Archive for the Adventure Category

Valerian and the City of a Thousand Planets

Posted in Action, Adventure, Fantasy, Science Fiction with tags on July 28, 2017 by Mark Hobin

valerian_and_the_city_of_a_thousand_planets_ver3STARS4Every now and then a film coasts by on a visual aesthetic that is so visionary in its daft mentality that it captivates the mind beyond all sense and reason. We’re talking about a production that’s fully formed from its costumes, creature designs and a cheerfully bonkers dedication to an artistic style. It’s like a drug. You actually feel a sense of giddiness simply by watching it. Of course, it relies on the prerequisite that you are open to the creative pleasures of an optical nature. There are those that require more intellectualism and sense in their sci-fi epics. I am not one of those people. Back in 1997, Luc Besson gave audiences the wonderful gift of The Fifth Element. The wildly imaginative space opera became a cult classic (and incidentally, one of my favorite movies of all time). Now 20 years later, Luc Besson has returned with Valerian and the City of a Thousand Planets. It’s happening all over again because this is a joy.

Our story is set in motion when a race of humanoids on the futuristic planet Mül suffers a life threatening attack. The iridescent silvery people have been living a pastoral life in a bright tropical paradise. A willowy princess wakes up on a beach. They harvest space pearls for energy. She rises to the dawn and washes her face in a bowl full of the white lustrous spherical jewels. A cute little critter called a Mül Converter is used duplicate them. Ok to be more specific, it actually poops what it eats. Their idyllic life is forever affected when they are attacked by an enemy force. The event inspires the race to kidnap Commander Arün Filitt (Clive Owen) for mysterious reasons. This act compels Valerian and Laureline to investigate.

Dane DeHaan is Major Valerian and Cara Delevingne as Sergeant Laureline. The two basically operate as police officers in space. They are a romantic couple (natch) but bicker like a pair of people that can’t stand each other. He’s a roguish player. She’s a sharp-tongued intellect. I suppose their sexual chemistry is a love-it-or-hate-it kind of thing. I found their interactions amusing, albeit a bit reductive. DeHaan’s surfer dude accent is sort of a riff on Keanu Reeves’ character in Bill & Ted’s Excellent Adventure. Attractive Cara Delevingne, with her thick brows, kind of physically recalls Brooke Shields circa 1980. When we first meet the two they’re relaxing on a sunny beach like some marooned island couple out of The Blue Lagoon. Turns out it’s just a visual reality simulation.

Laureline is forever rebuffing Valerian’s advances in a way that’s reminiscent of Princess Leia and Han Solo. Their relationship isn’t the only thing that feels Star Wars-ish. Remember the cantina scene, that bar where are all the otherworldly visitors gathered to merely hang out? Well, that’s kind of like Valerian for 2 hours 17 minutes. Besson’s production is based on the comic Valerian and Laureline by French author Pierre Christin and illustrated by Jean-Claude Mézières. That series was launched in 1967, ten years before the first Star Wars film was released. George Lucas has freely admitted he was influenced by director Akira Kurosawa when assembling his space opera. The similarities to Valerian have been noted by other people. [Side Note: Artist Jean-Claude Mézières collaborated with director Luc Besson on The Fifth Element.]

The action is centered around Alpha, an International Space Station where millions of immigrants from different planets gather amicably and exchange their knowledge and cultures. The opening sequence presents this as an array of meet and greets involving various individuals underscored by David Bowie’s “Space Oddity”. The uplifting presentation of a peaceful world is such an exaltation of goodness, I was kind of overcome by the display.  The very idea that such a naive concept could become a reality was made so emotionally resonant. The vignette is among the best introductory scenes that I’ve witnessed all year. Guardians of the Galaxy Vol. 2 has another. It was the perfect primer to begin this movie. The dizzying opening is pure cinema. I was captivated from the get go.

The creature designs are the strongest part of the film. A lot of it is accomplished using motion capture and CGI. An overreliance on computer graphics is usually not something I appreciate, but here it feels so organic that I enjoyed the creativity. Some of my favorites include three platypus-like aliens called the Doghan-Dagui who offer help…but only for the right price. There’s the Boulan Bathor Couturier that presents Sergeant Laureline with a series of outfits to wear. A chubby little intradimensional species seems pretty harmless but you don’t want to anger its mother. John Goodman voices the massive pirate captain that runs the Big Market Bazaar. Ethan Hawke plays Jolly the Pimp who introduces a shape-shifting species known as a Glamopod. Her name is Bubble. She’s portrayed by pop singer Rihanna in her human form. Her performance is more a feat of CGI and Cirque du Soleil than acting, but the manifestation is unadulterated eye candy at its finest. I was hypnotized by her character.

I’ll admit that when it comes to story, Luc Besson is more fascinated by the question “How does it look” not “Why does this happen?” In that respect, Valerian isn’t going to expand your mind with philosophical thought. However, it will dazzle you with the exploration of creative worlds. It’s more about the physical display. When some gentle looking butterflies flutter by, their reveal as a dangerous threat is world building at its most hilarious. The fabrication has a European, no make that international sensibility. This is helped by the inventive casting which, besides all the aforementioned names, also includes English Actor Clive Owen, Dutch actor Rutger Hauer, American composer Herbie Hancock, and Chinese-born pop singer Kris Wu. Valerian is a production designer’s dream on a hallucinogenic trip. When our two protagonists go to “Big Market” the mind-bending action is a lot to wrap your head around. The shopping mall is a setting that has other dimensions that can only be accessed when you don virtual reality gloves and glasses. It’s so erratic in the way it switches back and forth between the two realities, it’s a madcap delight. The popcorn flick works on that level throughout the entire film. It’s just so silly. I adored it.

