THE FANTASTIC FOUR: FIRST STEPS Review

Kevin Feige and Co. Begin a New Phase of The Marvel Cinematic Universe with Their First Family in One of the Better Origin Stories the Studio has Produced.

SUPERMAN Review

James Gunn Begins his DC Universe by Reminding Audiences Why the *Character* of Superman Matters as Much as the Superman character in Today’s Divided Climate.

JURASSIC WORLD: REBIRTH Review

Director Gareth Edwards and Screenwriter David Koepp know Story, Scale, and Monsters Enough to Deliver all the Dumb Fun Fans of this Franchise Expect in a Reboot.

F1: THE MOVIE Review

Formulaic Story and Characters Done in Thrilling Fashion Deliver a Familiar yet Satisfying Experience that will Inevitably Serve as Comfort Down the Road.

MISSION: IMPOSSIBLE - THE FINAL RECKONING Review

Director Christopher McQuarrie Completes Tom Cruise's Career-Defining Franchise with a Victory Lap of a Movie more Symbolically Satisfying than Conqueringly Definitive.

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Showing posts with label Brian Cox. Show all posts
Showing posts with label Brian Cox. Show all posts

MORGAN Review

It's beginning to feel like a trend. This thing where the first hour or so of a film is really promising before deciding to devolve into a predictable and ultimately disappointing piece of genre filmmaking. Directed by Luke Scott (son of Ridley Scott) Morgan is familiar and yet for at least the first forty minutes or so is a nicely paced and well-executed look at a premise we've seen many times before, especially in the last few years with the likes of Ex Machina, Lucy, and even this past summer's Stranger Things to a degree. Each of those pieces of entertainment analyze cautionary situations of man attempting to play God and in Morgan we find another group of scientists hoping to craft a certain genetic code in order to build a specific type of life form that will fit their specific needs. There are numerous amounts of ideological and ethical questions that can spring from such situations and thus what made the aforementioned Ex Machina so engaging last year, but while Morgan seems intent on following a similar pattern if not setting its titular experiment in a different set of circumstances it quickly dissolves into little more than a ridiculous action romp that would rather spill blood than explore ideas. It is always easier to revert to a formula rather than continue on a prompt into territory where ideas might become revealing or genuinely insightful. Naturally, this requires more thought and investment on the part of the writer and though Morgan is the product of a singular screenwriter in Seth W. Owen it feels, especially in the hurried second half, as if the film was put together by a committee who found the first half to be too boring and trying for modern audiences and thus forced Owen and Scott to infuse their contemplations on artificial intelligence and the difference in demonstrating and actually feeling real emotions with a high body count. This isn't even necessarily an issue were the film to still give due diligence to the larger ideas it clearly has on its mind, but at a slight ninety minutes it feels as if Morgan is forced to choose between being a thinking person's film and a strict action movie and by splitting those categorizations right down the middle it isn't enough of either to excel as one or the other.

PIXELS Review

This is not your yearly dose of Dennis Dugan's Adam Sandler if that's what you're thinking. No, as big as Pixels looks in its marketing it actually is on the big screen. There seems to have been no expense too big, which includes flawless special effects, big action set pieces, legitimate craftsmanship and, unfortunately for Sandler, the hiring of quality actors to play opposite him that only stand to make him look all the more lazy. While this isn't your typical Dugan/Sandler fest in the vein of Grown Ups or Jack and Jill it is still Sandler phoning it in, doing what he's done every summer since about 2002 when Mr. Deeds more or less set him on a patterned course. There have naturally been deviations both in his comedy and into more serious territory since then, but the comedian always returns to his safe zone and delivers exactly what he believes his teen and contemporary audiences want from him. There is too much going on in Pixels for this to count purely as another Sandler bomb though and fortunately Pixels won't be judged on the immediate reactions of modern critics looking to dismiss the movie because of a single component before even walking into the theater. It is sometimes shocking, the vitriol which is spewed in Sandler's general direction, but I admit the majority of it is well-founded. With Pixels though, it will be the children of today who truly define what role this film will play as part of our pop culture society. In case you are unfamiliar with the name Chris Columbus (and no, not the Italian explorer) he is the guy that brought to life some of my generations favorite childhood films whether they be both Home Alone 1 and 2, Mrs. Doubtfire or even the first two Harry Potter films. Columbus has a knack for tapping into what makes kids enlist their truest sense of wonderment and he seems to have modernized that technique here while still remaining true to the decade that gave him his start. I'm not saying Pixels is as good as anything else in Columbus's filmography, but I am saying kids will love this movie and likely champion it through their teenage years and into their twenties as a haze of nostalgia will keep their love of it intact.

