The place where you find out whether you should check out a movie, or if it's not even worth the free movie ticket you're trying to use the day before it expires. Also some retro reviews every now and then. If you want to request a review, simply drop a line.
I would start off with my thoughts on musicals as a while, but by gum you've probably heard that more than Kanye West praising himself by now. Needless to say, the only thing I was looking forward to about this movie was the possibility that the trailer for Star Wars Episode VII: The Force Awakens would be attached to it. (Despite having seen it 38 times online, and once with the 3rd Hobbit). Having a low bar of expectations most likely made it easy to surpass, but it wasn't necessarily great.
Into the Woods revolves around the world of several fairy tales, including Cinderella, Rapunzel, Little Red Riding Hood, Jack and the Beanstalk and more. The stories are tied together through the adventures of a baker and his wife who are struggling to have a child, and a witch who promises to help them.
Story wise, it's rather strong. It ties several fairy tales together plausibly and thankfully cuts out the excess meat that we all already know. The movie was preceded by a trailer for a new Disney version of Cinderella. Seeing that this movie would also tell the story made me sigh with exhaustion that we would have to sit through the same full tale twice in 6 months from the same studio. But thankfully, it's reduced to just the basic beats that we need in order to progress the main plot.
For a Disney movie however, it's notably eschewing. There is some subject matter in here that I didn't expect at all. I'm not totally sure that i'm really comfortable with the way this came across, but I am rather thankful that this didn't go the easy route. It's an appreciative subversion, and it works to the aesthetic that the film has of pointing out the absurdities of these tales in the first place. It's almost meta towards the genre.
Alright, music talk. Ugh.
Actually, it wasn't as excruciating as I find most musicals. In fact the first song is kinda catchy. I found myself humming a couple bars in my head in the car. (There's also another one which lampoons the genre, but that's more to do with Chris Pine's performance. I'll get to that in a minute.) But of course, the slow tempo monolgue-y songs are like slapping a stapler against your head and saying "We get it!!" I didn't nap through the movie, but I briefly dozed off during one of Emily Blunt's songs.
Meryl Streep. How do I put this? Meryl Streep is to me the way that Derek Jeter is to Red Sox fans. You know she has talent, and you respect her for everything she's done. But at some point, you draw the line. It gets old hearing how amazing she is. I think Steve Martin put it best "Every year the academy nominates four very talented actresses. And then, no matter what, they nominate Meryl Streep." She's great it in this, sure. And I respect her deftly. But at some point it gets tiresome hearing how amazing Meryl Streep Is.
Johnny Depp is another I tire of, but to my great pleasure, he does not wear out his welcome as the wolf. However (and this isn't a criticism towards Depp) I can't say I like the wardrobe design. He looks less like a wolf and more like a pimp dressed like a wolf. What kind of wolf wears a tie? I'm not saying you can't try to humanize the wolf, but the costume doesn't even fit in with what they have designed for everyone else. He feels incredibly out of place, and for once, that's not Johnny Depp's fault.
James Corden is one of two highlights of this film. His baker is delightfully skeptical of the world he lives in. He has all the best moments and a great majority of the laughs. His timing and his delivery are fantastic. I'm sure he'll be great as the new host of The Late Late Show, I just hope he still has time to appear in more movies.
Chris Pine is the other highlight. It seems like most fairy tale movies recently involve a really two dimensional Prince who is meant to function only as a handsome face to the female protagonist. Pine isn't. In an ironic way considering his most famous role, he seems to channel William Shatner's Captain Kirk to lampoon the idea of a lame prince. The song "Agony" very much takes the idea of a shirtless man meant only to be handsome, and points out how absolutely ridiculous the notion is. Chris Pine is a delight in the way he makes his character pop in comparison to how it could have been. In his own words, he's meant to be charming but not sincere.
If musicals are your thing, you won't be disappointed with Into the Woods. But if you're not, the story and acting of Corden and Pine will be enough to get you through some of the more snooze worthy songs. I expected to hate this movie, but I didn't.
I've mentioned before how my favorite Batman movie is 1989's Batman starring Michael Keaton. With all due respect to Christian Bale, Christopher Nolan, and the late Heath Ledger, I have a special place in my heart for the original film. (No small honor considering my vocal distaste for most Tim Burton movies.) Michael Keaton's established and determined Bruce Wayne was full of charm and wisdom. Not as fleshed out as other iterations, but Keaton was an excellent Batman. When we talk Birman, we can consider where Keaton has been in his career. But we can also forget about about his Caped Crusader past and watch the magnetism of his performance take over as though the concept of playing a Superhero was brand new to him. Whichever way you look at the film, Michael Keaton is back. And I want to know where he has been.
Riggan Thomson is a washed up actor famous for playing the superhero Birdman in three films back in the 1990's. Now he is attempting to mount a comeback by directing and starring in a Raymond Carver play. In order to finance the play, he takes out a mortgage on his home, and is left flat broke. With everything on the line, and an controllable supporting actor, Riggan is losing it.
I am a fanatic when it comes to comic book movies, so seeing a satire of the world behind it was spellbinding. There is so much debate to the quality or saturation of these films in today's box office market, this was a brilliant commentary. Riggan Thomson is established as wanting more, wanting to be relevant, wanting to matter. It's though provoking to wonder if in 30 years we will feel the same way about Christian Bale or Robert Downey Jr. Can someone be an artist in a mask and cape, and can they be something more when they take it off? I choose to think so. And with that, I follow along Riggan and his journey by always rooting for him. There is something enchanting to see with this tale and the risks taken, and I loved every moment.
The entire movie is filmed and edited to look as though it was one long continuous shot. I have heard that Hitchcock did this once, but I've never seen anything like it until now. The movement of the camera through the scenery and the action makes you feel as though you are actually in the film. There is a hyper reality that is achieved that totally immerses the viewer. There is no way this could have been as simple process to achieve, and for the painstaking efforts they took to make it so, the editors and cinematographers deserve enormous amounts of praise.
This movie belongs to Michael Keaton. This is fact. The raw inner commentary, the ticks, the facial expressions, the aggression. Michael Keaton doesn't lose himself, he is Riggan Thomson. I am in no way saying that Keaton was ever washed up. I am saying that he blurs the lines between film and life. This is Keaton at the top of his game. Keaton's Bruce Wayne past doesn't really leave the mindsight, but it doesn't overpower the majesty of his work here. It may just be a bit of a bonus to create realism. But whatever it is, Michael Keaton is magic. The Oscar is Michael Keaton's to lose.
You can't count out the supporting cast however. Edward Norton has a reputation for perfectionism. That's a factor which makes his work a little more plausible too. His narcissistic work as Mike Shiner exudes Norton's perceived pretentiousness. He is not a good guy, but he's a joy to watch. You root against him when he tries to pull out the threads of Riggan's life. But that means Norton is doing his job right.
I have never taken Zach Galifianakis seriously, but i've never really had a reason to. In Birdman, he finally takes it easy. He doesn't need to be the center of attention. He's calm but concerned for his best friend, and it's a refreshing change of pace. He even gets to cut loose every now and then, but it's never out of tone.
