Category Archives: movie review

Okay, I gotta do this– a quick and dirty review of “Spider-man: Into the Spider-verse”

 

Good film, see it.

Okay, maybe not that quick and dirty.  But first, as always….

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Okay, full disclosure– as a Marvel fan(atic) I am embarrassed to admit that this film wasn’t really even on my radar until about two weeks ago, when I finally noticed the trailer on YouTube.  I vaguely remember hearing something about it back when, but I don’t pay attention to a lot of animation these days because so much of it is dreadful.  The upshot is that I was trundling along, mostly minding my own misery, in what I thought was the gray wasteland between Infinity War and Captain Marvel, when suddenly, boom!, this trailer smacks me right between the eyes– and suddenly the wasteland looked a little less gray.

Okay, a lot less.

Another disclosure– I have not kept up very well with the ever-expanding Marvel comic book multiverse in recent years.  In fact, the only comic I have purchased with regularity since about 2000 has been Rat Queens, and even that has tailed off lately.  I was vaguely aware of Miles Morales as an alternate Spider-man, but I was totally unaware that Gwen Stacy had been given her own turn as Spider-woman, and the idea caught me by surprise and thrilled me to death.  Yeah, I’m one of those romantic cupcakes who never got over Gwen’s death in the comic book, blah, blah, blah, so sue me.  It’s enough to say that the moment I saw the trailer, quite aside from all the other fascinating tidbits it offered, I was instantly on-board and ready to investigate this movie.

And, boy, am I glad I did.  Basically Miles Morales’ origin story as Spider-man in his reality, the movie also manages to weld together other Spideys from other realities into a coherent story about loss, friendship, love and becoming who you need to become, all in the face of a villain (a version of Kingpin far removed from Vincent D’Onofrio’s portrayal of the character in Netflix’s Daredevil) who is maniacal, but possessed of an understandable, if misguided, motivation.  I often feel animated films skimp characterization, but this time, nope.  This movie is chiefly about character, and it is so very well written that I don’t think I detected a false note anywhere.

At the same time, on another level, it leaves me flummoxed.  How can one film be so serious and silly at the same time, often with the same characters in the same scene?  I mean, it has a cartoon (think Looney Tunes) Spidey pig hitting villains over the head with a giant mallet, and not only does it work in the midst of a completely intense battle, people in the theater I was in cheered.  Somehow the writers  (Phil Lord and Rodney Rothman) manage to blend pathos, off-the-wall humor, asides that very nearly break the fourth wall, intense struggle and loss and battles in which it is not at all clear all the good guys are going to survive, into a seamless whole in which the contrasting tones not only do not jar us out of our suspension of disbelief, they reinforce and invigorate each other.  It leaves me scratching my head.  I don’t know how they did it, but I like it.

Part of that off-the-wall/serious hybridization is the sheer look of the movie, which is bright, highly-colored, sharp and full of elements drawn directly from comic-books, such as little (or not so little) internal dialogue balloons, which might have seemed pretentious, or flat-out stupid, in other hands, but which work here.  I usually prefer my movies straight-forward and realistic, even my animation, but somehow this time around the comic-book elements worked.  Again, it is a mystery to me how, but I’m just going to go with it.

Other online reviewers have already pointed out that Spider-verse accomplishes what Justice League could not do last year– kick-start a superhero franchise in one fell swoop, and I won’t belabor a point that’s not original with me.  More incisive observers than I will have to parse out why one super-hero kick-start works, and another doesn’t.  All I know is, me like Spider-verseJustice League, ugh.

And now, in no particular order, some random notes–

  1. One of the big reveals in the movie, not at all hinted at in the trailer, was this universe’s Doc Ock, who is a woman, Dr. Oliva Octavius.  Her gender does nothing to reduce her menace.
  2. Having said that, I’m worried that I find this Doc Ock kinda, well, hot.  I guess I like intellectual women…?
  3. I like this universe’s Aunt May, too, although not for the same reasons.  All-too-often the Aunt May of the comic-books was Peter’s supportive mother figure.  This Aunt May is that, but a damn sight more, too.
  4. When Gwen Stacy is on the screen I can’t take my eyes off her.  Not because the character is pretty (although she is– and, no, I’m not being creepy), but because I get pretty badly verklempt about Gwen most days (Emma Stone in The Amazing Spider-Man 2, by the way, broke my heart all over again), and so I can’t get enough of a Gwen Stacy who is alive and kicking ass.  I will stand in line for her movie, if and when it comes out.  And I don’t think I’m the only one.
  5. The only downside of this film for me is perhaps the fact that I have now had the theme song of the original animated series stuck in my head for five days.  Ow….
  6. I mentioned that all the characters are well-drawn, but Miles, of course, takes center-stage, and I have hand out kudos again to the writers who crafted a kid who is utterly believable as a particular kid, with all the usual kid worries, suddenly caught up in things that grown men and women would have trouble dealing with.  This, of course, has been the whole theme of Spider-man since its inception, and Lord and Rothman’s take on it is excellent.

I don’t think I’m going to say much more, although there are things I haven’t revealed about the story, despite my spoiler warnings.  I will sum up by saying that I am pleased to discover, in an age of over-hype and media campaigns that would put the planning for D-Day to shame, we can still be surprised by a film that comes out of nowhere and knocks us on our butts.  And, yeah, the wait for Captain Marvel and Avengers: End Game is now just a little more tolerable.

See this movie.

‘Nuff said.

 

 

 

 

 

 

 

 

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Jurassic World: Fallen Kingdom– a review, or who left all this dino-poo on my front porch?

I went to see Jurassic World: Fallen Kingdom today–

I have been generally a fan of the Jurassic Park/World franchise since its inception– loved the first movie, enjoyed the second and third films, even though they were not nearly at the same level, and really liked the first Jurassic World film, despite having to give my suspension of disbelief an extra lube job just to keep up.

This time around, though– well, my poor suspension may have busted its torsion bars.  To put it succinctly, this is a stupid movie.

