Greetings again from the darkness. The ‘long con’ usually doesn’t work for movies since the story must be told within a 2 hour window. However, writer-director George Nolfi and co-writers Brad Kane, Niceole R Levy, David Lewis Smith and Stan Younger deliver a story inspired by the true actions and events of men who found a clever way to circumvent a system designed to prevent people of color from succeeding in business.
Anthony Mackie puts on glasses and a few sharp suits to play Bernard Garrett. We see young Bernard as a shoeshine boy in Willis, Texas in 1939, eavesdropping on the businessmen as they chat about high finance, and then taking notes on subjects such as return on investment and calculating property value. Young Bernard grows into a math whiz adult … one whose ambition is hampered only by the color of his skin. He has a chip on his shoulder and is intent on proving the world wrong. His supportive wife Eunice (Nia Long) introduces him to Los Angeles entrepreneur Joe Morris (Samuel L Jackson), whose enterprising approach and bold lifestyle both complements and contrasts with Bernard’s ambition and straight-laced personality.
Bernard realized early on that in order to build the real estate portfolio he envisioned … one that could provide opportunity for others in the black community … he needed the face of a white man to handle the negotiations. Initially that white face belonged to Patrick Barker (Colm Meaney), and the business grew quickly. Things really take off for the Garrett – Morris partnership when they begin training Matt Steiner (Nicholas Hoult) how to be the face of the company. Bernard’s shrewd business and financial sense flies over Steiner’s head, but with practice, he learns to “act” the part. Steiner’s training involves everything from golf to math to dinner table etiquette.
It was the late 1950’s and early 1960’s … racism was rampant. The Garrett – Morris story plays like an underground rebellion, and one that is surprisingly fun to watch unfold on screen. While the two men built their personal wealth, their actions also helped fight against racism and inequality. They ended up owning 177 buildings, and things might have continued on had Garrett not, against Morris’ better judgment, decided they were strong enough to change things back in his hometown of Willis, Texas. Morris labeled Garrett’s plan as “social activism” rather than business. Their real estate venture morphed into banking so that blacks could have access to business and personal loans. What seemed like a minor misstep from Steiner, blew the wheels off and created a worst case scenario for Garrett and Morris.
Mackie, Hoult and Jackson are all fun to watch here, with Mr. Jackson offering up many of his patented reaction shots and laughs. If anything, the filmmakers play things a bit too safe with the story-telling. It’s all a bit too slick and glossy, given the times. Sure, it’s a pleasure to see what amounts to a classic car show on the street, but it’s difficult to imagine things went quite this smoothly right up until they didn’t. This is an Apple TV production, and its release was delayed due to controversy surrounding Garrett’s second wife (not depicted in the film) and his son, who was originally listed as a Producer. An “Inspired by true events” banner to open a film typically means some dramatic license was taken, which we can assume was the case here. Regardless, the story of Bernard Garrett and Joe Morris and Matt Steiner is fascinating, and worthy of being told.
Greetings again from the darkness. Girl Power! Not only does this serve as an origin story for Carol Danvers/Captain Marvel, but Anna Boden becomes the first female director of a Marvel movie (she co-directed with Ryan Fleck, and they previously collaborated on IT”S KIND OF A FUNNY STORY, SUGAR, and HALF NELSON). It’s Marvel’s first solo female superhero movie, and even though it’s actually a prequel to what we’ve previously seen in the Marvel Cinematic Universe (MCU), it clearly sets the table for AVENGERS: ENDGAME and the showdown with Thanos later this year.
Oscar winner Brie Larson (ROOM) stars as Carol Danvers/Captain Marvel, and the film opens with her as Vers, a human-Kree hybrid and a soldier of Starforce being trained by Yon-Rogg (Jude Law) for a role in the Kree-Skrulls war. Part of the training includes regular reminders to keep her emotions under control … see, not only is Vers a woman but she also shoots sonic blasts from her fists. The filmmakers have not presented her story in chronological order, but have instead utilized flashbacks and memories to let us (and Carol) in on how she obtained her immense powers.
