on how you’d react in that situation, it’s certainly something to ponder. “The Invitation” us a slow-burning thriller that picks at Will (Marshall-Green), causing him to question himself and everyone around him

Will, and his current squeeze, Kira (Emayatzy Corinealdi) are heading to his ex-wife’s house for a small get together. Will hasn’t seen Eden (Blanchard) in years. Their marriage ended after the accidental death of their son and her inability to cope with the tragic loss. Eden moved on and met David (Huisman), who helped her recover in a unique way. Not only will it be the first time Eden and Will have seen each other in two years, but the first time many of their friends will have seen both of them in the same room.

It’s a relatable circumstance, attempting to reconcile or keep up appearances with a former flame because of mutual friends. But Will starts noticing that the smallest things are amiss. For instance, a bottle of pills in a medicine cabinet, a door that shouldn’t be locked, and a dinner party guest that never arrived. Every time Will, and the audience, is about to burst at the seams, the tension is ratcheted down and the minor irregular is laughed off. The movie does this several times, cranking up Will’s erratic behavior. But is it erratic or justified?

Fans of the horror movie genre might be able to pick up on what’s going on, but not without a lot of fight and sway by “The Invitation”. There’s credence to Will’s paranoia, but credence to everyone seeing Will’s outbursts as irrational inklings. Will could easily be suffering from buried emotions, linked to the death of his son. Or maybe Will’s suspicions are correct and something far more nefarious is afoot. As long as you’re willing to invite “The Invitation” to the inside of your head, you’re going to have an uncomforting blast.

“The Invitation” instinctively knows when to knock us off balance just when we think we’ve got it all figured out. A lot of that can be credited to the director, whose previous theatrical contributions don’t really hint towards the creepy unsettling nature of every shot. Even the actors here put full faith behind their characters, the motivations of their characters, as well as the story. Everyone is on the same page, even when the audience is still trying to piece it all together.

It’s difficult to discuss a movie like this because so much of its tension and story requires you knowing nearly nothing at all. “The Invitation” relies so much on the fear of the unknown, even if you think you know what’s happening. Obviously the disturbing nature of what’s going on won’t happen until the very end, but “The Invitation” is so chillingly effective, you’ll want the end to come as quickly as possible.

 

Related Content

Read Complete Article
Filed Under: Film Reviews Tagged With: film, invitation, review

Film Review “Criminal”

Starring: Kevin Costner, Ryan Reynolds and Gal Gadot
Directed By: Ariel Vromen
Rated: R
Running Time: 113 minutes
Summit Entertainment

Our Score: 2.5 out of 5 stars

When it comes to groundbreaking scientific advancements, you want the sharpest minds on the case experimenting on the most eligible people. So when doctors plan on transferring the memories from the mind of a dead CIA operative, so that they can acquire highly classified information, they would obviously want the most qualified of human test subjects. In “Criminal”, the best they can do is an murderous inmate.

Jericho (Costner) lacks empathy, has never experienced any human emotion outside of hate and revenge and has killed numerous, if not dozens, of people. His sociopathic tendencies, as he puts it, are because he was thrown from a moving car by his father as a child. The doctors say it disabled the frontal lobe of his brain and doctors say that makes him the “perfect” candidate to accept the memories of undercover agent, Bill (Reynolds). If you’re willing to ignore the irrational set-up, then you might like “Criminal”.

But “Criminal” takes itself too seriously to be enjoyably farcical and its characters are too inherently silly to be earnest. “Criminal” falls flat half the time, but it manages to find a couple of entertaining nuggets when Jericho combines his angry drunken fighting technique with the precise killing method of Bill’s CIA training. It’s rarely there, but Costner in various scenes highlights the carefree nature of a petty thief and the calculating nature of a trained killing machine.

There are actually quite a few other actors that Costner gets to play with, including Bill’s wife played by Gal Gadot, a short tempered higher-up played by Gary Oldman, and a doctor that performs the memory transfer, played by Tommy Lee Jones. All the characters are interesting, but none of them really add much depth to the story or to Jericho. Costner is entertaining enough without us being distracted by the surrounding star power. On the surface it may seem like a waste of talent, but it’s more the case of a movie with unnecessary add-ons.

As the movie goes on, we learn that the CIA wants to find out the location of a master hacker, known as the Dutchman. The government wants to keep the Dutchman out of the hands of the Russians and a rogue anarchist who wants to hit the reset button on society. The plot is vague with details, but gets the point across visually without drowning the audience in tedious exposition, which I’m thankful for. Because of that, the nearly two hour runtime goes unnoticed.

