The Captains

The CaptainsKirk. Picard. Sisko. Janeway. Archer.  Just hearing these names is enough to bring a smile of fond remembrance to Star Trek fans of all ages, and conjures images of heroism in the face of danger, face-offs with alien races, and some egregious fashion faux pas.  From the original Star Trek in the 1960’s to the 2009 movie by J.J. Abrams, the Star Trek franchise has been one of the most enduring and profitable in Hollywood history, and even though interest in the TV shows has waned in recent years (the recent series Enterprise was cancelled after four seasons), the characters and the actors who played them continue to be a force of pop culture with which to be reckoned.  But despite (or perhaps because of) the myriad documentaries, interviews, and convention appearances that the actors have taken part in over the years, it is the individuals who played the storied captains of the various vessels in the show who continue to fascinate millions of fans worldwide.  And it is with this in mind that William Shatner, who wowed audiences and wooed women as Captain Kirk in the original series, set out to create a film that offers a singular insight into the hearts and minds of the actors who have had the distinct privilege to sit in the fabled captain’s chair.  The result is a documentary consisting almost entirely of simple conversations between Shatner and these actors that is equal parts compelling and funny, while also managing to be heartbreaking and even a bit awkward.  Shatner, whose career includes high profile shows like Boston Legal, melodramas like Rescue 911, and a dose of sitcoms and commercials to boot, is clearly in his element as he interviews the actors–often providing a window into his own heart and even upstaging his subjects from time to time.  It all comes together to make The Captains a fantastic and singular work of art that boldly goes where no documentary has gone before, and offers Shatner the unique opportunity to blaze a trail that no one else could hope to trod.

What would you say if you could sit and chat with Patrick Stewart for an afternoon?  Would you ask him what it was like to play Jean-Luc Picard, one of the most recognizable figures in modern science fiction?  How about Kate Mulgrew, the woman whose Kathryn Janeway helmed the starship Voyager on its 70,000 light year journey through the Delta Quadrant? Or Chris Pine, the young actor who filled Shatner’s Starfleet-issue boots as Captain Kirk in the 2009 film?  What questions could possibly be worth their time–surely nothing these actors haven’t been asked hundreds or thousands of time before.

Shatner-Pine

Captain Kirk vs. Captain Kirk in the arm wrestling match of the century!

And so Shatner wisely stays away from all of the topics that would, on the surface, be of most interest to fans.  Instead, his conversations with the “captains” wander back and forth from pop culture to horseback riding to philosophy, religion, and even death and the afterlife.  Heavy subjects to be sure, but counterbalanced by a liberal dose of Shatner’s off-kilter sense of humor and glowing charm.  The most profound and compelling segments come from his discussions with Patrick Stewart, where things start off cordial but end up digging deep, exposing a side of both actors that has rarely been seen in public.  Stewart goes as far to divulge regrets that are as deeply felt today as they were back when he was filming The Next Generation, and Shatner likewise comes to a realization about his role as Kirk that has haunted him for decades.  I doubt the two are best friends, but it’s clear there is an incredible mutual respect and genuine appreciation for the contributions both have made to science fiction and modern culture.

His visits with the rest of the captains may not be at heart-wrenching, but each is compelling in its own right.  It’s hard to not smile as Shatner and Scott Bakula (Captain Jonathan Archer) shoot the breeze over drinks at a diner, talking about the acting profession and their appreciation of each other’s work.  He visits with Mulgrew on stage at a New York theater, where the two discuss the pioneering work she did as the first female captain in Star Trek and how the work put impossible demands on both of them–the effects of which were bitterly felt by their spouses and children.

While these conversations are thoughtful and compelling, Shatner’s afternoon with Avery Brooks (Benjamin Sisko) goes somewhat off the rails.  Brooks improvs jazz licks on a piano while Shatner provides a somewhat bewildered impromptu lyrical accompaniment, and the two go off on metaphysical tangents that make me wonder if part of Brooks is still lost in the wormhole somewhere.  The weakest link by far is Shatner’s all-too-brief conversation with Chris Pine.  Even though the two men give it a good honest try, their segments are brief and lack nearly all the chemistry from the other interviews.  To their credit, neither actually has much in common besides the Kirk character, and Shatner is old enough to be Pine’s grandfather.  But whereas the role of captain serves as the genesis of Shatner’s conversations with all the other actors, it actually seems to hamper his dialogue with Pine.

