Starring: Frank Grillo, Elizabeth Mitchell and Mykelti Williamson
Directed By: James DeMonaco
Rated: R
Running Time: 105 minutes
Universal Pictures

Our Score: 3.5 out 5 Stars

I had to go back and read my old “Purge” reviews because I had to refresh my mind about what I’ve liked about these movies. The storytelling and political/social themes in the “Purge” movies are always the weak link when they should be the strongest. The contemporary commentary, whether it’s class warfare or racism, is surrounded by scenes of absolute savagery. So its weakest is surrounded by its strongest, violence. This new one is no different, but some minor things make it more robust than previous installments.

For the first time in the series, a character has carried over. Leo Barnes (Grillo) has gone from his half-hearted attempt at purging in the second movie to becoming the security detail for Senator Charlene Roan (Mitchell) for this third installment. The Purge, a 12-hour period in which all crime is legal, is slowly being revealed as a sadistic way for the 1% to profit off murder and keep the poor population under control.

Senator Roan, who has her own horrific Purge story to tell, is pushing for the abolishment of the annual Purge in the latest U.S. presidential election. That doesn’t sit well with the New Founding Fathers of America (NFFA), the shadowy political party behind the Purge. So with the next Purge days away, the NFFA plots Roan’s assassination on a night where anyone, and nearly everyone, will be indulging in murder.

It’s crazy to think that back in 2013, “The Purge” was a twisted fantasy about the one night a year Americans get to let out their inner demons and kill one another. The scope was minimal and the unanswered questions have slowly been answered in the two sequels. “The Purge: Election Year” introduces more rogue cells of lower class residents rebelling against the NFFA. But for the first time we get to see the political landscape and how much it’s changed.

The NFFA is effectively a dictatorship that props up a puppet leader, generally a religious demagogue who inspires the masses to believe that the one night of killing is a ritualistic form of purification in God’s eyes. They look at the annual Purge as a religious cleansing and trip to the confession booth. The movie incorporates more factions, including an underground group of doctors and nurses that rescue people and offer sanctuary on the night. We also get a look at the booming tourism industry of foreigners coming to partake in an “American classic”.

Director/writer, James DeMonaco, tones down the overwhelming political overtones, hopefully because someone told him he’s not good at being subtle. Instead of blunt force social commentary, DeMonaco ratchets up the grotesque imagery of people donning monstrous masks and killing innocents in the most gruesome of manners. In a sick way, the scenes of executions and corpses hanging from trees are great palate cleansers for exposition and dialogue downtime. It also helps that DeMonaco finds more unique ways to expand the “Purge” universe without overwhelming the audience.

The annual “Purge” movies have oddly become therapeutic to watch. If you’re looking for a satiric look at the 2016 political landscape here in America, it’s not here. The only real world satire I was able to pick up on was an allusion to President Obama. It’s safe to assume that the script was probably written well in advance of the Trump train that’s steamrolled across America since its attacks are more general than specific. But the “Purge” movies do offer something that a visit to your psychologist supplies, a release.

“The Purge: Election Year” is the best of three, but still more of the same. It’s not a smart, tongue-in-cheek look at our inherently violent culture, race relations, or the current American class struggle. But it’s a chance to watch and cheer on our most animalistic tendencies, killing people who are holding us down. If that visceral experience isn’t oddly salubrious after a long day of watching the state of political discourse right now in America or reading ignorant comments on social media, I’m not sure what is.

Starring: Julian Dennison, Sam Neill, Rachel House
Directed By: Taika Waititi
Rated: PG-13
Running Time: 101 minutes
Orchard

Our Score: 5 out of 5 Stars

Last year New Zealand director Taika Waititi breathed life into the vampire genre with his brilliant What We Do in the Shadows, my favorite comedy of 2015. The director this week turns again to his home turf to even more success for the quirky tale of Ricky Baker in Hunt for the Wilderpeople. Wilderpeople is an unconventional spin on the tried-and-true old mentor meeting his younger match that manages to be action packed, unpredictable and heartfelt without veering into the saccharine territory oft trod by coming of age stories. Not only has Waititi matched my expectations based on his Shadows and “Flight of the Conchords” work but he’s significantly upped my excitement for his next project–Thor: Ragnarok (as if that was even possible!)

Julian Dennison stars as a ‘real bad egg’ called Ricky Baker, an orphan from the city who’s been to his share of foster homes. Child services drops him at a remote farm in the New Zealand bush kept by the sweet Bella (Rima Te Wiata) and bearded grump Hec (Sam Neill). Bella invites Ricky to dub them Auntie and Uncle, though Ricky and Hec are less than keen. When the welcoming Bella passes away leaving Ricky under Hec’s care, his new country life looks about to be ripped from under him again by child services. Naturally Ricky flees to the wilderness with Hec following along. They quickly become a pair of outlaws–everyone believing Hec a kidnapper–and infamous for evading a country-wide manhunt.

