Wednesday, 27 February 2013

‘Movie 43′ Review

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Movie 43 combines the talent of many comedy writers and directors – along with the star power of over a dozen famous actors – to create a comedic anthology in the vein of Kentucky Fried Movie.
Framed by the story of a faded star (Dennis Quaid) trying to pitch his crazy film ideas to a put-upon studio executive (Greg Kinnear), we are dragged into a world of bizarre, gross, wildly inappropriate (and sometimes hilarious) tales, which feature strange combinations of celebrities engaging in some very naughty behavior. [NOTE: There are different cuts of the film being released in different markets (US, UK) and apparently this overarching storyline differs depending on which version you see.]

Kate Winslet and Hugh Jackman in ‘Movie 43′

A woman’s (Kate Winslet) blind date with a successful millionaire (Hugh Jackman) comes with a raunchy catch; Two suburban parents (real-life couple Liev Schreiber and Naomi Watts) try to create the traumas of high school for their home-schooled son (Jeremy Allen White); A man (Chris Pratt) tries to summon the… “gusto” to fulfill his girlfriend’s (Anna Faris) gross erotic request; A grocery clerk (Kieran Culkin) has a dirty verbal sparring session with his jilted ex-lover (Emma Stone); A CEO (Richard Gere) listens to the concerns of one of his executives (Kate Bosworth) over the hazardous nature of the company’s sex doll-styled iPod; Boy Wonder Robin (Justin Long) tries out speed-dating, only to be c-blocked by his buddy, Batman (Jason Sudeikis).

We learn the true heart beating inside of society’s most infuriating and abused machines; An adolescent girl (Chloe Grace Moretz) hits puberty in the most awkward way possible; A commercial puts competing brands of tampons to an aquatic test; A guy (Seann William Scott) gives his buddy (Johnny Knoxville) the birthday surprise of a violent, foul-mouthed leprechaun (Gerard Butler); Two people on a blind date (Halle Berry and Stephen Merchant) take a game of ‘Truth or Dare’ way too far; A black coach (Terrence Howard) tries to inspire his team to overcome the racial prejudice facing them on the basketball court; And a woman (Elizabeth Banks) competes with a conniving cartoon cat for her boyfriend’s (Josh Duhamel) affection. Welcome to the madness of Movie 43.

Terrence Howard in ‘Movie 43′

The film boasts an eclectic lineup of directors, including Bob Odenkirk (Saul Goodman on Breaking Bad); Rusty Cundieff (Fear of a Black Hat, Chapelle’s Show); Griffin Dunne (Practical Magic, Fierce People); Steve Carr (Next Friday, Paul Blart: Mall Cop); Steven Brill (Little Nicky, Without a Paddle); Brett Ratner (Rush Hour); James Gunn (Super); and even Elizabeth Banks (The Hunger Games) directing a segment. Acting as ringmaster of this circus (and directing several segments) is Peter Farrelly, one half of the brother duo responsible for comedy classics like Dumb & Dumber and There’s Something About Mary, as well as more recent (and not so classic) films like Hall Pass and Three Stooges.
Like any movie anthology, Movie 43‘s segments are hit or miss. Some segments will have you busting a rib from laughter (“The Catch”), while others will leave you cold (“Middleschool Date”). Most of the segments will shock and (slightly) appall even the most hardcore raunch-com fans – especially when that offensive or gross behavior is being done by some of the most famous or respected thespians in the biz (why they all agreed to do this, only God knows). Aside from the cast mentioned above, we get cameo appearances from many other famous types (too many to name here), who also go for broke in terms of making the most absurd and raunchy comedy that can be squeezed inside of an “R” Rating.

Movie 43 (Review) starring Halle Berry, Hugh Jackman, Kate Winslet, Naomi Watts, Emma Stone and Richard Gere

Halle Berry in ‘Movie 43′

In terms of writing, the film offers a mix of mostly newcomers and a few established talents – who all seem most concerned with seeing just how much gunk they can scrape out of the bottom of the proverbial barrel. To call Movie 43 “low-brow” would be a tremendous understatement; without spoiling anything, it’ll take about five minutes for any viewer to realize that whatever intellect or decency they brought along with them should’ve been checked at the door. From sex jokes to anatomical gross-outs to downright offensive or uncomfortable situational humor – this film throws everything at the wall (poop, pee, blood and everything in between) and hopes the stain sticks. If that’s the sort of comedy experience you’re looking for, many portions of this film will be a blast for you.
Movie 43 definitely leads with its best parts, and aside from a few exceptions, the longer the movie is on, the less effective it is. Some of the actor pairings are just awkward or strange (Halle Berry and Stephen Merchant???), while some of the segments are just dumb and unfunny (again, “Middleschool Date”). By the end, the movie has exhausted so many avenues of inappropriate humor that when a mid-credits segment kicks in for one last go, it’s mostly just beating (then urinating on) a dead horse. Still, in the era of comedies that try to balance raunch with smarts and/or sentimentality, Movie 43 is an easy joke-a-minute buffet for the lowliest part of the human brain.

Leslie Bibb, Justin Long and Jason Sudeikis in ‘Movie 43′

This movie could never hope to achieve anything above the very low bar it sets for itself – but it certainly comes pretty close to maintaining that low standard throughout. Definitely not a cult-classic like Kentucky Fried Movie (and I imagine a fair number of the actors in the cast wouldn’t cry if this film was overlooked), but it will make for a fun rental down the line.
Movie theater worthy? Only if you’re riding a sick buzz and want something gross to giggle at along with your equally demented friends. Which is to say: there is a place and circumstance for a movie like this – just leave grandma and/or grandpa at home, lest they have a heart attack

- See more at: http://screenrant.com/movie-43-reviews/#sthash.zX5YvDpc.dpuf

Kate Winslet and Hugh Jackman in ‘Movie 43′

Terrence Howard in ‘Movie 43′

Halle Berry in ‘Movie 43′

Leslie Bibb, Justin Long and Jason Sudeikis in ‘Movie 43′

- See more at: http://screenrant.com/movie-43-reviews/#sthash.zX5YvDpc.dpufs

Monday, 25 February 2013

‘Gangster Squad’ Review

'Gangster Squad' starring Ryan Gosling and Josh Brolin (Review)

The trailers for Gangster Squad proudly tout stylized noir crime drama grounded in a ”based on a true story” plot setup – promising an unrelenting tale of L.A. cops and mobsters. However, anyone familiar with the source material, Gangster Squad: Covert Cops, the Mob, and the Battle for Los Angeles from journalist Paul Lieberman, will likely remember a comparatively subdued chronicle of events (albeit with flashy and exciting language). As a result, there’s a significant contrast between the “real” story (even though Lieberman included his own elaborations) and the one depicted onscreen – as actual events and people have been exaggerated to fit Hollywood gangster movie tropes.
Still, an amplified tale of the Gangster Squad has the potential to be a great mobster drama – alongside similar offerings like The Untouchables, The Departed and LA Confidential. Does director Ruben Fleischer successfully balance that “true” story intrigue with impactful onscreen drama and entertaining characters for a great (albeit embellished) movie experience?