In Marvel tradition, the film uses much humor as it progresses. Proving that the action takes place in the 1990’s, the roof literally comes down on a Blockbuster video store (foreshadowing future financial events), as Vers crashes to earth. Soon she has met young agents Fury and Coulson, played by digitally de-aged Samuel L Jackson and Clark Gregg, respectively. This is of course pre-eye patch Fury, though we do get that origin story a bit later in the film. As Vers peruses the Blockbuster shelves, we get a tip of the cap to THE RIGHT STUFF and TRUE LIES, and soon thereafter, a nod to Radio Shack, pay phones, pinball machines, pagers, and 90’s era internet speed. The retro bits may be a bit overdone, but the millennial target audience will surely enjoy.
The always interesting Ben Mendelsohn plays Talos, the leader of the shape-shifting Krulls – who also sport the best make-up as they transform from pointy-eared green aliens into exact replicas of humans. Lee Pace returns as Ronan the Accuser, while Djimon Hounsou is Korath and Gemma Chan is Minn-Erva, both part of Starforce. Annette Bening plays the AI Supreme Intelligence, while Mckenna Grace appears as young Carol in flashbacks.
The glimpses of Carol Danvers as a US Air Force fighter pilot lead to the best dramatic scenes of the film – her reuniting with fellow pilot Maria Rambeau (Lashana Lynch) and Maria’s daughter Monica (Akira Akbar). At first I was taken aback that Marvel dared cast a black actress in the role of stereotypical supportive sidekick, but then Ms. Lynch got her own impressive action chase sequence (similar to STAR WARS) and kicked some serious alien tail. Those familiar with the comics know that Maria Rambeau is the mother of Photon, a character likely to appear deeper in the universe.
The co-directors also co-wrote the script with Geneva Robertson-Dworet, and Nicole Perlman and Meg LeFauve contributed to the story. The strong female presence is impressive both on camera and off, as Pinar Toprak’s score complemented the heavy 1990’s rock music soundtrack. Again, nostalgia seems ever-present, as does the humor (Goose the cat/flerken) and good fun that existed in THOR: RAGNAROK and ANT-MAN AND THE WASP. Carol Danvers and her backstory also seem a bit more relatable than that of WONDER WOMAN.
Marvel offered up a nice tribute to the late Stan Lee by providing a new opening featuring his many cameos over the years. And yes, he was able to film his cameo for this one prior to his death in November 2018. So we have an origin story not just of Captain Marvel, but also of the Fury eye patch, the Avengers Initiative, and a prequel to all Marvel movies we’ve seen in the past few years. Two post-film stingers are included: one expected and necessary, while the other is good for a laugh. It’s an inspiring story of a young girl who repeatedly fell down and got up and brushed herself off every time – even before her fists and eye balls could shoot energy streams. It’s fitting and about time that young girls now have their own superhero to emulate.
Greetings again from the darkness. It’s pretty simple. If you are a fan of UNBREAKABLE (2000) and SPLIT (2016), then you need to see this finale to M. Night Shyamalan’s trilogy. If neither of the two previous films tickled your creep fancy, then you’ll likely find nothing of interest here. The biggest fear is that fans of the first two (like me) will be disappointed and frustrated (like me) by the missed opportunity. Rather than real world super abilities clashing, we get what is mostly a silly letdown.
The set-up is outstanding. David Dunn (Bruce Willis) and his now-grown son Joseph (Spencer Treat Clark) have teamed up for years in tracking down lowlife societal scumbags and teaching them a lesson. Mostly avoiding cameras (more difficult now than when he first realized his power), Dunn now has a nickname, The Overseer, and still dons his green poncho – though it’s now equipped with a headset for communication with Joseph.
The Dunn men have been tracking Kevin Wendell Crumb (with a Beetlejuice twist), who has kidnapped more teenage girls and is holding them hostage. James McAvoy returns as Kevin, and his 23 other personalities (referred to as The Horde), and early in the movie we get our first Dunn vs. The Beast battle. Unfortunately, it’s brief and ends in their capture and being locked away in an institution. And this is where the fun comes screeching to a halt.
