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Rise of the Planet of the Apes

August 19, 2011 by

All too often it seems Hollywood has a penchant for releasing a ‘Huh? They’re really making that??’ movie.  In fact, my response to the news of a prequel to Planet of the Apes was just that.  I didn’t see the need to revisit a franchise that had laid dormant for a decade.  Of all the summer blockbusters released over the last three months, this one interested me the least.  Go figure that Rise of the Planet of the Apes is one of the best movies of this summer or any summer.

James Franco plays Will Rodman, a geneticist on the verge of a medical breakthrough.  He has designed a serum that has the potential to cure Alzheimer’s disease.  This venture has impassioned him as he watches his father (John Lithgow) fall victim to the illness.  After testing on apes, the research proves that the cure is functional and ready for human trials.  Unfortunately, a laboratory accident prevents potential investors of the drug from approving it.  Will’s project faces termination, as do the apes.  Unable to kill a newborn chimp, Will takes in little Caesar only to see that the drug has been genetically passed on from the chimp’s mother.  Will documents Caesar’s increased brain activity and motor functions over the course of several years.

Caesar has extraordinary capabilities.  He can write, read, use sign language, reason, and protect.  It doesn’t take long for him to realize that outside of Will’s home, the rest of society sees him as a dangerous pet—unequal to that of a human.  He feels the isolation of being an outcast and is ultimately taken by the state to a facility for apes after a violent accident.  Caesar is abused and mistreated, as are the other apes in confinement.  He sees only one solution to free his companions and stop the maltreatment of his kind.

If you thought Rise would be a noisy spectacle without a brain in its head, let me surprise you—this could be the thinking man’s movie of the season.  Directed by Rupert Wyatt, the film restores this franchise and provides an ample amount of emotion and heart to the blockbuster.  Forget about the humans onscreen—this movie is all about Caesar, an impressive digital creation of motion capture technology played by Andy Serkis of Lord of the Rings fame.  Serkis gives Caesar a real performance, providing the apes a reason to become angry, impassioned, willed, and ultimately the dominant species of the planet.  Wyatt succeeds in combining a rock solid story with heartfelt drama and impressive special effects that will likely contend as the year’s best.

The film also draws up important questions about the limits of science and where we draw the line in the quest to advance medicine.  Tim Burton’s 2001 Planet of the Apes only flirted with the idea of one species being a slave to another as a matter of moral significance.  Rise dives in head-first and has the audience weigh out the pros and the cons.  Of course the film leads up to a massive ape revolution that has been showcased in the advertisements, but the writers and Wyatt make more out of this golden opportunity than a stage of destruction—they’ve given us a story of an ape fighting for his place in this world.  This left me wondering if there could be a more human film this season than Rise of the Planet of the Apes.

[Rating:4.5/5]

Filed Under: Action, Drama, Science Fiction Tagged With: , , , ,

Cowboys & Aliens

August 7, 2011 by

Jake Lonergan (Daniel Craig) enters the town of Absolution in 1873 as a man with no name.  In fact, he’s a man without an identity.  He doesn’t know his own ‘who,’ ‘where,’ or why.  What he does know is that he can speak English, he’s wounded, he can easily disarm and maim a group of men singlehandedly, and he has a permanent shiny bracelet on his wrist.  Soon enough he is made aware that he is a wanted murderer and thief—what he did exactly he can’t recall.  Luckily for him he angered the wrong fellow, Dolarhyde (Harrison Ford), a wealthy rancher trying to industrialize Absolution.  Dolarhyde’s son Percy (Paul Dano) is a wreckless and cowardly twit.  The town has had about enough of him and Lonergan fails to last even minutes in his presence without putting him in his place.  When both Jake and Percy finds themselves under arrest, Dolarhyde comes to rip them both from the hands of the law.  Things aren’t boding well for our antihero until bright lights peer in from above.  The bracelet on his wrist starts blinking.  Enemy alien spaceships zoom in overhead and begin snatching people up from the street, including Dolaryde’s boy and the town sheriff.  The cowboys are forced to chase after their loves ones that were abducted by ‘demons.’  Lonergan is coerced into joining Dolarhyde and his posse as he searches for answers to his past.

