Star Trek Beyond

Posted in Action, Adventure, Science Fiction on July 23, 2016 by Mark Hobin

 photo star_trek_beyond_ver2_zps1pnn4doa.jpg photo starrating-2stars.jpgI suppose two out of three ain’t bad. After director J.J. Abrams’ spectacular reboot on the franchise simply titled Star Trek in 2009 and his equally thrilling follow-up Star Trek Into Darkness, the series takes a giant leap backward with Star Trek Beyond. How giant? Well, this is the weakest chapter in the franchise since Star Trek V: The Final Frontier (1989). J.J. Abrams is still listed as one of the producers but this entry has different writers (Simon Pegg, Doug Jung) and a new director, Justin Lin of The Fast and the Furious 3–6 fame. Lin is unquestionably a talented filmmaker that has brought much life to those car racing films, but his broey aesthetic is a clumsy fit for the Star Trek universe. The philosophical intellectualism that usually inhabits Gene Roddenberry’s creation is tossed aside. Less thinking, more destructive action is the primary agenda here.

Captain James T. Kirk (Chris Pine) and his team are 3 years into their 5-year mission to explore the ends of the cosmos. Kirk’s upcoming birthday has him wistfully thinking about his deceased father. He is seeking the position of Vice Admiral and requests that Spock be made captain of the Enterprise. Kirk has become rather bored by his duties. The disinterest is contagious. His colleagues are dispassionate too. Spock (Zachary Quinto) and Uhura’s (Zoe Saldana) relationship continues to play out in tedious exchanges. The two unduly concerned with the soap opera of their lives rather than their mission.

Things finally get shaken up when a distress signal leads them to an alien named Kalara (Lydia Wilson), who asks for help in rescuing her people on the far side of the galaxy. On the way there, they are attacked by more aliens led by Krall (Idris Elba). It’s hard to pinpoint how an acclaimed actor such as Elba could become such a dull villain, but somehow he manages that unimaginable feat here. His raid causes the crew to be dispersed as they abandon their beloved USS Enterprise. Scotty lands on a forest planet and is saved by another alien named Jaylah (Sofia Boutella). More stuff happens. Little of it memorable.

Star Trek Beyond is an odd creation. So safe, so boring, so utterly devoid of anything new or innovative – it feels like the mandatory enforcement of a contract to release another Star Trek film. Check. Obligation fulfilled. The movie is at its best when the personalities of the esteemed cast are highlighted. After the Enterprise team abandons ship during Krall’s attack, the crew is dispersed. Spock and Bones (Karl Urban) are isolated together and it is during their interactions on a foreign planet that the script momentarily springs to life.

What does Star Trek BEYOND mean exactly?  Even the title lacks definition. May I suggest Star Trek: Generic Space Action Movie. Sadly, most of Beyond plays out more like a Fast and Furious movie with visual effects here substituting for much needed depth. The adventure is shockingly routine for a production of this magnitude.  The story is just too insubstantial for a 2 hour motion picture. This develops like a rejected plot from the 60s TV show expanded to feature length. Then the music of the Beastie Boys makes an incongruous appearance in one key scene. The song’s arrival is eye-rolling to say the least. What in Gene Roddenberry’s name is that song doing here?  However 24 hours later, and it’s the only thing that still stands out in my mind. At least I remember they played ‘Sabotage’ really loud. What a shame that it’s all I remember.

07-21-16

Hunt for the Wilderpeople

Posted in Adventure, Comedy, Drama with tags on July 19, 2016 by Mark Hobin

 photo hunt_for_the_wilderpeople_ver3_zpssdgunvub.jpg photo starrating-4stars.jpgTaika Waititi is a major talent. New Zealand already knows this after several of the director’s offbeat films, which include Eagle vs Shark, Boy and What We Do in the Shadows, have become hits in that country. The latter comedy was one of my favorites of the year when it was finally released in the U.S. in 2015.  On November 3, 2017, the rest of the world will come to know Taika Waititi’s name when Thor: Ragnarok (Thor 3) is released.

His latest, Hunt for the Wilderpeople, is a quirky joy. A movie fashioned with such care and so much warmth that it practically leaps from the screen and gives the audience a hug. It’s based on the book Wild Pork and Watercress by New Zealand author Barry Crump. Crump’s semi-autobiographical tales are often comic adventures set in the rugged outdoors. Wilderpeople is no different. The saga stars a famous name in actor Sam Neill as Uncle Hec, a grizzled man. He chases after Ricky Baker (Julian Dennison), a defiant city boy after Ricky runs away from home into the forest.

