BIRDS OF PREY AND THE FANTABULOUS EMANCIPATION OF ONE HARLEY QUINN Review

If one wants to talk about how much Birds of Prey and the Fantabulous Emancipation of One Harley Quinn doesn't care about precedent the movie could essentially be boiled down to a story about a girl, Margot Robbie's Harley Quinn, seeking out a diamond for a guy (a fantastically eccentric Ewan McGregor). No matter what you thought (or didn’t think) of 2016's Suicide Squad it would seem that at the very least the majority would agree that Robbie’s Harley Quinn was a highlight. With that, Robbie both brings us and takes on the Birds of Prey story while continuing to carry on Quinn's arc in a manner that is respectful to a character that hasn't always had the most respect for herself. While the film may take its title from the DC Comics team that made its debut in 1996 and originated from a partnership between Black Canary AKA Dinah Lance (played here by Jurnee Smollett-Bell) and Barbara Gordon AKA Batgirl (who is not in the film), this is mostly a spin-off of that aforementioned David Ayer flick centering on Harley Quinn and the trials she faces as she moves past being more than just the Joker's girlfriend to becoming her own person whereas the project as a whole seemingly serves as Robbie's opportunity to champion the formation of the more traditional "Birds of Prey" line-up so that they might earn their own spin-off. So yes, this is touted as Birds of Prey AND the Fantabulous Emancipation of One Harley Quinn, but while Black Canary, Huntress (Mary Elizabeth Winstead) and Renee Montoya (Rosie Perez) get their formidable introductions one would be mistaken were they to expect anything more than introductions to these new characters. That said, writer Christina Hodson (Bumblebee) and director Cathy Yan (Dead Pigs) take this combination of different DC elements and characters and create in Birds of Prey an energetic, vibrant, violent and all-around ambitious yet very playful production where the tone of the film and the world in which it exists are completely representative of the main character anchoring all of the story and action beats. Yes, this is the same Gotham City in which Ben Affleck's Batman once roamed, but as seen through the eyes of a crazed former psychologist who wants to blaze her own trail Gotham City possesses a more manic zeal that Yan stylizes to the hilt even when the Guy Ritchie-like narrative becomes muddled in moments. It is in this fresh and enthusiastic-feeling direction that Birds of Prey really comes together as Yan, despite not having the time to fully flesh out each of the individual members of this femme force, delivers a thoroughly entertaining and endearingly practical movie that doesn't upend expectations as much as it throws them out the window completely; giving the audience something wholly unexpected to experience yet completely satisfying in ways they probably didn't know they were ready for.

DOCTOR SLEEP Review

How does one craft a forty year-later sequel to what is widely considered one of if not the greatest horror film of all time that is also based on a sequel novel by an author that didn't appreciate the aforementioned film adaptation? In other words, how does one approach making a film based on a book that is the sequel to the original source material as well as being a sequel to the film adaptation that the author of both novels didn't care for? Tricky, right? Complicated? Complex? Beyond difficult? Sure, it's all of these things and while I've not read any Stephen King in some time (we're talking probably high school) and wasn't aware the master of horror had penned a sequel to The Shining in 2013 it seems inevitable still that this is where we are six years later with the one hundred and fifty-two minute Doctor Sleep. In the same amount of time since King's follow-up was released, writer/director Mike Flanagan burst onto the scene with a feature length adaptation of his short film, Oculus, that paved the way for him to become Netflix's go-to guy for original horror content as the filmmaker not only produced original films for the streaming service like Before I Wake and Hush, but also got his feet wet with another King adaptation in 2017's Gerald's Game then going on to oversee the wildly successful TV series, The Haunting of Hill House, that premiered to rave reviews last year. This is all to say that Flanagan has developed a style all his own and more importantly-a penchant for gauging the type of scares and imagery to best represent the horrors of a given story-meaning he's able to grasp the characters and their circumstances in a way where the scares aren't for the sake of the genre, but are in fact appropriate and even further, indicative, of the type of narrative being disclosed. Flanagan does this through soft, but illuminating character moments in which he latches onto certain aspects of an individual bound to serve a significant role in the story he's telling and then track the arc of said character trait through the more genre-specific events that naturally tend to enlighten the character to this side of themselves they may have either not previously considered or wanted to face in ways that are emotionally compelling and thematically resonant. Thus is the case with adult Danny Torrance (Ewan McGregor) in Doctor Sleep as Flanagan's now distinctive approach blends with the style of Stanley Kubrick's 1980 film and the tone of King's writing to create a well-rounded, expertly balanced yet equally effective journey that is both everything fans of the original film might have hoped for as much as it is wholly its own endeavor; a bridge between who we were meant to be, who we become and the resilience necessary to counteract the detrimental and absolve one's self of their past in order to continue to shine.   