As Ricky Baker, newcomer Julian Dennison delivers a star-making performance. He is the perfect age for this little adventure of Waititi’s. A foster child who’s been passed around with a long list of ‘offenses’ (which child service agents will rattle off at the drop of a hat to hilarious effect), Baker is on the verge of puberty and of actually buying into his own bad reputation but is still very much malleable. There’s glimpses of Ricky posturing his ”gangsta” image between his wardrobe or his Scarface references but the brilliance of Dennison is watching the child that he actually is come to the surface. Dennison’s vulnerability is exposed when faced with the prospect of being separated from his most stable home to date. Meanwhile, his curiosity and eagerness to learn the bush life chip away at his city-kid exterior and the fact that he’s wont to spout haikus only makes him all the more endearing. There are a million layers to Ricky Baker and Dennison plays them all with great heart.

This isn’t at all to belittle the terrific support Dennison receives from his adult cast. It’s been 23 since Sam Neill begrudgingly led some kids through Jurassic Park and the years and the beard have only hardened his ornery exterior to perfection. His soft center is tougher to wear down to, but Ricky is game for the challenge. And there aren’t any dinosaurs that Neill needs to evade, but as the formidable Paula from Child services, Rachel House is an absolute scene stealer with dreams of being the Terminator. Rounding out these guys is an appearance from frequent Waititi collaborator Rhys Darby used to wacky effect as Psycho Sam.

Despite some real live threats in the bush and some choice language from kids and adults alike (“Like hell!” abounds), I can’t help but feel that Hunt for the Wilderpeople might be a perfect family film. Shot in beautiful locations, it’s hilarious without being malicious, populated with quirky characters forming genuine human bonds and I can’t stress enough the joy I derived from Dennison’s honest performance. Add to all that an action packed finale and you’ve got A Summer Movie to compete with the biggest of blockbusters. As Uncle Hec says, truly “Majestical.”

June 24 – I screened Hunt for the Wilderpeople at TFF 2016, it is now in limited US release. Visit Wilderpeople.film for trailer and local release dates. 

Starring: Matthew McConaughey, Gugu Mbatha-Raw, Mahershala Ali
Directed By: Gary Ross
Rated: R
Running Time: 139 minutes
STX Entertainment

Our Score: 2 out of 5 Stars

American Civil War movies are either critically claimed masterpieces (“Gone with the Wind” or “Glory) or the bane of moviegoers existence (“Gods and Generals” and “Gettysburg”). “Free State of Jones” fall somewhere in between. There’s enough entertainment and magnificent acting to keep it afloat, but too many nauseating history lessons and a lack of narrative to make it watchable. It may get some future use in high schools across the country, but could also be a punishment for a rowdy classroom.

“Free State of Jones” follows Newton Knight (McConaughey) a MacGyver of 19th century America. He’s a nurse as battles wind down, a soldier when war flares up, a farmer at home, a blacksmith and carpenter when the script calls for it, and many other things. Knight watches too many of his friends, family, and countrymen die for a cause he doesn’t believe in. He views the Civil War as a rich man’s war being fought by the poor residents of Mississippi. So he goes AWOL, evading troops on the lookout for the fresh deserter.

Knight goes into hiding in the swamps where he befriends runaway slaves and slowly starts attracting other deserters to his camp. Over time, he collects more slaves and deserters to help form his own militia. Their core belief isn’t anti-Confederate, but more around the belief that no army or government should steal from the people and that the people have a right to what they create with their own bare hands.

The movie takes place from 1862 to 1867, which already has any historian reading that scratching their head. The Civil War ended in 1865. Un-effectively, “Free State of Jones” is like two different movies. One about the small rebellion against Confederate beliefs and the fallout of the Civil War in the South with Knight having to constantly defend the rights of his African American friends.

Narratively, it’s a mess. At no point does the movie blatantly or subliminally promote a unique theme or message. “Free State of Jones” is another; white man comes to save the day for minorities, history lesson from Hollywood. The movie highlights the corrupt system in place after the war, which prevented minorities from voting in the political process. That could be a link or statement of affairs today in this political climate, but I’m not willing to give the creative team behind “Free State of Jones” that much credit.

It’s a well shot movie that captures the essence of war, but McConaughey is the true highlight of the movie. He works well with the emotional and physical toll of war as he progressively becomes older in “Free State of Jones”. But I can’t help but dislike his character for some of the selfish plot points in the movie. It doesn’t help that the movie constantly jumps forward around 80 years into the future where Knight’s relatives are going through a legal battle. It’s another speed bump that slows down the overall pace of the movie.

“Free State of Jones” is definitely a unique tale for the Civil War that highlights the divide in a traditionally proud part of the country. Even today, people still sport Confederate flags and re-enact famous battles. There’s something interesting that can be said about how war can divide even the most patriotic of people. But “Free State of Jones” doesn’t want to talk about that. It seems more obsessed with messages we’ve heard before and reminding us that slavery is still evil.

