EXTRACTION 2 (2023)

June 15, 2023

Greetings again from the darkness. Our favorite fearless, black-market mercenary is back … and this time it’s personal! (read that line with your best “In a world” voice). Well, initially, Tyler Rake is only back while comatose after his last job nearly got him killed. When he awakens, his finely-tuned body is broken and in need of repair and recovery. Of course, it’s only a matter of time before his particular set of skills are back in demand. A visit from a mysterious man (Idris Elba) provides a personal offer that spurs Rake into ‘Rocky Balboa’ training mode, replete with chickens and wood-chopping.

Director Sam Hargrave and writer Joe Russo stick to the formula that worked in their popular EXTRACTION from 2020, only this time they go even bigger. Mr. Hargrave is a long-time stunt coordinator and Mr. Russo often works with his own brother Anthony on Marvel movies, so you can expect an overdose of action sequences, fight scenes, and shootouts. And regardless of how many of each you expect, the film will very likely deliver more. It is relentless in its commitment to action … never more so than the elaborately staged prison break. It’s a remarkable action sequence that lasts about 20 minutes and includes guns, knives, explosives, car chases, helicopters, and most anything else ever seen in a battle. One key difference is that the first film’s cinematographer, Newton Thomas Sigel, has been replaced by Greg Baldi, creating a different look and style to the film.

Chris Hemsworth returns as Tyler Rake, and the actor has publicly stated that he’s tired of playing Thor. It’s difficult to imagine this role is more fulfilling, but perhaps he simply enjoys being the main attraction. Also returning in this sequel are Tyler’s handler, Nik Khan (Golshifteh Farahani) and her brother Yaz (Adam Bessa). Their mission is to extract the sister of Tyler’s ex-wife, along with two kids, from the prison where her evil gangster husband is serving time. As one might expect, the extraction goes sideways, and soon the gangster’s equally evil brother (as proven earlier by his pitchfork handywork) is pursuing them in revenge. Bullets fly and bodies fall. Both sides are curiously well-equipped and better funded than many governments. Weapons and military equipment and soldiers seem to pop up instantaneously when trouble starts, and sometimes just before that. For those who enjoy over-the-top action and violence, get your popcorn ready.

In addition to worldclass bone-crunching, the participants enjoy worldclass globetrotting … bouncing to and fro: Dubai, Georgia (the country, not the state), the Amalfi Coast, Austria, and Sydney. The two gangster brothers are played by Tornike Bziava and Tornike Gogrichiani, while the sister being rescued is Tinatin Dalakishvili, and her troubled son is played by Andro Japaridze. Appearing in only two scenes each are Olga Kurylenko and Idris Elba, although Mr. Elba’s final scene seems to set the stage for his return in another sequel … which if it occurs, we can assume will somehow have an even bigger bullet budget.

Streaming on Netflix beginning June 16, 2023

WATCH THE TRAILER

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Posted by David Ferguson

THREE THOUSAND YEARS OF LONGING (2022)

August 25, 2022

Greetings again from the darkness. I should start by admitting I would purchase a ticket to watch Tilda Swinton jaywalk on a country road or sit in a corner reading quietly to herself or carefully slice the crust off a PBJ. In other words, I find her to be a fascinating performer who takes risks and whose characters and movies are consistently worthy of attention. This film is directed by Oscar winner George Miller and he adapted the script with co-writer August Gore (Mr. Miller’s daughter) from the 1994 short story, “The Djinn in the Nightingale’s Eye” by AS Byatt. This is Mr. Miller’s first film since MAD MAX: FURY ROAD (2015) and fits into his diverse filmography that also includes the original MAD MAX (1979), THE WITCHES OF EASTWICK (1987), LORENZO’S OIL (1992), BABE: PIG IN THE CITY (1998), and HAPPY FEET (2006). This is a filmmaker who chooses his own projects.

Oscar winner Tilda Swinton stars as Dr. Alithea Binnie, a narratologist and literary scholar who describes herself as “a solitary creature by nature.” She’s in Istanbul to present at a conference ‘to tell stories about telling stories.’ Alithea preaches that science can explain all, even as she’s experiencing vivid visions that she herself cannot explain. After purchasing a handcrafted bottle, she returns to her hotel (in the Agatha Christie room) and cleans it with her electric toothbrush. When a Djinn swooshes from the bottle in a plume of purple smoke, she’s beyond skeptical of making that first wish – all too aware of the legendary tales around just such circumstances. But this giant Djinn is played by Idris Elba and he’s quite persuasive.