07-21-17

War for the Planet of the Apes

Posted in Action, Adventure, Drama, Science Fiction with tags on July 17, 2017 by Mark Hobin

war_for_the_planet_of_the_apes_ver3STARS3War for the Planet of the Apes is Part 3 in the rebooted film series that commenced in 2011. The franchise has been operating as a sequence of prequels leading up to the events of the 1968 classic. Now with the release of this picture, people have been referring to the collection as a trilogy. Whether more installments will follow still remains to be seen.  However if this picture makes enough money, you can best believe that more films will follow.

War is the story of Caesar (played in motion-capture by Andy Serkis), the leader of a tribe of genetically enhanced apes.  His army of simian warriors is at odds with Alpha-Omega, a terrorist faction of humans.  Caesar preaches a peaceful coexistence with the homo sapiens. However, the people are led by an aggressive Colonel (Woody Harrelson).  Apparently these barbaric individuals, can’t be reasoned with.  They’re just so warlike.  Not wanting to suffer any more casualties, Caesar plans to relocate his clan to the desert far away from Muir woods.  The night before they’re supposed to leave, Caesar’s home is invaded by the Colonel and his family is brutally attacked.  Now Caesar has a score to settle. He’s out for revenge.  This goes against everything his character has ever stood for, but hey no conflict no movie right?  Now we’re ready for a showdown.

The apes are anthropomorphic miracles of technology that act with more humanity than people. Ah yes, indeed that is the intention. If you couldn’t tell from the plot description above, War is told from the apes’ perspective. The entire trilogy (thus far anyway) has been developing a personal arc that traces the life of Caesar from a tortured experiment into a commanding leader. You will identify with the apes more than the humans. In this story, apes are better than people. You’ll be rooting for the demise of the human race if this screenplay has anything to say about it. That’s an interesting take, I suppose, but there’s more to creating a compelling narrative than merely affecting a unique point of view.

Actor and performance-capture innovator Andy Serkis is at the center of War for the Planet of the Apes. It’s hard not to notice him as (1) he’s got the lion’s share of all the dialogue and (2) the camera lingers on his expressive CGI face for seemingly minutes on end. He’s a fascinating creature to be sure. Caesar rounds up a loyal band of followers. These include his second in command, an orangutan adviser named Maurice (Karin Konoval), a fellow chimpanzee named Rocket (Terry Notary), and a sensitive gorilla named Luca (Michael Adamthwaite). They are a serious lot. The whole production would be a serious downer if not for one individual. Steve Zahn voices a zoo escapee known as “Bad Ape” in a bit of comic relief.  The misfit is kind of at lighthearted odds with the rest of the cast.  Yet he’s the only mitigation from all the dreariness.  As such, he’s a welcome reprieve from the bleak narrative.

On the non-simian side, there’s the evil Colonel played with cartoonish excess by Woody Harrelson. He wants to eradicate the world of not only all apes but also virus-infected people who’ve lost the power of speech. It’s easy to side with animals when this is the example of a human with which we are presented. His bald, deranged character is clearly inspired by  Colonel Kurtz, Marlon Brando’s role in Apocalypse Now.  As a matter of fact, some graffiti on the wall actually says “Ape-ocalypse Now” lest the filmmakers’ not-so-subtle tribute wasn’t obvious.   The whole homage might seem rather clever had it not been for Kong: Skull Island liberally referencing the very same classic a mere 4 months ago.  It’s still pretty fresh in my mind.  News flash: there are other memorable films about war that weren’t made by Francis Ford Coppola in 1979.

War for the Planet of the Apes is a remarkable spectacle.  At times it actually feels like a silent movie.  There are very few speaking parts.  Facial expressions are more important than actual words.  The camera fixates on the countenance of Caesar and we are invited to be moved by the way he emotes.  The script gets by on minimal dialogue.  The apes rescue a human orphan girl named Nova (Amiah Miller) who doesn’t talk.  She was rendered mute by the Simian Flu.  Most of the apes, in turn, communicate via sign language.  The technology has grown by leaps and bounds since the series began in 2011.  Director Matt Reeves and cinematographer Michael Seresin inspire awe with every shot.  This is a gorgeous achievement and the reason I’m giving this production a pass.  The CGI & MoCap apes are a marvel to behold.  It’s hard not to be wowed by the way War looks.  There is a trade-off for all of this visual wonder though.  The atmosphere is lugubrious.  The pacing is sluggish.  It’s almost 2 1/2 hours.  Even though the chronicle builds to a climactic finale, action does not comprise the bulk of the drama.  It’s yet another dismal morality tale that is a punishing watch.  It relies on the oldest of clichés. I’ll summarize: War is hell, but so are you, the human race, that is.  Forgive me if I don’t stand up and cheer.

