PIRATES OF THE CARIBBEAN: DEAD MEN TELL NO TALES Review

The public consensus seemed to very clearly be that there was no need for yet another Pirates of the Caribbean movie especially when considering the bad taste left by the last installment, 2011's On Stranger Tides. There was no need to roll out Johnny Depp's most iconic character only for the purposes of likely tarnishing the legacy of Captain Jack Sparrow further. Of course, considering the fact On Stranger Tides still made over a billion dollars worldwide despite the lukewarm audience reaction and even worse critical reception it was almost guaranteed we'd be getting another pirate adventure at some point. Well, that day has finally come and the question this fifth installment in the franchise was going to need to answer first and foremost was that of, "Is this necessary?" It seems screenwriter Jeff Nathanson (Catch Me If You Can) understood as much and thus kicks off his attempt at a Pirates movie by re-introducing us to Henry Turner, son of William (Orlando Bloom) and Elizabeth Turner (Kiera Knightley), as he vows to his father to figure out a way to free him from the confines of The Flying Dutchmen; a ship that carries souls to the other side and only allows its captain and crew to set foot on land for one day every decade. It seemed the fates of William and Elizabeth were sealed given that post-credit stinger in At World's End, but with great power comes great responsibility and Nathanson clearly felt the importance of intertwining such fates as those of the Turner's with that of Captain Jack's. This certainly doesn't hurt and the script sets the main objective up clearly enough that we can get on board without much need for hesitation; this is especially true if you weren't a fan of the direction original screenwriters Terry Rossio and Ted Elliott took the first trilogy of films in as Dead Men Tell No Tales essentially undoes every complexity that original trilogy worked to accomplish. While that rubs me something like the wrong way given I have great admiration for what Gore Verbinski and his team accomplished the fact Dead Men Tell No Tales ends up being a rather enjoyable action romp makes me feel slightly better about Nathanson's change of course. And so, while Dead Men Tell No Tales certainly feels more significant to the overall legend of Captain Jack than the bland and generic previous film it is still unable to recapture the majesty of those first three adventures.

Full Trailer for PIRATES OF THE CARIBBEAN: DEAD MEN TELL NO TALES

As March now features as many blockbuster-type movies as the summer it is only fitting that we're now beginning to get full looks and extended trailers for some of the biggest summer 2017 films so as they might play in front of these March blockbusters. With Logan opening tonight and Beauty and the Beast in two weeks Disney is riding the good will of that Super Bowl ad and have released a full-length trailer for the fifth installment in their massive Pirates of the Caribbean franchise. While generally a fan of the original trilogy I can hardly remember much of anything about Rob Marshall's 2011 continuation On Stranger Tides. All of that said, this latest installment that is once again produced by Jerry Bruckheimer has courted directors Joachim Rønning and Espen Sandberg who are the duo behind the foreign adventure film Kon-Tiki from 2012 which was (not coincidentally) about a 1947 expedition by raft across the Pacific Ocean from South America to the Polynesian islands. Though the initial teaser wasn't much for conjuring up excitement, this new clip fully divulges the present situation of Johnny Depp's Captain Jack Sparrow and exactly why Javier Bardem's Captain Salazar is so hellbent to deliver death to Captain Jack by way of series newcomer Brenton Thwaites. While this will seemingly play as a revenge tale there is a lot to like in this trailer as, most importantly, it just feels like a lot of fun-which is what the original trilogy was drained of after the original. The special effects look downright amazing with young Johnny Depp deserving a second glance only because it was more convincing than initially imagined whereas another newcomer, played by Kaya Scodelario, certainly seems to be spicing things up. And while there is still no mention of Orlando Bloom or Kiera Knightley's involvement in the plot I like that they're saving a few surprises for if there is anything disheartening about this trailer it's that it shows too much. Pirates of the Caribbean: Dead Men Tell No Tales also stars David Wenham, Geoffrey Rush, and...Paul McCartney? This latest (last?) installment sails into theaters on May 26th, 2017.

