Teaser Trailer for MORBIUS Starring Jared Leto

The first trailer for Sony's second entry in their anti-hero universe, Morbius, has arrived and unfortunately it looks quite similar to Ruben Fleischer's Venom. Venom was an exercise in truly bizarre tone, acting, everything along with its weirdly nineties action aesthetic that sometimes felt more cheap than it did gritty which I have to assume is what they were going for. Luckily, with Morbius we are in much more reliable hands than Fleischer's one-hit wonder-ness as Morbius was directed by Daniel Espinosa, the man behind the likes of Safe House, Child 44 and Life. And while that sentence may be tinged with a certain amount of facetiousness I have liked each of those films to a certain degree and wouldn't label any of them as necessarily terrible. Safe House was a solid action/thriller as was Child 44 even if it had been hacked apart after sitting on the shelf for years and 2017’s Life was a fun little twist on a sci-fi, Alien-esque flick. So, it’s not really Espinosa that’s the cause for concern here, but more it is the writing team of Matt Sazama and Burk Sharpless AKA the team behind such runaway hits as Gods of Egypt, The Last Witch Hunter and Dracula Untold (remember how that cinematic universe wound up?) and although a director can do a lot with an otherwise hackneyed script in terms of improving upon it with a certain stylistic approach and hiring actors that elevate the material-and say what you will about Jared Leto’s Joker, but the guy is a solid actor and puts in the time-what honestly feels most at the expense of the studio mentality here is whatever rich character history that comes along with this particular character from the comics. As someone who doesn’t read comics the only point of reference I have with the titular character prior to this is that of the animated Spider-Man series from the nineties, but Morbius was always an indelible presence in that series given he personified the horror genre to a kid who wasn’t allowed to watch horror movies yet. There’s certainly something Sony can tap into here, but only time will tell if Espinosa and crew dig beneath the surface or if they're simply covering the necessary bases. Of course, there is then the matter of that cameo at the end and what it means both for the future of the MCU and whatever Sony is trying to do here while raising serious interest in the details of the deal Kevin Feige and Avi Arad worked out, but whatever the case may be one thing is clear: Spider-Man: Senior Year is going to be nertz. Morbius also stars Adria Arjona, Jared Harris, Matt Smith, Michael Keaton, Tyrese Gibson, Charlie Shotwell, Corey Johnson, Archie Renaux, Abraham Popoola and opens in theater on July 31st, 2020.

ALLIED Review

There is much to be said for Allied-a film that desperately wants to pay proper respects to its influences of yesteryear, but there is an equal amount with this most prestige of all prestige pictures (at least based on its credentials and story, if not the awards attention it will never receive) that goes unsaid in ways that leave the viewer hoping for more, but receiving very little. The costume drama/wartime romance that is Allied is a film that should, by definition of those involved, be something of a rejuvenation of the genre rather than one that follows the rules of it for mediocre results. With the likes of Robert Zemeckis (Back to the Future, Cast Away, The Polar Express) directing one would expect the film to take the preconceptions of the time period and the genre and apply them to a unique or at least more interesting way of capturing this material, but if anything Zemeckis actually plays things as straight as possible delivering not necessarily a bad movie, but a safe if not masterfully made one. If there is one thing Allied excels at it is letting the viewer know how good looking its two stars are in multiple, era-appropriate fashions while also seeming to overly focus on just how young Brad Pitt is still capable of looking. Granted, there is clearly some type of digital touching up to Pitt's face, but why bother outside of keeping in step with the overall glossy aesthetic of the picture is unclear. Moreover, the dazzling aesthetic, impressive set designs, and elegant costumes would all still be just as appreciated and impressive if not more so if they weren't so much of what the film has going for it. Instead, they are the prime focus of positives as the narrative feels somewhat lacking despite being a genuinely intriguing premise from which certain, very specific tensions can be spurned. In essence, Allied is a missed opportunity to make an old school war drama through the lens of modern filmmaking, but as the key element that is the story doesn't remain consistent in the high stakes of the drama it seems to so thoughtlessly spin Allied never manages to feel substantial in any way, shape, or form thus leaving the viewer with a decent movie-going experience, but certainly not a memorable one. 