First Trailer for BIRDS OF PREY Starring Margot Robbie

One of the few highlights of 2016's Suicide Squad were a handful of the performances, namely Margot Robbie as Harley Quinn. Robbie's performance made her feel tailor-made for the part and her portrayal was one of the few things that made that film come alive. There was no question we'd be seeing her character again, but in what incarnation and capacity was uncertain. David Ayer's Suicide Squad made nearly $750 million worldwide, but the shake-ups in the DC Extended Universe that occurred post-Suicide Squad left a lot up for debate as to where planned projects might end up and what characters might make it through to the next phase of Warner Brothers' plans for their cinematic universe of caped crusaders. Enter Birds of Prey, a movie that will continue the story of Harley Quinn after the events of Suicide Squad, but a movie that will also arrive in the DCEU after audiences have just experienced Aquaman and Shazam which, as you might already know, present quite a different atmosphere than anything done under Zack Snyder's guidance. Directed by Cathy Yan who only has one previous feature under her belt (2018's Sundance stand-out, Dead Pigs, a satire which reportedly blends drama and comedy well) and written by Christina Hodson (Bumblebee), the film has been pretty secretive as far as plot or story is concerned with much of the speculation coming from the cast of characters known to be involved. Speaking of that cast, what is known so far is that joining Robbie will be Jurnee Smollett-Bell playing Black Canary, Mary Elizabeth Winstead as Helena Bertinelli AKA Huntress and Rosie Perez as Gotham City detective Renee Montoya who are on a mission to save Ella Jay Basco's Cassandra Cain (one of the original Batgirls) from baddies Victor Zsasz and Black Mask as played by Chris Messina and Ewan McGregor. Though Harley Quinn has always been associated with Joker since her inception on the nineties Batman animated series, Birds of Prey will see her break loose of Leto's interpretation (keep in mind this has nothing to do with the Joaquin Phoenix film opening this week) and as can be seen in this first, official trailer both Robbie and Harley Quinn herself seem to be having a blast without having to be tied down to a man. It's hard to be all in on this one given the fantastic (fantabulous?) trailer for Suicide Squad which ended up being a rather disappointing film, but other than the title character and producing studio/distributor this film doesn't seem to have much in common with that one. Here's to our cautious optimism being rewarded when Birds of Prey and the Fantabulous Emancipation of One Miss Harley Quinn opens on February 7, 2020.

Final Trailer for DOCTOR SLEEP Starring Ewan McGregor

It's been five or six years since I've seen Stanley Kubrick's The Shining and while it's certainly one of those movie experiences that stays with you I'll definitely be refreshing my memory when it comes to Kubrick's horror classic before venturing into director Mike Flanagan's (The Haunting of Hill House, Ouija: Origin of Evil) adaptation of Stephen King's sequel to both his and Kubrick's seminal work. The story of how Doctor Sleep, the novel, came to be is fairly interesting given in December of 2009, King posted a poll on his official website asking fans to vote for which book he should write next, Doctor Sleep or the next Dark Tower novel. The poll closed on December 31, 2009, when it was revealed that Doctor Sleep won by a mere forty-nine votes. King then posted an update confirming Doctor Sleep was in the works in 2011 and that the plot included a traveling group of psychic vampires called "The True Knot". Eventually, Doctor Sleep was published on September 24, 2013 and now-almost forty years after the release of Kubrick's film which King himself remains disappointed in-we have this film adaptation of the thirty-six year-later sequel King wrote to his original book. All of that said, it would seem a delicate situation to try and craft a movie sequel to said seminal work not only for the reason that The Shining is considered one of the greatest horror films ever made, but also because a sequel is largely only ever just a sequel-"the second one"-and will forever live in the shadow of that original. So, the question is, "how does one combat that? Does one even try?" While I haven't read King's sequel and have no idea as to the critical response or how it was received by general consumers (or, for that matter, how the original novel was received as the film adaptation has always overshadowed the original work in my lifetime) it is comforting to know that someone as well revered and well seasoned in the horror genre as Flanagan is the one who was given the keys to build this castle. Like I said, I haven't read either of King's novels and its been a few years since I've seen The Shining, but as a horror film in and of itself this final trailer Warner Bros. has released offers an intriguing premise and spooky atmosphere outside of its promise of returning to the Overlook Hotel. Doctor Sleep stars Ewan McGregor, Rebecca Ferguson, Kyliegh Curran, Carl Lumbly, Jacob Tremblay, Cliff Curtis, Bruce Greenwood, Emily Alyn Lind and arrives in theaters on November 8, 2019.