But let’s start at the beginning. Sweet Aunt Bella (Rima Te Wiata) and cantankerous Uncle Hec (Neill) are Ricky’s latest foster parents.  Living in the country has been an adjustment for the city kid. Aunt Bella is chipper although her bloody killing of a boar does frighten the child a bit. However Ricky finally seems to have found a family he likes. When Bella abruptly passes away, the authorities threaten to extract the youngster and place him in yet another foster home. Fearing more bad experiences, Ricky runs away into the wild. Uncle Hec follows after the boy. When strict child-services worker Paula (Rachel House) discovers the missing pair, a manhunt ensues.

Ricky is an orphan that has been shuttled around in the foster care system. Raised on hip-hop and affecting a gansta lean (that is if he was actually old enough to drive) he’s been labeled as a bad egg. Nothing could be further from the truth. With dog Tupac by his side, he is disarmingly charismatic. The elderly geezer and the young whippersnapper, thrown together by fate, united by friendship. The idea sounds clichéd but in the hands of Sam Neil and especially novice actor Julian Dennison, the idea is fresh and delightful. Dennison is the secret weapon of the chronicle, bringing a fresh interpretation to a character that charms us almost immediately. A heavy set kid of about 12, there’s a physicality to his performance that makes his precociousness all the more amusing.

Hunt of the Wilderpeople is a beautiful blending of a road movie and a coming of age tale. Like the novel, the production is divided into chapters, each with its own title. The whimsical adventure fashions amusing vignettes that, like delectable morsels, are easily digestible in bite size pieces. With gorgeous scenery as a backdrop, a musical score charms with a retro 80s feel courtesy of the band Moniker . “Trifecta (Ricky Baker Song)” is a highlight. Musical interludes are inserted amongst sharp, witty moments between Uncle Hec and the tender lad. If there is a quibble, it’s that the plot drags on a bit too long when a tighter narrative might have made the ending pop a bit more . By the time the story finally wraps up, we’re more than ready for things to end.  Still, there’s a preciousness that touches the heart without ever being overtly twee. It recalls the work of Wes Anderson. Believe me,  that’s a compliment of the highest order in my book.  Actor Sam Neill and newcomer Julian Dennison have an odd couple chemistry that makes this “hang-out” yarn thoroughly enjoyable. The veteran actor is good but the rookie is even better. Julian Dennison steals the film and probably your heart as well.

07-17-16

Ghostbusters

Posted in Action, Comedy, Fantasy, Science Fiction with tags on July 15, 2016 by Mark Hobin

 photo ghostbusters_ver5_zpsuplq07c1.jpg photo starrating-2andahalfstars.jpgI don’t think I could’ve been more primed to like this film. (1) I adore the classic 1984 comedy and the concept of a distinctly fresh version of Ghostbusters sounded like fun. (2) I am a huge fan of the cast. Melissa McCarthy has the whip-smart comic timing that can shape even a stale bit into a gem. Kristen Wiig is a genius of oft kilter humor. Up-and-comers Kate McKinnon and Leslie Jones are rising stars whose work on Saturday Night Live is among the most outstanding on that show right now. (3) Bridesmaids was one of the best features of 2011. It made my Top 10 for that year. Reunite the director Paul Feig with two of that picture’s personalities and watch their obvious chemistry unfold again. (4) The pre-release internet hate directed at this production was so unfounded I was tempted to give the movie a pass simply to prove the naysayers wrong.

The good news is that Ghostbusters is not the disaster that the internet predicted. Yet it’s far from the inspired reboot for which I was hoping. The set-up: Many years ago, Dr. Erin Gilbert (Kristen Wiig) and Dr. Abby Yates (Melissa McCarthy) collaborated on an unpopular book about paranormal phenomenon. When Gilbert realizes the book has been republished, she seeks out Yates to undo an embarrassing situation that might damage her tenure at Columbia University. In the ensuing years, Yates has continued to study the supernatural with eccentric engineer Dr. Jillian Holtzmann (Kate McKinnon). Yates coaxes Gilbert into joining her on another investigation in exchange for squashing the book’s publication. And so they’re off to fight ghosts.

Joining them are MTA worker Patty Tolan (Leslie Jones) who sees a ghost in a subway line and contacts the Department. She joins the team a while later. Jones is normally a uniquely dynamic presence on SNL but here she is given nothing more to do than pedestrian shtick.  Unfortunately the sidekick part fails to highlight the sharp comedic gifts she displays every week.  Shouting your lines doesn’t make them funnier. There’s also Kevin Beckman, a feebleminded but handsome receptionist (Chris Hemsworth). I could easily fault the “himbo” act for being nothing more than a dumb blonde role reversal joke.  The thing is, he’s actually one of the funniest things in the film. Credit his affable charisma for taking a flimsy part and making it funny.