Jericho is the focal point of the movie and “Criminal” attempts to make him sympathetic by showing how he adapts to emotions like love, affection, and genuine human concern for the first time in his life. On paper, he’s a despicable human who still kills people and is obsessed with his own wants and needs, but Costner adds some level of believability to the rehabilitation credence. But that might be because the American public commonly knows him as an Iowa farmer that plays baseball with ghosts.

“Criminal” could have been really fun if it avoided the pitfalls of humanizing its main character. Costner is a decent enough anti-hero without the sappy injunction of his wife. In a different universe, “Criminal” is a good movie. It’s a sci-fi movie instead though. Kevin Costner remains foul-mouthed, learning to show some compassion, but still remaining crass and blood hungry. In this world though, he’s a predictable character stuck in a generic action movie.

Read Complete Article
Filed Under: Film Reviews Tagged With: criminal, film, review

Film Review “Demolition”

Starring: Jake Gyllenhaal, Naomi Watts and Chris Cooper
Directed By: Jean-Marc Vallee
Rated: R
Running Time: 100 mins
Fox Searchlight Pictures
Our Score: 4 out of 5 stars

Falling in love with a Jake Gyllenhaal character is proving to be deadly. Last year his wife in Southpaw died, then there’s the ill-fated passenger aboard a train in Source Code and now we have Demolition. Gyllenhaal plays Davis,
whose main squeeze, Julia (Heather Lind), dies right off the bat in Demolition. A fatal car crash takes her young life, sparing Davis. The incident is a blur, which is a testament to how Davis has lived his life up until this point.

There’s a very telling scene at the hospital immediately after the accident, as Davis is awoken from a nap by Julia’s father, Phil (Cooper). Phil’s eyes are bloodshot from crying while Davis’ eyes simply have the remnants of sleep in them. If anything, Phil is more distraught over losing out on a pocket change from the hospital vending machine. But oddly enough he finds comfort when he begins to pen handwritten letters to the vending machine company that cheated  him out of some much needed candy.

His letters detail his adult life descent into apathy towards everything and everyone around him. He casually details his decomposition of his most simplistic of human emotions. Meanwhile, in robotic fashion, Davis watches and skirts around other people mourning the death of Julia. Verbally, he says the right things, but physically, his reactions are lethargic to the whole grieving process. The numbness he feels is the lack of love he had for his wife. He can’t even remember why he even married her in the first place.

Demolition casually, and sometimes very abruptly, takes some very surreal turns to show Davis’ unraveling. The death of his wife turns out to be a rebirth of sorts. Davis reflects on everything he’s done and soon his natural curiosity for life takes over. He socializes with people he would have normally disregarded and dismantles things around him, wondering how they work or simply, what’s on the inside of them.

At times Demolition plays like a fever dream, matching its heavy material with a heavy rock drumming on the soundtrack. The overpowering and sorrowful guitar soundtrack and music video-like sequences are cliché at times. Much like taking replacing a lightbulb with a sledgehammer, Demolition can be a little bit too blunt with its overall meaning about deconstructing life and rebuilding it. But it never takes away from its tragic message about how sometimes our lives are stuck on auto-pilot.

Every performance is spot on, especially Gyllenhaal who is still in a never ending quest for an Oscar, or at the very least, another nomination. Naomi Watts in turn provides a subtle innocence to an emotionally battled mom, Karen, struggling with her feelings over Davis. It’s odd that their sweet, yet non-physical, relationship stems from exchanging messages over a broken hospital vending machine, but their acting and their on-screen magic makes it believable. Judah Lewis plays Karen’s adolescent son, who ends up propelling Gyllenhaal’s character forward while providing his own character study on Chris, a boy struggling to come to terms with who he is.

Demolition is poignant, yet emotionally rejuvenating. It’s a visually entertaining story, with an at-times confusing narrative. It may take a couple of viewings to fully comprehend it’s multi-level message about society, the people in it, and the tendencies that those people have to become emotionally distant from everything. Nearly everyone in Demolition go through some complex changes, especially Davis, and it’s interesting to watch that growth, whether the changes be big or small.

Read Complete Article
Filed Under: Film Reviews Tagged With: demolition, film, review

Film Review “Batman v Superman: Dawn of Justice”

Starring: Ben Affleck, Henry Cavilll and Amy Adams
Directed By: Zack Snyder
Rated: PG-13
Running Time: 153 Minutes
Warner Bros. Pictures

Our Score: 2.5 out of 5 Stars

Over the past decade, Marvel has slowly built one of the most highly anticipated cinematic franchises, with each installment garnishing rave reviews and even more acclaim from fans. Through 12 movies, the Marvel Cinematic Universe has meticulously and carefully put all the pieces together, to where millions will turn out this summer and understand nearly every second of “Captain America: Civil War”. Marvel has taken a lot of time and patience to get that point. Warner Bros. and DC apparently don’t have time for that.