CERTAIN WOMEN Review

Certain Women is my introduction to the much celebrated writer/director Kelly Reichardt who has crafted such films as Wendy and Lucy and Night Moves. Reichardt is said to craft these methodically paced character studies that exist more for their introspective takes on the lives of their characters than anything resembling plot. Minimalist, if you will. Reichardt seemingly adapts many of her films from short stories or collections of short stories. And while I've yet to see any previous films from the filmmaker including her much heralded 2010 feature Meek's Cutoff I don't know that her latest necessarily urges me to go back and see what all the fuss is about. That said, Certain Women is certainly intriguing though the reasons for such interest fall more on the befuddling side of things rather than the promising. It is easy to sell the minimal approach as being more insightful and more telling simply out of the convenience of letting the audience do more of the heavy lifting, but some of the time keeping in line with the minimal approach is simply a substitute for there not being much to say in the first place. It's not hard to appreciate that Reichardt has approached these tales of three individual women in three different stages of their lives that only overlap in the most subtle of ways in an even more subtler fashion, but it is only by virtue of the focus shifting from one story to the next that the film doesn't become a complete and utter bore. And it would were it left in the hands of certain characters and beside the fact this is the point of those certain characters' profiles-documenting the monotony and lack of anything spectacular or interesting occurring in their lives-the film isn't ever able to come up with anything new or profound enough to say about the mundanity of daily life or the foibles that eventually bring us all around to the same level playing field as human beings to be noteworthy in its own right. I can understand and again even appreciate that this is very much a film that speaks to the complex and misunderstood experiences of the female in our male-driven society, but as a product that is intended to convince me of the discrepancies and double standards females deal with on a daily basis that males might not even consider I took away very little by way of enlightenment. There is a fine line between being understated and simply being uninteresting and unfortunately Certain Women skirts that line too often to fall on that minimal, but effective side of things.

Teaser Trailer for ALLIED Starring Brad Pitt

After releasing the first still from the film earlier in the week Paramount Pictures has now released a first look at the new film from director Robert Zemeckis (Back to the Future, Forrest Gump, Cast Away) starring Brad Pitt and Marion Cotillard. While that list of credentials is more than impressive and enough to make me want to see this original World War II spy thriller what is really enticing is the fact Steven Knight (Locke, Eastern Promises) has penned the screenplay from a story that was told to him at the age of twenty-one and that he has carried around with him ever since. Per Collider, Knight said regarding the story, "This is a very odd story. I was in Texas working as a dishwasher and doing all sorts of weird things. I was going out with an English girl at the time and her auntie lived in Texas, and she got talking about her brother who had been in the S.O.E., the British Secret Service if you like, and she told me this story that just stayed with me. I’ve always known it would be a film, and now it’s gonna be the ultimate.” The idea of a wholly original story not based in any documented fact with a time period setting, starring one of this generations most iconic leading men and directed by one of our most diverse filmmakers is nothing to scoff at. In a time when movies are greenlit based on franchise potential and brand recognition to have a movie such as this come to us from a major studio with major stars no matter if it's in the midst of Oscar season or not, is beyond enticing. Personally, this just shot to the top of my most anticipated list as, even though Pitt has starred in a string of WWII films at this point, anything the guy does is inherently intriguing given he tends to work with both prominent and interesting directors that like to push the boundaries of where narrative filmmaking has been before starting with the most important element: the story. Allied also stars Lizzy Caplan, Matthew Goode, Jared Harris, Charlotte Hope, Raffey Cassidy, Raphael Acloque, and opens on November 23rd, 2016.

THE MAN FROM U.N.C.L.E. Review

Though it doesn't indicate the quality of the film in the slightest, The Man From U.N.C.L.E. will always fall under the unfortunate circumstances of having to open two weeks after Mission: Impossible-Rogue Nation. This is unfortunate due to the fact it will mean The Man From U.N.C.L.E. will have less of a cultural impact than the already slight one it was going to have without having to follow-up the last great action hurrah of the summer. This isn't really relative to the film itself, but while it seems there was never much expected of The Man From U.N.C.L.E., it's worth noting it is something of a shame due to the fact it now will definitely not come to mean much in the larger pop culture landscape. A shame because the film is actually quite fun and therefore rather satisfying when taken on the terms of what it is intended to be. Coming to us courtesy of director Guy Ritchie (Lock, Stock and Two Smoking Barrels, Snatch, the Downey Jr. Sherlock Holmes films) this film, based on the NBC show that ran from 1964-68 about two secret agents who work for a secret international counter espionage and law-enforcement agency called U.N.C.L.E. or the United Network Command for Law and Enforcement, is everything you'd expect from the director and all you could want from the genre in general. Enlisting Superman (Henry Cavill) and The Lone Ranger (Armie Hammer) to star is another way of suggesting this could possibly be another sub-par take on an old television property, which is a trend in and of itself that feels dated now (how ya doin' 2000?), but Ritchie and his team (including first time feature writer Lionel Wigram) have somehow managed to cobble together a pile of standard spy movie cliches and make them into something astonishingly direct and abundantly stylish that completely owns what it is and, as a result, comes off as confident and self-assured as Cavill's Napoleon Solo.