Fleischer is best known for the flashy and tongue-in-cheek dramedy Zombieland, so it’s not surprising that Gangster Squad is a hyper-stylized take on the gangster genre. The movie utilizes a mix of fictional and real-life characters, and marries slow-motion gun fights, exploding cars, and neck-snapping fisticuffs with a very grounded and serious moral tale about men of power and the horrors of heroism. The combination lands Gangster Squad in an awkward grey area: a number of charming performances and memorable one-liners make the film engaging, but plot holes and shortsighted character actions leave an underwhelming overall impression. Worst of all, the focus on style-over-substance impairs nearly all of the intended opportunities for genuine emotional connection or striking ideas about Gangster Squad morality – as if Fleischer put too much energy into nodding to noir genre staples without also offering any fresh or unique ideas.

Sgt. John O’Mara (Josh Brolin) and Chief Parker (Nick Nolte) enlist the ‘Gangster Squad’

Lieberman’s Tales from the Gangster Squad first appeared in the LA Times back in 2008 as a seven-part series chronicling a band of eight covert law enforcement agents attempting to free Los Angeles from the clutches of organized crime during the 1940s and 1950s. Fleischer’s film tightens that activity window as Police Chief Bill Parker recruits former war veteran and no-nonsense cop Sergeant John O’Mara (Josh Brolin) for a last ditch, no-holds-barred effort to destroy a criminal network built by mobster Mickey Cohen (Sean Penn). O’Mara, with the assistance of his wife Connie O’Mara (Mireille Enos), selects five other do-gooder cops to join his team – Captain Coleman Harris (Anthony Mackie), Sergeant Jerry Wooters (Ryan Gosling), Detective Conway Keeler (Giovanni Ribisi), Detective Navidad Ramirez (Michael Peña), and Detective Max Kennard (Robert Patrick) - each man possessing a skill set and personal reason for joining the fight against Cohen.
The story provides a very straightforward series of developments and moves competently from point to point. Gunfights and criminal encounters dot from one iconic Los Angeles locale to the next, and the modern CGI visuals provide a striking retro look at the city. A beautiful set-piece in a Chinatown-like setting replaces the infamous “Theater Shooting” scene that was scrapped after the Aurora, CO theater tragedy – and, in spite of the delay, still successfully conveys the magnitude and recklessness of Cohen’s reign of terror.
The film version of Cohen depicts a ruthless monster that only cares about expanding his influence and power by any means necessary, and Penn presents an enjoyable and believable interpretation of the mobster (who was no saint in real life, either). Some moviegoers may be distracted from time to time by Penn’s prosthetic make-up, but in this world of flashy neon sets and numerous fedora hat-tips, a stiff-faced villain is right at home. The performance won’t set a new standard for layered mobster characters, but Cohen is a cruel touchstone for the story at hand – one that helps highlight interesting shades of moral ambiguity in members of the Gangster Squad.

Sean Penn as the notorious Mickey Cohen in ‘Gangster Squad’

Sergeant O’Mara often resorts to illegal tactics and questionable extremes in his campaign against Cohen, and while the fallout is fun to watch (with a capable performance from Brolin), the character is easily one of the least compelling in the film. In fact, much of O’Mara’s success is the result of sheer luck or well-timed intervention – not “unyielding” police work through self-determination (an idea the film revisits on several occasions). The “fight fire with fire” subtext is certainly a worthwhile idea, but instead of a nuanced character journey, Fleischer delivers an onscreen player who sees the world in black and white, ignoring insight from the very men he assembled, and rarely “earns” his wins.
Fortunately, a batch of supporting characters help elevate the film with some genuinely memorable entries – especially Gosling’s Sergeant Jerry Wooters. Wooters is a much more successful attempt at expressing the muddled morality of post-War 1940′s Los Angeles, and Gosling is amusing to watch as the charming but disillusioned agent. Instead of a rash force of nature, Wooters is well-equipped to understand (as well as reflect) how Los Angeles became so entrenched in mob rule. For that reason, it’s fun to see the character (through a nuanced interpretation from Gosling) navigate and combat Cohen’s savage tyranny.
In addition to the leads, Mackie, Ribisi, Patrick and Peña all get decent (albeit thin) screen time, each with their moment to shine in roles that mostly riff on typical police squad tropes. Emma Stone is a stand-out as Grace Faraday, the woman tasked with making Cohen more “learned.” The role once again pairs the actress with Gosling (after Crazy, Stupid, Love.) and her Zombieland director, but Stone brings plenty of new material to the character, instead of simply falling into a familiar retread.