The score is composed almost entirely from drums, and it adds to the power of the film. It's rhythm goes along with Riggan's mental state, and it's toe tappingly badass.
Right now, Birdman is my top film for 2014, and Michael Keaton is the one to beat for Best Actor. This movie was an absolute thrill, and one to watch over and over.
Just to kick things off in a fun way, here's My personal Top Five:
2Pac
Jay-Z
Eminem
50 Cent
Snoop
2014 has been a year that has explored the hollowness of celebrity, and the strive for something deeper in the entertainment business. And I have loved every moment of it. My favorite movie of the year is Birdman (as of today). My favorite Netflix original series is Bojack Horseman. It's a deep theme. It's fun to see celebrities painted in a more human light. Coming from someone like Chris Rock, one expects straightforward comedy. That is not what one gets.
Andre Allen is a comedian turned actor who wants to establish himself as a serious actor. However, all people want to talk about is his upcoming televised marriage to a reality TV star. He agrees to be profiled for the New York Times, and is shadowed by a reporter for the day.
This is mainly a character piece, one that I believe explores everything Chris Rock has wanted to express, but couldn't do until he had his own platform. He has never been one to hold back anything. That's a trait that has gotten him into hot water more times than one. But more often than not, it earns him endearing respect for his unflinching honesty.
In Top Five, we get to explore some opinions that Rock chooses to express regarding the state of Hollywood, Celebrity living, and America as a whole. It's beautifully expressed in a manner that doesn't venture into dramedy but steers clear of absurdism. This is a rich screenplay that fully explores it's subjects in a magnificent environment.
Chris Rock is as hilarious as he has ever been, but by his own choosing, he gets to express a more sensitive side in Top Five. We feel a piece of Rock himself in that character, and that makes it so much more graspable. Had Rock cast someone other than himself, it would have lacked power. Together with his brutally honest screenplay and how he embodies it, Chris Rock ushers in a new era of his career in which he can fulfill his desires.
The supporting cast is filled out beautifully with comedic talents such as Tracy Morgan (one of my personal favorites), JB Smoove, Leslie Jones, Jay Pharaoh, Kevin Hart and so many more. But what really grasped me was the performance of the lovely Rosario Dawson who has palpable chemistry with Rock and gives as good as she gets. Her independence cuts through Rock's exterior and allows a human give and take.
Top Five is certainly one for the Top 10 List this year. Chris Rock is deserving of nominations for his outstanding performance, and in a year without Michael Keaton in Birdman, I would be pushing for a win. Do yourself a favor, and see this film.
I've worked on the set of two independent movies in the span of the past year, so I'm very aware of the amount of work that goes into something like To Love Somebody. The ambitions of freshman director Ben Rider are certainly impressive, even if the independent romance film is not my personal preference.
The film follows the saga of two couples struggling through traumatic circumstances thrust upon them. Meryl and Mike are coping with issues stemming from the loss of their child. Joanna and Tim are struggling to conceive one of their own. The resulting tension makes up for most of the drama.
It is clear that Rider (who writes and directs) has a passion for cinema. After a viewing, there are very strong notes of a formalist approach to the genre, utilizing a very unique editing and shooting process. The sounds and visuals take you back to the era of French New Wave. Whilst today's audiences are used to a more traditional movie experience, the risks that Rider takes will no doubt impress the cinema aficionado. It presents a non linear story line juxtaposed along side the present conflicts to create an excellent contrast. He's certainly done his homework.
That being said, the film needs a little bit more of a punch. It's a decent character study within the boundaries of what Rider uses to tell his story. But it lacks a real hook. Whilst the journey is an enjoyable one, it's not as bold as it has the potential to be. The third act could use some more spice to give the audience a little more of a satisfying story arc. I was hoping for something a little more exciting. While I certainly wasn't disappointed, it was a little underwhelming.
The strongest performance in the film comes from the delightful Johanna Taylor. Her character shows a convincing character arc of someone who wants the most out of her marriage but does not want to betray who she is inside. Part of a team whilst independent. I can't reconcile the characters decision of withholding information, but I can find a lot right with the way Taylor expresses the mindset and the results of the disclosure.
SIDE NOTE: I feel like Johanna Taylor would make an excellent choice for the role of Young Jean Grey in X-Men: Apocalypse.
As a critic, film student, and aspiring filmmaker, there is a lot I can appreciate from this film. And if the only issue I take with it was a need for a more significant "Wow Factor," then that's a good sign that Ben Rider has the tools to make it in this business.
Yes. I'm well aware how long it's been since i've written a review. I'm just gonna quote Don Cheadle's thinly veiled reference to replacing Terrence Howard as Rhodey in Iron Man 2. "It's me. I'm here. Deal with it. Let's move on." I do apologize, I've been very busy between school and Flick Check and life in between.
For my consistent readers and viewers, you'll remember that I greatly enjoyed Catching Fire. Despite that, I've never had any discernible amount of enthusiasm for The Hunger Games franchise. It's well made, it's just not my personal preference. That being said, I sat down to Mockingjay with high expectations, but not expecting a new favorite movie. Rest easy, Raiders of the Lost Ark is safe. Because, pun not intended, Mockingjay never really gets off the ground.
Taking place after the explosive conclusion to Catching Fire, Katniss Everdeen is in the elusive District 13 amongst a faction that is rebelling against the Capital. The heads of the movement want her to become the symbol of their cause, but Katniss is only concerned for the life of Peeta Mallark who is in the hands of the Capital as their own propaganda tool.
Politically, this film takes on ambitions that it only partially tries to justify. There is certainly something interesting about taking a camera crew into the battlefield in order to rally the troops and it gives Jennifer Lawrence one of few opportunities in this movie to showcase the raw emotion that won her an Oscar two years ago. But it's quite frankly not an idea that hasn't been seen before. And not even one unique this year considering the backstory of Tom Cruise's character in Edge of Tomorrow (don't you dare tell me it's called Live. Die. Repeat.) THAT was much more interesting.
This is something you will hear a lot, but that's just because it's the truth. There is no reason other than extending Lionsgate's profit margins that this film should have been made into two separate parts. The momentum in this film builds up to a climax that isn't coming for another 12 months, and there is a very bland and poor substitute to put one in this film. For a film that surrounds a full scale rebellion, there are very few stakes. One doesn't really feel the tension, and it's what leaves you with a sense of boredom.
Acting wise, I can't really complain. Jennifer Lawrence is given very little to actually work with in this film, but she does what she can with the material.
I do feel the need to criticize Katniss' logic. If you accept the weak premise that the characters are in a full on civil war, I fail to see why Katniss puts the concern for Peeta so high on her list considering the facts that she is needed to free an entire nation, not to mention the fact that she already has a boyfriend who doesn't have any visible character flaws. I understand that she does care for him, but there is so much more at stake than just a solitary hostage. Sure, she has conflicted feelings, but in war, there is always sacrifice. I strongly resisted the urge to stand up in the theater and shout that infamous Spock line: "THE NEEDS OF THE MANY OUTWEIGH THE NEEDS OF THE FEW OR THE ONE." I can only hope that this is rectified in the finale.
