Archive for the Thriller Category


Posted in Action, Adventure, Thriller on November 6, 2015 by Mark Hobin

Spectre photo starrating-3andahalfstars.jpgDaniel Craig is back for his 4th appearance in the Bond series. For those keeping score, Spectre is the 24th entry made by Eon Productions. The greatest James Bond features have always worked as a cohesive whole that is greater than the sum of its parts. To put it another way, they are an assortment of action set pieces strung together to form a lucid story. Here the action rises and falls. Spectre is typified both by exhilarating highs and mundane lows that interact to produce an overall spirited good time.

The flick gets off to a rollicking good start in Mexico City, where celebrants have amassed to honor the Day of the Dead with a colorful parade. The color, costumes, and energy present contribute to feeling of excitement that is equally exuberant and sinister. The film’s heart-pumping opening chase take place in a helicopter high above Zócalo Square. It’s a logistically spectacular display that undoubtedly contributed to this being the most expensive James Bond production ever. It shows. The stunt ranks favorably with the best of Jame Bond. Then comes a credits sequence highlighted by Sam Smith’s wimpy falsetto theme “Writing’s on the Wall”. The corresponding images illicit more giggles than awe with a shirtless Bond being massaged by sexy ladies and octopus tentacles. The bad guys have a ring engraved with an octopus so that’s the connection I suppose.  It’s all a bit WTF but memorable for being so over-the-top.

The proper tale concerns Spectre, a nefarious international criminal network that wants to unite the world’s surveillance services into a global agency. It’s somewhat murky and there are more than a few conversations that could’ve ended up on the cutting room floor to benefit a more efficient running time. I mean a zippy adventure shouldn’t be prolonged to 2 hours and 30 minutes. That’s ridiculous. Honestly if they had shaved 30 minutes off this monstrosity it would’ve gotten a higher rating from me. Still what is here is very good. In addition to the spectacles I’ve mentioned there’s a nifty fist fight on a train barreling through Morocco with wrestler Dave Bautista as Mr. Hinx. He plays a henchman for the Spectre organization. There’s also rousing chase sequences through Rome, the Austrian Alps and London as well.

Spectre incorporates a lot of references from the past that sort of provide a unifying whole to the previous four Bond entries. Recurring characters M, Q and Miss Moneypenny all return. New addition Léa Seydoux as Dr. Madeleine Swann is an attractive presence, although too judgmental for a typical “Bond girl”. Spectre is the villanous global criminal network that forms the crux of the saga. Meanwhile the essential fate of the 007 organization is in jeopardy when a smug bureaucrat named C (Andrew Scott) takes over British intelligence. The pinnacle of evil is Christoph Waltz, whom Bond tracks down to his desert lair housed in a meteor crater. He’s a serviceable villain, but veers on the dull side. This is where you’re supposed to ham it up, Christoph! His head drilling machine is kind of nasty though. I cringed at the scene.

The Daniel Craig Bond era has been unusually strong. Over the course of four movies, the franchise has seen some of its most popular films. The series hit a zenith with Skyfall, an all around success by any standard. Quantum of Solace was execrable, but hey, three out of four ain’t bad. Spectre isn’t the best entry, but it’s good entertaining fun nonetheless. Daniel Craig has intimated this may be the last time he plays Bond. If that’s true, I will lament his decision. He’s been one of my favorites.


Goodnight Mommy

Posted in Horror, Thriller with tags on October 8, 2015 by Mark Hobin

Goodnight Mommy photo starrating-4stars.jpgCreepy twins? Check. Domineering mother? Check. Frightening masks? Hissing cockroaches? A newly acquired pet? A priest? A cemetery? Cornfields? Plot twist? All present and accounted for. Goodnight Mommy contains some timeworn horror movie tropes, but instead of relying on clichés, it elevates the formula. The sampling synthesizes these elements into something entirely new and surprisingly innovative. Horror, arthouse cinema or psychological thriller, it’s all of these and more. I dare say within its framework, I faced a small handful of the most uniquely disquieting images I have ever seen. You can’t unsee these things. The concepts are creatively unsettling.

Goodnight Mommy is the first narrative feature from filmmakers Veronika Franz and Severin Fiala. Ever since it had its world premiere at last year’s Venice Film Festival, the movie has built up a solid reputation of positive buzz. In September it was even submitted as Austria’s 2015 Oscar entry for Best Foreign Language Film.  Flashback: fellow countryman Michael Haneke’s Amor won the award for Austria back in 2012. Interestingly Goodnight Mommy actually recalls the chilly isolation of Michael Haneke’s work, particularly with his Funny Games. Even the similar setting, a gorgeous estate by the lake, is incongruously tranquil for a horror flick.