“A Fat Wreck: The Punk U Mentary”
Director: Shaun M. Colon
Writer: Greg Pratt
Open-Ended Films/ Leaders & Flares/Charlie Uniform Tango
Runtime: 84 minutes

Our score: 5 out of 5 stars

“A Fat Wreck: The Punk U Mentary” is half inspirational story of chosen family and community and half debauchery as it tells the story of Fat Wreck Chords founder Fat Mike (bassist for the band NOFX) and his ex-wife Erin-Kelly Burkett. “A Fat Wreck” has it all from the birth, growth and struggles the label has endured over its 25 years to the thriving label we know today who continues to put out some of the best punk rock albums year after year.

If you were into punk rock in the 1990’s then chances are you at one time or another listened to a Fat Wreck Chords released album or band. Group’s such as Strung Out, Lagwagon, No Use For A Name and Propagandi and many others were fortunate enough to call Fat Wreck Chords their home while at the same time making a phenomenal impact on the evolution of punk music. “A Fat Wreck: The Punk U Mentary” is the story of that monumental label and the bands who helped define 90’s era punk rock. From candid interviews with label founders NOFX bassist Fat Mike and his ex-wife Erin to clips and interviews with the multitude of bands who have made up the labels roster during its past 25 years through today. For the first time in one spot the entire story of how this small independent label grew from a bay area basement to one of the most recognized and respected labels in punk rock. It’s all here!

How can you not like a killer punk rock soundtrack, fresh interviews and puppets!? Yes I said Puppets! “A Fat Wreck” from beginning to end is pure gold. If you were/are a fan of 90’s era punk rock then you owe it to yourself to watch this. The film is more than just another documentary about a group of musicians and a label that kick started a lot of careers, Underneath all of that is a refreshing story of family, unity and fun that everyone needs to check out.

Starring: Dwayne Johnson, Kevin Hart and Amy Ryan
Directed by: Rawson Marshall Thurber
Rated: PG 13
Running time: 1 hour 54 mins
Warner Bros

Our Score: 4 out of 5 Stars

Film Review By Mike Smith

It’s 1996. The last day of high school. And two young men are about to have two very different experiences. For Calvin “the Golden Jet” Joyner, it’s a day spent receiving the accolades of your classmates as you are honored for your achievements in, well, pretty much everything. For Robbie Weirdict, it’s a final day of humiliation, as the portly youngster is tossed, naked, into the middle of the same assembly.

20 years later, Calvin (Hart) finds himself stuck in a job he doesn’t really love, spending more time on Facebook than work. When he gets a friend request from Bob Stone (Johnson), he hesitates at first then, like most people, accepts it. He soon learns that Bob is really Robbie and that he has changed quite a bit. When the two mismatched men reunite it’s an eye opening for both of them.

Funny as hell, with a sweet message built in, “Central Intelligence” is successful in part thanks to its genius casting, which makes Hart the Bud Abbott-like straight man while Johnson grabs the majority of the laughs. And what isn’t funny about a guy Johnson’s size who shows up everywhere wearing a fanny pack? It seems Bob may or may not be a rogue C.I.A. agent looking to sell weapons to the highest bidder. He enlists Calvin’s help in part because Calvin was the only person who seemed genuinely friendly to him in the past, while Calvin goes along because he still feels sorry for what Robbie went through in school.

Hart has learned to tone down his Chris Tucker-like screaming and gives a fine performance here. The supporting cast is just as good, including Ryan as the C.I.A. agent in charge of finding Bob and Danielle Nicolet as Calvin’s high school sweetheart and now wife. But the real star here is Johnson. Always a very likable performer, his comedic work here recalls his standout performance in 2005’s “Be Cool.” A gentle giant with a heart of gold, Bob Stone seems ready to greet the world each morning with a smile. It’s Bob that makes this film the best comedy of the summer so far.

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Starring the Voice Of: Ellen DeGeneres, Albert Brooks and Hayden Rolence
Directed By: Andrew Stanton
Rated: G
Running Time: 103 minutes
Walt Disney Studios Motion Pictures

Our Score: 4.5 out of 5 Stars

Back in 2003, “Finding Nemo” was the crown jewel of animated movies. After 13 more years of storytelling innovation and cleverness on Pixar’s end, “Finding Nemo” isn’t quite the pinnacle of Pixar’s animation catalogue anymore. It’s known that Pixar is willing to do sequel, just as long as it’s as emotionally resonant and intellectually stimulating as the original. “Finding Dory” does both, even while treading familiar waters.

The protagonist this time around is Dory (DeGeneres), obviously. The blue surgeonfish still suffers from short-term memory loss, but one of Nemo’s (Rolence) class field trips knocks a cobweb loose in Dory’s brain. Memories of her parents come flooding back in an instant. Soon Dory’s head is swimming in a sea of longing and sorrow for her parents. The how’s and why’s of her separation from her parents are still a bit fuzzy, but those will come as the story progresses.