I am quite happy that they finally found something to do with Liam Hemsworth. Frankly, he felt very tertiary in the previous films.
For one of his final roles, Philip Seymour Hoffman shows us exactly why he so talented with his multi-layered performance and shows the true intentions that he had hidden the first time around.
Side note: This movie completely ripped off a scene from the original Alien. "Thought we wouldn't notice. But we did." And Sigourney Weaver made it seem much cooler 35 years ago.
Mockingjay has great performances, but it doesn't really provide any outlets for them. I'm sure that the next film will be better, but there is no way to characterize this film other than a filler episode.
I don't think I've ever seen a movie with as much pre-release judgement towards it as Teenage Mutant Ninja Turtles. Mainly due to the involvement of producer Michael Bay and his controversial preproduction plans. I can't say I've ever been more than a casual viewer of the Turtles franchise, so I never really had any sort of outrage. I'd seen the earlier films, I watched the cartoons as a kid, so I had a fleeting knowledge of the source material. But I really had no idea what to expect going in.
As part of an experiment, four box turtles and a rat have mutated into human sized ninjas. They hide under the streets of New York secretly fighting the villainous foot clan, until reporter April O'Neill spots them and wants to expose them to the world.
There is a lot wrong with this movie, but I find it best to start with what they got right. As opposed to the Transformers series, the main creatures have distinct personalities and are actually enjoyable to watch. They really nailed it here. They're witty, athletic, dynamic. They steal pretty much every scene they are in. It's a lot of fun to see these Turtles come to the surface and liven up an otherwise listless and dull movie. Which brings me to the debit section.
For a Ninja Turtles movie, they take their sweet time building up the reveal of the turtles. And it's really not for any reason. It's not as though we are going to be surprised that the secret vigilantes are turtles. It's in the title. You're not hiding anything.
And there is far too much emphasis on the humans. This takes the sole issue I had with Godzilla and pours salt in the wound to make it worse. We are treated to a dull story about how April O'Neill is somehow connected to the origins of the Turtles and how everyone wants to manipulate that fact. What would have been nice is to have gotten the actual turtles more involved.
Further, we find an extreme lack of depth. This update to the Foot Clan as somewhat of a terrorist organization could have been a lot more interesting if they actually had some kind of intention or motive. Or one that didn't sound so cliche when you actually find it out. This is a surface movie with a hollow shell. (Pun intended). In addition, this movie is highly unoriginal with some of the hammiest dialogue and predictable plot points. The cliches come after another like one of Shredder's blades.
Megan Fox has potential, but she really doesn't have talent. She is flat, wooden and working for a paycheck. If she had a little more dimension to her, I wouldn't have minded the human focus as much. Next time, try Emma Stone. She's talented and a red head. Two things that April O'Neill needs.
The only other saving grace is Will Arnett, who I have always been a fan of. In a movie that really sucks the fun out of the Turtleverse, at least Will adds to what little there is. He's great comic relief that doesn't shove itself down your throat. (And if you pick up on the Arrested Development reference, let me know. I laughed hysterically.)
To sum it up, Teenage Mutant Ninja Turtles is more appropriately labelled recycling than garbage, It's a rehash of a lot we've seen before, which needs 50% more Turtles.
If you're one of my regulars, you'll know that weeks ago I was fortunate to see a preview of footage from this film. I thoroughly enjoyed every moment that Marvel chose to screen. It was funny, yet clever with a bold mix of action and humor. I loved it. So now that I have finally seen the entire film, has my opinion changed?
Guardians of the Galaxy revolves around a gang of misfits who are trying to rid themselves of a mysterious orb whilst running from both the Nova Corps and Ronan the Accuser. The Guardians are Star Lord, Gamora, Rocket Raccoon, Drax the Destroyer, and Groot.
Luckily, the blended mix of humor and action extended beyond the 17 minutes that was previously screened for me. It's incredibly witty and quirky with an incredibly adventurous spirit. Much like the world of Star Wars, we are thrust into this environment knowing practically nothing about how their systems work and we are led in with very little exposition. We become immersed and respected because we are beginning a journey that doesn't spoon feed us with backstory. It's so much fun to try to pick everything up along the way.
James Gunn's style creates such a unique experience for a Marvel movie. It is almost Quentin Tarantino like in the manner of conversational revelations and dialogue driven scenes. It leads us to greater discoveries and understandings of the characters and their worlds. Tonally, it feels like the best parts of Star Wars, Star Trek, and Indiana Jones mixed together with surreal humor that never feels drastically out of place.
Acting wise, we have a large ensemble that gets their fair share of time, but there are a lot of gems that stand out especially.
This is the first time someone has been cast as a main superhero and I already was familiar with their work. I greatly admire the work of Chris Pratt. I've watched him and adored his work in Parks and Recreation, Moneyball, The Lego Movie, and he was the sole saving grace of the movie Delivery Man. In this movie, he is at his best. He has the charisma of Captain Kirk and the spirit of Han Solo. He holds no barred when he comes barging through on his mission. He is funny when he needs to be but always feels so strong.
I was always skeptical of Bradley Cooper as Rocket Raccoon, but like i've said before, I've come around. He can crack wise, but he's also a full member of the team. The only way the movie could have worked is if they didn't use Rocket as gag, and I personally thank Cooper and Gunn for treating him with the respect the character deserves.
What surprised me the most was the performance of Dave Bautista as Drax the Destroyer. Given that he has done little to no acting prior to this led me to believe that he was cast simply due to his past as a wrestler and MMA fighter. But he is actually extremely soulful and he gives a strong contribution with his performance. He's very much the straight man, but he's the straight man for which you are empathetic.
All around, this movie is magnificent. I loved every moment, and I especially appreciated the post credits scene. I am happy to say that the grade has not changed.
One of my absolute favorite movies of all time is 1968's Planet of the Apes. I was always fascinated by the allegory that the simian society created, the social commentary on the evolution debate, and the magnificent performance by Charlton Heston. Back when I was a theater major, I used to try emulating Heston's role as the astronaut Taylor. I even used his scene with Landon about glory, fear, and search for truth as an audition piece. Since then, there has been a number of sequels, a remake by Tim Burton (yuck) and now a reboot series. Rise of the Planet of the Apes thoroughly exceeded my expectations, and now we have a sequel.
Set 10 years after the previous movie ended, Caesar and his followers have developed a society in the jungle which lives in harmony. Suddenly, the human survivors of the ALZ-113 virus make contact whilst looking for a new power source. They reach a fragile peace, but forces on both sides threaten to break that peace.
One could point out the similarities between this film and the 5th: Battle for the Planet of the Apes, but one could also remember how painfully awful that movie was. In this film, we see a magnificent display of emotion, action, drama and visual effects to restore faith in moviemaking.
People often ask me why this works and Transformers doesn't. The distinction between these two science fiction action franchises is that Apes has a story with a complex narrative and thoroughly engaged acting. But mainly the difference is when we explore the personality of the apes which is more than one note and stereotypical. The apes are well rounded with fully developed characteristics, whilst the Transformers are nothing more than cars with catchphrases.