It’s at the institution where we discover Elijah Wood/Mr. Glass (Samuel L Jackson) is also being held, and Dr Elle Staple (Sarah Paulson) is the psychologist specializing in treating those who believe they possess super human traits, be they good or evil. This misdirected plot line is our first real frustration, as we have already seen the super strength of Dunn, the massive transformation of The Beast, and the villainous mastermind of Elijah. By definition there is no suspense when we know the answer. Because of this, the entire treatment segment drags on far too long, and features entirely too much of Ms. Paulson, and too little of those we came to see.
Also reprising their previous roles are Anya Taylor-Joy as Casey, the only surviving former captive of Kevin, and Charlayne Woodward as Elijah’s mother. Ms. Woodward is given little to do, and Ms. Taylor-Joy’s strong acting almost saves her from the ludicrous script … a development we intellectually understand, but emotionally refuse to accept. In fact, the script is to blame for most of our frustration here. McAvoy is again tremendous in his ability to convey multiple personalities, and Jackson, once he is no longer catatonic (never a good use of a dynamic actor), relishes his return to evil. There is an interesting use of color for the three main characters: Dunn – green, Kevin – yellow, and Elijah – purple, and the cinematography of Mike Gioulakis (IT FOLLOWS) contributes some unusual angles and views.
Disney and Universal are to be commended for a rare rival studio collaboration, and M Night Shyamalan certainly deserves credit for being on the front end (with UNBREAKABLE) of the serious, dark, atmospheric superhero movie perfected by Christopher Nolan’s Dark Knight trilogy, but this film is nothing to be proud of. The film’s twist is easily predictable (and dragged out), and some parts are disappointing while some are an insult to our intelligence … and downright silly (the ending). Still, there is a certain value to closure, even if it’s a letdown.
Greetings again from the darkness. In 2004 THE INCREDIBLESbecame the 6th Pixar film in a row to dominate the box office, and also the 6th straight to “WOW” us with a combination of animation, story, action and characters. All these years later, Brad Bird, the creative force behind the original, is back with the much anticipated sequel. Mr. Bird’s career over those years has featured a blend of other animation (RATATOUILLE, 2007) and live-action (MISSION: IMPOSSIBLE – GHOST PROTOCOL).
Bird is not the only returnee for the sequel. Also back is the entire Parr Family: Holly Hunter as Elastigirl/Helen/Mom, Craig T Nelson as Mr. Incredible/Bob/Dad, Sarah Vowell as Violet, Huck Milner as Dash, and Eli Fucile as baby Jack Jack. The story picks up not long after the original ended. “Supers” have been outlawed, and the Parrs are in some type of Super Protection Program – similar to Witness Protection. Of course when one is a superhero, doing the right thing just comes naturally, and the opening scene finds them battling their old nemesis Underminer (voiced by Pixar good luck charm John Ratzenberger, who voices a character in each of the studio’s films). Our heroes stop the crime, but cause significant damage to the city. This leads to our first social commentary when the powers that be scold the Parrs and inform them that the banks have insurance, and it’s cheaper to let the criminals get away so that the damage is minimized.
As superheroes non-grata, the Parrs try to go “straight” and live a normal life. That is until a powerful brother and sister corporate duo offer a proposal. Winston Deavor (Bob Odenkirk) and Evelyn Deavor (twist that pronunciation just a bit, voiced by Catherine Keener) want to generate a PR plan to help rebuild the reputation of supers. The idea is to make Elastigirl the public face of the program by having her wear a body cam to show off her heroic deeds (in this age of ‘pics or it didn’t happen’). She’s chosen over Mr. Incredible for economic reasons, and he’s relegated to stay-at-home parent (or as we called Michael Keaton in 1983, MR. MOM – an unacceptable sexist term these days).
Elastigirl enjoys her time in the limelight, while Bob doesn’t much like being just Bob. Plus he can’t understand why they changed math, as he gets frustrated trying to help Dash with his homework. He’s also challenged with Violet’s teen angst over a boy, and even moreso over the discovery that Jack Jack has POWERS! In fact, Jack Jack has multiple powers, but as a baby, he has little control – though his battle with a raccoon is not a segment you’ll soon forget.