The writer-director team of Franz and Fiala take the sacred bond that exists between a mother and her children and shatters it to pieces. In their deconstruction, the chronicle plays out slowly, but at the climax, the dysfunction reaches a boiling point. Elias and Lukas are nine-year-old twin boys enjoying the summer in a modernist lake house made of steel and glass. Things seem fairly idyllic until mother shows up. Father is not in the picture. Mother’s appearance is obscured, her face wrapped in bandages, apparently the result of some facial surgery. She is a television presenter so perhaps the procedures were cosmetic. Regardless, her presence now vexes the children. She regresses into more irritable and oppressive, almost malicious, behavior. Is this woman their mother or is she an impostor? The boys have their doubts. What follows is an exploration of identity and trust.

To give any more plot details would be to spoil the delight of discovery. Oh and believe me, this spine-chiller has a few shocking developments. The drama travels down a twisty path that grows ever more grotesque. The descent is so gradual that for most of the duration I was completely on board. The eerie trip mostly relies on psychological horror. If the directors make an error, it’s that they ultimately show more than they should. The flirtation with gore is enough. By the end, the plunge into Grand Guignol crosses the line. Only once, okay maybe twice. The impropriety betrays the dominant milieu of the picture.

In this genre, what often separates the wheat from the chaff is the visual lexicon, that is – the discernible style of the director which is then boldly captured by the cinematographer. Here they artfully flaunt a narrative that manifests anxiety. The dread is palpable. The fact that the ambiguous story is created without much clarification intensifies the air of disorientation. Granted there are a lot of red herrings that purposefully mislead the viewer in ways that don’t always play fair. I still have no idea what that pizza delivery was about. But in a production such as this, the misdirection only heightens the unease. The script skillfully undermines the strength of the familial bonds we hold dear. I won’t soon forget the experience. I just have one nagging question: Why are the Red Cross volunteers in Austria so aggressive?


The Gift

Posted in Drama, Mystery, Thriller with tags on August 22, 2015 by Mark Hobin

The Gift photo starrating-4andahalfstars.jpgSimon is a highly competitive, status-conscious go-getter. His wife Robyn is interested in restarting her successful architect business. Jason Bateman and Rebecca Hall are the Callums, a well-to-do couple who have recently moved from Chicago to suburban Los Angeles. They’ve bought a sleek glass-walled home in the hills near where Simon grew up. They seemingly have the perfect life. However a recent miscarriage hangs over them. Then one day while out shopping for furniture for their new home, a man approaches Simon and claims to know him from high school. Simon doesn’t recognize him until he says his name is Gordon Mosely, or Gordo.

Their exchange is pleasant, but soon after, he begins dropping by their home unannounced, usually when Simon is at work. Then there’s the series of escalating presents that Gordo bestows on the pair: a bottle of wine, koi fish for their outdoor pond. His presence starts to make them uncomfortable. Dismantling the peaceful tranquility of the wealthy suburban upper-class is a genre unto itself. Call it the “home-invasion” thriller. Fatal Attraction, Pacific Heights, The Hand That Rocks the Cradle, Single White Female and Unlawful Entry have all done the broad category justice. The Gift is an impressive addition.

The cast is uniformly excellent. I generally consider Jason Bateman to be a comedic actor, but he plays against type occasionally.  Once again, he is outstanding in a serious role. Rebecca Hall is his equal as yes, his sympathetic wife. But she’s a complex individual in her own right. They don’t always see eye to eye. Together they must contend with this intruder in their lives. Joel Edgerton (WarriorThe Great Gatsby) strikes the perfect balance between menacing and amiable as Simon’s classmate from the past. Edgerton is also the writer and director. He delivers an extremely self assured directorial debut with this finely crafted feature.

The Gift is a suspense thriller that hews close to the grand tradition of Alfred Hitchcock. The chronicle commences with a predicable frame, but it doesn’t end that way. What energizes the story is how Edgerton’s screenplay extracts tension from the unknown. That queasy feeling you get when things are a bit off kilter but you’re not really quite sure why. That lack of privacy is at the heart of the horror exploited here. Their personal refuge is being infringed to the point that it becomes unsettling. What makes Gordo tick is a question you’ll immediately have once he becomes part of the narrative. The script takes it’s time not to answer this question immediately. The drama allows the audience to simmer for awhile in this sinister stew. I didn’t realize how much I enjoy being on edge. By the shocking climax, The Gift pushes you to the absolute brink.