First Trailer for PIXELS

While Men, Women & Children along with The Cobbler were expected to be something of beginning to an Adam Sandler renaissance they proved non-starters when both received less than flattering reviews at last years Toronto International Film Festival with The Cobbler showing up on Amazon Prime last weekend to almost no ones awareness. So, what exactly does Sandler have to do to rejuvenate his officially fading career. Sure, the Grown Ups films have made solid returns and actually pushed the Sand Man to do his first sequel ever after the likes of That's My Boy and Jack & Jill tanked, but where Sandler has really found success  as of late was with his voice work in Hotel Transylvania. While he has already finished work on the sequel to that 2012 smash he is returning to live-action films aimed at children in director Chris Columbus’ latest film. In what they seem to hope will capitalize on the appeal of Wreck-It Ralph this latest attempt to capitalize on nostalgia revolves around a group of 80's arcade game champions who are called upon to help defend Earth from alien invaders who misinterpreted those classic arcade games as a declaration of war. Regardless of what this film might be jumping on the bandwagon of I can't help but to be both excited and hopeful that this is the one that finally puts Sandler back in somewhat good graces. Pairing Sandler with the likes of Columbus (Home Alone, Harry Potter and the Sorcerer’s Stone) is an inspired choice and the two would seemingly have the right mix of mentalities to pull something like this off perfectly, plus the supporting cast that includes the likes of Peter Dinklage, Michelle Monaghan, Josh Gad, Brian Cox and Kevin James doesn't hurt either. Pixels opens in theaters on July 24, 2015.

THE CAMPAIGN Review

It was a tad bit disappointing when I realized that this summer there wouldn't be a collaboration between star Will Ferrell and director Adam Mckay. Since 2004 they have made a film every other year beginning with the minor masterpiece and now cult classic Anchorman: The Legend Of Ron Burgundy. They have since followed up with hit after hit including Talladega Nights, Step Brothers, and The Other Guys. This was the year for their return if they were going by any former schedule but it looks like things have gone a little off course in trying to settle a deal to make a sequel to that grand introduction to Ferrell we received eight years ago. Still, any Ferrell fan should be thankful as we at least have a film at all to go see this summer featuring our favorite man-child. Turns out, its a pretty darn funny one as well. While the news that The Campaign wouldn't be a Ferrell/McKay team-up was disheartening enough I was even more skeptical about the project when it was stated that director Jay Roach would be at the helm. Roach has a resume full of successful comedies including the three Austin Powers films and Meet the Parents, but then again he also made Dinner for Schmucks a couple of years ago. A film that had so much potential to be a great comedy but instead fell flat on its face. Thus, the reason I was so worried for The Campaign. It doesn't seem all that hard to make a funny movie when you seemingly have a bunch of funny people around, but that isn't necessarily the case. While The Campaign could have certainly been slightly more focused and inventive with its comedy it is an effective political satire and an all out comedy that regardless of how, had me laughing from beginning to end. It is, in a word: hilarious.

Marty Huggins (Zach Galifianakis) and his family endure
some tough times in The Campaign.
If there was anything we knew we'd be able to count on going into this film it was that the team-up between Ferrell and Zach Galifianakis would promise well...something. It was clear from the previews that Galifianakis had worked up something special for his character of Marty Huggins while Ferrell was more or less playing his man-child schtick crossed with his impersonation of George Bush. Upon delving into the film it becomes more and more clear that these guys couldn't have done a better job of complimenting one another. It makes the whole thing work. Whether it be polishing their public personas, placing their seasoned knowledge or energized innocence into campaigning, or forgetting the whole point of what they're doing all of it for in the first place, it pretty much all works. They come at it from such different places and all of it gets to the point that it is so over the top we are basically seeing the behind the scenes antics of how ridiculous real-life campaign's of today have become. Granted, both Galifianakis's Huggins and Ferrell's Cam Brady are no doubt exaggerations of multiple real life inspirations the bottom line is the fact they will stoop to any low for the win, even if the job they will take on afterwards matters very little. It is about the image, the reputation. This is where the comedy clearly lies in the situation as Brady and Huggins try to one up each other while pointing out each others flaws to their voting audience. I liked that the film went over the top in almost every aspect, I like that they decided to set the film in the south, I even enjoyed the strong political commentary on how much money it takes to actually run one of these things. While I don't generally know much about the political game even I could take away the stabbing points that The Campaign is mocking.