Also returning is Frozone – voiced by Samuel L. Jackson (minus his trademark “MF’er), and costume designer Edna Mode – voiced by director Bird. Other new voices include (Odenkirk’s fellow “Better Call Saul” castmate) Jonathan Banks as Rick Dicker, Isabella Rossellini as the Ambassador, and Sophia Bush as Voyd, one of the new generation supers (which includes Reflux – one you’ll just have to experience).
The big new villain causing problems for Elastigirl is ScreenSlaver, who hypnotizes large groups of people through their screens – more social commentary on our dependence on technology and the addiction/affliction we have toward device screens. The flood of superhero movies over the years since THE INCREDIBLES exposes the not-so-complex story in this one, but it’s terrific that the film keeps much of the original look and feel, and yet brings something new … baby Jack Jack is a star!
Filled with the beautiful colors and art design we’ve come to take for granted from Pixar, the film also features some of the best action sequences you’ll see in any movie. The train sequence with Elastigirl is simply spectacular – as is the final action sequence. It’s also nice to see the flip in gender roles as Mom (Holly Hunter) takes the lead. Michael Giacchino returns as the composer and he blends in a touch of James Bond theme with his wonderful work. If the film needed extra credit (which it doesn’t), certainly the inclusion of a “Jonny Quest” clip would qualify. Family films don’t get much better than this, and even though it runs 2 hours, the closing credits feature the theme song for each of the superheroes, and could easily have been a short film unto itself.
Speaking of short films, a Pixar tradition is to include one before new releases. This time it’s BAO, a Chinese mother/son and food-oriented story from director Domee Shi (animator on INSIDE OUT)
Greetings again from the darkness. I enjoy creature movies. Even as a kid I enjoyed creature movies (as distinguished from monster movies, which I’m also fond of). From the classics to the (very) low budget ones on late night TV to the fear-mongering from Japan … I enjoy them all. Of course the most fascinating of the bunch is King Kong, and this version arrives 84 years after the still magnificent 1933 version from Merian C Cooper and featuring Fay Wray.
This time there is no shootout on The Empire State Building, and the connection between Kong and the girl is limited to a few knowing glances. Most of the film takes place on Kong’s island … one he shares with some other creatures (not rodents) of unusual size. Unlike Spielberg in Jaws, who teased us for half the movie before finally revealing the shark, we get a glimpse of the imposing Kong very early on.
The cast is the best yet for a creature feature. John Goodman and Corey Hawkins play scientists/conspiracy theorists; Tom Hiddleston plays the world’s only mercenary with perfect hair and skin; Brie Larson is a self-described anti-war photographer; while Samuel L Jackson, Shea Whigham, Thomas Mann and Toby Kebbell play military men on their last mission at the end of the Vietnam War. The most colorful character is played by John C Riley – an eccentric WWII survivor who has been living on the island since 1944.
Jordan Vogt-Roberts directs this version, and his resume of The Kings of Summerand mostly TV work begs the question of how the heck did he get this gig? Fortunately he has cinematographer Larry Fong alongside, and his significant big action picture experience is obvious in the breath-taking helicopter scene (as well as many others). It’s impossible not to notice the extreme love shown to Apocalypse Nowand even Jurassic Park. Some of the shots and tone seem as if pulled directly from those films … even moreso than the original King Kong. We even get Samuel L Jackson recycling his “hold onto your butts” line.
There is plenty here to satisfy us lovers of creature features, though this version certainly lacks the emotional impact of Fay Wray and Naomi Watts connecting with Kong … not much Beauty, but plenty of Beast. It’s certainly recommended that you stay for the post-credits scene that sets the stage for 2020.
Greetings again from the darkness. If one is to believe Quentin Tarantino, the leaked script scandal nearly turned this into a novel, rather than what it clearly needed to be … a Quentin Tarantino movie (his 8th). It could even be considered a companion piece to Django Unchained(though this takes place in snowy Wyoming, as opposed to the balmy Deep South). It’s set soon after the Civil War and there still exists a palpable uneasiness between Confederate and Union types, creating a constantly teetering milieu between violence and progress.
