CENTRAL INTELLIGENCE Review

When I see that Rawson Marshall Thurber is directing a movie and more specifically, a comedy, I feel I know what to expect. That may sound like something of a criticism, but when what you're expecting is a large scale comedy with broad appeal and a surplus of solid laughs expecting something specific isn't necessarily a bad thing. And so, with the release of his latest, the director of Dodgeball: A True Underdog Story and We're the Millers has indeed stayed on track with what we've come to expect from him proving he has a formula and by sticking to it he will continue to produce fun if not forgettable comedies that have strong replay value and serve as a launching pad for on the edge talent or, in this case, interesting duos. It is the combination of Dwayne "The Rock" Johnson and Kevin Hart in this particular situation that elevates Central Intelligence from being more than a serviceable comedy to something of a fuller comedic experience than it might have been in lesser hands. With the standard secret agent premise meaning very little, which is something of a disappointment considering We're the Millers was a stellar comedic idea and not to mention the fact Ike Barinholtz was a contributor on the screenplay, the movie sometimes is overly reliant on the chemistry of its two marquee stars, but it never feels as if the film buckles under the strain of these two guys having to pull stuff out of their asses because the story isn't strong enough to hold up, but more the chemistry between the two leads, the dynamic they create, and the downright hysterical and restrained characters they have crafted for themselves so overpowers the weaker narrative that Johnson and Hart more or less render the plot unnecessary. I mean, of course it is necessary considering we need a beginning, a middle, and an end with a source of conflict to drive our characters to a climactic point in which they might both conquer their personal and professional fears and come out all the better for it in the end, but that is to be expected. What can be hit or miss is just how fun the journey can be made to this familiar destination and with the confident comedy hand of Thurber guiding them, the dynamite chemistry blowing up in every scene, and The Rock absolutely giving it his all Central Intelligence easily becomes one of those comedies that will be looked back on fondly as the best kind of comfort food.

TRIPLE 9 Review

There is as much a vibrancy to Triple 9 as there is a subdued sense of dread. It's not hard to tell something bad or suspicious is lurking around every corner in this Atlanta-set cop drama from director John Hillcoat (The Road, Lawless, The Proposition) and yet, at the same time, you can't help but to want to turn those corners in anticipation of seeing the story develop. First time feature writer Matt Cook gives us a rather complex plot to comprehend, but that his script dives into the key characters head first and we come to know them and their circumstances almost immediately gives us reason to invest and want to understand these present complexities. From moment one, where we see a four man team robbing a bank with The Walking Dead's Norman Reedus serving as the lookout in an inconspicuous vehicle, I was into the dirty, grimy narrative that Hillcoat and Cook would be weaving to presumably get at bigger themes and larger statements about race, justice, and the gray lines that divide honor and disdain. The film accomplishes as much by not just being about bank robbers and corrupt police officers, but rather Triple 9 utilizes the unaccounted for details of emotion and other human elements to disturb the strict proceedings some, if not most, of its characters attempt to operate within. There is no room for emotions or a softened mental state within the Atlanta police department, especially for detectives. We see this in the toll that has clearly been taken on Woody Harrelson's character, Jeffrey Allen, while there is certainly no room for as much under the rule of Irina Vlaslov (Kate Winslet) a Russian Jew looking to free her powerful husband with the help of a few hired hands. Through each of these characters Cook enlists some type of inherent emotional attachment though, making things never as clear cut as the puppet masters would like them to be. While this may not be to the characters advantage though, it makes things all the more savory for the audience member waiting to see what decisions will be made and how such decisions will reverberate through to other aspects of the story. That said, Triple 9 is not a perfect film (far from it, really), but more times than not I was on the edge of my seat anxious to see where the film and more importantly, its characters, would take me.

Teaser Trailer for CENTRAL INTELLIGENCE Starring Dwayne Johnson

While the Kevin Hart/Will Ferrell collaboration this year wasn't all it could have been there is good reason to believe the Kevin Hart/Dwayne "The Rock" Johnson one that comes out next year might be. Teaming up with director Rawson Marshall Thurber (Dodgeball, We're The Millers) this is basically a slam dunk from the time you throw out the two headlining names and pair them with a premise that puts them in an action comedy. I can't imagine this thing not blowing up and being huge, especially if the movie's even halfway decent and with Thurber you're at least always guaranteed that. As for this first teaser, it looks promising and the tagline is golden. It is slightly reminiscent of the Dwayne Johnson/Sean William Scott action/comedy masterpiece that is The Rundown. If we're getting anything close to that pinnacle of a genre exercise this will be all good and as far as I can tell from the trailer there is no reason to not be optimistic. The running joke of Hart always saying no and Johnson taking it with a grain of salt and throwing the comedian into ridiculous action situations is played nicely and the gag at the end of the trailer, while Just Friends-esque, is classic as The Rock is selling the hell out of it. This is also exciting as this is something of an original property banking solely on the idea of stars plus concept and despite the fact it will be facing off against Disney/Pixar's Finding Dory this could prove the perfect alternative programming for the crowds without kids that will be looking for something to see that weekend. Central Intelligence also stars Aaron Paul, Amy Ryan, Danielle Nicollet, Ryan Hansen, Slaine and opens on June 17, 2016.