CHRISTOPHER ROBIN Review

There is a moment within the opening credits of Disney's latest attempt to turn one of their classic animated properties into a live action ATM that hints at the devastating nature of our lives. It is fleeting and it, if only for a moment, says all it needs to say about what this movie aspires to be. As it passes though and as it becomes more and more apparent the film doesn't really know how to accomplish what its initial ambitions intended the film instead becomes all the more broad and all the more safe. This moment is one in which a young Christopher Robin (Orton O'Brien) comes to the Hundred Acre Wood for the last time. He is going off to boarding school, you see, and won't be able to visit his friends as often anymore. His friends being his stuffed toys, which include that silly ol' bear named Pooh (voice of Jim Cummings), the perpetually petrified Piglet (voice of Nick Mohammed), the ever-exuberant Tigger (also Cummings), the steadily gloomy Eeyore (voice of Brad Garrett), as well as Rabbit (Peter Capaldi), Kanga (Sophie Okonedo), her little Roo (Sara Sheen), and of course Owl (Toby Jones). Robin's toys know change is afoot and are throwing Christopher a farewell party of sorts in which treats-ranging from pots of honey to carrots, of course-are served and where even Eeyore is moved to make a speech. It is in light of the depressed donkey's surprisingly apathetic speech that Rabbit reacts to accordingly that we hear Cummings as Winnie the Pooh whisper a soft, "I would've liked for it to go on a bit longer." And just as fleeting as the moment itself is it simultaneously felt as if I'd been knocked over by a half ton barrage of scattered thoughts and emotions that reminded me just how fleeting time itself is. It's the one thing we can't get more of no matter how much wealth we possess or the circumstance of our lives; we all have a finite amount of time and Christopher Robin, in its first five minutes, exists to remind you that your children will grow and change just as you did and even though you feel you're different, that you're special, and that despite knowing it was a fact of life all along you were never really meant to grow old and become like your parents before you. Time truly waits for no man. This affected me to the point I wondered why I was sitting in a theater watching a movie when I should have been at home snuggling my three year-old daughter. In short, that would have been the more entertaining option of the two and certainly the more fulfilling one as it is only in this aforementioned moment that Christopher Robin was able to pull any genuine feeling out of me. And might I remind you, this is a movie wholly designed to pull on the heart and nostalgia strings. One moment.

MILES AHEAD Review

The title of this latest music biopic suggests that Miles Davis was a man ahead of his time and many would agree when speaking about his musical talents, but Don Cheadle's first directorial effort, Miles Ahead, isn't introspective enough to put on display why this particular individual was allowed insight into music others hadn't yet tapped into, but rather it's about how Davis was very much a product of his time. In his actions and his views in his personal life Davis was very much of the state of mind that society should function a specific way, especially in regards to how he was allowed to treat the opposite sex and how they weren't allowed to treat him. One can only imagine Cheadle and screenwriter Steven Baigelman (who also worked on Get on Up) decided to come at Davis' story from a more personal angle due to how destructive he needed to be in order to be inspired enough to create what would become his legacy. Of course, that leaves audiences, or more appropriately Davis himself, to deal with the bigger question of what is worth more in the long run-his present prize or his potential imprint he could leave on culture? In Miles Ahead, Cheadle shows us how one drove the other-how life goes on for Davis long after the thrill of living is gone (one can learn a lot from John Cougar Mellencamp). What was the thrill though? The music or the indisputable love of his life, Frances Taylor (Emayatzy Corinealdi)? The even bigger question is does Davis ever figure this out for himself? Sure, he is now the subject of a motion picture and regarded as one of the most influential and innovative musicians of the 20th century, but how often did he think of Frances and the times they could have shared, the memories they could have potentially made while grappling with a reputation that could go either way? Miles Davis, the man, would have you believe that he didn't grapple with anything as one of his most famous quotes states, "do not fear mistakes. There are none," but it's hard to believe given Cheadle's interpretation that being one of the most influential and innovative musicians of the 20th century came with a price Davis wasn't always sure he wanted to pay.