Tarantino’s obsession with classic film led him to utilize the same Ultra Panavision 70 lenses used for Ben-Hur(1959), which required the retrofitting of 50 theaters across the country for the “road show”. This presentation includes an opening musical Overture, a midpoint Intermission, approximately 6 minutes of footage that highlight this rarely used format … stunning snow-filled vistas and wide shots of the frontier, and zero previews for upcoming releases. When the film opens nationwide, the digital version will be straight-forward (though still nearly 3 hours in run time). The “road show” features are bonuses for us film geeks, and will have no impact on whether one enjoys the film or not.
Rather than follow in John Ford’s majestic Western footsteps, QT has the vast majority of the story take place within a one-room set called Minnie’s Haberdashery. Thanks to a record blizzard, the general store/saloon turns into a human snake pit filled with nefarious types who are quick with a quip and a trigger. The diabolical assemblage is made up of John “The Hangman” Ruth (Kurt Russell, featuring world class whiskers), a bounty hunter who is handcuffed to his latest prize Daisy Domergue (Jennifer Jason Leigh); another bounty hunter (Union) Major Marquis Warren (Samuel L Jackson); British fancy boy Oswaldo Mobray (Tim Roth) who says he’s the hangman for Red Rock; the self-professed new Sheriff of Red Rock Chris Mannix (Walton Goggins); General Sandy Smithers (Bruce Dern), a former Confederate officer; quiet cowpoke Joe Gage (Michael Madsen); and Senor Bob (Demian Bichir), whom Minnie left tending the store in her absence.
Now as you might expect, some of the above descriptions may be true, while others could be considered “conveniences”. What you also might expect is a steady rain of Tarantino dialogue delivered by the perfectly chosen cast. Each of these players grasps the cadence required to make this work … they have the rhythm of a stage play – a new direction that Tarantino has hinted at. And have no fear, over-the-top violence fills the second half of the story as the confined space and contradictory missions begin to clash.
No more need be said about the characters or the story. Russell, Jackson, Goggins and Ms. Leigh are especially effective at enlivening their scenes, and they are joined by supporting actors such as Dave Parks (son of the great Michael Parks), Gene Jones (who didn’t wish to call the coin flip in No Country for Old Men), Dana Gourrier (as Minnie), QT favorite Zoe Bell (as Six-horse Judy), and even Channing Tatum.
Legendary composer Ennio Morricone delivers his first western score in about 40 years, which is important since he’s the man behind the iconic music of Sergio Leone’s spaghetti westerns. On the topic of music, Morricone’s score is complimented by only a smattering of other songs (including a Roy Orbison gem and a solo from Jennifer Jason Leigh), which is unusual in the Tarantino canon. Three-time Oscar winner Robert Richardson re-teams with Tarantino and seems to have a blast with the challenges presented by the one-room set … he plays with focus and depth to create some fantastic shots. It should also be noted that the Sound is spectacular – everything from gunshots, to swirling wind, to boots and spurs, to galloping stage coach horses, and even the pouring out of coffee.
All of the above results in a stunning movie experience with the anticipated QT humor, violence, and anti-racism sentiment (though the N-word usage is once again tough to take) … yet somehow the final product doesn’t equal the individual moments of genius. It comes across as a blend of Agatha Christie, (Tarantino’s own) Reservoir Dogs, and John Carpenter’s The Thingminus the cohesiveness required for a great movie. So enjoy the characters, the technical achievements, and the terrific dialogue, but know that it’s unlikely to be one of those that cause you to stop down while surfing cable channels in a couple years.
Greetings again from the darkness. Joss Whedon returns as writer/director for the sequel to his 2012 blockbuster The Avengers, and this time he juggles an exceptionally large, diverse and talented group of characters and actors who are not only involved in good versus evil, but also in the battle for screen time.
There is no shortage of write-ups from film critics and fanboys who have analyzed every aspect of the movie from every possible angle, and while I admit to taking that same approach to most movies, there is something about the Marvel franchise that cause me to flip off the film critic part of my brain and just sit back and enjoy. And enjoy I do. The characters are fun and interesting and the action is at times breath-taking.