While part of me feels that Director Jon Favreau could have just as easily skipped the whole ‘aliens invade’ plot and delivered the best straight-up western of the last decade or so, I would be lying if I said I didn’t still enjoy the heck out of Cowboys & Aliens.  Favreau could’ve turned this into a gooey camp fest, but instead he’s taking things dead on serious.  The threat is immense.  The violence is gritty.  Harrison Ford and Daniel Craig are bent on saving the Old West and they deliver top-dollar performances.  Even with such silliness in the plot (and there are a few howlers and head-scratchers—some of them hybrids), the movie plays like it’s a full-out invasion assault.  I rather appreciated that even if it seems other viewers wanted a more self-aware picture.  Sorry folks, there’s no snakes on this plane.

Favreau improves on Iron Man 2.  He feels much more like a competent action director.  Cowboys & Aliens has several impressive gunfights and aerial battles, giant special effects, and it moves at great speed.  In between the lightning and thunder, we get actors doing something great—called acting.  Ford, Craig, Sam Rockwell, Paul Dano, and others have interesting dialogue and several moments of humor.  I really felt like Favreau and his team put together the ideal summer popcorn film.  Cowboys, aliens, guns, pow and laughs—what more can you want?

[Rating:4/5]

Filed Under: Action, Western Tagged With: , , , , ,

Harry Potter and the Deathly Hallows Part 2

July 16, 2011 by

The final bout between good and evil in J.K. Rowling’s majestic universe comes to a close after eight films.  With Harry Potter and the Deathly Hallows Part 2 there isn’t much need for an in-depth criticism on the final movie (or half-movie).  Rather I am provided a welcome opportunity to reflect on the series as one of the most impressive accomplishments committed to film.

Few literary adaptations could translate so well into eight thrilling motion pictures.  Rowling’s pages have not only given youngsters a hunger for reading, but cinematic magic has also applied sight and sound to that text over the course of 10 years—and to universal acclaim.  Audiences love these books and they love these movies.

As a capper to Harry Potter, Deathly Hallows Part 2 is of course bittersweet.  Harry, Ron and Hermione continue their search for the remaining horcruxes that contain pieces of the dark Lord Voldemort’s soul, pieces that make him immortal.  Hogwarts is under the iron fist of betrayer Severus Snape until Harry returns to defend Hogwarts and prepare for his final confrontation with Voldemort.  Secrets are revealed.  Lives are lost.  A looming doubt about Harry’s fate (for those who haven’t read the novel) hangs over two hours.

The last entry falls under the direction of David Yates once again.  Having helmed half of the installments of the series, he has proven ever-capable.  Chris Columbus brought the innocence and sense of discovery to The Sorcerer’s Stone and The Chamber of Secrets.  Alfonso Cuaron brought a refreshing angst and eccentricity to The Prisoner of Azkaban.  Mike Newell allowed for a sharp transition to the gloom of the series with The Goblet of Fire.  Yates has since handled the darkest corners of the Harry Potter universe as the fun and games have been exchanged for Harry’s personal endeavor to save both the world of magic and the world of humans.

Since 2001, the films have remained remarkably consistent even as the actors have aged a great deal and the tone of the story has evolved.  Deathly Hallows Part 2 continues the tradition of solid craftsmanship.  Sure, it hurts the film that it is really only half of a film.  In fact, I made the mistake of not revisiting Deathly Hallows Part 1 before jumping into Part 2.  For those on the fence about needing a refresher beforehand, I strongly recommend it.  Yates has split one 4-hour-plus movie into two parts and he doesn’t leave us any footnotes along the way.  As a standalone installment, Part 2 really hurts without watching Part 1 along with it.  The tension and rising action have to be brought in the pockets of audiences and applied from the get-go.  While that may not be a fair criticism of the movie as it is intended as part of a larger story arc, it is worth noting.

In terms of ending the saga, the film does a perfectly satisfactory job.  The actors are on their game.  The special effects and action sequences are grandiose, and yet interestingly punctuated by several extended moments of quiet.  I may have expected more of a thrilling showdown between Harry and Voldemort, but the buildup has been over seven previous films so I can understand that anticipation may have gotten the best of me.  What I enjoyed most about this final entry were the surprises along the way and the tender moments among the notable characters of the series that earn their last minutes in the spotlight.