The tensions in both societies is chaotic and fragile which creates for a strong story and bold characters which never let go of the tight grasp they have on your interest. The action is undeniably awesome with moving sequences and thrills to dazzle. I mean, there are apes on horses with machine guns. How much cooler can that be?
But the true majesty of the film is Andy Serkis as Caesar. It takes nothing short of pure commitment to believable embody a chimpanzee, but Serkis not only does so, he reels you into his character with his charm and his strength. It's one of the most nuance performances you will ever see, and you never even see the actor himself. I think he has a very real chance at the Oscar. The Academy will have to accept motion capture as performance art sooner or later. I choose to think of it as wearing an advanced costume, and Serkis uses his in the best motion capture work to date.
Even with Serkis, we have an extremely talented and capable cast. I enjoyed Jason Clarke in Zero Dark Thirty, and I was happy to see him cast in this movie. He is adventurous but also passionate in a way that you can justifiably call him a "good man."
Gary Oldman doesn't get too much to do, but for what he is in, he shines in all his scenes. There is one particular scene involving him and an iPad which moves me to tears without so much as a word.
The visual effects are astoundingly real, creating the most realistic apes I have ever seen. If this does not take the Best Visuals Oscar this year, I will have lost much of my faith in the academy which chose to give it to Hugo as opposed to this film's predecessor.
This is the best blockbuster so far this year, possibly the best movie of 2014. (It's neck and neck with Cheap Thrills). You should see this movie. Then see it again. I know I am.
Last night I was lucky enough to be invited to an advanced screening of footage from Guardians of the Galaxy. It was the first time i've gone to a pre-screener, and the whole process was surreal to me. I look forward to doing it again soon, but for now, i'm just enormously grateful for this opportunity.
Guardians of the Galaxy revolves around a band of criminal misfits in outer space who are on the run from the law with a mysterious artifact. They compose of Star-Lord, Rocket Raccoon, Gamora, Drax the Destroyer, and Groot.
(There won't be any spoilers, that goes against my beliefs). The footage I was presented involved the police line-up that we've seen in most of the trailers in which we are introduced to each of the Guardians, and then we witness their daring escape from prison which involves the Guardians initial interactions. Lastly, we saw the extended trailer that was released online this morning.
The aesthetic that director James Gunn has created is an all around thrill ride. It's funny, daring, and adventurous. It has the same feel as Star Wars and Raiders of the Lost Ark with a cosmic MacGuffin search that really focuses on the relationships between the characters and not being all about the spectacle. You can tell that this band of rebels has absolutely no business being together, but that's half the fun. You can also see how having them work together will be enormously entertaining.
Chris Pratt fully embodies what we see of Star-Lord with a quick-wit, wise-ass charm, and he's a lot of fun. I can see how he's shedding his comedy background, and he could become a full fledged action star.
I was skeptical about the casting of Bradley Cooper as Rocket Raccoon. I wasn't totally against it, but I would have preferred Jason Statham. But having seen what I have of Rocket, Cooper has what it takes to make the character more than just a side gag like the chimpanzee in Speed Racer. This was my primary concern. But I'm glad to see that they are taking Rocket in the right direction.
The visuals, the tone, the music all feels spectacular, and it merges together so perfectly to create something unlike anything we've really seen in a comic book movie before.
I'm very positive about this movie, I absolutely love what I saw. It could be one the best from Marvel. But I still need to see the rest to judge.
Fool me once, shame on you. Fool me twice, shame on me. Fool me thrice, make $1.2 billion. Now, Michael Bay is back with his ultimate weapon after a three year break and there is no way to really to describe it other than to say it is a puerile piece of absolute garbage with one sole positive factor.
Normally, this is the part of my reviews where I give a brief outline of the plot without giving away any spoilers. But frankly, there is way too much going on for me too sum it up and I couldn't really find any cohesive plot whatsoever. Basically, all I can really say is an inventor played by Mark Wahlberg buys an old rusted out truck which turns out to be Optimus Prime. Then the government gets involved.
It's gonna be difficult for me to take do this seriously, as I already know several jokes I am going to tell when I film my show "Flick Check with Andrew Woltman" (Shameless self promotion). But since this is my written platform, i'm going to trying being a little more objective than that.
I will credit it for giving the robots a little more personality then they had in the previous films. They aren't completely generic and flat as they were. But they're still crude semblances of what giant robots should be. The humor is bland, one-note and juvenile.
I'm sure there is a plot, but there is no strength or way to tie it together. The best way to sum it up is that the movie is like watching a friend play a single player video game. It's someone else playing small missions that seem like they could be fun, but you never really get a chance to because things pop up and disappear so flippantly. It's stretched so enormously thin that it's exhausting. The action is generic and overly bombastic, that even someone like Michael Bay seems to be losing touch of the one thing he loves and does right.
And it's way too long, and it has absolutely no reason to be.
The acting in this movie is enormously sub par and flat. Once again Michael Bay has decided to cast a respected actor in a comedy relief role that undermines him and makes me lose confidence. Alas Stanley Tucci, I knew thee well. The actors and actresses have such hollow and wooden delivery.
Now this brings us to two points.
1) Mark Wahlberg. A superb actor. Enjoyable to watch here. Horribly miscast. He doesn't really fit the premise of a scientific inventor. He is just not really what springs to mind when you think of a struggling scientist.
2) The only person actually performing well, and the ONLY good aspect of the film. Kelsey Grammer as the antagonistic Harold Attinger. We've seen Kelsey do comedy for 20 years as Dr. Frasier Crane, but he has a deep ferocity that reared its head as Tom Kane on Showtime's Boss. He is dark, determined, and cunning. It's easily the closest thing to acting in this movie, and Kelsey gets to leave with dignity.
To close, this was an absolutely awful movie, and easily the worst of 2014 to date. The SOLE redemption is the performance of Kelsey Grammar.
If you know me, there are two things that I am very passionate about: Movies and Late Night Talk Shows. Nick Mundy is a part of both. You may know him from his popular sketch comedy Team Tiger Awesome, you may recognize him from his recurring hilarious guest appearances on The Screen Junkies Show hosted by our friend Hal Rudnick. If you watch a lot of online skits on Funny or Die or College Humor, you'll see him in a good handful. If you follow the Twitter of Dwayne "The Rock" Johnson, you'll know how much of a fan Nick is, and how much The Rock likes Nick. Even more of his presence can be seen on the TBS show Conan where he appears recurring pieces in taped skits, and one very recent live performance as "Troy Fieri." Wherever you know him from, Nick is a rising internet and Television star, with strong movie opinions and a hilarious camera presence.
I was fortunate enough to talk to Nick for a phone interview, and you'll be glad to know that he is as much fun to talk to as he seems on camera. A good portion of our conversation involved discussing movies and shooting the breeze. Here now is my exclusive interview with Nick Mundy.
Andrew: Where are you from originally?
Nick: I grew up in just north of Houston, Texas. The suburbs of Houston.
Andrew: What did your parents do for a living? I saw your dad on Screen Junkies the other day.
