JOHN WICK: CHAPTER 3 - PARABELLUM Review

It's been five years in real time, but in the life of John Wick (the entirely endearing Keanu Reeves) the man has had one hell of a month - if that. From losing his wife to losing the puppy his wife bought him to killing the son of the mob boss that killed his dog and stole his car leading him back into a life he only thought he'd left behind. In this ill-fated scenario, Mr. Wick found himself dealing with more and more repercussions of his actions to the point that at the end of the second film he was so filled with rage that he would seemingly never be able to forgive anyone who dared cross him again...much less himself for having allowed his life to slip back into these old routines. So filled with rage, in fact, that he broke the only rules he'd ever had to follow thus forcing the hand of his powerful friend, Winston (Ian McShane), the owner of the grounds on which Wick had broken said rules of the league of extraordinary assassins that he was assigned the label of "excommunicado" therefore placing a $14 million price tag on his head and an army of bounty-hunting killers on his trail. These are the kinds of things that happen when one kills a member of a shadowy international assassin's guild though, not to mention a member who was seated at what is referred to as the "High Table". John Wick: Chapter 3 - Parabellum begins with the stakes as high as they've ever been-even Wick's closest friends are unable to look past the bounty in order to give this broken man another chance. It is in this scenario and current mental state the character inhabits that make it fairly critical to have seen the previous films in director Chad Stehelski's now trilogy of films. Parabellum kind of assumes we're present in the theater because we're already invested in the character and then moves forward with such a momentum that there's little time to catch-up if you're not already in it. That said, the pacing is not just an excuse to continually grow the breakneck speed of the action as well as the scope, but is more a stylistic choice that every function of the script adheres to and if the John Wick trilogy has done one thing consistently it's adhere to stylistic choices. As the series has progressed more layers have been added, but never have these brought the story, character development, or action beats down. Rather, each of these elements necessary to making a feature motion picture are held to the same standards the action is. That isn't to say the dialogue is as Shakespearian as the action, but does it function so as to effectively elicit the intended visceral reaction of the audience? Damn straight.

First Trailer for JOHN WICK: CHAPTER 3 - PARABELLUM

The third entry in Keanu Reeves' latest franchise, John Wick, that began as a humble one-off revenge thriller in 2014 with little to no aspirations has (finally) released its first full trailer and this neon-soaked barrage of violence and fine tailoring couldn't look more badass. John Wick: Chapter 3 or Parabellum as it has now been subtitled will follow the events of Chapter 2 in allowing audiences to witness the "excommunicado” of its titular assassin as he is now a wanted man by the entire criminal underworld, but without the safe haven of places like The Continental to escape to. While it looks as if much of this latest film will see Wick on the run, eluding and deflecting those with balls big enough to try and claim the bounty on his head it also looks as if director Chad Stahelski (who co-directed the first film, but went solo on the sequel), directing a script from Derek Kolstad, will be introducing plenty of new faces-not least of all a character played by Halle Berry. While Berry hasn't exactly spurned the promising beginnings of her career into one of widely adored projects or a franchise or character that has catapulted her to insane levels of fame, she seems right at home in this world of Wick and given she seems to essentially be teaming up with Reeves I can only hope the chemistry and banter between them is as good as I might venture to guess; the touch of her having a pair of attack dogs isn't bad either. Of course, what most come to the John Wick franchise for is the action and it would be hard to blame them as both the aesthetic of the film in general and the look of the many large action sequences here look to be downright striking. Taking place mostly at night, with lots of moody rain we see Wick chase sword-wielding motor cyclists on a horse in a chase sequence I can't imagine will be anything less than bonkers while Wick also seems to have figured out a way to make even reading lethal. Needless to say, this looks to be exactly what any sequel to that 2014 original would promise itself to be. John Wick: Chapter 3 – Parabellum once again reunites Reeves with his Matrix co-star Laurence Fishburne, with other newcomers including Anjelica Huston, Jason Mantzoukas, Hiroyuki Sanada, Robin Lord Taylor, Tiger Hu Chen, Yayan Ruhian, and Cecep Arif Rahman, while Ian McShane,  Lance Reddick, Common, and Ruby Rose all return when the film opens on May 17th, 2019.