There are plenty of other Star Trek documentaries and behind-the-scenes featurettes out there, but none so personal and intimate as the portraits Shatner constructs in The Captains.  It is an impressive labor of love that could have been made by only one man, and as a lifelong Star Trek fan I am grateful for the work Shatner has done to assemble this collection of interviews–if nothing else than for sheer posterity.  I would imagine this film would come across as boring or obscure to non-Trek fans, but if you wouldn’t feel at home in a Star Trek convention rubbing elbows with Klingons, Cardassians, and Orion Slave Girls, this is definitely not your kind of movie.  However, for those of us who have spent years venturing into the final frontier with the Star Trek captains, this film is a jewel and not to be missed.

Rating: [Rating:4.5/5]

Goldeneye

GoldeneyeFew movie franchises are as enduring and influential as the James Bond films.  From the early days of Dr. No and From Russia with Love to the modern incarnations including Casino Royale and Quantum of Solace, James Bond has been a fixture in worldwide cinema for almost 50 years.  But in 1995, things were looking rather uncertain for the storied franchise.  The previous film, License to Kill, bombed at the box office and audiences and critics were leery of Timothy Dalton’s uncharismatic portrayal of the iconic secret agent.  Meanwhile MGM studios, who owned the rights to the films, was in the middle of financial turmoil and legal disputes.  Soon Dalton, who was originally cast to play Bond once again, resigned and was replaced by Pierce Brosnan–a British actor who was virtually unknown to American audiences.  The original story for the film was scrapped and instead an original plot was written–the first time a Bond movie had been filmed which was not based on one of Ian Fleming’s novels.  The resulting film was widely seen as a successful reboot of the franchise in decline, and Brosnan went on to star in three subsequent Bond films as the titular character.

I must admit my knowledge of James Bond movies is somewhat limited, having seen all the recent incarnations since Goldeneye, but only brief snippets of the classic Sean Connery and Roger Moore films.  Even so, I know a good action movie when I see one, and on all accounts Goldeneye does not disappoint.  From the opening 750-foot bungee jump to the climactic battle on the largest radio telescope in the world, the film is brimming with high-intensity setpieces and explosive conflicts.  The storyline is as convoluted as ever–something about a magical satellite that fries computers that has been hijacked by Russians, then re-hijacked by a rogue MI6 agent who wants to take down the city of London for some reason.  Halfway through the film you will want to just stop thinking entirely and enjoy the ride, which is probably the best way to enjoy most films like this.  There’s also a checklist of Bond prerequisites like a gadget exposition scene with Q, heady personality conflicts between Bond and his boss M (played for the first time by a woman, the classy British dame Judy Dench), car chases, and double-crossing women.  But director Martin Campbell (who would later helm Casino Royale with Daniel Craig) goes entirely for broke with a few over-the-top scenes like a blistering tank chase through St. Petersburg and a stunt near the beginning involving a motorcycle and a runaway Cessena airplane that is so ridiculous, yet strangely compelling, that you can’t help but enjoy it.

Goldeneye: Pierce Brosnan

"Just another day at the office...here in my tank."

Much of the success of Goldeneye rests on the shoulders of Brosnan, who handles his leading man duties with aplomb and is nearly dripping with panache in the classic Bond tuxedo.  He fills the shoes left by his predecessors quite well, and brings his own winking charm and charisma to the role as well.  But the character of James Bond wears somewhat thin by the end of the film, and comes across as more of a cartoon than a character with whom we can relate.  He flies planes, drives tanks, and handles all manner of weaponry so smoothly it’s almost annoying, as if this super-spy can do absolutely no wrong.  Between that and his ability to woo any woman he chooses, Goldeneye is a prime example of escapist male fantasy.  But faulting a James Bond film for being over-the-top is like faulting a Toyota Prius for being too fuel-efficient.

