Tag Archives: violent

Death Wish (2018)

[3 stars]

A movie about violence in times of ineffective government is probably not the best timed release. Death Wish has always been a bit problematic as a story. Stories like Die Hard or Taken or other similar machismo-based tales of fathers and/or husbands fighting back, tended to be with a rescue in mind or they were forced into action due to time constraints or other issues. Death Wish is about the conscious choice to become a vigilante for the sole purpose of revenge…and not even against the perpetrators, but against all criminals that cross his path.

There is a 7-year-old part of me that applauds that sensibility, but there is also the adult that knows where that leads. In the current climate of hate being encouraged from the very top of our government, it is actually pretty terrifying. I’m not overstating it to say this is how the brown shirts got their start in the 1920s and 30s. So I have to wonder if we needed this remake at all.

Joe Carnahan’s (The Grey) script tries to balance this conversation, but ultimately ends up celebrating the choices. That happens in part due to the very nature of film, but also because of Eli Roth’s direction. While the first third or more is set up and family and relationships, the final third of the film progresses steadily off the rails both in plot situation/choices and violence. It shifts from a man getting involved to a man reveling in the carnage while the cops, essentially, give him a pass. And the final moment belies any positive message the story could have raised.

Bruce Willis (Rock the Kasbah) does a credible job as a distraught father and victim and a middling one as a surgeon. Script and direction on the hospital sequences were rather, let’s say under-researched. But it works fine enough for the intention. Vincent D’Onofrio (Emerald City) is an interesting foil for Willis as his brother. But while Elisabeth Shue (Battle of the Sexes) made a good showing as his wife, the less heeled Camila Morrone as their daughter was less engaging for me. To be fair, Morrone was there to serve a purpose rather than a character and the script didn’t really help show her off.

Outside of the family unit, Dean Norris (The Book of Henry) and Kimberly Elise (Dope) make an interesting detective duo. They manage to come off relatively competently but overwhelmed. It is the subtlest part of the script. Their characters break down towards the end, but through most of the story, we see them as a glimpse of sanity and potential rather than as ineffective or buffoons.

You may have noticed I don’t even mention the criminals. They’re there, but none came off as real. They’re all extreme portrayals intended to go without sympathy. We’re not supposed to care that they are offed in violent or tortured ways, so why flesh them out? Well, that is part of what is wrong with the pic…by not fleshing them out, they become purely “other” and it is OK to kill them, even enjoyable. The issue isn’t that these kinds of people don’t exist or even if they did or didn’t deserve their fates, the issue is that it makes it OK to view people as “other” and absolve yourself of the effect you have on them or the judgement you make of them. That is a major part of what is wrong with society and getting worse right now: we don’t recognize each other as fundamentally the same regardless of age, skin color, sexual preference, economic status, sexual identity, political affiliation, fill in the descriptor here.

So, did we need a remake of this Charles Bronson 1974 classic? The 70s were a different time, in many ways. The violence was as much about racial and economic tension as it was the existential horror of war. Today, hmmm… well, maybe it isn’t all that different, but the message should have been updated as well. Something more like The Equalizer in flavor, where the system honestly tried, but failed or where justice and humanity co-existed would have worked better for me. Stoking the anger and hate and divisiveness between people is the wrong message to enhance right now. That doesn’t mean you can’t have revenge movies or even movies about personal justice, but they should be better balanced. I guess what it comes down to is whether or not this movie depicted a world I’d like to live in and the answer for me in this case was: no. You’ll have to decide for yourself if that is the kind of story you need to see or not.

Death Wish (2018)

Double Lover (L’amant double)

[3 stars]

Writer/director François Ozon (Potiche) has created a highly tense, psychological drama delivered with deft visual and editing craft. The result is something like The Square meets Dead Ringers by way of Tully…maybe even a dash of Antichrist or mother! with an echo of Blue Velvet thrown in.  How’s that for a heady cocktail? Double Lover is full of incredible visual shots, with some expected elements that skirt horror, and with an unsure foundation of reality. Basically, this is not an easy movie to watch without squirming quite a bit as it unfolds.