THE HATE U GIVE Review

The Hate U Give might come off as a perfectly-timed opportunity given the "Black Lives Matter" movement and the unfortunate, consistent headlines that tell us a young, unarmed black individual was gunned down by a white police officer, but fortunately, director George "Notorious" Tillman's adaptation of the Angie Thomas novel is not an opportunistic publicity stunt aimed at an audience who are already well-aware of the points the film is making. Rather, The Hate U Give is a well-rounded and appropriately angry piece of filmmaking that tells of both these types of crimes and the reasons for the feeling of need for movements such as "Black Lives Matter" in our country at the moment.

Tillman luckily has a strong grasp on the multiple themes and rather epic scope of his film as Audrey Wells' adapted screenplay weaves in a multitude of challenges that face the black community outside of discrimination. Whether it be police brutality or white privilege or more universal issues that have become more associated with being black than is fair such as drug abuse, drug-dealing, and a lack of the traditional familial structure, Tillman is able to take each of these strands and weave them into a coherent narrative that, while maybe tying things up a bit too neatly at the end, is most admirable for admitting it doesn't have all the answers, but instead making plenty of suggestions on how to spark change.

JOHN WICK: CHAPTER 2 Review

It is amazing how well John Wick: Chapter 2 actually works. There is no reason this unexpected sequel works as well as it does as the original was designed to be a contained story, a simple and straightforward revenge tale, but the biggest obstacle John Wick: Chapter 2 was going to face is seemingly overcome within the first fifteen minutes-Chapter 2 gracefully jumping over the hurdle to move on rather swiftly to establish a bigger picture for which to further justify the existence of this film while simultaneously setting up what is clearly meant to be a trilogy capper. Never would I have imagined sitting in the theater nearly two and a half years ago that this stylish, but seemingly unexceptional action flick would not only reignite the fire for Keanu Reeves, but prove itself one of the better action flicks of the last decade. Having re-watched the first John Wick this past week before venturing out to see Chapter 2, I easily enjoyed it more than I had initially-the world in which it established suddenly becoming all the more appealing, the empathy in which it developed for its titular character becoming all the more palpable. This isn't traditionally a reaction I have to films when re-visiting them. If anything, most movies lose a little bit of their charm on repeat viewings-the cracks becoming clearer than they were upon first glance, but it was very much evident by the time the credits rolled that John Wick was meant to be appreciated for more than just the surface pleasures despite being a movie all about the surface pleasures. For as much as the movie served as a platform for Reeves and his stuntmen to go through set piece after breathtaking action set piece it really allowed Reeves the opportunity to play a character who doesn't emote much in a forward fashion, but who bottles it up and exudes it through these actions. This isn't to say the two John Wick films have a giant amount of substance to them, but that they are the rare type of action blockbuster that executes their necessary beats accordingly while at the center featuring an individual we can really get behind, someone we really feel invested in, sorry for, and connected with-so much so that despite the fact they murder countless people at point blank range, some of which probably had no desire to face Mr. Wick, he is still the one we root for come the end of the day. John Wick is the one we want to see walk away from the explosion unharmed; the one we want to see fire the last bullet; the one who we want to be still standing when the smoke clears muttering, "I told you so." This sounds simple, but it is not for nothing that this affection comes to exist.  It is on this affection for our titular character that these films separate themselves from the pack.

First Trailer for JOHN WICK: CHAPTER 2 Starring Keanu Reeves

The first trailer for John Wick: Chapter 2 has arrived starring Keanu Reeves, John Leguizamo, Lance Reddick, Bridget Moynahan, Ian McShane, Laurence Fishburne, Ruby Rose, Common, Peter Stormare, and Riccardo Scamarcio. The film opens on February 10th, 2017. I'll have thoughts up later, but wanted to post the trailer as soon as possible.