Nick: He's an attorney and my mother is now a professional grandma. But before, she worked various jobs in the medical industry.
Andrew: Have they always been supportive, have they been there for you?
Nick: Oh yeah, big time. I mean I wouldn't be where I was without my folks. They supported me and my little brother for everything. If I wanted to be in the circus they would have called me a fucking idiot, but they would have supported me. You know the feeling, I got lucky in that department.
Andrew: I do know the feeling.
Nick: Exactly.
Andrew: Where did you go to school?
Nick: I went to a small school called University of St. Thomas in downtown Houston where I mostly played Rugby and that's about it. And the school didn't really have a film department at the time I did it. So me and one of my partners in Team Tiger Awesome who lived down the block from me, in the summers we would work on these big projects and we've been doing it now for 12-13 years together.
Andrew: Let's talk about Team Tiger Awesome. You said you started out with your buddy Clint [Gage], correct?
Nick: Yeah, me, Clint and Michael Truly started it in February 2006. Since then we did about 150 sketches and worked with Comedy Central, Funny or Die, College Humor, a bunch of internet companies that don't exist anymore, AXE Body Wash we did a thing for them, a bunch of branded stuff. We did a lot. And then about 2 years ago, we were hired to do our first rewrite for a feature. And since then we've done a few more, we've kinda stopped doing sketches and we focus on writing and also our individual pursuits came into the forefront and that worked itself out nicely. We're still Team Tiger Awesome, we still write together but Truly hosts a lot of stuff, and acts and produces a bunch of projects. Clint directs a bunch of projects. I act a lot. We're actually shooting our first project in a while for this pilot for Comedy Central Studios with Chris Jericho. So we're really excited about that.
Andrew: How exactly did you get in contact with Comedy Central?
Nick: Well we've worked with them for a number of years and we pitched a number of different ideas and we had this idea about two buddy cops on an endless stakeout and it kind of grew from there. We have the same agents as Jericho, and they suggested him and we were like: Yes. Yes we would very much like to work with Chris Jericho. You know he's an improv guy, he does Groundlings, he's got a lot of interests. We met the guy, he's fantastic, he's a really great guy. It's gonna be a fun project, we start shooting in August.
Andrew: I wish you luck with it
Nick: Thank you buddy.
Andrew: Let's go back a little more. What made you want a career in entertainment?
Nick: I've always been into comedy. I'm a big comedy guy. In junior high, I was obsessed with The State and The Kids in the Hall. In elementary school I was obsessed with Saturday Night Live. I didn't know exactly what I wanted to do, but I was always kinda headed towards this without even knowing about it. I like making people laugh. That's my kinda thing. And now there are a lot more platforms you can use to do that......and make a little money doing it.
Andrew: (Laughs) That always helps.
Nick: Sometimes.
Andrew: Ok, now let's talk Screen Junkies. How exactly did you get in contact with The Screen Junkies Team?
Nick: I had a meeting with Andy [Signore] and Brett [Weiner] who was there at the time, they co-created Screen Junkies. Brett is still a friend of the family, he's onto other pursuits, but he's always stopping by. They had talked to me about hosting it. Obviously, they have the perfect host.
Andrew: Hal does do a great job.
Nick: Oh my god, it's fantastic watching him do it. I've learned so much from it, because I didn't have a lot. I was going to audition for it, but then i got really fucking sick (even though Andy thinks I backed out of it. He's a liar.) All the ideas I've always had for it are there in some way to be the side aspect to Andy and to Hal. I've been a fan of Hal's since before I met him. He's just a really fucking good dude. So Hal got the job, as he should have, and a couple months later Andy was like "Well let's do something" and we did the Die Hard thing, How to Fix Die Hard 5. And we had no idea what we were doing, it was just kinda this bit. And it turned out to be really popular at the time. I mean if you look at the views now compared to then, it would be like the lowest rated. We did that and then we did the Razzies one a couple weeks after that, and that was fun. We always had a great relationship, we were just talking about stuff. Then we did The Rock video, and that was awesome. I'll do anything for those guys. I was excited for that opportunity. I really appreciate that Hal could have done it, it's Hal's show. And that's the thing. Hal's like the most gracious guy I know. You can tell he's from improv, because he's a great improv actor, and he's always sharing, he's always collaborating, he's always passing things on and he could have done it and had fun. Or Andy could have done it, they could send anyone. But I was very fortunate that they sent me, and it meant a lot, and it was a great thing, and it really did a lot for me. Since then, we've done a lot more "How to Hix It" videos and those have taken off to my surprise. I thought I was just a heel from wrestling, but they like 'em. I mean well....three fourths of the people like 'em. There's a lot of assholes out there.
Andrew: I do love what you have to say about Blood Squibs.
Nick: Yeah! I don't take myself seriously, Movies are hard. These guys are working their asses off. But, I think that what people appreciate is, I think my points are valid. I'm just trying to present it in an entertaining manner. I'm a big pro-wrestling guy. So I like putting it out there in a humorous manner. I get it. It's been fun. I've been doing it since. There are plans to do more. So we'll see how that turns out. But it's been great. I'm very grateful to be working with them.
Andrew: I'm sure I'd get in a lot of trouble if I did't ask you about Dwayne Johnson.
Nick: Yes.
Andrew: Obviously you're a big fan of The Rock. How did that come about?
Nick: I was a big wrestling fan, and I still probably am. If you ask my girlfriend, I spend a good amount of time watching WWE Network. He wasn't my favorite wrestler, I've always been more partial to Mick Foley, Stone Cold, or Ric Flair. But I always thought he was entertaining, I thought he was a better bad guy. But I saw Fast Five and I was obsessed with it, because The Rock was so fucking good. I mean he's ridiculous and amazing. I've always been a fan, i've been saying for years. Cause, i'm writing my own stuff, I have a feature that he would be great for, I wrote it for him. Someone said it the other day, he has this odd variety. He has a combination of the best qualities of Sylvester Stallone, Bruce Willis, and Arnold Schwarzenegger. He has the heart of Sylvester Stallone, the wit and talent of Bruce Willis, and the body and charisma of Schwarzenegger. And I think, he's a great actor. I think he will get nominated for an Oscar. I don't think he'll ever win, he'll get nominated.
Andrew: That's a pretty bold statement.
Nick: I think he will. I think he will. And his performance, I wasn't bullshitting about Pain and Gain. I think it was one of the best performances I've seen in years. I still love that movie.
Andrew: I loved how edgy he was in Pain and Gain.
Nick: Totally. I think he was great. He's like he's not scared of anything which is nice. I think he's gonna do some weird stuff down the line.
Andrew: You plan on going to talk to him again when you do the Hercules junket, right?
Nick: That's the rumor. I don't know what we're doing. That kinda came outta nowhere. He tweeted that video, and then we started talking that weekend. Well, talking as in four tweets. That was surreal. that was like "What the fuck is going on?" And I've heard from rumors that he's a fan of that video. So, I don't know what we're doing, i'm sorry to be vague. There's a couple cool things we could do, at very minimum, i'm gonna talk to him.
Andrew: I look forward to seeing that.