The entire film is held in the capable hands of the young Marine Vacth (Young and Beautiful). From the outset, she is a complex and vulnerable woman in search of answers, but also with a poor sense of boundaries and choices. She is literally and figuratively laid open to us. Opposite her, Jérémie Renier (Saint Laurent) provides balance and reflection (an ongoing theme) as they battle and regroup emotionally and physically. The movie is really these two characters locked in a tarantella that is as fascinating as it is disturbing. There is also a small, but nice role for Jacqueline Bisset (Dancing on the Edge).

Ozon admits this is “freely adapted” from a Joyce Carol Oates tale. Not having read the short story I can’t say how freely, but I suspect it isn’t very true to that narrative. Unfortunately for Ozon, it also is rather violent toward women, making it fairly tone-deaf for the times. The intent is certainly more complex than that simple statement, but it will make many too uncomfortable to sit through the story to understand the action. I also think that the film is about 20-30 minutes too long to support its intent…at least for me. Some compression in the narrative might have improved the impact and pacing.

Ozon is no stranger to complex relationships, dark subjects, raw sexuality, and strong women. He is a very capable filmmaker with visual flare and little fear. This film struggles a bit to find a satisfying balance between the purposefully provocative and the honestly emotional. That is part of the point, but it will leave a percentage of the audience angry. This is especially true because of how long it takes to pay off the setup. This is a film for a night you feel patient and want to be challenged.

Double Lover

Upgrade

[3 stars]

There is more to Upgrade than you expect. Not a lot more, but it has a better story and script than a good portion of the films that have come out so far this year. On the artistic and intellectual side there are clearly intentional nods to Da Vinci, Frankenstein, Robocop, even a bit of Hitler in the visuals. This isn’t so much a dystopic future as it is an apathetic one with economic divisions just a bit more obvious than the present.

But while it starts off with a sense of Ex Machina, it loses that higher ground to drift closer to the sensibility of Automata. Both good recommendations, but very different movies. Upgrade is certainly willing to dive into ideas, like the potential amorality (or different-morality) of AI and what evolution means. And it is equally unafraid of emotions or taking its time to set up and execute on story. But they say “write what you know,” and writer/director Leigh Whannell just couldn’t quite shake his roots in Saw and Insidious. The ultimate result here isn’t very surprising–a good action and horror piece done with some talent. As a sophomore delivery from behind the camera, Whannell delivered a fairly solid bit of splatter punk. If there is any weakness, it is that despite some truly nice vistas and sets, the piece feels claustrophobic on a world level.

That smallness to the world may be due to its small cast, but Blade Runner 2049 had a similarly small cast without that sense, so I think it has more to do with Whannell’s framing choices. The cast are fairly solid and led by Logan Marshall-Green (Prometheus), who gives us an Everyman we can definitely sympathize and empathize with. He is a Luddite in a world of tech, but a person with deep passions and a sense of self and love of his wife and muscle cars (in that order). Betty Gabriel (Get Out) delivers to us a committed, if exhausted cop. Her role is challenging because we only see her decisions from the outside, which makes her seem disinterested or lazy, but I found myself enjoying the removed perspective and trying to piece together her off-screen and unspoken efforts. Harrison Gilbertson (Picnic at Hanging Rock) has an interesting challenge as well. Playing the distracted genius can be tiresome, but Gilbertson manages, by the end, to give us a shade of something new.

As purely a voice, Simon Maiden (The Dressmaker) imbues our nascent AI with a subtle personality. Stem is neither human nor too removed to keep it from becoming a character. There is a sense of HAL, but Maiden makes Stem very much his own. And, finally, there is Benedict Hardie’s (Hacksaw Ridge) neo-Nazi-ish villain. Here is where Whannell could have done a bit more. Hardie’s performance is well directed, keeping him from going to extreme, though his first scene is somewhat misleading on that point. But the character’s motivations and drive, though stated, never feel quite true. Some of that is on the script and some on the direction, but a better set of choices could have elevated this unexpected low-budget flick a couple more notches.

You do have to like violent, splatter-filled moments (not many, but enough of them) to enjoy this ride. It has the feeling of a video-game at times, but not so much that it breaks the story or the sense of the film. The story is actually engaging and the pace swift, even humorous at times, without short-changing the experience of the plot. Yes, there are some shortcuts, but most are given reasons not just shrugged off, and very little is too easy for our main character. And, yes, this one is dark, so keep that in mind as well.