The Djinn explains the rules of her 3 wishes, and then regales Alithea with four tales of his escapades, most of which involve love and betrayal, and all of which resulted in him being trapped in a bottle. The first story involves the Queen of Sheba (a stunning Aamito Lagum) and how the Djinn was in love until a sly King Solomon messed it up and banished him to the ocean floor. All of the tales are played out in vibrant colors and fascinating detail, with the Djinn explaining that in order to gain his freedom, he must grant Alithea “her heart’s desire.”

Reminding me a bit of Tarsem Singh’s THE FALL (2006), each of the four tales told by the Djinn explode in color from a different era. Even the Djinn and his Spock ears begins too large for the screen, and certainly too large for the hotel room. And oh, that hotel room. For the vast majority of their time together Alithea and the Djinn are stuck in a bland – mostly white – room that contrasts with the stories he tells, but gives Ms. Swinton little to work with. Each of the stories is beautifully told, though a bit more humor would have been beneficial, and it should be noted that this one takes some definite “buy in” from the viewer. However, there is certainly no reason to complain as we are treated to two stellar actors and multiple stories of love and fate.

Opens in theaters on August 26, 2022

WATCH THE TRAILER

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Posted by David Ferguson

BEAST (2022)

August 18, 2022

Greetings again from the darkness. Movies featuring man versus beast date back to at least 1933 with KING KONG, and have proven to be fan favorites many times since, likely peaking with JAWS in 1975. Of course, this sub-genre has also produced too many flops to count as low-budget filmmakers have attempted to capitalize with the cheap-thrills approach to entertainment. Director Baltasar Kormakur has previously flashed his skill with nature thrillers ADRIFT (2018) and EVEREST (2015), and here he’s working from a script and story by Ryan Engle (NON-STOP, 2014) and Jaime Premak Sullivan (BREAKING IN, 2018). It’s tempting to call this one ‘Cujo as a lion’, as a tip of the cap to the 1983 adaptation of Stephen King’s horror-novel, but there are many reasons not to do so.

Idris Elba plays Dr Nate Samuels, a man taking his daughters to the African savannah area where he met their mother many years prior. The mom recently passed away from the effects of cancer, and since mom and dad had separated the year before, there is tension between dad and daughters, especially the eldest, Meredith (“call me Mere”), who holds him responsible for not being there for mom. Mere is played by Iyana Halley, and younger sister Norah is played by Leah Jeffries. We quickly learn these are smart girls, spoiled by privilege and dumbfounded at the lack of Wi-Fi and cell phone coverage miles from nowhere.

Nate’s old buddy Martin (Sharlto Copley) manages the protection of local wildlife and will act as their guide. One of the first sequences we see is poachers wiping out a pride of lions. However, they missed the alpha male and he is now out for revenge against all poachers … only he, like so many these days, can’t tell the difference between the good guys and the bad guys. This puts Nate and the girls in danger, especially after Martin is seriously injured. Director Kormakur pulls the old “Jaws” trick by keeping the lion out of sight for a while, building suspense. Once he begins attacking, the lion is in full view for much of the film. Of course, lions are wild animals and cannot be trained to act, so what we really see are computer-generated lions with terrific growling sound effects.

The lion attacks are ferocious and do provide a certain level of fun tension with numerous jump-scares, and many will find this sufficient for movie entertainment. However, for those who want a bit more, the plot, dialogue and character decisions are often absurd and ludicrous – generating laughter where they shouldn’t. Despite much of this being computer-generated, the work of Oscar winning cinematographer Phillippe Rousselot (A RIVER RUNS THROUGH IT, 1992) should be noted … it looks and feels like we are in the wild bush. The four main actors are fine, although Mr. Elba’s contemplative physician transforming into quasi-superhero is a bit difficult to take. Mere’s donning a JURASSIC PARK t-shirt is a nice try, but this one has more in common with Liam Neeson fighting off wolves in THE GREY (2017).