Of the four Ghostbusters, only Kate McKinnon truly elevates her loony scientist into something interesting and original. She interprets lines that would normally fall flat in the hands of a lesser actress. By delivering them with an off beat sensibility, she makes the character her own and not a pale imitation. A relative unknown, she has the most to gain from this exposure. I suspect this credit on her resume will be a nice stepping stone to greater things in her career. However established stars McCarthy and Wiig have been lobotomized. They seriously downplay their normally quirky appeal here. Perhaps that’s admirable. This is an ensemble piece and it allows others like McKinnon and Hemsworth to shine. However, in the process we lose what makes their comedic personas so invigorating.

Ghostbusters is a largely uninspired take on a well known property. The story scores points for changing up the plot at least. Like a remix of a classic song with a new singer and modern production, it entertains based on familiarity but not through excellence or innovation. Ok so Kate McKinnon and Chris Hemsworth are amusing, but the script hangs the rest of the cast out to dry. In lieu of a Sumerian deity from another dimension brought back from the dead, we get a nerdy petulant weirdo (Neil Casey).  He is a weak excuse for the main villain. Humor is subjective, but I rarely laughed and that’s a deal breaker when assessing a comedy. This cacophonous spectacle wants it both ways. Embrace a modern take, while constantly reminding you of nostalgia for the 1984 original. Star cameos abound with Sigourney Weaver, Bill Murray, Dan Aykroyd, Ernie Hudson and Annie Potts all in conspicuous bits that distract from, rather than add to the narrative. The idea of a summer blockbuster that headlines 4 women celebrated for their witty minds, and not their physical attributes, is exciting in theory. I so very wanted this movie to be spectacular. Instead it’s just barely acceptable.

07-14-16

Wiener-Dog

Posted in Comedy, Drama on July 11, 2016 by Mark Hobin

 photo wiener_dog_zpsbwumiqbq.jpg photo starrating-4stars.jpgThey don’t call Todd Solondz “The King Of Feel-Bad Cinema” for nothing. Few directors expose the horror that exists beneath the well manicured facade of the suburban dream as frightfully as he. Wiener-Dog is only his 8th feature since 1989. A prolific filmmaker he is not. Welcome To The Dollhouse was the 1996 picture that put the New Jersey native on the indie map. It still remains his biggest success to this day. While subsequent releases have seen less box office, most have achieved a certain level of critical acclaim. All are informed by his cruel, albeit multi-layered take on the human condition.

In Wiener-Dog, four tales are linked together by the presence of the same dachshund. As she inhabits the lives of four different individuals, we come to learn the details of the families within. There’s Remi (Keaton Nigel Cooke), a sensitive little boy who is a cancer survivor, Dawn Wiener (Greta Gerwig), an awkward young woman who runs into an old crush, Dave Schmerz (Danny DeVito) a screenwriting professor disregarded by his students, and Nana (Ellen Burstyn), an elderly woman visited by her granddaughter (Zosia Mamet). You can see the director’s alter ego in the lead protagonist as the focus of each story gets a little older. The spirit of every principal beaten down by the inequities of life.

Mortality is a fact of life. Death isn’t a cheerful idea, but it is real. Because Todd Solondz deals in these themes, he is not an easy director to like. His worldview is bleak and pessimistic. Oh and did I mention this is a comedy? A very funny one at that if you can cuddle up to the movie’s prickly charms. The absurdity of the conversations within can be laugh out loud hilarious at times. There’s even an intermission scored to an original countrified song called “The Ballad of the Wiener-Dog”. It adds just the right amount of levity before embarking on the production’s even more somber 2nd half. Aided by gorgeous cinematography by Edward Lachman, he lends a hyper surreality to these mundane settings.

The pup in Wiener-Dog features heavily in each episode. Yet despite the title, this is really about people, not the canine. The beloved pet is merely a construct that gives us an excuse to follow an assortment of characters. There’s a world weary tone to these sagas, but there’s also the soul of humanity as well. For example the relationship between Remi and the dachshund is pure and sweet. They share a friendship to which his parents are immune. We sympathize with the various heroes in their respective vignettes, even though they may have serious flaws. There’s an authenticity to that. I mean we are flawed too, right? As the film marches to its inevitable conclusion, we brace ourselves. Todd Solondz has contempt for the Hollywood happy ending. Wiener-Dog is typified by a grisly finale that hits you like a slap in the face. Then the camera lingers on the event. There’s a palpable rage against society here.  The experience may sting, but the script still makes a sincere plea for mankind. I saw hope amidst the despair. That’s kind of powerful.