Grace Faraday (Emma Stone) and Sgt. Jerry Wooters (Ryan Gosling) in ‘Gangster Squad’

In the end, Gangster Squad features all of the core staples that make a great mobster movie. Yet, in spite of solid performances, beautiful sets, and memorable lines of dialogue, the final film isn’t a ground-breaking sum of its respective parts. Any worthwhile impact is weighed down by a tongue-in-cheek style that undercuts the strength of those “based on a true story” roots. As a result, the movie relies on underdeveloped ideas and familiar cliches, without a new or unique ingredient to help the experience compete against far superior crime drama entries.
At face value, Gangster Squad is a crowd-pleasing tale of police officers and brutal criminals, but under the surface, there’s bungled characterization, goofy attempts to tie the fictional narrative into “real life,” and downright underwhelming moments of style over substance. Filmgoers will likely enjoy Gangster Squad, but it falls short of being another “classic” mob movie.
If you’re still on the fence about Gangster Squad, check out the trailer below:

‘Snitch’ Review

Snitch, the latest film from ex-stuntman turned director Ric Roman Waugh (Felon), follows a desperate father who will stop at nothing to free his innocent son from prison following a drug bust. On the surface, the film intersperses character drama with understated action set pieces but Waugh also spends a significant amount of the run time addressing federal drug laws that entrap first offenders and dole out extra-lengthy sentences.
Following a draft by Revolutionary Road screenwriter, Justin Haythe (who also penned The Lone Ranger), Waugh rewrote the Snitch script and then cast Dwayne “The Rock” Johnson for the film’s lead. Known for testosterone-heavy action flicks (along with campy kid-friendly adventures), Johnson’s presence might cause moviegoers to assume that Snitch places action before character; however, Waugh delivers a much more subtle film – which is to the movie’s overall credit but might come as a disappointment to fans that were hoping to see an over-the-top thriller.

For the most part, Snitch is successful in its ambitions. There are a few explosions and intense gun fights but, overall, the movie is focused on drama and social criticism. The majority of the plot exists in a moral grey area – allowing a unique look at character tropes that audiences will have seen time and time again on screen: the naive father in over his head, an ex-con trying to do right by his family, and a tough-as-nails Federal Prosecutor who priorities politics over people. In spite of some familiar elements, the moment to moment interactions in Snitch are intriguing enough for viewers to invest in (and believe) the core storyline of a man that sacrifices his safety (as well as the safety of others) in order to protect his family.

Rafi Gavron as Jason Collins in ‘Snitch’

Snitch makes liberal use of “based on true events” branding, as the events are almost entirely fictional – with only the actual laws serving as the basis for the film. When suburban teenager, Jason (Rafi Gavron), makes a naive but life-changing mistake and gets arrested on charges of attempted narcotics sales, his father, John Matthews (Dwayne Johnson), makes a desperate plea with federal prosecutor, Joanne Keeghan (Susan Sarandon). In exchange for reducing his son’s sentence, John offers to go undercover and lead the police to actual drug dealers. The only problem? John doesn’t know any drug dealers and – after a failed solo-attempt – he turns to one of his employees, Daniel (Jon Bernthal), an ex-con attempting to get his life together, for an introduction into the world of narcotic sales.
Despite a headlining role for Johnson, the federal drug laws are the real star of the film, with nearly every single character and situation built around the core set-up. Of course, not every family will be able to go undercover for a federal narcotics task force and, despite the spotlight that Waugh places on imperfect drug enforcement laws, the film fails to present any real-life answers. Instead, Waugh presents a series of interesting interactions that arbitrarily dance from on-the-nose social commentary to a more ambiguous moral plane that allows for viewers to make up their own minds. As a result, the plot follows a relatively standard progression with few surprises but absorbing subject matter and characters (as well as subsequent drama) are enough to keep things engaging even when the backdrop starts to look familiar.
Johnson’s portrayal of John Matthews is admirable – with a tenderness and subtlety that might surprise film fans who are less familiar with the actors full breadth of work. That said, Johnson’s larger-than-life physical presence can be a distraction in certain scenes – especially when the movie routinely asks viewers to accept that Matthews isn’t capable of defending himself at all. To counteract Johnson’s size, Matthews is a mix of likable recklessness and relatable apprehension; however, at times, the performance breaks down and audiences will see the actor pushing an intentionally weak persona – instead of relying on delicate nuance.

Dwayne Johnson and Michael Kenneth Williams in ‘Snitch’

This isn’t to say that Johnson can only step into macho tough guy roles but, in Snitch, there is a noticeable disconnect between characterization and onscreen depiction that will definitely test suspension of disbelief on occasion. It’s calculated risk/reward casting because the script doesn’t benefit from a muscle-bound action star, and Waugh’s choice to cast Johnson can be distracting, but the actor’s performance is solid and a major credit to the success of the movie.
The supporting cast is full of familiar faces (and characters) that don’t stray too far from convention but serve the main storyline with respectable competence. Jon Bernthal, known best for his role as Shane on AMC’s The Walking Dead, is a standout with an understated but powerful performance as Daniel that outshines a number of the more accomplished veterans in the cast. Barry Pepper offers another engaging turn, this time as drug task force leader Agent Cooper – easily one of the more interesting additions in the film. Conversely, Susan Sarandon and Benjamin Bratt are only provided with cliche one-note characters that primarily act as exposition machines – with few rewarding overtones.
As indicated before, Johnson’s appearance in Snitch will lead many moviegoers to assume that the film is action fare – and those viewers will likely walk away underwhelmed. Despite a few brief gunfights and one over-the-top car chase, the film’s primary tension comes from low-key moments that teeter on real life danger – where one minor slip of the tongue could mean the difference between life or death for Matthews and his family. In fact, some of the greatest scenes of tension in Snitch are the result of nothing happening – and the fear that unresolved danger leaves in its wake.

Jon Bernthal as Daniel James in ‘Snitch’

Snitch has lofty ambitions – moving quickly between on-the-nose commentary, captivating interpersonal drama, and brief scenes of competent action. Waugh does not successfully payoff every element introduced in the movie – leaving a lot of overarching themes and moral questions dangling in the air. Still, scene to scene Snitch is a smart drama that uses solid performances and an emotional story to cast light on controversial subject matter. It’s not the action movie that some viewers might have been expecting but that’s not a bad thing – since it delivers a surprisingly immersive character drama instead.
If you’re still on the fence about Snitch, check out the trailer below:

‘Dark Skies’ Review

[NOTE: For those of you who want an opinion on Dark Skies with as little knowledge of the plot as possible - skip down to the final paragraph for a summary and score. For those unconcerned with basic plot details - read on.]
Dark Skies centers Lucy and Daniel Barrett (Keri Russell and Josh Hamilton), suburban parents just trying to get by and provide for their sons, Jesse (Dakota Goyo) and Sam (Kadan Rockett). The struggles of normal life become extraordinary when the Barretts start to experience strange phenomena occurring around their house: items from the cupboard arranged in impossible geometry, alarms set off by phantoms, items missing without sign of theft, etc.
Soon aggravation becomes outright terror as the Barretts find their children – and even themselves – falling victim to alarming physical and mental afflictions. That desperate situation pushes them to consider desperate ideas about what it is, exactly, that’s attacking their family and desperate measures about how to stop it.