First Trailer for Don Cheadle's MILES AHEAD

It seems as if Don Cheadle has been working on his Miles Davis biopic for years now, and it's true that the film is something of a passion project for him, but given we now have the first trailer for the film it seems both the time and passion may have paid off in big and interesting ways. If you're familiar with the name, but not sure what role Davis played on the musical scene he was a jazz musician and composer, known mainly for his trumpet skills among many other titles, who is widely considered one of the most influential and innovative musicians of the 20th century. As a lover of musical biopics, but someone who recognizes that the formula has become a bit stale in recent years (thank you, Love & Mercy-I'm looking at you, I Saw the Light) what is most exciting about this project is that Cheadle seems to have embraced telling the story of Davis with as much attitude as the real Davis sported himself. While the number one issue artists who decide to tackle stories of other artists lives run into is their attempt to tell a cradle to grave story it seems Cheadle has already foregone that trope by focusing on the plight of Davis to own all the rights to his music and the end of the six-year sabbatical he took in the late seventies that's jump-started by an interview with David Brill (Ewan McGregor). The trailer promises a movie that is as improvisational as Davis' musical stylings and for this attempt alone I look forward to seeing the big picture. The film closed the New York Film Festival in October of last year to generally good reviews and will open in theaters on April 1st, 2016. Miles Ahead also stars Michael Stuhlbarg, Emayatzy Corinealdi, Keith Stanfield, Austin Lyon, Morgan Wolk, Chris Hahn, Nina Smilow, and Jeffrey Grover.

JANE GOT A GUN Review

Life is complicated. Even more so in the old west. Natalie Portman's passion project, Jane Got A Gun, wants to remind us of this and ultimately that what we perceive as good and bad aren't as easy to differentiate between as most would like to believe. What was even more complicated though, was the long and tumultuous road it took to get this project to the big screen. After several pre-production delays that included original director Lynne Ramsey exiting the project on the same day shooting was scheduled to begin it was difficult to see how the film might come out unscathed. Pair this with the exit of star Jude Law and a roster of other actors including Bradley Cooper coming in and out for the role that was finally filled by Ewan McGregor and you have what is sure to be nothing short of a downright catastrophe. Eventually though, director Gavin O'Connor (Warrior) took over the reins and enlisted the help of his Warrior star Joel Edgerton to what now, having seen the film, is a wholly serviceable and often times even compelling western that hardly shows any of the scars it garnered along the way. From a story and script originally crafted by Brian Duffield (Insurgent) it seems that once O'Connor was brought on board that he utilized both Edgerton (a writer and director himself) and Warrior screenwriter Anthony Tambakis to punch up the script and it is here where we find the first of many things to admire about the film. From the opening moments, set in dusty 1871 New Mexico, as Portman's titular Jane tells her daughter a bedtime story it is made clear the position of the three main characters in the story and where they fall into the plot while not making it clear where they might fall into one another's lives. This structuring of mystery around each of our main characters and their past and how they might intertwine with one another is what hooks the audience and while the first twenty or so minutes may seem to drag and ostensibly be vague for no other purpose than being vague the film hits its stride within the first half hour and from there briskly unravels a heartbreaking narrative of love, loss, and the will to do what it takes to keep on keepin' on.