07-08-16

The Secret Life Of Pets

Posted in Adventure, Animation, Comedy, Family on July 9, 2016 by Mark Hobin

 photo secret_life_of_pets_ver2_zpsst2sqnzq.jpg photo starrating-3andahalfstars.jpgThe Secret Life of Pets promises to show you what domesticated animals are really like when people aren’t around. In set-up, it’s a spiritual cousin to Toy Story. But here the mood is defined by a cursory depth and a far zanier mentality.  The narrative structure is loose and free-form. Pets seems inspired by the cartoons of the 1940s & 50s from Tex Avery and Chuck Jones. Character development is minimized in exchange for the almighty gag. It’s a hodgepodge of routines but if you’re looking to laugh, it does the job.

The production is overflowing with a huge cadre of personalities, an odd assortment of mostly cats and dogs given life by celebrity voices. They’re an amusing variety of individuals. At first it’s unclear which animal will be the center of attention. There are so many. However we come to understand that Max (Louis C.K.) a Jack Russell Terrier, is the star. He’s a good natured doggie, but grows rather jealous when his owner (Ellie Kemper) adopts another pet in Duke (Eric Stonestreet), a big shaggy Newfoundland. The two dogs are soon thrust into an odyssey on the streets of New York. There they meet up with a cult that promotes “The Flushed Pets” movement. They want to overthrow the humans. Meanwhile Gidget (Jenny Slate), a Pomeranian, rounds up Max’s friends in an effort to find him. Pops (Dana Carvey) stands out as an elderly basset hound with paralyzed back legs. Tiberius (Albert Brooks), a menacing red-tailed hawk is an unexpected addition. There’s a tattooed pig (Michael Beattie), a parakeet (Tara Strong) and a guinea pig (Chris Renaud) as well. However none stand out as much as Snowball, a white rabbit voiced by Kevin Hart. His manic charisma stole every scene he was in. He is hilarious.

The Secret Life of Pets is largely a joy that beguiles almost as easily as it evaporates from the mind. That’s actually part of the script’s ephemeral appeal. The cartoon is brought to you by Illumination Entertainment, the highly successful film production company that brought you the Despicable Me movies. This flick wants to charm us with unfettered antics. There is a purity to that.  You’d have to have the cold heart of a grinch to not at least chuckle at some of the random absurdities. At one point a bizarre hallucination sequence in a sausage factory involves a Busby Berkeley number of dancing wieners clad in hula skirts. As their heads are bitten off, they gleefully sing “We Go Together” from Grease. The eclectic soundtrack also includes selections from artists as disparate as Taylor Swift, System of a Down, Queen, Nappy Roots, Ringworm, Beastie Boys, Bill Withers, Andrew W.K. and N-Trance with their the 1995 remake of “Stayin’ Alive”. Sadly, a compilation of all this diverse music has not been released but you can download the selections individually I suppose. Humor targets run the gamut from behavioral shenanigans to poop jokes. And yes there are one too many of the latter. The Secret Life of Pets is a chaotic tornado of random bits & characters. There is very little sense to this. At times, I struggled to discern the focus of the story. And yet it pops up every now and then when it needs to make an appearance or simply make us laugh. I was entertained.

07-07-16

The BFG

Posted in Adventure, Drama, Family, Fantasy on July 2, 2016 by Mark Hobin

 photo bfg_ver2_zps109o0kyc.jpg photo starrating-3stars.jpgSophie is an unhappy girl who lives in an orphanage. One night she sees a giant walking about carrying what looks like a large trumpet. He spies her as well. In an effort to keep his existence a secret, he reaches in and snatches the young girl from her bed. Back to his place he takes her. While he may appear to be big and scary, his true nature is quickly revealed. For you see, the BFG stands for “Big Friendly Giant”. The two develop a fast friendship.

With Steven Spielberg directing and Melissa Mathison penning the script, expectations are high. The two have only worked together twice before: Twilight Zone: The Movie and more spectacularly, E.T. the Extra-Terrestrial. The latter hit still remains the 4th highest grossing film of all time (when adjusting for inflation). So chances are you’re aware of its legendary status. The BFG pales in comparison.

Mark Rylance and Ruby Barnhill are certainly up to the task. Their portrayals are wonderful. Rylance fresh from his supporting part in Spielberg’s Bridge of Spies, shows that his Academy Award was no fluke. He embodies the titular creature with a twinkle in his eye and palpable warmth . His mixed up vocabulary is kind of cute too. The giant is manifested through a liberal use of CGI mixed with Rylance’s motion capture performance. The visual effect doesn’t look real, but it does feel magical.

