New Trailer for TOP GUN: MAVERICK

It has been some time since I've sat down and actually watched Tony Scott's 1986 action/drama centered around students at the United States Navy's elite fighter school who competed to be the best with one daring young pilot learning a few things not taught in the classroom and yet I'm still anxious to see how that once daring young pilot has evolved in what will be thirty-four years since the original. Tom Cruise is obviously reprising his role in the long-awaited follow-up to Top Gun, but after Scott's untimely death in 2012 it seemed the sequel became even more of an uncertainty. It's kind of amazing that everything aligned in order for this film to have come into existence, but here we are with all the music, motorcyclin' and volleyballin' still intact for a legacy sequel in the vein of Creed that will hopefully earn its place along the highly adored original. Director Joseph Kosinski (who worked with Cruise on Oblivion, but also made Tron: Legacy and the severely under seen Only the Brave) has a knack for slick visuals and, as can be gleaned in this new trailer, has seemingly put an emphasis on the practicality of the flight sequences for-even as I watch the trailer on my iPhone-I know without a doubt I have to see this movie on an IMAX screen this summer. Besides the fact it was penned by Peter Craig (12 Strong), Justin Marks (Counterpoint), and Eric Warren Singer (American Hustle), with additional edits by long-time Cruise collaborator Christopher McQuarrie next to nothing is known about the plot of the film and this latest trailer tends to keep things that way. We do know that Val Kilmer will return as Iceman, Miles Teller will be playing the role of the now-adult son of Anthony Edwards' Goose and that Glen Powell impressed producers so much during his initial audition that they created a new, different character just for him. Next to these scant details, this presumably official, but definitely not final trailer for the film merely gives us more of a glimpse at the tone and aesthetic Kosinski has captured as it leans heavily on the familiar imagery that will play on the nostalgia for the original and (hopefully) put the butts in the seats. Cruise seems to be relishing in the opportunity to even make this movie while I'm anxious to see what he does with exploring this character who has seemingly been afraid to move on, but is finally being forced out of said comfort zone by the changing world around him. Top Gun: Maverick also stars Jennifer Connelly, Jon Hamm, Lewis Pullman, Ed Harris and opens on June 26th, 2020.

First Trailer for TOP GUN: MAVERICK Starring Tom Cruise

It has been some time since I've sat down and actually watched Toy Scott's 1986 action/drama centered around students at the United States Navy's elite fighter school who competed to be best in the class, with one daring young pilot learning a few things not taught in the classroom and yet I'm still anxious to see how that once daring young pilot has evolved in what will be thirty-four years since that original next summer. Tom Cruise is obviously reprising his role in the long-awaited follow-up to Top Gun, but after Scott's untimely death in 2012 it seemed the sequel became even more of an uncertainty. It's kind of amazing that everything aligned in order for this film to have come to exist, but here we are and less than a year from now everyone who loved all the music, motorcyclin' and volleyballin' of the original will seemingly be in for another treat as director Joseph Kosinski (who worked with Cruise on Oblivion, but has also made Tron: Legacy and the severely under seen Only the Brave) has included all of this and more in his follow-up. As penned by Peter Craig (12 Strong), Justin Marks (Counterpoint), and Eric Warren Singer (American Hustle), with a little help from long-time Cruise collaborator, Christopher McQuarrie, who was brought in after the fact to work on the script next to nothing is known about the plot of the film, but what we do know is that Val Kilmer will return as Iceman, Miles Teller will be playing the role of the now-adult son of Anthony Edwards' Goose, and that Glen Powell so impressed producers during his audition for the role of Goose's son that they created a new, different character just for him. Next to these scant details, this first trailer for the film gives us a real glimpse at the tone and aesthetic Kosinski has captured and while the imagery is familiar it possesses a modern sheen-especially in the aerial shots that place us right alongside Cruise's Maverick in the cockpit-that give it that Kosinski trademark look. Cruise also seems to be somewhat relishing getting the opportunity to play a more hardened version of this character as this clip hints at a narrative concerning a man unable to move on and a world that is set to leave him behind. I can't wait to see this thing in IMAX. Top Gun: Maverick also stars Jennifer Connelly, Jon Hamm, Lewis Pullman, Ed Harris and opens on June 26th, 2020.