Opens in theaters on August 19, 2022

WATCH THE TRAILER

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Posted by David Ferguson

CATS (2019)

December 19, 2019

 Greetings again from the darkness. Director Tom Hooper must really enjoy this process. In 2012 he brought mega-hit stage musical LES MISERABLES to the screen. It was nominated for 8 Oscars and won 3, including one for Anne Hathaway. This time, Mr. Hooper again turns his talents towards a colossally successful stage musical, and costumes, make-up, and visual effects are even more crucial. Whereas Les Mis was adapted from Victor Hugo’s novel, CATS was adapted by songwriter Andrew Lloyd Webber from a 1939 poetry collection of T.S. Elilot. Of course, Mr. Webber is also the genius behind other brilliant musicals, including THE PHANTOM OF THE OPERA (from the novel by Gaston Leroux).

Tom Hooper and Lee Hall have adapted the screenplay from the stage presentation, and the sung-through musical approach means there is minimal dialogue. Songs are used to tell the story and introduce the key characters. Choreographer Andy Blankenbuehler (a 3-time Tony winner, “Hamilton”) is the real star. Multiple dance styles are featured, including: classical ballet, contemporary, hip-hop, and traditional tap. The dancing is tremendous, and of course, a big part of that is Francesca Hayward, who plays new kitten on the block, Victoria. Ms. Hayward is a Principal Ballerina at The Royal Ballet. Numerous other skilled dancers are in the cast as well.

The story (such that it is) revolves around a tribe of Jellicle cats who have an annual ritual of selecting one to ascend to the Heaviside Layer and come back with a new Jellicle life. Sweet Victoria is unceremoniously dumped in the alley by her owner, and is quickly surrounded by this tribe of cats that basically aren’t very nice. It’s in this opening sequence where we realize these humans as cats actually look a bit creepy and take a while to get accustomed to. Given the structure, the story plods along through each successive song, with certain characters getting their moment to shine. These include Rebel Wilson as humorous and chunky Gumbie cat Jennyanydots, Rum Tum Tiger cat played by talented musician/singer/dancer Jason Derulo, Oscar winner Jennifer Hudson as outcast Grizabella, James Corden as the usually-hungry Bustopher Jones, and Oscar winner Judi Dench as Old Deuteronomy.  Always hovering, is the mystical Macavity played by glowing-green-eyed Idris Elba, and making a later appearance is Taylor Swift as Bombalurina, singing the Macavity tribute song.

The two most memorable numbers come courtesy of Ian McKellan as Gus the Theatre Cat, and Ms. Hudson who belts out the most famous song of the production, “Memory”, in a vocal and emotional highlight of the film. Visually, it’s Mr. Mistofelees (Laurie Davidson) magic number that breaks us out of the muted palette. The other musical numbers mostly just fall flat and aren’t very entertaining or enjoyable.

It’s pure coincidence that the screening for this film was the same day as the new Star Wars movie. The franchise for the latter began in 1977, while “Cats” first hit the stage in 1981. That’s quite a legacy for both. As for this film version from director Hooper, I do wonder if enough viewers will respond to a musical where the story and songs are overshadowed by the dancing, and the sets and costumes offer no ‘wow’ factor. Many will find these characters hard to connect with … at least outside of that incredible Jennifer Hudson vocal. It seems these kitties should have remained on stage.

watch the trailer:

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Posted by David Ferguson

AVENGERS: INFINITY WAR (2018)

April 25, 2018

 Greetings again from the darkness. We are at the 10 year mark of the new Marvel cinematic universe that began with the revolutionary IRON MAN (2008). This 19th movie in the franchise is actually Part 1 of 2 films that will (supposedly) be the lasting legacy of The Avengers. The second “half”, much of which was filmed simultaneously with this one, is set for 2019. Co-directing brothers Anthony Russo and Joe Russo were responsible for the two most recent Captain America movies (and also one of my all-time least favorites: YOU, ME AND DUPREE), and have now taken on the biggest budget, biggest cast, and longest run time yet of any Marvel movie. In fact, it’s so big, it could only be named ‘Infinity’.

Being that the fan base for this movie is highly sensitive to anything resembling a hint, much less a spoiler, this review will tread very lightly, and instead function as an overview with very general observations. There are a few key points, most of which are quite obvious from either the trailers or the previous movies in the series. First thing to realize is that this is a Thanos movie. He’s the first big (I told you everything was big), bad, nearly omnipotent villain. It should be noted that Thanos sees himself as misunderstood, which leads to the second key point: melodrama abounds – moreso than any previous comic book movie. It seems to be reminding us that Superheroes are people too (but are they really?). The third point is that if every character with a speaking part simply said “I am Spartacus”, it would still likely be the longest ever comic book movie. There are at least 28 characters with “key” roles – and that’s not counting the end credit stinger, or the missing characters we thought we would see, or the one that gets a logo tease as a coming attraction for part 2.