Mission: Impossible – Rogue Nation

Posted in Action, Adventure, Thriller with tags on July 31, 2015 by Mark Hobin

Mission: Impossible - Rogue Nation photo starrating-4stars.jpgMost films are launched by the best entry and continue with subsequent sequels over a steady course of decreasing returns. The Mission: Impossible spy movies, however, buck that trend. By and large, these flicks just seem to keep getting better and more focused. This has a lot to to do with the point at which the series started. The 1996 Mission: Impossible picture that kicked off the franchise was a web of switching allegiances that unraveled into a convoluted mess. I still won’t spoil the plot of a near 20 year old movie, but it actually managed to dishonor the heart of the original TV show. Fast forward to the 4th installment, 2011’s Ghost Protocol, and it achieved an apex. Now we have number 5. While Rogue Nation doesn’t quite reach the heights of its predecessor, it’s still an efficiently written, well acted and directed thriller overflowing with stunts infused with a healthy dose of wit.

The story has Hunt as his team trying to prove the existence of The Syndicate. This is some evil international organization intent on taking down Tom Cruise and the rest of the Impossible Missions Force. Rogue Nation assembles some familiar faces: Tom Cruise along with Ving Rhames are a constant in every film. I suppose there will come a day where Crusie will be replaced by a younger actor. I must say though, given his superhuman feats of derring-do, that day isn’t any time soon. He exudes nothing but the aura of a vibrant action star. 53 years old never looked so good. Simon Pegg, and Jeremy Renner have reunited as well. The men are a bit more consistent. The Mission women on the other hand, are a revolving door. Past femme fatales Thandie Newton, Michelle Monaghan and Paula Patton are out. Swedish actress Rebecca Ferguson as Ilsa Faust is in. A welcome addition, she plays an able bodied agent whose mysterious loyalties are unclear.

MI:5 starts off with a seemingly death-defying action extravaganza that has Ethan Hunt jumping on a plane to seize some missiles loaded with nerve gas. That he must cling to the outside of the plane as it takes off is par of the course for this globetrotter. It’s hard in this day and age of computer effects to impress with stunts anymore. That the mighty feat is seemingly accomplished without the aid of computers adds to the excitement. Sometimes it’s a sprint through the streets of London or swinging on a curtain rope backstage at the opera. Other times a car chase through the winding roads of Casablanca morphs into a a motorcycle race through mountain highways. How about a soaring altitude jump into a massive circular tank of water where our hero must hold his breath for SIX minutes. He must swim to the bottom of an underwater tunnel to switch out a profile card to allow his associate unrestricted access into a maximum security stronghold. The action never fails to thrill.

Christopher McQuarrie is the writer behind Valkyrie (2008), Jack Reacher (2012) and Edge of Tomorrow (2014) – all movies starring Tom Cruise, The two have joined forces again for Mission: Impossible – Rogue Nation where McQuarrie also directs the actor for a second time. Their close working relationship produces a lively production that is high on fun and low on overwrought complications of the earlier entries in this franchise. Colorful stunt-filled escapades dramatically utilize the full scope of the wide screen. In truth, the production is little more than a series of athletic exploits that dazzle the eye. Yet each tableau is so great that any one of them could easily serve as the climax of its own film. The excessive 2 hour+ run time does wear on the viewer. Call it too much of a good thing. Still, it’s the breathtaking stunts that genuinely sell this picture. Can I emphasize how much this Hitchcock fan truly appreciated that “Man Who Knew Too Much“-inspired assassination attempt at the Vienna Opera House? Well I did…a lot.


Jurassic World

Posted in Action, Adventure, Science Fiction, Thriller with tags on June 13, 2015 by Mark Hobin

Jurassic World photo starrating-3andahalfstars.jpgJurassic World is a sequel set 22 years after the events of Jurassic Park. Pay no attention to entries 2 and 3. They’re irrelevant. The dream of a dinosaur theme park on Isla Nublar, initially conceived by John Hammond, is now a reality. In fact it has been in operation and running smoothly for a couple decades. It’s an amusement park like no other. Jurassic World boasts a plethora of attractions seemingly based on the Disneyland template. Get up close and personal at the Gentle Giants petting zoo. View the flora and fauna by rolling around in a glass encased Gyrosphere or kayaking on the Cretaceous Cruise. Or just sit back, relax and watch a Mosasauraus feeding show in an outdoor arena. Careful, you may get wet.

Much of the visual awe lies in the beautifully crafted details of a dinosaur theme park that looks like a physical creation that could actually exist. We’re told that it has been a success for years. However Claire Dearing (Bryce Dallas Howard), the operations manager, laments that attendance has grown stagnant. Velociraptors have become old hat and the attraction needs to rely on some innovation to spark interest, Chief bioengineer, Dr. Henry Wu (B. D. Wong) has abnormally engineered dinosaur DNA with modern animals to breed a completely new creature. Indominus Rex is impressively large but he reasons in such an intelligent way that it begs laughter. But hey, that’s part of the fun.