Not that Chris Pratt, who I generally love in everything I see him in, didn’t do his best.  Ditto for Bryce Dallas Howard.  I lay none of the blame for this eyesore at their feet.  No, in this instance I can only suppose the director (J.A. Bayona) and the writers (Derek Connolly and Colin Trevorrow) bear the heavy responsibility for hatching this turkey (or turkey buzzard).

Oh, where do I start?

Oops, almost forgot…..

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Put simply, what with the exploding volcano (which was seen in the trailer) and the standard corporate villain planning to market rescued dinos to international scumbags, the movie exhibits the standard sequel weaknesses of amping up the action to ridiculous heights while recycling the core conflict.  I particularly have a pet-peeve about the volcano, which, like the one in Dante’s Peak, exhibits traits that do not usually go together, i.e., free-flowing magma and peak-destroying magmatic explosions.  It makes me grind my teeth–

  1. Owen (Chris Pratt) outruns (almost) a pyroclastic flow.  And lives to tell about it.  Without even getting singed.  SPUNG!
  2. The characters (or the writers) think they can survive a pyroclastic flow by diving into the sea.  Wrong– pyroclastic flows can cross extensive bodies of water, on a layer of super-heated steam.  Parbroiled, anyone?

Okay, enough about the volcano– as irritating as I found it, it’s not even the core problem with the movie.  Moving on–

  1. The idea that you could weaponize dinosaurs in some useful manner for modern warfare is a major motivator for the bad guy (Eli Mills/Rafe Spall).  Please.  A mechanized infantry platoon would chop any dinosaur you care to name, including the vicious hybrid who’s the main dino baddie in this flick, into little quivering dino cubes.  It’s just silly (and, yes, it was silly in the first Jurassic World, too, they just didn’t play it up as much).
  2. There are vague references to “pharmaceutical uses” for the dinosaurs as an additional motivation for the bad guys, but its never elaborated on.
  3. Claire’s evolution (or is it devolution?) from corporate hotshot all about exploiting the dinosaurs to a save-the-dinosaurs activist just hit me wrong.  Granted, the events of the first film would have jarred anybody, but I’m not sure I’m buying this.
  4. Blue, the surviving velociraptor from Jurassic World, is now a leading character and so smart I expected her to start doing arithmetic, like a latter-day Trigger the Wonder Horse.  It got really irritating.
  5. Why in hell, when you’re trying to escape a vicious predator with better senses than you, would you turn off the lights?  Oh, yeah, to heighten the tension.  Screw that, leave the lights on, I want to see where the bastard is.
  6. Why, why, why would a girl (Maisie Lockwood/Isabella Sermon) smart and resourceful enough to elude the main villain for good portion of the film, run to her room and jump in bed to hide from the hybrid dinosaur?  If she were five, maybe, but this kid is a pretty sharp ten-year old, or thereabouts.  It was another example of dumb things being added to the film to artificially pump up the tension.
  7. About that kid– there is a revelation about her that made me suddenly sit up, all interested– and then they do nothing with it.  I mean, at that point I would have watched a film just about the kid.  And no, I’m not going to tell you what it was, although I bet a lot of people guessed it ahead of time.  A missed opportunity.
  8. The final fight against the hybrid, which takes place in and around and on top (?) of the mansion/laboratory of Benjamin Lockwood, a partner of John Hammond (who, btw, I don’t remember ever being mentioned in any of the previous films).  How does a dinosaur weighing probably two or three tons get on the roof of a mansion, anyway?
  9. And then a final bit where Claire seems to target Owen with a laser-guided dart gun, only it’s to trick the hybrid, but Owen has to get past the hybrid to make it step on to a glass roof so it would fall through, only it doesn’t, and then Blue saves the day by jumping on the hybrid, which falls and gets impaled on a triceratops horn, and I didn’t really understand how all of that fit together.  It was so confusing I had a passing thought that Claire was about to betray Owen.  Bleh.
  10. What is with the screaming tech nerd?  Shit….
  11. The number of people doing positively stupid things just so they can end up as dino chow is stunning.  Granted, in general the Jurassic movies depend on the humans being seriously mentally impaired in the presence of dinosaurs, but it was really bad in this film.  Really bad.  It made me wonder which was the intelligent species

In short, and in general, a disappointment.  Not that I had particularly high expectations going in, given the reviews beforehand, but the actuality fell short of even those.  Artificially pumped-up danger, nonsensical character actions, and same-old, been-there bad guys– all of it mashed together and not particularly well-seasoned, it was a dish for which I lost my appetite about halfway through.  Too bad, because it had two of my favorite things– dinosaurs and exploding volcanoes.  How do you mess that up?

Later.

 

 

Another reaction to Avengers: Infinity War– but with SPOILERS!! YEE-HAW!!

Because I am the obsessive fan-boy that I am, I just had to go see Avengers: Infinity War again this evening.  That’s twice in twenty-four hours, children, and it may end up being three times in forty-eight hours, assuming that tomorrow I can do my morning exercise, pay my rent and do my laundry in a timely manner– you know, all the real-life check-off items that exist merely to allow nut-jobs like me to spend inordinate amounts of money and time re-watching Marvel movies.  What was once merely entertainment is now a way of life.  I am nerd, hear me roar.

(On the other hand, I wonder if seeing the same movie over and over again in a short amount of time is like doing too many wormhole jumps at once?  Hmm.  I’ll let you know, assuming my eyeballs don’t fall out)

Suffice to say, I enjoyed the movie even more the second time around, in part because I was prepared for the repartee going past at Warp Six.  I caught more nuances (especially one that is the core of this post– more about that in a minute), and the audience tonight was especially receptive and engaged.  Also, I didn’t have a distraction this time around that detracted a bit from my first viewing, i.e., tonight’s show was not 3-D.  I didn’t mention it in my post last night, but the 3-D yesterday, for some reason, seemed kinda muddy and dark.  Maybe it was my aging eyes, maybe it was the glasses.  All I know is that I liked the regular format better.

Now, about that nuance I mentioned–

SPOILERS***SPOILERS***SPOILERS***SPOILERS***SPOILERS***

Proceed no further if you don’t want to know some details about the film.  There, I have said it.  Don’t blame me if you keep reading and have your illusions shattered.