Set 18 months after the events of “Man of Steel”, “Batman V. Superman: Dawn of Justice” obviously introduces us to Bruce Wayne (Affleck). His backstory is ubiquitous, so we gloss over his tragic past in a quick sequence of shots and voice over narration on the opening credits. But the draw is when we watch the fight between Superman (Cavill) and General Zod (Michael Shannon) from the end of “Man of Steel”. While people flee from the chaos, Bruce runs into the clouds of debris and crumbling buildings, highlighting why he’s a superhero, even when he’s not the Dark Knight.

The scene is captivating and eerily reminiscent of 9/11, and that’s what it’s supposed to tell us about Batman’s mind set. It also seems to acknowledge many fan concerns from “Man of Steel” about the loss of life during the Superman/Zod beatdown. There’s a lot less careless disregard for civilians in “Batman V. Superman”, but that’s because much of the movie is spent building up to the fight between Batman and Superman. But that’s because it’s what people want to see, obviously. So does the build-up make sense? Kind of. Does it pay off? Sort of.

Since DC is playing catch-up, I believe it’s fair to compare “Batman V. Superman” to the “Avengers”. While Marvel clearly has room to breathe and enjoy what is has, DC appears breathless as it rushes through characters, plots, and ideas. While I did say that Batman’s origins are omnipresent, where Batman is at in his his life is a bit of a mystery. He’s in his 40’s and seemingly has a lot more downtime than previous incantations of Bruce Wayne. But rarely do we truly understand his distrust of Superman, more than we’re just supposed to go along with it. He also seems to have some skeletons in the closet we’re not being told about.

Then there’s the iconic Lex Luthor (Jesse Eisenberg). When he arrives on scene, it’s clear he’s a billionaire playboy, but there are implications that he may just be a sociopath that inherited his father’s money. It’s uncertain whether he’s a genius or someone who’s trying to make too many bizarre religious connections to Superman. His infatuation with Superman, and to some extent Batman, is also never really explained. It’s merely implied that he has some extreme personality disorders.

Because so much of the plot is rushed and skipped over, we’re left having to digest CGI spectacles, and badly worded metaphors uttered by Alfred Pennyworth, Batman’s butler (Jeremy Irons) or Lois Lane, Superman’s squeeze (Adams). There’s too much information, but also too much time spent on inconsequential scenes, like Batman’s bizarre nightmare and Superman’s heart-to-heart on a random snowy mountain with his dead Earth father. “Batman V. Superman” doesn’t feel like a stand-alone movie, more than it just feels like a really long and unnecessary teaser for a “Justice League” movie.

If that’s the case, then the “Justice League” movie better be fantastic because we’ve really had to go through a lot of trouble to get one. That’s not to say “Batman V. Superman” isn’t a decent movie with some good ideas. The casting of Affleck, as well as his performance, is enough to forgive him for “Daredevil”. His portrayal of an aging Batman, focused on his legacy, could create some interesting plot points for later DC films, if they do it right. We also get more of Superman, carried over from “Man of Steel”, as a conflicted man dealing with his powers and who he should be for the people of Earth. While some people don’t like that Superman, I find that Superman more interesting and relatable.

Then of course, there’s Wonder Woman (Gal Gadot), whose appearance was ruined by the theatrical trailers, which is really a shame because her appearance at the end isn’t a complete surprise. Despite that, the attending audience still went nuts as she hacked a few limbs off Doomsday; another character spoiled by the trailer. I do hope that Zack Snyder doesn’t use “Wonder Woman” much like he used the ladies of “Sucker Punch” or we’ll be in for more masturbatory nerd fan service with a really exciting character that’s more than just simple eye candy.

It’s hard to predict where “Batman V. Superman” will fall in the inevitable grand scheme of things. Looking in the crystal ball, there are some interesting directors and writers attached to future DC projects, such as Patty Jenkins, the director of “Monster” and James Wan director of “The Conjuring”. While Jenkins gets to handle the origins of Wonder Woman and Wan gets the handle the origins of Aquaman, it looks like Snyder will still be the man at the helm when it comes to the “Justice League” movie. If “Batman V. Superman” and “Man of Steel” are any sign, DC might want to find someone else, and fast.

 

Related Content

Read Complete Article
Filed Under: Film Reviews Tagged With: batman, dawn, film, justice, review, superman, ...