Since there are, by my count, at least 23 actors who deserve mention, it makes little sense for me to list them here. It is worth noting that the key actors all reprise their roles as Avengers, and many of those in supporting roles are back as well. This time there are also many significant newcomers, and those include “The Twins” – Aaron Taylor-Johnson as Quicksilver and Elizabeth Olsen as Scarlet Witch. Other newbies include Linda Cardellini (“Mad Men”,” Bloodline”) as Hawkeye’s wife, Claudia Kim as Dr Helen Cho, Thomas Kretschmann as Strucker, and Andy Serkis as Ulysses Klaue. Though each is a nice addition, it’s the stellar voice work of James Spader as Ultron that really makes this movie click. Somehow Mr. Spader manages to convey a powerful presence despite maintaining a (mostly) even keel throughout. It’s masterful voice acting.
Missing this time out are Pepper Potts and Loki, though we hardly notice thanks to the first look at Vision (Paul Bettany) and Thanos (Josh Brolin) … plus the unveiling of Iron Man’s Hulkbuster armor. If you thought the first Avengers movie made it difficult to keep up with the characters, this one will have your head spinning. It’s probably the only quibble I have with it … character overload at the expense of character development. The Hawkeye family farm represents a meager attempt to have this group of superheroes set in a “normal” environment, but it just doesn’t quite work. The Avengers are at their best while snipping at each other or saving the planet … fortunately the movie offers plenty of the latter.
Greetings again from the darkness. In 2010, writer/director Matthew Vaughn turned the superhero genre on its ear with the hit Kick-Ass. With this most recent film (back with co-writer Jane Goldman), he has done the same thing to spy-thrillers. We get the well-tailored look made famous by Roger Moore’s James Bond, the fanciful and lethal gadgets from early Bond films, the ever-present umbrella (put to new uses here) of “The Avengers” John Steed, and the ultra-suave and debonair manners of Napoleon Solo from “The Man from U.N.C.L.E.” We get all of that in a surprisingly effective and fun action performance from Colin Firth.
Fun is the operative word here. It’s clear all parties involved are having a great time, especially Mr Firth going drastically against type. There are two action-packed and pretty humorous (in a demented way) fight scenes. One is early on inside a London pub, and has Firth flashing his particular set of skills against a group of thugs. The other (and even more raucous) fight occurs inside a church and is set to Lynryd Skynyrd’s “Free Bird”. The body count piled up as fast as the guitar licks.
As spectacular as the fight scenes are, the real fun here is in the characters. The old guard of the Kingsmen includes Firth as Galahad, Mark Strong as Merlin, Jack Davenport as Lancelot, and Michael Caine as Arthur. This long-standing group is one part international spy, one part Knights of the Round Table … and these gentlemen are extremely well trained and impeccably well dressed. When one of their agents dies on the job, the recruitment boot camp kicks into gear. Made up of a group of relative newcomers to the movie world, the two most interesting are Roxy (Sophie Cookson) and Eggsy (Taron Egerton). Adding to the intrigue, Eggsy is the son of a former Kingsman, and has some skills that aren’t initially apparent.
Of course, what would a spy-tribute movie be without a colorful villain? Samuel L Jackson plays lispy megalomaniac Valentine, who has a quick gag reflex when it comes to violence. Fortunately his henchman Gazelle (Sofia Boutella) is equipped with razor sharp leg prosthetics and some ultra-crazy fighting skills. We even see Mark Hamill as Professor Arnold … fans of the Mark Miller/Dave Gibbons graphic novel will appreciate the irony.
Firth and Egerton play off each other quite well in the mentor-pupil relationship, and Egerton is clearly set up for the franchise sequels … as is his friend and fellow Kingsman, Ms. Cookson. For those who think the Daniel Craig Bond films are too dark and serious, this provides a flashback to lighter Bond fare (minus the misogyny). Many hot topics are touched on: class warfare, domestic abuse, racism, etc, but mostly this can be taken as a rollicking good time because “it’s not that kind of movie”. It does, however, remind us that “manners make the man”.
Greetings again from the darkness. Many were unimpressed with the first Captain Americamovie, though I have always had a soft spot for the most heroic and genuinely pure of the superheroes. This sequel opens with Steve Rogers trying to acclimate after a 70 year sleep … he thinks the internet is pretty cool. It is a bit surprising that the Russo brothers (Anthony and Joe, known for You, Me and Dupree) are the ones who load up on plot lines within a Marvel movie.