 

 

Okay, late in the film, Thanos has kicked everyone’s butt who came against him on his own ruined homeworld of Titan– Iron Man, Spider-man, Nebula, Drax, Mantis, Peter Quill/Starlord.  He has stabbed Tony right through his advanced armor and it looks like curtains for our playboy/philanthropist/genius (probably didn’t get the order right, but you get the point).  Dr. Strange, injured and collapsed nearby, tells Thanos he will surrender the Eye of Agamotto (aka, the Stone of Time) if Thanos will spare Tony.

Two critical points here– this well after the point in the film where Strange tells Tony that he, Strange, would let Tony and Peter Parker (Spider-man) both die before he would give up the Time Stone.  It is also after Strange, using the Time Stone, has examined 14 million-plus possible futures and found only one in which the Avengers were able to defeat Thanos.  That’s the setup.

(By the way, Tony and Strange do not like each other.  It’s almost worth the price of admission just to hear Strange call Tony a “douche-bag”.  Oh, yeah….)

Then Strange, strangely, reverses course and hands over the Time Stone to Thanos, ostensibly to save Iron Man’s life.  When Tony asks him why he did it, Strange says something to the effect that “this is the only way it could play out”, right before he dissolves (yes, Thanos wins the battle to reset the universe.  That’s part of why the cliffhanger ending is such a pisser).

Uh-huh.  I had funny feeling last night about Strange surrendering the Time Stone so meekly, and tonight I paid particularly close attention to Strange’s expression as Thanos takes the Time Stone.  By doing so I think I caught a piece of subtle business, about on the same level as the look Obi-Wan gives Han Solo when Han makes his ‘parsecs’ crack in Star Wars.  Strange is particularly intent as Thanos takes the Time Stone and puts it into his gauntlet– as if he wanted to make sure Thanos took it and added it to the gauntlet’s array of stones.

Bingo.  I am certain that Doctor Strange, that tricksy smarty-pants, has put some sort of mystical whammy on the Time Stone.  One that Thanos is not going to like.  At all.  One that is going to tick away like a time-bomb and play a big part in the Avengers’ ultimate victory.

The thought makes me grin maniacally and rub my hands in glee.  It makes the cliffhanger easier to deal with.  It is the sort of smart plotting that has made these movies, in general, a joy to watch (okay, not all equally.  Can you people just get over hating The Dark World, please?).

Last night I begged the movie’s producers to speed up the release of the next Avengers film.  I know, realistically, that’s not going to happen, if only because the next film is undoubtedly tied to the release of the Captain Marvel movie (oh, and there’s a sweet tidbit teasing that flick in Infinity War, too).  But I am a-quiver with anticipation.  The next year’s going to pass sooo slowly….

Meanwhile, the only solution is to go see Infinity War again.  I’ll just try not to cackle when Strange hands over the Time Stone.  You’re riding high now, Thanos, but just you wait, bitch– you are going down.

Later.

 

 

 

A review of ” The Hunger Games: Mockingjay Part 2″

Just yesterday I reviewed Star Wars: The Force Awakens, so I thought it appropriate to review the other movie I saw last week, The Hunger Games: Mockingjay Part 2. Seeing these two very different movies within days of each other was an interesting experience, to say the least.

SPOILERS***SPOILERS***SPOILERS***SPOILERS***SPOILERS***

Unless you’ve been on a long interstellar journey, you have probably heard of The Hunger Games books and the movies based on them, starring Jennifer Lawrence. It is the story of Katniss Everdeen, forced to fight in the gladiatorial Hunger Games in a far-future, post-apocalyptic tyranny that encompasses what is now North America (‘Panem’). In the course of the four movies (based on three books) Katniss inadvertently becomes first a symbol, and then a leader, in a rebellion against the despotic Capitol.

The first movie, The Hunger Games, was excellent; the second movie, Catching Fire, was even better. The third movie, Mockingjay Part One, was good but something of a prologue, with the final payoff coming with Mockingjay Part Two. Essentially the two Mockingjay movies are the story of the rebellion against the Capitol and Katniss’ not-always-happy role in it. The rebels manage to overthrow the Capitol, but at great cost and suffering, and the end of the fighting is realistically ambiguous.

The movie resonated strongly with me, and frankly, I liked it a good deal more than I liked The Force Awakens. Partly this is because Mockingjay 2 seems especially pertinent to the real world we live in today– despite the futuristic setting, there are scenes that could have been pulled from Syria or Iraq or Libya today. Right now millions of people around the world are engaged in actual struggles, either non-violent or armed, against actual tyrannies. And, to be blunt, it resonates even more with what could be our own future in this country, if certain hateful and megalomaniacal individuals and groups gain actual political power. We live in scary times, and a movie that warns us against tyranny is particularly timely.

Another part of why this movie worked for me is Jennifer Lawrence. This young woman is interesting even when she’s in a film that I don’t particular enjoy (e.g. American Hustle), and I don’t think I’ve seen her turn in a bad performance yet. She brings some serious vulnerability and conviction to the role of Katniss, and if the previous three movies had not already welded us to her emotionally, Mockingjay Part Two would do it. Her pain at her losses in the war, including her sister Prim (you saw the spoiler warning, right?) is raw and brings home the cost of war, even war in a good cause. Someone has called Lawrence the next Meryl Streep, and I find it hard to dispute the suggestion.

The core of the movie’s action is Katniss’ attempt, against orders, to penetrate the Capitol in order to assassinate President Snow, the head of the despotism. This is part revenge and part an effort to kill the snake (and end the fighting) by cutting off its head. The fight to break through the traps the tyrant has put in her path is horrible, and the cost is high. Katniss finally tries to infiltrate Snow’s palace even as the Capitol’s resistance begins to crumble, which means that she sees up close the suffering of the Capitol’s residents at the hands of the rebels. It’s a powerful moment, as the Capitol’s children get caught in the cross-fire. Mockingjay Part Two is essentially an anti-war film, and the climactic scene of the fighting drives its point home hard.