07-13-17

Spider-Man: Homecoming

Posted in Action, Adventure, Science Fiction, Superhero with tags on July 8, 2017 by Mark Hobin

spiderman_homecoming_ver2STARS4.jpgWell color me red and call me an arachnid. I was the last person who thought we needed another Spider-Man movie. Especially a role that has been played by three, yes count ’em three, different actors since 2002. Even James Bond doesn’t change quite so frequently. The first series, a trilogy starring Tobey Maguire, was extremely enjoyable, notably parts one and two. The 2012 reboot with Andrew Garfield was unnecessary but tolerable. Now we have English actor Tom Holland (The Impossible) as the most teen-friendly version yet. What makes the idea of yet another Spider-Man distressing is that this is a reintroduction of the web-slinger.

So the question is, did we really need another Spider-Man? Well as it turns out, the answer is yes. The difference now is that Sony Pictures, who own the rights to the character, has made an agreement with Marvel Studios to finally introduce him into the Marvel Cinematic Universe (MCU). For the first time, Spider-Man can be classified as a Marvel Studios film, although Sony still owns the property. The legal details are much more confusing than this reviewer cares to detail in a film review. The point is, this is good news for moviegoers. It means that Spider-Man can acknowledge people like Iron Man and Captain America in the same film. They can be a part of the same universe. For example, this gives Captain America (Chris Evans) the opportunity to pop up on a TV to give a PSA in gym class. As any fan of the MCU knows, they have done a spectacular job in creating a superhero franchise. That’s one indication that Spider-Man Homecoming is going to be distinctive. Another is that this is NOT an origin story. We’re on the right track.

Tom Holland is the most inexperienced Spider-Man yet, but Tony Stark (a.ka. Iron Man) sees his potential. There’s a lot of interaction between Tony Stark and Peter Parker. This gives ample opportunity to exploit Robert Downey Jr.’s considerable charisma. Oh yes, this adventure benefits from his presence. He’s grooming him for a spot on the Avengers team through an internship. Tony gives him a special Spidey suit but it’s locked preventing Peter from accessing all of its features. Spider-Man’s uniform is a character unto itself. The threads have their own artificial intelligence voice (Jennifer Connelly) that help him navigate the many gadgets. It’s more like a James Bond collection of weapons. He’s eager to be a crime fighter. When not at school, Peter surveys the city as Spider-Man trying to help people.

Spider-Man Homecoming is a breezy joy. This doesn’t feel like the umpteenth self-important version of a superhero movie. It’s different. In fact, some of the most interesting stuff happens when he’s a very human Peter Parker. The plot surrounds our hero with a captivating cast. Particularly in high school where we meet Peter’s classmates. The film’s title is sort of a figurative welcome of Spiderman into the Avengers fold, but there’s also a literal “homecoming” dance in this chronicle. His best buddy is Ned (Jacob Batalon), an affable nerd that steals every scene he’s in. Spider-Man has a crush on the popular “it” girl (Laura Harrier), interacts with a perpetually annoyed but brainy classmate (Zendaya), and is often taunted by a snotty rich kid (Tony Revolori). Girls dish about the Avengers in a teen game: “For me, I’d kiss Thor, marry Iron Man, and kill Hulk,” says one. This is the superhero production reimagined via the 1980s as a John Hughes teen drama. There’s even a brief reference to Ferris Bueller on a TV when Tom is running through the town away from some henchmen played by Bokeem Woodbine and Logan Marshall-Green.

Which brings me to the primary antagonist. Michael Keaton is a deeply nuanced villain. It’s one of the rare times where I kind of sided with the criminal’s motivations.  As Adrian Toomes, aka the Vulture, he is evil, but there’s an understandable purpose behind the menace. He’s not doing so well financially. As a salvage worker, he and his team have a contract to clean the city after the battle of New York. But he’s stripped of his responsibilities by U.S. Dept of Damage Control, a government agency that reports to Tony Stark. He’s got a family for which to provide and he continues collecting the technological parts anyway. He’s going to sell them on the black market. The proceeds of which will better his loved ones. Scoundrels are more effective when they’re a controlled bundle of rage and Keaton gives one of the most memorable declarations in a superhero film. It occurs, in all places, when he’s sitting in the peaceful solace of a car. It’s absolutely chilling because he conveys a quietly controlled ferocity that belies much more flamboyant actions. He’s a loving father. Now he’s frightening killer. The change occurs in seconds and Michael Keaton makes it believable. Tom Hiddleston’s Loki has always been my favorite Marvel villain, and he still is, but Keaton gives Hiddleston some genuine competition.

Great story, well-developed characters, coherent action scenes, humanity, and heart. Spider-Man: Homecoming delivers on every level. The relatively unknown director Jon Watts (Cop Car) brings a unique sensibility to the proceedings. Seriously this trend to give promising new directors the chance to helm big-budget films is really paying off. The important takeaway from Spider-Man is that he is human. He’s a teen just coming to terms with his abilities. In that respect, we can identify with this crime fighter. He’s an underdog, a high school kid in way over his head. He has to evolve into the protector we know and love. Great heroes aren’t born, they’re created, is the screenplay’s take. Naturally, we get several big action set pieces and they’re great. Spidey must save his friends in a falling elevator at the Washington Monument and it’s thrilling. However, it’s in the quieter occasions, when Peter isn’t wearing a mask, that we connect with this individual. It’s telling that the very last line before the credits roll involves Marisa Tomei as Aunt May. It’s a perfect vignette because it involves a personal moment amongst family. It also me dying to see what happens next.