STAR WARS: A Retrospective

There is no greater an influence on my imagination than the Star Wars saga. Throughout jr. high, high school, and college I always looked to the stories for a place of inspiration. Watching the making-of documentaries of the original trilogy and the individual ones we were given on the prequel DVD's over and over led to nothing short of a yearning to create my own universe. Needless to say, the Star Wars saga means a lot to me and in light of Episode VII - The Force Awakens opening tonight I've been re-visiting both the original trilogy and the prequel trilogy to get a sense of the universe I would be returning to once again. I was twelve years-old when I was introduced to the world of Jedi's, droids, and Darth Vader and now that J.J. Abrams is bringing most of them back to the big screen I thought a retrospective might be in order as I haven't talked as much about my love for the series on this site as I probably should have. Going into the The Phantom Menace in the summer of 1999 (yes, I watched the prequels first) I didn't know what I was in for and was transported to a world that very much spoke to everything I assumed the movies were supposed to be (yes, I enjoyed The Phantom Menace-don't act like you didn't). At that point in my development though, The Phantom Menace was mind blowing. I immediately went home and begged my parents to buy me the original trilogy. I officially became a Star Wars nerd at that point, but I didn't really care-it was beginning to become the cool thing anyway. I remained fascinated by the universe as I made my way through the original trilogy and though, by the time I was eighteen and able to finally see what Revenge of the Sith had to offer, I'd become slightly disappointed in where things had gone Sith was a good enough payoff to let things rest in peace. As that peace will now be disturbed though, I decided to take a look back at each of the six films that formed that galaxy far, far away.

Full Trailer for JANE GOT A GUN Starring Natalie Portman

Natalie Portman's passion project, Jane Got A Gun, had a long and tumultuous road to the big screen after several pre-production delays that included director Lynne Ramsey exiting the project on the same day shooting was scheduled to begin. This was followed by the exit of star Jude Law and a roster of rotating actors coming in and out of the project including the likes of Bradley Cooper for a role that was finally filled by Ewan Mcgregor. Joel Edgerton also stars as his Warrior director, Gavin O'Connor, took over the reigns from Ramsey and has seemingly guided this project to something that looks to be more than serviceable given the many hiccups along the way. In this first full trailer for the film we are given an extensive look at both the story the film is telling and Portman's titular outlaw. Naturally, this film will stand out for being a western in and of itself given the genre isn't exactly thriving at the moment (unless you're Quentin Tarantino), but more is the fact it features a female in the lead role competing with every other skilled male gunslinger that populates the wild west. There is no doubt Jane Got A Gun will pass the Bechdel Test when it opens on January 29, 2016. Noah Emmerich, Rodrigo Santoro, and Boyd Holbrook also star.

MORTDECAI Review

Remember that one time when Johnny Depp was going to star in Wes Anderson's (now Oscar nominated) The Grand Budapest Hotel? Can you guess what role Depp might have likely ended up playing? Given the headlines that went out shortly after Moonrise Kingdom became a bigger hit than expected in the summer of 2012 I would venture to assume it would have been the lead of M. Gustave. A role that, thankfully, ended up going to Ralph Fiennes. Fiennes is brilliant in a way and to an extent we've never seen him before in that role, but if you're still upset that we haven't seen the fruition of an Anderson and Depp collaboration, or more specifically, what it might have been like had Depp taken on the lead role in The Grand Budapest you might now be in luck as Captain Jack himself has presented us with Mortdecai. With a screenplay from Eric Aronson whose only other credit includes 2001's On the Line (and if you're not of my generation and don't immediately recognize that title, it's the romantic comedy that starred Lance Bass from Nsync) and based on the first novel in the Mortdecai series by novelist Kyril Bonfiglioli titled Don't Point that Thing at Me, Depp has essentially brought what his interpretation of Gustave might have looked like in a film that feels like a Wes Anderson movie as it were directed by a more conventional filmmaker. This is nothing against Mortdecai director David Koepp who is known more for his screenwriting credits that include several Spielberg films and large property adaptations than his directing work. Still, Koepp has directed his fair share of features as well including the solid Stephen King adaptation and first, post-Pirates movie for Depp, Secret Window, as well as the likes of underrated little gems such as Ghost Town and Premium Rush that he also penned the scripts for. It's hard to tell if it's because Koepp doesn't seem to have had a hand in the development of the screenplay here that he isn't as passionate about the material, but there is definitely something lacking as far as the soul of this movie is concerned.