Jurassic World delivers on the promise of an exhilarating movie. It’s more thrill ride than complex drama though. The beasts dazzle. The humans? Not so much. The human drama is fabricated upon a frosty operations manager (Bryce Dallas Howard) whose raison d’être is to increase the popularity of the attraction. Naturally she has no time for her two nephews that come to visit the park. Granted Zach (Nick Robinson) and Gray (Ty Simpkins) are pretty irritating. The first is a sullen drag and the other spouts facts every 5 minutes. Just call them”gloomy” and “gabby”. I suppose the narrative wouldn’t have been the same without those annoying kids. Check the franchise. It’s a tradition. Vincent D’Onofrio is a heel out of the Generic Villains 101 handbook. As head of security operations, he wants to utilize the Raptors as weapons for military purposes. We’re obviously supposed to hate him. Nevertheless I found myself reacting against the script’s obvious manipulation to the point where his idea started to make sense. Chris Pratt as a Velociraptor expert and trainer is the movie’s MVP. Despite his top billing, he doesn’t appear until 20 minutes in. He’s only onscreen for a short period and then doesn’t reappear until the second hour. But when he does, he captivates our attention and exudes the charm of a movie star.  However, his romance with Claire is the very definition of contrived.

The visual splendor of Jurassic World presents all the whiz-bang biological appeal of dinosaurs run amok. It highlights creative set pieces that champion the excitement of a dinosaur disaster story. This is easily the best entry since the first. The narrative frequently references Jurassic Park to tell a tale that is slavishly devoted to the blueprint of the original. Critics might deem it uncreative. Fans would call it nostalgia. I side more with the latter. You came to see animals gone wild and that’s exactly what you’ll get. There’s a showdown of a final fight that includes an aggregation of dinosaurs. The climax pays off perfectly.  The park is manifested as a stunning reality that hearkens back to the wonder of the first film. Although I can’t say the technology has really taken a significant leap. Some CGI bits were spectacular while others had Pratt riding his motorcycle alongside a gang of raptors. There are a lot of tedious scenes involving humans. Claire, who spends the entire movie running in high heels, has her predictable moment where she saves the day. It’s more eye-rolling than applause-worthy. But if you go to a dinosaur movie for “Shakespearean” characterization” then you’ve missed the point. With that said, I will offer that I truly enjoyed an exchange between actors Lauren Lapkus and Jake Johnson at the end. Wait for it. It’s the funniest moment in the entire film…at least intentionally.


San Andreas

Posted in Action, Drama, Thriller on May 31, 2015 by Mark Hobin

San Andreas photo starrating-1star.jpgSan Andreas is a catastrophe. It is a lamentable skill when a disaster film, a piece of entertainment that is routinely met with the lowest of expectations, fails to even meet the basic requirements of simply being “dumb summer entertainment”. This is a genre in which universally panned movies like Dante’s Peak, Poseidon or 2012 can still manage to earn big bucks at the box office. However the popular opinion of which inevitably deteriorates over time in the mind of the American public. Oh there are high minded exceptions. The Birds, The Towering Inferno, Titanic, Contagion. But what makes those productions great is the blending of mass destruction with characters that captivate our attention.

San Andreas on the other hand eschews originality in favor of series of tropes uncreatively strung together by CGI effects. The plot can be summarized in a sentence: When the San Andreas fault triggers a 9 plus magnitude quake up the West coast, a search and rescue helicopter pilot (Dwayne Johnson) and his estranged wife Emma (Carla Gugino) make their way from Los Angeles to San Francisco to rescue their daughter Blake (Alexandra Daddario). A plot so simple it might be refreshing. But oh the cliches! Most disaster films rely on a few timeworn shortcuts to tell a story but that’s all San Andreas is – literally a checklist of hackneyed tropes and nothing more. How does San Andreas conventionalize? Let me count the ways…

Brad Peyton is the brains behind such movies as Cats & Dogs: The Revenge of Kitty Galore and Journey 2: The Mysterious Island. Kid friendly doesn’t have to mean intellectually vacant, but I’ll let his filmography speak for itself. Ray and Emma are a divorced couple that are still amicable toward each other. This gives them the awkward sexual tension when they band together to save their daughter trapped in San Francisco. Clearly the narrative wants you to think Ray is a stand-up guy. Clumsily inserted amongst the CGI mayhem we get the occasional “quiet dramatic scene”. In flashback, Ray reflects on his greatest failure: he wasn’t able to save his younger daughter when she tragically drowned in a rafting accident. He obsesses over the daughter he couldn’t save while the living daughter suffers in need. His behavior gets more egregious. Here we have an active-duty LAFD pilot who ignores orders by abandoning his job in the middle of the greatest natural emergency in American history. Instead he goes AWOL on a personal mission with one of the department’s helicopters. He intends to save his wife and daughter but no none else – leaving thousands to die as a result. To emphasize the point further, he drives past an elderly couple on the side of the road leaving them in the dust. The only reason he ultimately turns around is because they were trying to warn HIM before he drove into a chasm. Ray’s dereliction of duty is disgusting.

