AQUAMAN Review

Look, I get it, Aquaman was never going to be an easy movie to make-especially given the weight of the pressure on the film to make or break Warner Bros.' DC Extended Universe. The losses certainly outweigh the wins at this point, but there was a hope that after the triumph of Wonder Woman and the hurried process of simply getting through Justice League (a movie already in production when Batman v Superman received its backlash and essentially completed when WW turned things around) that James Wan's Aquaman might be able to finally allow this rival to the Marvel Studios cinematic universe to settle on and find its own distinct tone. Aquaman somewhat accomplishes this as the movie certainly settles on its own tone-one that is arguably appropriate for a movie about a man who can talk to fish-but Aquaman also never seems to find its rhythm. Wan, a master of suspense and horror, translated his skills into the bigger, action-oriented realm fairly well with Furious 7, but while Aquaman features some of the best choreographed and executed fight sequences of the year everything around them feels like an exercise in trying to figure out how best to configure an underwater world that the movie still hasn't figured out by the time it reaches its final, climactic battle. So listen, I understand there is only so much one can do with an Aquaman movie, I really do, but while the ambition is there and the movie offers some genuine fun in fits and starts the product as a whole never gels in the fashion that it feels like a complete, satisfactory work. Wan's Aquaman, as penned by David Leslie Johnson-McGoldrick and Will Beall, feels like if the Power Rangers series had decided to grow up with the generation Mighty Morphin premiered with, but never developed mentally past that of an eight-year-old's mindset. Meaning, the only thing growing with the audience was the budget while still retaining the mentality and most importantly, the sense of humor, of that core demographic of fourth and fifth graders. Aquaman is a Saturday morning live-action cartoon on steroids likely meaning a certain, large demographic of the audience will absolutely love and revel in what Wan has put together and to be frank, upon further re-watches I can see how it might become more endearing, but upon first impression Aquaman leaves much to be desired in terms of substance despite indulging its audience in eye candy and overwhelming them with silliness.

THE FINEST HOURS Review

Watching The Finest Hours is like going to a restaurant you know and trust and despite being satisfied when you leave, feeling as if there was definitely something lacking. The contents are all inviting and have an undeniably charming quality to them, but upon consumption you simply aren't as full as you'd hoped given the dish wasn't as rich as it had the potential to be. The Finest Hours is a handsome film, directed by Craig Gillespie (Million Dollar Arm, Fright Night, Lars and the Real Girl), and features both impeccable costume design and an earnest soundtrack not to mention a story that is genuinely thrilling. Pair these strong qualities with an all-around impressive roster of cast members not only in the key roles, but in supporting and minor parts throughout and it's nothing short of a guarantee that the film wasn't going to at least be a rather solid venture. And it is. In fact, that's exactly what The Finest Hours turns out to be with there not necessarily being any issues other than the fact it doesn't feel like an exception in the long line of cinematic adventures we're given throughout the year despite the story being one of an exceptional heroic act. For this reason, the movie adaptation of the story and of Casey Sherman and Michael J. Tougias' novel feels as if it is something of a missed opportunity in representing a story that could have really produced a great or even "exceptional", piece of fiction. Instead, The Finest Hours gives audiences what we expect in that it is consistently engaging, naturally tense in moments, and hits just the right amount of emotional beats to make the harrowing rescue mission all the more affecting in the end. It is in this emotional connection though, that the film doesn't connect as often as it should. Even without the love angle from which the film comes at the story there should be more than a handful of emotionally charged moments given both men at the head of these dueling narratives are staring death in the face. And yet, we never feel as emotionally invested in the proceedings as the characters clearly are. There is a disconnect and while it doesn't destroy the film, it certainly keeps it from realizing its full potential.

CREED Review

I feel like I can make a fair assessment of the movie I'm about to watch simply by the quality and inventiveness of it's title card. There is just something about the way this opportunity can be executed that seems to somehow connect with how far the director was willing to go to make every ounce of his film thrive. This is all to say that Creed has a pretty great one and from the moment the title and namesake of our lead character rises on to the screen with an epic and bombastic score behind it the movie just rolls. What I truly appreciate about the suggested epicness that director Ryan Coogler (Fruitvale Station) implies with this title sequence-that is set up perfectly by giving us an epilogue of sorts that shows a young Adonis Johnson on the fast track to nowhere in 1998 as just another kid in juvy who likes to fight-is that it recognizes the legacy of what the film is taking on and in this moment sets a tone that encapsulates everything the rest of the movie will attempt to demonstrate through it's actions. In essence, Coogler sets the stage in such a manner that let's us know this movie means business and that, while it will operate in the world of Rocky, is a fresh perspective on an age old tale for a new generation of underdogs. The script by Coogler and Aaron Covington hits all of the expected beats of a film such as this, but they are executed with such authenticity and weight that finds real credence in the source material that it's genuinely effective. That's what makes a Rocky movie a Rocky movie, right? The overwhelming feeling of accomplishment, of overcoming insurmountable odds. As we've more or less seen Rocky grow from an ambitious thirty year-old with nothing to lose to a nearly seventy year-old man who's come down on the other side of life battered and broken, but never beaten there is little left to say. This isn't a movie about Rocky though, and so the real question moving forward was going to be if Adonis Johnson could resonate in a way that we'd feel the need to stand up and cheer. In summation, round one goes to Creed.

First Trailer for Rocky-Spinoff CREED

I've always relegated the Rocky films to something of a memory where I know I've seen the majority of them (specifically the first, second, fourth and Balboa, so I have a little catching up to do), but it was in the underrated Rocky Balboa (or the sixth film in the franchise) that I really caught a glimpse of what made the series mean so much to so many people. It was the film that came at the right time for me as I was really beginning to dig into cinema. That film deserved more than the pre-ordained bad word of mouth it received, but was too damaged to salvage once people saw it was actually a solid little closing chapter to the series. Almost ten years removed from that film though and we have a new chapter in the Rocky Balboa story, but this time it isn't about Rocky-we're talking Adonis Johnson, the son of Apollo Creed (as played by Carl Weathers) in the first four Rocky films and his quest to follow in his fathers footsteps despite never knowing him. This first trailer for the film that comes to us from Fruitvale Station director Ryan Coogler and once again stars Michael B. Jordan is as appealing as anything I've seen so far this year. While this film will clearly capitalize on the nostalgia of the subject it is also clearly very much intended to be Johnson's story and Jordan seems to be giving a wholly dedicated performance that will only push his star further, and if we're lucky, spawn his own boxing franchise. I love the style in which Coogler has seemed to capture the film and the music beats that match those of the footage gives off a sense of adrenaline with one of the final shots of the trailer inducing chills in even the most passive of Rocky fans. Creed also stars Sylvester Stallone, Tessa Thompson, Phylicia Rashad, Anthony Bellew and opens on November 25th.