MOTHER! Review

mother! is one of those films where it is easy to appreciate the intent without being able to necessarily enjoy it at all. That is to say, while there is much to discuss in the latest from auteur Darren Aronofsky (Requiem for a Dream, The Fountain, Black Swan), there isn't much of it that is enjoyable. That isn't to say every movie-going experience has to be enjoyable as mother! still offers an escape in one form or another, but while Aronofsky is very clearly trying to make a statement here it is difficult to pinpoint what exactly he is trying to say. For further proof as to why mother! is simultaneously admirable and bewildering is the fact it is also one of those films where each scene is a puzzle piece the viewer is supposed to put in place to slowly realize the bigger picture. mother! is deliberately confusing in that it wants you to try and figure out what is going on and what the metaphor is that's at work, but while this coyness may at first seem to be both crafty and a product of Aronofsky's knack for crafting visuals to pair with what are otherwise ephemeral concepts it is by the time the film reaches its third act and things begin to fall into place that mother! is neither surprising nor unsettling enough given this buildup. It is also very easy to see how many people will disagree on this point and either find it wholly fascinating and become enamored with discussing the film or not understand what the writer/director was aiming for and thus dismiss it as a symptom of confusion. While I can't say I fall into either of those extreme categories it is almost more disappointing that I don't as what is most evident after walking out of mother! is that Aronofsky was looking to evoke a reaction from his audience-whether it be fascination or disdain. Rather, mother! is a film that gets points for being something different, for taking on the challenge of making this huge metaphor work for what it is, but that it never transcends the correlation between what is being presented and what they represent so as to bring something new and insightful to the table is disappointing. mother! is a film where nothing seems to quite make sense and everyone around the protagonist seems to know what it going on while the main character and audience surrogate is left in the dark. Because of these kinds of set-ups where the audience is unsure of what is happening and why people are acting the way they are the movie becomes increasingly frustrating to the point the third act really needs to deliver on the purpose of having executed the majority of the film in this fashion, but while mother! could be interpreted as many things one thing it is not, but certainly seems to hope it will be, is groundbreaking.

First Trailer for MOTHER! Starring Jennifer Lawrence

The first trailer for director Darren Aronofsky's long-awaited follow-up to his big budget studio tentpole Noah has debuted and man, does it make things curiouser and curiouser. The film, which is led by Jennifer Lawrence and Javier Bardem, is said to tell the story of their central couple's relationship being tested when uninvited guests arrive at their home, disrupting their otherwise tranquil existence. The trailer certainly lives up to delivering on this short synopsis as Aronofsky taps quickly into the atmosphere he is establishing by acknowledging that Lawrence's character "brings new life" to every room she has re-imagined in this apparent haven Bardem's character has created for her to make their own. That is, until the likes of Ed Harris and then Michelle Pfeiffer show up seemingly out of the blue, but with nefarious purposes that Bardem's character may or may not be in on. One thing is clear though, Lawrence's character has no idea what their purpose or intent is. The remainder of the trailer plays out in horror movie-like fashion as we get a barrage of images that tell us Aronofsky's latest effort may in fact be more trippy than anything the auteur has produced thus far (and that's saying a lot). Titled mother! not much is known about the film outside of who it stars and a skeleton of a plot, but more than anything what stands out about the aura surrounding this film is the fact we're finally living in a post-Hunger Games world. No more will we be treated to only David O. Russell pictures in between the franchise tentpoles, but Lawrence is now free to consistently engage in whatever sparks her interest despite the fact she'll surprisingly reprise her role in another X-Men film next year. Still, if her upcoming filmography is any indication it seems we'll be seeing more interesting work where mother! comes from as Lawrence is an endearing if not a diverse performer whose choice of projects always piques my interest. While mother! will have its wide release while I'll be in attendance at the Toronto International Film Festival I'll certainly be seeing it there and can't wait to unfold the mystery this movie is certain to be. mother! also stars Domhnall Gleeson, Brian Gleeson, Kristen Wiig, and opens on September 15th, 2017.