Marty, Mitch (Jason Sudeikis), Tim (Dylan McDermott),
and Cam (Will Ferrell) face off against one another.
Still, as I sat there and enjoyed the film for the ridiculously vulgar comedy it provided me I became more and more impressed with the tone of the whole thing. I walked in expecting the movie to feel slightly rushed if not a little cheap. It seemed for such a big comedy starring two seasoned comics that the exposure for the film had ramped up rather late in the game and that there wasn't a ton of support behind the movie. Turns out what I at first thought might come to be weaknesses were what the film had in its corners all along. In those early days when first hearing of the project I mentioned I was worried that Roach and co. would lose themselves and his brand of comedy with two such actors combined with subject matter that was both ripe for satire and extremely timely. Little did I know Roach had recently directed more heavy-handed dramas for HBO that included the Sarah Palin inspired Game Change and the Bush/Gore film Recount. This combination of experience with both the subject matter and off-the-wall comedy shines throughout the film. This is clear from the beginning as big money runs everything; here in the form of the Motch brothers (a slyly used John Lithgow and Dan Akroyd) who are no doubt a send up of some actual filthy rich businessmen who are running the government or a certain party with their "influence".

The Motch brothers have, for years, backed Brady who knows how to spout words that sound good to the crowd while not actually meaning anything. Too bad he has a knack for keeping one too many mistresses as well and just before the election, where he usually runs unopposed, he leaves a rather explicit message on the wrong answering machine. This misstep creates the need for the Motch bros to bring in a candidate to oppose Brady. The best they can do is Marty Huggins, the son of a veteran (Brian Cox) who has strong ties to the Motch's. Galifianakis makes Huggins a squirrely and slightly odd guy who is so naive and innocent it is almost hurtful to watch as his assigned campaign manager Tim Wattley (a hilariously subtle Dylan McDermott) transforms him from this humble family man to a politician willing to do or say anything for the win. While Galifianakis makes this transformation seamlessly it is by way of his performance one of the best things about the film. He delivers the laughs, he keeps up the persona without drastically changing the character, but we see him become a different person. It is alarming, while at the same time hard not to laugh at. Which in many ways is all the more unsettling.

Cam Brady will stoop to any level to try and win.
While after a second or third viewing I might have a change of opinion on the film, for the time being I was pleasantly surprised not only by the amount of laughs I got from The Campaign, but also how sharp of a wit the overall film had. We know it is making fun of politics, heck the majority of us don't need comedians playing the politicians to laugh at the whole farce that has become the election process, but if anything this movie makes the pill easier to swallow. It would like to disguise itself as a rather standard Will Ferrell comedy but in reality, if we want to, there is more to look for here. I didn't have high expectations going in. I expected more Bewitched Will Ferrell than I did SNL-era Ferrell, but what we got was a well thought out, funny movie that really had everyone invested in it. There is nothing worse than a comedy where it feels like the makers have simply thrown together a story around two funny guys that they know will bring in the box office returns. As comedies have not exactly been landing record numbers lately (with the exception of Ted) it is nice to see a film where the people behind and in front of the camera are getting the same amount of satisfaction out of their work as they hope the audience will. There are small complaints here and there that one could make about The Campaign, but they are far outweighed by the positive attributes this film carries. You laugh, you learn a little, and you begin to wonder how close this all really is to reality.

