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I.S.S. (2023)
I.S.S. (2024) - Something Borrowed, Something Blue...
The year is 2024. Russians and Americans live and work together harmoniously onboard the International Space Station, or I. S. S., until the unthinkable happens. War breaks out between the United States and Russia. Commanded by both countries to cease all diplomatic relations between the two factions, a battle for the soul of mankind ensues amongst the stars. That is the plot for the movie I. S. S. (2024), starring Ariana DeBose, Chris Messina John Gallagher Jr., directed by Gabriela Cowperthwaite.
Fans of the science fiction genre may remember this borrowed plot from the 5 Oscar Nominated movie 2010: The Year We Make Contact (1984) directed by Peter Hyams, starring Roy Scheider, John Lithgow & Helen Mirren, which is itself a continuation and sequel of Stanley Kubrick's Oscar winning 2001: A Space Odyssey (1968). Borrowing plots, stories and themes from other media, genres and films is nothing new in Hollywood. Usually, the film that does a better job is the film that gets remembered, and perhaps wins the awards. Here, critics and movie-goers alike are split regarding the effectiveness of the screenplay and directing in bringing the heady plot to fruition.
Cinematographer Nick Remy Matthews has the challenging duty of bringing movie magic to the earth-bound set in Wilmington, North Carolina at Screen Gems Studios, where the movie was filmed. By my assessment, he creates an intriguing atmosphere not without its problems - it was obvious to me in some scenes that weightlessness was actually achieved by wire. By and large, the movie successfully creates the appearance of a crew in space - but if excessive motion makes you nauseous, be warned - the camera lens rocks and rolls more than a seafaring ship.
Writer Nick Shafir does a passable job of establishing the film's characters, expositing their life stories and creating dramatic tension, but the effort shows, and it isn't often a pretty picture. The script is clunky and abrupt in several places. Director Gabriela Cowperthwaite (Blackfish 2013) accomplishes her task a little better - each scene is layered with meaning, but it seems as though her direction is often out of sync with the trajectory of the movie, itself. The film was likely edited well, but that makes me wonder exactly what they left on the cutting room floor - perhaps some cuts were too deep, after all.
The highlight of this movie is in its character portrayal. Ariana DeBose shines as Dr. Kira Foster (West Side Story 2021, Wish 2023, Hamilton 2020). Her character is in nearly every scene, and her Dr. Foster is utilized as the glue and narrative, holding the rest of the cast together. Chris Messina as Gordon Barrett (Argo 2012, The Boogeyman 2023, Air 2023) plays a relatively balanced and straightforward character, helping to move the plot forward. The real surprise here is the nearly unrecognizable
John Gallagher Jr. As Christian Campbell (10 Cloverfield Lane 2016, Underwater 2020, Westworld 2020). Campbell has the task of keeping his motivations a secret, and his character ratchets up the creepiness by surprising degrees.
Unfortunately, the actors best efforts could not save this movie. I. S. S. Suffers under the weight of all the greatness and grandiose themes that preceeded it, and no amount of beautiful special effects could breathe life into its flagging dog of a corpse - which clocks in at 1 hours 35 minutes runtime. With an estimated budget of $20,000,000, you will come away from this movie wanting more - much more. After watching the credits roll and the house lights come up, I conducted an informal poll of 2 movie goers in the audience. Their impromptu scores were 5 out of 10 and 8 out of 10. I shared my feelings with them: All things considered, I. S. S. Earns a generous 7 out of 10.
- Chipper F. Xavier, Esq.
The Iron Claw (2023)
The Iron Claw: An Inspiring Tale Of Familial Tragedy.
The Iron Claw (2023) starring Zac Efron, Jeremy Allen White, Maura Tierney, Holt McCallany, Harris Dickinson and a host of other talent, is a surprising movie for the production company A24 to produce. The first thing you should know is that the movie is based on the true story of the Von Erich family, a sensational group of wrestlers who helped to shape modern wrestling into what it has become today. The next thing you should know is that the movie is quite morbid, because in order to tell the story of the Von Erichs, you have to delve into the reason the family believes it has been cursed.
Zac Efron, playing 2nd oldest brother Kevin Von Erich, is in every scene of the movie. Efron is the most startling of all the actors in the tone and range of his performance. At first Efron comes across as wooden, but then the script opens up, and Efron is permitted to show us exactly what he can do with the character, and that is quite a lot, indeed. Efron had begun to tone up his physique in movies such as Baywatch (2017), where we as an audience first noticed a transformation from an average joe to a bodybuilder body style. In Iron Claw, Efron has added so much mass that he is barely recognizable. Although the gawky kid still shines through, most of his performance reeks of testosterone and steroids - a perfect match for the role of a professional wrestler. Efron brings an understated, quiet intensity to the part.
The script, written by Sean Durkin, is a bit clunky in parts, but very effective. Iron Claw suffers from an issue of tone - in the first act it comes off as schtick, but the second and third acts have few laughs. This is serious stuff, indeed. That is where Iron Claw shines - the directing by Sean Durkin is most effective when we transition from melodrama to actual drama. If Zac Efron is the movie's heart, Holt McCallany is the movie's head. As the actor playing the Von Erich patriarch, McCallany is a terrifying and gruff Uber-dad - the kind we know and love and ultimately fear and loathe. The most effective use of the cast here is in adding a human touch to the tragedy of the Von Erich family. Despite their stoicism, we feel their pain, and the pathos is real.
One cannot help but compare this movie to The Wrestler (2008) starring Mickey Rourke, and Fighting With My Family (2019) starring Florence Pugh. The Wrestler (2008) earned Rourke his first and only Best Actor Oscar nomination. This movie is not those - but it could have been, with a more subtle vision. It was clear from the full-house audience in attendance at Iron Claw that movies regarding wrestling can be quite popular. Even though I was unsure of the trajectory of the story during the second act, the third act pulls out all the stops, and the movie transcends its tropes and lands us smack in the middle of a story well-told.