The problem is that The BFG is an awfully slight adventure. The fantasy is adapted from a 1982 novel by Roald Dahl. The book is barely 200 pages, so a 2 hour drama is really pushing things. For almost 90 minutes, The BFG is just a “hang out” movie. Little Sophie and the BFG merely get to know each other for the major part of the narrative. He reads her a book, she falls asleep. Then he gives her a dream. Instead of eating humans, he cooks up snozzcumbers which are these repugnant vegetables. The word suggests a portmanteau of snot and cucumbers. Oh he also drinks a carbonated beverage called frobscottle where the bubbles go down rather than up. That’s how the gas is emitted from the body as well. In place of burps we get what the BFG calls “whiz-poppers”. This information laying the groundwork for the most protracted setup to a fart joke I’ve ever seen. It’s pretty amusing I’ll sheepishly admit. It includes a couple of corgis.

Roald Dahl is the same author of classics like James and the Giant Peach, Charlie and the Chocolate Factory and The Witches. An undercurrent of evil is usually a common theme in his stores. The potential for death is a most definite possibility. In The BFG we’re told hideous giants are responsible for the disappearance of children. They regularly raid the cities under the cover of night to eat “human beans”. The BFG would rather spend his time on other things. Sophie follows him on one of his runs to harvest dreams. He then gives the good ones to children with the aid of his trumpet. This talent is later utilized in a section involving Queen Elizabeth II. This is where story developments finally take place, but they form the last 30 minutes of the plot. For most of the chronicle we have essentially watched these two make small talk and chill. The lack of action plainly begs for a musical number or two at the very least. A bit of judicious editing would have helped tighten the tale’s languid rhythms. I can’t recommended this to everyone but I will to a select few. The BFG is a cult film – a production whose leisurely charms will undeniably delight a passionate, though very small, audience.

06-30-16

Independence Day: Resurgence

Posted in Action, Adventure, Science Fiction with tags on June 26, 2016 by Mark Hobin

 photo independence_day_resurgence_zpsdychzl31.jpg photo starrating-1andahalfstars.jpgConfession. I didn’t think the 1996 special effects laden film that spawned this sequel was a great movie — BUT it was fun. And I’ll acknowledge that the picture has since become a classic of the science fiction genre. Back in 1996, Independence Day made a gazillion dollars simply by blowing stuff up on a grand scale. The sight of large spacecraft hovering over some of Earth’s major cities was enough to stir excitement/terror in the hearts of moviegoers. The ultimate show-down climaxed with a diverse group of people converging in the Nevada desert. Will Smith socked an alien in the face: “Welcome ta urf!” Americans united, along with the rest of the world, over a counter attack that just so happened to occur on the 4th of July. A now famous rallying cry speech from Bill Pullman precipitated the climax. It was as corny then as it is today, but gosh darn it, it sort of worked on a visceral level. Then they kicked some alien butt.

Now it’s 20 years later. In the interim, the United Nations have created the Earth Space Defense (ESD), a global program that serves as Earth’s early warning system against future extraterrestrial threats. Using recovered alien technology along with existing human technology, the alliance has bolstered the world’s defenses. Africa is the site of an alien spaceship that crashes during one battle. It appears that Congolese warlord Dikembe Umbutu (Deobia Oparei) has fought the creatures for years. He has experienced recurring visions due to his personal encounters with the aliens. Ex-president Thomas J. Whitmore (Bill Pullman) has gotten psychic hints of an arrival as well. Furthermore the ESD discovers that the fallen ship managed to send a distress call to its home planet. The Earth is bracing itself for another invasion.

Let’s face it. This was always going to be more of a re-interpretation then a sequel. Keep it simple. Give the people what they want. Nostalgia mixed with better special effects and an assorted cast of appealing characters. It sounds easy — an obvious set-up for a slam dunk success. It’s the cinematic version of boil water – a straightforward recipe that’s pretty hard to screw up. Roland Emmerich is back as director and Dean Devlin is producing again. Heavens to Will Smith! It’s hard to believe this is the same team that made the 1996 movie. The team bungles the execution to the point of incompetence.

How did they make a film so astonishingly boring? Let’s start with the initial invasion. Yes, we get another one of those. But first not without 30 minutes of formless exposition checking in with returning characters that establish who they are in the most perfunctory manner possible. Dull and dreary, these set ups scenes are just a time waster. We’re told that an alien vessel over 3000 miles in diameter has invaded earth. However we’re given no appreciation for the size of that ship. Where is the emphasis on the sense of scale? We’re told it’s levitating Beijing and Dubai, then dumping the debris on London, but it’s not clear that is happening. The destruction sequences are confusing — a haphazardly edited hodgepodge that has no concept for geography. The world is under attack but it feels small and insular. Even worse – it looks cheap. It’s one of the most poorly edited sequences I’ve ever seen in a would-be blockbuster. Did they run out of money for effects? That’s the only explanation I can give for the gross incompetence on display.