RUN ALL NIGHT Review

Run All Night is one of those fractured tales. The ones where each individual element is suspect to have greater implications than we might recognize upon introduction. The ones where we know how things must go and yet it is still able to somehow deviate from expectations allowing for the core proceedings of the familiar story to feel fresh. In essence, Run All Night feels much like a perfect storm of ideas and contributions from parties that have a similar goal in mind while each bringing something unique to the table. Obviously the biggest of these contributing factors is the presence of star Liam Neeson. Neeson has made a habit of annually presenting us with a run of the mill action flick that revels in B-movie territory and can be rather hit or miss, but most of the time are entertaining enough. I despise the Taken sequels yet have enjoyed his collaborations with Jaume Collet-Serra (Unknown, Non-Stop) as well as his excursions with Joe Carnahan (The Grey) and Scott Frank (A Walk Among the Tombstones), respectively. And while Neeson may still do his best work when he shows how eclectic he can be (The LEGO Movie) I always look forward to what his collaborations with Collet-Serra have to offer. Compared to their previous efforts Run All Night is much less mainstream and more in the vein of a different era. Whereas Unknown and Non-Stop were both polished and perfected to squarely fit into a genre Run All Night is dirty and grimy and while it fits into a certain type of film, it doesn't necessarily adhere to any one set of expectations. Expectations are key with this type of film though and I realize that. Call it what you will, whether it be that we have tapered expectations for these Liam Neeson actioners now or that this is a case of the film being so much better than the initial black sheep facade it was presented to us with that I'm over-compensating; either way, I really enjoyed myself as I sat and witnessed Neeson get more even than he's ever gotten before and might even call the film pretty great if it holds up under future viewings (which will definitely happen).

First Trailer for Liam Neeson's RUN ALL NIGHT

With the release of Taken 3 this weekend it's no surprise we have a new trailer for Liam Neeson's next action affair. From what I've heard about the unnecessary third entry in the Taken franchise though, Neeson can only go up from here. Also upping the possibility of his next project being better than another round with Bryan Mills is the fact Neeson has re-teamed with director Jaume Collet-Serra (Unknown and Non-Stop). Sure, these aren't great movies, but I'd rather see Neeson do ten more original features with Collet-Serra than another Taken sequel that only tarnishes his pedigreed credibility all the more. At least the B-movie actioners Neeson has chosen to do outside the trilogy that gave birth to his new reputation know what they are and in some cases are fairly subversive of the genre we expect them to fall into (here's looking at you, The Grey and Walk Among the Tombstones). More than anything though, Neeson simply seems to be enjoying this time in his life by living up this opportunity he likely never thought he'd be afforded. It only helps that the guy is a great actor with as much presence as anyone on screen at the moment and seeing him step into these less serious roles is something of a treat even if the movies don't always fulfill their potential or aspire to much at all. In this latest collaboration with Collet-Serra Neeson plays a hitman who, in order to protect his son, must take on his former boss (Ed Harris) in a single night. The hook being the entire film takes place during the course of that single night. As for the trailer, I'm engaged and it looks fine though I can't imagine remembering much about it the day after I see it. Run All Night also stars Joel Kinnaman, Common, Vincent D’Onofrio, Holt McCallany, Beau Knapp and opens on April 17th.