Marlin (Brooks) begrudgingly follows Dory on her journey. “Finding Dory” is a more compact journey. Instead of crossing the vast ocean, the trio heads to California where they wind up at the Monterey Marine Institute and get separated. Dory is snatched up and placed inside the confines of the rescue center. As she slowly makes her way around, Marlin and Nemo spend the movie playing catch-up.

There isn’t any real peril, since the humans they encounter don’t want to hurt them and the other aquatic life populating the Institute are all non-aggressive. But Pixar has always been able to do a lot with a just a little. The smaller confines of the settings give way to Dory utilizing an octopus (referred to as a septopus by Dory because one of tentacles was ripped off) named Hank (Ed O’Neil). Hank provides the out of water transportation for Dory, eliminating a lot of the unique ways that the fish could possibly be using to get around. But that’s just a small complaint in an otherwise nearly perfect film.

Ever since “Cars 2”, there’s been apprehension before every Pixar movie. Especially in a sequel that seems warrantless. But the folks behind “Finding Dory” have repackaged and rebranded what made the first one so good. The animation, as always, is a mesmerizing Kaleidoscope trip through the sea. It’s easy to get washed over by the stunning imagery and forgot about the small little tweaks here and there that continually push what the boundaries of computer animation.

DeGeneres is tasked with carrying a lot of the poignant plot points through Dory. The blue fish that was a gag in the original now provides a lot of the heart-rending story. It’s nice to see the childlike wonder of Dory turn into childlike pain that her parents are gone. The themes are either hidden, creating a greater depth of meaning, or the themes are upfront and in focus so that kids can subconsciously learn and grow in a positive way. Pixar once again finds a way to make adults and kids alike find that soft spot of their heart that brings a tear to the eye.

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Starring: Travis Fimmel, Paula Patton and Ben Foster
Directed By: Duncan Jones
Rated: PG-13
Running Time: 123 minutes
Universal Pictures

Our Score: 1 out of 5 Stars

There’s a really wonderful book called, “Tales from Development Hell”. Author David Hughes summarizes the agonizing process that movies sometimes go through to get made. Some of those movies are failed passion projects, while others are ill-conceived ideas. If Hughes ever considered writing a sequel, “Warcraft” would be the most interesting chapter. I’d really like to know why this was made and given such a grotesquely huge budget.

From a financial standpoint, “Warcraft” makes sense. Over 100 million accounts have been made on the online videogame, “World of Warcraft”. That figure speaks volumes to an ignorant studio executive with no knowledgeable grasp about videogames. The failure by Hollywood to recognize the clear, and distinct, creative differences between cinema and videogames is common knowledge by now. “Warcraft” is a bore in desperate need of a skip button. It’s another lazy attempt by the studios to cash on naïve videogamers.

There are way too many names, places, and exposition to wade through, even by video game storytelling standards. Generally the gamer has to endure five to 10 minutes of information, before they get to click away at their mouse and keyboard. Their payoff is instantaneous. Of course that’s to assume that the run-of-the-mill gamer would care about the story in a point-and-click adventure. “Warcraft” on the other hand spends 20 to 30 minutes explaining things before getting to humdrum action sequences, leaving the viewer without a payoff.

The “Warcraft” movie is about the orcs making their way through a portal, to the human realm. The human realm has dwarves, elves, and probably some other generic fantasy creatures. The orcs are escaping their desolate, uninhabitable world, in hopes of staking a claim and inevitably taking over the human realm. There are a lot of sweeping scenes that imply we’re in a world much larger than the one imagined by J.R.R. Tolkien. But Tolkien’s world has actual stakes and characters we care about. “Lord of the Rings” is a fine wine that will be cherished for decades. “Warcraft” is more like a mosquito in the summertime.

The characters in “Warcraft” are unimportant. If the movie is not going to care about them, I don’t feel like I should either. Orcs are monstrous computer animated creatures, voiced by actors with nothing better to do. Their human counterparts are equally as unenthusiastic, but don’t have a CGI mask to hide behind. It’s hard to tell if they’re bored, avoiding laughter, or regretting their most recent life decision.

Have you ever been so emotionally and mentally exhausted by something that you don’t feel like explaining yourself? That’s how I feel about “Warcraft”. It’s hard for me to summarize and convey how emotionless and devoid of meaning it is, and why I loathe it so much. There are times where it slows to a crawl and feels like you accidentally hit pause on your DVR button. Then moments later it feels like it’s stuck on fast forward.

As someone who’s played the “Warcraft” games, but not enough to call myself a fan, I don’t understand the appeal of a cinematic adaptation. “Warcraft” has its head stuck in the clouds that nothing is wrong, when clearly everything is wrong. I now understand why this movie spent nearly a decade on the shelf, being passed up by acclaimed director after acclaimed director, before finally settling on Duncan Jones. “Warcraft” should have stayed in development hell. There’s no reason it should have been given life so it can drag viewers through hell.