That being said, perhaps I should not at all be surprised that this was an A24 project - this production company has a history of backing projects which push the cinematic envelope into the realm of the sublime. They sure picked a winner, this time.
- Chipper F. Xavier, Esq.
The Flash (2023)
It Could Have Been Great...
The Flash was not a great effort on behalf of DC.
The movie was sloppy in many places, and funny when it should have been more grounded. The CGI in some scenes - particularly the opening scene - was attrocious. All that being said, the film was mildly entertaining if you can forgive some of the lazy writing and bad editing.
Ezra Miller does a bang-up job playing alternate versions of himself, and the fault for the various failings of the movie cannot be laid at his doorstep. The main issues I have with the movie are pacing, tone and gravitas. Flash, during the movie, is treated by Batman as an unimportant and unnecessary hero, and that reflects in the amount of Universe Building the movie does not receive.
Flash is made the butt of the joke, but not many people are laughing. The end-credits scene was beyond pointless, and did not pave the way for any future movie, nor did it provide a satisfying epilogue. If the director, Andy Muschietti, had taken this movie more seriously, then we would, as well. 7 out of 10 stars.
- Chipper F. Xavier, Esq.
Taekwondo (2016)
A Masterpiece Of Love & Male Bonding.
In the Argentinian film Taekwondo, directors Marco Berger & Martín Farina lay out a rich & complex tapestry of male interaction. The characters are perhaps more idealized than many are accustomed to seeing - this is a world where clothing is optional, friends don't discriminate regarding sexuality, and superficial conflicts are quickly and easily resolved. This fictional subtext provides a poignant counterpoint to reality while simultaneously highlighting all that is great in human interaction.
Germán (Gabriel Epstein) & Fernando (Lucas Papa) are sensitively drawn characters who are associated with one another in the practice of Taekwondo classes they attend. One long holiday weekend, Fernando invites Germán to spend time in his villa with his childhood friends, most of which are heterosexual, none of whom discriminate against those who are homosexual. We are made to understand through exposition during the course of the weekend that Germán is sexually attracted to Fernando, and Fernando is likewise attracted to Germán - but the two men are not privy to this information, and so begins the long courtship dance undertaken by human beings everywhere, with the bucolic setting of a country estate, various fit male friends and buckets of testosterone.
While Taekwondo is a very, very unusual movie with its frequent display of male full-frontal nudity, its naturalistic and realistic approach to the human form and interpersonal relationships between straight and gay men sets it high above its peers. At first blush, there doesn't appear to be a story here, but watch closely: The interactions between life-long friends works as a backdrop, adding color and character, while the plot and the relationship between Germán and Fernando moves inexorably, fearlessly forward.
The undeniable thesis of this film is love and the lack of shame. Love of the human body, love of friends, love of diversity, love of sex and the true love that develops slowly between two people more concerned with becoming one conjoined, codependent person - a living relationship entity - rather than quickly falling upon one another in a drunken night of debauchery.
Nudity - especially male nudity - is frowned upon in many Western societies, which ridiculously leads to self-shame, an unhealthy level of preoccupation and curiosity, and quick gropes in dark corners. The premise of Taekwondo presents naked bodies unashamed, unafraid, unapologetic and unassailable by the dictates of modern society. In this world, far from our reality, we encounter a trembling , breathing, fragile song and celebration of all things human. At the core of this world, love flourishes unabashedly. It is a world we should all be so lucky to inhabit - if only for a short while.
- Chipper F. Xavier, Esq.
Postcards from London (2018)
Not Without Artistic Value... Unfortunately, A Droll Experience.
Postcards From London, starring Harris Dickinson, might well be renamed, "Flights Of Fancy: An Introspective On The Beauty Of Harris Dickinson". While the work itself is not without intrinsic value, the meandering quality of the plot and the film's premise do not lend themselves to easy enjoyment.
Harris Dickinson stars as Jim, an out-of-towner who dreams of moving to London to live a life of glory. While Jim appears to be a gay man, his sexuality is extremely downplayed in the film, as writer-director Steve McLean chooses instead to focus on Jim's medical condition, known as Stendhal Syndrome.
Along the way to Jim's journey of self-discovery, we meet various young people who form the underbelly of London - bartenders, rent boys and homeless artistes. To focus the story on any one subject might have created a cohesive theme about which a compelling and interesting story might be based. Instead, Steve McLean chooses to mosh several different themes together in order to create a cornucopia of a gay man's coming of age story - a story which is mostly written in the safer language of PG-rated, rather then the reality of R-rated.
One focus of the film is art, and the film succeeds if viewed strictly from that point of view. Unfortunately, since this is a film about gay men, the point of the movie may be lost on its intended audience. Pretty pictures do not a fantastic story make, and Postcards From London is in the end nothing more than a collage of beautiful images.
Kudos to writer-director McLean for daring to be different. But if you're looking for an uplifting story of a gay man coming to terms with his identity and finding his place in society, you may want to look elsewhere. I, for one, couldn't wait for the film to end.
- Chipper F. Xavier, Esq.
Us (2019)
Us - A Creepy Opportunity Wasted.
- Chipper F. Xavier, Esq.
The intense buzz for Jordan Peele's sophomore effort, Us (2019) brought movie fans into cinemas by the droves. Trailers for the film were rampant and visceral. Winning an Oscar for his first movie,Get Out (2017) (a masterpiece), it seemed Jordan Peele had only to sign his name to this project to have us all line up with money in hand at the box office. Unfortunately, most people learned belatedly that all that glitters is not gold: Us is far from perfect.
Starting with The Good: Casting Lupita Nyong'o as the adult Adelaide Wilson was a master stroke. Lupita is the perfect, warm mother who holds her family together at a time of incalculable crisis. Young Adelaide Wilson, played by Madison Curry, is a real treat. Zora Wilson, played by Shadai Wright Joseph, is especially convincing as Adelaide's fearless daughter. The family dynamic between the Wilsons is predictably complex but also familiar, and all of the actors do a great job of interacting as real family members would.