Co-writers Stephen McFeely and Christopher Markus had their hands full in working to come up with a coherent story, while allowing so many familiar characters to have at least one moment in the spotlight, if not a few. The fact that AVENGERS: CIVIL WAR divided the group actually allows for multiple segments to play out concurrently. Though we never doubt these fragmented cliques and isolated individuals will fight to save the galaxy, that doesn’t necessarily mean they get the band back together. In fact, it’s the Guardians of the Galaxy who are a much more cohesive group than our beloved Avengers. But fear not … there is plenty of fighting and action to go around.

Thanos claims he is saving many interplanetary civilizations and restoring balance with his plan to eliminate half of all living beings. While there might be some scientific evidence to back up his plan, it doesn’t sit well with the good guys. More focus is given to his cravings for ultimate control and power provided by tracking down all six Infinity Stones (Tesseract/Space, Mind, Time, Power, Reality, and Soul) to complete his Infinity Gauntlet. Many of these stones are in quite inconvenient locations and require some ingenuity and brute force from Thanos.

Perhaps the travel agent had the biggest challenge as portions of the film take place in New York City, Knowhere, and Wakanda (good luck finding a brochure on those last two).  We also get a budding romance from Vision and Scarlet Witch, as well as annoying quasi-romantic banter between Tony Stark and Pepper Potts. And while we are on the “TMZ” portion of the review, it should be noted that both Black Widow and Captain America (introducing himself as Steve Rogers) both have new hair styles – though only one of them sports a beard.

In the realm of comic book movies, this would be considered an epic. It has stunning action sequences, remarkable special effects and some terrific comedy mixed in. Of course, you’ll have to accept the melodramatic emotions and fear that we haven’t been previously subjected, and know that the final finality doesn’t arrive for another year. It’s very long (more than 2 ½ hours) but it seems to go pretty quickly. The filmmakers have mostly succeeded in the monumental task of remaining true to the history in order to keep comic book fans satisfied, while also creating something that most should be entertained by. Despite lacking the upbeat, feel-good ending we’ve grown accustomed to, there is a welcome Stan Lee cameo, a post credit stinger (after about 10 minutes of rolling credits). And to top it off, we get “Rubberband Man” from The Spinners. Now that’s big!

watch the trailer:

 

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Posted by David Ferguson

MOLLY’S GAME (2017)

December 23, 2017

 Greetings again from the darkness. Aaron Sorkin’s dialogue is like a rap battle with proper grammar and no down-beat. He must have been abused by pregnant pauses and moments of silence as a kid, as his screen banter gives new meaning to ‘the fast and the furious’. This latest is his directorial debut, but his loquacious diatribes have previously tested our attention spans in such films as STEVE JOBS, MONEYBALL, and of course, THE SOCIAL NETWORK (for which he won an Oscar).

Molly Bloom’s memoir is the adapted source material, and though her story might be a bit challenging to show, there is certainly much to tell … which is right in Mr. Sorkin’s wheelhouse. The verbal sparring amongst characters rarely pauses, and when it does, we have Molly immediately jumping in as narrator and guide.  The ultra-talented Jessica Chastain (ZERO DARK THIRTY) takes on the Molly role, and narrates her back story at break-neck speed (there is a pun in there). We learn her psychologist father (Kevin Costner) pushed her hard as a kid and she became off-the-charts intelligent while also being a world-class downhill skier.

A freak accident ended her athletic career, and after deciding to delay law school, Molly found herself working for a real estate agent in Los Angeles. Soon he got her involved with hosting the high-stakes underground poker games he ran for local celebrities, and being a quick study, she was soon running and managing her own games. When Molly was forced to take her game to New York, the players transformed from movie stars and professional athletes to business magnates, hedge-fund managers and, unbeknownst to her, the Russian mob.

