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Scream 4

October 6, 2011 by

Why does poor Sidney Prescott continue to answer a telephone?  Especially one in the town of Woodsboro, California.  Would she not be better off resisting the temptation to discover a crazed masked murderer’s voice on the other end?  Instead, I suggest she leave the phone ringing, and head for the front door.  Get in her car and drive as far away from her hometown as possible.  Oh, and do not return.  Not even for a book signing.

Unfortunately after three previous entries, eleven years must be too long of a break for Sidney.  She returns to Woodsboro to promote her new book about her real-life experiences with several ‘Ghostface’ killers.  If I recall correctly, the following characters have tried to murder her (SPOILERS!): her high school boyfriend and Shaggy, followed by her boyfriend’s mother and another high school twit, and finally her long lost brother.  Friends, family, and love interests of hers have all met the knife.  However, none of these killers who claim to really want Sidney dead have the strength to get it over with.  Sidney is always preserved until the end.

Well folks, Sidney (Neve Campbell) returns to watch more people she cares about get murdered, and somehow she tries to sleep during the nights between.  The fact that she has legitimate family left in Woodsboro by this fourth installment is a testament to these people’s courage or stupidity.  Director Wes Craven, writer Kevin Williamson, and stars David Arquette and Courteney Cox also return for more Screaming.  But of course, as with both of the previous sequels, the rules of the killings have changed.  Since Hollywood clamors for reboots and remakes and fears risking original horror material, Scream 4 has an open eye and ear for how the Ghostface killer approaches the remake of the original and fictional ‘Stab’ film which is based on the original Woodsboro murders from the first Scream.  If I’ve lost you, just nod in agreement.

High schoolers start getting hacked to pieces (again) as soon as Sidney returns home.  Sheriff Dewey (David Arquette) cannot allow Sidney to leave, as she has now become a suspect.  Gale Weathers (Courteney Cox) wants to get back into reporter mode and help solve the identity of the killer (again).  Added to the pack is high schooler Jill (Emma Roberts), cousin to Sidney.  She apparently has Ghostface’s eye on her, as her and her daffy friends fall victim to the murderous mayhem.  Among these friends are a questionable cheating boyfriend and a duo of horror geeks that run a full-time video blog via a website.  Yes, one of the two walks around school with an A/V headset all day because that’s what every teacher would allow in class.  And of course, these guys know everything about the latest trends in horror that automatically translate to the killer’s diabolical pattern.

While watching Scream 4, I was made aware of a few things.  First of all, Scream 4 is no Scream or Scream 2.  Second of all, the self-referential horror palate feels a tad dated.  Scary Movie 5 is on the horizon to inform audiences of the latest idiocy of horror films, so why stretch so thin with another Scream that has little to offer?  Third, there is little to no suspense in the story for a glaring reason: the high schoolers in peril ignore their predicament.  Their friends are getting gutted in front of them next door, and yet the dopes carry little to no sense of danger until caught in the clutches of the killer themselves.  In between more victimized friends, these kids carry on with drinking parties that revolve around watching all of the ‘Stab’ movies based on the murders.  I repeat, these kids are watching movies about the Woodsboro murders while more Woodsboro murders are happening to their friends!  These kids have also received the routine phone calls from the Ghostface killer.  Oh well.  The ‘Stab’ party is still the place to be!

Meanwhile, the returning characters feel a bit like an afterthought. Dewey and Gale garner little attention outside of expository dialogue revealing a strained marriage.  Sidney comes and goes, never quite knowing whether or not she’s the main character in Craven’s latest new nightmare.   Craven attempts to pass on the baton to a new group of hip youngsters, but he forgets to make them not… well, complete uninteresting dimwits.

That leaves us with Miss Prescott.  I never quite knew what Williamson and Craven had to say for Sidney this time around.  She’s hunted once again, running through the same maze, using little knowledge of her previous experiences to funk with the killer’s hokey plan.  At one point I was hoping she would question if she was in Scary Movie 5.  But no, Sidney still  plays victim, coming into physical confrontation with Ghostface on more than one occasion.  She has a habit of kicking him/her down a staircase and knocking him/her to the ground without killing them on the spot.   Instead she glances away only to look back and the killer has disappeared.  Shouldn’t she have learned by now?  I mean, you are in your fourth movie Sid… just sayin.