However according to the script, the truly reprehensible human is Emma’s rich boyfriend (Ioan Gruffudd). Naturally he is revealed to be an unctuous jerk who cowardly abandons Blake in her hour of need. This an obvious setup to make his inevitable death by a falling building all the more gratifying. Daniel’s sister Susan (Kylie Minogue) dies too but that’s OK because she made an insensitive comment. Death karma to people who are rude. But good people die as well. You almost have to admire a film with the audacity to kill millions but then conveniently neglects to show a single dead body. Buildings will fall, tides will raise, but there’s nary a casualty in sight. The death and trauma that follow a major earthquake are nonexistent here. That would interrupt the viewer’s enjoyment of the pristine beauty of CGI served up for visual consumption.

There are some impressive effects. Behold the brilliant shards of glass raining down upon people as they narrowly make their escape. Narrowly is the operative words here. Nobody escapes a discernible threat unless it is barely by the skin of their teeth. Time and again the audience is led to believe that every major character is just within a hair’s breadth of losing their life only to escape within an inch of life. This includes a scenario where the pilot of a helicopter tempts fate by saying “we’re only 90 minutes away” and then seconds later, the engine fails. Meanwhile Ray’s daughter Blake is trapped in a San Francisco parking garage. There she encounters Ben (Hugo Johnstone-Burt) and his younger brother Ollie (Art Parkinson). The meet-cute allows her to rescue him. Girl Power! They’re all such a bore though. The one lone individual that is mildly interesting is Dr. Lawrence Hayes (Paul Giamatti) a seismology professor at Caltech who detects the quake and warns everybody about their impending doom. He’s the “I told you so!”

San Andreas has a lot of faults. A narrative disaster that falls apart under the weight of a thousand cliches. In a few years this DVD should find a permanent home in the 99 cent bin at your local Walmart. Until then crowds will flock to see pretty CGI . The chronicle’s lazy reliance on tropes from other disaster pictures is pretty shameful. Did the real script get destroyed in the quake? LA and San Francisco are decimated and millions have died. But a happy ending rests on whether our “hero” Ray and his family are reunited. The countless souls that have their lives extinguished is presented as a mild inconvenience. The final minutes lovingly feature the courageous efforts of FEMA, the National Guard, and the UN. Please note the giant American flag draped from the Golden Gate Bridge in the background. As Emma ponders, “What now?” Ray looks up to the heavens and says without irony “We rebuild.” I wouldn’t say the picture was forgettable because  that would have been a blessing. San Andreas is so hopelessly bad, I just can’t stop thinking about its miserableness.


Mad Max: Fury Road

Posted in Action, Adventure, Science Fiction, Thriller on May 16, 2015 by Mark Hobin

Mad Max: Fury Road photo starrating-4stars.jpgMad Max: Fury Road is a visionary work of production design. It isn’t a story in the traditional sense with a lot of plot. This is more like a symphony of chase sequences that undulate like the movement within a classical piece. You might say the action is “mad”. Each setpiece is carefully modulated with deft precision. They’re punctuated by bursts of violence like trumpets that then ease into quieter moments like the calm violins of a soothing melody. The tempo rises and falls before culminating in a coda that leaves the viewer debilitated but relived.

In a future world, a nasty cult leader named King Immortan Joe (Hugh Keays-Byrne) rules over a collapsed civilization . Keays-Byrne also portrayed the main villain “Toecutter” in the original Mad Max (1979) but there is no connection between these evildoers. In order to breathe he wears a mask with horse teeth arranged in a skull motif from which two vacuum pipes extend. A shock of white hair and ghastly skin contribute to the overall nightmare that is his face. He’s a frightening sight. Just watching him suit up is kind of mesmerizing. He commands a group of white painted minions called “War Boys” at the Citadel. They help him maintain control over the masses, hoarding this world’s most precious commodity, water.  His dependents include his son Rictus Erectus (Nathan Jones ), a muscular warrior that looks like he could take on The Rock and War Boy Nux (Nicholas Hoult) in a captivating performance.