First Trailer for THE MAN FROM U.N.C.L.E.

Even when the summer movie season feels like it might be a rather dry one compared to previous years it always begins to reaffirm its status as the premiere time of year for would-be blockbusters by the time March rolls around as we're knee-deep in trailers for non-superhero properties that we didn't necessarily know a lot about before they went into production. In the last twenty-four hours we've received trailers for what could possibly be the biggest comedy of the summer, Cameron Crowe's latest and now we have our first look at Guy Ritchie's (Snatch, Sherlock Holmes) re-imagining of the 1960's television show, The Man From U.N.C.L.E. I have no prior knowledge of the British television show that starred Robert Vaughn and David McCallum, but given the credentials this new version has going for it I'm definitely intrigued. Henry Cavill (Man of Steel) and Armie Hammer (The Social Network) star as two opposing agents from the CIA and KGB who are forced to team-up in order to stop a mysterious criminal organization working to create numerous nuclear weapons. The trailer looks to be a lot of fun as Ritchie's trademark energy is fully intact and any number of the frames could be taken from a bygone era Bond film. The film looks to perfectly balance the style, action, humor and depth in a way that Cavill and Hammer will be doing much of the complimentary lifting to Ritchie's distinct style. Hammer especially looks to be having a lot of fun here while Cavill seems to purposefully be playing it so straight the humor will naturally float to the surface. The Man From U.N.C.L.E. also stars Alicia Vikander, Hugh Grant, Elizabeth Debicki, Jared Harris and opens  on August 14th.

First Trailer for POLTERGEIST Remake

I watched the original Poltergeist a few years back on Halloween as it is the one time a year I try to go back and catch up on any horror classics I might not yet have seen. I enjoyed the film and found reading about it afterwards all the more fascinating given the content of the movie and the circumstances surrounding many of the cast members deaths. Sure, it can be chalked up to coincidence, but it is strange nonetheless ultimately giving the actual product a vibe no one necessarily wants to touch. Thirty-three years later though we have a remake that intends to further the commentary on screens taking over our lives by discussing how things have only become worse since the original was released. What is reassuring about this new film though, despite horror fans and lovers of the original no doubt crying foul before ever giving it a chance, are the credentials it has going for it. Director Gil Kenan has only made two features prior to this but they are two solid, underappreciated features. The first being 2006's wonderful Monster House for which I distinctly remember my theater-going experience. I didn't expect much, but was pleased to allow the wit and creativity to wash over me. The same could be said for his second feature, 2008's City of Ember though I haven't revisited that film as often as Kenan's first feature. To top it off Kenan has enlisted a cast that includes Sam Rockwell, Rosemarie DeWitt and Jared Harris as well as newcomer Kennedi Clements. This first trailer certainly hints at some pretty insane stuff and, if nothing else, looks like a fun PG-13 horror flick in the vein of The Ring. Even if I'm not necessarily excited about the thought of continuing to rehash old material, I'm at least happy to see another film from this promising director. Poltergeist opens in 3D on July 24th.

