OFFICE CHRISTMAS PARTY Review

What is there to say about a movie that knows exactly what it is and executes itself in competent fashion? Turns out, not too much really-especially when one is talking specifically about something as frivolous as Office Christmas Party. After watching this hour and forty-five minute comedy my friend and co-host at Initial Reaction summed up what we'd just experienced perfectly. Describing the "here for a good time" flick that actually ends up overstaying its welcome as a raunchier version of one of those holiday themed, multi-plotted, department store advertisements as directed by the late Garry Marshall, Office Christmas Party piles on the recognizable names and faces (Hey! There's Jennifer Aniston again!), juggles a handful of plotlines, and ultimately comes off as trying too hard to have some kind of genuine heart when we all know the only reason it actually exists is to cash in on certain weekends of the year when viewers seek reminders for how they should/would like to feel around the holidays. This wouldn't be so bad considering Office Christmas Party has a more than capable cast and isn't nearly as hokey as those aforementioned Marshall pictures, but the film ultimately tries to do too much with very little when it would have been fine had it simply allowed its talented comedic ensemble to feed off one another. While Marshall's films more or less turned a holiday of its choosing into a combination of Crash and any Hallmark movie ever Office Christmas Party at least has a driving plot that keeps the focus on only the characters involved in the central narrative and has each of them chasing and contributing to the same goal. There are no extraneous stories that have to strain to connect all the random characters together, but that doesn't mean every subplot should have been kept either. It is in its inability to restrain from both following one too many superfluous factors as well as devolving into something it clearly had no intention of being until it realized the credits had to roll at some point that Office Christmas Party suffers, but when it is having fun, making jokes, and letting the comedic talent it has enlisted to roam freely it's a consistently hilarious time that delivers on what its promotional campaign promised.

BIG HERO 6 Review

Before going into animated movies I'm always somewhat apprehensive due to the fact I fear I won't have much to say about them. They are entertainment intended for children and as a result often offer very little in the way of substance and thus not much to comment on. In the wake of Disney animations current uptrend though there was something to be optimistic about in Big Hero 6. Initially, I wasn't as over the moon about the idea of Disney mining more Marvel material so as to fill in their animated films as we have enough super hero movies at the megaplexes as it is. To lose a release from a major studio many look forward to hearing from each year to yet another comic book adaptation is understandably disheartening. At the same time, it makes sense with Pixar slowly losing steam in its winning streak and Disney's singular animation department delivering the one-two punch of Tangled and Wreck-It-Ralph before last years behemoth that still is Frozen. They needed to offset the princess tale with another video-game/male-centric adventure while not excluding any potential audience members. The good and relieving thing about Big Hero 6 though is that once the film begins and the story starts to roll you forget this is supposed to be a super hero movie at all. There are no capes, no grand transformation montages where our protagonist is supernaturally altered and given powers beyond his comprehension, but instead the film focuses on the interests of its cast of characters and their love of science that will inexplicably come off as nothing short of neat to the children in the audience that don't know they crave a more practical approach to the barrage of Marvel productions they've seen over the past six years. It was probably smart for Disney to officially partner up with Marvel and reveal a new legion of fans to a more obscure comic book though and by the end of the film, when the super hero element becomes more prevalent without ever taking over the narrative, I appreciated it moreso for its restraint and patience to tell an actual story rather than throw fifteen minutes of exposition at us before putting our heroes in spandex suits. Big Hero 6, for all its visual glory, is frequently entertaining though unfortunately it does ultimately lack the component that makes Disney films wholly involving and part of our coding.

