This sequel to the silly, but adorable, Gnomeo and Juliet is aimed at the same audience as its predecessor (15 and under). That isn’t to say that the riffs on Sherlock, and a dozen or more other shows and movies, aren’t entertaining for adults but it is thin feasting between those moments. However, the message of partnership and equality is a bit more palatable than most animated films aimed at this age group, which tend to fall into cringworthy cliché when it comes to relationships and roles.
This is John Stevenson’s (Kung Fu Panda) second feature from the director’s seat. He doesn’t break new ground, but he keeps up the pace and finds some solid moments. However, it isn’t for a broad audience like, say, The Incredibles, so approach with caution and ready distraction as you keep your younger companions company (or that necessary large glass of happy juice to launch a mindless evening of entertainment).
The real star of this predictable actioner is the title character. The concept building brought to life is jaw-dropping in its scope and design. And, thanks to an utterly bland script by Rawson Marshall Thurber (We’re the Millers, Central Intelligence), it is the most interesting part of the story.
The issue? Well, there are some typically bad research problems about how some things work, but let’s assume you can squint through them. But the main lack is tension. In a PG rated film, you know who’s going to die and how and who just isn’t. Dwayne Johnson (Rampage) and Neve Campbell (House of Cards) deliver what they can, but you never really worry that they or their twins will survive. And there isn’t even enough outright humor to make it a fun romp. It is purely a series of puzzles for Johnson to solve, admittedly some spectacular, in order to get to endgame.
Many compare this to a watered-down Die Hard, which is fair. Towering Inferno also came to mind for me. But Thurber didn’t manage to really secure the bones of either of these classics and update them; he simply borrowed their set-ups. If this had been more of a hard R presentation, there would have been more tension and anticipation. Good characters are allowed to die in the red-band world. But if you aren’t going to kill them, let them at least have some killer laughs.
Having poked this bear a lot, I’m not going to say it wasn’t a little bit of fun. It was distracting, even when I was saying the lines before the characters (because they were that obvious). Certainly many around me were gasping and enjoying the romp. It is a pretty distraction if not a great one. I guess it depends on how much you want to see yet another Johnson film in less than a year, and how old your movie-going partners are going to be.
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.
Did we really need to see Liam Neeson (Silence) kick a bunch of butt again? Is there really anything new to see here? Well, honestly, no, not much. No matter how well he sings his nice-guy-with-a-secret-past, it is a tired tune.
Of course, Neeson has to have an interesting villain to push against. Vera Farmiga (The Judge) provides a nicely cool opponent, but the script didn’t do her many favors. It is an incredulous set of circumstances and actions, however nicely tied up and pushed along with action and tension.
One fun surprise in casting was the brief appearance of Letitia Wright (Black Panther). Shazad Latif (Star Trek: Discovery) also has a small role. There are other supporting roles of note, particularly, Clara Lago, Jonathan Banks (Mudbound), Patrick Wilson (Young Adult), and Sam Neill (Thor: Ragnarok) but generally there are no standouts, just plot movers.
What is worth seeing in this movie is the opening 10 minutes or so of the the film. Director Jaume Collet-Serra’s (Non-Stop) first few minutes of the credits and action set up a tremendous amount about Neeson’s relationships, allowing Collet-Serra to focus the film on the plot, mystery, and action rather than backstory. Though for a rather different purpose (and not nearly as evocative) it is reminiscent of the brilliant opening of Up.
For a pure escapist, brain dead kind of evening, The Commuter is fine fare…and Neeson gets as much as he gives in this one. It isn’t groundbreaking, but it is well crafted and paced. There are some nice moments, and at least one forced “but wouldn’t it be nice if the world was this way” moments that you can see coming a mile off. But this movie shouldn’t be high on your list. Get to it if an when you have an urge.
The film is filled with overly long, meaningless shots. Bad motivations. Odd plotting, and really bad costumes and hair for Kirke. Seriously, she should have screamed at them for what they did to her because it ultimately had no purpose.