Film Review “Zootopia”

Starring the Voices of: Ginnifer Goodwin, Jason Bateman and Idris Elba
Directed By: Bryan Howard, Rich Moore and Jared Bush
Rated: PG
Running Time: 108 minutes
Walt Disney Studios Motion Pictures

Our Score: 4.5 out of 5 Stars

I doubt that Disney had plans to release “Zootopia” in the thick of the 2016 election season. I’m sure they also couldn’t predict the uneasy distrust and fear of culturally different people that’s currently permeating throughout our society. “Zootopia”, obviously by coincidence, has a beautiful message about not judging books by a cover, petty bullying to get one’s way, and stereotyping. It also discusses that no matter how far we think we’ve come and all the things we claim to know, a lot of us, including the best of us, are sometimes still primitive with our feelings and attitudes.

The anthropomorphic animals in “Zootopia” seemingly live in harmony. Every animal is broken down into prey or predator, but cheetahs and other carnivores live peacefully alongside giraffes and other herbivores (which makes you wonder what’s on the dinner plates of all these meat-eaters). It seems like the world’s focal point is a massive city known as Zootopia, which itself is divided in different climates to suit the creatures living there.

The movie itself starts out in the vast lands and countryside surrounding Zootopia. In Bunnyburrow, we meet Judy Hopps (Goodwin), a hopeful bunny that hammers in another theme of the movie, never give up on your dreams. Despite her size, and the stigmas surrounding her breed, she wants to become a cop in Zootopia. Despite her childhood trauma involving a boy fox who claws her, and everyone telling her to give up on her aspirations (even her parents), she does join the law enforcement after enduring a tense trial and error process.

Once she arrives to Zootopia, she doesn’t get any respect from her superiors or co-workers and is relegated to meter maid duty. The insults by angry motorists clutching their tickets and being relegated to menial tasks don’t ever kill her chipper demeanor. But a mocking career con-man fox, Nick Wilde (Bateman), who enters the picture, certainly changes her optimistic outlook into a much sourer one. So when 14 animals go missing from Zootopia and she’s tasked with finding one of the animals, an otter, she tries to make the most of it, and even finds out that Nick may know where the otter went.

In a world where studios continue to franchise building, Disney may have crafted one of the most deep, rich, and visually thrilling worlds. “Zootopia” could easily have a couple of sequels, its own TV show, and spin-offs because of how well planned out and distinct everything is. Everything, from the mice scurrying about in their own community, to sloths operating the DMV, and polar bears as mafia boss underlings, feels so well thought out, organized, and fluid. Lesser writers, directors, and studios, would have fumbled everything or not even tried something this enterprising.

“Zootopia” is populated with more rich visual sight gags than it does animals. Some of the jokes require you to keep your eyes on the screen, your ears fixed on dialogue, and a decent understanding of American pop-culture (think contemporary top 40 music, AMC award-winning TV shows and AFI’s third greatest movie of all time). There are an even proportion of jokes for kids and adults and for kids with a mature side and adults who never grew up. Even those who don’t warm up to Judy’s vivacious personality and Goodwin’s bubbly line delivery will still admit this is the cutest movie of the year.

There’s a lot to unpack with “Zootopia”, because it fires on all cylinders. The voice acting is spot-on, the visuals are crisp and engaging, and the three directors, two scriptwriters, and seven story writers never lost sight of what they wanted to do. They came together and layered every little bit instead of crowding our senses with it. A week after the 88th Academy Awards, we’re already looking at next year’s contender for Best Animated Feature.

 

Related Content

Read Complete Article
Filed Under: Film Reviews Tagged With: film, review, zootopia

Film Review “Gods of Egypt”

Starring: Nikolaj Coster-Waldau, Brenton Thwaites and Chadwick Boseman
Directed By: Alex Proyas
Rated: PG-13
Running Time: 127 minutes
Lionsgate
Our Score: 2.5 out of 5 Stars

The short voice over and quick crash course lesson in Gods, mortals, and other random nonsense populating “Gods of Egypt” in the first five minutes were definite signs for concerns. My worries about choosing the wrong movie to screen for the week began to come to fruition as I furrowed my brow at Set (Gerard Butler) spouting outrage over soap opera drama at Osiris (Bryan Brown) and being denied his inherent birthright by Ra (Geoffrey Rush) while Osiris’ son, Horus (Coster-Waldau) watches in shocking horror. Despite the visual theatrics, I immediately thought, “What the hell is happening?”

“Gods of Egypt” takes a while to settle into its own mythos, which is rubbish. There is a cause for concern about CGI heavy films in an ancient setting ever since the 2010 remake of “Clash of the Titans”. While “Clash of the Titans” used computer animation as a crutch for a lack of plot and acting, “Gods of Egypt” manages to blend the sword-and-sandal concept with child-like wonder through the CGI. It also helps that it never takes itself too seriously, allowing for small moments of seriousness to squeeze into the visual thrills and action set pieces.