Don’t mistake this for a poker movie. Cards and chips are everywhere, but this is Molly’s story, and Sorkin wisely simplifies the poker details and focuses more on Molly’s brilliant strategy to build her business. Of course, there wouldn’t be much to this were it just rich people playing poker. Less than a decade in, Molly is arrested in an overblown FBI sting featuring 17 armed agents at her pre-dawn door. The charges ranged from money-laundering to hedge-fund fraud to dealings with the Russian mob.

The criminal charges lead Molly into the offices of defense attorney Charlie Jaffey (Idris Elba), who is reticent to take what appears to be an unwinnable case. The Sorkin back-and-forth kicks into full gear as Molly and Jaffey expertly verbally spar until she convinces him that she is adamant in not wanting anyone else to get hurt – even if it might save her proverbial rear-end.

Although Sorkin doesn’t name names, it takes very little research effort to determine some of the featured players in Molly’s games. Hints are provided such as “green screen”, New York Yankee player, and Oscar winner. Michael Cera is identified only as Player X, but it’s quite obvious he is playing the noted green screen actor, and he does a nice job in a small, but vital role. The rest of the cast offers up colorful work: Jeremy Strong as Molly’s first boss, a very funny Chris O’Dowd, Brian d’Arcy as “Bad Brad”, Justin Kirk as a rock star, Angela Gots as the wise table dealer, and the always great Bill Camp as Harlan, whose story highlights the true risk in this supposed game of skill. Graham Greene has a nice moment as the judge hearing Molly’s case, and it’s likely the first time he and Kevin Costner have appeared in the same film since DANCES WITH WOLVES.

At times the film and story bear a slight resemblance to THE WOLF OF WALL STREET, but mostly it’s one woman’s journey through entrepreneurship and a web of legalities. Arthur Miller’s “The Crucible” is used as a comparable for protecting one’s own name, as well as a life lesson for Jaffey’s young daughter. Writer Sorkin predictably surpasses first time director Sorkin, and never is that more obvious than a cringe-inducing father/daughter scene on a park bench near the end of the film. It’s designed to wrap up Molly’s inspiration and influence, but plays like a cheap Hollywood ploy to mop up loose ends. Molly deserved better, and fortunately most of the movie delivers.

watch the trailer:

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Posted by David Ferguson

THOR: RAGNAROK (2017)

October 30, 2017

 Greetings again from the darkness. The ultimate cinematic dilemma … how to make the next comic book movie stand out from the (many, many) others? The brilliant answer comes from director Taika Waititi and co-writers Eric Pearson, Craig Kyle and Christopher Yost – a screwball superhero action film that delivers not only the required alien war scenes, but also a campy villain for the ages in a movie that may be the funniest of the year.

For those who prefer their superheroes dark and brooding, this one will be a shock. Prepare for Jeff Goldblum as the Grandmaster – the most polite villain we’ve seen in awhile, and one who looks to be straight out of the 1960’s “Batman” series. Chris Hemsworth as Thor is one of many returning actors/characters, only this time he really gets to flash his comic timing on top of his Thunder God biceps. His love-hate, trust-no trust, see-saw relationship with brother Loki (Tom Hiddleston) is in full force, as is the Bruce Banner banter with The Hulk (Mark Ruffalo). It’s certainly more in line with GUARDIANS OF THE GALAXY than the previous movies for Avengers.

As much fun as Goldblum brings to the party, this is really Cate Blanchett’s show. She is the frightening (with a dash of camp) Goddess of Death, and long-lost sister of Thor and Loki, and daughter of Odin (Anthony Hopkins). With a headdress that puts everyone at the Kentucky Derby to shame, Hela’s enormous powers are such that she crumbles Thor’s mighty hammer with little effort – just to remind everyone that big sisters are renowned for messing up younger brother’s toys.

Of course, with that title, we know that the story revolves around what could be the end of Asgard. Joining in the fun are: Idris Elba who is back as Heimdall, Tessa Thompson as a master of one-liners Valkyrie, Karl Urban as Skurge – rewarded with a wonderful exit scene, Ray Stevenson returns as Volstagg, and rocky alien Korg who is voiced by director Waititi. Fans of the series will be happy to know other familiar faces pop up periodically – one especially magical sequence teaches Loki a quick lesson.

In addition to the main rescue story line, the powerful villains, and crazy aliens, there are numerous nods and tributes to previous versions (notably Planet Hulk, and Fantastic Four), and a hilarious early stage play with three cameos that make it clear, big time laughter is here to stay. It’s fun to catch the reunions from such previous projects as Star Trek, JURASSIC PARK and Westworld.