AUGUST: OSAGE COUNTY Review

August: Osage County bring us into the dynamics of the dysfunctional Weston family as well as the countless issues, secrets, lies, and attitudes that constantly butt heads and leave everyone in a state of disarray and disappointment. There is much to be marveled at here as the cast is expansive and the acting is the real draw, but beyond the performances and familiar names this was first a stage play written by Tracy Letts (who also wrote Killer Joe which should give good indication as to how much bite this has) that no doubt won a Tony and the Pulitzer Prize due to its strong narrative and sharp dialogue. It is one of those films made for a very specific set of minds who find things such as this to be both entertaining and insightful. I find the psychology of what it means to each person to lead a successful life fascinating and to see a family, a group of familiar but distant characters, come together over a tragedy and let the flood gates open when it comes to expressing each of their issues with one another (and not in a calm fashion, mind you) to be something of a real treat. That said, this isn't the film the trailers have somewhat attempted to make it out to be. There is some feel-good music, but it is more for storytelling purposes than that of creating a certain tone. There are comedic moments, some that we readily identify with, but overall this is a very dark picture that delves into the issues each family member literally and figuratively brings to the table. There is so much characterization, so much to be learned from the small visual and vocal indications each of the characters give one another yet the film never feels overstuffed or bloated. Director John Wells (The Company Men) coaxes the tangled web of plotlines nicely as Letts adapted his own play for the screen and no doubt worked closely with the director to better translate his story for the more personal format of film rather than the open, less claustrophobic setting of a stage play. In the end, August: Osage County may have one too many twists to render it as credible as it would like to be, but after really thinking about it I couldn't help but feel even this was more the presentation of these facts rather than the fact they actually happened. We are talking about full lifetimes here and all the mistakes and events that come with that. It is an intense look at putting perspective on things and one that flourishes due to those bringing it to life.

First Trailer for AUGUST: OSAGE COUNTY

As the summer movie season continues this weekend the studios have begun to release the first trailers for their Oscar hopefuls. This week alone we've received previews of Tom Hanks in Captain Phillips and yesterday for director Alfonso Cuaron's long-awaited follow-up to Children of Men titled Gravity. Today we have the first look at the large ensemble piece that will no doubt be vying for Awards consideration come Oscar season, August: Osage County. Featuring Meryl Streep and Julia Roberts in the headlining roles as part of the Weston family, a family of strong-willed women whose paths have diverged until a family crisis brings them back to the Midwest house they grew up in, and to the dysfunctional woman who raised them. The film is based on the Pulitzer Prize winning play by Tracy Letts who also wrote the screenplay. Director John Wells whose only other feature film credit is the under appreciated 2010 drama The Company Men seems to work well with large casts, though the tone of this first trailer isn't the heavy handed stuff that typically makes up Oscar bait. Instead, there is an air of nice family dynamics and the way in which the majority of moments between them usually turn to comedy and a fair amount of laughs rather than serious, intense moments. I'm not overly familiar with the play, but everything about this film version seems appealing and though I'm not overly excited for the film I'll certainly be seeing it due simply to how promising everything about it sounds. The film also stars Ewan McGregor, Benedict Cumberbatch, Margot Martindale, Chris Cooper, Dermot Mulroney, Juliette Lewis, Abigail Breslin, and Sam Shepard. August: Osage County opens on November 8th.

JACK THE GIANT SLAYER Review

After being postponed nearly a year for post production reasons that involved more time for the special effects (where were the results of that?) as well as for a bigger marketing push we finally have the first new film from director Bryan Singer in four years. A retelling of the classic fairy tale, Jack the Giant Slayer (formerly titled Jack the Giant Killer) is another in a long line of Hollywood attempting to capitalize on a trend that never made it past the first lap. You can't completely fault them as this film was greenlit in 2009, well before Tim Burtons Alice in Wonderland began the trend of bringing old fairy tales to the modern audience with gigantic budgets.Though this trend hasn't exactly proved a winning one it will surely continue far past this fun, forgettable film that brings nothing new to the genre of fantasy and pure escapism but does nothing to harm it either. It is a perfectly acceptable two hours of amusing and imaginative storytelling that plays out exactly as we imagine it might, but the keyword is imaginative. Director Singer has always had a fun imagination and has incorporated it into both his stories and filmmaking techniques. Whether it be The Usual Suspects, X2, or even Superman Returns and Valkyrie I have always found something about the guys films to be endearing and impossible to dislike (yes, I liked Superman Returns, so sue me). This feeling continues with this film and whether it be the fact I have a soft spot for Singer or that I am more easily convinced in a pure fantasy world that everything is fun, I had a good time watching this movie. I didn't love it and it certainly has room for improvement in several areas, but it was enjoyable nonetheless and I'm not too upset about that outcome.