Starting off with big time action sequences, the movie then morphs into a geopolitical weave of intrigue between SHIELD and HYDRA. New to this maze of distrust is Robert Redford … proving once again that Hollywood doesn’t trust guys wearing suits in fancy offices. In a twist, Captain America (Chris Evans) and Black Widow (Scarlett Johansson) find themselves the target of a manhunt by those they work for. Then they drag Falcon (Anthony Mackie) into this … his flight suit is a nice effect. All of this happens after an unexpected action-packed sequence featuring Nick Fury (Samuel L Jackson). The titular Winter Soldier provides an identity twist, as well as some intense fighting.
The multiple plot lines and emphasis on trust issues all correlate pretty well to some of the things going on in the world today. That adds an enjoyable element that really brings relevance to the Captain America character. Because of this, the repartee between Cap and Natasha is limited … we get some, but much less than what we have come to expect from other Avengers-related films. And it’s probably a good idea to go a different direction with the Avenger who really is different from the others. Don’t miss the extra scene in the closing credits … it’s the lead in to Avengers: Age of Ultron movie coming in 2015.
**NOTE: there is the always-anticipated Stan Lee cameo, and it adds the usual touch of humor
Greetings again from the darkness. The expected cringes and groans never fully surfaced as the modernized re-boot of Paul Verhoeven’s 1987 classic unfolded on the screen. Sure, I wish Peter Weller made even a cameo appearance, and yes, I missed the charm, humor and satire that has allowed the original to remain relevant; but, director Jose Padilha reimagines the story, sticks to PG-13 action, and incorporates the video game look favored by today’s filmgoers. The result is an adequate action movie with a Dr Frankenstein twist, a dash of questionable technological morality, topped with the always evil corporate conglomerate.
The opening sequence takes place in Tehran and is extremely well done, setting the stage for incisive commentary on today’s foreign policies and drone usage. Unfortunately, THAT movie never materializes, but we do get the over-the-top conservative news host … played colorfully by Samuel L Jackson, who does manage to work in his iconic catchphrase (yes even a PG-13 movie is allowed one MF). His holographic studio reminds of Minority Report, and has the futuristic look required to distract us from any real message.
Joel Kinnaman (TV’s “The Killing“) adequately fills the part man/ part robot role (good guy and good cop Alex Murphy), but the script really lets him down when it comes to his wife (Abbie Cornish) and kid, his crime-fighting instincts, and the overlapping criminal elements – some poorly cast generic arms dealer and the ultimate villain known as mega corporation OmniCorp run by the great Michael Keaton. The movie’s best scenes involve the interaction between Keaton and the always terrific Gary Oldman, playing a conflicted doctor/robotics genius with a conscience (most of the time).
The supporting cast is stellar and features a nasty Jackie-Earle Haley, a properly proper Jennifer Ehle, a relatively straight-laced Jay Baruchel, a two-faced police captain played by Marianne Jean-Baptiste, Murphy’s partner Michael K Williams, and Oldman’s loyal assistant played by Aimee Garcia (“Dexter“). The biggest missed opportunities involve the cop partnership with Mr. Williams … such an integral part of the first movie (Nancy Allen), but here it seems most of this story was inexplicably left on the editing floor. The story, the viewers and Mr. Williams deserved much better.
A bit too much shakycam in the first shootout left me disappointed, as did most of the action sequences. However, the effects for the robotic suit and Murphy’s “body” are fantastic. Especially effective is the scene with Murphy first becomes aware of what remains of him and how much is robotic suit. This is very much a tale of moralistic choices, and it could have been interesting to see Murphy go a bit deeper in his existential questioning of Man or Machine. Mostly, I was simply relieved it wasn’t terrible and didn’t tarnish the legacy.
**NOTE: the city of Detroit is the base, but the movie never really touches on the problems within the actual city. In fact, very little crime solving is shown – but we do have the stats relayed to us.
SEE THIS MOVIE IF: you wonder what Iron Man would be like with an evil billionaire calling the shots rather than a brilliant billionaire wearing the suit OR you never miss the rare (these days) chance to see Michael Keaton on screen.
SKIP THIS MOVIE IF: you are perfectly content to allow the 1987 film version to maintain its spot as THE Robocop movie.