SIN CITY: A DAME TO KILL FOR Review

In the spring of 2005 my newly minted eighteen year-old self highly anticipated director Robert Rodriguez's adaptation of the Frank Miller comic Sin City. Keep in mind this was a world before Christopher Nolan's genre re-defining Batman Begins or Zack Snyder's influential visual stylings of 300 and so to see something so inherently original in its take on both aesthetic and story was exciting even if I wasn't familiar with the source material. Add on to that the fact Rodriguez enlisted the creator of the comic book as his co-director and gathered up an expansive cast that included Bruce Willis, Benecio Del Toro, Clive Owen, Jessica Alba, Rosario Dawson, Brittany Murphy, Michael Madsen, Powers Boothe and the first interesting role Mickey Rourke had taken in some time (essentially the one that made him cool again) and you had something people were generally intrigued by. Almost a decade later though and the anticipation for any such follow-up to the film has long since faded and thus the original would have likely survived best if left alone rather than trying to return to the days of former glory with a sequel that doesn't really expand the world of the titular environment as much as it gives us the same things we were treated to the first time around, only this time with less of a punch to the gut. Less punch because we've seen them before, less surprise because we know the characters better, more of the same because we realize the characters weren't as developed as our first impression led us to believe. In short, the sequel more or less points out the flaws of the world in which it exists rather than enhancing or expanding the universe the original set-up and when a sequel does this it only makes its existence feel all the more forced than necessary. There are of course a few redeemable aspects here, the stark visuals still elicit a certain mood and look stunning on the big screen and the addition of Joseph Gordon-Levitt and his storyline is engaging and deserved more screen time, but these aren't enough to spice up what is overall rather boring and a flat narrative. There will always be a certain nostalgia for the original Sin City given it's place in time and my stage of life when it was released, but if there was any hope A Dame to Kill For might do the same, re-create those feelings, or even spark interest in eighteen year-olds today those hopes were dashed when Rourke's narration began and the style was more cloak and pattern than function to deepen story or theme.

First Trailer for SIN CITY: A DAME TO KILL FOR

Way back in 2005 I went to see Sin City for my eighteenth birthday and became so caught up in the visual style of the world Robert Rodriguez created as he brought the Frank Miller comics to life that I don't rightly remember much of what the story concerned itself with. I remember simply being impressed and overwhelmed by it all that the fact it was broken down into several different narratives with an insane amount of characters and a balancing act hard to get a grasp on the first time around didn't bother me much. It was one of those films that seemed to demand a sequel upon its release and it became easier and easier to forget the initial film with each passing year (instead we got Miller's horrible solo effort The Spirit in 2008). I will admit to not re-visiting Sin City much over the past nine years, but would be lying if I said I wasn't the least bit excited to finally see Rodriguez and Miller continue their tales of Basin City. This time around, Joseph Gordon-Levitt heads up the impressive roster of new and returning cast members that will weave together two of Miller's stories. With 300: Rise of an Empire out tomorrow it is only fitting we now get our first look at the other Frank Miller adaptation this year. While 300 has become the more definitive staple of Miller's visual style it was always clear Sin City was the more ambitious in terms of both style and substance and if the first trailer is any indication (according to the early reviews for Rise of an Empire) it seems the follow-up to Sin City will also be the more substantial in terms of narrative even if the visual effects look like they have a long way to come before that release date. Let's just hope this doesn't skew towards cheap knock-off more than authentic replicate as Rodriguez's Machete Kills did last year. Sin City: A Dame to Kill For stars Josh Brolin (taking over for Clive Owen) Mickey Rourke, Jessica Alba, Bruce Willis, Rosario Dawson, Jaime King, Eva Green, Dennis Haysbert, Christopher Meloni, Jeremy Piven, Ray Liotta, Juno Temple, Stacy Keach, Julia Garner and opens on August 22nd.

First Trailer for THE HANGOVER PART III

It is hard to argue with those who didn't like The Hangover Part II. It was clearly a carbon copy of the first film with a change in location, but it is hard to deny that the film was funny. And the reason it maintained that same level of humor and endearment with the audience is due to the characters. For me, personally it makes little difference what these guys are doing or where they are as long as they are doing it together. That looks to be the main focus of this first glimpse of Part III as the format for someone getting married and a bachelor party have been ditched and the boys are on some kind of quest for something that has the film looking very action-filled. There isn't as much comedy here as I hoped to see, but it is only a teaser and it is likely they have to save some of the best bits for the audience admitted to an R-rated film; here's hoping! It has likely become the hip thing to hate on this series because "everyone" disliked the second film, but it was fun if not innovative like the first. Think about that first one though, it was an instant classic in the realm of comedy and I trust Todd Phillips well enough to know he understands what people disliked about the second film and has fixed it with the third while still maintaining everything that made the first one such a huge success. The core cast is all back with Bradley Cooper, Zach Galifianakis, Ed Helms, and Justin Bartha (though we don't see Doug once in the trailer) as well as returning members Ken Jeong, Heather Graham, Jamie Chung, Mike Epps, Mike Tyson, Jeffrey Tambor and some fresh blood in Melissa McCarthy and John Goodman. The Hangover Part III opens May 24th. Hit the jump to watch the trailer.