The set pieces are saturated in color and convincing in a horrific way; the carnival, beach, and summer home all share a duality between naturalistic and horrific, as the script demands. The film's horror, once it begins, is complete and shocking. Unfortunately, that immensely negative energy does not have a sufficient vehicle to channel it.
The Not-So-Good: Jordan Peele wrote himself into a rabbit-hole with this script. Sheer horror is never enough for the film connoisseur; eventually the audience wants to know why it is being led along a certain path. Once the killing starts, it either makes sense, or it doesn't.
Is it reasonable to assume that doppelgangers populate tunnels underneath us, mirroring our actions? Is it reasonable to assume that these twins want to kill us all and take our places as we pay taxes, stand in line to pay for groceries and schlep our children to Little League? Is it reasonable to assume that each of these shadows beneath us has been supplied with a perfectly fitted red jumpsuit and a pair of finely sharpened killing shears? If it is not reasonable to assume these things on our own, then the story-teller must give us a powerful story which convinces us. Unfortunately, this is where Jordan Peele, writer-director of Us, fails.
The Bad: Once the killing starts, we are transfixed with the sheer violence of it all. Unfortunately, by the time the movie is shifting into its third act, we no longer care. The main characters seem to be repeating their actions over and over, with no apparent resolution. Kill, run, and kill again. Once the film shifts into expository mode; all hope is lost. Shadow-mom gives a powerful speech which confuses us, the underground home of the shadow people looks a bit like an abandoned shopping mall, and the rabbits hop madly about without a turd in sight. Worst of all, Lupita Nyong'o is revealed to be something she isn't supposed to be.
Us is a fine film if you remove the impossible elements, like a million shadow people killing their counterparts in order to join hands while standing in the sunlight. Some scenes are just unimaginably horrific and frightening, but this is not a painting - it's a movie. When you sum up all the gory images and still end up with nothing, the movie is not a success - it's a tragedy.
Captive State (2019)
Light A Match, Start A War... Captive State (2019).
- By Chipper F. Xavier, Esq.
Captive State is an alien occupation film like many you may have already seen: Greedy aliens come to earth wielding sophisticated technology, seeking to rob the earth of its natural resources. Similar movies are V (1984), Independence Day (1996) and Battlefield Earth (2000). Like those movies, humans resist the aliens to spectacular effect, creating heroes out of the common every-man. Unlike other alien blockbuster movies, this one comes to the screen with very little hype and an incredible ensemble cast.
John Goodman's performance as William Mulligan is not to be missed, but the real star of this movie is Ashton Sanders as Gabriel Drummond. He is real and very believable, which propels this film forward into legendary status. Honorable mentions go to Jonathan Majors, Vera Farmiga, Kevin Dunn and Alan Ruck.
Science Fiction movies tend to be either big on special effects, or big on character development: The best SciFi gives us equal measures of both. Captive State succeeds partially because it is hard to see where the movie is going until the moment has arrived. We are aware immediately that there is a resistance afoot, but the players are literally unknown to us. That is a huge burden for people who like their fiction predigested, but true fans of SciFi are patient. Audience attention is crucial in Captive, where all the moving parts are quickly shuffled. When the special effects are introduced, they are original and terrifying. When you begin to catch the arc of the characters individual motivations, then all the pieces begin to fall into place - and the pace of this movie is break-neck.
The aliens are not 100% original - but they are close enough to be mistaken for something totally new. As a bonus, they are utterly terrifying. The techno-organic symbiosis employed by the alien race is not incredibly advanced, but it succeeds in scaring the audience and upping the threat-level exponentially. What the movie does best is give the alien race ten years in our atmosphere to completely supplant our political system, effectively becoming the highest form of government, called Legislators. The alien race plays on our corruption, fear and systems of power to become the dominant species on earth. They propagandize their actions by telling humans there is no more hunger, no more war, and no more unemployment - so long as the Legislators are permitted to remain in power.
Captive State is a thinking man's science fiction movie that does not skimp on special effects, plot or set-pieces. By successfully intertwining suspense, drama and action, this movie succeeds where countless other alien occupation movies have failed. Overall score: 10/10.
Moon (2009)
Terrifyingly Real.
Moon (2009).
- Chipper F. Xavier, Esq.
Sam Bell (Rockwell) is a one-person mine operator employed by The Company on the far side of the moon in the year 2035. With a mission plan of three years, Sam is scheduled to return to earth in two weeks. As the time for his departure nears, Sam suffers a catastrophic accident which reveals a deeper, more sinister plan by The Company to keep Sam from ever returning to earth.
Writer-director Duncan Jones (Source Code, Warcraft: The Beginning) with writer Nathan Parker craft a terrifying tale which is set, directed and acted like a major motion picture event. Surprisingly, the sole actor to appear onscreen is Sam Rockwell, and the film is even more stunning because of it.
All of the set pieces when taken together deliver an effective seventies feel, and the robotic assistant GERTY, voiced by Kevin Spacey, has a quaint and realistic appearance. Despite its modest budget of 5 million dollars, Moon comes off as a much more expensive film.
The real surprise of Moon is not Sam Rockwell's skill in carrying the movie on his sizable shoulders, nor is it in the effective way dialog is utilized. Moon's greatest achievement is in normalizing dehumanizing behavior by corporations, and in so doing it forces the audience to bear witness to the atrocity.
What does it mean to be alive? What responsibilities does mankind have in safeguarding living creatures? Who, or what do we classify as a human being? Moon's answers may shock you, but in our examination of the human condition, life can never be taken for granted.
For these reasons, Moon is a cinematic masterpiece: With just a handful of actors, Duncan Jones manages to capture the hidden meaning of our existence - and all we have to do is watch, reflect and learn.
Acrimony (2018)
A One-way Ticket To Hell.
Tyler Perry's Acrimony (2018).
A One-way Ticket To Hell.
- Chipper F. Xavier, Esq.