First Trailer for TRIPLE 9 Starring Casey Affleck

When I was putting together my most anticipated list of 2015 it was hard for me to decide between including either Triple 9 or Black Mass. Based on their similarities of being crime dramas with directors known for capturing bleak material I felt I had to choose one of them. Both also featured rather solid ensemble casts that were hard to discount. I went with Black Mass which was fortunate for my list given that film actually opened this year while director John Hillcoat's latest was actually pushed to 2016. While Black Mass didn't exactly live up to all I'd hoped it might be based purely on it's aforementioned credentials there is still hope for Triple 9 as Open Road has released the first trailer for the film today and it looks as bleak and as fantastic as one could hope. From a screenplay by newcomer Matt Cook the film follows a group of corrupt police officers who are blackmailed into pulling off a seemingly impossible heist. I really enjoyed both Lawless and The Road even if both ended up somewhat underwhelming. While Hillcoat certainly has a knack for eliciting the specific tone and style necessary for this kind of dark crime/drama it's hard to know if the director has necessarily found his own persona as a filmmaker given what we're seeing here looks closer to something that David Ayer (End of Watch, Fury) would deliver. This isn't a bad thing per se, I like Ayer's films, but I'm interested to see what Hillcoat will be able to bring to the table that differentiates himself from his contemporaries. Triple 9 stars Kate Winslet, Aaron Paul, Norman Reedus, Chiwitel Ejiofor, Casey Affleck, Anthony Mackie, Gal Gadot, Teresa Palmer, Clifton Collins Jr. and opens on February 19th.

EXODUS: GODS AND KINGS Review

What can you say about a film that is fine for what it is and nothing more? Exodus: Gods and Kings is a movie, it has entertaining moments, looks fantastic and while I obviously didn't love it there is certainly no reason to hate it either. The real problem is the fact there's no vision or passion behind the project. Director Ridley Scott (Alien, Blade Runner) is nearing eighty and in his aging state seems intent on pumping out films at a quicker rate than ever before. Since the massive success of Gladiator at the dawn of the millennium the director has not gone more than two years without making a film and more times than not he delivers one on an annual basis. With a project on the scale of Exodus though, one might imagine he'd have to take more time for prep and the development of visual effects at the least, but moreso for the necessity of trying to really make something substantial. Scott hardly seems interested in making anything of note these days though and instead is a misguided storyteller somewhat fascinated by history, more interested in spectacle and with no sense of impassioned faith, not even in his own work. I can only imagine what might come of an elder Scott picture were he to really take the process step by step and first develop the script he is given, this one patched together by four different screenwriters, then move on to planning a visual representation of that story that might actually allow the audience to become invested or feel a part of the action that is unfolding in front of them. Scott clearly has no problem getting budgets to secure the epic scope of his films nor is there an issue with attracting top talent to headline his movies, but instead of using these advantages to his advantage they are wasted on mediocre products that have consistently ended up feeling more like cogs in the machine than any type of exception to the rule. One might expect a Biblical epic in the vein of Cecil B. DeMille with a more contemporary approach to serve as fascinating for the generations that find Charlton Heston's version dated, but instead we receive more of what we are conditioned to. Exodus: Gods and Kings is less an inspired retelling of a story we all know and more another attempt by Hollywood to cash in on a pre-established brand.

First Trailer for EXODUS: GODS AND KINGS

While Ridley Scott may not have had the best luck in terms of critical or commercial success lately with his latest he has seemed to place all of his figurative eggs in the baskets of those that have whether it be in story or the actors conveying it. This year alone we've had several religious-themed films made on small budgets only to reap big rewards (God's Not Dead, Heaven is for Real) as well as secular takes on bible stories such as Noah that maybe didn't make as much money as expected ($359 million worldwide on a $125 million budget), but were well-received by the majority of critics if not as ecstatically as one might expect a new Darren Aronofsky film to be. Into this mix Scott will place his take on the story of Moses and in doing so has recruited the likes of Christian Bale and Joel Edgerton to bring this famous, well-worn story to life. This kind of precedent didn't exactly bode well for Noah which the studio felt it had to place a label in front of and ultimately seemed too grand a jump for those resting comfortably in the Bible belt, but if Scott's filmography is any indication this film will be more in the tradition of grand historical epics than innovative interpretations and artistic expression. That is what the trailer seems to hint at anyway as the focus is on the scope of the kingdoms and the richness of the detail as much as it is the character and story. Scott knows how to make an epic in the vein of old Hollywood though and has had success in doing so. Is he simply re-hashing one of his last great original efforts with the packaging of the now reliable religious angle? We'll see, but if the trailer is any indication this will at least be a thrilling picture if not necessarily an insightful, motivating work as its source material intends to be. The film also stars Aaron Paul, Sir Ben Kingsley, John Turturro, Sigourney Weaveopens and opens on December 5th. Hit the jump to take a look at the new Exodus: Gods and Kings trailer and posters.