Nick: Well, you might see something on Twitter in the next few days about what we're trying to do. So keep an eye out on Twitter or Facebook.
Andrew: I will. Now here's my million dollar question I ask everyone: Who played the better Willy Wonka: Gene Wilder or Johnny Depp?
Nick: I never saw the second one.
Andrew: Good choice.
Nick: Tim Burton is very overrated.
Andrew: Thank you!
Nick: I'm not saying he's bad, i'm just saying he's overrated. Like, I love Beetlejuice. First two Batman's are pretty good. Not my favorite, but I get it. That Big Fish movie was good, but I just might have been depressed that year. I mean, I just wanna see Johnny Depp wear Khaki shorts one day. And like a polo shirt. Play an accountant.
Andrew: I went into Transcendence thinking maybe we're finally gonna get something normal.
Nick: Oh yeah! I heard that movie sucked!
Andrew: It was basically if you took Jarvis from Iron Man and put him on a screen that's it.
Nick: That might be Avengers 2. Andrew: Now that's intriguing, i'd love to see that.
Nick: I mean Paul Bettany is playing Vision. Ultron comes from an artificial intelligence. And I think that's how it's gonna go. I think Jarvis is gonna turn into corrupted Ultron. You can even search for it, there's even a deleted scene or animatic where they have Jarvis saying to Iron Man "You don't need all those guys" like dropping a hint.
Andrew: I can't believe I missed that.
Nick: That's what I think is gonna happen.
Andrew: Now, Conan O'Brien is my absolute idol. How exactly did you get into contact with him?
Nick: I have a buddy named Scott Gairdner who for about a year and a half was a writer there. So me and Scott through Team Tiger Awesome have a really great group of friends who are all really talented. One of my friends out in L.A. is the creator of Halt and Catch Fire on AMC. A buddy of mine is the creator of the show Undateable. Scott was a writer at Conan, he now has his own animated show with Rob Lowe coming out called Moonbeam City which is gonna be fucking amazing. All of my friends, we have different levels of success, but we're all just really good friends that take care of each other. We just have a lot of fun, just talk about non-sense for hours on end. But Scott was in a bunch of our stuff, I was in a bunch of his stuff. He was at Funny or Die before Conan and I did a sketch with him called Brozen Brogurt about bros eating there own type of special frozen yogurt. And that was fun, that was really cool. It was a good experience. And then a couple months later he asked me to be the lead of this Gold 4 Gold sketch. It was fun. It was cool being the lead of it. I got to shoot it on the stage. That was crazy. That sketch blew up! Everyone loved it. Everyone on the staff loved it. Conan loved it, Andy [Richter] liked it a lot. So we did like 4 or 5 more of those, and they were all really popular. I did a couple other sketches. Now the other writers bring me in for different parts when I'm right for it, and they seem to like me. So i've done about 8 or 9 sketches there. Which is so surreal. The last one, doing it live, that was like a dream of mine. As soon as I heard, I was like "Yeah, I want to do that." And interacting with Conan and Andy was huge. That was insane.
Andrew: I loved the Troy Fieri sketch last week, it definitely had that kind of quirk to it where you can see how vibrant the personality is, but then so casually says "No relation"
Nick: He's the best. I didn't know too much about Guy Fieri, but he seems like a ridiculous person.
Andrew: He makes a good barbecue sauce.
Nick: Really? I read his menu for his New York restaurant and it makes Chili's look subtle.
Andrew: One last question. What advice do you have for people who want to explore a similar career to yours?
Nick: Work. Don't stop working. I've lost friends, girlfriends, years. Have a life. Explore. Read. Watch. Wish I did that more. Have a life, but work. It's gonna be hard, it's gonna be sacrifice. Work and make stuff. Work and make stuff. You just have to work. Everyone probably has a day job, then you gotta put in another 6-8 hours after that. You gotta be working on a couple things at a time. Because everyone's trying to do it. Now with technology, it makes everything cheaper, and everyone thinks they're a writer. Everyone thinks they're a comedian or actor. It's great, it's awesome to have more avenues, but there's just so much more of it. So you have to work and you have to stand out. And the best west to do it is to keep working, cause the stuff you do isn't gonna be good, but if you keep doing it you get better.
Andrew: That hit home with me.
Nick: Well yeah. There's always gonna be the story about a guy who got a great break and got onto a CW show. And you can't be jealous of that guy, you gotta be happy for him. You don't want to be the asshole. Los Angeles gets a bad wrap for having assholes. And it might. I know a lot of great comedians. But usually the people who are bitching about L.A. are the assholes that no one likes. I mean, I've gotten breaks, I've gotten lucky. Sometimes I think I have my career because I'm a big loud guy who can break through shit.
Andrew: (laughs)
Nick: It helps! Everyone's different. Everyone's got their own thing. But there's thousands of people just like us trying to do the same thing. And some have had more success than me, some have had less. But no matter what, you just gotta keep working. Hal works his ass off. He does a bunch of stuff. He's constantly working. Andy over at Screen Junkies, constantly working. My two partners, constantly working. My friends on TV shows, constantly working. Just gotta keep working.
Andrew: Thank you Nick, I very much appreciate you taking the time to talk.
Nick: Anytime man.
I've talked about musicals before, and what it boils down to is that I'm not the biggest fan. I have nothing personal against musical theater. But to quote Jeff Winger from Community: "I see the appeal, and I would never take it away from anyone. But I would also never stand in line for it." Yet there was something about Jersey Boys that drew me in. It was most likely my familiarity with the Four Seasons and their songs. Not to mention that it was directed by Clint Eastwood.
Starting in the early 50's, Frankie Valli and his partners Tommy DeVito and Nick Massi try their best to break into the world of show business anyway they can. When Tommy's friend Joe Pesci (Yes, that Joe Pesci) introduces them to song-writer Bob Gaudio, they finally record some smash hits. But under the surface, they hide tension that could pull them all apart.
There is no way around how well the musical aspects of the film have been constructed and executed. it doesn't feel random, it's organically sprung without the suspension of disbelief that normally accompanies musicals. The songs themselves are toe-tappingly fun, and well performed. I'm probably even going to download the soundtrack despite the fact I already own most of the Four Seasons discography.
The script is strongly written with enough depth into the characters and their emotions. It's a great story that they tell. The problem, however, is that it feels very loose and disorganized. Like the man that eats all his vegetables first with only occasional bites of steak in between, the film doesn't really cover all the parts of the story in a balanced way. You forget about somethings until they come up later, and by then you don't feel like you've had enough. It needs a little more substance where it matters, but it's still delicious.
Tonally, I'm not exactly sure that it really fits Clint Eastwood's style. The man is very clearly one of the greatest directors of all time, and he has a distinct style and appeal. But this movie lacks the bombastic energy that many musicals have. It could use a shot of energy to help it rally come to life. It's well done, and Eastwood tried hard, but it's not as much fun as it could be.
Acting wise however, we see some strength across the board. Keeping in mind that most of the main ensemble are making their film debut, we see some powerful performances from these freshmen to the screen. And veteran Christopher Walken carries some real weight in his supporting role that adds to the power of the film, and makes you feel like he isn't wasted.