The ending is not then presented to us with a neat and tidy bow– instead, the film touches on a question that plagues all revolutions– how do you ensure that you do not merely replace one tyranny with another? Katniss, given the task of executing President Snow, instead assassinates District 13’s President Coin (Julianne Moore), who, as it turns out, committed a gratuitous act of murder in the last battle in the Capitol and in the aftermath is positioning herself as the new Snow. In the book Katniss is put on trial for this– in the movie she is exiled back to the ruined District 12, her home. This is one of only one or two places where the movie left me with questions, but they are pretty minor and don’t affect my appreciation of the movie as a whole.

The very end of the movie, an epilogue years later, is bittersweet, hopeful and powerful. Its power is enhanced by the soundtrack by James Newton Howard, to which I will doubtless be listening for many years to come. It is just about the perfect conclusion to a movie about a struggle for freedom, love, and healing.

Highly recommended.

Movie Review- “12 Years a Slave”

It often happens that I only see important films long after their first release. Usually this is because of some economic constraint– being generally broke, I have to pick my movies carefully.

In the case of 12 Years A Slave, however, my delay was because I knew the story would hit me hard–

And I was right. This would be a hard movie to watch if you were Russian or Chinese or Bengali. It is harder to watch as an American; it is harder yet to watch as a white American; it is harder yet again to watch as a Southern white American; and it is even harder to watch the movie as a Southern white American who came out of a natal culture in which racism was an acceptable way of viewing the world. I grew up among people who, to put it bluntly, thought George Wallace in the 1960’s was simply doing God’s work.

It’s safe to say I bring a lot of baggage to this film.

***Mild spoilers below***

The film is based on the memoir of Solomon Northup, a free black man living in New York State, who was kidnapped and sold into slavery in 1841. As the title indicates, it took him twelve years to regain his freedom, and during that time he gained an intimate understanding of the institution of slavery, as it played out in the lives of ordinary people, both white and black. In 1853 Northup was able to get a message out to his family and acquaintances in New York. He was liberated, and then wrote his memoir with the help of a white Northern editor.

The film is not 100% accurate to Northup’s memoir– a conversation or two are invented, and a few pieces of the story have been changed. On the whole, though, it is faithful to the spirit of the memoir, which is a hair-raising depiction of the dehumanizing horror of slavery, from the inside. There really hasn’t been a film like this before, on this subject. Roots and such-like treatments pale to near-invisibility by comparison.

The film itself is superbly put together, and well-deserved its three Oscars. The cast out-does itself– Chiwetel Ejiofor as Solomon Northup, Michael Fassbender as the erratic and cruel Edwin Epps, Benedict Cumberbatch as Northup’s first, comparatively humane master, and Lupita Nyong’o, now famous as Patsey. Cameo appearances abound, including Brad Pitt, Paul Giamatti and Alfre Woodard. I don’t think there’s a false performance in the whole ensemble. The script, by John Ridley, captures the cadence and tone of the speech of the period, no mean feat.

For me, however, the power of the film is how it takes us into a world we can hardly imagine nowadays– the life of a slave in the antebellum South. Depictions of slavery in film have all-too-often been sugar-coated pieces of Confederate propaganda, and even when they were not, they have rarely penetrated to the depths of what American chattel slavery really meant.

12 Years A Slave, by contrast, does not blink. From the moment Northup wakes up in chains, after having been drugged and kidnapped, we are shoved into a universe in which normal human relationships are twisted out of all recognition by the supposition that some men are property and some are owners. In this world slaves are sometimes not even cattle– they are objects which may be destroyed at will. It’s a descent into some abattoir of human spirit and worth.

It feels, in fact, Orwellian, in that it seems to posit the same soul-crushing hopelessness, the same sense of being obliterated beneath an all-powerful authoritarianism. The movie goes to great lengths to prove this feeling is legitimate. The slave regime of the South before the Civil War was, quite simply, a system of tyranny, carefully designed (in a bitter irony, by people who thundered their love for liberty) to maintain control of the slave population, and to deny it any role other than that of un-recompensed laborer. It was illegal in most or all Southern states to teach a slave to read; slaves needed passes to move about beyond certain areas; and, for the most part, slaves had no appeal against cruel treatment. Aside from the law, there was the willingness of the white majority to engage in vicious vigilante reprisals against even rumored insurrection or disobedience. The movie shows all of this– whippings, rape, the inability of Northup to protect his friend Patsey from Epps’ violence, the slave patrol on the road casually executing runaways, the secrecy which the slaves were forced to adopt to protect themselves from Big Brother in the plantation house. Punishment and terror are routinely meted out to slaves as means of keeping them in line.

It also painfully outlines the extent to which slavery ensnared white as well as black. Even the relatively decent Ford (Benedict Cumberbatch) cannot keep Northup safe, and must yield to the necessity of debt when dealing with his slaves. For other whites, the absolute nature of the power they have over slaves corrupts them, from Giamatti’s heartless slave-dealing to Epps’ rape of Patsey. Because of their corruption, the whites often live in delusion, blaming the slaves for their own failures, or even the vagaries of nature. Mary Epps blames Patsey for her husband’s ‘attentions’ to her, and visits cruelty on Patsey in retaliation. Epps feels at liberty to impose terror on a whim, and another white overseer retaliates against Northup when Northup shows himself to be smarter than the overseer.

There is, thankfully, little or no trace in the film of the Confederate lie that slaves were content with their lot. This is tyranny, plain and simple, of the same species as the Nazis or the Soviets, only with a different focus. And none of the slaves in that focus are signing up for extra helpings of servitude.

This was a hard film to watch, but I am immensely glad I did. It’s a powerful indictment of America’s original sin, which still reverberates in the racism that justified slavery and which still taints us as a nation. This is, sadly, about as American a film as you can find anywhere. And we need to own that history and that truth, so we can do better.

I highly recommend it.

“Edge of Tomorrow”- a review of pros and cons…or an old man’s picky rant….

When the Tom Cruise action vehicle Edge of Tomorrow opened last year, I was in no rush to see it. I’m not a big Tom Cruise fan, and word-of-mouth seemed to indicate the film wasn’t particularly well-executed. It subsequently did not perform very well at the box-office, and the film more-or-less dropped off my radar.