New Trailer for GEOSTORM Starring Gerard Butler

Geostorm looks terrible. I don't think anyone is going to necessarily debate that, but it's also good to know that with the newest trailer for the film the film itself also seems to know exactly what it is. After seeing the debut teaser it was pretty obvious this thing was going to be as close to actual dog shit as a movie could be, but upon further inspection i.e. this second official trailer for the film, it would seem the studio and creative team behind this offering are comfortable with basing their legacy on pure schlock so it could be more fun than initially expected. Coming to us via Warner Bros. and Skydance Productions as written by Dean Devlin (Independence Day, Stargate) and TV Writer Paul Guyot and as directed by Devlin as well as Danny Cannon (largely a TV director as well, but who is also responsible for 1995's Judge Dredd and 1998's I Still Know What You Did Last Summer) Geostorm will mark the first feature of Devlin's that will seemingly get a theatrical release despite the fact he also directed another feature intended to be released this year. With this disaster flick it seems the writer/director is working in his comfort zone though as not only has he penned both Independence Day screenplays (and apparently working on a third?), but also served as a producer on other Roland Emmerich productions including 1998's Godzilla. What it is about this genre that keeps him coming back is a mystery to someone such as myself that never got off on seeing cities wiped out or antagonists interacting on such broad scales, but here we are with Devlin seemingly taking notes from Emmerich's 2004 hit The Day After Tomorrow, but upping the ante by adding in the more ridiculous aspect of the world's governments coming together to create a network of satellites that surround the planet and are armed with geoengineering technologies designed to stave off the natural disasters. Of course, after successfully protecting earth for two years, something begins to go wrong and two estranged brothers are tasked with solving the program's malfunction before a world wide Geostorm engulfs the planet. Want to know the only thing that makes this synopsis better or worse depending on how you look at it? The couldn't be more different Gerard Butler and Jim Sturgess are the actors portraying those estranged brother. Geostorm also, somehow, stars the likes of Abbie Cornish, Ed Harris, Andy Garcia, and will likely be a solid hit when it opens on October 20th, 2017.

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.

SNOWPIERCER Review

What Snowpiercer has to its advantage more than most standard action or post-apocalyptic films these days are its interesting ideas. From the opening moments of the film where the audience is exposed to a flurry of exposition placing us in a world where man has attempted to control nature and in return has damned our earth to a frozen eternity I was hooked. The only survivors being locked within a speeding train, built and engineered to last forever, traveling the same course over and over again, completing the circle around the globe once a year. We learn of the passengers at the back of the train, those who are treated on a sub-human level and the few within the beaten and battered group that are planning a resistance, a revolution. This may instinctively conjure up comparisons to Elysium wherein the rich and poor are so distinctively separated that it seems convenient for the film to be interpreted as some type of propaganda, but director Joon-ho Bong never allows his film to slip into this kind of piece. Instead the throughline of Snowpiercer remains an unrelenting and unforgiving journey from one end of this locomotive to the other wherein our protagonist Curtis (Chris Evans) not only discovers the layers and the societal structures of those who live ahead of him, but how easily they have forgotten what is taking place not three cars away. Where many a post-apocalyptic film will maintain the focus on how society has come to work in the wake of failing and in turn sacrificing character development both this and The Rover prove that it is the actions and mentalities of the characters you create that define the rules of the world and not the mounds of exposition you have them spurting so that we understand those rules. Snowpiercer wastes little time explaining things, it trusts its audience and it gives only a brief amount of set-up before diving into the narrative that Curtis, his second in command Edgar (Jamie Bell) and their wise old leader, Gilliam (John Hurt), are setting in motion to push forward. What follows is a layered and engrossing series of obstacles that avoids feeling like a video game by creating these characters and dynamics between them to where we can't help but become invested.

GRAVITY Review

The moment the title card came up at the end of Gravity I was ready to see it again. It has that type of effect on you where despite the fact what you've been a part of over the last ninety minutes was completely terrifying, completely out of your comfort zone, completely eye-opening and maybe to certain things you wouldn't want to admit; it was still so exhilarating that you want to experience it again and immediately. That is the kind of reaction I expect most people will have as they leave the theater and begin to reflect on what they've just witnessed for not only is it a visual delight, a technological wonder that defies all convention and expectation, but it never forgets story and character, the two driving forces behind anything worth telling. If there isn't an engaging story, a narrative to pull us in and recognizable characters, people with whom we live vicariously through or sympathize with in their moments of need and desperation then there is no connection to the film other than that of a superficial one. Director Alfonso Cuarón, who made the well-received but little seen Children of Men and my personal favorite Harry Potter film (The Prisoner of Azkaban), has crafted what could easily become one of those defining moments in cinematic history where the mythology that will no doubt come to surround Gravity will be as great as the content of the film itself. This is a game-changer in ways only those who hope to create something bigger than themselves, something that pushes the boundaries, but does so for the right reasons could only hope to achieve. It is a film that as far as I can tell best captures the feeling of being in space without actually having to go there. The vastness of it, the colossal weight of what it means, the beauty of it all, yet the film also comes to carry much more weight than simply functioning as a National Geographic tutorial on space travel while teaching a lesson about the consequences of space junk; it is a story about existence, about human nature, about the will to live and everything that comes along with these giant themes that are as extensive as the universe itself.