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Starring: Anthony Weiner, Huma Abedin and the citizens of New York City
Directed by: Josh Kriegman and Elyse Steinberg
Rated: R
Running time: 1 hour 36 mins
IFC Films

Our Score: 4 out of 5 Stars

Film Review by Mike Smith

In July 2010, New York Congressman Anthony Weiner was a firebrand on CNN, arguing it seemed for days in favor of President Obama’s healthcare plan. To supporters he was a national hero. Less than a year later he was a national disgrace.

The film picks up Weiner’s career in July 2013. Forced to resign his office after it was revealed he had texted sexually explicit messages and photos of his, umm, weiner (did you see what I did there?), he has decided to return to politics by announcing his candidacy for Mayor of New York City, something he had contemplated before his resignation. With his wife Huma by his side, he embarks on a 13-week adventure to win back the trust of his constituents and return to power. If only he could keep it in his pants.

A true “fly on the wall” documentary, “Weiner” gives the viewer almost unfettered access to the man and his campaign. What is admirable about the man is that he knows he’s going to take hits for the past. He acknowledges that and then is able to get his message out. With today’s presidential campaign taking horrible turns (with all of the mudslinging I really have no idea what ANYONE’S stand on the issues are), it is refreshing to see someone that concentrates on the message and not a sound bite. So strong and appealing here is Weiner that when other candidates bring up his past they are booed by the crowds. As the race progresses Weiner begins to lead in the polls. Things look good. Enter Carlos Danger. In the middle of the campaign more photos and texts by Weiner are revealed. At first he maintains that they are from the past and that he even noted when he resigned that other photos may surface. This story works until the woman who received the messages notes that she can’t wait to “be with” the next Mayor, who has been sexting her while using the name Carlos Danger. Because Weiner wasn’t funny enough?

It is here that the film takes ahold of you. What had been a funny (try not laughing at the various New York Post headlines that continue to run, including “He’s got Balls,” “Weiner Rises” and, my favorite, “Weiner – I’ll Stick it Out”) and possibly inspiring film about rising from the ashes becomes a bucket of cold water thrown in your face. For those who don’t follow politics, Weiner’s wife, Huma Abedin, is one of Hilary Clinton’s most trusted advisors. Bill Clinton actually presided over their wedding. She stood by her man during the first scandal and has actually actively canvassed for him during the Mayor’s race. She is there when the news breaks of the new texts and she seems to accept Weiner’s word that they are old. Then the word “Mayor” leaks and, in that quick instant, you can see the hurt and betrayal pass over her face. We are a witness to her pain and if feels terrible.

Needless to say, Weiner is done. He falls from first in the polls to garnering less than 5%. Now, no matter what his causes are, people are outraged at his actions. My father used to say, “Fool me once, shame on you. Fool me twice, shame on me,” and it’s the voters who fought hardest for him that are now turning on him. And here is where the real Anthony Weiner shows up. So enamored of himself that he is borderline annoying, he begins taunting those who would taunt him, assuring himself a rousing defeat, barely getting more votes than the gentleman from “The Rent is Too Damn High!” party. Which were more than he deserved. If I may be permitted to join the editors of the New York Post, in my opinion, Anthony Weiner is a dick head! (did you see what I did there?)

Starring: Andy Samberg, Imogen Poots and Bill Hader
Directed by: Akiva Schaffer and Jorma Taccone
Rated: R
Running time: 1 hour 26 mins
Universal

Our Score: 3.5 out of 5 Stars

Film Review by Mike Smith

You may not know it but you are a fan of The Lonely Island. Fronted by Andy Samberg, this three-man group has created some of the most popular digital shorts for television’s “Saturday Night Live”, including “Mother Lover” and the Emmy award winning “Dick in a Box.” Hollywood has finally caught up with the trio and the result is their first motion picture, “Popstar: Never Stop Never Stopping.”

It is a story as old as show business. A group explodes on the scene but, for some reason, only one member really grabs the spotlight. Sometimes that member refuses to let this happen. There is a great story about how the Beatles were offered a major tour when they were just starting out, with the caveat being they had to drop their then-bassist Stuart Sutcliffe. John Lennon refused. Still, when the talent rises, things change. The Supremes become “Diana Ross and the Supremes” while Destiny’s Child pretty much became Beyonce. Here the Style Boyz are soon taken over by their photogenic lead singer, Conner 4Real (Samberg). He becomes the face of the group, which includes DJ Owen and songwriter Lawrence, played respectively by co-directors/writers Taccone and Schaffer. As the two fall behind, Conner continues a Justin Bieber-like rise. His first album, entitled “Thriller, Also,” wins many awards. However, when Conner accepts credit (and ANOTHER award) for a song he didn’t write, the group dissolves. When his latest album doesn’t perform like it should, all of the stops are pulled out to ensure that Conner remains on top.

There are very few “SNL” inspired films that can sustain 90 minutes. For every “The Blues Brothers” or “Wayne’s World” that come out there are dozens of “Night at the Roxburry” and “Superstar” to contend with. “Popstar” is right in the middle. It does drag on some but Samberg’s performance is so infectious that you’re willing to let a couple slow parts go by. Part of the fun is the sheer number of musical cameos that fill the film. From Ringo Starr to Adam Levine to Seal to Snoop Dogg, I counted no less than ten musical icons that drop by. The film also satirizes “message” songs, including one that praises gay marriage while still inserting quick cuts of Conner asserting that he, himself, is not gay.