The latest creation of Legion and Priest director Scott Stewart, Dark Skies is easily commendable for being Stewart’s best genre-blending experiment; though that’s not to say it’s an outstanding movie. A somewhat slow build to a predictable and underwhelming conclusion, the film is nonetheless a satisfyingly creepy ride – even if the ultimate destination isn’t all that exciting.

Josh Hamilton in ‘Dark Skies’

Where Legion and Priest attempted to offer the sort of action/horror blockbuster experience of a Resident Evil flick (low-hanging fruit…), Dark Skies instead takes the sci-fi premise of an alien abduction story and conveys it in the crescendo format of Paranormal Activity and all its many copycats within the found-footage horror (not so coincidentally, the movie is produced by the makers of PA, Sinister, Insidious, etc…). Thankfully we have no faux-documentary headaches to worry about here, but the night-to-night episodic progression of frights certainly carries the thumbprint of the currently popular sub-genre of horror filmmaking.
Stewart and cinematographer David Boyd (Walking Dead, Sons of Anarchy and the upcoming Marvel S.H.I.E.L.D. TV pilot) certainly create a darkly rich visual palette that entices the eye. In other words: the film is great to look at, and the use of light, shadow, tracking and angling makes many of the nighttime (and daytime) scares pretty effective, if occasionally telegraphed. “Scares” might be a strong word; “creep outs” or “eye openers” is probably more accurate description of what this movie offers. More goosebumps than screams.
Our director is also our script writer and Stewart also turns in what is arguably his best work (thus far) in this area, as well. There is actual relatable and grounded family drama at the core of this scary story – keeping things interesting even when the terror is on the off-beat, and making the moments of terror or danger that more compelling because the investment in the characters (the family) is solid.

Keri Russell and Kadan Rockett in ‘Dark Skies’

While the characters themselves are only so-so in terms of dimension or depth, they’re far better than the average thin caricatures trotted out for these sorts of films. Unfortunately, the biggest reveals of the story are foreshadowed too early and way too obviously; by the time we actually get to the “climax,” we’re mostly there for validation rather than shock or surprise. An epilogue section to the film further adds an unneeded dose of hokeyness to what was (up to that point) an effectively spooky experience. That all said, Dark Skies does pull off some narrative and character arcs that are competent and complete.
The individual characters in the Barrett family are also more likable thanks to some solid actors in the roles. Keri Russell may not win big accolades for Dark Skies, but no one told her that beforehand; she carries the bulk of the intensity and pulls off the increasingly panic-stricken matriarch arc without a hint of overacting or melodrama. In many ways she bolsters the core aspects of the narrative – though her co-star Josh Hamilton (Away We Go) is certainly there to lend a hand. Hamilton has to play the down-and-out skeptic, but manages to bring hints of real depth and vulnerability to the patriarch role. All in all, the family dynamics rest on a sound foundation.
Josh Hamilton and Kadan Rockett in Dark Skies (2013)

Josh Hamilton and Kadan Rockett in Dark Skies (2013)

Real Steel star Dakota Goyo has talent, and offers a nicely layered portrait of a modern young teen as Jesse. When the latter half of the narrative opens up a bit to include more of young Jesse, Goyo certainly holds up his end. Kadan Rockett is too young to match the acting savvy of his co-stars, but is yet another good casting as a kid who can easily oscillate between creepy and cute – a quality which serves in delivering some of the film’s freakiest moments. Other actors like JK Simmons (Spider-Man) show up here and there, but Stewart smartly keeps the focus on the Barretts for most of the screen time.
In the end, Dark Skies will be a pretty good time for anyone who understands what they’re getting with this sci-fi/horror fence-rider. Hardcore fans of either genre are not likely to be satisfied with the half bits the film provides – and the ending will shock (or thrill) very few viewers. A strong rental or matinee experience; questionable call for that prime time or late-night theatrical fright flick thrill.

Saturday, 23 February 2013

‘Identity Thief’ Review

Identity Thief brings us into the world of straight-laced Sandy Patterson (Jason Bateman), a man just waiting on that next promotion at work to help secure his family’s future. When it becomes clear that the corporate world isn’t going to cut him a break, Sandy joins a small cabal of his co-workers in a bold new spinoff venture that will finally pay him his due.
However, just as things are looking up, Sandy’s world comes crashing down. Diana (Melissa McCarthy) a small-time con-artist has stolen Sandy’s identity, and her illegal antics threaten to derail his new job venture. With the law tied up in jurisdictional bureaucracy, Sandy takes it upon himself to head down to Florida and apprehend the perpetrator. Naturally, things don’t go as smoothly as planned, an epic road trip ensues, and both real and faux Sandy Patterson manage to do a little growing.

Identity Thief is directed by Seth Gordon, who is known for his brand of off-beat subject matter comedy seen in films like Four Christmases and Horrible Bosses; TV projects like Breaking In and even documentaries like Freakanomics and King of Kong. His style tends to be hit or miss amongst comedy fans, and Identity Thief continues that trend. Hovering in some odd space between the edginess of Todd Phillips’ Due Date and your average Kevin James slapstick film – with some serious drama thrown in for weird measure – the movie is a peculiar and only occasionally satisfying ride.

Jason Bateman and Melissa McCarthy in ‘Identity Thief’

Bateman and McCarthy turn out to be a good pairing, with the former providing his usual straight man wit for McCarthy to bounce all sorts of zany verbal and physical comedy off of. Despite the thinness of the material, The Bridesmaids-breakout proves to be an (at least) earnest and committed lead performer, with a wide facet of comedic talent. No matter if she’s throwing daggers of wit, hilariously playing off her own physicality or even showing some dramatic emoting, McCarthy is definitely a scene-stealing mix of charm and just the right amount of naughty. Bateman, on the other hand, is his usual reliable self.
The problem in this film comes from the script by newcomer Jerry Eten, and Craig Mazin, whose primary contribution to the comedy genre has been conveyor belt films like Scary Movie 3 & 4, Superhero Movie and The Hangover Part II (oh, and the upcoming Hangover 3). Tonally speaking, Identity Thief is just all over the place. From the outset, we’re asked to sympathize with the victim (Sandy) whose good life is being ruined; next second we’re shown our antagonist (Diana) doing despicable things; but in the next second we’re handed a heavy moment meant to humanize our despicable antagonist – before she does something despicable again in the second after that. While McCarthy pulls off each moment of this act, as a viewer it’s hard to know who to care for or how much – or what outcome we should root for.