PAIN & GAIN Review

I've never been on the Michael Bay bashing train and certainly don't plan to start now as his latest, "smaller" film is likely the most interesting piece of work he will ever put to film. Interesting being the key word here as the story Bay has chosen to recount is one of the most outlandish and absurd truths that has also likely even been put to film. I have been highly anticipating Pain & Gain if not for the chance to see the now solidified movie star of Mark Wahlberg make his next move as well as watching Dwayne "The Rock" Johnson continue to skyrocket towards superstar status, but for the opportunity to see Bay stretch his visual (and maybe even storytelling) muscles with something other than big CGI robots. It has been nearly six years since the first Transformers film and in the time that Bay has delivered two sequels he has also had the growing ambition for this kind of passion project and that comes through in the execution and style with which Pain & Gain is delivered. There have already been some pretty heavy accusations and criticisms of the film thrown out and while I can understand where some of these are coming from in regards to the family of the deceased feeling this is making light of their family members deaths, the film certainly isn't glorifying the main characters and if anything, the source of the comedy comes from how stupid and incompetent these lead protagonists are in their dim-witted schemes. There are plenty of words being thrown around like homophobic or misogynistic to describe the director and his film yet it has always been clear the world these characters lived in was a world of strippers and bodybuilders who'd do anything for their physique yet likely oppose anything even the least bit gay. Those complaints are rendered mute by the fact those attributes are what create the atmosphere and the actions of the characters are so off-putting and the story so strange that it is also becomes extremely engaging.

First Trailer for Michael Bay's PAIN AND GAIN

There are hoards upon hoards of cinema lovers that absolutely despise Michael Bay and all that he stands for. Personally, I think the guy has a great eye even if that eye sometimes picks from obvious sources. Still, what director doesn't do this? Bay's choices are just picked more extensively due to the serious level of hate the guy receives. That aside, he still pulls in a ridiculous amount of box office on the majority of his films. Even before the Transformers franchise the guy made Armageddon, The Bad Boys films, and Pearl Harbor. Granted the quality of these films can be easily disputed but their popularity cannot. In making his first non-robot film since 2005's The Island Bay has tapped a bizarre true story based on a series of 1999 articles written by Pete Collins, a reporter for the Miami New Times. The story centers on two bodybuilders who engage in a campaign of kidnapping, extortion and murder in Florida. This was described as Michael Bay's "small film" and I guess that rings true when applied to such a director but there is nothing about this trailer that makes it feel at all small (the films budget is a reported $22 million). There is a fine element of black comedy going on here and there is no mistaking the visual style of Bay. All in all I am really excited to see this film and hope it will knock some of the naysayers off the filmmakers back. I know this isn't exactly a complete turn around for the guy, but hey, there are only two explosions in the trailer. The film stars Mark Wahlberg, Dwayne Johnson, Anthony Mackie, Rob Corddry, Ed Harris, Rebel Wilson, John Tuturro and hits theaters April 26, 2013.

MAN ON A LEDGE Review

I have always had a soft spot in my heart for cheap action thrillers like this. "Man On A Ledge" reminds me of one of those 90's action flicks we see constantly re-played on late night TV now, those ones that seem to never get old and you can't help but stop and watch when you come across them. There is nothing spectacular about the film and the plot in general is so highly unlikely we forget about halfway through the movie that there is even such a thing as logic. The film is nothing short of entertaining despite this fact and if you are a movie-goer willing to let details slide and simply allow the experience to be one of escapism then "Man On A Ledge" is a solid piece of fun you will no doubt enjoy. If you are a stickler for realism though, you might feel otherwise and have your patients tested within the first few scenes. I am a movie-goer of the former category and so with a stout cast that includes Sam "Avatar" Worthington in the lead and stronger supporting players like Elizabeth Banks, Jamie Bell, Anthony Mackie, and Ed Harris bringing this tale to a head is almost as easy to watch as it is for Jamie Bell and his girlfriend Angie (Genesis Rodriguez) to steal back the diamond that put Worthington's Nick Cassidy in the slammer.

Lydia Mercer (Elizabeth Banks) attempts to negotiate Nick
Cassidy (Sam Worthington) off of the ledge.