Aside from Brosnan, the supporting cast does an admirable job of portraying their one-dimensional characters.  Sean Bean plays the same character as in most of his movies: The Bad Guy Who Sneers. In this case it’s the sinister Alec Trevelyan, a former MI6 agent gone sour with some post-teenage angst issues that call for some serious counseling.  Famke Janssen and Izabella Scorupco have the thankless task of portraying this film’s female window dressing, and Robbie Coltrane steals every scene he’s in as the mafia boss Valentin Zukovsky.  And while the storyline is convoluted and, at times, undecipherable, it walks a fine line between realistic and outlandish–no heroes dangling over pits of alligators, or megalomaniacal monologuing from the villain, but plenty of unbelievable scenarios peppered by self-deprecating winks that ensure the film resides firmly within the James Bond universe.

Goldeneye essentially accomplished what it set out to do: reinvent the Bond franchise for a new generation, with a slick new star, witty script, and dazzling effects (the St. Petersburg chase is all the more remarkable given that this was filmed before the advent of computer graphics. Everything in the film really is blown up or destroyed, even if it’s just a model).  It became the highest-grossing Bond film up to that point, and set the tone for the franchise for the next decade.  And after seeing Daniel Craig’s moody, boorish portrayal of the spy with a license to kill, watching Goldeneye makes me hope Mr. Craig is out there somewhere taking notes.

Rating:[Rating:4/5]

War Horse

Steven Spielberg has always been a fan of history and science-fiction.  Often the master director will release a big-budget science-fiction blockbuster and a profound historical drama within the same year.  We’ve seen this in 1993 when Jurassic Park dominated the box office and Schindler’s List lifted a Best Picture Oscar.  In 1997 he returned with the Jurassic Park sequel and the overlooked slave drama Amistad.  In 2005 he unleashed Tom Cruise’s greatest worldwide hit War of the Worlds and followed it up with the Oscar-nominated Munich come awards season.

Within a matter of days Spielberg has managed to deliver his first animated film The Adventures of Tintin, an action-adventure closely mirroring Raiders of the Lost Ark, and he now aspires to melt icy hearts with the overtly sentimental War Horse, a World War I drama seen through the eyes of a horse sent off to fight for both the English and Germany.

Set on the eve of WWI, War Horse tells the tale of Joey, a young horse purchased at an auction by Ted Narracott.  Ted is a drunken war veteran and owner of a farm on the verge of financial collapse.  The survival of the farm depends on Joey learning to plow.  Ted’s teenage son, Albert (Jeremy Irvine), develops an instant bond with Joey, and he becomes determined to train the young steed to plow for harvest season.  That determination unsurprisingly pays off until a rainstorm floods the entire field of crops and leaves the Narracott family unable to make ends meet.

Ted sells off Joey to an English regiment officer (Tom Hiddleston) about to leave for war.  Albert flips out, chasing Joey down and pleading for his companion back.  Unable to sway the genuine soldier, Albert promises Joey they will be reunited.  The horse heads off to war and survives a massacre after an intercepting German fleet overruns the ill-advised English troupe.

Joey becomes German property and ultimately finds his way into the hearts of every man overseeing him.  The story has Joey entering and exiting the lives of several different individuals, each drawn to the animal’s power, understanding, and gumption.  From young boy soldiers, to French civilians, to artillery gunmen, Joey persists in survival.

The story eventually returns to Albert having finally entered the war years after we first met him.  We know at some point the story will in fact reunite Joey and Albert, but the journey in getting there is simultaneously beautiful and obtuse.  Spielberg has over-fattened the calf with a 2 and 1/2 hour epic that wastes too much time on thinly drawn characters.  Despite well-intentioned performances from an extended cast, War Horse strays too far from Albert before sticking him back in the thick of the plot.  Joey dominates the proceedings while the humans fade into the background.  The horse being constantly intercepted by a new set of characters only hinders the film because those small side stories never amount to anything substantial.

Since the film is built entirely on coincidence, such as the fact that Joey never encounters a ruthless overseer in his WWI experience, the film falls victim to too much sappiness.   The characters, the writing, the dialogue – all of it bathed in soapy sentimental hogwash where scenes exist and speeches are made to simply extract tears from the viewer.  There’s no authenticity behind it.  Spielberg has walked this territory before, such as Hook and Always, but never masking it as earnest sincerity.