I would say I’ve enjoyed other chapters from this saga more than Deathly Hallows Part 2, but as a sendoff to the Harry Potter universe, the film is again very well-made and audiences are going to love it and will likely still be hungry for more.  The hint of future installments of J.K. Rowling’s world have been set.  Even if they never come to fruition, at least her accomplished works are ready and available to young readers.  As for the future of Harry Potter, I’m willing to bet on a return of sorts for a new generation ready for magic.

[Rating:4/5]

Filed Under: Action, Mystery Tagged With: , , , , , , , , ,

Super 8

June 11, 2011 by

Call it an ode to the Spielberg days of past.  Label it an homage to 70s and 80s blockbusters.  Compare it to E.T., The Goonies, and Close Encounters of the the Third Kind.  Whatever you do, remember Super 8 as more than just a nod to great movies—Super 8 is a great movie.  Oh, and if you haven’t seen it—do see it—get up and go now!  Is that ‘critical’ enough?

Yes, I flat out loved this undeniably fresh tribute to the glory days of cinema.  Producer Steven Spielberg and Director J.J. Abrams (Star Trek) have ditched mayhem-induced F/X filmmaking and have instead decided to tread sacred waters: “storytelling” that utilizes F/X-filled mayhem at no expense to character development.  This is a pure bred science-fiction spectacle, and it’s impossible not to at least sink your teeth into the wonderful nostalgia.

Luckily Super 8 is more than just a plate of nostalgic reflection on old school sci-fi.  Abrams has unleashed a pet project of his centering on a group of elementary youngsters in 1979 Lillian, Ohio.  Joe Lamb (Joel Courtney) is trying to make a movie with his pals—a zombie outbreak short film they would like to enter into a local competition.  The boys find their sole actress and illegal chauffeur in Alice Dainard (Elle Fanning).  Joel is instantly taken with her.  Shooting the picture at a train station in the evening, the kids become engulfed in something far more terrifying than a phony zombie apocalypse.  They are caught in the middle of a disastrous train crash instigated by a mad truck driver who turns out to be the students’ science teacher.

The kids are shocked, scared, and chased off the scene by military troops.  Joel has seen more than he fully realizes.  Something escaped the rubble… something that perhaps should not have escaped.  Joel and his cohorts know a great mystery and conspiracy is taking over their small town, but how will they find out what it is, and more importantly, who will believe them?

A handful of people begin to disappear.  Pets are fleeing to the next county.  The military start to dig about the town.  Several pieces of machinery seem to get snatched away.  Electricity fades in and out.  Joel’s father Deputy Jackson Lamb takes on the burden of watching over Lillian as the sheriff has gone missing.  Little time passes before Jackson becomes as cautious and curious as his son about the sinister activity and conspiracy overtaking his home.

Abrams fills each frame with such a fond love and affection for the wonder of movies.  Super 8 overflows with memorable scenes and lovable characters that make the mystery and suspense of the plot all the more interesting.  Never once did I feel the film’s urgency to cut to action and special effects in case things became too plodding.  The reality is that Super 8 is edited to near-perfection.  The scenes have been constructed tightly and crisply.  The tension abounds and the scares thrill.  The dialogue never seeks to simply advance the plot, but instead works to penetrate and reveal the characters.  A ready supply of humor and authenticity shines through every frame as each of the young actors carry the movie.

And what about these young actors?  They would give most A-list stars a run for their money, particularly Elle Fanning and Joel Courtney.  These two happen to be dynamite actors—convincing, convicting, believable, and consistently on their game.  The film offered me a sweet little reminder that children can be just as brilliant of actors when they are the right actors under the proper direction rather than just cute faces.

As a science-fiction mystery, the film couldn’t be more entertaining.  If one is quick to dismiss this as a high-profile director’s attempt to simply replicate an idol’s bread-and-butter style of filmmaking, then so what?  Everyone sits around and complains: “They just don’t make them like they used to.”  Abrams has stepped up where other directors have shied away and delivered a movie that audiences can get wrapped up in and fall in love with.  Sure, Super 8 has obvious similarities to E.T. and several other films, but I can’t fault Abrams for wanting to rekindle a dying flame.  With this feature he has brought a heavy dose of spirit and magic back to cinema without beating audiences over the head with repetitive bass-booming action and special effects.  He kindly reminds us that is never what it’s been about.  Cinema has always been about telling good stories and utilizing the best possible resources at hand to do so.  Abrams effectively demonstrates that the soul is not lost from a megawatt blockbuster, at least not while he’s making movies.  Rather than a monster showcase giving up all details (a monster that is slowly but surely revealed), Spielberg and Abrams have us consider looking up at the sky in wonder as they do the same.  If you are going to see one movie this season, make it Super 8.