THE BOXTROLLS Review

In some ways Laika studios is becoming the indie animation factory where alternative childrens films go to flourish and are received with almost guaranteed better reception than anything the likes of Dreamworks, Disney or even Pixar puts out at this point. Don't get me wrong, those studios still make more money and get more attention and of course don't put out bad products (How to Train Your Dragon 2 and Frozen were critical successes as much as they were commercially and the upcoming Inside Out looks insanely ambitious),but at this point critics turn to Laika for something a little off the beaten path, something not so conventional in the realm of animation and typically, they are handsomely rewarded by the stop-motion studio. This kind of elitist, pedigreed status may already be hurting the studio though as with only its third feature out I came away feeling rather indifferent about the whole experience. This may be due to the fact my expectations were rather high given I really enjoyed, dare I say loved, Paranorman and thought it to be an exercise in both nostalgia and expert craftsmanship that resulted in a thoroughly entertaining and weighted film. The techniques used to bring the characters and worlds to life typically serve only to enhance the tone and intended darkness of the stories being told while keeping the overall facade light as if all a masquerade for the children with deeper meaning behind the mask for their parents. This works to a certain extent with our titular characters in Laika's latest film, but never do we find the connection to our human surrogate that we did to Norman whilst on his quest to prove he could rid his town of its age old curse. This lack of connection is odd because both characters are essentially outcasts, people who don't integrate into society seamlessly and thus require and adventure for some type of initiation and acceptance to be felt. In The Boxtrolls our surrogate is a young boy adopted into a society believed to be monsters based on appearance alone (is it easy to see what the moral of the story will be yet?). Eggs (Isaac Hempstead Wright), as he is so lovingly referred, is both charming and naturally intuitive given his strange predicament and his plight is at least endearing if not all that interesting while the biggest let down overall is that this is just what you expect it to be and little more.

POMPEII Review

I've never been a big fan of director Paul W.S. Anderson as I've never even seen a single Resident Evil movie (though he's only directed three of the five) and while I did rather enjoy his 2008 re-make of Death Race that was as much due to the fact it starred Jason Statham as anything else. In light of that film and all of the facets that his 2011 Three Musketeers interpretation had going for it I was rather interested in seeing how it turned out, but I couldn't even make it through the entirety of that flick when I rented it at home and I doubt I would have made it through Pompeii either had I not been sitting in a theater. The story of the city of Pompeii is no doubt a fascinating one as what occurred in the aftermath of Mount Vesuvius exploding in 79 AD and wiping out the entire city, killing two thousand people, within a matter of moments and leaving everything covered in several feet of ash and rock, allowed those moments in time, those moments of fear and humanity to be captured, frozen in time and preserved for thousands of years creating a mystery around the city. It would be impossible not to delve into the stories that exist under the ash, but Anderson is not the director I would have chosen to create what is inherently an epic because once his name was attached it became immediately clear what type of film this would be and the final result proves nothing if not the fact he is a predictable and safe director. While it is only of my opinion, it would seem this kind of story lends itself to that of a gritty realism and an opportunity to ask and address bigger questions such as at the end of the world, what are we? This as well as investigating the human element of survival and of meaning under circumstances completely out of our control. Instead, Anderson makes the whole point of this film feel like a reason for the 3D technology to exist because watching fireballs zoom by and crash into ancient cities is more entertaining than story or character development. I'm all about having fun at the movies and being completely wrapped up in the outlandish worlds of pure popcorn entertainment, but Pompeii doesn't so much have a story as it does serve as an excuse to blow shit up on the biggest scale possible. It is a disaster movie that keeps its promise in terms of action, but only skims the surface of what the circumstances of these events bring to the lives of those who suffered under them.

LINCOLN Review

When coming from a generation where director Steven Spielberg has already been placed upon a pedestal as an iconic director it is hard to look at anything the guy does with anything less than high expectations. While other times it will naturally feel as if the man is skating by on his reputation rather than his abilities that could have easily come to a halt once reaching such a status. I have always wondered about this, wondered if Spielberg had what it takes to continue walking his line between serious films and blockbuster money-makers while maintaining his credibility with the critics and keeping the general public intrigued no matter what type of project he chose to take on next. In the time since I began seriously loving films (say, the last ten years) the director has created two genuinely great films and a slew of others that are very good. One thing was ultimately clear, these movies were made by a filmmaker who knew what he wanted and no matter the genre or the size has the power to make you feel something, an inherent reaction to what is happening on screen. While I have always been a fan of Spielberg and of course have wrestled with what some of his films might have become were they made by a less established name, none of this came into consideration when reflecting upon Lincoln many hours after the credits rolled. A film that has been in the works for over fifteen years, it is simply rewarding to see this work finally come to fruition. An intense and stirring look behind closed doors that doesn't cover Lincoln from birth to death but instead focuses on a small window in his life that very well defines why the man still commands an iconic status today.