Besides Samberg, the supporting cast is also strong. It’s nice to see the other Lonely Island guys get some screen time, and it’s always nice to see some of Samberg’s former “SNL” cast mates working, including Maya Rudolph, Bill Hader, Jimmy Fallon and Tim Meadows. Special kudos go to Will Arnett as the “boss” who is constantly sucking on a big drink in a brilliant parody of the current “TMZ” television show. And extra credit to producer Judd Apatow, whose cameo is both brave and revealing. Conner 4Real may be hitting some hard times, but he is truly never stopping!

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Starring: Noel Fisher, Jeremy Howard, Pete Ploszek and Alan Ritchson
Directed By: Dave Green
Rated: PG-13
Running Time: 112 minutes
Paramount Pictures

Our Score: 2.5 out of 5 Stars

Let’s be honest. In fact. Let’s be blunt. “Teenage Mutant Ninja Turtles: Out of the Shadows” is garbage. Many expected it to be garbage. I don’t know why you would even expect me to say otherwise when you came here to read this review. So. With that out of the way. The latest “TMNT” is the “Batman V. Superman” of turtle movies. It’s devoid of any plot, meaning, or logic. But just like DC’s misstep, it’s a somewhat entertaining waste of time.

The pizza eating, 90’s slang slinging; ninja turtles are attempting the latest comic book movie trend, overstuffed spectacles. Donatello (Ploszek), Leonardo (Howard), Michelangelo (Fisher) and Raphael (Ritchson) have to save the world in this movie. Without any interesting new villains, the movie falls back on Shredder (Brian Tee). After escaping a bumbling NYPD police force, Shredder is working with a super scientist, played by Tyler Perry (yes, that Tyler Perry), and an intergalactic alien named Krang.

Yep. You read that right. After Shredder escapes from jail, he goes through a time portal and talks with a giant talking snaggletooth brain attached to a robot. Shredder isn’t scared or concerned about traversing dimensions to talk with a slobbering, drooling alien. Instead they chat really quickly about exposition and Shredder goes back to Earth like nothing happened. Sandwiched between the two supervillains are Rocksteady (Stephen Farrelly) and Bebop (Gary Anthony Williams). Has no one in Hollywood learned from “Spiderman 3”?

There’s way too much happening in “Out of the Shadows” for anything to truly make sense. The rest of this review could be all the nagging questions I have. Generally kid’s movies aren’t supposed to have a lot of loose ends and confusing narrative when the target audience needs a little bit more clarification about what exactly is happening. But the CGI spectacle steps in where the script is missing, providing mouth silencing eye candy for the kids. So if you’re in need of a two hour daycare, this might be your best bet.

It’s kind of shocking that the kid’s network, Nickelodeon, would be willing to slap their name on this. There’s not any graphic violence, but “TMNT: Out of the Shadows” still tries really hard to earn its PG-13 rating. Outside of some four letter words, there’s the gratuitous sexualization of “reporter”, April O’Neil (Megan Fox), and the even more gratuitous flirtation of O’Neil by nearly every guy she encounters, including one of the turtles. Of course I don’t have kids and don’t have to worry about what they watch. It just irks me a little that the one female in this movie, who’s a journalist, is never doing her job and is ogled at by someone of a different species.

So what’s actually good about this? Besides being insulting to viewer’s intelligence, it’s amusing. The overused line, “Just turn your brain off,” comes in handy this time. But there are moments that are so disparaging and stupid that you’ll probably just want to leave the brain outside or at home, less it wakes up in a blind rage. This movie does benefit greatly from the viewer ignoring rationale and accepting that its pure popcorn nonsense. The strongest attribute is the turtles, which is ironic that the CGI characters are more human than the wooden actors.

Outside of a few cheesy lines, they’re lovable goofs who want to fit in and be heroes. It’s kind of like watching an Oscar winning actor starring in a bad horror movie, you know they can do better, but you’re still rooting for them because they haven’t sunk to the level of everything and everyone around them. They capture a certain essence about sibling arguments, growing up, and learning to recognize the differences and acceptance of one another.

I’m very conflicted on recommending this movie. I would say your children have to be a certain age and maturity level, but I’d also like to say that if you’re expecting deep storytelling like the Marvel Universe, you apparently don’t know who Michael Bay is. The producer has added all his hallmarks to nearly every aspect. It’d be nice if Bay could be pushed into the shadows so someone with a love for the “TMNT” franchise can make it as good as I keep thinking it can be.