T.I. Harris and Genesis Rodriguez in 'Identity Thief' (2013)

T.I. and Genesis Rodriguez in ‘Identity Thief’

Add in odd tableau of supporting characters played by a strange array of actors, and the picture gets even more off-beat and awkward. Rapper/actor T.I. (Takers, ATL) and breakout bombshell Genesis Rodriguez (The Last Sand, Casa de Mi Padre) play two gangsters on Diana’s tail with such hard menace, it’s like somebody forcibly wedged a slice of urban crime drama into a white bread comedy. That entire subplot is definitely something the movie could do without, as it offers nothing but the occasional motivation for our protagonists to make another slapstick-style escape.
Actors like Jon Favreau (Swingers), Robert Patrick (Gangster Squad) and Eric Stonestreet (Modern Family) seem a little more in on the joke with their respective cameo roles; but other supporting actors like Amanda Peet (Whole Nine Yards), Morris Chestnut (Think Like a Man) and Jon Cho (Harold & Kumar) are pretty much just wasted playing straightforward generic character archetypes (the wife, the cop, the boss, etc…).

Eric Stonestreet and Melissa McCarthy in ‘Identity Thief’

Some of the scenes and sequences Gordon stages pay comedic dividends (see: the motel scene); but just as many of them pass by with nothing more than a few bland chuckles to show for the effort. This is a road trip movie in which you can easily get lost in terms of where everyone is at any given moment of their mad dash – while where they are going (literally and figuratively speaking) is as predictable and unexciting as every other movie that has tried (and failed) to rehash the Plains, Trains & Automobiles formula.
By the time we hit an overly-saccharine ending, Identity Thief will already be half out of mind, except to say, ‘that Melissa McCarthy sure is talented.’ Here’s hoping she’s provided with better starring vehicles in the future.

‘Jack Reacher’ Review

Jack Reacher, a six foot five, two-hundred and fifty pound former United States Army Military Police Major with blonde hair, bares little physical similarity to actor Tom Cruise (they both have blue eyes) but that didn’t stop the fan-favorite star from signing-on for the character’s big screen debut. The Cruise casting set off a firestorm of fan backlash, as faithful readers of the Lee Child source novels dismissed the production as a Jack Reacher adaptation in name alone.
However, it wasn’t long before the author endorsed Cruise in the role, claiming that despite their physical differences the actor would successfully bring Reacher’s intensity to the screen. Does Cruise, along with writer/director Christopher McQuarrie (Usual Suspects), deliver an enjoyable Jack Reacher adaptation – a film that will win over skeptical fans of the book series while also serving-up a fun crime drama for less familiar viewers?

Fortunately, the answer is yes. There’s no doubt that some Jack Reacher die-hards will scoff at Cruise in the role and find the actor an unsuitable flesh-and-blood stand-in for their beloved fictional character; regardless, despite the difference in physical appearance, Reacher is still enjoyably tough and stoic. It’s not always easy to see past Tom Cruise in the role, but the actor brings a quiet charm to Reacher that fans of the books will recognize – while offering plenty of enjoyable action beats for viewers who turn out just to see Cruise punch thugs in the groin and crash muscle cars.

Helen (Rosamund Pike) and Reacher (Tom Cruise)

The story, adapted from Child’s 2005 novel, One Shot, serves as a smart (albeit often predictable) introduction to the character – and a promising start for a Cruise/Reacher franchise. After a sniper claims the lives of five victims on a sunny day in Pittsburgh, PA, Jack Reacher is brought in to investigate the District Attorney’s primary suspect. However, when Reacher crosses paths with Helen (Rosamund Pike), the defense attorney for the accused, the pair are pulled into a dangerous multi-layered conspiracy that threatens to claim their lives and bury the true killer’s identity.
It’s a serviceable setup that allows for a few intriguing turns, and moments of shock for moviegoers – but viewers who typically stay ahead of the plot and are actively considering the evidence in an attempt to solve Jack Reacher‘s mystery ahead of schedule will likely predict many of the intended twists. Nevertheless, McQuarrie (whose only prior directing credit is the 2000 film, Way of the Gun) offers slick style and sharp filmmaking choices which elevate the competent (but unremarkable) core storyline above similar middle-of-the-road crime dramas.
The trailers for Jack Reacher depict the title character as a no-holds-barred, butt-kicking wheel man with a one-liner for every occasion. Interestingly, Cruise and McQuarrie’s actual Reacher is significantly more nuanced and restrained. Fans of the books will see loads of hard-hitting and downright brutal fisticuffs, but Cruise sells his version of the character through Reacher’s most important characteristics: confidence, smarts, and patience. Like many recent Tom Cruise roles, it’s sometimes hard to be completely immersed in Reacher, the character, given that the actor is (mostly) playing a variation of his typical action man persona – but that doesn’t detract from the potential enjoyment, as Cruise presents a satisfying mix of savage and amusing moments in the role.

Tom Cruise, Richard Jenkins, and David Oyelowo in ‘Jack Reacher’

The rest of the cast is serviceable – even if nearly everyone else is primarily there to look at Reacher with some variation of shock, suspicion, awe, or (if you’re one of several women in the first 20 minutes of the film) sexy eyes. Helen (Rosamund Pike) is a solid counter-balance to Reacher, given that she has hidden behind the law for much of her career and has rarely been forced into face-to-face interactions with victims or criminals. As a result, she’s a decent guide into Reacher’s world of ruthless delinquents and broken lives – even if Pike, as an actress, is typically overshadowed by Cruise.
As mentioned, while much of the supporting cast is relegated to one-note or expository roles (with the exception of an entertaining Robert Duvall appearance), the main Jack Reacher villains are surprisingly fun and downright disturbing. Charlie (Jai Courtney) is a great foil for Reacher - an adept marksman who is equally deadly in hand-to-hand combat. While Courtney isn’t provided room to develop the character, he enjoys some of the most memorable (and disturbing) scenes in the film – bringing a truly dangerous antagonist to a story that could have otherwise seen Cruise punch his way through a never-ending set of generic thugs.
Equally rewarding is Werner Herzog as “The Zec,” the shadowy and repugnant mastermind that holds Charlie’s leash. Herzog isn’t provided with a lot of screen time, but each of his appearances carry an unexpected amount of gravity (especially when compared to some of the film’s over-the-top action beats).

