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Enemy, the latest cerebral thriller directed by Prisoners helmer Denis Villeneuve, can suitably be described as an absolute mind-bender. That is to say the film’s screenplay rides the thin line between total understanding and complete bafflement. Villeneuve’s directorial style and color provide stylish yet discomforting flares to the narrative, and the dual performances by Jake Gyllenhaal (who also starred in Prisoners) are among the strongest of the actor’s career, not to mention the equally strong supporting cast.
Meanwhile over at Sony's take on the Marvel cinematic universe, things have gotten ugly. The Amazing Spider-Man 2 rides a high wave of comic book fandom in the movie world, but that doesn't mean it carries with it the same weight or impact we've seen recently. The first film of this ill-timed reboot was worthless, a cheap retread over familiar territory that added little to the Spider-Man universe. The sequel, however, is littered with moments and ideas that bring about some very genuine emotion. Unfortunately, those moments are few and far between, and instead of getting something fun, fresh, or original, we are bombarded by the same cartoonish tropes and over-the-top performances that nearly killed the comic book movie in the 1990s. Congratulations, Marc Webb, some comparisons to Joel Schumacher are in order.
Visually haunting and lyrical in style, Jonathan Glazer’s adaptation of the novel Under the Skin is the kind of profound sci-fi brain-stopper that will be sure to draw comparisons to some of the greats. We’re talking Kubrick and Roeg comparisons. History will tell if Under the Skin attains any part of that level of legacy, but it’s undeniable the film achieves success in the images it displays before our eyes and the emotions they beckon from the audience’s soul. Always at an arm’s length of understanding its grand design, the film relies on aesthetic and a gripping performance from Scarlett Johansson to hold the viewer’s attention. All things considered, that's not a bad combination of benefits to choose from. Read on!
Cinematographer Wally Pfister's directorial debut, Transcendence, barely even registers. You can forget about it transcending anything. From the minute we're introduced to the wrap-around, and long before we even flash back, the stagnancy of the screenplay begins to dull everything down around it. It's playing on some interesting ideas, concepts that may well come across as far more mind-blowing when found in a science book. Too much is bland in Transcendence, and that goes for story, acting and direction. Not even the immaculate eye of Wally Pfister can escape the black hole of enjoyment that's at the heart of this film.
It's high time comic book movies gave us something serious and incredible. Who am I kidding? Marvel is doing it and doing it well, hitting a steady stride of peaks and valleys on their way to the next big cataclysmic movie event, The Avengers: Age of Ultron. Before we get there though, we have the second adventure of America’s favorite patriot, and Captain America: The Winter Soldier is an exceptional stopping point along the way. Hungry for a cool, conspiracy theory mystery? It’s here. Got a hankering for awesome, big budget, heavy-hitting, and high-flying excitement that barely lets up? We've got that. Ready for - yes, we keep saying this - the best Marvel movie yet? Captain America: The Winter Soldier stakes that claim too.
"Leave no loose ends," says the tagline for the latest Arnold Schwarzenegger action extravaganza, Sabotage. The line is in reference to the mystery at the heart of the film, but it's a line the writers should have taken to heart in their screenplay. While it's no grand revelation that a Schwarzenegger film is lacking in the writing department, it should be mentioned that Sabotage is the kind of film that prides itself on having both over-the-top, insane violence and a tightly wound, suspenseful story. It wholly delivers on just one of those aspects, but it's never a film that puts a black mark on Schwarzenegger's action career. On the contrary, he may just be succeeding in his action career resurgence where Stallone is stumbling. Read on!
The Muppets are back. Again. It only took one motion picture after their triumphant return to the big screen, but the bloom is definitely off the rose when it comes to what makes the Muppets special. Muppets Most Wanted brings back much of the same creative team behind 2011's The Muppets, but something is missing. The wide variety of jokes are in there, everything from pratfalls to the best "Wocka Wocka" punchlines Fozzie Bear can muster, and the slew of cameo appearances is still on full force. And yet Muppets Most Wanted ultimately comes off as a cash-grab slapped together to keep this Muppet train a-rollin. At least they don't start this one with a song all about the greatness of sequels. Oh, wait. They do.
