DEEPWATER HORIZON Review

There is something to this formula director Peter Berg and star Mark Wahlberg have cooked up together. They've found a composition of elements that when brought together in their capable hands more than appeals to a large type of audience while simultaneously being thrilling and intelligent enough for the seasoned moviegoers to look past the standard genre elements they fit squarely into. This formula largely resides in the telling of American stories that focus on the little guy. The man's man who isn't sitting somewhere in an office with a suit on pulling the strings, but rather the men on the front lines. This is appealing to a whole region of the country not accustomed to seeing mirrors of themselves on the big screen in such big budget productions, but Berg and Wahlberg (lots of German ancestry going on here) have now told two sweeping stories concerning two "based on real life events" (and have a third coming later this year) that are more or less simple stories when taken at face value, but that permeate more meaning about the state of affairs in our country and world than a pointed essay about the state of affairs in our country and world ever could. This is how Berg captures his core audience and pleases his critics: he's able to say something boldly heroic about the men who risk their lives for others or perform in composed and exceptional manners when finding themselves in a set of insane circumstances while hinting at what this illustrates in the larger scope of things. In essence, it is those who are unassuming and voluntary in their heroics who continue to be the pulse of this country's integrity and not the house of governmental leaders or the big business tycoons who cut corners and jobs for their own personal gain. Thus the reason why the big business tycoon or better yet BP, AKA what was once known as British Petroleum, but changed their brand to that of "Beyond Petroleum" in the wake of the Deepwater Horizon oil spill, fulfills that role of antagonist here. Why that spill happened, which resulted in severe environmental, health and economic consequences, as well as serious legal and public relations repercussions for BP, happened in the first place is the story Deepwater Horizon is telling and much like their previous collaboration, Lone Survivor, Berg and Wahlberg tap into a real understanding for the value of life and that it is not worth throwing away for inconsequential details such as how many days past schedule one large oil and gas company might be.

10 CLOVERFIELD LANE Review

I feel deeply conflicted after walking out of 10 Cloverfield Lane largely due to the fact it doesn't seem to need the word "Cloverfield" in the title. The fact this "distant relative" of a sequel to the 2008 monster movie came out of circumstances that didn't necessarily create it for the purposes of being what it has become becomes a bigger deal the further one gets into the experience of watching the film and the further it gets away from being anything having to do with Cloverfield. If anything, this film is more of a pseudo sequel if you're a fan of the original and go in hoping for more of the same. Rather, gone is the handheld technique that defined the first film and gone are the monsters (for the most part) that made the film and that handheld technique so noteworthy. Instead, what we are given here is a different type of monster movie; one that excels and propels itself forward based solely on the character interactions and lack of awareness from the circumstances in which these characters come. It is the peeling back of these layers that not only reveal to the audience who each of the three main characters might be, but also the revealing of each's true agenda to one another that makes the proceedings completely enrapturing. 10 Cloverfield Lane sustains such momentum for much of its 100-minute running time due to the fact it is a generally great piece of tension-filled filmmaking that elicits grand gestures of horror and the types of thoughts that come with finding one's self in such situations as typically presented in the thriller/horror genre. It is in the last act, the last fifteen minutes or so that the film stumbles in attempting to connect the dots and make this little film about three separate individuals more than it needed to be. Maybe I'm simply not satisfied by the answers the film chooses to provide for all of the mysteries that were laid out from the get-go and yet the answers provided in the more contained spaces of the film felt satisfactory whereas when the film attempted to expand its horizons things didn't feel as natural as they should. There was certainly a better way to create reason for having the word "Cloverfield" in the title, but it is this inorganic last act that knocks 10 Cloverfield Lane down from something great to a cog in the franchise machine, if not a shiny cog at the very least.

MAGGIE Review

At first glance it would seem Maggie is an attempt to cash in on the zombie craze that has been spearheaded by the likes of serious-minded interpretation such as The Walking Dead. That a small, independent way of going about this story would be an interesting, more dramatic choice that would allow a sliver of the story The Walking Dead is telling might be something fascinating, compelling even. Now, I'm not necessarily the biggest fan of the The Walking Dead, but I can see what attracts people to it. They can pick up on the large metaphors at play or simply delve into the action and brutality that is presented week after week. Either way, tough choices have to be made. Emotions overtake logic and the repercussions of ones inability to put a bullet in the head of a loved one even when they are at your throat trying to rip through it says something about our mentality, our humanity and ultimately about the love and connection we sometimes feel that outweighs our own existence. What is life worth if not filled with the people you love? It's a valid question, a depressing thought, but these are the kinds of notions and ideas that the characters in Maggie must take into serious consideration. All of that said, one might be wondering what someone like Arnold Schwarzenegger is doing in a movie like this. A zombie apocalypse film, sure, but a somber, meditative zombie apocalypse film where the focus is not on surviving, but more on the relationship between the father and daughter? Strange, right? With the father facing the inevitability of losing his little girl and that little girl coming to terms with her own death Maggie isn't necessarily what you expect and for those reasons along with first-time feature director Henry Hobson having a clear vision of how to bring this story to life Maggie is something of an effective take on a genre that I presumed to be played out.