Teaser Trailer for PIRATES OF THE CARIBBEAN: DEAD MEN TELL NO TALES

It's just as easy to tell the summer movie season is over by the rush of prestige pictures October begins to bring as it is by the appearance of teaser trailers for the next summer movie season. Still, besides some of the teases we received at Comic-Con this year we haven't really seen much of what we'll be getting at the cinema in the summer of 2017. That all changes as Disney has released a two and a half minute teaser for the fifth installment in their massive Pirates of the Caribbean franchise. While generally a fan of the original trilogy I can hardly remember much of anything about Rob Marshall's 2011 continuation On Stranger Tides. All of that said, this latest installment that is once again produced by Jerry Bruckheimer has courted directors Joachim Rønning and Espen Sandberg who are the duo behind the foreign adventure film Kon-Tiki from 2012 which was (not coincidentally) about a 1947 expedition by raft across the Pacific Ocean from South America to the Polynesian islands. Though this initial teaser doesn't give much by way of story and we don't see Johnny Depp's Captain Jack Sparrow except for on a Wanted poster we do get our first glimpse at Javier Bardem's Captain Salazar that is apparently out to deliver death to Depp's Captain Jack by way of Brenton Thwaites' Henry who is definitely not Sam Claflin's Philip from the previous film. And while little more of the story is known than what this teaser tells us the script comes from Jeff Nathanson who has penned movies ranging in quality from The Terminal and Tower Heist to Indiana Jones and the Kingdom of the Crystal Skull and Rush Hour 3 so make of that what you will when considering what we could potentially be in store for here. Pirates of the Caribbean: Dead Men Tell No Tales also stars Orlando Bloom, Kaya Scodelario, David Wenham, Geoffrey Rush, and...Paul McCartney? Apparently we'll get Beatles over the Stones in this latest installment that arrives in theaters on May 26th, 2017.

GODS OF EGYPT Review

Gods of Egypt is one of those movies that is so bad that even the inherent campiness of it can't make things the slightest bit fun. At the very least, given the extravagance of the visuals and the outlandish reaches director Alex Proyas (I, Robot, Dark City) goes for here I expected the film to be a good ole' slice of pure entertainment value for the sake of nothing else, but even under these minimal expectations Gods of Egypt fails to be anything but conventional; which is saying a lot for a film that has gigantic flying beetles and Egyptian God transformers dismantling one another. There is seemingly no point to the construction of this universe as far as financial reward goes and the idea of whitewashing these ancient mythological idols is the least of the films problems. Sure, we have Gerard Butler, Nikolaj Coster-Waldau, and Geoffrey Rush all doing variations on their European accents, but none are as distracting as the fully CGI backdrops that look as if they were "completed" in a rush two days before the film's release. Beyond all of the obvious complaints there are to make about this movie though, there was certainly some ambition behind the attempt as well. Unfortunately, these strides end up counting for very little. Still, there are risks taken in the way the Gods are portrayed as being larger and more looming than the mortals who worship them, there is an effort to take the historical context of the film and blend in elements of weird science fiction and fantasy, and the actual world building of this strange universe can be immersive, but more times than not these attempts fail to be what they should be and that is to be cool and appealing. Instead, the ugliness of the shiny yet granular images and the fight scenes that look as if they were ripped from a video game circa 2001 reek of a director out of touch and a storyteller too far removed from these adjectives that everything going on here feels as if it's trying too hard to please too broad an audience. Proyas has always been one to try something outside the box or at least be up for going after the unexpected, but with Gods of Egypt there is no amount of CGI that could cover up the scars it leaves.