        

THE CAMPAIGN Review

It was a tad bit disappointing when I realized that this summer there wouldn't be a collaboration between star Will Ferrell and director Adam Mckay. Since 2004 they have made a film every other year beginning with the minor masterpiece and now cult classic Anchorman: The Legend Of Ron Burgundy. They have since followed up with hit after hit including Talladega Nights, Step Brothers, and The Other Guys. This was the year for their return if they were going by any former schedule but it looks like things have gone a little off course in trying to settle a deal to make a sequel to that grand introduction to Ferrell we received eight years ago. Still, any Ferrell fan should be thankful as we at least have a film at all to go see this summer featuring our favorite man-child. Turns out, its a pretty darn funny one as well. While the news that The Campaign wouldn't be a Ferrell/McKay team-up was disheartening enough I was even more skeptical about the project when it was stated that director Jay Roach would be at the helm. Roach has a resume full of successful comedies including the three Austin Powers films and Meet the Parents, but then again he also made Dinner for Schmucks a couple of years ago. A film that had so much potential to be a great comedy but instead fell flat on its face. Thus, the reason I was so worried for The Campaign. It doesn't seem all that hard to make a funny movie when you seemingly have a bunch of funny people around, but that isn't necessarily the case. While The Campaign could have certainly been slightly more focused and inventive with its comedy it is an effective political satire and an all out comedy that regardless of how, had me laughing from beginning to end. It is, in a word: hilarious.

CORIOLANUS Review

It is really amazing how intense Ralph Fiennes can get and how he can make even you as an audience member feel puny and as if you’ve crossed him. As Caius Martius Coriolanus in his directorial debut Fiennes plays the Roman general who is at one point poised for greatness and the next being opposed by the rioters in the street who were whipped up by Brutus (a brilliant James Nesbitt) and Sicinius (Paul Jesson) into not supporting him. This is a strict translation of the Shakespeare play that was believed to have been written between 1605 and 1608 and was based on the tragic life of the Roman leader of the same name. Fiennes has set his version in a more modern world where it is almost hard to decipher between the fact this is a fabrication of history made long ago and not an interpretation of what is going on over seas. Unlike all those films from a few years ago that attempted to depict America in its workings with Iraq and Iran though this is still based in Rome it simply shows how relevant and similar that what was happening then is in many ways still going on. It some ways it shows how little we have evolved from our ancestors while displaying a central character who seems so tyrannical we can only feel relieved to live in a country where the gap between the common man and those isn't as wide, or at least as wide as Coriolanus lets it be known. Like Baz Luhrmann's adaptation of 'Romeo & Juliet" this telling updates the setting while leaving the language intact. This makes it somewhat harder to follow for the modern movie-goer but Fiennes has surrounded himself with such a great supporting cast and a stellar performance himself we decipher what they are saying by the passion in their acting.

Coriolanus (Ralph Fiennes, center) is surrounded by his
family and Roman council members as he is recognized for
his bravery.
Before hearing about this film, "Coriolanus" was one of Shakespeare's plays I had not heard of. While it may be one of his lesser known pieces it certainly contains many of the elements and themes that are present in his more popular plays. Coriolanus is a general, not yet a ruler, but he denounced those in the general public and those who he feels have a lack of military service. In the tense and well choreographed opening battles of the film Coriolanus leads his men to siege the city of Corioles. They are able to force open the gates of the city, and conquer it. Even after this, Coriolanus finds his fellow general and aids in fighting the Volscian force. The commander of the Volscian army is Tullus Aufidius (Gerard Butler) a bloody enemy of Coriolanus's. They meet in combat and are only both left alive by the sheer intensity of their fight and the fact their fellow soldiers drag them away from the battle. Upon his return from battle Coriolanus is persuaded by his mother Volumnia (Vanessa Redgrave in a great performance) to run for Consul which he is usually hesitant to do, but decides to give it a try on his mothers suggestion. Coriolanus also returns to a wife, Virgilia (Jessica Chastain) and a son. In his attempt to win a place on the consul he easily wins over his peers on the Roman council but when it appears he has also won over the commoners is that moment Brutus and Sicinius turn the tide and have Coriolanus exiled instead. The way in which Fiennes has translated this to modern day works for the majority of the film, but it was in this scene that it felt the most unnatural. That it could not simply be spoken for a man of his stature to be exiled but more would have to go into it, a formal hearing at the least rather than a talk show discussion.