07-06-17

Despicable Me 3

Posted in Action, Adventure, Animation, Family on July 1, 2017 by Mark Hobin

 photo despicable_me_three_ver3_zpsq185xh6v.jpg photo starrating-1andahalfstars.jpgWell, It took seven years, but Illumination Entertainment finally delivered The Despicable Me movie its detractors have accused them of making all along. Tedious, frantic, disjointed, shallow, dull, dumb. Despicable Me 3 is an insufferable mess of a film. It doesn’t have a focus so much as disparate interludes that have been randomly thrown together with no regard for the components needed to create an intelligible story. It’s up for discussion, but I think I counted at least four different story threads. These have then been haphazardly assembled to justify a 90 minute runtime. I’m not even sure I can even coherently outline the action, but I’ll try.

The alpha plotline begins when Gru (Steve Carell), former evildoer now an agent for the Anti-Villain League, is fired from the group because of his inability to apprehend criminal Balthazar Bratt (Trey Parker). He’s the worst excuse for a villain, but I’ll get back to him. Plot B details when Gru discovers he has a twin brother named Dru. The whole family – which includes wife Lucy and adopted daughters Margo (Miranda Cosgrove), Edith (Dana Gaier) and Agnes (Nev Scharrel) – are invited to go hang out at his estate in Freedonia. The Duck Soup reference is cute. Then more developments: Mother Lucy (Kristen Wiig) is worried about being a good step-mom to the little girls, Edith and Agnes try to find a real unicorn, and Margo is almost married off to a little boy in a cheese ceremony. Meanwhile in Plot C, Gru is still preoccupied with retrieving the world’s biggest diamond from Balthazar Bratt. By accomplishing this, he hopes to get his old job back at the AVL. Oh and I almost forgot the Minions who are treated like an afterthought here. Plot D has the little yellow creatures upset that Gru is no longer interested in villainy. They leave but are promptly arrested and thrown in jail after trespassing at a talent show. Seriously if you’ve always hated the Minions, then this is the picture for you.

The narrative couldn’t even offer compelling supporting personalities this time around. Steve Carell also voices Dru, Gru’s long-lost twin brother. He’s a billionaire, has a higher pitched voice, and is flamboyantly carefree but he’s essentially the exact same person – just with a mane of blonde hair. We’re supposed to care about this familial reunion but their relationship is given short shrift. There’s simply too much going on to even care.

Now about that villain. A chronicle fixated on an antagonist is only as good as that personality. Balthazar Bratt is a lackadaisical suggestion of a individual. A former child star of a tacky 80s TV series called “Evil Bratt”, he found his popularity wane after entering puberty. Now an adult, he’s bent on world domination. Why? Good question. The writers aren’t concerned with such exposition, but I’m thinking it’s a case of “Waaaaah! You better notice me!” We’re never given an explanation as to why he is doing what he is doing.  Dressed in a purple jumpsuit with outrageous shoulder pads and parachute pants. He sports a droopy mustache and a black mullet with an extreme hi-top fade. He plays the keytar which gives the soundtrack an excuse to flood our senses with lots of late 80s hits (“Bad”, “Sussudio”, “Money For Nothing”, “99 Luftballons”, etc.) at every juncture. Their ostensible purpose? To elicit the reaction “Hey I recognize that song!” He’s merely a visual/auditory joke and nothing more. He’s easily the most lazily created villain of this franchise.

I’ve enjoyed the wacky playful antics of this series. Despicable Me and Despicable Me 2 were well-crafted exercises that combined fun with feeling. Even the underappreciated Minions had enough laughs to support its existence. They had the zany joy of those classic Warner Bros. Cartoons. They were goofy, sure, but they had a sense of purpose in the pursuit of an actual story. This time the scattershot atmosphere yields boredom. It’s a sloppy, commercially focused, Hollywood product that inspires nothing but pure unadulterated apathy. It lacks everything – wit, heart, joy – that made the first two installments great. It’s so empty that the experience was soul crushing for this self-avowed fan. As expected, Despicable Me 3 ends with a set-up to yet another one of these films. No thanks, I’ve had sufficient. I’ve stood by this franchise long after my peers abandoned it but here’s where I’m jumping ship too.

06-29-17

Cars 3

Posted in Adventure, Animation, Comedy, Family, Fantasy on June 21, 2017 by Mark Hobin

 photo cars_three_ver3_zpscemphvxy.jpg photo starrating-3stars.jpgCars is officially a trilogy so we must now discuss it as we would the original Star Wars, Godfather and Lord of the Rings sagas.  All joking aside, there’s something almost comforting about the Cars movies.  They sort of offer proof that even the almighty Pixar is imperfect.  None of these films are terrible, mind you.   However, they aren’t particularly meaningful either.  Especially when you compare it to the high standard at which Pixar has always operated.  Given the setting, an automotive analogy is appropriate.  For Pixar, this what shifting into neutral and just coasting looks like.  These pictures are solid entertainment in the moment but don’t expect a timeless classic.

Cars 3 is a return to form, but let me reiterate.  I’m talking about a return to the quality of Cars, not the best Pixar movies. After Cars 2 shook things up by fixating on tow truck Mater over racecar Lightning McQueen, the franchise gets back to the basics of the original.  Here we revisit the focus on the joys of racing and not on an action-packed spy movie.  Cars 3 feels more like a sequel to the first Cars. Even Doc Hudson (Paul Newman, in previously recorded snippets) pops up in flashback offering wisdom from beyond the grave. It’s almost as if Cars 2 never happened.