THE MAN WITH THE IRON FISTS Review

First things first I have no real knowledge concerning the kung fu genre. I have never watched much of the landmark films in its canon as I generally wasn't interested in what these types of film had to offer so, if one is looking for an expert opinion on The Man with the Iron Fists you are reading in the wrong place. This is simply an overview and opinion of the film as a film in general and not in comparison to what standards might have been held for in relation to other martial arts films. There is a certain type of vibe you expect a film to have as well when it is labeled with the infamous "Quentin Tarantino Presents" banner though and I am familiar with that directors work. While this is a film I will likely never lay eyes on again I cannot be mad at it either. It delivers everything you expect from it and probably a little more, but as far as really going for it, really getting it and exuding that quality of self-aware honesty and ridiculous characters and violence the film sometimes seems to be trying a little too hard, then again maybe that is the point. That is what a film so intent on honoring the style of this genre does seem to deserve and the effort is clear in every aspect as writer/director/composer RZA has thrown himself into this world and developed a universe for his story to take place. It is evident the man has a real knack for tone and pacing. The film is a brisk hour and forty minutes and it speeds by feeling more like a Saturday morning show than a feature length film. In the end though, the film feels more slight than epic and it should have at least emulated this feeling in one area or another. It makes a good amount of connections but is unable to land all its punches.

PREMIUM RUSH Review

Who would have thought long sequences of people riding bikes could be so entertaining? I realize it's the oldest trick in the book to open with a question to draw a reader in but that was the question I kept repeating to myself every time Premium Rush continued to surprise me. The film had become a sort of throwaway piece of entertainment as there was no real push in its advertising campaign to give it any real chance of reaching a broad audience to embrace it, but I don't know why. This is a thrilling little piece filmmaking that doesn't take itself too seriously and whips by as fast as its characters do in the streets of New York. Many movies will claim that the setting is another character in itself and seldom does that ring as true as it does here. Everything about the film is influenced by its setting and for those of us that have never been to New York ourselves it is a fascinating, ground look at the pace of the city and the atmosphere it breathes. The films running time is a mere 90-minutes and the adrenaline never stops pumping that entire time. The plot unfolds with a non linear fashion that keeps us guessing even if we might see where the film is heading a scene or two ahead of it actually getting there. It doesn't go down the normal, easy route of dealing with any kind of drug or generic road that makes us care less about the story and care more about the action but instead sets itself up for the challenge of having its characters being as invested in their quest as we should be in the film. It may not serve as any metaphor for something bigger going on in the world right now, it isn't addressing any political issues outright and in general seems to have no agenda other than to entertain. Sometimes that is all you need. And with a cast led by two greats such as Joseph Gordon-Levitt and Michael Shannon you really can't go wrong no matter what kind of movie you're making.

Wilee (Joseph Gordon-Levitt) and Vanessa (Dania
Ramirez) hide from the cops in their race against the clock.

While I expected nothing flashy from the film other than the way in which the chase sequences were filmed, I was pleasantly surprised to find that Premium Rush was not simply going to tell its story and insert a few cool  sequences in between. In short, I was delighted that the film was actually going to be a thinking persons film. It starts out blasting those opening chords of The Who's "Baba O'Riley" and immediately jumps into this slow motion shot of Gordon-Levitt flying through the air and landing on the pavement in a state of confusion surrounded by concerned pedestrians and then a girl, close to tears drops in frame and is trying to keep Gordon Levitt's Wilee from slipping into unconsciousness but of course, he does. The film operates within a slim time frame. Starting initially at 7:30 and working its way back to 5:00 and then 3:30 to tell the complete story that includes all of the facets the story includes. There is some narration from Wilee in the beginning that educates us on the ins and outs of bicycle messaging and the complications that ensue in a city of speeding cars, cabbies (all of which include the nuisance of open doors at one time or another), and all those pedestrians walking the streets. The film quickly exemplifies these obstacles by showing Wilee's pre-meditated visions of how certain routes could end, most of which do with him hitting the pavement. He is in an on the rocks relationship with fellow messenger Vanessa (Danis Ramirez) while another of his fellow cyclists Manny (Wole Parks) insists on constantly trying to show him up in competing for Vanessa's affections and his status as the best messenger in the city.

As a bicycle messenger Wilee has to face many obstacles
in his day-to-day jobs.