[Rating:5/5]

 

 

 

Filed Under: Action, Mystery, Science Fiction Tagged With: , , , , , ,

The Hangover Part II

May 27, 2011 by

I never quite saw the lightning the first time around, but who could miss the rumbling thunder? The Hangover storm raged over the summer of 2009, becoming the highest-grossing live-action comedy of all time, and later winning a Best Picture (Musical or Comedy) Golden Globe. A sequel was apparently in the works before the first film was even released. Unfortunately, as we all know too well, lightning rarely strikes twice.

If a motion picture dictionary were to define the term ‘sequelitis,’ The Hangover Part II would be pictured alongside it. And that’s the least of the film’s problems. Perhaps I’m predisposed to loathe this sequel, and I will openly admit to that. While watching Part II, I remembered sitting in a History of Comedy class two years ago and the professor asked the students to list the five greatest comedies in film or television of all time. To my astonishment and complete disagreement, The Hangover swept the votes with nearly ¾ of the students naming it the funniest movie ever made. Say what?

Obviously I missed the boat. In my humble opinion, for every joke that the original Hangover hit spot-on, there was about ten that flopped. Audiences not digging Part I will certainly not have a change of heart with Part II. In fact, even if you enjoyed Part I, you will likely find yourself less satisfied this time out. The blueprint for this Hangover is nearly identical to the last. Expecting as much, I still found the movie to be a disappointment as a (keyword: funny) comedy.

Stu (Ed Helms) is getting married in Bangkok to his beautiful young bride, Lauren (Jamie Chung). The entire wedding party and guests are being flown out to a resort in Thailand, including Phil (Bradley Cooper), Doug (Justin Bartha), and—regrettably for Stu—Alan (Zach Galifianakis). Phil convinces Stu to have one beer with the guys at a bonfire on the beach. One beer and some marshmallows later, fade to black. Phil, Stu, and Alan wake up in a dump hotel somewhere in Bangkok feeling foggy, looking disheveled, and presumably clueless. Alan’s head is bald. Stu has a Mike Tyson tattoo on his face. And a monkey is loose in the room.

What’s worse? A severed finger revealed to belong to Lauren’s sixteen-year-old little brother Teddy (Mason Lee) has emerged. The guys have no idea what happened, and Teddy is nowhere to be found. It has happened again. Panicked and desperate, the Wolfpack runs wild through the streets of Bangkok piecing together the previous evening’s wild events in order to find their young missing companion.

So… instead of Vegas we have Bangkok. A missing tooth is now a tattoo on the face. A tiger in the hotel has changed to a drug-dealing monkey. The baby has been replaced a by a silent monk in a wheelchair. Missing Doug is now missing Teddy. Stu’s female prostitute in Vegas has been exchanged for a transsexual prostitute. An annoying Asian mobster leaping out of the trunk of a car is now an annoying Asian mobster leaping out of a freezer. Sorry to spoil some of the events, but being that you’ve seen the first Hangover, you won’t be surprised by much of anything happening this time around. Hangover Part II simply does everything the first film does while lowering the bar on all counts. This one is darker and more twisted with absolutely nothing new to offer audiences. Shock has completely dominated over surprise this time, and for that very reason I found the film to be a near-total disaster.

That being said, keep in mind the 2009 original did little for me. While I did find a few good laughs, overall I wasn’t a fan. Sticking close to what worked before, the three principal characters remain. The writers don’t even let Bartha’s character in on the mayhem again this time around—and he’s not even the missing friend. He soberly awaits the return of his friends back at the resort. At least his addition could have given viewers a change of pace. Since no character other than Alan is humorous, which is again the case, the film relies on outrageous situational comedy. Unfortunately once again, most of the situations are violent and off-putting rather than clever and funny. Or maybe I just have no love for these characters and what they can never remember.

For those with Hangover love, Hangover II will probably be another winner even if you don’t find it as funny as the first (which I can almost guarantee). No one involved in the sequel likely had the mindset they were topping the first picture. I’m sure tears of dollars signs were running down their joy-filled faces as they signed the dotted line for another greenlight. The script is plagued with flat-lined jokes that continued to fall well below the least common denominator while remaining tightly within the formula of Part I.  If only the film would’ve been released in 3D… That way Alan could have leapt out of the screen and given me one of those marshmallows. Then I could wake up tomorrow morning without the slightest clue that I saw The Hangover Part II. Oh wait… who am I kidding? That would be straying too much from formula.