Jai Courtney as Charlie in ‘Jack Reacher’

The Zec is not entirely out of place in the larger plot, either, as Jack Reacher deals with some intense subject matter and includes several cringe-inducing moments. In spite of its charming lead, the film is especially dark for a PG-13 rating. It’s a credit to McQuarrie’s script (he is an Oscar-winning writer, after all) that most disturbing violence is implied, not outright shown – a smart move that allowed the filmmakers to establish the stakes without bogging Jack Reacher down in on-the-nose carnage.
Jack Reacher falls short of delivering a must-see crime drama experience, but it’s hardly the cash-grab misfire that skeptics were anticipating. An intriguing core story premise and captivating villains contribute to a solid launching point for a new Tom Cruise-led franchise. Faithful followers of the Lee Child novels may cry foul since, like most recent Cruise starring films, Jack Reacher is primarily a frame for the fan-favorite actor to flex his (noticeably aging) action muscles – but that doesn’t mean the film fails to satisfy with plenty of excitement, charm, and head-stomping.
If you’re still on the fence about Jack Reacher, check out the trailer below:

Friday, 22 February 2013

‘Lockout’ Review

Despite a solid headliner in Guy Pearce, the underwhelming marketing for Lockout, which makes the project look like a direct-to-DVD experience, has been enough to cause a lot of moviegoers to forget that the film was actually developed by well-known thriller writer/director/producer Luc Besson (The Fifth Element and Taken). While Besson outsourced directorial duties to untested feature co-helmers, James Mather and Stephen St. Leger, the fan-favorite producer was still instrumental in crafting the Lockout story – as well as overseeing production.
As a result, it’s no surprise that Lockout features plenty of Besson’s staple calling cards: most notably a snarky and rough-around-the-edges (but charming) leading man, as well as some hard-hitting action set-pieces, among other things. However, do Mather and St. Leger successfully carry Besson’s concept across the finish line – delivering an entertaining sci-fi thriller that’s more than just the sum of its tried-and-true parts?

While it’s certainly not a flawless movie, or a deep exploration of character (as depicted in Taken), Lockout succeeds at being an over-the-top thriller with surprisingly high production values for a $20 million film that has to make room for a Guy Pearce paycheck. It’s not the most visually-stunning movie in the genre and definitely has a “budget” look at times; however, the project ultimately succeeds as a result of Pearce – who delivers an enjoyable, albeit snide, performance as government agent-turned-one-man-army, Snow.

Maggie Grace and Guy Pearce in 'Lockout'

As with some Besson-produced projects, the Lockout story is pretty basic. After a government operation goes awry, agent Snow (Guy Pearce) is taken into federal custody on suspicion that he double-crossed one of his closest friends (and, subsequently, compromised the security of the United States). After refusing to cave during a brutal interrogation at the hands of secret service agent Langral (Peter Stormare) and one of Snow’s handlers, Shaw (Lennie James), the agent is about to disappear into the federal prison system forever – until the President’s daughter, Emilie Warnock (Maggie Grace), is taken hostage by inmates while visiting an enormous prison facility orbiting the Earth. Snow is given the option of rescuing the President’s daughter in exchange for his freedom, an offer Snow initially rejects, until he discovers that the key to clearing his name is also aboard the prison installation (which is rapidly plunging into inmate versus inmate pandemonium).
While the Lockout storyline gets the job done – presenting an intriguing sandbox for Pearce’s character to kick butt and fire off snarky one-liners – none of the characters in the film are anything but single-note caricatures. Some moviegoers will, no doubt, be unaffected by the lack of development, but compared to similar entries in the action-thriller genre, it’s not unfair to expect a more rewarding balance. That said, Snow is a likable leading man (thanks in part to Pearce’s approach to the role); however, the audience is only going to sympathize with him because of the way he’s presented in contrast to the rest of the story: he’s innocent, anti-establishment, and honorable (in spite of his rough exterior). The same can be said for the rest of the supporting cast – which is either going to be a sticking point for moviegoers hoping for something character-driven or a relief for viewers who would rather jump right into the action.
This dichotomy can be applied to how audiences will view other aspects of Lockout - as the story, despite a pretty robust sci-fi future, doesn’t bother with a lot of world-building and instead simply presents information (there’s a prison in space) without really exploring the film’s potentially intriguing universe.

Joseph Gilgun as Hydell in 'Lockout'

Every moment of the movie (both good and bad) relies heavily on familiarity with pre-existing action-thriller genre archetypes, sci-fi concepts, and staple good versus evil caricatures – without developing anything or anyone, once established. As a result, the characters (and story) aren’t likely to offer many surprises along the way – as the film merely follows the presented elements out to the most logical (albeit somewhat cliched) conclusions. Even the action, which is clearly the priority here, doesn’t showcase anything new and isn’t going to outright drop jaws. However, the combination of Pearce’s reaction to a lot of these moments of tension still makes for a pretty enjoyable one-two punch – even if the moments aren’t mind-blowing on their own.
Surprisingly, the film actually succeeds because of its heavy reliance on things audiences have seen before – since a lot of them are tried-and-true onscreen ideas. As an example, there’s nothing unique about Joseph Gilgun’s Hydell, an inmate responsible for most of the mayhem occurring in the prison, but he’s still one of the more enjoyable characters to watch. Similarly, even though the film fails to capture the scale of the facility and the sheer number of prisoners that are running around, the prison break in space set-up is intriguing enough – and presents an adequate foundation for some tense moments and modest-but-cool action sequences.
Lockout is not going to rival the explosive set-pieces audiences expect in Michael Bay summer blockbusters, but it succeeds at offering an exciting, if somewhat thin, adventure. While plot holes and one-note characters keep the film from being a clearcut must-see, for thriller fans looking for an enjoyable-but-brainless popcorn flick, Mather and St. Leger have delivered a (mostly) competent Luc Besson actioner – thanks, in large part, to an enjoyable performance from Guy Pearce.
If you’re still on the fence about Lockout, check out the trailer below