Melinda Moore (Ajiona Alexus & Taraji P. Henson) tries to fulfill her parent's dream of obtaining a college education. On her way home from studying, Melinda runs into Robert Gayle (Antonio Madison & Lyriq Bent), and the two develop a fast friendship. As their relationship develops at the dismay of Melinda's meddling family, will the couple live happily ever after, or will their behavior tear them apart?
Writer-director Tyler Perry (Good Deeds, For Colored Girls, The Family That Preys) delivers a surprisingly nuanced thriller with Acrimony. The cinematography, script and story are all first rate, which allows the actors to shine and deliver outstanding performances.
Ajiona Alexus lights up the screen as the younger version of Melinda, while Taraji P. Henson delivers a true descent into madness with her portrayal of the older, present-day Melinda. Lyriq Bent as the mature Robert becomes more of a sympathetic character than the viewer might have expected due to his excellent ability to embody Robert's humanity.
Make no mistake - the film is not high art, nor does it pretend to be. We are treated to a bleak depiction of human nature as well as an honest portrayal of mental illness. Fortunately, Mr. Perry has an excellent sense of humor - even at their most depraved, the characters manage to make us guffaw with laughter.
As thrillers go, Acrimony officially enters the Hollywood hall of fame as one of the slickest, nastiest, and most hilarious films of 2018 - quite an achievement for a movie filmed in only eight days.
Ready Player One (2018)
A Colorful Road To Nowhere.
Ready Player One (2018).
- Chipper F. Xavier, Esq.
Parzival (Tye Sheridan) must locate three hidden keys to save the Oasis from ruination and control by Sorrento (Ben Mendelsohn). Parzival teams up with a group of unlikely allies - but will their combined skills be enough to save the Oasis?
Director Steven Spielberg (A.I.: Artificial Intelligence, Close Encounters Of The Third Kind & Minority Report) with writers Zak Penn & Ernest Cline deliver a film that is high in visual spectacle but low in plot. The story of Parzival is not unique or original, but that is not where the fault lies: The problem is that the reason for the film's existence is utterly lost amongst the plethora of digital Easter eggs hurled at the viewer. Somewhere amid all the cavorting game avatars, and after the opening act, Ready Player One just starts to exist on its own with no clear relation between the actors' actions and the theme of the movie.
The script puts very little meat on the bones for the actors to work with, and despite their considerable skills, they are all left playing versions of themselves in an endlessly fascinating digital world.
The CGI is amazing, and the movie is fun in a very retrograde way, but the depth of the message is ultimately lost amid the renderings.
Pacific Rim (2013)
Not Wholly Original, But Completely Masterful.
Pacific Rim (2013).
- Chipper F. Xavier, Esq.
In the year 2013, giant alien monsters break through the earth's crust to threaten our civilization. Raleigh Becket (Charlie Hunnam) joins an elite corps of fighters gathered from around the globe to combat the menace. But will the strength, cooperation and scientific genius of all mankind be enough to triumph over this monstrous invasion?
Oscar Award-winning Director-writer Guillermo del Toro (Pan's Labyrinth, The Hellboy Series, The Blade Series) teams up with writer Travis Beacham to deliver a surprisingly successful mix of humor, spectacle, nostalgia and action in this underrated classic. Del Toro's fantasy of gigantic robots and terrifying monsters does not require mass acceptance and universal acclaim - in fact, his derivative opus is so well executed that it transcends its intended genre of science fiction and approaches the canon of high cinematic art. From well-written screenplay to rich thespian talent to mind-bogglingly realistic CGI effects, Pacific Rim goes well-beyond anything previously achieved with regard to the monster-movie genre.
Hunnam is perfectly cast as the anti-hero Raleigh, a man who would rather be doing anything than taking orders, but proves to be a powerful warrior when challenged. Idris Elba as Stacker Pentecost is perfectly cast as an unmovable foil to Raleigh's hot-headed ambitions, while Rinko Kikuchi as Mako Mori provides a romantic interest which strikes a balance between the two powerful characters.
Monster movies have come a long way since Godzilla (1954), but the genre persists partly because of our child-like fascination with size and our fear of the unknown. Pacific Rim takes the genre further than ever before imagined by making its monsters bigger, more powerful and more intelligent, all while raising the production value of the movie to incredible standards, melding together talent, craft and skill to create a movie unlike any monster film before it.
Special effects, talent and cinematography notwithstanding, writer-director Guillermo del Toro has masterfully delivered a must-see monster-movie-event in Pacific Rim (2013), and as many movie goers have come to find out, the best is yet to come.
Midnight Sun (2018)
A Genre Defining Love Story.
Midnight Sun (2018).
- Chipper F. Xavier, Esq.
17 year old Katie Price (Bella Thorne) is graduating high school, but cannot attend the graduation ceremony due to a rare skin condition which makes her sensitive to sunlight. Katie's predictable and controlled environment is suddenly upended when she meets fellow graduate Charlie (Patrick Schwarzenegger). Will their friendship be enough to help Katie conquer her fears of the outside world?
Director Scott Speer (Step Up: Revolution 2012) with writers Kenji Bando and Eric Kirsten have the unenviable task of taking a derivative plot device, seen at least once before in the beautiful movie Everything, Everything (2017), and making it seem fresh, new, relevant and exciting.
From the opening scene, it isn't clear whether Midnight rises to the challenge: Thorne's voice over narrative is probably not the best way to begin the tale. From then on, the actors and cinematography take over, and Midnight develops a unique and enjoyable flavor of its own.
Actors Schwarzenegger (Go North & The Long Road Home), Rob Riggle as Jack and Quinn Shephard as Morgan interact very naturally with Thorne to create a film full of pathos while remaining remarkably free of kitsch.
The teenaged scenes have an authentic feel, and are kept short enough to deliver the point without belaboring the angst, while the adult scenes have a quiet depth that ground the film and characters in reality.