Even though War Horse stalls, it is more a dramatic miscalculation than a complete mess.  When a movie attempts to manufacture emotion rather than draw it out naturally through well-written characters, I tend to immediately disconnect from the narrative.  However, Spielberg’s film still creates lasting imagery that imprints on your mind and sticks with you despite all of the faults.

The film boasts an involving musical score and amazing cinematography.  The combat sequences aren’t shortchanged for all the heart-melting.  A particularly memorable sequence has Joey leaping through an open battlefield, fleeing over trenches of men and nearly escaping before slamming into a heaping of barbed wire.  If prestigious award ceremonies gave out nominations for memorable scenes, War Horse would bring in a few nods.

And what about the horse Joey?  After all he’s the main character of the story.  Really, this isn’t Albert’s story.  This is Joey’s. I’ve heard reports indicating that 8 or so horses were used to portray the character.  It’s a marvelous effort.  Joey comes to life and really delivers as the hero of War Horse, portraying just as much emotion as his human counterparts.  That in and of itself makes War Horse a small miracle worth checking out.

I think many people will overlook the flaws here and end up loving this movie.  I also think many people, like me, will be turned off by how schmaltzy it is.  This isn’t just a tip of the hat to old school filmmaking.  I can appreciate that as much as the next film lover.  The problem is that War Horse boasts a level of schmaltz that detracts from the story.  Spielberg keeps it from being a colossal failure.  His attempts are genuine, but the story is convoluted.  Upon understanding that the source material for the film is a children’s story, I can understand why.  For a gorgeous film that’s minor-Spielberg, a man from which we are burdened with great expectations for, War Horse is both a major and minor disappointment.

[Rating:2.5/5]

 

The Adventures of Tintin: The Secret of the Unicorn

Director Steven Spielberg and Producer Peter Jackson collaborate for their marvelous adaptation of The Adventures of Tintin.  As a welcome Christmas gift to fans of the classic long-lived European comics as well as the uninitiated, this is the first motion-capture animated film I can fully praise with an abundance of exclamation points.  Spielberg has directed a sprawling action-adventure film for families that springs with life and leaps with wit.

In the 1940s, young reporter Tintin (Jamie Bell) purchases a model collector’s ship, the Unicorn, that immediately thrusts him into danger.  The model contains a riddle and secret code, but what does it mean and where does it lead?  Accompanied by his trustworthy pup, Snowy, Tintin must elude several dangerous characters seeking to steal his rare artifact.  This leads the young adventurer to Captain Haddock (Andy Serkis), a notorious drunk who may be the key to solving the secret of the Unicorn.

With Tintin, the infamous Steven Spielberg finally returns to light up cinemas following a 3-year absence.  Ironically, this film may have more in common with Raiders of the Lost Ark than his last disappointing outing with the famed archeologist. Tintin is full of exciting mystery and grandiose action sequences, brilliant animation, shades of inviting humor, and a gorgeous 3D presentation.  This is easily the best animated film I’ve seen all year, and contains one of the year’s most entertaining action sequences, live-action or animation.

As for the motion-capture technique, Spielberg and Jackson know what they’re doing here.  I’ve found the work done by Robert Zemeckis (who’s recently been obsessed with the technology) over the last seven years to be a total snooze.  The Polar Express, Beowulf, and Christmas Carol never got it quite right despite painstaking efforts to be sure.  Tintin, however, is a visual marvel.  The animation is spot-on, and the performances behind the characters onscreen, chief among them Jamie Bell, Daniel Craig, and Andy Serkis, are uniformly excellent.

The film ends with the setup for another adventure, and I hope American audiences seek out The Adventures of Tintin, as it is not a well-known property here.  Forget about needing to know anything.  Walk in blind and let the film dazzle you from beginning to end.

[Rating:4.5/5]

 

Hugo

I have never seen a film quite like Hugo.  It’s a children’s fable made for adults— and it scares me that most children will probably sit in boredom if their erratic attention spans aren’t captivated by the incredible 3D visuals.  Martin Scorsese, of all directors, has facilitated a memorable moviegoing experience for film enthusiasts.  Hugo is a movie about movies, about making movies, about honoring movies, and about remembering pioneers of movies.  This is all under the guise of a family-film adventure in 3D.  If you’re looking for chipwrecking, steer elsewhere.