The drama concerns the current season of racing at the Piston Cup competition. Older racers Lightning McQueen (Owen Wilson), Bobby Swift (Angel Oquendo) and Cal Weathers (Kyle Petty) find themselves surpassed by a much more technologically advanced upstart named Jackson Storm (Armie Hammer). It’s clear the senior guys can no longer compete at the same level.  A fresh generation is taking over.  One by one the seasoned racers throw in the towel and retire, but Lightning refuses to quit.  That’s a good thing, right?  Not so fast.  A desperate attempt to push himself to the same speed as Jackson Storm leads to a disastrous accident for Lightning.  He decides to regroup.  Lightning heads off to the Rust-eze Racing Center where he meets the new owner named Sterling (Nathan Fillion).  Sterling is a big fan of Lightning McQueen and wants to see him succeed.  Sterling introduces him to his young trainer, Cruz Ramirez (comedian Cristela Alonzo). As the narrative progresses, Cruz becomes a notable addition to the cast.

Now you might think that this is all leading to a feel-good tale where Lighting learns how to retrain, be the best again and triumph over adversity.  Nope.  Sorry. Not even close.  The events are actually rather subversive and it’s that unpredictability that beckons the viewer to keep following.  There’s a lot of entertainment value in the capricious developments of the story.  It’s never boring.  However every time the drama seems to be pushing toward a particular moral, certain plot contrivances flip the script in a different direction.  We’re misled a few times and the results can be a bit unfulfilling.  It’s like we’re noshing on several appetizers instead of feasting on one entree.  Ultimately the climax can best be described as poignant.  Hint: We do age and there will always be a younger generation to take our place.  That can be seen as both depressing and uplifting.  In the end, Cars 3 is a pleasant diversion. Perhaps more importantly for the studio, it will sell a ton of new toys. Now the real question is, will your kids want to play with Cruz Ramirez or Jackson Storm?

06-15-17

The Mummy

Posted in Action, Adventure, Fantasy on June 10, 2017 by Mark Hobin

 photo mummy_ver3_zpslrfy0i83.jpg photo starrating-2stars.jpgIt must have seemed like a brilliant idea at the time. Disney has their Marvel Cinematic Universe. Warner Bros. has its ever-improving DC Comics world. Universal didn’t want to left behind. Why not reboot their own Mummy franchise as the first installment in a new film series dubbed the “Dark Universe”?  A pompous Russell Crowe even pops up here early on to deliver a lengthy prologue as Dr. Henry Jekyll.  He gives us a little backstory as to how his character will fit into this new world they’re creating.  Other classic Universal Studios monsters are expected to follow: the Bride of Frankenstein, the Creature from the Black Lagoon, and the Invisible Man among others.  Some major stars are being promoted for future installments.  Johnny Depp has signed on to be the Invisible Man and Javier Bardem will be Frankenstein’s monster. The problem is to build a superior anthology of related films, it helps to start off with a bang. Sadly The Mummy is not great. It’s not even good.

Casting Tom Cruise as your lead is a positive way to begin. For the record, I do like Tom Cruise.  Please remember that as I carry on with my review.  As Nick Morton, he’s a former U.S. Military officer who accidentally uncovers the tomb of Princess Ahmanet (Sofia Boutella).  He’s a roguish mercenary type that seeks to profit from the treasure he finds.  He does this with his trusty sidekick Chris (played by New Girl’s Jake Johnson) and aloof archaeologist Jenny Halsey (Annabelle Wallis), a former lover that is young enough to be his daughter. Strangely Cruise has no chemistry with either of his co-stars.  The actor has never been one lacking in charm, until now.  He’s surprisingly stiff if you’ll pardon the pun.  Johnson and Wallis are meant to provide laughs and sexual tension respectively but there’s nary a trace to be extracted from either. Anyway back in ancient times, Princess Ahmanet was really ticked off that she didn’t get to become queen so she’s not a happy camper. Naturally when Nick and his gang disturb her tomb, she uses the opportunity to put a curse on our hapless hero. Yeah, things are looking kind of grim for the poor guy.

The Mummy allows Tom Cruise to do what he does well.  He partakes in some death-defying stunts, looks convincingly exasperated and runs…a lot.  Once again, a Tom Cruise thriller features a setpiece involving a plane.  He is subjected to zero gravity followed by a frightening crash.  He’s still in top physical shape too and he wants you to know it.  The man is in his 50s but he ages like the picture of Dorian Gray. He even manages to show off his naked physique. This logically occurs when he extricates himself from a body bag at the morgue.  They thought he died in a plane crash.  He didn’t.  As to why has to do with developments that are better left unspoiled.  The movie always makes sure to present Tom Cruise in the most flattering way possible.  His co-stars, on the other hand, aren’t quite so lucky. As the Mummy, Sofia Boutella is obscured with skin disfiguring tattoos all over her anatomy and best buddy Chris becomes like the walking dead with eyes to match.

The Mummy could have been silly fun but it gets bogged down in expository explanations of a superfluous narrative.  The ancient history of the female mummy takes up a lot of time.  And what is the plot exactly?  Peel back all the corroborative details and it’s not much of a saga at all.  Just the revenge of an ancient wanna-be Egyptian queen that unites a progression of attacks.  The effects are enjoyable.  I’ll give it that and Tom Cruise tries, really really hard.  I give him an A for effort, but there’s not much here to sink your Friday night popcorn flick teeth into.  It isn’t cheesy enough to be fun and it isn’t refined enough to be thrilling.  Just a sequence of CGI encounters that have been stitched together one after the other for our hexed hero (and us the audience) to experience.  In fact, I’ll save you some money right now. The Mummy is attack of the spiders, beetles, crows, rats, and zombies.  The End.  You’re welcome.