Yet, Andrew's Standout here is John Lloyd Young as Frankie Valli. He is full of heart that makes Frankie come to life in the way that Larry Parks did to Al Jolson back in the 1940's. It's a fitting tribute, one that re-introduces us to this golden voiced icon, and makes us fall in love with it all over again. I really hope this serves as a springboard to bigger roles. I'd love to see more of Mr. Young.
All in all, Jersey Boys is well acted and well sung, but it's not as fun or strong as it's potential suggests.
I'm a little reluctant to review Chef seeing as Jon Favreau's main character launches into an angry diatribe describing the problem with critics, which hit home with me. I commend Favreau for his forthrightness in his opinion, and he raised valid points, but I'm not going to let it deter me. I happened to like the movie anyway.
Chef Carl Casper is working in a well known restaurant in Los Angeles, crafting a new creative menu for an internet critic who is coming in to review. However, his boss forces him to stick to his old familiar menu which causes the critic to deride Chef Carl for not taking risks. Carl loses his temper on the critic, and also loses his passion. He travels to Miami with his ex-wife in order for him to reconnect with his son, but he also finds a creative outlet.
Along with his honesty, I must also commend Jon Favreau for making it feel so authentic. Not only has he clearly done his research in learning how to cook, the food looks absolutely amazing. One clamors for a movie theater restaurant so that you could enjoy the movie that much more. But, this just may be my stomach talking.
Emotionally, we find a rich tapestry of human connection and connectivity. I mean, I don't really know anyone with this kind of camaraderie with their ex-wife, but we are led to believe the split was amicable and they clearly communicate well enough for the sake of their son. He's clearly not the best father he could be, but the performances between Favreau and Emjay Anthony lend some truth to the idea the most strained relationships can be repaired. Favreau's script is deftly detailed and rich with enough catharsis and pay off to make it a fun ride.
I also love the social media incorporation, which signals our changing times as well as comments on the dangers that each of them presents.
However, I can't really justify some casting decisions. Robert Downey Jr. is one of the 5 actors who can guarantee my spot in a theater. He is one of my absolute favorites, and I welcome his presence here. Yet, it feels like a cheat. His character is little more than a cameo. He comes across with extremely intriguing quirks that could be explored more. I wish they could have either delved deeper, or just not told us ahead of time that he would be in the movie so that his brief appearance could have been a pleasant surprise.
Otherwise, I love the acting. Jon Favreau has spent majority of the past decade writing and directing, yet this is the first time he's given himself a major acting role. He is charming, and honest with a grittiness that makes him more relatable and understandable. He has some flaws, but he never pushes us away.
Sofia Vergara also has a wonderful presence. Rather than come across as the controlling, fun-sucking ex-wife, she is welcoming and supportive to bring out the better qualities of our protagonist. It's a good change of pace from the tired old cliche.
I wish I could sum it up without resorting to food puns, but it's hard to call Chef anything but delectable and delicious. It's full of heart, humor, honesty, and enough imagery to make your mouth water.
There is such thing as a great sequel. Immediately springing to mind are The Dark Knight, Star Trek II: The Wrath of Khan, Aliens, Terminator 2: Judgment Day, Toy Story 2, Star Wars Episode V: The Empire Strikes Back......I could keep going, but the one thing you won't really find on that list are comedy sequels. Why? Because the most common practice is doing the same thing as the first time with different gags. How many times can you really see the Wolf Pack try to piece together the previous night or watch two employees try to convince everyone Bernie is still alive? And come on, if the only thing you have from the original is Chevy Chase, why on earth create the abomination that is Caddyshack II? Basically, 99% of comedy sequels are Grade A garbage. Until now.
Picking up where the first movie left off, Schmidt and Jenko are working undercover narcotic cases, but are doing terribly at it. So their Chief assigns them back to the Jump Street program to repeat what they did in the previous film and infiltrate a school in order to cut off a new drug sensation. This time however, they go to college.
21 Jump Street was so deftly smart because of how they skewer the idea of making a movie based on a Television show from the 1980's. The single funniest thing I heard in the year 2012 was the quote from Nick Offerman (TV's incomparable Ron Swanson) describing the mission to the two rookie cops: "We're reviving a canceled undercover police program from the '80s and revamping it for modern times. You see the guys in charge of this stuff lack creativity and are completely out of ideas, so all they do now is recycle shit from the past and expect us all not to notice." It played on all the tired old tropes and gags, and it made them fresh again.
This time, the team skewers the idea of trying to make something bigger and better than the first time and trying to do what worked the first time. Aside from the run of jokes that occur with the plot, the main comedy again comes from the meta-humor about the film itself. The idea that they are simply trying to do things the same way again but hitting dead ends is a commentary on the thinking of studios. It's so magnificently funny from the perspective of one who can appreciate the fact that comedy sequels usually suck, but they keep coming.
Another brilliant aspect is the "bromance" between Jonah Hill and Channing Tatum. They have excellent chemistry because they are so vastly different. A friendship such as theirs is rare and fulfilling to the viewer because of their repartee. They play off each other so strongly, that it rivals the chemistry of Emma Stone and Andrew Garfield.
Consider this fact: The first movie was so brilliant, Kurt Russell's son Wyatt turned down a role in The Hunger Games: Catching Fire so that he could be in this sequel.
Jonah Hill excels in his capacity as Schmidt, combining his normal on screen personality with the deftly written screenplay he has crafted.
But Channing Tatum soars in this film. Why? Think Leslie Nielsen in Airplane! Prior to that role, he had done mainly dramatic material. He played his role of the doctor seriously, but it was sidesplittingly hilarious because he was delivering his absurd dialogue in such a straight demeanor. The same can be said for Tatum who plays off his action hero, dramatic lead range with his great character here.
22 Jump Street is the first time a comedy sequel has not only been great, but better than the first. I guarantee you will laugh till it hurts.
Hell hath no fury like a woman scorned. We all know the story of Sleeping Beauty. An evil fairy puts a curse on a girl so she will prick her finger and die, only to have the spell weakened by a pixie so that she will wake up with true love's first kiss. In Disney's version from 1959, it was fairly cut and dried as a run of the mill animated story. 55 years later, Disney is telling it again, but trying to inject it with some new insight.
In Maleficent, the classic tale starts off by telling the origins of the title fairy. She once had wings, but had them taken from her when she was betrayed by her love Stefan, who would eventually become king. In revenge, she puts a curse on his newborn daughter.
It's decidedly different in many distinct ways from the original classic, but it outright tells you that "you don't know the real story." Therefore, they are justified on paper with any sort of deviation. It's a very noticeably darker tone for a Disney film, and I love the direction that they chose to pursue. It's very intriguing to have seen the transformation of this fairy into a villain and have it seem reasonable for the character's tragedy. So that's a plus. But frankly, it didn't go far enough. The actions she takes don't feel in line with a villain. The original Maleficent was pure evil, here she is very watered down. They went way too far with trying to make us have sympathy with her, which the backstory already did reasonably well. Yet we are constantly reminded that she is at fault, which is a reminder we don't need, and in the end comes across as insulting to the audience's intelligence.