Gerard Butler as Tullus Aufidius. 
Fiennes knows how to take your attention off such aspects though as he delivers Shakespeare's words with such violent vigor that when he speaks such lines that translate as, "it is he who banishes Rome from his presence." We realize the level at which he sees himself and the betrayal he no doubt feels from everyone around him. In seeking revenge on the city he fought for that has outcast him he seeks out Aufidius and offers to let Aufidius kill him in order to spite the country that banished him. Butler has, since his breakout "300" role chosen hits and misses to elevate his career but in 2011 seemed to re-evaluate his choices and takes a turn not only for the more credible here but with a limited amount of screen time turns in a performance that elicits all of the correct characteristics we should feel for Aufidius. He is moved by Coriolanus's plight and honored to fight alongside the great general, they embrace Coriolanus, and allow him to lead a new assault on his former city. It ends up being a tale of vengeance that goes unfulfilled but it is the way with which Fiennes approaches the material that makes it so much more than watching a bunch of good actors recite old English. The handy cam that invades each characters space as if literally trying to get inside their head allows those not able to keep up with the language an alternative way to understand the story and the conflict that is going on on screen. Fiennes, as I mentioned earlier, also has the knowledge to fill his cast with capable actors that can translate this material as if it were natural. Both Redgrave as the domineering mother and the always fantastic Chastain give performances that create a subliminal dynamic of why Coriolanus has become the man he is and what he could be. Brian Cox should also be noted as giving a stellar performance as Menenius, the only man in Coriolanus's corner with some of the juiciest lines. This combination of tragedy and gore with the elegance of Shakespearean language creates a relevant message with an age old tale.

Coriolanus is persuaded by his mother Volumnia (Vanessa
Redgrave) to stop his plan to attack Rome. 
The best thing about "Coriolanus" though is that it feels right. It feels like it fits and for being the first project Fiennes took on as a director it feels exceptionally grand. He relies sometimes a little too heavily on the news highlights to relate the main story points to those in the audience who may feel a little lost, but that is understandable. He has created an overall tone though that feels like something Shakespeare himself would love and feels represents his story correctly. Even if you cannot understand the language all the time it consistently has an electric tone. There is something urgent about it, something that helps us understand the theme and meanings Shakespeare was trying to point out in a world that suffers many of the same problems. A leader who is raised to believe he is of a special breed, a fascist that has the nerve to be so easily influenced by a mother that can bend him any which way she pleases. It is so engaging dramatically I was left wonder why more of Shakespeare's plays are not attempted to be modernized and translated to the big screen. It is a concept rich with possibilities and as "Coriolanus" shows great possible outcomes. Though it was only in limited release here in the U.S. and will be making its way to the rental shelves no doubt sooner than it should this is a visually and dramatically arresting drama that deserves to be seen and serves as a great jumping off point for Fiennes in his directing career. I can only wonder what his next project might be and hope with great anticipation that it is as fulfilling as his first.

CORIOLANUS Review

It is really amazing how intense Ralph Fiennes can get and how he can make even you as an audience member feel puny and as if you’ve crossed him. As Caius Martius Coriolanus in his directorial debut Fiennes plays the Roman general who is at one point poised for greatness and the next being opposed by the rioters in the street who were whipped up by Brutus (a brilliant James Nesbitt) and Sicinius (Paul Jesson) into not supporting him. This is a strict translation of the Shakespeare play that was believed to have been written between 1605 and 1608 and was based on the tragic life of the Roman leader of the same name. Fiennes has set his version in a more modern world where it is almost hard to decipher between the fact this is a fabrication of history made long ago and not an interpretation of what is going on over seas. Unlike all those films from a few years ago that attempted to depict America in its workings with Iraq and Iran though this is still based in Rome it simply shows how relevant and similar that what was happening then is in many ways still going on. It some ways it shows how little we have evolved from our ancestors while displaying a central character who seems so tyrannical we can only feel relieved to live in a country where the gap between the common man and those isn't as wide, or at least as wide as Coriolanus lets it be known. Like Baz Luhrmann's adaptation of 'Romeo & Juliet" this telling updates the setting while leaving the language intact. This makes it somewhat harder to follow for the modern movie-goer but Fiennes has surrounded himself with such a great supporting cast and a stellar performance himself we decipher what they are saying by the passion in their acting.