Tom Hardy is”Mad” Max Rockatansky, one of the rebels trying to out run Joe and his army. Max is haunted by the loss of his wife and child. This is a reboot of the same character that Mel Gibson played in the previous 3 installments. He speaks with a deep, raspy voice rarely stringing more than 2 words together. Initially he is a hapless hostage strapped to the front of a car. Thrust into this supposed male dominated world is Imperator Furiosa (Charlize Theron) who drives “The War Rig”, one of Joe’s vehicles. She sports a metal prosthetic arm and can speak in full sentences thank you very much. Theron is a female badass that ranks with the icons in cinema. I’m thinking Sigourney Weaver in Alien and Linda Hamilton in Terminator 2. She dominates the story. While Mad Max may bear the movie’s title, he’s not the star of the show. Furiosa has decided to rescue King Immortan Joe’s five beautiful wives out of the Citadel. Joe pursues her. And they’re off!

The action is the realization of a perfect manipulation of cinematography and production design. The futuristic terrain of Australia here is courtesy of the Namib desert in southern Africa. It’s an arid land with an inhospitable climate. It’s a post apocalyptic dystopia, but cinematographer John Seale should get an Oscar for making the desolate wasteland look so visually stunning. The landscape has the energy of life. There’s a massive sand storm that will blow your mind. Even the heroes look good. They all have the healthy looking bronze of a sun kissed glow: Tom Hardy, Charlize Theron and the five wives of Joe that she rescues in tow. They are the emotional core of the film. Joe’s favorite is played by the gorgeous Rosie Huntington-Whiteley. Side note: how do these women look so ravishing in these dusty conditions? Seriously. No I mean seriously.

Any studio with a lot of money can put on a CGI fest these days. Watch a superhero movie. Take your pick. It takes a visionary to present action in a style that propels the medium further. It’s essential that every automotive monstrosity in Mad Max: Fury Road is a physical entity that exists. The danger is real. The 88 uniquely different cars are characters themselves. I’m told 150 vehicles were actually created because, well ya know, they take a beating. One roadster with porcupine spikes is called “Plymouth Rock”. Another called “The Doof Wagon” is fronted by a blind electric guitarist (Sean Hape better known as iOTA). The mutant dangles from a bungee cord above an epic sound system made of amps and speakers. There’s a separate truck that holds massive drums of course. They pulse like a heartbeat. Some cars are outfitted with long spires that swing hundreds of feet in the air like metronomes. Enemy acrobats ride atop the poles enabling their aerial attacks. Charlize Theron drives “The War Rig”, a six-wheel-drive tanker powered by two supercharged V8 engines built to haul gasoline and annihilate anyone that crosses its path.

The spectacle of Mad Max: Fury Road is a symphony of action under George Miller’s direction. It’s gleefully insane! Like some unholy union between The Wacky Races cartoon and an Iron Maiden album cover. Miller has described the film as one long chase sequence. When you get right down to it, that’s pretty accurate. Plotwise it’s a race to there and back again. But it’s Colin Gibson’s production design, John Seale’s cinematography, Junkie XL’s immersive score, and Jenny Beavan’s costumes that define this movie. The look is absolutely bonkers. It’s a testament to the visual and aural overload that it propels an adult like me into giddy exuberance. Mad Max: Fury Road is an all out pedal to the metal, full throttle chase with nothing held back. You know those pre-teens raised on heavy metal music and 80s action movies back in the day? Well we’re adults now.  This movie hits the sweet spot.


Ex Machina

Posted in Drama, Science Fiction, Thriller with tags on April 19, 2015 by Mark Hobin

Ex Machina photo starrating-4stars.jpgThe story is simple. A young programmer wins the opportunity to spend a week at the private mountain retreat of his boss Nathan Bateman (Oscar Isaac), a reclusive billionaire and internet search-engine mogul. When he gets there, he’s asked to sign a non disclosure agreement before they can even proceed. Caleb Smith (Domhnall Gleeson) has actually won the chance to evaluate the aptitude and consciousness of a beautiful and sophisticated robot named Ava (Alicia Vikander). But robot seems almost like an outmoded term in this case. For you see, the capabilities of Ava far exceed the intellect of any mere machine. Caleb will determine whether she has the competence to exhibit intelligent behavior equivalent to, or indistinguishable from that of a human.

Ex Machina concerns the philosophy of artificial intelligence. The chronicle is built around the monitored conversations that Caleb has with Ava. The first day, Caleb questions Ava, but on the second day, Ava questions him. The insightful script plays with the way humans talk and then how a computer would glean information from that interaction. “Does Ava feel?” is a key question. Ex Machina does a great job and presenting a lot of interesting topics for discussion. Caleb’s sessions with Nathan when he reports his findings are equally important. Of course Caleb’s interactions with Ava are being watched, but what Nathan observes is not as important and the way Caleb reports on it. Occasionally power failures affect the means with which Nathan can monitor these sessions. That’s when the exchanges between Ava and Caleb get really juicy.