Special acknowledgment goes to director Taika Waititi for hilariously taking the comic book film world down a different path. He’s known for his comedic projects like HUNT FOR THE WILDERPEOPLE (one of my favs from 2016), WHAT WE DO IN THE SHADOWS, and his work on the brilliant but short-lived “Flight of the Conchords”. It’s still very much a Marvel movie, with visible fingerprints of Stan Lee, Larry Lieber, and Jack Kirby. It’s also a fantastic adventure film that sets the stage for next year’s AVENGERS: INFINITY WAR, while also featuring the best use ever of Led Zeppelin’s “Immigrant Song”. So get ready to rock, roll and rollick in a film that is just about as much fun as you can have in a theatre.

watch the trailer:

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Posted by David Ferguson

BEASTS OF NO NATION (2015)

October 16, 2015

beasts of no nation Greetings again from the darkness. Cary Joji Fukunaga has quickly established himself as an expert storyteller with his previous writing and directing of Sin Nombre (2009), Jane Eyre (2011) and the fascinating and conversation-sparking first season of “True Detective” (he did not direct the much-maligned Season Two).  He goes even deeper and darker this time by adapting Uzodinma Iweala’s novel about a child soldier.

When first we meet Agu, he is but an enterprising and fun-loving kid who thrives on mischief such as trying to sell “Imagination TV” – the empty shell of a console TV, complete with Agu and his buddies acting out scenes for those who peer through the picture tube opening. Agu describes himself as “a good boy from a good family”, and we believe him.

Somewhere in Africa is all we know about the location, and soon enough Agu’s village is under siege and he is separated from his mother, and forced to stay behind with the men – including his father and big brother. More terror forces Agu alone into the forest until he is brought into a mostly young group of rebel forces led by the Commandant (Idris Elba). It’s around this time that Agu begins “talking” to God through voice over narration that allows viewers to understand what’s going on inside Agu’s head – often quite contrary to what is happening on the outside as he transforms from mischievous kid to dead-eyed child soldier.  When Agu stops speaking to God, we understand that he believes he no longer deserves to be heard, but his words to the universe (directed to his mother) let us know, this boy has not yet lost his soul.

Though we never understand the war, or even who is fighting whom, this uncertainty is designed to help us better relate to Agu. He may be a tough-minded soldier, but we also never forget that he is mostly a little boy hoping to re-connect with his mother. Idris Elba plays the Commandant as part father-figure, part war lord, and part cult leader. He is a menacing presence one moment and a soothing voice of reason the next. When we (and Agu) learn the full story of his multiple sides, we are both sickened and disheartened. It’s the performances of both Elba and newcomer Abraham Attah (as Agu) that make this such a devastating and fascinating movie to watch, and it’s the filmmaking of Fukunaga that keeps our eyes glued to the screen when we would just as soon turn away.

This is a Netflix original film and they are experimenting with a simultaneous release in theatres and streaming. This approach has not previously been met with open arms by theatre chains when attempted by other distributors. It will be interesting to see if Netflix can make it work.

watch the trailer:

 

2 Comments | Drama, Thriller, War | Tagged: , , , | Permalink
Posted by David Ferguson

THE GUNMAN (2015)

March 20, 2015

gunman Greetings again from the darkness. Sean Penn becomes the latest addition to the AARP action hero club … a very crowded club these days. Unfortunately for Mr. Penn, he lacks the smirky charm of Bruce Wills, the uber-cool of Denzel Washington, and he fails to generate the empathy of Liam Neeson. He simply doesn’t come across as a very likable guy, and certainly not someone we can root for.

Based on the novel of Jean-Patrick Manchette, the movie starts out in the Democratic Republic of Congo where Penn is a mercenary disguised as part of a mining security detail. The first 20 minutes are convoluted and introduce numerous characters and sub-plots that leave us wondering if there are any good guys here … other than Penn’s idealistic doctor girlfriend played by Jasmine Trinca. A sure sign of a weak script is a film that is bookended by “newscasts” to explain both what is going to happen as well as what just happened.