In addition, there is a pacing problem which may account for character issues. Sequences are either drawn out, or sped up giving issue to the developments and choices the characters make. Important plot details from the original are relegated to Easter Eggs due to the new direction the story takes. I would have loved to see more of an updated fleshing out of these ideas, but they move too quickly for us to let them sink in.
To it's credit, it does have striking visuals....so yay.
The main saving grace to the film is the absolutely Magnificent Maleficent played by Angelina Jolie. She submerges into the character deeply and wholly to create a terrifying villainess who is conflicted and hearted with her choices and actions. It's a brilliant update to the character and is induced with a brilliant commanding power and vocal range to instill fear and empathy into the viewer simultaneously.
The only other performance that carries any insurmountable weight is that of Sharlto Copley as Stefan. He has this inner turmoil of knowing that he is in the wrong, but defending the actions he has taken. It creates a mentally unhinged state which Copley does so well, and what made him the sole redemption to the 2010 version of The A-Team.
Basically Maleficent is carried by the brilliant interpretation of Angelina Jolie, and great visuals. But it suffers from poor pacing, and not adhering to the established tone. It's still worth a look.
One of the main problems surrounding the X-Men film series has always been the lack of equilibrium and development in many of the mutants, instead choosing to over market the readily known ones. Especially Hugh Jackman's Wolverine. As much acclaim as Jackman, Patrick Stewart, and Ian McKellen actually deserve, the other (well talented) cast members had been pushed to the background. Full well knowing the mistakes of the past, Bryan Singer returns to the franchised he helped birth. Has he learned anything?
In the future, Mutants are on the brink of extinction in a war against the mutant-hunting sentinels. With little recourse, Kitty Pryde sends the consciousness of Wolverine to inhabit his 1973 body in order to repair the future. It is a race not only against time, but also against old friends such as Magneto and Mystique.
This was clearly an ambitious undertaking, as it merges together two different casts, and two distinct tones that have been previously established. I greatly admired how well everything blended together. It sets out to clean up the mess that Brett Ratner made in 2006, while also continuing the pristine saga Matthew Vaughn rebooted.
There are elements from both series that mix well, and others that don't, but for the most part, the end result is a fully cohesive, action packed thrill ride that treats the majority of the ensemble with the attention they need. It answers some lingering questions that one may have in a manner better than characters asking "Why?" thus making a smooth expositional transition. It looks and feels fantastic, and it never relinquishes focus.
To debit, we also find some third act problems that don't work out cleanly. There's a great deal of convoluted-ness in the antagonistic intentions. You never fully understand what it is exactly that the villains are trying to do, and that results in having no idea which one is the major threat.
In addition, we find some more of the trademark overshadowing, and extraneous characters with very interesting stories, powers, and concepts are yet AGAIN set aside to make room for the centrals. In fairness, it doesn't feel like "The Wolverine Show" again, but very significant actors really have no purpose here other than to act as fan-service.
Acting wise, we find the regular troupe of actors such as Jackman, Stewart, McKellen who don't really contribute anything better than their previous work, and thus their performances don't really warrant discussion.
James McAvoy gets to stretch some different muscle than his previous portrayal. Rather than the smooth Brit who holds all the answers, we find a wounded ne'er do well who is disillusioned with the world and is suffering from his past and struggling to accept the future. The inner rage that McAvoy conveys makes him that much more interesting.
Similarly, we find Michael Fassbender working with his new meat, making strides as a man who is conflicted in acceptance as well. Ditto to Jennifer Lawrence who is also showcasing naturally how she would adapt to her new circumstances.
Finally, we come to the first time we've had Andrew's Standout in quite some time. This time, it is the wonderful Peter Dinklage. We are lead to believe that his character is an outright mutant hating villain, but the complexities and charm in which he accomplishes his tasks and circumvents revealing his true agendas show why his Tyrion Lannister is all the rage on Game of Thrones.
It's a great movie with intriguing themes and ideas, but it simply doesn't live up to the hype and maintains the issues of previous films. Still check it out.
Why did Godzilla suck? Oh, don't worry. I'm talking about the 1998 abomination from Roland Emmerich. And the reasons for it's overall mediocre quality revolve around phoned in performances, a weak story, complete departure from the source, the cheesy redesign of the title monster (which I believe to resemble some sort of lizard/potato/porcupine mixture) and the fact the entire film was little more than just an excuse for Emmerich to create more of the destruction porn he demonstrated in Independence Day. It took 16 years, but America has once again attempted to put their own stamp on the world's most famous monster. Did we learn our lesson?
In 1999, a scientific anomaly occurs in Janjira, Japan which causes major destruction, and the death of Sandra Brody. 15 years later, her widowed husband Joe discovers that the same warning signs are occurring once more and decides to investigate with his son Ford. They find out that the Janjira nuclear plant is harboring a monster which soon breaks loose, and attracts the attention of the mysterious Gojira (Godzilla).
Like I said, the monster in the 90's movie looked like a number of things, but it wasn't Godzilla. Here we get an updated version of the behemoth that looks stunningly powerful, bulky, effective, and also harkens back to the original 1954 Toho films from Japan. To sum this portion up, Godzilla actually looks like Godzilla, and he acts like it too.
What we find in the plot is a deeply tense and high stakes human story. Emotion runs high, and for that we find something halfway decent to wrap around the carnage that the monsters cause. There are real people on the ground, with their lives on the line. It reminds one of the realism you find surrounding the disaster in Cloverfield. This adds little more dimension to it rather than the arbitrary situation room of scientists and generals looking to stop it.
But in balancing terms, it can feel a little too focused on the humans. It certainly lingered a bit on showing us some whole action, and at one point someone in my theater yelled "Get to the fighting." As much as I hate people blurting out in movies, he had a point. It could have benefitted from more action. There is certainly enough to justify calling it a Godzilla movie, and it's great to finally seeing an American take on the monster take full advantage of his abilities, but it could have used a little more Godzilla.
He doesn't factor into a major portion of the film, but there's still a lot to be said about Bryan Cranston. He is one of the greatest actors alive, and that is not hyperbole. What worked about his performance as Walter White in BreakingBad is that he was completely invested creating an electrically real persona that you could feel for until the end, even when it's clear that you should hate the man. In Godzilla, the circumstances surrounding his character justify his descent into a slightly unhinged, but still fantastically emotional character. He showcases a broad range in his screen time with a beautiful family man basis and shattered facade.
Aaron Taylor-Johnson, who put the kick in Kick-Ass, is a wonderful presence in his role of Lt. Ford Brody. He somewhat fills the role that Matthew Broderick did in 1998, but character wise, he fulfills more duties as a father, a son, a soldier. He's our link into the story. He's definitely not the strongest performer in the film, and he still feels a little young, but otherwise he serves his purpose without coming across unbelievably.
Godzilla is certainly one to see, featuring wonderful storytelling, a great creature design, true emotion, and another great turn by Bryan Cranston. If anything, you'll just want more Godzilla.
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