I don’t mean to leave you hanging on what the hell this movie is about, because I assure you that it does pick-up after its bumbling beginning. Horus has his powers, which are his eyes, removed by his uncle, Set. Egypt goes from a civilization of peace to one dominated by war and slavery. The human, Bek (Thwaites), through the persuasion of his love in life, Zaya (Courtney Eaton), manages to steal one of Horus’ eyeballs and return it to the drunk and exiled God.

From that point on, Bek and Horus team up to get vengeance and restore some level of sanity (which seems like a useless word in a movie like this) to Egypt. There are more characters that show up and join Bek and Horus, but their introductions seem more natural because we’re not being bombarded with dozens of other characters all at once. Once “Gods of Egypt” has established the rules of its world, we’re able to follow along, relax, and enjoy the movie for what it is, dumb, shameful fun.

I feel a little guilty for liking this movie. Maybe that’s because it feels like such contemptible cash-in on the part of Lionsgate, even though they’re more than likely burning their earnings from “The Hunger Games” franchise on this one. Part of me doesn’t feel guilty though. The movies in the past that are very much like this, “Prince of Persia” and “Clash of the Titans” were actually attempting to cash-in on a different platform’s success or degrading it’s source material. “Gods of Egypt” is an original work and such ambition, even when it’s not necessarily very good, should be viewed in a different light as opposed to audacious remakes and reboots.

There is some Hollywood whitewashing and it does come at an inappropriate time, with the Oscars happening in the same weekend. Although, having Gerard Butler with a tan play an Egyptian God doesn’t feel as visually gross as Joel Edgerton plays Ramses II. That doesn’t excuse “Gods of Egypt” from lack of ethics, but like I said earlier, it’s shameful fun. The highest praise I can give “Gods of Egypt” is that it’s a decent waste of two hours, but I wouldn’t recommend you drop a single buck on this one.

Read Complete Article
Filed Under: Film Reviews Tagged With: egypt, film, gods, review

Film Review “Risen”

Starring: Joseph Fiennes, Peter Firth and Tom Felton
Directed By: Kevin Reynolds
Rated: PG-13
Running Time: 107 minutes
Sony Pictures Releasing

Our Score: 3.5 out of 5 stars

Usually when talking about faith-based movies, I have to walk on eggshells. I can’t insert my own personal doctrine into my review, because generally I’m not going to agree with the personally held beliefs of the movie’s message. So I generally try and judge the movie based on its acting, production, and story merits. I’m well enough versed in Christianity (attending Catholic school for
four years helps) to understand the message of any historical Christian movie. Generally, I assume I’m not going to see anything new, but miraculously, “Risen” tells an original, entertaining story about the Son of God.

The crucifixion of Christ is very well known throughout American culture and its decent fodde, but “Risen” aims for a loftier and lesser told tale, the aftermath. Clavius (Fiennes) is a seasoned Roman tribune that has led many a men into battle. He’s back in Jerusalem, weary from death and destruction, and given a task to overlook a controversial crucifixion. You know which one. Clavius begrudgingly goes along, not yet understanding the magnitude of watching Christ on the cross.

Clavius then overlooks Christ’s burial, rolling a giant boulder over the tomb, and sealing it with rope, wax, and the Roman seal of approval. He puts two guards at the foot of the sepulcher and figures that his job is done. By the third morning, Clavius hears that the body is gone, and that something unbelievable has happened. Clavius then investigates, questioning his own archaic faith along the way.

The production company, Affirm Films, is behind this one. Their past movies have included lengthy naps such as “Heaven is for Real” and “War Room”, but “Risen” is a step above their normal fare. A lot of the credit can go to writer and director Kevin Reynolds who keeps the story flowing and makes “Risen” a double dose performance. It’s part action-mystery and part faith discovery. The sleuthing act of part one blends well into the second part which is all about seeing faith through fresh virgin eyes.

Most religious movies feel phony and cheesy when preaching the Gospel, but “Risen” presents it for what it is, what it means, and the good natured spirit of it all. It feels more like an engaging lesson than an obnoxious sermon. The historical figures of this movie begin and end with Jesus, his disciples, Mary Magdalene, and Pontius Pilate. Everyone else, I presume, is fiction. Clavius and his interactions represent an agnostic or atheist person discovering the word of God for the first time.