Full Trailer for GODS OF EGYPT

While I was never excited for Alex Proyas' big popcorn flick that would take Geroge Lucas' approach to the Star Wars prequels and extend them to ancient Egypt, I didn't think it would look as bad as this trailer indicates. I've always enjoyed Proyas' films, no matter how goofy they've seemed to get over the years. Granted, I was too young to really appreciate either The Crow or Dark City on my first, but culturally late viewings and was more a fan of Will Smith than anything else which gave I. Robot a pass (I need to re-visit that flick). It was in 2009 with Knowing that I could see the potential for what Proyas was going for, but the casting of Nicolas Cage in the lead role seemed to stunt it's potential and need to be taken seriously. Almost seven years after the release of that film though, Proyas has returned to the big screen with an epic Hollywood production that will certainly encounter (if it's not already) many of the same issues that faced Ridley Scott's Exodus film in that he's cast mostly white actors in a film set in Africa. Whatever that might bring, the biggest fight the film will have to face is that of being an original blockbuster with no brand recognition or previous films to lend it any hype. The star power is minimal (unless you were really aching to see some form of Gerard Butler's Leonidas again), but the visuals seem to be the main selling point. I can't pretend I was impressed by the trailer as it looks like more of a video game than that Warcraft trailer, but also like that film the director intrigues me and so I'll stay tuned in to see how things turn out. Gods of Egypt stars Nikolaj Coster-Waldau, Chadwick Boseman, Gerard Butler, Elodie Yung, Brenton Thwaites, Courtney Eaton, Abbey Lee, Rufus Sewell, Geoffrey Rush and opens on February 26, 2016.

The Ones You May Have Missed

I typically put together a list of my least favorite films of the year rather than a "worst" list because I honestly try to avoid anything I think is going to be outright terrible. It is hard to consider anything the worst of the year when there could be plenty of reasons others might have found something to find interesting. For example, I found both Under the Skin and Obvious Child to be well, obvious in their intentions that were in some variation or another supposed to push boundaries. Many of the arguments in Jenny Slate's rom com centered around abortion felt moronic while Jonathan Glazer's extreme indie lacked in any type of compelling material offering me nothing interesting to decipher. That said, there are plenty of people who find both of these films completely fascinating and even among their favorites of the year. I, of course, have no problem with that and can respect their opinion, but instead of damning a couple of obvious choices as the "worst" films of the year I figured I'd put that effort into a list of a few films that I thoroughly enjoyed and thought went unappreciated throughout the year. As I still haven't seen what I'd consider a few promising titles from 2014 (Trip to Italy, Skeleton Twins, I Origins, The Disappearance of Eleanor Ribgy, Belle, Palo Alto, Listen Up Philip, Pride, Love is Strange, Starred Up) this list only comprises of five flicks that I hope aren't overly obvious. Sure, there are films like the Tilda Swinton featuring Snowpiercer and Only Lovers Left Alive that are fine, but not all they've been made out to be I think. You also have quirky excursions like Frank (which I didn't much care for) and They Came Together which I would highly suggest if you liked Wet Hot American Summer at all. There are plenty of other smaller flicks that are more than solid entertainment you can find to rent or buy at this moment including Joe, Cold in July, Stretch or even Dom Hemingway, but the next five films left something of an impression on me while largely seeming to allude others.