Scorsese takes viewers to 1930s Paris, where young boy Hugo Cabret (Asa Butterfield) hides in the tall clock up above the interior of a train station.  Hugo lives secluded from the station inspector (Sascha Baron Cohen) sniffing out abandoned children, fully prepared to ship them off to an orphanage.

After the death of both his father (Jude Law) and alcoholic uncle (Ray Winstone), Hugo busies himself keeping the clocks running properly so as to avoid the discovery of his deceased uncle who normally mans the clocks at the station.  In his spare time, Hugo scurries about pilfering scrap parts from a toymaker, George (Ben Kingsley), until he is caught one day.  George demands Hugo empty his pockets of stolen parts, and in the process steals Hugo’s personal notebook which has diagrams and calculations for building an automaton.

You see, Hugo’s father was an inventor who planned to rebuild a dead automaton he picked up from a museum—this bot having belonged to the legendary filmmaker and magician George Méliès.  Hugo eventually teams up with the toymaker’s godchild, Isabelle (Chloe Moretz) to retrieve his sacred notebook which opens up both children to worlds unknown to each other.  Isabelle is fascinated with literature and books.  Hugo loves gears and machinery.  Both end up enraptured by Hugo’s quest to reform the automaton that may hold a message from Hugo’s father as well as secrets about toymaker George.

In many ways, Hugo is visually one of the most striking films I’ve ever seen.  Most of the film takes place inside the Parisian train station where our young hero leaps and bounds through vents and shafts. Scorsese chose to shoot this movie in 3D.  A wise move he made.  The added dimension is used to grand effect here and compliments the stunning cinematography.  I honestly can’t overstate it.  Take for example the opening sequence which features a breathtaking single shot that drives viewers down the entire interior of the train station before ending on Hugo’s face behind a giant clock.  Scorsese and cinematographer Robert Richardson had me at hello.

Hugo’s mission is clear, even if it isn’t to him.  He wants to finish what he started with his father, and in the process, find closure in that relationship.  The film deals a lot with human purpose.  Hugo comes to the realization that people are like machines, and need fixing once in a while.  When a machine isn’t serving its purpose, it isn’t working, just like human beings.  He intends to fix the automaton, just as he intends to fix George who sits in his corner booth as a lost and withering old man needing to reclaim his former glory.

To be frank, Hugo is not a movie for everyone.  The film delves into the history of filmmaking and eventually becomes a movie for movie enthusiasts.  As a family film, many parents may end up scratching their heads while their kids become restless.  That really is not a criticism.  It’s simply a fair warning.  Scorsese has sought to make a personal, passionate, honoring film about the magic of escapism.  Some parents and kids, however, may thoroughly enjoy this.  There’s no squeaking critters to be found here.  No obnoxious zoo animals.  Nothing hip in sight.  What we do get is a charming, visually stunning, and thoroughly pleasant little movie from a grand storyteller who clearly is giving us a love letter for movies—and it’s in eye-popping 3D.

[Rating:4/5]

 

 

The Girl With the Dragon Tattoo (2011)

David Fincher closes out of his Facebook to take on a remake of the Swedish film The Girl With the Dragon Tattoo, based on the first installment of a trilogy of novels.  I sat through this film, encompassed by the calculated grim atmosphere, taken in by the stylish cinematography, and ultimately slapped around by the incessant violence.  Ignore the snowy landscapes.  Dragon Tattoo is utterly and completely the anti-Christmas film of the season as it so proudly advertises.

Daniel Craig plays investigative journalist, Mikael, undergoing a major setback in his career that has him crawling out from an under a lawsuit.  As an escape for Mikael, he accepts an invitation to a Swedish island from aging Henrik Vanger (Christopher Plummer) to unearth a 40-year-old missing person case—Harriet Vagner (Henrik’s niece), a young girl who was abducted and likely murdered—her body was never found.  Mikael leaves his boss and lover (Robin Wright) back at the office to isolate himself in a tiny house on the island where he studies old photographs and police investigation reports, while also conducting interviews of the family members scattered within close radius on the island.