Fast-forward to this week. While browsing the DVD shelves of the public library I came across a copy of the movie. I thought what the heck, it worked for John Carter, and checked it out.

And I am glad I did, because that meant I didn’t have to pay for the movie.

Actually, that’s not wholly fair. The movie has some very good parts– quite a number, in fact. The problem seems to be that they are more than counter-balanced by things I consider net negatives. So much so, in fact, that I am dispensing with my normal review format and presenting my thoughts as pros and cons, which will allow me to praise the good bits and descant upon the bad.

But before we begin–

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Pro: The premise is interesting– an alien race has invaded the Earth, overrunning most of Europe. The remaining nations of humanity band together to crush the aliens, inspired by an apparent initial victory. A major assault from England to France is planned. Unfortunately, the aliens have other plans.

Con: Tom Cruise’s character, Cage, an American officer who is basically just a PR front man. He is also an abject coward who literally tries to run away from battle. Perhaps this con is a little unfair, because it’s clear that we are meant to despise Cage, and so appreciate his redemption. Perhaps I would have bought it more readily if someone other than Cruise had played the role.

The assault goes badly, badly wrong. During the battle, Cage manages to kill a rare sort of alien. Bathed in the creature’s blood, he dies and finds himself returned to the previous day, fully aware of what has happened. He then loops through the same day, dying over and over again, as he slowly realizes he has to find a way to break the time-loop and beat the aliens.

Pro: Emily Blunt as Rita, a hardened soldier whose performance in the first human victory is held up as a major inspiration. She hides a secret, though– for a time she was also trapped in a time loop, like Cage. In the process she discovered that this is an ability the aliens possess, which they use to their advantage. Unless she and Cage can use that ability, now passed on to Cage, to figure out the hiding place of the Omega– the ruling hive mind of the invaders– and destroy it, the aliens will win. Blunt is one of the movie’s very brightest spots. She could have carried the film all by herself (hello, Hollywood, get a clue…).

Con: Tom Cruise. I mentioned this already, right?

Pro: You get to see Tom Cruise die over and over again.

Con: Unfortunately, you have to watch Emily Blunt die over and over again as well, which is a whole other basket of squirmy aliens.

Pro: Bill Paxton, as a loquacious master sergeant. Master Sergeant Farell is cheerfully poetic, in a blood-thirsty way. Paxton was obviously having a lot of fun with this role.

Con: Brits doing American accents. Why is it some, often very fine, British actors just can’t do ‘Murican? It puzzles the crap out of me, especially when they’re trying to do a Southern accent. Nails on a blackboard would be sweet by comparison.

Pro: I liked the powered exo-skeletons the soldiers are equipped with. They look very much like what I think a first-generation powered battle mechanism would look like.

Con: I hated the powered exo-skeletons the soldiers are equipped with, precisely because they resemble first-generation devices. It’s a story logic thingie– yeah, you can mounted an array of weapons on them, but they are slow and clunky (moving in them the soldiers look like they’ve just come down with a sudden misery in the bowels), and I would think that they would be more of a hindrance than an asset in an assault situation.

Con: Why in the name of heated Cheez Whiz are the Earthlings assaulting across what I presume are the beaches of France in the first place, as if it were 1944 all over again? Exactly where the enemy would have their strongest defenses (closest to the English advance bases)? Haven’t these people heard of “vertical envelopment” and “hitting them where they ain’t”?

I will now pause for a moment to dilate upon one of my pet peeves– the fact that too many people in Hollywood have no frigging clue how the military works. Everything from strategy down to nitpicking details like saluting and haircuts gets screwed up. For the love of Almighty God, even Vanessa Redgrave, who’s like the Mount Rushmore of British actors, absolutely flubbed her salute of Ralph Fiennes in Coriolanus. As for Edge of Tomorrow, was the director (Doug Liman) too scared of Tom Cruise to make him get a military haircut? Whatever the reason, Cruise’s shaggy thatch bugged me through the whole movie.

Okay, mini-rant over. Having said that–

Pro: the action in the assault, which we see over and over again as Cruise’s character relives it, is just as frantic and confused and horrible as a massive assault going wrong would be.

Con: the fact that we see nothing– I mean, nothing— from the aliens’ point-of-view. There is no communication between the besieged Earthlings and the invaders. We have no understanding of what the aliens are about or why they are doing what they are doing. Even Independence Day did a better job of that, with the telepathic interplay between the President and the alien prisoner (and, strange as it is, I enjoyed Independence Day more than I did Edge of Tomorrow, despite the former film’s horrifying and obvious cinematic flaws. Funny how that works…). The aliens in Edge of Tomorrow are just there as a monolithic threat. They are not characters in the story. For me, this is a net negative.

Pro: the production values of the movie are excellent, and, as far as it goes, Liman’s handling of the Groundhog Day/time loop plot device is pretty deft. Cage and Rita struggle with it and are forced to change directions a couple of times as they figure out the aliens and what has to be done.

Con: having said that, I kept expecting the revelation of an additional plot layer to the movie, perhaps a treasonous collaboration between Earthlings and aliens, perhaps something going on with the Earth forces commander, General Brigham (Brendan Gleeson). One or two plot points didn’t quite click, such as Brigham’s insistence on sending Cage, a useless PR man, into combat. It was almost as if Brigham had some darker purpose, some motive for getting rid of Cage, but no additional plot twist ever made sense of that action. I kept waiting for another shoe to drop, and it never did. Director’s cut…?

Con: the biggest one of all, the frustrating, story-negating ending. At the climax, when Rita has distracted the aliens at the cost of her own life, so that Cage can dive into the deep pool in the lower stories of the Louvre and blow up the Omega, if looks as if humanity has been saved by the sacrifice of both our heroes. But apparently, as Cage is drifting in the water, the last moments of his life flickering away, he is enveloped by the Omega’s blood/ichor/Super Sauce, and thereby time-looped back to a point in time before Brigham orders him into combat, but with the benefit that the aliens have still been wiped out by the death of Omega. Victory bells are ringing, humanity is saved, the suicidal assault doesn’t happen, and Rita can leave the military behind, go into acting and play Queen Victoria and the Baker’s Wife in Into the Woods, and all is right with the world.