SELMA Review

First things first: if you get your history from movies you get the history you deserve. Amid the controversy of historical inaccuracies that feel more like a play to dismantle Selma's award chances than anything else it must be remembered that director Ava DuVernay's is an interpretation of many historical narratives boiled down into a comprehensive two hours. Things must be compacted and slightly compromised, but never does it feel like any one character is given the shaft more than the others. The flurry of controversy here is dealing with the portrayal of the thirty-sixth President, Lyndon B. Johnson, who is historically regarded as completely behind not only Dr. King, but the civil rights movement in general and the passing of the voting-rights act in 1965. The movie doesn't portray a President resistant to the passing of this legislation, but more a man who has a set of priorities not in line with our protagonists. The extent to which this is true or not certainly matters, but more to the point of the films major goals is that this is not a movie about the relationship between Johnson and King (which a very interesting movie could be made from), but rather larger issues at hand to the point I'd say Selma isn't about Dr. King either. More, it is about a movement, a moment in time that is compelling and inspiring enough to make for a good story and serve as a nice reminder and a bit of perspective especially considering the relevancy of the message it's preaching. Despite all of this controversy swirling around it, the actual content of the film is what matters and that is where the dispute between telling history as accurately as possible and telling a good story comes into play. There is no one clearly defined version of history despite what we are taught to believe in grade school and so it is completely open and fair for DuVernay (working from a script by first-time screenwriter Paul Webb) to tell this story from her own perspective, influenced by her own ideologies. It may be slightly unfortunate that her interpretation isn't completely fair to Johnson, but I doubt this will tarnish his legacy in the grand scheme of things. The film itself and what is actually the subject of this review is a rousing, expertly paced film that truly has the ability to inspire despite its structural conventions. The film itself is a solid four-star historical drama that is elevated to perfection by David Oyelowo's exceptional performance.

First Trailer for SELMA

Is it me or does this awards season seem more packed than usual? It is late to the game releases such as Selma and American Sniper that make me wonder just how far some of these films will wait to really start their engines. It seems December is more ripe than usual with the likes of Wild, Inherent Vice, Into the Woods, Unbroken and Big Eyes all releasing within a few weeks of one another and all seeming to want to put in their bids for certain categories. Selma and the aforementioned Clint Eastwood film though will stagger there releases over the Christmas/New Year season in hopes of capitalizing on the January drag by escaping the overcrowded Christmas day schedule and boosting their box office by drawing on those unable to see some of the more prestigious pictures until after the new year.  I imagine director Ava DuVernay's prime focus will settle on that of the lead performance by David Oyelowo as Martin Luther King Jr., but there is a lot of potential here and if it turns out well first-time screenwriter Paul Webb is looking at good odds and the supporting cast is almost as massive as last years The Butler, which this immediately conjures up comparisons to. What feels better about Selma though is that it inherently seems to have the importance, rage and vitality to it that Lee Daniels film thrust upon itself. I am extremely intrigued by the film and really hope it delivers on what this great teaser promises. Selma also stars Carmen Ejogo, Tom Wilkinson, Andre Holland, Omar J. Dorsey, Tessa Thompson, Tim Roth, Common, Wendell Pierce, Giovanni Ribisi, Cuba Gooding Jr., Colman Domingo, Oprah Winfrey and opens in limited release on Christmas Day before expanding on January 9, 2015.

NOW YOU SEE ME Review

As the films mantra goes, the closer you look the less you see, but if you are going to enjoy this film it is a wise decision to do exactly the opposite. There is no need to investigate or inspect each and every twist and turn this film throws at you because there are bound to be holes. No, in fact what is best to do in order to enjoy Now You See Me is to simply sit back and take it in for what it is: pure, escapist cinema that delivers a relentlessly fun and entertaining ride that speeds by and leaves you satisfied when the credits begin to roll. Kudos to this movie for being able to stand on its own two feet in a season where every Friday is dominated by a sequel or spin off or re-make or something that is a familiar product that is sure to find an audience somewhere. Now You See Me is a completely original film in the midst of big studio fare that has the star power, the concept, and the appeal to win over those movie-goers who aren't just looking for an escape from the real world, but from the saturated sci-fi superhero adventure genres that are playing on every other screen. That is not to say I don't enjoy those kinds of movies as well and this year has been particularly good so far in terms of summer popcorn entertainment, but simply knowing going into this film that we are up for a fun ride that takes a subject that's commonly considered nerdy, such as magic, and combines it with the formula of a heist film to create something imaginative and fresh is indeed refreshing. Though there are certainly plot holes to be picked apart once people have the ability to re-watch the film several times, upon first viewing this is nothing more than a caper of a good time that has an incredibly strong cast each member of which is doing what they do best, churning out some solid and genuine laughs while balancing the never-serious tone with a fair amount of action and mystery that is compelling and keeps you guessing until the very end.