Oscar Isaac’s Nathan is an arrogant tech tycoon with a bit of a God complex. With his shaved head and bushy beard, He wants to present himself as this approachable laid back guy, but we immediately realize he is anything but. He’s an über control freak that works out incessantly throughout the day and parties even harder at night. There’s an intensity to him that is unsettling. Take Kyoko (Sonoya Mizuno), the Japanese servant girl he employs. He values her inability to speak or understand English. In this way he can freely talk trade secrets around her. His insulting disregard for her borders on misogyny. Even when he’s ostensibly just boogieing down to a disco ditty with her, there’s still something menacing about the act.

That brings us to his technological creation Ava: a very female entity. She has the face, hands and feet of a human woman but the body of a cyborg, although still shapely. As manifested by actress Alicia Vikander, she is a hypnotic creation. The Swedish dancer trained at the Royal Swedish Ballet School in Stockholm for nine years. With her lithesome movements and graceful placement, she suggests a very carefully studied decision to move. The fact that she is female is a very deliberate component to her creation. After all, an artificially intelligent computer need not have a sex. The objectification of the female body courtesy of her creator. This idea is found elsewhere in the narrative, but to reveal more would be to spoil the discovery.

Ex Machina is Alex Garland’s feature debut as a director. But he’s no newbie to film. The English novelist has been writing for years. His first novel The Beach was turned into a movie by Danny Boyle. It would mark the beginning of several partnerships between the two. He most successfully penned the post-apocalyptic horror film 28 Days Later. In 2007 he wrote the screenplay for Boyle’s Sunshine and then they executive produced 28 Weeks Later together. But perhaps the director Garland more closely references this time, is the work of Mark Romanek. With its austere environment and smooth shiny surfaces the film occasionally recalls his glossy music videos “Scream” (Michael & Janet Jackson) and “Bedtime Story” (Madonna). The two collaborated when Romanek directed Never Let Me Go which Garland adapted from Kazuo Ishiguro’s dystopian sci-fi novel.

Artificial Intelligence is the topic at hand. Given the heady subject matter, I was surprised with the very basic way in which the idea is handled. Ex Machina is entertaining, though the narrative doesn’t tread any new ground. Some interesting concepts are brought up, but nothing particularly innovative is resolved. This is a glorified episode of The Twilight Zone. However the stripped down, simple design is visually attractive. Nathan’s subterranean compound is a modern architectural wonder in the middle of a forest. His lair is both richly appealing and menacingly claustrophobic. The style makes the story seem weightier than it really is. There’s precious little depth, but heck if the whole thing isn’t entertaining. Caleb, Ava and Nathan form an emotional triangle of sorts that seduce, attack, argue, persuade and sympathize. Ultimately, the tale is a triumph because I was captivated throughout.


Furious 7

Posted in Action, Crime, Thriller with tags on April 5, 2015 by Mark Hobin

Furious 7 photo starrating-4stars.jpgOver the course of seven films, the raison d’être of the Fast & Furious movies has been car chases, explosions and epic fights. The movies have laid this groundwork. I didn’t make the rules but that is how they must be judged. Using this barometer, I have always found the Fast & Furious franchise to be mildly entertaining. The first one is almost quaint by today’s standards. A variation of Point Break but with cars instead of surfboards. Parts 2-4 were of irregular quality with mixed results. But then the saga got a shot in the arm with parts 5 & 6. They both exceeded expectations. However they still never quite hit that sweet spot where the rightfully lively crossed over into the magnificent. That is until now. With Furious 7, director James Wan has produced a sequel that is so insane, so giddy to just throw the rules out the window, that the merely exciting has now crossed over into the ridiculously sublime. Regardless of your evaluation, this entry is unlike any that has come before. It is completely bonkers and the established drama is all the better for it.

Furious 7 evokes the best camaraderie from the gang. A huge cast is beautifully integrated into a story that has multiple events constantly going on at any given time. In a nod to the original film, Dom (Vin Diesel) and Letty (Michelle Rodriguez) gather with the neighborhood for race wars. Is that Iggy Azalea congratulating Letty for her win? Brian (Paul Walker) adjusts to a quiet family life with his wife Mia (Jordana Brewster) and son. Meanwhile Federal Agent Luke Hobbs (Dwayne Johnson) finds a new villain Deckard Shaw (Jason Statham) hacking away into his computer. Shaw has vowed to take revenge on behalf of his brother Owen (Luke Evans) who now lays in a coma amongst the ruins of a hospital on fire. Shaw is a human killing machine and Hobbs ends up in the hospital with a broken arm after he is hurled out of a second story window. He contacts Dom who vows to take down Shaw for good. Dom assembles the old gang which includes Roman (Tyrese Gibson) and Tej (Ludacris). They embark on a mission to try and locate Shaw using a surveillance system called God’s Eye which can spot anybody from anywhere in the world. The story also has parts for Kurt Russell, Djimon Hounsou, a hacker named Ramsey (Nathalie Emmanuel), Bollywood actor Ali Fazal, martial artist Tony Jaa and MMA fighter Ronda Rousey. Even Lucas Black from Tokyo Drift shows up briefly.