I miss the soul of the original cast. Randy Quaid and Mary McDonnell are obviously out. They didn’t survive. Jeff Goldblum, Bill Pullman and Judd Hirsch are back however. Given their lack of zeal though, they are clearly more bored than the audience. Pullman’s frazzled ex-Pres is supposed to have PTSD so at least he has an excuse. Brent Spiner is preposterously revived as eccentric scientist Brackish Okun. If you’ve seen the last film, you’ll know why that’s implausible. 20 year coma apparently. Despite the weak justification for his return, I will admit that he’s the most captivating proof of humanity in the entire production. That’s still not saying much. One scene has him scratching his naked rear end in semi-closeup. Margaret Colin is recast in spirit by Charlotte Gainsbourg as Goldblum’s love interest. Zzzzzzzzzz  Sela Ward is the “Leader of the Free World” this time around. Madame President indeed. Vivica A. Fox gets what amounts to a cameo. I think she has a line or two. The late Robert Loggia appears. No lines at all.

Too much of the plot is dominated by younger actors who register zero charisma. Will Smith, who became a huge star in the 20 years since, wisely passed on this script. We’re told he died in a test flight.  Wow.  Apparently the screenwriters couldn’t be bothered with disposing of him in a creative way.  A substitution for his temperament is the character of his adult son. Instead of getting the original performer, Ross Bagley, the part went to Jessie Usher. He possesses none of Smith’s personality.  Even his declaration “Get ready for a close encounter, bitch!” lacks the required conviction. Mae Whitman, who portrayed Patricia, the president’s daughter in 1996, has been inexplicably replaced as well. The taller, blonder Maika Monroe (It Follows) is a fine actress but Whitman is still a talented thespian in her own right, so the snub is rather vexing.

The former First Daughter now has a romance with fiancée Jake Morrison, a role depicted by blonde and bland hunk du jour Liam Hemsworth. Why oh why does he continue to find work while hundreds of actors struggle in Hollywood? His best friend is Charlie Ritter realized by actor Travis Tope. Or did I reverse those names?  Too forgettable to even keep straight.  Charlie has his eyes on Rain Lao, played by Hong Kong model, Angelababy. Don’t quit your day job, kid. Jake, Dylan, Charlie and Rain form this squad of fighter pilots that are a quartet of vapidity. Together their scenes comprise a large portion of the narrative, yet their tedious personalities add absolutely nothing to its enjoyment. I would have eliminated every last one of their parts altogether.

Independence Day: Resurgence is bad. Not bad in the ridiculous, let’s relish it for the folly of it all. That was the original flick. This is so mind numbingly lifeless, it’s awful. I wasn’t invested.   When the very existence of mankind is at stake, that’s a problem.  I couldn’t give a care about what happens.  It’s clear the filmmakers didn’t either. Poorly edited, drearily acted with sloppy CGI that has no sense of breadth or scope. If this was one of those Syfy channel pieces of schlock like Sharknado I’d be a little more forgiving. No this is a shining beacon of gross ineptitude for a mega budget blockbuster. There’s a moment in the last half hour where the movie does something right. A Godzilla-sized queen is seen tearing down the desert as planes encircle her. The climatic battle gives a hint of what might have been, but it’s too little too late. Then the inevitable tease for a Part 3 slaps you in the face. There’s still some fun to be had. Save your money now. Invite your friends to watch this when it’s on DVD. First one to fall asleep is the loser. Or is that the winner? Regardless, it’ll be a short game.

06-24-16

Central Intelligence

Posted in Action, Comedy, Crime with tags on June 22, 2016 by Mark Hobin

 photo central_intelligence_ver2_zps8nxd0sdr.jpg photo starrating-2andahalfstars.jpgMovies don’t get more agreeably disposable than Central Intelligence, a stridently by-the-numbers action comedy. The source of all humor contained within is an incongruous juxtaposition – the visual joke as it were. Hey guys!! Watch a big muscular dude (Dwayne “The Rock” Johnson) pal around with a yappy shrimp of a man (Kevin Hart). The former has a flamboyant personality. The latter possesses a shrill disposition. Just what we’re in short supply of – another “odd couple” comedy.

Back in high school it was a much different story. Calvin Joyner (Hart) was a BMOC: class president, homecoming king, drama club thespian, et cetera. Conversely Robbie Weirdicht (Johnson) was a morbidly obese dork who enjoyed dancing in the gym locker room to En Vogue’s “My Loving (You’re Never Gonna Get It)”. Yup, complete with hand gestures and everything. He was mercilessly teased. Flash forward to the modern day. Calvin is in a funk. He hasn’t yet achieved what he had envisioned for his life. He’s happily married to his high school sweetheart and gainfully employed as an accountant. “Wait what’s the problem?”, you may ask. That’s a very good question. Oops! I think you just might be too smart for this picture.