This is not writer/director Aaron Katz’s first or even his fourth film, which makes it all the more disappointing. What he delivered is something like a large-budget university film. I can’t even say it has strong women at its center. It isn’t that there isn’t some good stuff in there, some hints of talent, but it buried in bad pacing and plot problems.
Generally, you can miss this one unless you’ve a jonesing for one of the actors.
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.
Ok, Fallen Kingdom’s prequel, Jurassic World, was no great piece of cinema, despite its ridiculously high box-office gross. This sequel, however, made it look like Pulitzer material in many ways. Honestly, I’m fine with escapist silliness when it is done well, but I don’t like having my intelligence insulted.
There is exactly one adult, thoughtful moment in this entire film. It comes near the end and it is a good one too. The moment, and its resolution, actually reflect the core of the story that is buried in the bones of this popcorn trifle. The rest of the action and plot are predictable and, frankly, frustrating. Evil people are evil. Good people are good. Old men are foolish. Dinosaurs with big eyes are cute. Humans are greedy. Dinosaurs with big teeth are… well, you get the idea. You know what you’re walking into; there are no shades of gray, it is all black and white which leaves no room for any real lasting or surprising emotions or experience.
I will grant director J.A. Bayona (A Monster Calls) one thing: he kept the slaughter on screen to a minimum, though there is no shortage of comeuppance by the final credits. But Fallen Kingdom is merely a bridge to the third movie that Universal really wanted to make, which is hinted at in the tag after the credits. They realized that leap would have been too much to do straight from the end of the previous movie, so they made a nod at taking the time to tell it right. Unfortunately Trevorrow and Connolly’s follow-up script to their previous is even more rife with time, science, and character problems. Oh, let’s call it what it is: generally bad writing.
Will most people care? Probably not. They haven’t in previous installments, which were no better at times (including going all the way back to the beginning). It is a visual romp and the effects are, as always, pretty astounding. If you must see it, see it on a big screen and maybe even 3D to get the most you can out of the amusement park ride it is. In traditional 2D the fact that it is aimed squarely at pre-teens is unavoidable.
I expect more from my entertainment. Even when I want to turn my brain off it needs to be occupied rather than irritated to enjoy itself. I can suspend disbelief as long as things are consistent, honest, and marginally believable. Fallen Kingdom came close to those requirements, but, at least for me, missed just enough to leave me less entertained and more annoyed. As they say, your mileage may vary (and probably will).
Despite my reservations about the experience of this film, I will grant you that Ingrid is an effective commentary on the social media age.
As a first-time feature director, Matt Spicer took his and co-writer’s David Branson Smith script through to its painful and natural ends well. The duo captured the insidious and dark nature of the social world and how it affects some people. But while a movie about mostly unlikable, imperfect people can work, it isn’t an entirely pleasant experience. When the ultimate result is no better than where it all started, it becomes an even bigger challenge to enjoy or recommend. Part of the issue is that it is generally too naturalistic and caustic to be dark comedy, at least for me. There are funny moments, but I found it often more painful than amusing.
That is as much a compliment as it is a slight to the cast; they did their jobs well. But, let’s be honest, Aubrey Plaza (The Little Hours) as a slightly psycho social stalker isn’t a huge stretch in terms of new characters for her to play, even if she does play them so well. However, getting to see Elizabeth Olsen (Wind River) in a light and happy role was certainly a change, even if the mien eventually shatters. Billy Magnussen (Game Night), as her out-of-control brother, gets to cut loose in a foul character, but his and Olsen’s relationship doesn’t quite gel. Only Wyatt Russell (Everybody Wants Some) and O’Shea Jackson Jr. (Den of Thieves) come across as good people, though each are flawed in their own ways. One neat surprise was Pom Klementieff (Guardians of the Galaxy Vol. 2) in a bit role.
This one I have to leave to you on whether to watch it or not. If you don’t want to go to dark places or can’t enjoy trainwrecks as entertainment, steer clear. If you must see it for the actors or are feeling deeply sarcastic about the world, it might fly for you.