Meanwhile, Lisbeth Salander (Rooney Mara) is introduced as an intelligent, and mightily troubled 24-year-old woman working as a private investigator.  Her life has been and continues to be flooded with trauma.  She undergoes sexual abuse from an overseeing guardian responsible for withholding her monetary earnings, and generally is mistreated by all the men that occupy her life.  She’s cold, quiet, pierced, tattooed, gothic-looking, bisexual, and every adjective that might make a 65-year-old white businessman uncomfortable.  Midway into the film, she partners with Mikael, both professionally and otherwise, to piece together the puzzle of the long-missing Harriet.

David Fincher, an auteur when it comes to such material, displays a deft hand for sinking audiences into uncomfortable darkness.  Zodiac, Seven, The Game, and others have become his bread and butter, so it’s no surprise that he’s drawn to The Girl With the Dragon Tattoo.  This is almost certainly his darkest film yet.  What holds him back from greatness here is the source novel which screenwriter Steven Zaillian attempts to translate over a very, very long 2 hour and 40 minute runtime.  If the mystery were as engulfing as it ought to be, the film might not be as tough of a sit, but the film meanders before sinking its teeth in, and treads water for 30 minutes after the film climaxes.  While Fincher often had me enraptured in the film’s most piercing and horrific sequences, the whole is missing a few pieces.

Both Rooney Mara and Daniel Craig commit to their roles completely, especially Mara.  She’s uncomfortable and intoxicating in the role.  Craig has a cool confidence that exudes James Bond (go figure), and offsets his internal desperation.  However, their teaming happens much later in the film than I was anticipating.  And their sexual affair threw me for a loop.  Not because Craig is about twice her age, but because the spark between the two is missing.  There’s no chemistry, there’s no heat, and even less plausibility.  The character of Lisbeth wields her sexuality like a weapon, but there’s little buildup between her and Mikael.

It must also be noted that the film unleashes some of the most shocking scenes ever filmed.  Fincher’s eye never shies away from the graphic nature of the story.  Nothing goes implied here.  It’s all onscreen.  I’m guessing the novel did the same.  Anyone interested in seeing this film needs to be prepared for some horrific depictions of torture and rape.  It’s blood-curdling, and stomach-twisting.  The scenes emphasize the horror endured by Lisbeth and that has shattered here trust in men, until Mikael offers her a first brushing of kindness that draws her to him.

Where does that leave me with this film?  I walked out of the screening without the slightest guess as to how I responded to it.  I know it’s certainly not in line with Fincher’s best work.  The chemistry between the leads was also lacking, or simply not amped up enough.  No amount of onscreen intimacy can generate chemistry.  However, the performances were right.  The mood of the film carried me through.  The cinematography captured the ugliest corners of this cold world.  The film’s ending left me wondering where the characters go next.  I cringed, I looked away, but I was also pulverized by this film.  And I don’t know if that’s good or bad.  I’m certain that’s what Fincher wanted.  I won’t ‘recommend’ this film to anyone.  It’s impossible to enjoy, there is only enduring.  But overall, the film does exactly what it’s designed to do in a compelling way.

[Rating:3.5/5]

Mission: Impossible – Ghost Protocol

Your mission, should you choose to accept it, is to skip all of the potential Oscar-caliber fare out there and go for some straight-up sheer entertainment.  With Mission: Impossible – Ghost Protocol, the bar for exciting megawatt blockbuster couldn’t be set any higher—literally.

Tom Cruise returns to his globetrotting ways as IMF super-spy Ethan Hunt, on the run with three other fugitive agents after a bombing at the Kremlin building has the team framed as terrorists, and causes intense friction between the U.S. and Russia.  The President initiates Ghost Protocol to shut down the entire IMF Agency.  Only Hunt and his team can stop the real terrorist, Kurt Hendricks (Michael Nyqvist), an extremist bent on worldwide nuclear destruction.

From the film’s opening, the excitement kicks off and rarely lets up, delivering relenting pulse-pounding action sequences.  This is Cruise’s most accomplished action film to date, and that’s saying something.  The man, regardless of his tarnished off-screen persona, is one heck of a performer.  If this fourth installment of the M:I franchise doesn’t reignite his star power, I don’t know what will.  At nearly 50-years-old, Cruise delivers a physical performance that is often stunning.  Bruised and tossed around the screen, the man flies around this film like a winged insect—running, kicking, punching, ascending, flipping, falling, flailing, you name it.  The film could have been titled Run Tommy Run.