‘Resident Evil: Retribution’ Review

Since the debut of Resident Evil in 2002, the four part film series (loosely) based on Capcom’s survival horror video games has secured almost $650 million in global box office ticket sales. Certain fans of the Resident Evil games still criticize the big screen adaptations for being overblown and hollow action flicks that bypass canon storylines in favor of convoluted Alice (Milla Jovovich)-centric film plots; however, audiences still turn out in droves for director Paul W.S. Anderson’s over-the-top take on the franchise.
In fact, each subsequent Resident Evil film has delivered a higher box office gross than the one before – with Anderson’s return to the franchise director’s chair in part 4, Resident Evil: Afterlife, nearly doubling the global haul of part 3, Resident Evil: Extinction. Anderson is now set to deliver Resident Evil: Retribution, another in-your-face 3D action experience that, this time, brings back a number of familiar faces from prior installments, as well as new fan favorite characters from the game series.
As a result, does Retribution finally deliver a Resident Evil film that both fans of the games and movies will both enjoy?

Unfortunately, despite the film’s closer adherence to the franchise canon, Resident Evil: Retribution isn’t likely to win over any converts that had previously passed on prior entries in the series – as in general, its just another round of the convoluted storytelling and eye-popping action combo that Anderson has relied on since the first installment in the series. Similarly, the 3D will only be pleasing to moviegoers who judge a 3D experience based on the number of objects that fly out of the screen. Subtlety has never been the director’s strong suit, and once again, nearly every story beat, character moment, and action set piece leaves little to the imagination or mind. That said, there are enough weird creatures, zombie hordes, and brutal kills to satiate some action fans – especially moviegoers who have enjoyed earlier Resident Evil films.

Johann Urb, Milla Jovovich, and Boris Kodjoe in Resident Evil Retribution

Johann Urb joins Milla Jovovich and Boris Kodjoe for ‘Retribution.’

The Resident Evil: Retribution story picks up (literally) where the last film left off: Alice (Jovovich) and her allies are stranded on the Arcadia tanker with an Umbrella strike force ready to attack. After an explosive shootout, Alice is taken hostage by the Umbrella Corporation and moved to a secret facility – where she is interrogated by her former friend Jill Valentine (Sienna Guillory), who is under the control of anti-humanity super computer, The Red Queen. In order to rescue Alice, who holds the key to a powerful weapon, Ada Wong (Bingbing Li), Leon S. Kennedy (Johann Urb), Barry Burton (Kevin Durand), and returning partner-in-zombie killing Luther West (Boris Kodjoe) lead a strike on the Umbrella facility – fighting through a number of “biohazards” (creatures and people that have been mutated by T-Virus and Las Plagas infections). However, as the team moves from one branch of the facility to the next, new horrors and even some long-awaited answers are unearthed.
While the movie does implement characters that are familiar to gaming fans, any new additions are merely cosmetic as Anderson makes no efforts to adhere to character backstories from the larger franchise canon. The patched in game characters work only as nods to longtime fans, and in some cases, actually work against the director’s intended efforts – as certain gamers will no doubt find their inclusion distracting instead of satisfying. Despite semi-admirable efforts, the series is so far removed from the game mythology that it would be better if Anderson simply stuck to his vision – instead of trying for a hollow compromise.
Prior installments didn’t feature particularly sharp stories, but the narrative this round is so convoluted that there are two separate expository scenes where a character essentially explains: a) the plot of the previous films and b) the overarching plot of the current film viewers are in the process of watching. While the earlier Resident Evil chapters were brainless but forgivable action experiences, Retribution buckles entirely under the weight of all the plot threads that Anderson and the other Resident Evil directors have introduced over the course of a decade (and five feature films). At one point the movies worked as campy popcorn flicks with enjoyable jump scares and slick (albeit cheesy) action beats, but Anderson’s attempt to weave together a compelling overarching drama out of the franchise’s copious dangling threads makes all the long-standing problems difficult to ignore. On top of downright stilted performances from most of the cast (as well as laughable vocal dubbing) Retribution is chock-full of ridiculous plot holes, hamfisted melodrama, and loads of narrative backtracking.

Milla Jovovich returns as Alice in ‘Resident Evil: Retribution’

Of course, many moviegoers are going to see Retribution for the purpose of watching Jovovich snap necks and shoot creatures while dressed in skin tight leather and platform boots. For viewers who can forgive all of the film’s shortcomings, and really only care about the hyper-stylized action beats, there are definitely a few redeeming moments. None of these scenes are especially memorable and several are anticlimactic (resolved entirely too quickly) but, as Alice and Co. plow through one biohazard after another, Retribution does manage to deliver occasionally intriguing combat. That said, for most moviegoers, the explosions are not likely worth stumbling through the overly complicated as well as underwhelming Retribution plot points.
As indicated earlier, the 3D in Retribution is unapologetic in its gimmickry – reserved almost entirely for bullets, axes, knives, rockets, blood, and other projectiles to fly out of the screen. It’s hard to recommend that anyone who enjoys more subtle (and arguably inventive) uses of the format pay the 3D upcharge; however, so many of the action sequences are centered around the 3D ploys that it could be even more distracting to see the film in 2D and not experience the overly-obvious third dimension pandering.
Resident Evil: Retribution is style-over-substance in every possible definition of the concept. The plot only serves as an excuse to move the characters quite literally from one action “sequence” to the next, and the 3D is uncomfortable, off-putting, and (worst of all) will likely draw moviegoers out of the onscreen action. A number of later developments clearly show that Anderson avoided emotional character moments in favor of suicidal “bad-assery” at every single turn. However, in a time when amateur filmmakers can throw together cool action videos with blockbuster CGI special effects in their home office, context and competent storytelling are more important than ever. If Anderson doesn’t care enough about his characters and story to make them anything but emotionless fighting and shooting machines, why should audiences care to sign up for further entries in his Resident Evil vision?
If you’re still on the fence about Resident Evil: Retribution, check out the trailer