I was prepared to dislike this movie because I loved Everything, Everything (2017) - but Midnight is not that movie. Midnight delivers an unexpected level of professionalism as well as a serious and sober conversation about congenital illness - but you could be forgiven if that message is lost on you, because the love story is Midnight's most important message of all.
Midnight Sun (2018)
A Genre Defining Love Story.
Midnight Sun (2018).
- Chipper F. Xavier, Esq.
17 year old Katie Price (Bella Thorne) is graduating high school, but cannot attend the graduation ceremony due to a rare skin condition which makes her sensitive to sunlight. Katie's predictable and controlled environment is suddenly upended when she meets fellow graduate Charlie (Patrick Schwarzenegger). Will their friendship be enough to help Katie conquer her fears of the outside world?
Director Scott Speer (Step Up: Revolution 2012) with writers Kenji Bando and Eric Kirsten have the unenviable task of taking a derivative plot device, seen at least once before in the beautiful movie Everything, Everything (2017), and making it seem fresh, new, relevant and exciting.
From the opening scene, it isn't clear whether Midnight rises to the challenge: Thorne's voice over narrative is probably not the best way to begin the tale. From then on, the actors and cinematography take over, and Midnight develops a unique and enjoyable flavor of its own.
Actors Schwarzenegger (Go North & The Long Road Home), Rob Riggle as Jack and Quinn Shephard as Morgan interact very naturally with Thorne to create a film full of pathos while remaining remarkably free of kitsch.
The teenaged scenes have an authentic feel, and are kept short enough to deliver the point without belaboring the angst, while the adult scenes have a quiet depth that ground the film and characters in reality.
I was prepared to dislike this movie because I loved Everything, Everything (2017) - but Midnight is not that movie. Midnight delivers an unexpected level of professionalism as well as a serious and sober conversation about congenital illness - but you could be forgiven if that message is lost on you, because the love story is Midnight's most important message of all.
Pacific Rim Uprising (2018)
Now Commencing Eyerolls...
Pacific Rim: Uprising (2018).
- Chipper F. Xavier, Esq.
Jake Pentecost (John Boyega) must step into his father's shoes as leader of the Jaeger team when giant alien monsters once again invade our planet. Is he man enough for the task?
Writer-director Steven S. DeKnight (Daredevil 2015 TV Series) with writers Emily Carmichael, Kira Snyder & T. S. Nowlin seem woefully unprepared for the task of bringing a cinematic project to the big screen. One of the biggest gaffes seen in Uprising is taking a solid plot and pumping it full of vacuous, episodic humor. In fact, the opening scene of Uprising is just as poorly made as the very last scene, which should surprise no one.
Uprising shines when it comes to the giant robot Jaeger and Kaiju monster clashes, but beyond that, there's just not much there to recommend this movie.
This sequel to the masterful Pacific Rim (2013) is not very good - which makes us wonder why we had to wait five years for it. Entertaining? Somewhat. Worth your time? Not hardly.
Tomb Raider (2018)
A Visceral Reimagining Of An "Old", Cult Classic.
Tomb Raider (2018).
- Chipper F. Xavier, Esq.
Lara Croft (Alicia Vikander) is an orphan seeking to make her way in the world after the mysterious disappearance of her father, Lord Richard Croft (Dominic West) seven years hence. When an unexpected discovery unlocks new clues to her father's absence, Lara uses everything she has to uncover the truth, but nothing could prepare her for what she finds.
Director Roar Uthaug (The Wave 2015) and writers Geneva Robertson-Dworet, Alastair Siddons and Evan Daughtery take on the near-impossible task of re-tooling the cult classic Lara Croft: Tomb Raider (2001) starring the inimitable Angelina Jolie. Many teams would have balked at such a task, but Uthaug and company pull off this reimagining with surprisingly fresh and stylish results.
The secret ingredient to this action-packed sauce: Alicia Vikander. Vikander has muscled-up and totally gotten into character for her latest star vehicle, and her Lara is as tough as she is tender. After brilliant, starring roles in movies such as Ex Machina (2014), The Danish Girl (2015) and The Man From U.N.C.L.E (2015), it is no wonder that this femme fatale delivers a lethal cocktail of charisma, wit, personality and strength in Tomb.
Adding yet more flavor to the brimming broth is the supporting cast of Dominic West, Walton Goggins as villain Mathias Vogel, Daniel Wu, and Kristin Scott Thomas. Remarkably, the supporting cast as well do an amazingly competent job of pointing this ship in the right direction.
Set pieces for Tomb are remarkably intricate, from the beautifully filmed streets of London to the untamed wilds of South Africa - there is nearly always something in the background which catches your eye and sets the mind to wander.
If there is criticism to be levied, one need only look to the film's 1 hour and 58 minute runtime, which is stretching the viewer's attention just a tad for this brand of fare.
Tomb Raider, if successful, is meant to be launched as a series, and I for one am eager and curious to see what its next installment has in store.
Love, Simon (2018)
Simon Gets An 'A' For Effort - But...
Love, Simon (2018).
- Chipper F. Xavier, Esq.
Simon Spier (Nick Robinson) is an average high school senior and thespian with a devoted mother (Jennifer Garner), a hip father (Josh Duhamel) and a sweet younger sister (Talitha Eliana Bateman). Simon's three friends are intelligent, witty and kind. The only thing different about Simon is the fact that he's gay and in the closet - and no one knows his secret.
Director Greg Berlanti (Green Lantern), with writers Elizabeth Berger, Isaac Aptaker and Becky Albertalli deliver a finished product which is heavy on the saccharine and low in citrus. It's nearly impossible to be offended by Simon - and that's partially due to the film's family-oriented vibe and uber-safe atmosphere.
Ultimately, this film is likely to offend no one. But is that a good thing? Robinson's Simon is what every young man should wish to be - but there is definitely something missing in his delivery. He's funny, he's handsome, he's sweet and he's likable - but Robison, true sexuality notwithstanding, simply doesn't add enough fire to the character of Simon, and not for one instant did I find him credible as a closeted gay teenager with a huge-ass secret.