Even with middle-of-the-road reviews and decent box office, a sequel to 300 always seemed inevitable. The art of Frank Miller's comic book brought to cinematic life by director Zack Snyder with all the slow motion and speed ramping he could muster seemed justified enough for a follow-up. That sequel is 300: Rise of an Empire, and though Snyder isn’t sitting in the director’s chair this time around, the trademark look and feel of his 300 is present in every frame. That’s not all. Despite the familiar look, and the all-too familiar narrative points we have to go back over, 300: Rise of an Empire also has a familiar way of kicking the audience’s ass, loading the screen with epic battles brought to life this time around with the very best in digital effects hard at work. That’s to say nothing of the awesome villainy on display from Eva Green.
You’ve got to hand it to Liam Neeson. The guy knows precisely on which side his bread is buttered. Since rising to Stallone-level status in the action world, Neeson has been on a tear, dropping into plenty of action films, only worried about the punching and kicking. The same goes for Jaume Collet-Serra, the director of Neeson’s latest actioner, Non-Stop. Despite a resolution that makes the mystery that came before it that much dumber, the film delivers top-notch action, giving us exactly what we’ve come to expect from the collaboration that gave us Unknown last year. At the very least, Non-Stop’s premise and the fury from some solid moments of suspense keep it from being just another forgettable entry on Neeson's action resumé.
It's hard to call Pompeii a success, at least from a story perspective. Granted, the tale of the ancient Roman city that was demolished in 79AD when the nearby volcano, Mount Vesuvius, erupted has never been told in big-budget, cinematic form. As far as disaster epics go, the film hits all the melodramatic, high-end special effect notes with accuracy. However, it's the story wrapped around that successful disaster picture that is derivative and loaded with cliche. The obvious formula is Titanic meets Gladiator with that fiery, erupting volcano filling in for the iceberg, and while the intensity levels rise with all the liquid, hot magma of excitement, it all comes across as weighty as a pile of ash. Pompeii may be a cinematic achievement for the senses, but any lasting impressions it could leave instnatly begin and end with how impressive it looks.
Don't be fooled into laying a false sense of infallibility to the RoboCop franchise. Two dreadful sequels and a short-lived TV series that was even worse - not to mention the WCW Wrestling appearance and Japanese chicken endorsement - makes it so that a remake is not the worst thing imaginable for the half-man/half-machine/all-cop character. But any forewarning is moot when it comes to the RoboCop remake, a noticeably tamer but still entertaining take on the story that, despite its dip into idiocy, still makes an attempt at the satirical subtext that places the original film in such high regard. Like the character, the film is clunky, but when all its pieces are in motion, it's a more enjoyable thrill than this series possibly deserves. More below!
There has to be more to a war film than a unique tale, true or not, and a handful of gifted actors behind it. These elements can carry a war film so far, and it's a pretty obvious rule that the talents behind the World War II epic, The Monuments Men, seem not to understand. Uniqueness in plot and a slate of actors who always hold your interest are a few of the cards in the film's hand, but the other cards don't have much value. Corny, episodic, and melodramatic, The Monuments Men is an admirable story told with the subtlety of a Hollywood chainsaw, and a half-baked presentation that's not even preferable to The History Channel
Jason Reitman is a filmmaker in love with relationships. Whether its a young pregnant woman's relationship with the couple who will adopt her unborn child or the relationship between a young adult writer and the people that she utterly despises, these connections are the driving force behind his films' respective emotions. Labor Day, his latest, is right in line with the rest. In terms of the driving force, that is. The results are varied, but a pair of powerhouse performances keeps Labor Day from being the too-simple-with-too-much-saccharine film it threatens to be. Trashy at times, very messy at others, it's a bag of mixed results, all the while wanting nothing more than to have tears streaming down your face. Read on!
There is a wealth of story in the collection of Tom Clancy novels featuring his number one lead, Jack Ryan. Some of film’s best espionage stories star the CIA analyst-turned-field-agent. Yet, the output these novels have given the film world has just as many misses as hits, and those misses are getting wider off the mark. Jack Ryan: Shadow Recruit is Hollywood’s latest attempt at turning the character into a franchise name, and its tame, formulaic, and dulled results mark the weakest Jack Ryan adventure the character has seen to date. At least it’s loud and fast, which may fool some into thinking there’s some substance. Read on!