“It’s So Easy And Other Lies”
Starring: Duff McKagan
Director: Christopher Duddy
XLrator Media
Runtime: 86 minutes

Our score: 3.5 out of 5 stars

Based on the New York Times best-selling memoir and featuring exclusive archival footage “It’s So Easy And Other Lies” is an authorized music documentary of Duff McKagan- founding member and bass player for Guns N’ Roses, Velvet Revolver and other bands. The film chronicles Duff’s meteoric rise to fame and fortune, his near fatal struggles with alcohol and drug addiction, and his remarkable life transformation.

One half performance footage from Duff’s book reading at The Moore Theater in Seattle, WA and one half documentary consisting of archival footage and new interviews with former/current band members and friends. “It’s So Easy And Other Lies” is a unique spin on your standard biographical documentary. I really enjoyed the clips of Duff reading passages from his book backed by a band performing melodic renditions of such classic GN’R songs as “Rocket Queen” and “Paradise City” as it was a really cool addition which makes the film stand out from other films in the genre that I have seen recently. With interview from Duff, Slash, Mike McCready and others acting as segues to the performance material you really get a nice balance of music and dialogue.

Though I found some of the editing to be a little awkward at times as the performance footage tends to start and stop without the viewer really knowing where we are at in Duff’s story. At times it’s as though large portions of Duff’s story are either not expanded upon or just plain left out as is the case with some of the earlier days of Guns N’ Roses. Because of this gap and a few others it made things seem as though Duff one minute is a struggling young musician and the next he’s in the biggest band in the world. Obviously when a book is transformed to film parts are going to be left out or trimmed down but this seemed to be a really large piece of Duff’s story that sort of just got skirt around. That aside whether you are a fan of Duff and his countless successful projects or not “It’s So Easy And Other Lies” is an enjoyable film that keeps the viewers attention throughout its entire run time however, If you want a more in-depth experience I recommend picking up a copy of the book first and then check out the film.

Starring: Russell Crowe, Ryan Gosling and Kim Bassinger
Directed by: Shane Black
Rated: R
Running time: 1 hour 56 mins
Warner Bros
Our Score: 4 out of 5

Film review by Mike Smith

1977. A young man sneaks into his father’s bedroom and removes a magazine from underneath the bed. He takes it to his room and begins studying the curves of a young lady named Misty Mountains. Suddenly a car screeches outside. The boy hears the crash and goes out to investigate. Who is the driver? Old MM herself.

Outrageously funny from start to finish, The Nice Guys is a period piece co-written and directed by Shane Black, creator of the Lethal Weapon series. Like those films, the story rests on the shoulders of two incredibly gifted dramatic actors given a chance to be funny; Russell Crowe and Ryan Gosling. Their chemistry comes across from their first scene together and the film is much richer for it.

Jackson Healy (Crowe) is a leg-breaker. If someone is bothering you and you want them to stop he’s the man you call. Currently he has accepted the task of protecting a young woman named Amelia (Margaret Qualley). Holland March (Gosling) is a private investigator and single father whose latest case has him searching for a young woman named Amelia. Things go progressively from bad to worse for both men before they realize that they need to team up to get to the bottom of things. As they say in the funny papers: hilarity ensues.

I’ve always loved Shane Black as a writer. He has written some of the funniest scenes in some of my favorite films, including Lethal Weapon, The Last Boy Scout and The Last Action Hero. He also wrote and directed the very highly underrated Kiss Kiss Bang Bang. Here he creates two more indelible characters. With his ever present cigar and rumpled clothing, Jackson Healy (sounds more like an insurance company) is the tough guy with a heart whereas Holland March, who ensures a negative outlook on life by sporting a tattoo that reads “You Will Never Be Happy,” is the wise-ass who loves his precocious teenage daughter Holly (a very well-cast and wise beyond her years, Angourie Rice). You never question why Holland takes Holly with him on dangerous cases. You just realize that she is his partner in everything. The two leads play off each other perfectly. Crowe is ruff and gruff while Gosling sometimes comes off as an air-headed fool. In fact, once scene has him sputtering and mumbling so much that you would have thought he had channeled the spirit of Lou Costello.

Period wise, the film gets high marks for highlighting the fashion and art of the era, even if some of the items featured are a year or two off in context. A great billboard advertising Jaws 2 would have been out in 1978 while Rupert Holmes’ hit “Escape (the Pina Colada Song) didn’t hit the charts until 1979. That being said, these are minor quibbles with one fantastically funny film.

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Starring: Seth Rogen, Zac Efron and Rose Byrne
Directed By: Nicholas Stoller
Rated: R
Running Time:   1 hour 35 minutes
Universal Pictures

Our Rating 3.5 out of 5 Stars

Did “Neighbors” need a sequel? Absolutely not. It didn’t even end with a cliffhanger or any storyline that would necessitate the need for a second. But in today’s theater age, profit=sequel. Of course I may further incite the need for a “Neighors 3” with the following statement. Despite the same plot, and a gender swap out, “Neighbors 2: Sorority Rising” is funnier and even more charming than the first.