As for the settings, the Roman culture and everything else, it’s fairly faithful to the history books. The production values are some of the best I’ve seen for an Affirm Films flick. Instead of splurging on a big name stars that people can recognize, “Risen” has focused more on detailed sets, make-up, clothing, and a talent agent that picked some great actors. Fiennes deserves all the credit in the world for going from a for-sure Roman, to a skeptic, to a perplexed Roman, to a follower of Christ. Fiennes makes Clavius’ transition highly believable. It also helps when you cast Peter Firth as Pilate.

“Risen” does suffer from having too much downtime, a long and drawn out ending, and a poor framing device. The movie is told by Clavius as he relays his tale to a random peasant that he crosses paths with 33 years after the fact, without having aged a single day. As for the more light hearted moments and jokes, all I could do was roll my eyes. But in terms of a movie going experience, it may be a profound, moving experience for the faithful, and a decent popcorn flick for the average moviegoer. Who knows, it may even stir spirituality in the staunchest of doubters.

Read Complete Article
Filed Under: Film Reviews Tagged With: risen

Film Review “Hail, Caesar!”

Starring: Josh Brolin, George Clooney and Alden Ehrenreich
Directed By: Joel and Ethan Coen
Rated: PG-13
Running Time: 106 minutes
Universal Pictures

Our Score: 4 out of 5 Stars

The Coen brothers seemingly find a way, movie after movie, to blend genres and create something completely unique, pushing the envelope about what theater goers expect in terms of storytelling, plot, and character development. “Hail, Caesar!” is no different. There’s no denying the Coen brothers talent when it comes to their dramatic works, but when they focus solely on their comedic efforts, it yields a unique array of ideas. They’ve crafted cult classics, toe tapping musicals, and dull remakes. “Hail, Caesar!” falls on the high end of that their comedic works.

There’s a pretentious nature to what the Coen brothers do. There’s an inside joke to a lot of their movies, and if you don’t get, they won’t tell you. The inside joke to “Hail, Caesar!” is the film industry, celebrities, the 1950’s, and I’m sure something else. Someone my age may not understand the mocking nature of the inner workings of the movie studios, the nuances of an era before my time, or the parody nature of the movies shown during the fabulous fifties, but I still enjoyed the oddball nature of “Hail, Caesar!”. It’s a blown kiss and slap in the face to the Hollywood industry.

Eddie Mannix (Brolin) is a “fixer” for Capitol Pictures. His job is to run around all day, making sure the press doesn’t get wind of the latest shocking scandal (a starlet having a child out of wedlock), making sure productions are up to snuff, and that the men financing everything are happy. Of course for “Hail, Caesar!”, he’s also trying to find out where studio star, Baird Whitlock (Clooney) has run off to. Well, he hasn’t gone on one of his alcoholic benders or, as his wife puts it, at some floozies place. But Baird has been kidnapped.

Most other movies would make this plotline essential to the storytelling aspect of this movie, but the Coen brothers find entertainment in the array of movie products, random actors and actresses, and Eddie’s personal home life. There are so many cameos in this movie, it’s impossible to talk about every single one, as well as their subtleties that they add to the plot, the various themes, or their potential jab at real-life events and celebrities. Of course, as I stated earlier, the character may be a part of an inside joke that you may or may not get.

So in essence, it’s a Coen brother’s movie. “Hail, Caesar!” is rich with witty dialogue involving thick-headed actors and sophisticated directors. Channing Tatum, Scarlett Johansson, Tilda Swinton, Jonah Hill, Wayne Knight, Frances McDormand, and others are scattered about, adding their own flavor to the movie. At times it can be overwhelming, but equally underwhelming at times, especially when we find out who has kidnapped Baird and why.

Just take a step back and accept that this is a screwball, ensemble comedy. With that in mind, you should be able to enjoy it’s, at times, confusing narrative. like a fine wine, I expect “Hail, Caesar!” to age gracefully and be a delight to watch occasionally, much like “Raising Arizona” or “The Big Lebowski”. It’s not a masterpiece by “Fargo” and “No Country for Old Men” standards, but it’s certainly a fine addition to the Coen’s collection.

Read Complete Article
Filed Under: Film Reviews Tagged With: caesar, film, hail, review

Film Review “Anomalisa”

Starring the Voices of: David Thewlis, Jennifer Jason Leigh and Tom Noonan
Directed By: Charlie Kaufman
Rated: R
Running Time: 90 minutes
Paramount Pictures

Our Score: 3.5 out of 5 stars

Charlie Kaufman is known for writing incredibly deep, poetic films, packed with well-thought out themes highlighting the human condition. It’s hard to whittle down all the ideas that are generally presented in his movies, like “Being John Malkovich”, “Eternal Sunshine of the Spotless Mind” and “Adaptation”. His writing is crisp, refreshing, and sometimes highlights unknown mental problems and the emotional disconnection we sometimes face in this little thing called life. “Anomalisa” is another entry in Kaufman’s peculiar catalogue. It’s his most audacious movie, but it’s also his most overrated.