Despite all of its flaws and lack of commanding creativity after an 11-year hiatus, Scream 4 still fares better than most horror films running amok out there.  Intermittently, writer Williamson has something fresh up his sleeve to tease fans until returning to lesser tactics.  Beyond stylized batterings and one too many buckets of fake blood, the film’s occasional burst of energy and commentary keep the proceedings quite watchable.  However, I say with the talent involved and time made available, fans deserve better than watchable.  At least it trumps Scream 3.  I think.

Oh, and as for the killer’s reveal… of course I’ll give nothing away.  So I will respond with: C’mon…

[Rating:2.5/5]

Filed Under: Horror Tagged With: , , , , ,

Click

September 1, 2011 by

ClickThere’s a moment in this Adam Sandler dramedy when his titular character, exhausted and at his wit’s end, looks to the sky and asks for a break.  Just one.  Because his life is just too difficult.  You see, his life is so awful that his incredible job, multi-story suburban house, impossibly hot wife, near-perfect kids who always get along and just love to color pictures together, loyal dog, and multitude of electronics, clothes, furniture, and other such possessions are just too much for him to bear.  No, Michael Newman (Sandler) decides he’s had it up to here with all his modern conveniences and comfortable life because it’s just too overwhelming and oh-so-stressful.  So how to fix it?  Of course the only answer is to buy even more crap to throw on the pile, in the form of a universal remote that will finally allow him to get a handle on his television, DVD player, satellite TV, and toy helicopters that are just plaguing his enviable first-world life.

Maybe it’s just me, but I can hardly get past the exposition of a movie that asks me to identify with characters like this.  They live lives that are so contrived, so perfect, that when the inevitable single problem crops up that they just can’t deal with, my brain just checks out.  Click certainly isn’t the first movie to be guilty of this, but it is the most recent one I have watched.  And this phenomenon gets under my skin every time.

If you’re an Adam Sandler fan, you’ll probably find a lot to like here: sophomoric jokes, kids using bad language (gee, an eight-year-old said a swear word…it’s funny!), empty-headed women with no inherent worth or ambition and who exist solely to support the childlike men in their lives…basically standard Hollywood fare.  Not that I’m jaded or anything, it’s just that this movie brings nothing new to the table except for a wild-haired Christopher Walken who steals every scene he is in.

Click-Kate Beckinsale

Yup, Michael Newman sure does have it rough.

The remote that Newman ends up buying from Bed Bath and Beyond, in what is one of the most shameless examples of product placement ever committed to celluloid: after driving past a Best Buy and Target, both of which are closed, he ends up at BB&B where he spends several minutes admiring the aisles filled with products gallantly catering to suburban consumerism before walking down a hallway simply labeled “Beyond.” It’s as if the film itself is interrupted by a lengthy commercial for the strip-mall purveyor of fluffy towels and soda-makers. I understand that product placement is necessary in many cases to help finance modern films, but this was just ridiculous, and it exemplified the over-the-top nature of the entire movie. Soon enough Newman is standing in a warehouse with Walken, an eccentric character with a magical remote that allows the user to rewind, pause, mute, and fast-forward his or her way through life.

It’s the kind of gag that would have worked well in a five-minute Saturday Night Live sketch, but quickly wears thin here.  Watching Newman mute his ever-nagging wife is kind of funny once, but the joke goes on and on and on.  Fast-forwarding through awkward dinners, pausing his son’s backyard baseball game and re-aiming the ball so it smacks the annoying neighbor bully directly in the face…and this continues for pretty much the entire rest of the movie.  Oh sure there’s a moral lesson about spending time with family that’s laid on so thick at the end I could barely stop my eyes from rolling, but most of the film is about as boring and predictable as almost any other Sandler flick. Nothing new to see here, folks.  Move along.