Stem is not for everyone, but I have to admit I’m glad I got to see it and I’m glad it got a wider release than a non-traditional film like this normally would; definitely alternative popcorn fare for the right audience. And, perhaps most importantly, it is something new, not a sequel or prequel or reboot…and how many of those are we getting this year?

Upgrade

Tragedy Girls

[ 3 stars]

A bit like Heathers gone even a little bit madder, with a touch of Final Girls and any CW show thrown in. Brianna Hildebrand (Deadpool 2) and Alexandra Shipp (Love, Simon) really take the screen and shake it by the neck with confidence in this very dark comedy; this is their film. I can’t say you are cheering them on through their story, but you do watch with a certain amount of dark glee as they exercise and improve their skills.

The duo are helped along by a few familiar faces and many new ones. Chief among the known supporting cast are Kevin Durand (The Mortal Instruments: City of Bones) and Jack Quaid (Rampage). Durand gets to have a bit of fun, though it isn’t much of a stretch for him. And Quaid gives us a perfect boy-next-door against Hildebrand’s brand of psychosis. There are a host of other familiar faces if you’re looking, and they all help the story succeed, but the movie is really focused around them.

Director and co-writer Tyler MacIntyre (Patchwork) slaughters the slasher genre with glee and verve. It isn’t that we haven’t seen similar approaches before, but this one is solid from beginning to end, and probably a bit too raw for a lot of audiences. However, if you like your nearly believable gooey endings with humor, you’ll enjoy the ride of this blood fest. What it has to say about society and current culture, well, that’s a discussion for another day, but certainly one worth having. But for an evening of evil popcorn munching, this is a fun and well-done choice.

Tragedy Girls

Deadpool 2

[4.5 stars]

Despite having one of the best posters and some of the worst cover art (see below) Deadpool 2 is as funny as the first, if not quite as surprising now that we know the shtick. In fact, it might have the highest ratio of referential jokes per minute ever (I’d love to see a counter on the disc when it is released akin to the original Taken’s body count meter).

Ryan Reynolds (The Hitman’s Bodyguard) continues to rip up the screen and unequivocally supply the energy for the film. His returning cast from the original Deadpool have fun as well, though there was far too little of Morena Baccarin  and Leslie Uggams for me. I will say that T.J. Miller lost some of his game this round, though Karan Soni got to up his in some ways. On the other hand, Brianna Hildebrand had a similarly minor role but made more of it this time. And Stefan Kapicic’s Collosus got to have a bit more fun than his last outing.

As much fun as it was to see the old gang strutting their stuff, Zazie Beetz (Geostorm), Shioli Kutsuna (The Outsider), Eddie Marsan (The Limehouse Golem) and a smattering of fun surprise guests provide the real zazz to the remix. And Josh Brolin (Avengers: Infinity War) not only delivers, but gets to be part of another of the biggest films this summer; talk about great career choices. And speaking of great choices, perhaps the most surprising addition was Julian Dennison (Hunt for the Wilderpeople), who is probably very new to most audiences but who proved he could handle a major motion picture leap without blinking.

Reynolds joined Reese and Wernick in writing this sequel, which may explain the extreme density of the jokes, and director David Leitch (Atomic Blonde) took the franchise reigns well in this sequel. The overall effect isn’t quite as polished or paced as the original, but it acquits itself well by the end; it just has a rather long setup. And, it should be noted, in Marvel tradition, it has little gifts up through the end of the final credits. They also are continuing another more recent Marvel tradition of wickedly funny (and at times astute) music queues. If I have any real gripe with the script and character it is that Deadpool is still a bit more homophobic than the pansexual, which has more to do with current society than the original material.

So is it all you hoped for? Yes. Is it a worthy sequel? Yes. Does it set up yet more stories? Of course it does. Should you see it on big screen? You bet your red-clad ass. In fact, you may have to see it more than once to catch all the references. Deadpool is the perfect pallet cleanser for the avalanche of serious super hero stories. It reminds us you can have fun and carnage and even a certain amount of intelligence while it is all going on.