Visually, “Anomalisa” draws you in with its 3D puppets populating the world. The attention to detail is marvelous, but it allows the viewer to quickly recognize that the people (puppets) are all eerily similar. The men and women, that aren’t Michael Stone (Thewlis), blur together because of their lack of uniqueness. It doesn’t help that everyone in this movie is voiced by Tom Noonan, adding to one of the first ideas of the movie. Michael is alone and that sense of loneliness is more profound that he’s leading on.

Michael talks with a cabbie, a bellhop, his wife, and even his son, but all of them sound the same. Even though he can’t see some of them, they all share the same bright lifeless eyes. His seems to be the only ones with any kind of glimmer. The hopelessness would envelop Michael if it wasn’t for Lisa (Leigh). Unlike everyone else Michael comes across, is shy, slightly disfigured, and most importantly, not voiced by Noonan. Michael’s sadness temporarily fades as he seems to contemplate leaving his wife, his son, and everything else behind for this one person who has broken through his monotone life.

Michael’s experience is slightly more interesting than anyone else because he’s a self-help guru that people adore. It breaks the mold by showing that the ones who are supposed to have all the knowledge and should feel the most love, still act withdrawn and feel isolated from the rest of the happy people surrounding them. It raises an interesting question about how we sometimes wonder if the smiling faces we see around us are facades. At the same time, it asks an equally stranger question, as to whether or not the people we see are actually as deep and emotional as we are. Which is an inherently selfish thought, but Michael’s not perfect. He is selfish.

One of the first real problems with “Anomalisa” is that Michael is not a likeable enough person for us to feel too much sympathy for. But are we supposed to? That seems like the biggest question that goes unanswered in “Anomalisa”. He’s self-absorbed and neurotic, and a quick glance of his life may imply he’s suffering from a mid-life crisis, but this is a Charlie Kaufman film and nothing can be as simple as that. The multiple layers that we have to peel a way to find the answer, only reveals a truth that’s even deeper than we’ve already dug.

As much as I want to love “Anomalisa” for its unique style, its fearless manner in which it tackles its subject and his feelings, I can’t help but feel cheated. I can’t help but feel like Kaufman chose the wrong person to center all these existential feelings and questions around. By the end, Michael is not someone that we should root for or like, and if anything, his unlikeability cheapens the luxuriant message. A lot of dialogue in the beginning feels hackneyed, and as it progresses, it begins to feel threadbare. When your purpose is to show how repetitious life becomes, you run the risk of letting your dialogue become tedious.

I feel like “Anomalisa” would have been a fantastic short, but even within 90 minutes; I may have spent too much time being down in the dumps with Michael. If its goal is to make me feel less optimistic and unsure about our place in the world, it’s succeeded. I can’t recommend “Anomalisa” to the average viewer, but I can recommend it to the thousands of cinephiles and film art students that aspire to be intrepid, brave, and original with their content.

Read Complete Article
Filed Under: Film Reviews Tagged With:

Film Review “Ride Along 2”

Starring: Kevin Hart, Ice Cube, and Olivia Munn
Directed By: Tim Story
Rated: PG-13
Running Time: 101 minutes
Universal Pictures

Our Score: 1 out of 5 stars

It was destined to happen. The first “Ride Along” made over $150 million on a meager 25 million dollar budget. So “Ride Along 2” seemed like a financial inevitability, especially with the recent star power behind Ice Cube’s name and the popularity of Kevin Hart at the box office. 2015 was the year of Hart and Cube helped put together the Oscar-nominated “Straight Outta Compton”. That’s enough praise, because now I’m going to talk about “Ride Along 2”, the laziest follow-up the duo could have done.

Ice Cube and Kevin Hart just can’t work well for a second straight time. Maybe they can’t find the right balance of chemistry or maybe everyone else involved was too busy seeing dollar signs. If you’re going to see “Ride Along 2”, you know the shtick and the comic routine, and by now it’s getting old. Hart plays Ben, a goofy, loveable guy that squeals a lot, is the butt of short jokes, and is about as useful as a Keystone cop. Then there’s Cube, who plays James, a rough edged, no games cop that merely reacts to Ben’s ineffectiveness. We’ve seen this before. It only gets worse.

Ben is no longer trying to be a cop, he is a cop; kind of. He’s in training, but still manages to bungle a sting operation and still applies random useless video game knowledge to real life scenarios. James still gets frustrated and still doesn’t believe Ben is a real cop. James hopes to bring down a drug Lord that’s supplying dealers in Atlanta with supplies; while once again, Ben hopes to tag along. James gets the idea of scaring Ben straight, or at the very least getting him to give up on his dream, by bringing him along to Miami to chase down a mysterious kingpin. I contemplated copying and pasting my review from two years ago since this is the regurgitated plotline of the first.