06-08-17

Wonder Woman

Posted in Action, Adventure, Fantasy, Superhero with tags on June 3, 2017 by Mark Hobin

wonder_woman_ver5STARS4The story of Wonder Woman is less about the dawn of another superhero and more about a sheltered individual living in a bubble who comes to understand what is happening in the outside world around her. Princess Diana (Gal Godot) was a child sculpted from clay by her mother Queen Hippolyta (Connie Nielsen) and given life by Zeus. As such, she does indeed possess special powers, superhuman strength to name but one.  Although her mother forbids it, Diana is trained to be a warrior by her aunt Antiope (Robin Wright).

The production is set during the era of World War I and this conflict forms the basis of the narrative. What really impresses is how much the tale could exist without the value added depiction of an origin story.  It’s telling you’ll never hear the words “Wonder Woman” in the entire movie. The crime fighting uniform she ultimately adopts consists of battle armor and a tiara.  Like other recent DC comic adaptations, they look rather subdued from the traditional red, white and blue tights we’ve seen in previous iterations. Long time fans rest assured, they didn’t try to totally reinvent the character.  This is still the defender you know and love, just recontextualized for a 2017 audience.  She still gets her cuff bracelets and the Lasso of Truth.  Her invisible jet is sadly missing though.

Gal Gadot is such a joy as the titular heroine. She is sexy and beautiful of course, but also wholesome and virtuous as well. She’s a refreshingly stable personality. In that respect, she’s reminiscent of Marvel’s Captain America. That mental stability has been lacking in the DC Extended Universe as of late. It began with Man of Steel in 2013.  DC has completely bungled the new version of Superman. Where is the decent champion of truth we love from the 1978 feature?  This pessimism continued on through Batman v Superman: Dawn of Justice and Suicide Squad, both in 2016.  Most agreed, Gadot’s presence was the best thing about the former film.  Where the characters in those pictures have been conflicted and plagued with self-doubt, Wonder Woman is distinctly well-adjusted.

Events are set in motion when she meets Steve Trevor (Chris Pine), an American spy working for the Allied powers.  He crash lands his plane in the waters off of Themyscira, her island of Amazons. Wonder Woman was taught at a young age that Ares, the God of war corrupted mankind. She’s convinced that he is behind all this. Steve is skeptical of her beliefs but charmed by her presence.  Her adopted persona is Diana Prince when she leaves the island and the excursion becomes a learning experience. He explains what a watch is and she responds with “You let this tiny thing run your life?” Gadot’s chemistry with Chris Pine is so palpable it really enhances the drama. Of course, I expected Gal Gadot to be the major part of the production and she is. What I didn’t expect what how important Chris Pine would be. He really rises to the task. Their charisma together strikes the perfect balance. Their interactions run the gamut from romantic and sensuous to funny and lighthearted. The screenplay is by Allan Heinberg, co-creator of The Young Avengers, a superhero team published by Marvel Comics. Imagine, a comic book movie written by a comic book writer. What a concept!  Heinberg takes the time to develop well-rounded and likable people we truly care about.  It’s one of the most important requirements in an engaging story and Wonder Woman does it well.

The saga incorporates the terror of World War I but it’s still surprisingly upbeat and hopeful. Director Patty Jenkins (Monster) gets so much right. This is a long movie though – 2 hours and 21 minutes to be exact. I think brevity and simplicity are qualities to celebrate in a superhero fable. For the majority of the adventure, the action is well photographed and exciting.  The initial battle, an early skirmish on the beach between the Amazons and German soldiers gets things off a rocking good start. It’s arrows and shields vs. guns and torpedoes. There are more clashes later on and they’re visually well depicted too.  However, the finish is kind of mediocre.  Things deteriorate a bit in the video-game aesthetic of the finale with murky action and CGI.  It’s not enough to sink the whole picture, mind you. The rest of the film is absolutely sensational.  Nevertheless, it is a misstep that’s impossible to ignore in an otherwise spectacular production.

Wonder Woman is smashing success.  Gal Gadot is an absolute delight.  She is an innocent, a babe in the woods.  She enjoys ice cream for the very first time and she tells the vendor, “You should be very proud!” You want to embrace this good-hearted soul. She is someone to cherish. It’s no secret that the comic book business is a male-dominated genre. The pressure to deliver the first female-led superhero box office smash was pretty intense. There are so many instances in which this could have gone wrong, but instead, there are so many ways in which this was done right.  Expectations were so cautious.  The mere fact that the character is such a breath of fresh air makes one give the success perhaps, even more credit than it truly deserves. There has never been a successful female-led superhero blockbuster. That is until now. DC has finally given us something Marvel hasn’t.  I’m ready to see it again.