Four years ago, writer/director Takashi Shimizu (Ju-on, The Grudge) decided to tackle a horror tale in the air. I was intrigued, but it would be years before it would make it to any screen due to delayed releases, cancelled distribution, and other issues I’ve yet to discover (though the loss of Malaysia Flight 370 probably didn’t help his timing). The truth is that this is only a middling movie with a kinda fun idea crammed into less than 90 minutes. Its plot is a bit confused and its decisions more than a little silly and forced at times, enough to beggar credibility.
The structure of this story is familiar to any viewing audiences since Airport. To be fair, even Agatha Christie used the trope of setting up a bunch of interesting characters into a confined space (usually a remote house) and then letting events unwind. That said, Shimizu manages to create a certain amount of sympathy and tension with the story lines he takes time to set up before it all starts to go wrong.
Heading the cast are some recognizable faces (more so four years ago, admittedly). In particular are Leslie Bibb (Iron Man 2), Ryan Kwanten (True Blood), and Jamie Chung (Rudderless) who all get some nice moments, though far from fully fledged stories. You’ll spot other faces as well, but as much as this is an ensemble, the stories just aren’t rich enough to grab you.
If you were hoping for something as nightmare worthy as Ju-on, or its English remake in The Grudge, you can forget it. This just isn’t of the same caliber or imagination. I don’t know if that is because it was too Westernized in its approach or simply just a bit of a dud, which all filmmakers have eventually. It isn’t an unwatchable flick with a bowl of popcorn, but I’d put it way down your list for a day when you can’t find anything else.
Mute is not a feel-good romp nor even what could be termed a fun distraction. Its roots are in films like Blade Runner, but without the history to support it. However, it has its own sort of magnetic pull thanks to director and co-writer Duncan Jones’s (Warcraft) efforts in this noirish confection.
The film unfolds at Jones’s typical laconic, but compelling, pace. The story and genre aspects aren’t entirely right, but it is consistent in its approach which allows it to work. And Jones’s nod to his previous release, Moon, is both subtle and amusing… it took me a few minutes to even realize what I’d just seen. Nods like that, which also fit into the world that has been built, you have to respect.
Most dystopian stories are about overthrowing the status quo so that sanity and justice can reign. Not this tale. This dark story is small and intimate against the background of the greater darkness of a totally screwed-up world that looks all-to-familiar. Mute also takes time weaving its its multi-threaded story into whole cloth. And then it heads down a corridor that almost ends on one of the darkest moments I’ve witnessed (we’re talking Oldboy dark). Fortunately it goes beyond that to get to someplace more palatable, but still not what one would really call happy.
The main dance is between a near silent Alexander Skarsgård (The Legend of Tarzan) and a hyper-juiced Paul Rudd (The Fundamentals of Caring). Their paths intersect over and over, eventually pulling them into the same story. Around these two are a bevy of odd characters. Justin Theroux (The Girl on the Train) as Rudd’s sidekick is creepy if not entirely believable. And Robert Sheehan (Geostorm) gets to totally tear it up with his outlandish character, but still manages to give him a bit of heart. Just a bit. I was also surprised to spot Dominic Monaghan (The Day) and Noel Clarke (Star Trek Into Darkness) in a couple of smaller and nastier roles.
This movie had a long road to screen. That it landed on the little screen rather than the large is probably for the best. While it has visual scope, it definitely would have had a narrow audience appeal. However, the restrictions of theatrical release may have also forced Jones to tighten up his final cut a bit as well; sort of a dual sword. The story-telling and conceits of the result, particularly the unique blending of cultures he works with, make this an interesting couple hours. Just don’t go in depressed or angry as this will only feed that spiral.
I enjoy Jones’s willingness to try new things and difficult story lines, and to tell them at his own pace. His opus definitely isn’t for everyone, but there is a talent there that is still developing and one worth watching. He got great a great performance out of Skarsgård and took Rudd some places I’ve not seen him do…and even managed to guide him to just enough humanity to pay off the plot. If you like Jones’s previous work, you should give this your time. If you haven’t yet discovered Jones, you can try this, but you might want to start with Moon and decide if his style jibes with yours first.
Art, writing, life explained… or at least commented upon…