[Rating:1.5/5]

Filed Under: Comedy Tagged With: , , , , , ,

Pirates of the Caribbean: On Stranger Tides

May 22, 2011 by

Yo-ho-ho.  A cash cow for Disney.  Arguably the most lucrative and popular financially viable franchise sets sail… again four years following the last outing.  Pirates of the Caribbean: On Stranger Tides marks the third sequel, and there may be more yet to come.  Why would actors Geoffrey Rush, Kevin McNally, and Johnny Depp want back in?  Probably for the same reason series regulars Keira Knightley and Orlando Bloom jumped ship.  The series has ran its course and claimed plenty of booty, but there are still air pockets of gold left to mine.  What life could be left in the franchise?  Only the scarcest of signs actually.

Depp is back in full form playing the iconic swashbuckler we all adore.  Capt. Jack Sparrow is again a wanted man when he is ordered by the King of England to reunite with Barbossa (Rush) on an expedition to discover and secure the Fountain of Youth.  Rumors have been spreading that Jack is assembling a crew in secret to embark on his own journey.  Sparrow becomes puzzled by the talk and comes to realize an ex-lover has been impersonating him.  Her name is Angelica (Penelope Cruz), and she’s found herself first-mate and daughter to Blackbeard (Ian McShane), a sorcerer of a pirate aboard a ship with supernatural power.  Sparrow is duped into joining Angelica and Blackbeard, while Barbossa and his Englishmen as well as enemy Spaniards trail close behind.  Along the way, Jack must play for multiple sides—remaining under the watchful eye of Blackbeard while secretly keeping the English under little speculation.

In all honesty, franchise writers Ted Elliot and Terry Rossio bring little to the table as far as the scale of the journey goes.  The film delivers most of its goods within the first 30 minutes as our scurvy hero dodges English capture through a series of elaborate escapes and classic Jack Sparrow antics.  Once he meets up with Angelica and hits the seas with Blackbeard, On Stranger Tides loses its stride and becomes an increasingly long lull of weak plot threads.  The actual quest for the Fountain of Youth is such a disappointment.  I felt as though none of the characters had a genuine interest or drive in finding it.  There’s some talk of Blackbeard wanting to find it to potentially save his soul, however, it’s never a pressing matter.  Barbossa cares none for it.  He wants revenge on a particular foe.  Angelica seems to be after it for her father’s sake, but since he doesn’t care so much, why should we?  I really don’t think the writers thought this one out.

Making matters worse is the fact that nothing particularly memorable or exciting happens throughout the film.  The different groups of treasure hunters encounter a horde of deadly mermaids, but that’s about all the film has to offer audiences that could be considered new or remotely memorable.

This sequel has been directed by Rob Marshall (Nine, Chicago).  I will commend him on tightening up the story and presenting a much more simple and logical narrative than Gore Verbinski’s last venture At World’s End.  However, as disappointing as many audiences found the two-part sequels from 2006 and 2007, I can’t imagine them finding a more refurbished product with On Stranger Tides.  ‘Stranger’ this film is not, and if the last two predecessors had anything going for them—it was that they were at least simultaneously odd and interesting, while also boasting several impressive and memorable effects-filled action sequences.  The previous chapters were way ahead of On Stranger Tides in terms of creativity, and when they failed, they did so grandly.  This chapter storms in and teeters out with little more than a sigh.

Despite the film’s many shortcomings, I can’t fault Depp.  He delivers as always, and the Sparrow character still entertains in high fashion.  Unfortunately his movies aren’t keeping up with him, and while On Stranger Tides will undoubtedly make less than any of the previous Pirates, there will still be plenty of coin to lap up—warranting audiences another sequel.  My suggestion?  Ditch Marshall.  Bring back the strangeness, the surprise, and the suspense.  Savvy?

[Rating:2.5/5]

Filed Under: Action, Comedy Tagged With: , , , , , ,

Thor

May 14, 2011 by

The Marvel universe continues its expanse as Thor plunders into theaters.  The god of thunder comes from Shakespearean-auteur Kenneth Branagh who blends dynamics of action and character to create one of the better superhero thrill rides this side of The Dark Knight.