Robbie Weirdicht (now calling himself Bob Stone), on the other hand, is a huge brawny guy who likes to wear unicorn shirts that look like they were purchased at Baby Gap. He also happens to be a competent CIA agent. This figures into the plot but it’s kind of irrelevant. The purpose of this buddy film is to unite two unlikely people and merely savor their chemistry. Bob still idolizes Calvin like a hero. He quickly ingratiates himself back into Calvin’s life after a Facebook invite. Within hours he’s already sleeping on his couch. Honestly Bob’s obsessive fascination with Calvin is borderline stalker behavior.

Central Intelligence isn’t a horrible movie. It coasts on the charm of its leads. Dwayne Johnson is eager, overzealous and blissfully unaware. He imagines this close personal friendship with Kevin Hart’s character that was never really there. He’s so naive he seems almost mentally challenged. Kevin Hart plays an exasperated, persnickety fuss-budget. The two are a mismatched pair. If you can appreciate the constant mugging from the two stars then you should cuddle up to the film’s modest charms. Me? I was hoping for a bit more story than the threadbare plot that’s served up here. For the record, it’s some nonsense about selling critical U.S. satellite codes to terrorists. There’s also some confusion as to whether Bob Stone is actually a good or a bad guy in the CIA but you’d have to be fast asleep not to figure that out. Yes it’s totally predictable, but that’s not the issue. I found their hijinks mildly amusing. I simply never laughed out loud at any point. It’s so thoroughly generic. Directer and co-writer Rawson Marshall Thurber has done better work. I’d uphold DodgeBall: A True Underdog Story over this. What sets Central Intelligence apart is Wayne Johnson and Kevin Hart. I recommend this to very forgiving fans (and only fans) for whom these celebrities can do no wrong.

06-21-16

Finding Dory

Posted in Adventure, Animation, Comedy, Family on June 18, 2016 by Mark Hobin

 photo finding_dory_ver6_zpsvkailyui.jpg photo starrating-4stars.jpgIt’s been 13 years. How do you follow up Pixar’s highest grossing (when adjusting for inflation) film ever? Why you release a sequel that goes bigger.  Add more characters, more zaniness and even better animation, but don’t stray too far from what worked before. A tragic backstory that leads to a great adventure is nearly identical in nature. The dramatic beats are kind of samey too. Instead of a frightening encounter with a giant shark we get one with an enormous squid. It’s a bit of a rough watch in the beginning. I was worried. It does takes awhile for Finding Dory to find its footing and form a distinct identity from the original, but I’m happy to say it ultimately does. The story doesn’t take chances but rather goes for audience pleasing entertainment. It may be pure formula but hey it’s also pure fun.

You may remember (pun not intended) that Dory, the blue tang, is forgetful. She suffers from short term memory loss. In flashback, we see her as a tiny fish with her parents. “Stay away from the undertow!”, they say. Father Charlie (Eugene Levy) and Mother Jenny (Diane Keaton) resort to repetitive learning techniques using rhymes to impress upon her. Any parent of a child with special needs will surely relate. The scenes encourage understanding for those who are unfamiliar with how difficult it can be. Despite their due diligence, Dory becomes separated from her parents anyway.

The years pass. Dory (voiced as an adult by Ellen DeGeneres) continues to solicit help from other fish in finding her family. This leads to the events depicted in the first film when she meets Marlin (Albert Brooks) looking for his lost son Nemo. Now flash forward to a year after Nemo was found. While on a field trip with Nemo (Hayden Rolence) a long forgotten memory is triggered while watching a stingray migration. Dory hears the word “undertow”. She recalls bits and pieces. She was looking for her parents. She realizes she must travel from the Great Barrier Reef to California – specifically “The Jewel of Morro Bay.” – in order to find them. And so begins our adventure.

Most of the activity takes place in California at a state of the art “rescue, rehabilitate, release” aquarium called the Marine Life Institute modeled after the impressive one in Monterey*. During production, the setting was changed from a SeaWorld type facility. This was as a result of the backlash caused by the 2013 documentary Blackfish. Sigourney Weaver’s voice is overheard in pre-recorded announcements at the exhibits in the park like the voice of God. It was at that moment, I knew everything was going to be OK. She never appears in physical form, but we know it’s her because she introduces herself by name over and over. We’re reminded that it’s her speaking so many times, it becomes a running joke.