A couple of years after the events of “Neighbors”, Mac (Rogen) and Kelly (Byrne) are expecting their second child and looking to move into a more spacious home. With the fraternity no longer hosting raging keggers, they find a buyer with no problem. The only problem is escrow. Since I’m not a homeowner, nor have I attempted to buy one yet in my life, I was unsure as to what escrow means. Apparently Mac and Kelly don’t either. It means that the buyers can change their mind in 30 days if there’s something they don’t see fit about the home. Of course this could easily just be a plotline convenience created by the movie.

Coincidentally, the old fraternity house is about to become alive with again with a sorority. Shelby (Chloe Grace Moretz), Beth (Kiersey Clemons) and Nora (Beanie Feldstein) are sick of the generic sororities, at least the typical Greek life tropes the movie portrays. Instead of conformity, forced cheeriness and male degradation, the trio creates their own sorority meant to empower their inner-lioness. Obviously a bunch of screaming girls, hosting their own raging keggers, doesn’t sit well with Mac and Kelly. The rest of “Neighbors 2” is the various hijinks and escalating pranks that happen between the two warring neighbors.

The first “Neighbors”, which I didn’t like, was about the bond of men in college as well as learning to grow up. “Neighbors 2” has the girls at an age of 18, so we can’t really expect them to “grow up”. Instead we get a more meaningful theme of acceptance and empowerment. Even the grossest scene of the movie, the sorority sisters throwing used tampons at Mac and Kelly’s home, is a lesson. Albeit a blood soaked, gross lesson. I know that might be hard to believe, but trust me.

There are the typical cheap laughs that we’ve come to expect from a Rogen comedy. I guess we’re supposed to laugh at Rogen being fat, people getting high, vomit on the face during sex, and other tired jokes. It actually makes the tampon scene feel a lot cleverer in retrospect. It’s socially aware enough to make us feel guilty about laughing or make us actually develop a thought while laughing.

It’s just unfortunate that such an enlightening movie has to hammer home its theme at nearly every chance it can get. It’s nice to see that the five male writers were willing to flip the script and poke fun at the overtly sexual nature of college men who see women as objects. But I think at least a sixth writer, preferably female, could have helped these guys guide their justified moral outrage in funnier, more unique, and in less, obvious ways.

Teddy (Efron) is back as a man-child who still can’t grow up. He serves as the mentor for the sorority at the beginning and switches sides when he’s disowned by the sisterhood. Watching Teddy grow as a person during the movie is most character development an Efron character has ever seen. In that sense, and others, “Neighbors 2” surprised me a lot. I was expecting a lazy rehash, but I have to give credit where credit is due; the six-man writing team realizes that a little empathy for all their characters can go a long way.

Starring: James McAvoy, Jennifer Lawrence and Michael Fassbender
Directed by: Bryan Singer
Rated: PG 13
Running time: 2 hrs 24 mins
20th Century Fox
Our Score: 3 out of 5 stars

Review by Mike Smith

They’re back! I’d say “the X-men are back” but, thanks to the whims of Hollywood, that statement doesn’t clarify if it’s the old folks or the kids. Or, as Deadpool asked, “McAvoy or Stewart?” It’s McAvoy and the gang here.

Where better for a film series that dabbles with time lines to begin but ancient Egypt. Here we are witness to a ceremony in which an old ruler will receive a mystical transplant from a virile young man. However, a group of traitorous minions (soldiers, etc, not the guys from the Despicable Me films) betray their leader and, after some impressive special effects, he is sealed inside a giant pyramid for all eternity. Or until 1983.

It’s been ten years since the first Mutant was observed and the world still hasn’t accepted them. At his school for “the gifted” Dr. Charles Xavier (McAvoy) is going about his daily duties while over in Poland the formerly underground Magneto (Fassbender) has just been discovered by the local authorities. Two men with similar lives yet very different outlooks. Throw in the mysterious Mystique (Lawrence) and you have a movie. Kind of.

Full of amazing special effects and horrible destruction, X-men: Apocalypse is, presumably, the last film to feature the Future Past characters. And just in time. With a cast that includes three Oscar-nominees it seems like they may have gotten bored with their roles. All do good work here, but there almost seems to be a look of relief in their eyes that they’re done with the spandex for good. That being said, while the leads are serviceable, the supporting cast has fun with their roles. Among the new faces are Kodi Smit-McPhee as Nightcrawler and a returning Evan Peters as Quicksilver. And kudos to Oscar Isaac, who makes Apocalypse one nasty mo-fo.

The other drawback is the amount of carnage depicted here. As the various mutants battle each other, the toll taken on the planet is amazingly over the top. The destruction here makes the carnage in Captain America: Civil War and Batman v Superman: Dawn of Justice look like a small dustup. There is also a particularly brutal scene featuring a familiar face making his eighth X-men appearance. The amount of blood spilled was actually quite disturbing and I can’t help but wonder if this scene was included to judge audience reaction as to how far is too far. It’s not Deadpool violent but it’s a little more mature than you might imagine.

X-Men: Apocalypse opens in the UK on May 18th & the US on May 27th

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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.