Riding the lightning as the title character is Chris Hemsworth in his first major leading role, and I must say, like Downey of Iron Man, the lead actor makes the movie. Hemsworth owns the character, he owns the film, and he will surely own this franchise.  Balancing out the silliness of the plot and otherworldly English of proper, Branagh’s newfound star plays Thor, the son of King Odin (Anthony Hopkins)—ruler of the Asgard realm.  About to be named heir to the throne during a planetary ceremony, the walls of Asgard are breached by enemies of another world.  Luckily the mighty fortress is protected, but Thor isn’t satisfied.  Egged on by his younger brother Loki (Tom Hiddleston), Thor becomes impassioned with delivering the intruders a message and sends out with a group of warrior pals to meet his foes at their doorstep which ignites a war of the worlds.  Thor and his comrades are vastly outnumbered as King Odin comes to the rescue.  Aggravated with his son’s arrogance and recklessness, Odin strips Thor of his metaphysical abilities and casts him out to Earth along with his powerless weapon of choice—the mighty hammer.

Now stranded on Earth, the mighty warrior enters the lives of a team of physicists led by Jane Foster (Natalie Portman), dodging SHIELD authorities in the process.  There’s a lot of hooey talk of portals and disturbances in the upper atmosphere as the studio is desperate to explain the existence of Thor from a scientific perspective—mainly to tie him in with the ‘Earth-bound’ avengers Iron Man, Hulk, Captain America and others.  Once Jane accepts her discovery of a chiseled slab of man as a warrior god, Thor’s jealous younger brother no sooner sends enemies to Earth to erase the existence of his stranded sibling once and for all.

As a studio tentpole and comic-book adaptation, Thor is far better than anything we would’ve seen ten years ago.  Writers have been approaching this material with earnestness and passion, determined to deliver first-rate products.  Because of this, audiences have been spoiled with such impressive offerings as the first Iron Man, the new Batman films, Spider-Man 2 and X-Men 2, that we sort of forget that these movies can’t all necessarily be A+ features.  Thor, however, is more in line with the latest trend of quality superhero films than other stink piles of recent memory (Fantastic Four, Ghost Rider, Elektra, X-Men Origins: Wolverine).

Special Effects and action can be hit-or-miss as far as first-rate techs go, but the sequences are consistently involving.  Thor’s world is particularly designed and detailed, giving us a sense of the character’s background and struggle.  The characters are particularly well-developed, especially those occupying Asgard.  The actors do their best to participate in a magnum opus of silliness, with straight faces and a sense of fun at the same time.  Thor only seems to come up short when much of the story centers on Asgard rather than forces that threaten our planet.  Once the god of thunder finds himself stranded on Earth, his human companions stir up comedy and human interest, but the movie begins to lull periodically.  That’s alright with me.  Branagh gives his film time to settle down and breathe without relentlessly retreating to attack mode.  Since the film is designed to lead straight into The Avengers a year from now, I’m certain Earth will finally see Thor protecting our vulnerable little world to great extent.

As Marvel continues to conjoin these franchises, I’m curious to see how Captain America, Thor, Iron Man, and the Hulk survive once the fellowship is broken after Avengers rakes in hundred of millions of dollars.  Iron Man 3 is already in the works, as is a sequel to Thor.  Luckily, Thor seems to have more story to tell as the character relationships have space to blossom, specifically between Jane and Thor.  The filmmakers took notes from the first Iron Man as Stark and Pepper slowly but surely evolved their relationship.  Romance and sparks only tease the audience throughout most of Thor‘s first outing, leaving us wanting more.  Hemsworth and Portman have plenty of chemistry, and that’s where Branagh succeeds in delivering a superhero film about likable and believable characters amidst an outrageous plot, dorky costumes, and oddball creatures.  Forget about the whirlwind of action and useless 3D conversion (yes, skip the 3D).  Marvel and Branagh have given us another sensational hero and a major star to fill his shoes.  Bring on another round.