06-01-17

Guardians of the Galaxy Vol. 2

Posted in Action, Adventure, Science Fiction on May 7, 2017 by Mark Hobin

 photo guardians_of_the_galaxy_vol_two_ver4_zpsd2l8up5k.jpg photo starrating-4stars.jpgWhen the first Guardians of the Galaxy debuted in the summer of ’14, its unqualified success came as a bit of a surprise. It was a superhero team with which most were unfamiliar and so predictions were cautious.  Being the 10th entry in the Marvel Cinematic Universe (MCU), many assumed it would still rank somewhere in the summer’s top 10. However no one thought it would be the biggest hit of the entire season, even besting Transformers: Age of Extinction, the presumed #1.  There was a very good reason.  Guardians was an extraordinary interplanetary space adventure that perfectly blended, action, romance and melodrama – arguably the best MCU entry yet.  Now with Vol. 2, the outlook is better because we know director James Gunn can deliver the goods. However, a great sequel is the general exception, not the norm in my experience. Could Gunn capture lightning in a bottle again? I’m happy to report that Guardians of the Galaxy Vol. 2 rises to the occasion. I had my doubts, but this surpasses expectations.

The original Guardians was a candy-colored, fun-tastic sugar rush of a space dream. Yet the production design of Vol. 2 makes the first film look like a Jim Jarmusch indie. The space opera positively bursts with color, effects, and lively entertainment. Sprinkle in another soundtrack of 70s pop hits.  The formula works again.  Marvel has got another smash hit on its hands. The priority is fun and Vol. 2 is, dare I say it, even funnier than the original.  Not better, mind you.  It would have been impossible to recapture the exhilarating feeling of when we first discovered this rag tag team.  Gunn realizes this and so his focus is mining the comedy from familiar individuals and then deepening our comprehension of what makes these characters tick.

Guardians is all about family.  Director James Gunn’s screenplay manages to weave in a tale about deadbeat dads, sibling rivalry between sisters and infighting amongst the clan. This gives us a fuller grasp of characters we thought we already knew.  The unmistakable chemistry remains with this lovable bunch. There’s Peter “Star-Lord” Quill (Chris Pratt) the smart-alecky leader and tough-talking, unsmiling warrior Gamora (Zoe Saldana). Their relationship, or lack of one, is addressed through the empathic powers of new cast member, Mantis (Pom Klementieff ).   Massive galoot Drax the Destroyer (Dave Bautista) is back.  Despite his literal perception of words, he inexplicably informs the naive alien she’s ugly.  Nevertheless, there seems to be a budding romance between the two.  Also returning are the cranky bounty hunter Rocket, (voiced by Bradley Cooper), that genetically engineered raccoon, and cut from a sapling, Baby Groot (voiced by Vin Diesel).  He’s awfully dim but still cute as can be.  There’s a couple unexpected cameos thrown in and the introduction of an important new villain.  No further explanation is necessary.  I consider those details spoilers.

Guardians Vol. 2 succeeds at being both funny and deep. There’s humor to spare but there’s a poignancy to the proceedings too. We get a more well-rounded understanding of characters we know and love. Guardians gives us the laughs while serving up a lot of heart as well.  Marvel movies have always been amusing.  What sets Guardians apart from others of its ilk is the free associating pop culture aesthetic. No where is that more conspicuous than in the soundtrack.   Peter’s beloved mixtape is the sentimental link to his deceased mother.  Like its predecessor, we get a liberal sampling of 70s hits from the likes of Fleetwood Mac, ELO and Cat Stevens. The film is so loopy there’s even room for a David Hasselhoff tune.  Trust me.  It actually has context in the story.  At times, the More glitz! More dazzle! can seem like too much.  At 2 hours 18 minutes, the extended run time suffers a bit from too much bloat.  But at its best, Guardians is silly and irreverent in the best sense of the word.  This is the giddy spectacle of a summer flick that wants to party down and have fun. The production achieves this in visually spectacular fashion.  It’s an opportunity for any carefree individual to simply enjoy themselves at the cinema.   One need only be open to the invitation.  In a bit of sage advice, Drax tells Peter, “There’s two types of beings in the universe: those who dance, and those who do not.”  This is a film for those who dance.

05-04-17

The Lost City of Z

Posted in Action, Adventure, Biography on April 30, 2017 by Mark Hobin

lost_city_of_z_ver4STARS2I wasn’t familiar with British explorer Percy Fawcett before I saw The Lost City of Z. Now that I have, I’m still befuddled as to why he merits consideration.  The movie’s very existence implies that Lieutenant Colonel Percival Harrison Fawcett was a trailblazer.  The account presents a man who made a series of trips searching the uncharted Amazonian forests in search of Z, a lost civilianization. Although he mapped supposedly unexplored Brazilian territory, by white men anyway, he didn’t really accomplish much more than that. Yet the screenplay unconditionally glorifies its central hero. In short, the ambiguous movie doesn’t make it clear why this guy was important.

The Lost City of Z is based on New York journalist David Grann’s 2009 bestselling nonfiction book of the same name. Its subtitle: A Tale of Deadly Obsession in the Amazon, suggests nonstop excitement with charismatic individuals. This saga has neither. Charlie Hunnam looks the part of a dashing hero. He speaks his lines with clear conviction often shouting them to show passion, but he remains a vague personality. He’s joined by various companions on different expeditions. Of note are Henry Costin (Robert Pattinson), Fawcett’s trusted assistant, biologist James Murray (Angus Macfadyen) and Fawcett’s son Jack (Tom Holland), who joins his father on his last trip. I mention them because they are known actors with lines but they don’t elevate this tale. His wife Nina (Sienna Miller) is written as a burgeoning feminist with dialogue seemingly written with a 2017 audience in mind.