Which really, really grates on me. The problem with this ending is that it is, effectively, a story in which nothing changes, or, to put it another way, in which there is no necessary sacrifice that brings about the resolution. At the very least I expected Cage or Rita to die heroically and stay dead, despite the time-loop, as the price to be paid for saving humanity. As it is, there is no net death or sacrifice, and the victory seems empty as a result. The only real change is that Cage is no longer a cowardly bean-bag, but for me that’s not enough to sustain an entire movie. To me the movie’s happy ending feels false and unearned. Almost by itself it kills the movie for me.

So, in sum, Edge of Tomorrow is a movie that does a lot of things right, but which left me dissatisfied. Now, it appears many critics disagree with me, so it is entirely possible that I am just too damn picky. Certainly, if a director’s cut ever comes out I would be willing to revisit the movie and take a fresh look at it.

Especially if they CGI in a proper haircut for Cruise….

Later.

Pixar’s “Inside Out”– a brief review….

This past weekend I saw Pixar’s Inside Out

**SOME MILD SPOILERS– NOT REALLY BAD AT ALL, BY MY STANDARDS**

Sometimes I see a film and it takes me some time to integrate what I have seen. Such is the case with Inside Out— there is a lot going here, and I needed a few days to figure it out. Snap judgments are not my strong suit.

Part of the problem is that this sort of allegorical adventure has never been quite my cup of tea– perhaps not surprising in someone who thinks Aliens is close to the acme of film-making. Inside Out reminds me a bit of Alice in Wonderland, another allegorical fantasy I have never really cottoned to.

That’s probably unfair, as Alice in Wonderland was probably not at all an influence on director Peter Docter. Inside Out has a lot in common with his previous work (Monsters, Inc., Up, etc.), in that it is inventive, funny and fast-paced (in fact, pay attention, because some important stuff goes by pretty quickly), with many little touches that bring the film to life (the Mind Workers are a hoot). But it also has the sort of emotional depth we saw most particularly in the silent prologue of Up— a wisdom about the ups-and-downs of life and how things don’t always work out the way you expect.

The central allegory of the movie is that five core emotions– Joy, Anger, Disgust, Fear, and Sadness, all personified in the movie by different characters– represent the controlling aspects of our mind and personality. The movie mostly occurs in the mind of 11-year-old Riley Anderson (although we get often hilarious glimpses inside the heads of other people along the way), who has just moved from Minnesota to San Francisco with her parents, and who is not happy about the change. The problem is that Joy, who has largely been the emotion in charge all of Riley’s life, doesn’t want to allow Sadness to play a role in this transition– and thereupon hangs the tale, as Riley’s emotions fall in to conflict, things become discombobulated, and Sadness and Joy are accidentally thrown out of “Headquarters” (Riley’s consciousness). They then have to undertake an epic journey through Riley’s personality and memories to get back to Headquarters. In the end, balance is restored as Riley’s emotions are reintegrated with deeper empathy and a restored sense of self– even though the emotions are puzzled by the big, red button on their new control console that reads “PUBERTY” (as obvious a set up for a sequel as Darth Vader’s escape at the end of A New Hope).

I will not spoil the movie more than that. I have a few quibbles about one or two pieces of business in the film, but they are just that, quibbles. Suffice to say that it is imaginative, funny and loaded with insights into how human beings are put together, how we grow and become fully realized individuals. Personally, I am looking forward to see it again, and soon. Recommended.

Jurassic World– Oh my GOD, didn’t these people see the first three films!?

I went to see Jurassic World today–

SPOILERS****SPOILERS****SPOILERS****SPOILERS****SPOILERS***

I held off seeing it the first week because I didn’t want to be crushed in the mob that broke the record for a first weekend opening, and because of a certain amount of caution based on what appeared to be mixed reviews. Reports that the action was well-handled in general, though, enticed me into the theater today.

The movie is explicitly a sequel to the original Jurassic Park series, and there are numerous references in the film to John Hammond and the first attempt at a dinosaur park. The original visitor center, or its ruins, play a prominent role in the action of the movie’s mid-section. Along with the references to the events of the previous movies, though, comes the looming shadow of the casualties of the previous attempts to wrangle dinos.

As in the previous films, the action takes place on a Central American island, Isla Nublar, which has to be Spanish for “Island of Niblets”. In typical movie fashion, the corporation that owns the park, InGen, is up to no good, using the high-tech park as a front for an evil genetic engineering project. The park’s chief operation officer, the job-obsessed Claire (Bryce Dallas Howard), is unaware of this agenda as she prepares to debut a new, hybrid dinosaur called Indominus rex, a bid to keep park attendance and revenues high (note: no surprise, this is a very bad idea). She is too busy to greet her two nephews, Zach and Gray, who have been sent to the park while their parents work through a divorce. Unsurprisingly, when all hell breaks loose, Zach and Gray will be the MacGuffins in need of rescue.

Meanwhile, Owen (Chris Pratt), is working in another location of the island on a project involving four velociraptors, with whom he has established himself as their pack “alpha”. InGen honcho Hoskins reveals the project is aimed at weaponizing the velociraptors, an idea Owen resents.

Before he can do anything about it, though, Claire comes to him. She has concerns regarding the new hybrid’s enclosure and she wants his assessment of its safety. The two of them have history, but their differing styles (corporate button-down vs. motorcycle-riding dinosaur-whisperer) killed their first attempt to connect.

Owen goes to Indominus’ enclosure, but it appears that the hybrid has escaped. Owen and two park workers enter what they think is an empty enclosure, but it’s a ruse– the wily critter has tricked them within reach of its claws. Mayhem ensues– Owen survives (by employing a hasty but rather nifty bit of animal psychology), but Indominus escapes.

The rest of the movie is basically InGen’s increasingly desperate attempts to first contain, and then to kill, Indominus, which, in the typical manner of action movies, goes from bad to awful to disastrous to absolutely catastrophic. Everything the park officials and InGen do just makes the situation worse. The body count mounts, while shady InGen operatives remove embryos of other genetically modified critters from the park in order to keep their illicit weapons project alive (and probably set up the next movie).