Rating:[Rating:1.5/5]

Filed Under: Comedy Tagged With:

Adjustment Bureau

August 19, 2011 by

I really hate to down-grade a movie just because it doesn’t fit into an established genre. After all, some of history’s greatest sleeper hits, like The Crow or Dark City, are impossible to find a shelf for. Some, like The Matrix, actually wound up founding their own genre. The problem is, those genres do exist for a reason. There are certain kinds of stories that hit the mark and resonate with humanity, and for every movie that was good enough to break the mold, like those above, there are probably several that tried and failed, like this one. It brings to mind a scene from Tales from the Crypt, in which a starving artist protests to a museum curator, “You promised to give me a showing if I came up with something new!” She laughs, “I meant something new, and good.”

At the start of The Adjustment Bureau (Dir. George Nolfi, 2011), we meet David Norris (Matt Damon), who is running for Senator from New York. He is way ahead at first but, over the course of a five-minute montage, the campaign takes a turn for the worse. On election night, he realizes he’s done and enters a rest room to work on his concession speech. Inside, he finds a woman named Elise (Emily Blunt) hiding from security (long story). He is quite taken with her, and, after security shows up, and she runs away, he reenters his “victory” party and gives the greatest speech he has given in his life.

The scene switches to one month later, and Norris has returned to his old job in a corporate office, anticipating the next senate race. He boards a bus and, to his surprise, finds Elise. He sits beside her, they have instant chemistry, and he gets her phone number.

So it’s been a long set up process, but it looks like the story is finally starting to go some where.

Norris arrives at work, walks into his boss’s office, and suddenly sees his boss, immobilized in a standing position, surrounded by menacing figures in suits and opaque helmets who are scanning him with lasers. Norris runs, and is chased by an army of men in suits. Each time he stops at a coworker’s desk for help, he finds them immobilized and apparently unconscious.

Well, alright! This movie turns out to be a Matrix-esq thriller. Sure, it won’t be as good as The Matrix, but I’m intrigued. Who are these guys? From what sinister place do they come? What twists in this movie will make us question what we think we know?

Norris is captured and finds himself tied to a chair in a warehouse, surrounded by the men in black (above). The man in charge identifies himself as Richardson (John Slattery) and tells Norris “We are the ones who make sure things happen according to plan.” He responds to a few more question with equally cryptic, bureaucratic terms. They gave Norris’ boss an “adjustment.” He will be fine, and will not remember what happened. This is being done because Norris was not supposed to see Elise a second time, according to something called “the Plan,” which is being developed by the head of the Adjustment Bureau, known only as “the Chairman.” If Norris ever reveals what he’s seen to anyone, he will be “reset” (essentially lobotomized). Richardson burns Elise’s phone number and tells Norris to forget her. Norris is then returned to his office, where no one else is aware of what’s happened.

David takes the same bus for the next three years, hoping to see Elise. One day, he finally does, and tries to reconnect with her.

So … now we’re back to the romantic comedy?

She initially pushes him away for not calling her for three years, but seems unable to resist the natural chemistry they always have. He winds up taking her to lunch. As they walk around town, enjoying each other’s company, Richardson and the Bureau start following them around, trying to interfere. Richardson will give an order such as “have his aide call him now.” And then Norris’ cell will ring. A Bureau member tells Richardson “If they kiss, anything strong enough to break them up will cause ripples over your limit.”

Really? … This movie has an army of threatening figures in suits, armed with seemingly god-like powers and scarily cryptic dialogue, and this is what they spend their time on?

This is how the movie goes. As Norris and Elise flirt, fight, fall in love, break up, and get back together, we see these “agents” peeking around corners, running in and out of magic doors, and causing things like lost keys and untied shoes to nudge events back on Plan.

As I waited for this movie to end, I found myself wondering who out there would really get into it. It doesn’t work as a guy movie. There isn’t enough action to make it interesting. The agents are cool at first, but never develop into anything. Their offices and their attire are something right out of the 1940s, and they all have banal, hyper-anglo names like Mitchell and Thompson. By the end, watching them work is about as interesting as watching a clerk file papers.

While these guys look like something out of The Matrix, they might be more at home in a movie like Just Like Heaven or Simply Irresistible; films that play with the idea of some higher power intervening in romantic relationships. But The Adjustment Bureau doesn’t work as one of those movies either, partly because we don’t see much of Elise and there isn’t enough attention paid to the details of their relationship. So, as a chick flick, it still comes up short.