THE GIVER Review

I somehow managed to make it through all of middle school, jr. high and high school without ever cracking open a copy of Lois Lowry's The Giver. This wasn't due to the fact I was trying to avoid the work; I can remember seeing other kids reading it all around me in my seventh grade year and the cover with the old man and his wiry beard is an image that will always strike me as intriguing, but for one reason or another I was never made to sit down and read it and by the time I was in high school it was a distant memory. Why a feature film adaptation hasn't been made before now is quite curious, but with the recent wave of young adult adaptations it is also pretty clear why we are getting a version of this story now. Unfortunately, despite the fact Lowry tapped into exploring the themes and ideas present here in a way that younger audiences might understand first this doesn't automatically mean the film version will be as appealing or revelatory. Today, we live in a world of Harry Potter and Twilight where books that teens actually read are turned into massive franchises ultimately marginalizing the literature. In this world every quasi-popular series has been taken, given the Hollywood treatment in an attempt to launch a franchise and if they fail they're never heard from again. It is a vicious game won only if you have a large enough, pre-determined fanbase. There have been some unfortunate casualties (Beautiful Creatures) and some that were dead on arrival and deserved to be (The Mortal Instruments). Still, as the pack exists right now it is The Hunger Games and everything else. There is an air of earnestness about this version of The Giver though from the construction of its aesthetic to the performances given by actors that would widely be considered above this material that it doesn't have to be the big kid on the block. Sure, it is another cautionary tale set in a dystopian future (though the Chief Elder would have you believe it's a utopia) where one young person who has grown accustomed to a certain, strict way of life is declared different and breaks the societal rules that eventually lead him/her to discovering what the adults couldn't, but there is something sincere trying to be said here. There is an honesty to the production and a conviction in its story and ideas that is hard to shake while completely satisfying as a movie-going experience.

MALEFICENT Review

Who exactly was this movie intended for? I couldn't help but to keep asking myself this as Maleficent played out, unsure of what it wanted to be, completely torn between two drastically different tones. There was naturally something interesting about this different approach to the current trend of re-telling classic fairy tales in live action form and casting Angelina Jolie as the titular villain guaranteed nothing short of a fair amount of interest but the final result we've been delivered is nothing but a badgering of the original Disney animated film that proves trying something different is truly hard to accept if it isn't done right. While it is easy to give credit to the machine that is Disney for at least attempting to think outside the box rather than simply bringing the same story to the screen with real-live people (though it looks like 90% of the film is CG anyway) Maleficent is actually less innovative than Tarsem Singh's 2012 take on the Snow White tale. At least that movie had a different rhythm to get in tune with while here we get exactly what we expect and even a little less depending what age group you belong to. So, it was a strong idea with factors that lent themselves towards what could have been an interesting execution yet what we have as the final product is anything but substantial and a film trying to be so many different things it ends up failing on all levels. This brings us back around to the question of who might this movie actually be targeted at? There were certainly a lot of children at the screening I attended, mainly young girls, and throughout you could hear them giggling at the intended bits of comic relief and gasping as Jolie re-created the famous scene in which Maleficent casts her spell on the young princess. To those reactions I began to wonder what I might have thought of this had I seen it as a child. Would it have been one of those my parents might have bought when it came out on VHS and I re-watched over and over? The only equivalent I came up with was Stephen Sommers 1994 adaptation of The Jungle Book that also came from Disney. It was very much a children's film while playing on the darker tones of the Rudyard Kipling story and that is what first-time director Robert Stromberg (yes, they entrusted this summer tentpole to a first-time director) seems intent on doing here as well, but his over-reliance on special effects and muddled screenplay do nothing but disservice what vision he might have had.

OCULUS Review

The word oculus is defined as a round or eyelike opening or design, of which in the case of this new horror film is in reference to a mirror that acts as a curse to all those who own it. This is essentially The Amityville Horror or any number of possession tales where an object elicits evil qualities over those in its presence and makes them do horrible things. The fact that the object this scary movie decided to revolve around was a mirror, a simple household amenity where the most frightening thing that comes along with it is typically the superstition that if you break it you get seven years of bad luck, but hey, people are hard pressed for original ideas these days and so its hard to knock anyone for at least trying. This seems especially true when it comes to the horror genre as by this point in time we've pretty much seen every trick in the book played out time and time again. Oculus isn't necessarily about the specifics of the story it's telling nor is it even about the scares as I wouldn't say I found myself frightened at all throughout the entire film, but instead writer/director Mike Flanagan, along with co-writer Jeff Howard, have placed the emphasis on how the story is told and playing with the conventions of structure and pre-determined expectation to give the audience a strange disconnection to the material that allows us to continually be interested in what is happening, while never really knowing what to expect or what to brace ourselves for. While there was positive buzz around the film and despite the fact I'd heard little about it in regards to promotional campaigns the tone the posters displayed was one of pure mystery, pure creepiness. If there is one word to sum up Oculus it is indeed that, creepy. It never reaches the heights of being flat-out scary and it is far too precise to be chopped together for a few jump scares and little more substance than that, but while Oculus may not prove to be a great horror film it lends itself well to demonstrating what can be done with a pure genre film when even the slightest of envelopes is pushed. For that, Flanagan may not be showered with praise, but in the eyes of this movie fan and someone increasingly hard to please when it comes to this specific genre I found Oculus superbly intriguing and well-executed in a manner that allowed me to forgive its lack of real scares and not take for granted the genuine chills it delivered in its final moments.