Finding Dory adds a dizzying array of new characters. Clownfish Nemo and his father Marlin are back aiding Dory in her quest. It piles on the cutes too. In the early scenes baby Dory (Sloane Murray and Lucia Geddes) has eyes as big as her body. Just the sight of her will make your heart melt. They’re still the characters we know and love, but I’d argue a new character tops them all — Ed O’Neill as Hank The octopus. Ok so actually he’s a septopus — he lost a tentacle. Hank is a wondrous creation that seems the next likely candidate to get his own movie. An irascible sort, he surprisingly prefers an aquarium in Cleveland to the open wild of the Ocean. He slings himself from one room to another with elastic ease, using adaptive camouflage to blend in with whatever background he chooses. He’s almost human the way he ambles about. There’s no natural explanation why a cephalopod should behave this way, but I loved every second of him. Other denizens of the Marine Life Institute include a clumsy whale shark with poor eyesight named Destiny (Kaitlin Olson), a neurotic beluga whale named Bailey (Ty Burrell), a pair of territorial sea lions named Fluke (Idris Elba) and Rudder (Dominic West), and an awkward loon named Becky. She doesn’t speak, but her frazzled personality shines through.

Finding Dory is a lot of fun by amping up the craziness. After Dory is captured by two aquarium employees, the primary setting shifts to the Marine Life Institute. It might seem odd that the majority of action takes place on dry land. After all Dory is a blue tang who needs water to, ya know, like swim. This is one of the constructs that is most unexpected. The journey is not without its challenges. The Kid Zone touch pool scene is an absolute nightmare of grabby hands from the perspective of the aquatic life within. Nevertheless, Dory is able to navigate the outside world with surprising ease. She leaps from one tank to another. Fish move distances using the spouting geysers of a fountain. Others travel in a bucket of water grasped by Becky the loon and carried in a coffee pot by Hank the Octopus. You might think that that’s stretching things. Wait until you see the car chase.

Finding Dory doesn’t top Finding Nemo. It’s sillier and more frivolous than its predecessor. Although there’s some consideration for mental illness and the importance of family, it doesn’t attempt the emotional depth. No I didn’t cry.  Pixar is usually so good at that.  Although there is a poignant moment that certainly tries. However, the movie does goes off in a bizarre, completely zany direction, and forges its own identity that way. Once it does, it’s a warm, good–natured, non-stop hilarious, gag-filled joy of a film.

*[Side note: The script mentions the coastal city of Morro Bay which is about 125 miles south of Monterey, but the aquarium in that city is most definitely not the the same place depicted here].

06-16-16

The Man Who Knew Infinity

Posted in Biography, Drama on June 16, 2016 by Mark Hobin

 photo man_who_knew_infinity_ver2_zpsdhy0zicy.jpg photo starrating-3stars.jpgThe biography of Srinivasa Ramanujan (Dev Patel) should be the subject of a compelling movie. He was an accomplished Indian mathematician.  In this school of thought, people like Sir Isaac Newton or Professor Stephen Hawking are household names to anyone over the age of 12. Ramanujan, however, still remains somewhat of a mystery. That is until now. His lack of recognition with the general public makes this document of his life even more crucial.

Born in utter poverty, Ramanujan possessed a brilliant mind for analytical theory but had no university training. At one point he decided to send some of his written formulas to a well-known professor at Cambridge University during World War I. At first G.H. Hardy (Jeremy Irons) thought the correspondence from the unknown sender was a joke, but in time Ramanujan was invited to come study at Cambridge. This occurred in 1914.  He would ultimately become a pioneer in mathematical principles under the guidance of professor G. H. Hardy, his advocate and sponsor.

A fascinating man inspires this production but it’s buried under the formal structure of a staid biopic. Dramatizing the study of theorems is not easy to do and the drama (perhaps wisely) doesn’t even try. Instead, the best parts of The Man Who Knew Infinity deal with the push and pull between Ramanujan and Hardy. They butt heads over differing ideological views. Ramanujan is a devout Hindu while Hardy is openly atheist. Hardy demands proofs. Ramanujan relies on intuition. Their battles of wills is the engaging conflict at the heart of this rather academic and somewhat superficial picture. It’s their love of mathematics that unites them.

Two talents elevate this script. Jeremy Irons and Dev Patel play off one another. To say that this is Dev Patel’s greatest performance since Slumdog Millionaire sounds a bit like damning with faint praise. After all the actor has struggled since that breakthrough in films like The Last Airbender and Chappie. Patel gives the part a sweet determination that honors the man’s accomplishments while giving us an appreciation for all the sacrifices he had to make. The Man Who Knew Infinity isn’t a great movie. Yet let’s consider the fact that it exists to honor the contributions of an unsung hero. That alone makes the biography worthwhile.

06-15-16

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