THE IMPOSSIBLE Review

There is a certain type of drag you feel surrounding a movie like The Impossible. Not because you expect it to be bad, you really have no right to believe it could be anything but good. Still, there is this worry that you've seen it all before. A heart wrenching love story complete against the backdrop of a historically true, but very tragic event. It would be hard to buy into this film if that story of love and overcoming obstacles wasn't actually true as well. Different from something like Titanic, the world is not yet distanced from the lives lost and devastation caused by the 2004 Indian Ocean earthquake and Tsunami. To impose such a positive story over these events would naturally feel disrespectful, but because the story is an accurate account of Alarez Belon's experience in the middle of such mass destruction their is no false motive detected but instead one that seems to imply that even in the darkest corners we might find hope. It is a harrowing experience to watch the film, and one that I was afraid would be ruined by the trailer that seemed to give far too much away. It did, but not to the extent I was concerned and that I felt I'd already experienced the entire film. It was somewhat of a strange sensation walking out of the movie, coming to terms with the frailty of life and that despite the countless horrible, horrible stories that came out of events like this their is still the possibility of the slightest bit of empathy from whomever fate decides to touch. The Impossible is not a bombastic tale of survival but is instead a very personal film, one that feels very close to the heart and allows the audience the horror of true loss rather than the desperation for false redemption.

HAYWIRE Review

There is a great scene in "Haywire" where Mallory (Gina Carano) is walking down a street and she knows she is being followed. Director Steven Soderbergh doesn't falter from her every step, studying her face. He follows her not letting the camera miss a beat. The tension this builds as we get a quick cut across the street to see a man clearly walking in stride with our heroine. We see a car pull slowly up beside her, pass her, still slowing. It is the perfect encapsulation of how an audience should be made to feel when in a high stakes game of spy vs. spy. As I said in my September review of Soderbergh's "Contagion" I have not seen as many of his smaller films such as "Che" and I never was able to finish "Solaris", but whether he be making heist capers like the Ocean's series, political farces like "The Informant" or the disaster move as some called "Contagion" they are at least all credible films in their respected genres. Soderbergh has found his niche in being versatile and he expands that taste for variety into the action genre in "Haywire". While the story plays as a mash up of movies we have all seen before it is the artistic liberties Soderbergh takes with the material that make it more entertaining than this would have been in lesser hands. There is a zip, bang, bam tone to the film while at times it feels almost subtle in the ways with which it approaches the genre's more cliched aspects. At an hour and a half it zooms by, not allowing the audience to stop and wonder what is going on despite the tangled web of a plot. This is good, mind-numbing fun; the kind of action pic that makes "Contraband" look like the generic film it is.

Malory (Gina Carano) takes out Aaron (Channing Tatum)
after he tries to hard to make her come with him...

When we first come across Mallory we are at an upstate New York cafe. It is clear she is hiding, but from what we don't know. Soon, Aaron (Channing Tatum) arrives and is set to bring her in, but of course Mallory knows better and does not plan on following orders. This disagreement leads to the explosive first fight scene in the film where Mallory takes on Aaron and coolly lays him out escaping the cafe with an innocent bystander who tried to help her out. After snagging Jacob (Michael Angarano) from the cafe and taking him and his car we begin to hear the story unfold as Mallory relays to Jacob how she has come to be in her current predicament. It is evident from the opening sequence Mallory is a highly trained operative of some kind. We learn she works for a type of government agency with a private contractor and after having gone on a recent mission to Berlin. She freed a Chinese journalist who was being held hostage and returned home but was immediately summoned for another job that led to her being double crossed by someone close to her. There is a buffet of strong supporting players here including Ewan McGregor as Kenneth, Mallory's boss and ex-boyfriend. Michael Douglas and Antonio Banderas show up in a few scenes as a government officer high up on the chain of command and the mysterious Ramon. Bill Paxton pops up in a few scenes as Mallory's dad and Michael Fassbender as the agent hired to dispose of her makes his bid for the next Bond actor. While we watch as Mallory goes toe to toe with every man she encounters the story boils down to a why did they do it that is easily enough solved and not at all surprising. It sure as hell is a fun ride getting there though.