‘Dredd 3D’ Review

The 1995 Judge Dredd movie starring Sylvester Stallone remains a guilty pleasure adventure for plenty of action fans, not to mention a never ending Internet meme generator, but fell short of expectations for many comic book diehards. While Stallone may have been taking the role seriously, the campy one-liners and melodramatic character interaction undercut some of the most enjoyable qualities in the Judge Dredd character – namely a ruthless (and faceless) judge, jury, and instant executioner.
Rising above the standard skepticism surrounding franchise reboots, fans as well as action lovers remained cautiously optimistic about director Pete Travis and star Karl Urban’s Dredd 3D. Despite the optimism, early plot synopses and feature trailers drew strong comparisons to the premise of Gareth Evans’ Indonesian hit, The Raid: Redemption - about a team of cops that must fight their way through an apartment complex, one level at a time, to arrest a merciless drug lord – causing some moviegoers to worry that Dredd was little more than an uninspired franchise reboot fashioned onto the premise of a lesser known (but more original) film production.
Dredd was actually scripted long before The Raid became a breakout hit but, considering comparability, the film is now faced with an even steeper challenge. So, does Dredd manage to deliver its own action-packed (and memorable) thrill ride – one that successfully rebrands Judge Dredd as the gritty character longtime fans remember?

Fortunately, the answer is: yes. Dredd delivers – in a big way. There’s no doubt the film shares plot similarities with The Raid, but for every jaw-dropping knife fight in Evans’ film, Travis offers a comparably fun gun battle (and plenty of iconic Dredd scowl). Ultimately, Dredd is a grounded action experience – relying heavily on the titular character’s physicality and gruff personality to keep things entertaining. There are some fast-paced set pieces (such as the opening motorcycle chase) and loads of slick visuals (thanks to the “Slo-Mo” drug at the center of the plot) but instead of over the top action, moviegoers are treated to a smart combination of entertaining character moments, an intriguing near future backdrop, and thin but enjoyable plot points that make room for Dredd to take center stage – dispatching one thug after another in a variety of brutal conflicts.

Karl Urban and Olivia Thirlby in 'Dredd'

Judge Dredd (Karl Urban) and Anderson (Olivia Thirlby) in ‘Dredd’

Instead of spending time introducing audience members to a backstory of how Dredd became the most feared Judge in Mega-City One, the film presents the character (much like in the comics) as a faceless force of nature that will stop at nothing to enact justice and protect innocent lives. When Dredd and a would-be Judge Anderson (Olivia Thirlby) respond to a series of homicides in the “Peach Trees” slum block, the pair begin an investigation that threatens infamous drug kingpin Madeline Madrigal – aka Ma-Ma (Lena Headey), whose “Slo-Mo” is quickly becoming the narcotic of choice in the city. In an effort to retain her control over Peach Trees, Ma-Ma locks down the 200 story slum – and offers a sizable bounty to any resident who can kill the Judges. With nowhere to escape, and no backup, Dredd and Anderson are forced to fight their way through Peach Trees – clearing the complex one floor at a time in an against all odds attempt to free Mega-City One from Ma-Ma’s grasp.
Anyone looking for a deep Batman Begins character piece will likely be underwhelmed by the storyline in Dredd – as the movie is significantly more interested in the crisis at hand rather than trials the Judge may have faced in the past. Travis is unapologetic in this approach – as even Anderson appears to know better than to dig around behind Dredd’s helmet. However, Dredd has never been a character that needed a lot of exploration – and the narrow focus of the film allows for an unapologetic (and fun) opportunity to watch the Judge, armed with limited resources and ammunition, react to a variety of challenging circumstances. Urban, who never takes off his helmet during the entire film, embodies the dry humor and cold wit of Dredd at every turn – with a gravelly voice, imposing physicality, and an unrelenting/iconic frown.
Thirlby as Anderson is also a smart juxtaposition for the callous and veteran Dredd. The actress offers a “rookie” perspective, while appearing at home with the violence around her, assisting in teaching the audience about this version of Mega-City One and the Judges – without in-your-face exposition that might otherwise inundate the action. Despite her inexperience and smaller frame, Anderson has the added benefit of psychic abilities that lead to a number of the film’s most entertaining moments. Headey’s Ma-Ma, on the other hand, is mostly presented as a MacGuffin – a problem that must be addressed – more than a multilayered person. Travis provides a backstory for the character and she serves her function in the larger Dredd plot (to regularly instigate the Judges) but is, without a doubt, underserved by the final film. Ma-Ma’s characterization won’t bother most viewers, but next to captivating versions of Dredd and Anderson, the villain falls a bit flat – especially with a talented actress like Headey (Cersei Lannister on Game of Thrones) in the role.

Ma Ma (Lena Headey) in ‘Dredd’

As mentioned, the action in Dredd is grounded and there are no giant robot fights this round. Travis relies almost entirely on practical effects – letting the characters and explosions sell the film experience. Moviegoers who are easily wooed by style-over-substance CGI action fare (like Resident Evil: Retribution) might be underwhelmed by the, at times, limited scope of Dredd‘s action sequences. Instead, the movie focuses directly on its titular character, following the Judge through one explosive hurdle after another. The conflicts are fun, and considering the heroes are significantly outnumbered and low on ammunition, each quarrel presents a different side of Dredd and Anderson’s respective skill sets – allowing the movie to showcase Dredd’s ingenuity instead of dropping him into one brainless gunfight after another.
Dredd is showing in 2D and 3D theaters, and while many moviegoers might be skeptical about the premium upcharge, the 3D is worth the added price. The Slo-Mo drug sequences are especially enjoyable in 3D and, for the most part, the film makes smart (and even artistic) use of the format. Admittedly, a good chunk of the movie takes place in tight hallways where the effect is dialed down but a number of key sequences are successfully enhanced by the 3D – meaning some 2D Dredd viewers could feel as though they missed out on the full experience.
Action fans who expect deep character exploration or over the top CGI visuals might be somewhat underwhelmed by Dredd. However, Travis and Urban were intentional in their approach to the fan favorite hero, delivering a faithful Judge Dredd interpretation and smart Peach Trees “sandbox” – where the characters engage in a variety of tense conflicts. One of 2012′s biggest surprises, Dredd 3D offers an extremely enjoyable action ride and, for some, might even stand as one of Hollywood’s most entertaining comic book adaptations.
If you’re still on the fence about Dredd 3D, check out the trailer below:

MOVIE-MANIA