There is no cohesive thrust to the narrative. He travels through the rain forest, then comes back home, to the jungle again and back to England he returns. At times, he seems to magically appear in the forest and then back home again so abruptly we lose the appreciation for how difficult the journey to those destinations must have been. This occurs a few times over the course of 2 1/2 hours. In the midst of all this, we get the outbreak of World War I. The film’s taxing length is a killer. The languid middle is only debilitated further by the lack of a satisfying end. What actually transpired in real life doesn’t help, but there are certainly ways to creatively tell a story. The screenplay doesn’t pull that off.

The search for the lost city of Z took up Fawcett’s entire life. The chronicle is ostensibly about obsessive quests. Fawcett kept returning to the jungle in a repetitive fashion. But to what end?  Each meandering journey is marked by a shortage of excitement. We’re looking for inspiration but there’s nothing here to captivate the mind. Instead we get “this happened and then this happened and then this happened.” The drama is recounted with all the joy of a 7th grader reciting a book report. James Gray is a talented director I have long admired. His most seen film was We Own the Night, the 2007 crime drama starring Joaquin Phoenix and Mark Wahlberg. I really enjoyed The Yards (2000) and The Immigrant (2014) too. This is his first piece set outside his native New York. The Lost City of Z represents a departure for the director and judging from this, it was a risk that didn’t pay off.  It looks good. Credit goes to cinematographer Darius Khondji for that. It’s a supreme letdown that the gorgeous facade far exceeds the content within.

04-27-17

The Fate of the Furious

Posted in Action, Adventure, Crime with tags on April 20, 2017 by Mark Hobin

 photo fate_of_the_furious_ver2_zpsldq9ohik.jpg photo starrating-3stars.jpgThe Fate of the Furious begins with a street race in Havana.  It’s a nice traditional nod to the kind of quaintly illegal activities that started this franchise during much simpler times. Of course, the preposterous storylines and feats of skill are the real joy for which this series is known. It’s the bizarre action set pieces that have come to define these pictures. That mentality that has made each entry such a delight for some and something for others to eschew.  The latter of which attest to never having seen any of these films like it’s a badge of honor.  I, conversely, have seen all eight and I freely admit this without shame.

Yet how do you assess a movie where the sillier and more unbelievable the stunts, the better? Let’s start with the cast. The ensemble for each has always been a revolving door. Even characters that you thought had been written out of the series for good without the possibility of a return, have been known to pop back into the continuity. Vin Diesel, Dwayne Johnson, Tyrese Gibson, Chris ‘Ludacris’ Bridges, Michelle Rodriguez, and Kurt Russell are back. Newcomers Scott Eastwood, Helen Mirren, and Charlize Theron are fresh additions. This is the first chapter since Tokyo Drift not to include Paul Walker due to his untimely passing. His presence is missed. Jordana Brewster who played his wife does not return either.

This elite crew operates outside the law for the greater good. These criminals are bound together by a sense of loyalty. This extended clan are more than just friends, they’re family. In particular, Dom, Vin Diesel’s character, reminds us of this over and over again. That camaraderie has held this macho action soap opera together. This screenplay actually plays with that narrative a bit by having one of their own betray the others by working with the baddies. Who and why would be spoilers. That big twist should be revealed by watching this production. I will only offer though that it’s a risky move that isn’t entirely successful. The whole gang united together against the fight of evil has always been a key component of the drama. By tinkering with the formula the story removes a dependable quality that is missing from the story.

F. Gary Gray (Straight Outta Compton) takes over the directing duties from James Wan (The Conjuring). Interesting footnote: The Fate of the Furious reunites Gray with actors Charlize Theron and Jason Statham from The Italian Job, which came out back in 2003. The last movie, Furious 7, was extremely successful. Usually, it’s important to evaluate a film on its own merits without comparing it to other pictures. However, in the case of a franchise, I think it’s more than acceptable, it’s required. We are now eight chapters deep into this chronicle. Fast Five is where everything really came together, serving up a captivating recipe that mixes the genial friendship of a charismatic cast with outlandish stunts that wow audiences. That’s where the franchise really came into its own under Justin Lin (Star Trek Beyond). He is the only filmmaker so far to direct more than one episode (parts 3-6). We should acknowledge how each new adventure measures up with the others. I think The Fate of the Furious transcends parts 2-4 but is less effective than the last 3 (episodes 5-7).

The first low-budget feature about street racing has gradually morphed over time into a big budget action extravaganza where driving cars is more of a detour. I’ve grown to enjoy this series as a whole. Still, I’ll admit that after eight entries, these sagas do start to blend together. It’s the stunts that I remember. This installment throws in a few doozies. Charlize Theron is a surprisingly generic villain, although the mayhem she causes is anything but. As cyberterrorist Cipher, she does a bit of hacking that causes a fleet of cars to high-dive off parking structures and essentially attacks a motorcade driving through the city. This implausible sequence in New York is my favorite moment simply because it’s just so ridiculous. Hobbs & Deckard’s prison break/fight sequence is memorable as well. Ditto the final race across an icy terrain from a nuclear submarine popping out of the frozen waters. Helen Mirren, Jason Statham and especially a baby are the most welcome personalities. Oh and there’s a nice nod to Paul Walker’s character at the end. All in all, it’s a rousing good time.

04-13-17