Overall, “Ride Along 2” isn’t insultingly bad, but it’s biggest problem is that it’s indolent. It never fixes the problems that were seen in the previous installment, nor does it try to do anything new. Not even the smallest of endeavors is seen in the 101 minute runtime. The appearance of Olivia Munn and Ken Jeong are much appreciated, especially Jeong who appears to be the only one who’s willing to have a fun with his bits. Munn simply appears as eye candy, another person who can physically hurt Ben and a love interest for James.

I hate to say it, but I now reflect back on the first movie in a more gentle tone. If you haven’t seen the original, just ignore everything I just said and go about your merry life, not knowing about the trivial attempt at a sequel this movie was. But if you did see the original two years ago and enjoyed it to some extent, steer clear if this cash grab. Nearly everything in this movie is a rehash, except the salary for our leading stars.

Read Complete Article
Filed Under: Film Reviews Tagged With: 2, film, review, ride

Film Review “Point Break (2015)”

Starring: Edgar Ramirez, Luke Bracey and Ray Winstone
Directed By: Ericson Core
Rated: PG-13
Running Time: 113 minutes
Warner Bros. Pictures

Our Score: 1 out of 5 stars

Kathryn Bigelow’s 1991 movie “Point Break” is far from being the “Die Hard” of the 90’s, but it certainly understood how to have fun with it’s silly premise of the FBI infiltrating some bank robbing surfer bros. Stylish, dumb edge of your seat action and entertaining are just a handful of the words I would use to describe Bigelow’s surprise hit. Dumb is the only word I would use to describe 2015’s “Point Break”.

Edgar Ramirez and Luke Bracey hope to conjure up the same absurd bromance that Keanu Reeves and Patrick Swayze displayed 14 years ago. Bracey plays Utah, who in this reimagining isn’t an all-star college quarterback, but is instead a dare devil motocross junkie who decides upon a career in the FBI after his best friend dies attempting one of his dangerous stunts. It’s there in the FBI that Utah, through a truly random hunch, figures out that some globetrotting crooks are actually attempting to complete eight death-defying stunts to achieve enlightenment.

Leading the group of criminal, extreme sport enthusiasts is Bodhi (Ramirez). He’s quite possibly the most infuriating character in recent movie history. He speaks about the destruction of Mother Earth while partying on a gas guzzling yacht in the middle of the ocean and using an abundance of other oil produced equipment to cheat death under the guise of achieving his own personal Nirvana. It’s both equally offensive to eco-warriors and anyone who follows the teachings of Buddha.

Bigelow seemingly understood that a dumb action movie is inherently farcical, so she filled up her movie with enough action to push out those nagging logical thoughts, but this new reboot does the opposite. Director Ericson Core feels that an abundance of exposition is more interesting than the possible heists and fight choreography that our characters could subject themselves to. There’s way too much droll downtime between breathtaking shots of characters escaping death.

Kurt Wimmer, who also used “Total Recall” like toilet paper when remaking it, manages to do the same with “Point Break”. Maybe adaptations and remakes aren’t for Wimmer, who’s done a much better job penning original movies like “Law Abiding Citizen” and “Salt”. Wimmer writes his characters into too many corners, spinning them off into far too many loose ends. Wimmer sloppy adds a lot red herrings, such as the businessman who sponsors the crooks.

There’s certainly a level of dignity that Hollywood must hold itself to when remaking a movie that people consider a classic. “Point Break” is far from being an untouchable Holy Grail in cinema, but there’s no reason it should have been rebooted drug through the mud. Core and Wimmer are clearly more comfortable in their own playing field with their own characters. They seem nervous having to update a character by having him text emojis or being recognizable on Youtube. What made the original duo of Swayze and Reeves cool was action sequences they found themselves in, not their misguided philosophies on saving the planet.

This “Point Break” remake is a disaster that astonishingly arrives on the heels of nearly a dozen better Christmas day releases. “Point Break” lacks enough action to forget its most glaring flaws, and it lacks enough relatable characters to feel anything when conflict happens between an undercover FBI agent and a misguided thief. It’s a failure at nearly every level except its cinematography. It’s certainly pretty to look at, but it’s like unwrapping a neatly wrapped Christmas present only to find a lump of coal.

Read Complete Article
Filed Under: Film Reviews Tagged With: 2015, break, film, point, review
« sdf
Previous
Page 21 of 30
Next
Next Page »