It also fails to deliver as any serious contemplation of the questions it raises. We see arguments about fate vs. free will, love vs. success, etc., but none of them do more than throw out the standard lines. All the bureaucratic mumbo jumbo really gets old after awhile. There are a lot of eye-roll-inducing lines like “Chairman has the Plan. We only see part of it.” Why can’t they just call him “God” like everybody else?

Most ships follow the established trade routes and, in so doing, still deliver some worthwhile goods. Once in a while, a ship leaves all known territory and discovers a new world. But this one leaves one harbor, only to make a dash for the safety of another, only to turn at the last minute and head for another, until it’s lost at sea. I have to give Nolfi some credit for trying to be different. So here’s to those who wait forever for ships that don’t come in.

[Rating:1.5/5]

Filed Under: Action, Drama, Movies Tagged With: , , , , , ,

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: , , , , ,

Van Helsing

July 25, 2011 by

Yeah, that’s right. I like Van Helsing (2004), one of the most hated movies of the last 20 years. I have seen so many reviews, blogs and videos trashing this movie, that I felt I had to speak up to defend it. So before you blow me off as an idiot, hear me out.

There’s no denying that Van Helsing is stupid, but it’s no stupider than a lot of movies out there. In fact, Van Helsing is probably the magnum opus of its director, considering that its director is Steven Sommers, one of the most bubble-headed directors of all time. To put Van Helsing in the proper context, it’s necessary to take a brief look at Sommers’ filmography.

Sommers’ first box office hit was The Mummy (1999), which I’ve already reviewed, a brain-dead piece of clap-trap that existed soley for the sake of mindless violence and spectacle. Some people read from a book, which brings the Mummy back from the dead, he kills half the world, and then the same people are supposed to be heroes just for cleaning up their own mess. For reasons I’ve never understood, The Mummy continues to be a favorite movie of many people. Next, Sommers vomited out The Mummy Returns (2001), a fairly standard sequel with a lot more horrific deaths, and even more ridiculous plot points. The herione of the first movie (Rachel Weiss) is suddenly declared to be a reincarnation of Egyptian princess Nephretiri. Don’t ask me how that works, as reincarnation was never discussed in the first movie, or in Egyptian mythology for that matter. Then, Sommers took a minor character from Returns, the Scorpion King (Dwayne Johnson, a.k.a. “The Rock”), and stretched his back story into a full length movie. The Scorpion King was yet another mental death-trap for teens, given a mild-souding PG-13 rating and yet loaded with violence and near-nudity. The story was little more than an excuse for the Rock to show off.

And after all this, we got Van Helsing. Apparently bored with making three movies out of one Universal Studios moster, Sommers decided to make one movie and include three Universal mosters — Dracula (Richard Roxburg), The Wolfman (Will Kemp), and Frankenstien’s Moster (Schuler Hensley). While I can understand why some people hate Van Helsing, I cannot understand why some people lapped up The Mummy and then hated Van Helsing.

Why is Van Helsing awesome? Here's why.

First, vampires and werewolves are way cooler than mummies. Second, our hero, Van Helsing, is played by Hugh freaking Jackman, probably the greatest specimen of manliness since Harisson Ford (okay, so I’m not imune to man-crushes. Sue me). The Mummy has Brendan Frasier. This is the guy who played Dudley Do Right and George of the Jungle, and then got beat up by cartoons in Looney Tunes, Back in Action. And third, Van Helsing has a collection of gadgets that would make James Bond jealous. He fights monsters with buzz saws, crossbows that launch silver arrows, a shotgun, a pop-out silver stake, pop out crosses, grapling hooks, and thats just to name a few!

The action sequences in this movie define the word epic, involving huge sets, hundreds of extras (monster fodder) and dazling special effects. Every detail of them was meticulously planned out (too bad you can’t say the same for the plot). Moments that I initially dismissed as rediculous (e.g. the roof of a carriage catching fire durring a werewolf attack) actually do happen for an (admittedly implausible) reason (e.g. the werewolf crashing against a lantern on the side of the carraige and sliding across the roof). This movie has more effective jump-scares than many other movies combined, and even pulls off a number of really difficult delayed-jump-scares (the kind where you sort-of see it coming, but that only increases its effect on you). On top of all this, it still manages to slip in quite a few funny moments.