The directing and writing for Love, Simon were acceptable, if a bit timid in delivery, but the movie as a whole fails to excite or compel. The supporting actors were all capable, and the cinematography was fine - but a true coming of age story this is not.
Simon is an entertaining movie in small spurts, but when taken as a whole, this film is utterly devoid of suspense, drama, excitement and intrigue. Everyone involved gave it their best, but Simon was just too weak to keep me from yawning.
Sleepless (2017)
Loud, Obnoxious & Derivative.
Sleepless (2017).
- Chipper F. Xavier, Esq.
Vincent (Jamie Foxx) is a police officer and father who stands in the shadows while his ex-wife Dena (Gabrielle Union) begins life anew with another man who has more time for her and their son Thomas (Octavius J. Johnson). When Vincent's police partner Sean (T.I. Harris) sets up a sting operation with a promise of easy money, Vincent suddenly realizes that his life is headed in the wrong direction.
Director Baran bo Odar and writer Andrea Berloff deliver a modern remake of the french film Nuit Blanche (2011) with bombastic results. While Sleepless as an American film is easier to follow for speakers of English, the end result of the re-tooling leaves a lot to be desired.
The good: Jamie Foxx delivers great action scenes, even though they aren't unique and strain credulity. He is compelling as a rogue cop, and probably the crucial selling point of such a movie.
The bad: Even though the movie is set in Las Vegas, the neon colors, bright lights and extra-loud sound effects fail to distract from the basic lack of direction. Action scenes are piled atop one another like flanks of beef at a butcher's shop, and there is more than enough blood here to fill a few swimming pools. Nearly everyone in the movie is mercilessly shot, pummeled or gonad-squeezed, sometimes more than once. All this violence could be entertaining if shaped and contextualized a bit more, but alas - we're treated to a smorgasbord of it as though we couldn't possibly want for more.
Violence has its place at the movies, and can sometimes be entertaining in a cathartic way. The director's job is to give us a reason for the violence, rather than shocking us into submission. Sadly, Sleepless would rather beat us bloody than tickle our fancy - which is a real shame, because this movie could have much more going for it.
If you're bored, be sure to check it out - but this movie would probably work better as big-screen-background-noise to a really bitchin' Saturday night party, where viewers just glance over every fifteen minutes and chuckle.
The Post (2017)
The Beautiful Machinery Of Freedom.
The Post (2017).
- Chipper F. Xavier, Esq.
In 1971 during the sixteenth year of the Vietnam war, The Washington Post obtained a study, later dubbed the Pentagon Papers from a confidential, government-insider source. The study was secretly commissioned by the United States Government, and concluded that the war in Vietnam was unwinnable, and that the war's objectives could never be obtained. Under the threat of injunction and criminal indictment, The Washington Post and its senior staff must decide whether or not to defy the government by publishing the contents of The Pentagon Papers and exposing the awful, bloody truth to the American public.
Meryl Streep delivers an incredibly nuanced performance as Kay Graham, owner of The Washington Post, while Tom Hanks electrifies as Ben Bradlee, Graham's Chief Executive Officer. Together, the two stars deliver one of the greatest historical dramas of this modern age as the freedom of the press is challenged by the United States Government.
Director Steven Spielberg, along with writers Liz Hannah and Josh Singer, manage to inject urgency, timeliness and a desperate sense of purpose into a story we thought we knew. The dialogue never sags, and as we slowly connect the dots in our brains we recognize exactly why freedom of speech and the power of the press are absolutely essential to safeguard our democracy.
The modern-day parallels of current events make this film important - but it is the fine work of the stellar cast which makes this film a triumphant, glorious feast for the eyes, mind and heart.
A Wrinkle in Time (2018)
Great Stars, Wondrous Visuals, Thoughtful Message; Poor Execution, Bland Motivation, Tiresome Movie.
A Wrinkle In Time (2018).
- Chipper F. Xavier, Esq.
Meg (Storm Reid) is an intelligent problem-child and discipline problem in school because her father, Mr. Murry (Chris Pine) disappeared four years ago. Suddenly, her precocious brother Charles Wallace (Deric McCabe) introduces her to three magical beings: Mrs. Whatsit (Reese Witherspoon), Mrs. Who (Mindy Kaling) and Ms. Which (Oprah Winfrey), who promise to send the siblings on a grand journey of self-discovery. Can they unite their powers to make the Murry family whole once again?
Director Ava DuVernay (Selma 2014) and screenplay writers Jennifer Lee and Jeff Stockwell seem determined to bring novelist Madeleine L'Engle's beloved book, A Wrinkle In Time to the big screen. Unfortunately, the result might best be described as a valiant effort.
The good: Child actors Storm Reid and Deric McCabe are adorably well-cast as the Murry kids. The adult actors: Gugu Mbatha-Raw (Mrs. Murry), Winfrey, Witherspoon and Pine take their roles seriously, and I cannot fault their performances. The costumes are sumptuous and the filmography combined with CGI effects is stunning.
The bad: The screenplay drags and fails to establish the proper tension required to invigorate the characters' actions. Miraculously, with all it has going for it, Wrinkle falls flat.
Wrinkle is not a bad movie for its runtime of 1 hour and 49 minutes, but it actually feels like forever, and it seriously misses the mark in its tepid delivery of such an important and timely message.
The Hurricane Heist (2018)
One Helluva Ride!
The Hurricane Heist (2018).
- Chipper F. Xavier, Esq.
Casey (Maggie Grace) is an ATF Officer responsible for safeguarding millions of used dollars being scheduled for de-circulation and destruction. Will (Toby Kebbell) is a meteorologist specializing in storm data collection. The two are forced into an unlikely alliance when a covert band of high-tech mercenaries attack a federal reserve installation at the height of a deadly hurricane.