NEED FOR SPEED Review

The first trailer for stuntman turned director Scott Waugh's sophomore effort, Need for Speed, hinted at something more than your typical video game movie; it was orchestral and well put-together with pedigree and something slightly haunting, solemn and meditated about its approach to the unexplainable infatuation people can have not just with cars, but with danger. What the final film actually feels like though is a slick pop confection with good intentions, don't get me wrong, but whose lyrics are nothing but vapid and a chorus that is completely forgettable. I don't play video games at all and despite the fact the Need for Speed gaming franchise is one of the most successful of all time I can't help but feel like this flick missed the bandwagon and is coming around at least ten years too late. This would have been another fine-enough companion piece to the phase that gave us Torque, Biker Boyz, Stallone's Driven and of course the original Fast and Furious title. Still, even the F&F movies aren't really about street racing anymore and even if they were the only incarnation of that series this seems to have taken any note of would be the fourth with its dry plot points and inability to build the right kind of tension or drama and that is the least favorite for most fans of the series. Waugh has a good eye, his shots are nicely put together and if nothing else the film looks spectacular, but even with this kind of compliment comes the stipulation a film about ex-cons, street racers and cross-country road trips that include outrunning the police at every turn shouldn't look as "nice" as the film makes them out to be and certainly not as clean as these guys are able to maintain. It simply all feels a bit forced, a bit strained and the audience can sense that. There is a line in the film where Imogen Poots character, Julia, says to Aaron Paul's Tobey Marshall that she understands that driving fast is necessary, but driving like a maniac is not and especially with the intention Paul's character has in mind. I only wish first-time screenwriter George Gatins would have followed some of his own advice and allowed the fast driving to guide the script rather than indulging in the presumed wants of the audience and delivering action for its own sake rather than allowing it to drive the narrative.

Trailer Roundup: SUPER BOWL XLVIII

As Sunday draws closer we have begun to see early releases of not only commercials, but some of the movie spots that will be making their way towards the Super Bowl this weekend. Earlier this week we got a peek at The Muppets joining with Toyota for a tie-in promotion to not only help sell cars, but their sequel, Muppets: Most Wanted, to the successful 2011 reboot. Word is that Disney is giving Captain America: Winter Soldier a moment to shine with its release date set for the not too far off April 4th, but director James Gunn's highly-anticipated Guardians of the Galaxy adaptation will be absent from the festivities. This is probably best as Disney and Marvel want to leave the emphasis on the ol' Cap for right now, but no doubt have a major rollout in place for GOTG later this year as hinted at by Gunn's twitter. DreamWorks will be forking over the reported $4 million for 30-seconds of commercial time in order to promote the March 14th release Need for Speed starring Breaking Bad's Aaron Paul in what will be a test to see just how far his appeal spreads. I never played the video game the film is based on, but the trailers so far have been much more impressive than I expected and as a BB fan I'm excited to see what Paul does next, but am slightly disappointed Bryan Cranston won't get the same love as his Godzilla reboot will also be a no-show. Next up, we have Paramount who is doing big business and hoping for serious business in return as they will have spots in place for both Noah, the biblical epic directed by Darren Aronofsky that is sure to cause a good amount of conversation when released on March 28th and our first look at Michael Bays fourth installment in the toys turned action stars series, Transformers: Age of Extinction. Mark Wahlberg takes over leading man duties this time as the series is somewhat rebooting itself and hits theaters on June 27th. Finally, Sony has big plans for everyones favorite web slinger and will air a spot for The Amazing Spider-Man 2 which will kick off the summer movie season on May 2nd. Last, and probably least is the appropriate yet surprising inclusion of Kevin Costner's Draft Day that obviously has a football-based story, but is not a tentpole release. Granted, Draft Day will only get a pre-game spot, but no word on if that actually cost them any less. Super Bowl XLVIII begins at 5:30pm Central, February 2nd on FOX.    

First Trailer for NEED FOR SPEED

As a non-video game player as well as someone who didn't see director Scott Waugh's previous directorial effort (Act of Valor) I really have no excitement or anticipation when it comes to the big screen adaptation of Need for Speed. The one intriguing factor here is the cast. With Breaking Bad's Aaron Paul heading it up there is a certain amount of intrigue in how the actor will fare with big budget material and a leading man status while his supporting cast is made up of Dominic Cooper (seemingly hamming it up as the baddie) Kid Cudi, Imogen Poots and Michael Keaton. These guys alone would likely pique my interest in a flick, but the trailer is surprisingly eloquent for a movie based on a video game about flashy cars and loud engines. Given, this is merely a teaser and we don't know if the entire film will mirror the tone of the trailer, but it would be interesting to see the film go in a completely different direction than everyone was expecting. While the cars are certainly there and the footage rivals a Fast & Furious flick there is clearly more drama at play here. The story will follow Paul's low-key mechanic who is framed by Cooper's character for manslaughter. This somehow leads to underground racing tournaments that no doubt play a large role in the resolution of this film. Consider me interested, but not necessarily excited. Need for Speed opens in theaters on March 14, 2014.