I won’t spoil much more of the film, especially the twist in the final, epic battle with Indominus. In many ways it is basic action movie stuff, with a corporation as the villain (zeitgeist, anybody?), deploying surly flunkies who bump against the colors-outside-lines hero, and the love interest who learns to value the lives of her nephews over her job and re-connects with the hero. The other emotional turns in the film are pretty standard, as well, such as the parents’ divorce and the older brother not really paying attention to the dino-obsessed younger, until Indominus tries to chomp down on them, whereupon the two re-bond in the effort to avoid becoming lunch.

Having said that, in general the movie works pretty well. The action kept me engaged. For me the critical test of an action movie is whether I, at any point, start to disbelieve the action– if I start to say “wait a minute, that’s lame/overblown/unbelievable…”, then the flick, for me, is doomed. I am happy to report that I had no such moments– given the movie’s premises and setup, the action flowed pretty logically and believably from one disaster to the next. Once or twice I questioned why a character zigged instead of zagged, but the only aspect of the film that really challenged my suspension of disbelief was Claire’s ability to run cross-country in high heels.

It helps that Chris Pratt is basically believable as Owen– he seems comfortable in the role, a working guy who just happens to work with dinosaurs. Pratt is funny when it’s called for and does his hero thing without posturing. In the wake of Guardians of the Galaxy and now this film, he’s well on his way to joining a select band of brothers in my favorite movie actors clubhouse (and, yeah, I can see him in the fedora).

It also helps that Indominus was, for me, truly huge and menacing. When it bursts out of its enclosure, or the forest in pursuit of the brothers, the tiny, helpless primate in me wanted to climb a tree. This movie, like the first Jurassic Park, would not work without a sufficiently terrible lizard. Indominus fits the bill.

On the whole, I give the film three and a half frozen dino embryos– it doesn’t carry the impact of the first movie (and how many sequels do? Aside from Aliens, I mean), but it stands on its own as a pretty good action film, and heads-and-shoulders above the second and third Jurassic Park movies. Recommended.

Note: I don’t usual do back-to-back reviews of current movies, but I am already down to see Inside Out tomorrow, and if the reviews are any indication, I will probably have something to say about it. Stay tuned.

Films that inspire me– “When Worlds Collide”

There have been science-fiction and fantasy movies since the dawn of film, from Georges Méliès’ A Trip to the Moon onward. Although the fact is poorly remembered nowadays, SF and fantasy were there at the start and grew up along with the medium of film itself.

It is safe so say, however, that there are distinct epochs in the history of SFF movies. The earliest films often blurred the lines between fantasy and science fiction, and were often as much about the exploration of the possibilities of film technology and tricks as they were about futuristic stories. Films from the Twenties and Thirties exhibited a strong tendency to mix sci-fi and horror. At the same time, the twenty years between 1920 and 1940 also saw serious works such as Metropolis and Things to Come.

The Second World War worked a sea-change in science-fiction film. Western society was confronted, as it never had been before, with the fact that it was now living in a science-fiction world, with ballistic missiles, radar and nuclear weapons as veritable realities, and with even more disturbing possibilities just over the horizon– cybernetics, World War III, and genetics. The Cold War, as it developed out of the breakdown of the expedient wartime alliance of the West and the Soviet Union, would obviously be fought as much, if not more, on the front-lines of science and technology as in the frozen mountains of Korea or the rice-paddies of Vietnam.

Of necessity, science-fiction films of the Fifties reflected this new understanding. Nowadays the decade is chiefly remembered for often not very well-made B-movies with aliens or radiation-spawned monsters standing in for the Soviets. This memory is justified, in large part– many of these movies were forgettable by any standard. Having said that, there were still a number of very effective films in the decade– Destination Moon, Forbidden Planet, The Day the Earth Stood Still, Them (a radioactive-monster film that actually worked), and others, films that overcame the limitations of the period’s special effects capabilities.

One of these was When Worlds Collide.

Spoilers****Spoilers****Spoilers****Spoilers****Spoilers****

Made in 1951 by Rudolph Maté and George Pal, the film is an adaptation of the novel by written by Philip Wylie and Edwin Balmer. Astronomers discover a wandering star, Bellus, is approaching the Solar System, and will collide with the Earth. A planet orbiting Bellus, Zyra, holds out the possibility of being habitable. The movie is the story of the struggle to build a rocket-ship to take a select group of survivors to Zyra, even as Bellus’ first close pass causes earthquakes and floods, and human society collapses in chaos. At the last moment, the ship is launched, just ahead of rioting left-behinds; the Earth is destroyed, and the ship makes a white-knuckle landing on Zyra, which proves to be habitable.

The movie works as a serious attempt to ask “what if the destruction of the world loomed, and we had only a short time to save some portion of humanity?” The film does a good job creating an atmosphere of sustained, furious effort toward a goal no one is sure they can reach. True to its pre-Sputnik period, the characters repeatedly tell each other that the flight to Zyra is theoretically possible, but a lingering doubt hovers over the project, creating a tension in the narrative that ratchets up the drama (a remake of the film nowadays, about which more below, would lose this tension, as we now have nearly sixty years of engineering art around the building of spacecraft). The workers on the project struggle to finish the spaceship and its launch ramp, even as Zyra’s first close pass causes tidal waves, earthquakes and massive destruction. The final twist of the dramatic knife is that only a limited number of the project workers can go on the ship (a contrast with the original novel)– a lottery is held to select those who will go on ship, and, at the last minute, many of the left behinds riot and attempt to take the ship, even as it is launched.

One of the best ‘special effects’ employed by the movie was the use of artwork by Chesley Bonestell, who also designed the rocket-ship. Having said that, the movie is not without flaws; the final destruction of the Earth is, cinematically, rather disappointing, and the initial chaos caused by the passage of Zyra is mostly conveyed by a lot of stock footage of models being destroyed. The final image of the surface of Zyra after the spaceship lands is also disappointing, appearing somewhat cartoonish in comparison to other artwork in the film; quite simply, the production ran out of money and had to employ one of Bonestell’s colored sketches rather than a finished painting.