Jackman is, of course, dashing as a younger version of Bram Stoker’s hero, but Aussie star Richard Roxberg is equally great as the Lord of Evil himself, Count Dracula. There’s a little bit of Bella Lugosi in his performance, a little of Gary Oldman, and a little of the historical Dracula, but it’s mostly his own creation. It ranges from quiet, brooding moments to wild rage, and manages to make it all quite sinister and intimidating. In any case, it’s much more interesting than watching Arnold Vosloo make faces like he needs to blow his nose. This is a major strength of the movie that compensates for lack of a coherent plot: you have these epic characters that are so vividly realized, and they’re played off eachother so powerfully that you almost don’t need a story. Leading Lady Kate Beckinsale (as Transylvanian she-warior Anna Valerious) looks great in her slinky outfits and also pulls of the action side of the roll. It’s hard to believe she once had this roll. A word also needs to be said about David Wenham, who, prior to this roll, had been voted “Australia’s Sexiest Man Alive.” However, for this movie, he put tack behind his ears to make himself look like Dumbo, donned a friar’s outfit, and speant the movie jabbering and bumbling around, just so we could have a laugh. Thanks, David.

Finally, there are the special effects. I know, I know. Just like all of you, I’ve talked a lot about how I’m tired of special effects, and they don’t impress me anymore. But any honest viewer has to admit that, even by 2011 standards, Van Helsing’s special effects truly are incredible. Most of it is C.G.I. However, if you watch the making-of features, there are some surprises. For example, when Dracula’s brides transform and take flight, the bodies are C.G.I., but their faces are still their own, covered in makeup. Rather than rely on C.G.I., Sommers used it to enhance the sets and props, which look good of their own accord.

When it comes to special effects, even today, movies tend to cheat. Forexample, if someone is going to transform (e.g. into a werewolf) we usually see the beginning of the transformation, then they fall below the camera, or stumble behind something, then we see the finall result, and the producer saves $50,000. Not in Van Helsing. It helps that “subtlety” is not in Sommers’ vocabulary. We see everything every time, and everything looks absulutely real. The werewolves, in particular, look amazing; you can actually see individual hairs blowing in the wind. In one scene, it’s raining, and the hair gets matted down, but still looks natural. There are all kinds of little touches throughout the movie. For example, in one scene, a vampiress (Elena Anaya) takes a stake in the heart. She then explodes into slime. Animating liquid is hard enough, but they didn’t stop there. They actually kept the shape of her screaming face in the slime as it flies at the camera. I didn’t even notice this until the third or fourth time I watched it. From the first scene to the last, you see proof that the post-production team worked tremendously hard on this one.

Is Van Helsing destined for a spot in the anals of great movies? Psh. Heck, no. But is it the steaming turd so many make it out to be? Not at all. What is it? A roaring good time that cast and crew put a lot of sweat into, and a sign that Sommers can make a decent movie, if he really tries. And there’s hope for more, because he still hasn’t done the Creature from the Black Lagoon.

[Rating:3.5/5]

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

Captain America

July 23, 2011 by

With all of the superheros making it to the big screen these days, there seem to be just as many misses as there are hits. The challenge seems to be translating the fantastical element of the comic universe into real-world existence these characters have to endure in a live-action film — while still appealing to the hardcore fanbase — while reaching out to the casual moviegoer — all without making the film and its characters seem downright ridiculous. Nolan found notable success with Batman, Singer found some luck with the X-men, Favreau did admirably with Iron Man, and Raimi did a decent job with Spider-man (before they decided to scratch the whole thing and do a reboot). Some less successful attempts to bridge the fantasy and reality include Ang Lee’s Hulk (which I didn’t actually mind), Singer’s Superman (which suffered more from a skewed story arc than anything else) and Schumacher’s Batman films (rubber nipples). So where does Captain America fall in all this? Definitely one of the most successful attempts to date.