Director Rob Cohen (Stealth, The Mummy: The Tomb Of The Dragon Emperor), with co-writers Carlos Davis, Jeff Dixon, Anthony Fingleton and Scott Windhauser have a near-impossible task with Hurricane: To craft an enjoyable movie from a ridiculous plot, B-list actors and 2nd rate CGI effects. While the results may not be Oscar-worthy, those of you skilled in disconnecting your critical thinking bone from your funny bone will likely agree that Hurricane delivers in a surprisingly unexpected and exciting way.
Hurricane is not really special or unique in terms of its disaster-themed backdrop - you've seen this movie many times before a-la Twister (1996), Armageddon (1998), The Day After Tomorrow (2004), and 2012 (2009). Arguably, we enjoy disaster films because - what if? The dinosaurs did all perish cataclysmically, right? What Hurricane brings to the table is the depth of character and back-story required to believe its characters, and great skills by the actors involved to wear those characters like a pair of broken-in cowboy boots.
An opening scene solidifies the direction of the film: Done wrong, the film never recovers in the viewer's eyes. When an opener is done well, the viewer will forgive many mistakes and perhaps even enjoy the steaming stew slopped before him. Hurricane gives us a compelling and well-written opening with a young Will and his brother Breeze which works to establish our affinity for the siblings. Fast-forward to adulthood, and we're curious to see how the characters have evolved.
Villains are another important device in a movie's bag of tricks. Dumb villains make us laugh at the movie, while great villains make us admire their tenacity and ability to surprise us. While Hurricane cannot lay claim to Bond-level villainousness, it certainly knows how to throw in a twister or two.
If you're looking for an expansion of consciousness, don't hurry to the box office for Hurricane. If, however, you want a preview of this summer's popcorn blockbusters before the season hits, dig deep into your wallet for snacks and a good old-fashioned whopper of a good time at the movies. You just might be glad you did.
Thoroughbreds (2017)
And The Real Monster Is...
Thoroughbreds (2017).
- Chipper F. Xavier, Esq.
Lily (Anya Taylor-Joy) is a spoiled, rich kid in Connecticut, living the good life at home with her mother and step-dad Mark (Paul Sparks). When her former friend Amanda (Olivia Cooke), a social misfit, is in need of tutoring for college entrance exams, the two girls rekindle their friendship and bond over their shared dislike of Lily's step-dad. Unfortunately, Mark blindsides Lily by threatening to send her to a boarding school far from home, and the girls decide to take matters into their own hands, with disastrous results.
Thoroughbreds is clearly a masterpiece - even when it reveals the disgusting viscera which lies beneath the most attractive human beings. Is "pretty" only something we wear? Is "good" a thing we can see? Do the good guys always wear white? Or is our civility really a mask that we put on and remove at will? Cooke as Amanda clearly and expertly challenges our perceptions as the token sociopath, while Anton Yelchin, in his final screen performance as Tim, rounds out the roster of deplorable characters as a statutory rapist and drug-czar-to-teenagers.
But wait - just when you think you know the direction writer-director Cory Finley wants to take us, the plot shifts, and the true monster is revealed. Cooke and Taylor-Joy shine throughout this lushly filmed nightmare as privileged girls who refuse to succumb to the banality of their exclusive lifestyle. Their acting is effortless and convincing, which makes this story all the more insidious. The genius behind this film is self-evident, but like many great works of art, it proves a bitter pill to swallow in the end.
The Snowman (2017)
A Chillingly Complex Thriller.
The Snowman (2017).
- Chipper F. Xavier, Esq.
Harry Hole (Michael Fassbender) is a renowned police detective in the town of Oslo, Norway. His prowess is the subject of study in classrooms, and his solved cases regularly make newspaper headlines. But when Harry isn't working an important murder case, he gets distracted by alcohol and becomes a falling-down drunk, sleeping on sidewalks, park benches, or wherever else his inebriated feet happen to take him. When Harry's fame grabs the attention of an obsessed psychopath, the detective is locked in mortal combat with a twisted genius that may even surpass his own.
Directed by Tomas Alfredson (Let The Right One In & Tinker Tailer Soldier Spy), co-written by Peter Straughan, Soren Sveistrup & Hossein Amini (screenplay) and based upon the novel by Jo Nesbo, Snowman is a virtual smorgasbord of suspense, intrigue, cinematography and atmosphere. Fassbender brings his A-game to the character of Harry Hole, and is masterfully supported by Rebecca Ferguson as Katrine Bratt, who does an equal part of the heavy lifting. Most of the filming is completed in Norway, which adds a surreal depth to the film that might not have been achieved at another location. Unfortunately, all of the spoken dialog is in American English with no Norwegian subtitles, and all references to the Norwegian language, down to the writing on police vehicles, has been removed. Also, it is rumored that production was rushed, which resulted in some scenes found in the book not being filmed at all, and some filmed scenes which were added to trailers were not included in the finished product.
Additionally, this film suffers from a lethargic second act, which is sure to cause the movie to drag for less attentive viewers. The great thing about Snowman is the fact that despite its less-than-perfect end result, it is more than the sum of its parts - this movie is far and away one of the best thrillers of 2017. The appreciative and patient film lover will be rewarded with a remarkable amount of violence, gore and an extremely well-crafted villain - in fact, you may never guess the antagonist's identity until Snowman's final act. If you believe an appreciable villain must be as maniacal as the hero is brave, then you will not be disappointed with the result of this movie. Come for the ambiance, but stay for the depravity!
Death Wish (2018)
Soulless Entertainment.
Death Wish (2018).
- Chipper F. Xavier, Esq.
Dr. Paul Kersey (Bruce Willis) is a successful trauma surgeon in Chicago, Illinois with a beautiful, postdoctoral wife (Elizabeth Shue) and a bright, athletic daughter (Camila Morrone) just admitted to college. Their upper-class world is violently shattered when a group of home invaders take Kersey's wife and daughter hostage in their suburban home.