In addition, many of the characters are rather stock. One exception is David Randall (Richard Derr), a devil-may-care horn-dog mercenary pilot who gets pulled into the project, a sort of Indiana Jones precursor. But the one really stand-out character is that of industrialist and all-around jerk Sidney Stanton (John Hoyt), who bankrolls the spaceship project to make sure he has a seat on the craft, despite being crippled and and a dead-weight in general. His comeuppance is one of the dramatic high-points of the film.

These complaints, however, hardly rise above the level of quibbles. The movie as a whole works like gangbusters, building a realistic sense of urgency, desperation and impending doom, as Bellus looms closer and closer. When Worlds Collide is one of the early crop of post-war sci-fi films, such as Destination Moon and The Day the Earth Stood Still, that took its subject seriously. It did not engage in camp, or insert cheap bits of horror. Later films in the decade would do both, and too many of those later films just did not match the solid story-telling of When Worlds Collide.

This film is the rare classic sci-fi film I would love to see remade. Indeed, I would love to write it, even though my screenwriting credits are negligible. Normally I am adamantly against remakes of movies that just basically worked in the first place (remaking The Day the Earth Stood Still was a crime), but this story begs to remade with modern special effects. That’s despite the fact that, as I’ve already mentioned, we would lose some dramatic tension simply because the question “is the spaceship going to work” would, more-or-less, already be answered. There is, however, more than enough drama in the struggle to build the space ark (or arks, more probably) and in the tension between the saved and the left-behinds to carry the story forward.

Unfortunately, although there have been periodic announcements of a remake in the works, nothing has come of them, and the project appears to be more-or-less permanently stuck in the limbo of development hell (talk about negative places…). I am not at all clued into the Hollywood grapevine, so the details of why this has not happened eludes me, but it’s a shame. If it were well-written (admittedly, always a concern), a new When Worlds Collide would rock very hard.

Someday, perhaps. Meanwhile, I think I should work on my screen-writing skills, just in case the call comes….

Later.

Avengers: Age of Ultron– a review– please don’t kill me….

Yesterday I finally got to see Avengers: Age of Ultron

INTENSE AND HAIRY SPOILERS HEREAFTER!! I MEAN IT!!
*******************************************************
I loved the first Avengers movie, even though I have never been a huge fan of the comic (always X-Men for me, with a dash of Spider-man and Fantastic Four). Joss Whedon did a superlative job pulling together the disparate and often damaged individuals of the first film and creating a credible origin story that welded them together into a team. In the process he gave everyone the screen time and the attention they needed to become grounded characters in our minds. And the action suited the character development, and vice versa. All-in-all, it was a very well-written, tightly plotted action piece.

I can’t quite say the same for Age of Ultron.

Not that the movie is bad— the action sequences are intense, some of the twists Joss gives the characters are interesting (Natasha and Bruce Banner? Really?), and James Spader’s Ultron is a delightfully charming nutcase of a villain. The movie is well-done, in general.

But…to this (admittedly) picky, jaundiced old fart, the story-line seemed a little contrived, and some elements a tad too pat. The rescue of civilian bystanders during the climatic battle felt too safe, almost something that could muster the approval of the old Comic Code. At one point Thor disappears to figure out a vision given him by the Scarlet Witch (Wanda Maximoff), leaving the rest of the team to handle a further confrontation with Ultron on their own, a departure that felt to me like dereliction of duty. And, true to his well-known penchant for sacrificing characters for the sake of drama, Joss chose someone– Pietro (Quicksilver)– to die, selflessly, saving Hawkeye and a generic child. Somehow, though, his death didn’t elicit a lot of emotion in me. It was sort of, ‘oh, so that’s who Joss chose to knock off, okay, moving on.’ It almost felt rote.

But it was the climatic bit of peril the Avengers have to overcome that really left me cold. Ultron, obsessed with creating an extinction event for humanity so as to clear the planet for the next thing in evolutionary advancement (AI machines, of course), rips free a large portion of an Eastern European town from the earth and lifts it to about 20,000 feet, intending to drive it back into the planet by means of anti-gravity engines so as to recreate the effect of the dinosaur-killing asteroid of 65 million years ago.

Um, yeah.

To my mind there are a couple of things wrong with this scenario– 1. it’s hopelessly contrived and over-complicated, and 2. it probably wouldn’t work. It’s over-complicated because there are probably a hundred easier ways to accomplish the desired end (the annihilation of humanity), and it feels very much as if this particular modus exstinctio was chosen for its cinematic value. It wouldn’t work because of basic physics. The dinosaur-killing asteroid was not only massive, it was moving at many miles per second when it hit the Earth. Kinetic energy is directly proportional to the mass of the object, but it is also directly proportional to the square of the velocity at which the object is moving. The anti-gravity engines would have had to accelerate the mass of the town at something like (in very round numbers) 100 gravities (a delta-v the movie in no way depicts) to achieve the same terminal velocity, because the town, in just falling from that height, is going to hit the Earth in about 35 seconds anyway.

In short, I didn’t buy it.

And you, dear reader, at this point are probably thinking, Jeez, lighten up, dude, it’s just a superhero movie.

Well, you’re right. My problem is that I have high standards for my superhero movies.

I ran into the same issue, in a much smaller way, with Guardians of the Galaxy, and talked about it in my review of that film, months ago. I’m weird in that I actually want the science-fiction aspect of comic-book or superhero films (or comic-books, for that matter) to make sense, and not transgress the boundaries of known science too much.

As you might guess, I am often disappointed.

Still, as unreasonable as this expectation may be, it’s mine, I own it, and being disappointed in it with Age of Ultron meant that I didn’t enjoy the movie as much as I wanted to. ‘Nuff said.

My own weirdo prejudices aside, I think it is fair to say that, in general, Age of Ultron suffered, quite simply, from being a sequel– a very good sequel, but still basically a follow-on work that borrows its energy from its predecessor. It proves that, in the end, even a genius (yes, I use that word) like Joss Whedon cannot escape certain imperatives of story-telling– among which is the necessity of each tale to stand on its own and to find its own sources of strength. It also proves that that sort of loss of energy can happen to anyone.

A cautionary tale for any story-teller.

Later.