Pierre Morel directed the first Taken movie, and his cast is stellar: Sean Penn, Javier Bardem, Idris Elba, Ray Winstone, and Mark Rylance. Somehow that combination delivers a hokey, over-acted, cheesy dialogue mess featuring absurd shoot-outs and action sequences that try to convince us Penn is some kind of quasi-superhero. His transformation from geopolitical hit-man to humanitarian is tough to buy, and it’s downright chuckle-inducing to see the times he manages to show off his sculpted torso. We can only assume his personal trainer received a bonus for each shirtless scene.

The story bounces from Africa to London to Barcelona to Gibraltar and back to Barcelona. It does include the best use of a live bull so far this year, though the actual bullfighting is somehow one of the least gruesome segments of the entire film. The film isn’t as sneaky as it thinks it is in making a statement about multinational corporations raiding Third World resources. Evidently, the message is that former assassins can be forgiven if they are re-born as committed to humanitarian causes, but capitalistic companies cannot possibly justify their work in impoverished areas.

All of the above could be shrugged off if so many wasted opportunities didn’t consistently frustrate. Penn has scenes with all of the other actors mentioned above, but there is almost no interaction between the others. Why no confrontations between Idris and Javier? How about one sequence with Penn, Javier and Winstone squaring off? So many fun actors, but so little cross-over. Frustration may be the best overall description for this one, and it encompasses everything from script to dialogue to camera work.

watch the trailer:

 

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Posted by David Ferguson

THOR: THE DARK WORLD (2013)

November 12, 2013

thor3 Greetings again from the darkness. While this is the second Thor movie, we feel a bit more familiar with the Norse God thanks to The Avengers. It’s not surprising that Chris Hemsworth can hold his own with the character given his looks and physicality, but this time he gets a run for his money thanks to Tom Hiddleston as Loki. (not my favorite part of the first one).

The film’s official villain is Malekith (Christopher Eccleston) who rules the Dark Elves and is trying to re-capture the all-powerful Aether, a substance of infinite energy. But the whole battle for the 9 realms is really just a sideline to Thor vs Loki, and Thor’s touch of humanity and eye for Jane Foster (Natalie Portman). Most of the key characters are back: Anthony Hopkins as Odin (even more over the top this time), Rene Russo (Thor’s mom), Ray thor2Stevenson as Volstagg, Jaimie Alexander (Sif), Idris Elba (Heimdall), Kat Dennings (Darcy), and Stellan Skarsgard (Erik Selvig).

This sequel is kind of interesting to analyze. It’s certainly bigger than the original … the special effects are huge and much improved. Light comic moments abound, but luckily the snark from Kat Dennings is minimal. Chris O’Dowd shows up for a couple of pretty funny, but slightly out of place scenes. There are a couple of cameos including an off-beat appearance by one of the The Avengers. Rene Russo even gets her own sword fight! Though it matters not to me, I assume there are many who would choose a Skarsgard other than Stellan to run around Stonehenge sans clothes. So while it has all of that going for it, the story often fails at engaging the audience.

thor4 This one is directed by Alan Taylor, who is quite a successful TV director, and there was clearly some upfront concern over the script as Joss Whedon was brought in for scene doctoring. I believe what we learn is that the fish out of water story works when Thor is on Earth, but it loses impact when Jane Foster visits Asgard. Still, Tom Hiddleston is such fun to watch as Loki, that none of that really matters.

It’s a superhero movie that will entertain the fans and provide plenty of ammunition for the critics looking to bash. If you see it in the theatre, you should know to stay for BOTH post-movie scenes. A rare Benecio Del Toro sighting makes it worthwhile.

SEE THIS MOVIE IF:  you are a fan of the Marvel comics and the corresponding films … and know that there are many more to come!

SKIP THIS MOVIE IF: you are rational human being unwilling to spend time on the superhero fantasy world.  Just know that there are many more to come!

***SPOILER ALERT***

If you are interested in the Benecio Del Toro character, then continue reading.  If you prefer to be surprised, then please stop reading now.

Del Toro plays The Collector in the final scene.  Expect an expanded role for Guardians of the Galaxy.  The Collector is millions of years old and is a pre-Cognitive (he sees the future).  He collects items and beings of real power.  At the end of Thor: The Dark World, he takes possession of Aether and states “One down, five to go“. There are six gems of color in this universe and possession brings ultimate power.  Expect more to come in future Marvel films.

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Posted by David Ferguson

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