Though the title is pretty self explanatory the writers have enough wit about them to pile on enough New York cop procedural cliches to fill out the remainder of the running time. Inherently, this is really a part of the problem. Not only does "Man On A Ledge" have a good idea, a nice premise with a promising starting point, but is there enough here to flesh out an entire feature? Ehh, probably not, but they stretch it the best they can. Early on after first being introduced to Nick Cassidy we have a flashback that sets up the story; Cassidy was a cop accused of stealing a diamond from business tycoon David Englander (Harris). For this accusation he has been sent to jail with no hopes of getting out anytime soon. In the flashback we get an action-packed escape scene as well as establishing Nick's support team in his brother Joey (Bell) and girlfriend Angie. The pacing is quite smooth and allows for a real ease in the audience member to slip into this convoluted story that is as entertaining as it is pointless. The film tries to stay both two steps ahead of us while allowing us to know a little more than the cops do. It is a difficult line to walk but luckily we have Elizabeth Banks in the role of Lydia Mercer, a negotiator now famous for not being able to prevent a rookie cop's suicide the previous month. Banks deserves some serious credit for holding this all together while allowing the audience member a perspective that makes this more credible than it ever should have been.

David Englander (Ed Harris) has a lot to lose if the man on
the ledge's stunt goes off as planned. 

While the film moves along at a fine pace and there are more than enough moments to keep us on the edge, the film feels slightly understated as it doesn't exactly have to try that hard. While we watch Worthington stand on the ledge, drawing the attention to himself while his brother and Angie break into the Englander building to find the diamond Nick was accused of stealing we know things won't be so easy, we can feel the twists coming yet despite this and even sillier acting (just wait until you see Kyra Sedgwick as a news reporter) the movie consistently proves to be fun and engaging. I have still not bought into the whole idea of Sam Worthington as a movie star, but I was surprised by his charisma here where he really doesn't have much to work with. The script literally has the guy trapped in this one spot for the majority of the film, his range is restricted and his tools limited, the actor has to depend on his conviction to relate his commitment to being in his current position. Worthington and Banks form a nice back-and-forth as two of the only honest cops left in the city while Ed Burns stands around in the background for no apparent reason. Worthington is more than willing when it comes to the action set pieces at the beginning and end of the film, but if "Man On A Ledge" exists for any reason at all it could be as a testament to the fact Worthington is capable of more than just running and fighting.

Joey (Jamie Bell) and Angie (Genesis Rodriguez) relax with a
drink after a long days work.

No, "Man On A Ledge" is nothing to write home about and it surely won't be recognized any further than getting those replays on late night TV in a few years but that is what this type of movie is made for and the makers realize that. There is an element to the movie that is almost tongue and cheek, we know not to take it all too seriously and those behind the scenes know how outlandish it would be for an audience to accept this without having any issues with the implausibilities. What makes us willing to forgive these things is that simple fact that we are indeed entertained by what is going on on screen. There are enough credible actors giving good performances and strong and inventive direction by first time feature director Asger Leth. There is a better, more serious movie to be made out of this subject matter that could likely take this original and intriguing concept in a more inventive direction. This had promise when taking in the trailer, but ends up being more stock characters and cop cliches than we can avoid and so we are left to wonder what might have been as we leave the theater. The one up side is we don't question this as we watch the film as this current form at least lives up to the expectations of entertainment. Don't expect this film to take thrillers to new heights, but if you're in the mood for a light, fun film with a few good thrills you could do much worse than "Man On A Ledge".

MAN ON A LEDGE Review

I have always had a soft spot in my heart for cheap action thrillers like this. "Man On A Ledge" reminds me of one of those 90's action flicks we see constantly re-played on late night TV now, those ones that seem to never get old and you can't help but stop and watch when you come across them. There is nothing spectacular about the film and the plot in general is so highly unlikely we forget about halfway through the movie that there is even such a thing as logic. The film is nothing short of entertaining despite this fact and if you are a movie-goer willing to let details slide and simply allow the experience to be one of escapism then "Man On A Ledge" is a solid piece of fun you will no doubt enjoy. If you are a stickler for realism though, you might feel otherwise and have your patients tested within the first few scenes. I am a movie-goer of the former category and so with a stout cast that includes Sam "Avatar" Worthington in the lead and stronger supporting players like Elizabeth Banks, Jamie Bell, Anthony Mackie, and Ed Harris bringing this tale to a head is almost as easy to watch as it is for Jamie Bell and his girlfriend Angie (Genesis Rodriguez) to steal back the diamond that put Worthington's Nick Cassidy in the slammer.