It is when Wilee picks up an envelope from Vanessa's roomate Nima (Jamie Chung) that things start to deviate from the everyday routine. Wilee doesn't know what he's delivering, he just has a destination and a time to have it there by. That is all he needs to know and that is all he cares to know. Nima makes it clear the contents of the envelope are of the utmost importance and NYPD officer Bobby Monday seems to know why. From the moment Wilee is set to deliver the envelope Monday is on his case, chasing after him for reasons unknown. As Monday, director David Koepp (mainly known for his writing but has also directed the small charmers Ghost Town and Secret Window) has somehow managed to gather Michael Shannon to star in this slickly made if easily not seemingly forgettable film. Shannon, who is usually known for smaller projects or supporting roles turns up the intimidation here for what might be a little glimpse of how the actor will portray his villainous turn in Man of Steel next year. Not to get off topic, Shannon portrays the impulsive and angry detective with a flair for the dramatic and an overriding sense of entitlement that ultimately keeps the chase going and the complications piling. While Shannon hams it up with glee it is apparent he knows the kind of movie this is, but what separates he and Gordon-Levitt is that despite the younger leads understanding of what kind of film this is he still completely commits to making the guy the most genuine interpretation of the character he can. If there is one thing to be said for Gordon-Levitt and his sudden rise to the top of everyone's favorite list it is how versatile he is. Whether it be big budget actioners like Inception and The Dark Knight Rises, small indie fare such as (500) Days of Summer and 50/50, or even his underrated turn in Hesher and the upcoming sci-fi flick Looper, I don't know that the guy can make a bad film.

Wilee is under the pursued by detective Barry Monday
(Michael Shannon) because of a package he is
in possession of.

It was with both an element of surprise and appreciation that I took in Premium Rush with as much energy as it offered up. The added weight of the exposition lends the film a credibility it would have likely not had otherwise. It is a formula film that exceeds its own constructs. It speeds along at such a quick pace you don't have time to question its logic or look deeper into the lives these messengers lead. In short, it is more than I expected it to be. I went in expecting a forgettable, formulaic action movie and that would be the end of it. Coming out it is indeed all of those things, but what I didn't expect was to enjoy the journey of it as much as I did. I would watch it again, probably several time just because it is that entertaining and that fun. There may be an easier way to say that Koepp and his crew knew what they were making and didn't intend to leave any kind of mark or make any kind of statement with the film, but in the end it does turn out to be more of an experience than a distraction which lends to it being more than it may have ever intended to be. There is a certain weight to it that wouldn't come if we tried to put on the breaks as our protagonist always advises against. We simply take it in and accept it for what it is while marveling at the break-neck action sequences that see our heroes weave through the streets of New York all while communicating a story (props to the actors for delivering most of their dialogue while on the go). The film has an essence that takes you in whether it be the thickness of the plot, the characters, or just that hot summer day in New York City where we get a glimpse into the underground world of these bike messengers. You may not take much away from Premium Rush except for a desire to ride a bike more often, but no one can argue that it does in fact, deliver.

PREMIUM RUSH Review

Who would have thought long sequences of people riding bikes could be so entertaining? I realize it's the oldest trick in the book to open with a question to draw a reader in but that was the question I kept repeating to myself every time Premium Rush continued to surprise me. The film had become a sort of throwaway piece of entertainment as there was no real push in its advertising campaign to give it any real chance of reaching a broad audience to embrace it, but I don't know why. This is a thrilling little piece filmmaking that doesn't take itself too seriously and whips by as fast as its characters do in the streets of New York. Many movies will claim that the setting is another character in itself and seldom does that ring as true as it does here. Everything about the film is influenced by its setting and for those of us that have never been to New York ourselves it is a fascinating, ground look at the pace of the city and the atmosphere it breathes. The films running time is a mere 90-minutes and the adrenaline never stops pumping that entire time. The plot unfolds with a non linear fashion that keeps us guessing even if we might see where the film is heading a scene or two ahead of it actually getting there. It doesn't go down the normal, easy route of dealing with any kind of drug or generic road that makes us care less about the story and care more about the action but instead sets itself up for the challenge of having its characters being as invested in their quest as we should be in the film. It may not serve as any metaphor for something bigger going on in the world right now, it isn't addressing any political issues outright and in general seems to have no agenda other than to entertain. Sometimes that is all you need. And with a cast led by two greats such as Joseph Gordon-Levitt and Michael Shannon you really can't go wrong no matter what kind of movie you're making.