Captain America continues Marvel’s very successful approach of creating a cohesive cinematic world in which all its characters can live and interact with one another – culminating in the eagerly anticipated Avengers film next May.  With subtle nods to its other characters and intertwining story elements, fans who have seen the other Marvel films will feel like they’re on the inside track (even if you’re not an avid comic reader) and those who are only stopping in for the one film won’t feel left out. It’s like the zen balance of reaching the mass movie-going audience. Ultimately this film succeeds at establishing itself in reality because it succeeds as a period film set in WWII, which brings with it great costumes, sets, and overall ambiance. The film is filled with comedic relief, provides the required amount of action sequences, and most importantly characters with substance so the audience can feel invested. It should also be noted that each of these elements are balanced admirably so that it never feels too heavy-handed in any one area.

Neither Ackles or Krasinski made the cut, although both were considered. Apparently in early scripts Captain hunted demons and worked in a paper factory.

When the first names were tossed around for who would don the red, white, and blue, several well-known actors were suggested. Originally my vote was for Jensen Ackles, known best for his work on the show Supernatural. He had the wit they were looking for, the look, and genuinely I’d be interested in seeing him get some work outside the world of the CW. But sadly, due to scheduling conflicts, he was removed from the running. Meanwhile Marvel went a totally different direction by throwing out their original shortlist, and calling up Chris Evans, who already existed in the Marvel universe as Johnny Storm a.k.a. the Human Torch in Fantastic Four. (Don’t worry, they’re rebooting that too, so this continuity error will be remedied.) I thought Evans was the best part about Fantastic Four (he and Chiklis were perfectly cast in my opinion) but I was wary about him as Captain America. After seeing this film, my worries were put to rest.

The serum added volume to his body AND his hair. P.S. look for me this Halloween in my spot-on pre-serum Steve Rogers costume.

Evans embodies (pun intended?) everything the character needs. He exudes the likable, genuine and witty qualities of a scrawny but big-hearted guy placed in an artificially huge body. Even though his pre-super body is doubled in via CGI, the meshing of the two performances creates a believable character because Evans conveys those qualities so effortlessly. (It should also be noted that the CGI is so well done that it takes a conscious eye to notice the work.) Joss Whedon has some great character mixing to do between the do-good nobility of Steve Rogers with the smarminess of Robert Downey Jr.’s Tony Stark in The Avengers. Should create quite the… *ahem* stark contrast. (Had to do it.)

Oh no! Megatron got the energon cube!

Other notable performances include Tommy Lee Jones as a military general (some great comedic moments here), Stanley Tucci as the scientist who creates the super-serum, and even Hugo Weaving as the key villain, Red Skull.  I have to admit, ever since The Matrix, Weaving has always carried an Agent Smith vibe into his other work, which made Lord of the Rings a bit weird for me. At least in Transformers he was just a voice actor. But in this role Weaving’s character found a different feel that gave him the villainous quality, without that cool, calculating calm of Smith.

Can you imagine the entire movie with this? If you're still having trouble, go watch the 1990 version. I'll wait here while you do..... See!

One of the greatest things about this film is that it actually single-handedly addresses the whining demands of the hardcore fans with a cold, hard dose of reality. This doesn’t spoil much, but if you really hate all spoilers, hop over this paragraph. For part of the film, the Captain is used for war propaganda, and tours with a USO show in a ridiculous costume that is a direct translation of the old spandex suit of yore. You watch that section and can practically hear the producers saying “See, that’s why you can’t do things exactly as they are in the comics – they don’t translate to real life in a non-humorous manner.” So kudos for the respectful nod and somewhat subtle education by the filmmaker.

The film is not flawless by any means. Although all the elements are balanced throughout the film, it does seem like the action and resolution of the crisis are a bit hasty and lackluster. In terms of the story arc, it’s a very slow build in the initial rising action (not uncommon with an origin story, and necessary for good character development) with sort of a plateau leading up to the climax and not so much a resolution as a quick setup for future Captain films. However, this doesn’t dilute the enjoyment of the film, it merely left me wanting a bit more. At the same time, I’m not sure how much one can watch of a guy running around punching people, dodging bullets/lasers, and occasionally throwing a shield without getting bored. So they at least avoided that pitfall.

Overall I would highly recommend Captain America as part of your summer movie-going experience. I won’t go as far to say it’s the best super hero film ever, but it definitely stands on par with the original Iron Man in terms of action blended with comic-relief. Also be sure to stay until the very end of the credits for a highly worthwhile bonus.

[Rating:4/5]

Filed Under: Action, Movies 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: , , , , , , , , ,
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