First Trailer for THE GIVER

The Giver was the 1994 novel that I never made it around to reading despite the fact everyone around me was talking about it in my seventh grade reading class. I don't know how it slipped by me and feel really bad about having never caught up with it, but I guess the fact there is now a movie adaptation heading our way is as good a motivation as any to finally dive in. As I said yesterday when posting the first trailer for The Maze Runner, the race to find the next big Young Adult franchise spun from the pages of hit novels is in full speed, but while this initial teaser trailer wants you to believe The Giver is some kind of companion piece to Divergent (which opens this Friday and where you'll likely see this playing prior), the nature of the novel itself feels very different than the dystopian trilogies that have saturated the market as of late. This is a single novel that only recently received a sequel, but still, not in the common sense of the word and one that studios might find both difficult and rather pleasing to adapt into a straightforward film series. As for this first look at the footage though, I'm impressed with what scope the film seems to take on, but as we've seen so many versions of the "perfect futuristic society" lately they are all beginning to blend together and this trailer does nothing to say that The Giver has anything new to offer. I want to believe the narrative and the characters alone will be enough to set this apart and that the rumors about major changes being made when adapting the book for the screen are false as the original novel was a slim work and one I am definintely keen on diving into before August. The Giver stars Jeff Bridges, Meryl Streep, Brenton Thwaites, Alexander Skarsgard, Katie Holmes, Cameron Monaghan, Taylor Swift and opens August 15th.

Teaser Trailer for Disney's MALEFICENT

The first trailer for next summers live action adaptation of the Sleeping Beauty story told from the perspective of its antagonist has premiered and it truly is nothing more than a teaser. Starring Angelina Jolie in the titular role of Maleficent, a young woman who grows from the pure-hearted creature she once was to the evil witch we perceive her to be in the story of Aurora. Speaking of Aurora, we get more of a look at her in the form of Elle Fanning here than we do at Jolie in Maleficant garb, but that is all well and good as I can appreciate a promotional campaign that knows how to restrain itself. Given that the film doesn't open until next year I assume this teaser has been timed to coincide with the release of Frozen around Thanksgiving. It is a bit of an odd pair as this certainly seems to be a bit of a darker tale than Oz the Great and Powerful but much more in line with Tim Burton's Alice in Wonderland. Robert Stromberg is directing the film and actually served as production designer on both of the aforementioned films so expect this to all look very familiar. I'm interested to see this turns out though because I'm optimistic there is an interesting story to tell here and actors at the caliber of Jolie, Sharlto Copley, and Imedla Staunton wouldn't sign up for something that was an almost guaranteed blockbuster if they didn't see something worth investing in. Otherwise, the trailer itself actually looks fairly interesting and will at least get peoples attention with the promise of bringing one of Disney's most popular tales to extravagant real-life and Disney is really hoping this pays off as they already have live-action versions of both Cinderella and Cruella (why?) in the pipeline. Maleficent also stars Sam Riley, Juno Temple, Leslie Manville, Brenton Thwaites, Miranda Richardson and opens on May 30, 2014.