Naturally the plan involves five of our heroes dropping out of a jet plane sitting in their cars equipped with parachutes. In this entry a car behaves more like a spaceship than a vehicle meant for land. The action set piece ends with a bus teetering on the edge of a cliff with Paul Walker inside. Aw heck a cliff never stopped anybody in this. Vin Diesel willingly drives himself off another cliff and he miraculously survives. Oh wait till you see the skyscraper scene in Abu Dhabi. This comes after a lavish party which is possibly the film’s only lull. There’s lots of music video edits and color at least. Then there’s a combat scene where Vin Diesel goes mano a mano with rival Jason Statham. “Thought this was gonna be street fight?” Diesel shouts holding a gun at an unarmed Statham. “You’re damn right it is” he says tossing the gun aside. The quips usually aren’t much more cutting than that, but they’re always perfectly timed and delivered with such confidence that they invariably land like the most eloquently tossed off wit.

Furious 7 is the best chapter in the Fast & Furious franchise. This is a fact. It’s not even up for discussion. The production is all about raising the stakes to top the others. It succeeds. It’s bigger, faster, funnier and yes, more touching. Furious 7 has the craziest stunts, the campiest dialogue, and the warmest, most amiable fellowship of any entry yet. The sequels have grown progressively sillier. This has been to the benefit of the series. The way this gang cheats death in this world is closer to the rules that govern cartoons like Wile E. Coyote and The Road Runner. Side Note: Their first Looney Tunes appearance was actually a short called Fast and Furry-ous in 1949. I kid you not. Anyway, it‘s the no holds barred, gleefully outrageous stunts that make this installment so transcendent. Nobody ever said these films were emotionally deep. Yet Furious 7 ends ups being a surprisingly touching tale concerning family – not necessarily people united by blood, but by loyalty and friendship. The camaraderie here is stronger than it has ever been. Furious 7 is a fitting coda not just to the series, but to the life of the late Paul Walker as well. By the end, I challenge you to keep the tears at bay.



Posted in Comedy, Drama, Thriller on March 31, 2015 by Mark Hobin

Faults photo starrating-4stars.jpgAnsel Roth (Leland Orser) is “one of the world’s foremost authorities on mind control and cult organizations” or so he adamantly proclaims to a heckler at one of his poorly attended seminars. You see Ansel’s life has taken a downturn. He’s divorced, his TV show is canceled, and now he’s been reduced to shilling his new book in a conference room in a cheap hotel. “I can sign it for $5.”  It wasn’t always this way. His first book was a big hit. Unfortunately his former wife acquired the rights to it as part of their divorce settlement. Now he’s starting from ground zero with a new tome that hasn’t exactly burned up the bestseller list. His last intervention to help someone in a religious sect tragically resulted in their suicide. Because of this, when the parents (Chris Ellis & Beth Grant) of another member of a cult recruit him to deprogram their daughter, his first instinct is to disregard their request. But their persistence and the looming monetary debt he owes to his manager (Jon Gries) soon leads to a change of heart.

Faults carefully straddles the line between black comedy and cautionary tale. The chronicle begins rather playfully but as the story develops it becomes less and less so. By the conclusion, it becomes extremely serious without a hint of humor. The ending is actually rather chilling. “Faults” is the name of the cult. Ansel’s plan begins with kidnapping the parents’ daughter and bringing her to a sparsely decorated hotel room for deprogramming. This is where the majority of the action takes place. The narrative mostly consists of conversations designed to get to the root of her devotion to “Faults”.

The success of Faults is the result of a brilliant screenplay. The claustrophobic surroundings and extended cinematic takes add to the dialogue heavy drama. The interactions of the two principals uncover intriguing discoveries. To go into more details would be to spoil the movie, but writer/director Riley Stearns has written a fascinating script and extracted the best performances I have ever seen from these two talented performers. Character actor Leland Orser is probably best known as a recurring part on the television show ER. Here is given a rare starring role and he makes the most of this compelling cult expert. He has this hapless quality that grows more self assured when he is in his element. Mary Elizabeth Winstead, who is the wife of the director, is phenomenal as well. There is a blankness to her expressions where you’re never really sure where her head is at. She has this weird mix of vulnerability and calm throughout. This is very much a non-traditional horror film of sorts. It sets up a troubling premise and then follows through to a surprising twist ending with a point. Faults is a rewarding experience.



Get every new post delivered to your Inbox.

Join 901 other followers