Death Wish, directed by Eli Roth (Cabin Fever, Hostel, The Green Inferno & Knock Knock) with a screenplay written by Joe Carnahan, makes a valiant attempt at bringing back Willis' fading glamour by handing him a role in which he has inarguably been typecast: That of the scowling, vengeful every-man come hero. The Die-Hard series, The Red series, The Expendables series and Looper were very successful movies, partially because they utilized Willis in a way theater patrons find comforting and cathartic. Unfortunately, Roth & Carnahan have not given Willis enough material to make Death Wish anything much more than a forgettable cash-cow for Hollywood.
The Good: Bruce's scowl still works - whether or not it's Oscar-worthy is immaterial. His commitment to the role appears genuine, and his motivations are well-crafted, if a bit comical at times. Vincent D'Onofrio does a workable and sympathetic turn as Kersey's ne'er do well brother, and though Morrone isn't given much to do, her performance as Kersey's daughter is not half- bad. The action sequences in Death Wish, such as they are, come across as suspense-laden and properly timed. The city of Chicago is filmed quite well. Roth even inserts a "slide-bite" scene into the movie for a dose of realism as Dr. Kersey begins to familiarize himself with discharging a Glock.
The Bad: Death Wish is a remake with no obvious reason for its existence, other than to fling Willis up into the roster of older actors making their second-coming as action stars. Unfortunately, Keanu Reeves (John Wick series), Denzel Washington (The Equalizer series) and Charlize Theron (Atomic Blonde) have arrived first, and they have done it better - much better. Don't blame Willis - he does all that is asked of him - but the negative portrayal of African-Americans as societal blight, the unbelievable premise of a medical Doctor randomly murdering criminals with a handgun, the bumbling way Chicago detectives are portrayed and the Hollywood ending do not add up to a blockbuster of a movie.
I enjoyed Death Wish, but I couldn't help but wonder how the film expects to compete with the great action movies it emulates without brilliant writing, a fantastic plot and / or jaw-dropping physical action sequences. The answer is that it simply cannot.
Red Sparrow (2018)
Marvelously Machiavellian.
Red Sparrow (2018).
- Chipper F. Xavier, Esq.
Dominika Egorova (Jennifer Lawrence) is a prima ballerina for the Bolshoi Ballet Company. After a freak accident which abruptly ends her career, Dominika is forced to work for the state department of Russia in order to support herself and her mother. When Dominika's uncle Vanya (Matthias Schoenaerts) gives her an assignment she cannot refuse, how far will she go to ensure the safety of her family?
Reuniting Jennifer with director Francis Lawrence (no relation), Red Sparrow is her most ambitious film to date. Adapted from the book written by retired CIA operative Jason Matthews, the movie fairly crackles with sex, depravity and modern-day realism.
If the trailers had you thinking this movie is a hybridized mash-up of Atomic Blonde, Black Swan and Molly's Game, you'd be only one-third right. Suffice it to say that while Red incorporates elements of all those thrillers, it is unique in its delivery and fresh in its style.
Lush cinematography, intriguing dialog and a convoluted plot make this a true thinking-person's espionage thriller. Jennifer Lawrence is in nearly every scene, and her character burns up the screen with a heartfelt sense of purpose - even when we don't quite know what that is. Her development as an actress may not yet be complete, as Lawrence shows the audience we have only begun to scratch the surface of her talent.
Clocking in at 139 minutes, this movie may test the patience of the average thrill-seeker. True movie lovers, however, will likely leave the theater thirsting for more.
Thor: Ragnarok (2017)
Good, Messy, Seventies-Inspired Fun.
Thor - Ragnarok (2017).
- Chipper F. Xavier, Esq.
Loki (Tom Hiddleston) has banished Odin (Sir Anthony Hopkins) on earth, Thor (Chris Hemsworth) discovers upon his return to Asgard after a prolonged absence. With the help of Dr. Stephen Strange (Benedict Cumberbatch), Thor soon locates Odin, only to discover the true first-born of Odin - a sister named Hela (Cate Blanchett), The Goddess Of Death, is bent upon the destruction of the nine realms and her place upon the throne of Asgard.
Hemsworth as Thor is a member of the Marvel group of superheroes - he also has the special classification of deity. Imagine my surprise when director Taika Waititi allowed Hemsworth to improvise, inserting comedic one- liners throughout Ragnarok, the movie which completes the Thor trilogy. Is it a superhero movie, or a comedy? The fact that it vacillates effortlessly between the two classifications is a testament to the talent of the ensemble cast.
The year 2016 brought forth a plethora of genre-bursting comedy-inspired Marvel movies. The phenomenal success of Deadpool (2016), Doctor Strange (2016) and Suicide Squad (2016) was prophesied by the arrival of Ant-Man in 2015 and Guardians Of The Galaxy in 2014. After Guardians Of The Galaxy: Volume 2 and Spider-Man: Homecoming in 2017, it was clear that the industry viewed comedy as a key to its financial success at the box-office. But is comedic intervention a welcome distraction in movies meant to immortalize the human spirit, as larger-than-life heroes right the wrongs of our society on the big screen? If you enjoyed Ragnarok, the answer is clearly yes.
Blanchett as Hela is the straight man, while Hemsworth (Thor), Mark Ruffalo (The Hulk), Tessa Thompson (Valkyrie) and Hiddleston (Loki) all take turns poking fun - and holes - into the plot with well-timed puns, jokes and quips - and for the most part, this strategy works. Writers Eric Pearson, Craig Kyle and Christopher Yost give the actors plenty of combustible material to work with, but rumor has it Director Waititi allowed the cast to improvise 80% of the lines on their own. When you compare Ragnarok to Thor: The Dark World (2013), there is a clear difference in tone, style and excitement, with the obvious winner being Ragnarok.
Other treats throughout the film are the re-imagining of Thor's abilities sans-hammer, excellent use of female villains and protagonists, the vibrant colors of the set pieces and end-credits, and the integration of Dr. Strange into the plot. With Marvel thinking on its feet and responding positively to what works in terms of audience satisfaction, there's no telling how far the comic-book-movie industry will be able to go in the near future.