 Deadpool 2

Den of Thieves

[2.75 stars]

When the writer of London Has Fallen, Christian Gudegast, decided to write, direct, and produce this bit of caper-violence, I didn’t hold out much hope despite its surprisingly good reception on release. The result is mixed. It is either hyper-realistic, like The Departed without the careful control, or slow and boring with little understanding of pacing, depending on your point of view and likes. On its side, Gudegast really tries to create characters with depth on all sides rather than cardboard cutouts. The problem is that there isn’t a single likable character in the tale and it is clear from early on where the story going to end up, at least it was for me.

The two sides are led by Gerard Butler (Geostorm) and Pablo Schreiber (American Gods). Both are powerful actors and each brings some levels to these fairly flat characters. They each have a crew of misfits and some have families, but no one really stands out as anything special.

The plot is very much in the spirit of Oceans 11 (remake or the original) and Logan Lucky, though without the humor. In fact, the characters lead lives of fairly obvious desperation.  The plan is clever and the cat-and-mouse game with the police is intriguing. However, much of the police part lacks credibility and the final heist is a bit unexplained and unseen. Regarding the latter, it isn’t that you can’t guess what happened, but a few shots are missing to make it clear.

Overall, this will appeal to those who like dark and violent crime stories with exceedingly flawed characters. It isn’t so much a tragedy as it is a clusterf@*# on all sides. For Gudegast’s first time directing, it is an impressive show of juggling, and his script is better than some of his previous, but it isn’t a high recommendation. Basically, this is a distraction for the right audience, but it isn’t something that will demand rewatches to appreciate any nuance that may have been missed.

Den of Thieves

Proud Mary

[2.5 stars]

Coming on the heels of Atomic Blonde and John Wick 2, this movie felt like it had a lot to prove. It wasn’t helped by the miss-promotion of it as a kissing cousin to Jackie Brown. But it really isn’t any of these. The reality is that it owes more to the 1980  classic Gloria. In fact, one of the co-writers, Steve Antin, even worked on the 1999 remake of Gloria. And Gloria, of course, was also reflected of the equally classic Léon: The Professional. But Proud Mary is a pale reflection of all of these because it isn’t really anything on its own.

The heart of the issue is that Proud Mary relies on a single thing to sell it: all women want to have kids. Taraji P. Henson (Hidden Figures) is better than that, but I can understand why she took the role despite its weaknesses. How often do you get to drive a Maserati and play action hero? But the films from which it takes its roots got around the parenthood issues by removing that from the equation. Gloria and Léon were drawn into  protecting their wards by circumstance, not desire. It is the struggle of them finding a human connection again that drives the stories. It isn’t that they want to be parents, it is that they want to be human.

Proud Mary does attempt to set up the reasoning for Henson’s path, but we don’t really see any transition from guilt to love, though there is lip service to that being the case. Of course, director Babak Najafi (London Has Fallen) isn’t the most subtle or capable of guides, though he gets a great sense of 70s films at the outset of the movie. But, frankly, if that’s what you’re looking for, just rewatch Jackie Brown.

So basically, yes, skip this unless you have a real jonesing for Henson or Danny Glover…because though Jahi Di’Allo Winston (Everything Sucks!) does a fantastic job as the young man, the rest of the film and the performances are really pretty mediocre at best.

Proud Mary

Hard Sun

[3 stars]

Assumption: The only thing that holds society generally, and people specifically, in check is the expectation of a future.

Experiment: Take away that future…what happens?

It isn’t a new idea, nor is it even the best tackle of that idea (Children of Men, probably tops that list). However, when the creator and writer of Luther, Neil Cross, wanted to tackle this idea and deliver something a bit more speculative in genre, it was something I wanted to check out. The dark, violent sensibilities of Luther are put into a new frame where the world itself could be ending. The concept and effects are an interesting study, and sad admission, about human nature.