And what about those impressive action sequences?  This is a wall-to-wall assault of a movie, but the action never becomes tedious or dull.  It totally and completely serves the story, keeping the plot in a constant motion, and invigorating this franchise with a heap of fresh and interesting possibilities.  Credit Brad Bird, a former Pixar director of The Incredibles and Ratatouille, for making a live-action cartoon that never once feels cartoonish.  The picture is simultaneously gritty and relaxed.  Bird finds just the right tone for his movie, returning the series to a team-oriented picture rather than just another Tom Cruise vehicle.

Actors Paula Patton, Jeremy Renner, and the comedic Simon Pegg round out the team quite nicely.  Everyone plays a crucial role to the events of the film.  I was not at all surprised to find this fresh change.  Cruise has consistently made every Mission: Impossible film entirely unique and different, utilizing a new director for each installment, for better or worse.  Brian De Palma delivered a twisty plot with the first mission.  John Woo excelled with balletic action sequences that took precedence over the storyline in M:I-2.  J.J. Abrams delved into a personal quest for Ethan Hunt against a cutthroat adversary in the third outing.  For Ghost Protocol, Brad Bird seeks to tip the scales for extreme blockbuster entertainment, gaining top-dollar out of every shot, and reinvigorating the team spirit of the franchise.  Even with a villain in Hendricks that seems more like an afterthought than a real threat, unlike Philip Seymour Hoffman’s menace from the 2006 film, M:I-4 still fires on all cylinders because Bird keeps the threat immediate rather than looming.

I was treated to this film in IMAX format.  30 minutes of the film was shot natively in IMAX.  The towering picture for certain sequences could described as none other than absolutely stunning.  The sequence featuring Cruise ascending the Burj Khalifa tower using questionable suction gloves is a scene that will be talked about for a long time.  Experiencing it in IMAX added to the intensity and vertigo.  Rather unbelievably, the scene was apparently filmed on the actual tower with Cruise actually dangling from it 130-some stories above ground.  How will another sequel top this?  I don’t know.  I’m calling mission impossible on that one.

As for this franchise, it’s reached an incredible high with Bird at the helm.  The series has never been better.  Action movies in general have rarely been better.  And that is no easy feat, as this somewhat underrated series has consistently delivered the goods over the last 15 years.  Lackluster villain complaint aside, this Mission is probably the most entertaining film all of 2011 has to offer, and you’d be crazier than Tom Cruise to miss it.

[Rating:4.5/5]

The Muppets

Make way for the return of The Muppets, Disney’s attempt at reviving the wacky Jim Henson puppets that have laid dormant for many years.  The writers know it too as star Jason Segel helped pen this pet-project of his.  His infatuation with the clan is a little more than hinted at in the recent Forgetting Sarah Marshall.

The story focuses on Segel’s character’s brother, Walter, a puppet and die-hard fan of the Muppets which were hugely popular in the 1970s.  Now in 2011, the Muppets have disappeared and scattered across the states finding cheap venues to perform in.  When Walter tours the run-down Muppet studio, he discovers the maniacal plot of a wealthy investor (Chris Cooper) to turn the studio into rubble and drill for oil on the property.  Walter seeks out Kermit the Frog to regroup the old band once again and put a show together within a matter of days to save their contract by raising $10 million before they lose all rights to their studio.

Much of the film builds up to the clan reuniting, showcasing a slew of celebrity cameo appearances. Witty zingers bounce off the walls.  Outrageous musical numbers abound—chief among them Chris Cooper’s rapping and the chicken-ized version of Cee Lo Green’s ‘Forget You.’  This is all good fun.

However, I wanted The Muppets to return loud and proud, and despite an admirable effort on the part of everyone involved, I can’t shake a slight feeling of being… underwhelmed. However, I enjoyed the film more often than not. It’s witty and clever in most of the right places. The film simply lead me on the entire time, as though it hinted that something big and amazing was about to happen, but never actually surfaced. Still, this is good fun for what it is and a welcome return for the Muppets.

[Rating:3/5]