[Rating:3.5/5]

Filed Under: Action Tagged With: , , , , , , , , , ,

Fast Five

May 7, 2011 by

The Summer movie season has kicked off a week early with Fast Five, sneaking in the schedule a week ahead of Marvel’s Thor.  Fast Five (for the uninitiated) is the fifth installment of The Fast and the Furious franchise—a series of films that at one point had lost its two leading stars Vin Diesel and Paul Walker.  Once both men needed career revivals two years ago, Justin Lin, the director of Tokyo Drift (the third installment) brought back Diesel and Walker for the most lucrative film in the franchise.  Now that it has been ten years since the original film debuted in 2001, I am shocked to find this franchise finding any relevancy in a busy market.  Look at how Scream 4 was recently burned alive.  But I suppose if you build a flick around macho guys, babes, fast cars, guns, and explosions, audiences will find it.

Fast Five picks up where Fast and Furious left off.  Dominic Torretto (Vin Diesel) has been convicted of his past run-ins with the law and is off to prison.  Do you think he gets there?  Neither did I.  Former Fed Brian O’Connor (Paul Walker) and Dom’s sister Mia (Jordana Brewster) take on a major rescue operation involving the rollover of a bus carrying the prisoners.  The team reunites in Rio for a heist of pricey sports cars.  The plan is ridiculous—torch the side of a train moving at 70 mph or so, align a moving loading ramp along the side, and drive the cars from inside the locomotive off the train via the ramp.  Unfortunately for the gang, the men they are working with have alternative plans, and the job goes sour.  Dom and Brian escape in one of the stolen cars (in a ridiculous physics-defying sequence) and soon realize they are in possession of a computerized microchip installed in the vehicle that has the personal accounting information of the notorious druglord they were pulling the job for—worth $100 million.  Dom sees this as an opportunity to pull off “one amazing last heist that will have him walk away from crime forever.”  Brian, having just realized he is a father-to-be with Mia, is down.  But they need to assemble a team, featuring a herd of F&F series veterans: Tyrese Gibson, Chris ‘Ludacris’ Bridges, Sung Kang, and others.  The band of thugs meet up in Rio to plot the smash-and-grab, but the stakes become greater as a Special Forces strike team led by Hobbs (Dwayne Johnson—bulky and sweaty as ever) is on the trail of Torretto and O’Connor, and will do whatever it takes to bring them down.

If Fast Five is to be enjoyed, it can only be enjoyed as a cheesefest.  I still don’t know if I actually liked it, however, I can say I was entertained.  The series has been off and on for me, but it never quite works without Vin Diesel behind the wheel.  Luckily Justin Lin has decided to shift the series and turn it into a straightforward action franchise and shed much of the street racing antics.  We still get some of that, and several shiny autos, but F&F is now all bang-bang mayhem with lives at stake.  The action reminded me of Peter Berg film.  It’s gritty, intense, fast-moving, merciless—all the while in a PG-13 landscape.  A lot of people get brutally killed in Fast Five, but there is little-to-no bloodshed to be seen.  The ‘heroes’ continually manage to narrowly escape being hurt or killed as bands of assault-rifle wielding good guys and bag guys pursue them, so much so that it doesn’t take long for them to mirror a pack of roadrunners being chased by a bunch of witless coyotes.  The mano-a-mano brawl between Diesel and Johnson (soon to be infamous) has them bludgeoning each other to pulps, but there is hardly  a blood drop, and by the next scene they are just fine.  I picture these two freight trains crashing into each other in a very impressive and violent duel, and walking away without a dent.  It doesn’t make sense at all.  But, hey, the franchise wouldn’t sell as an R-rated film.

In the end, Lin’s film is a walking vegetable.  It may be completely brain-dead, but it sure has a pulse.  Luckily the man knows how to stage action sequences and film them in such a way that the audience can comprehend what is going on and to whom it’s happening.  I appreciate a visual style that makes sense in a market so influenced by those Jason Bourne films.  Granted, the action in Fast Five is completely impossible—and I won’t dare to spoil the outrageous howlers of sequences boiling over in this installment—but at least you can follow it and appreciate it as an over-the-top exercise in macho excess.  Diesel and Johnson bring charisma and presence to the table and ultimately make this movie, one that’s about 20 minutes too long and full of actors meant to ‘function’ rather than ‘act.’  So if you’re in for some hich-octane stupidity, constant eight-word catchphrases, and a series that is now dangerously becoming the next Saw franchise in terms of re-appearing characters and loosely connected plot threads across the previous installments, then Fast Five is exactly what you’re looking for in mindless entertainment.

[Rating:3/5]

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