The two detectives who lead the 6-part serial, Jim Sturgess (Geostorm) and Agyness Deyn (Clash of the Titans), are an uncomfortable  pair with complex lives. Splitting the focus between two leads challenges the show at times, but watching them work through their relationship and through the chaos of the world is instantly intriguing. The give and take doesn’t always feel quite real, but Deyn is a kick-ass fighter while Sturgess is an onion of strange psychology that never really comes completely into focus.

Nikki Amuka-Bird (Luther), a wonderful and prolific actor, adds an element of menace, but without a great deal of character. Perhaps that is fair in what is clearly intended to be a 5 series story. However, it doesn’t do her any favors in believability in this first installment. Derek Riddell (Happy Valley), another well-known face from many British series, is likewise incomplete in his character, but with the talent to make the thin meat on his bones work and leave it open to build on if it continues.

Also not helping the credibility of the show are some really, really dumb choices around mental health treatment and police procedure. More than once I found myself gritting my teeth through short-cuts and outright ridiculous choices. All very surprising given Cross’s ability and background.

Overall, there is enough here to keep you intrigued and wondering what will come next. It combines apocalyptic fiction with the standard British police procedural in an interesting, if sometimes clumsy, way.  What is most interesting is the final moments that are visually stunning, but probably lost and confusing to a general audience. Hopefully, though, it is enough to get the rest of the series made, because it definitely leaves you hanging and with a whole lot of potential going forward. Seek it out on Hulu in the States.

 

Red Sparrow

[3.5 stars]

Red Sparrow is a surprisingly taut, female-lead spy drama that is Atomic Blonde by way of A Most Wanted Man.  Definitely Jennifer Lawrence’s (mother!) best turn in a long while, to my mind. Her character is fiercely intelligent, capable, and emotionally strong while being able to remain human. She finds a nugget of herself to hold onto until the bitter end.

As the men both caught in, and weaving Lawrence’s web, Joel Edgerton (Bright) and Matthias Schoenaerts (Far From the Madding Crowd) are both solid. The joy of this film is that everyone thinks they know what the others are doing, including the audience. But even when you are sure of what is to come, there is enough of a thread of doubt to keep the tension high and your curiosity peaked.

In two smaller roles, Joely Richardson (Emerald City) and Jeremy Irons (Assassin’s Creed) do some nice work. More so Richardson, to be honest, who’s existence is the MacGuffin for Lawrence’s entire set of actions. She doesn’t overplay it, nor does she disappear.

The weakest performance, frankly, was a surprise. Charlotte Rampling (Assassin’s Creed) just did’t fit in this production. Her accent was so wrong that even though her energy and demeanor were great it threw me straight out of the movie.

Director Francis Lawrence (The Hunger Games) embraced the dark of writer Haythe’s (A Cure for Wellness) script and didn’t try to apologize for it. It isn’t overly brutal, but it implies a great deal of human darkness and pain. In fact, he makes it feel like there is much more on screen than there actually is, which is another nod back to the old days of movies; he allowed our imaginations to work for him.

This may not have been a film on your list for any number of reasons, but if you enjoy solid spy dramas, this will fit the bill nicely.

Red Sparrow

Blade of the Immortal (Mugen no jûnin)

[3 stars]

Violence? Check. Dark comedy? Check? Crazy choreography? Check? Bizarre story? Check.

Blade is a manga adaptation (not to mention anime), and the dark humor and violent sensibility of that form are very present; right in director Takashi Miike’s (The Happiness of the Katakuris) wheelhouse. Blade adds another notch in his fluid and prolific opus.

This movie is never going to be a classic, nor is it something I need to see again, but if you enjoy the genre it is a pretty good romp. In some ways it feels like a riff on Kurosawa’s classic re-conceived as The Seven Anti-Samurai.

For a variety of reasons, I had to watch the dubbed version, which was unfortunate. The voices are off and mixed poorly (not unusual). But it is also a workable option once you settle into the story if you don’t want to get whiplash reading the rapid subtitles.

And there is a story, if a somewhat unexplained and unresolved one; it is essentially 2.5 hours of carnage and fighting. Despite the thin veneer, Miike does manage to take all his main characters and explain their actions; at least a little. Morality isn’t nearly as black and white as you think when it starts. But neither is there any really deep musing on the choices or philosophical meaning explored. But did you really expect there to be?

Blade of the Immortal