British secret agent Paul (Michael Fassbender) could
learn a few things from Mallory.

Despite so many big names, the real star here is Carano and though this role doesn't require a whole lot of range from the newly minted actress she is the perfect fit for a woman an audience will believe can actually take on anyone thrown her direction and win. That is what the movie is all about after all isn't it? I mean, to watch Mallory chase down a loose end through the streets of Berlin just to run up a wall and send him swiftly under a garage-like door, or my favorite brawl of the film, the bedroom dance of a duel that her and Fassbender display is pure kineticism. The last great action flick I saw was "Mission Impossible: Ghost Protocol" but where that was a high octane, flashy piece of big budget entertainment this is a low key and brutal revenge actioner. Carano is a former mixed-martial arts fighter and while as her popularity grows she will surely be offered more roles that require more than just kicking-butt I'm not going to fret over whether or not her acting abilities will rise with that level of requirement. She serves the purpose of her character here. Mallory is a reclusive woman who likes to do as she is assigned and be done with no connections to anything or anyone left behind. Soderbergh knew what he was doing in building a film around Carano and in completing this he has conquered another genre in ways that deny to succumb to the standards. In the end you may not be as riveted by the plot as you might have come to expect from an indie filmmaker like Soderbergh but you will certainly feel revved up by the fast, strong and intelligent character that anchors this film.

Coblenz (Michael Douglas) gives Mallory a few leads as to
where to fins the man who betrayed her.

There have been plenty of films over the past few years that have centered around a strong female lead in the middle of an action film. Whether it be the Resident Evil and Underworld films, Angelina Jolie in "Wanted" and "Salt" or one of my personal favorites from last year, "Hanna". The trend won't stop this year either with "The Hunger Games" and "Brave" coming out, but these kinds of movies where the makers think they are turning the genre on its head by simply changing the sex of the character no longer makes this something different. We, as an audience, require more innovation than this and despite following the rules of the genre Soderbergh is able to, at the same time, make this double as a kind of sly thriller. He saturates his characters with actors who with their credibility can play up the stock roles they have been assigned and turn this into a piece of action pulp. I was really looking forward to "Haywire" as it promised to be exactly what the genre was lacking and that was genuine excitement. Not only was this a literal edge of your seat kind of movie, but it makes a general, wide audience appreciate the quirks of smaller films while delivering everything they want from a good action movie. I don't know if there is anything Soderbergh can't do and it not turn out to be at least a charming effort. I guess we'll find out this summer when he extends his ever-searching eye to the genre of broad comedy with "Magic Mike".

HAYWIRE Review

There is a great scene in "Haywire" where Mallory (Gina Carano) is walking down a street and she knows she is being followed. Director Steven Soderbergh doesn't falter from her every step, studying her face. He follows her not letting the camera miss a beat. The tension this builds as we get a quick cut across the street to see a man clearly walking in stride with our heroine. We see a car pull slowly up beside her, pass her, still slowing. It is the perfect encapsulation of how an audience should be made to feel when in a high stakes game of spy vs. spy. As I said in my September review of Soderbergh's "Contagion" I have not seen as many of his smaller films such as "Che" and I never was able to finish "Solaris", but whether he be making heist capers like the Ocean's series, political farces like "The Informant" or the disaster move as some called "Contagion" they are at least all credible films in their respected genres. Soderbergh has found his niche in being versatile and he expands that taste for variety into the action genre in "Haywire". While the story plays as a mash up of movies we have all seen before it is the artistic liberties Soderbergh takes with the material that make it more entertaining than this would have been in lesser hands. There is a zip, bang, bam tone to the film while at times it feels almost subtle in the ways with which it approaches the genre's more cliched aspects. At an hour and a half it zooms by, not allowing the audience to stop and wonder what is going on despite the tangled web of a plot. This is good, mind-numbing fun; the kind of action pic that makes "Contraband" look like the generic film it is.