Full Trailer for ALIEN : COVENANT

I am among those of the mind that consider Prometheus an astonishing achievement. A careful consideration of some very big questions that is as self-serious as could be, but with valid reasoning. Also, those visuals. The look of Prometheus is one that has stayed with me and has been hard to compete with even in the five plus years since its debut. With this new, full trailer though, we finally get a much better, more immersive look at Alien: Covenant in which Scott seems to be more interested in reprogramming Alien than the continuing adventures of Noomi Rapace’s Elizabeth and Michael Fassbender’s David. Given Covenant finds Fassbender reprising his role as the android and the fact the script comes from John Logan who adapted Hugo and had a hand in writing Skyfall and The Last Samurai I am optimistic there could be enough here to sustain and interest me in this new chapter of the franchise. All of that said, I've never been into the Alien mythos enough to be truly excited for this film, but the casting is intriguing and the reveal of the premise of the mission certainly raises some questions I look forward to finding out the answers to. It definitely seems as if Scott is going more for the horror genre than that of pure science fiction, but while that may reassure most I preferred the direction Prometheus was going rather than the isolated story Alien presented. In the trailer we see the crew of the titular Covenant discover what seems to be an “uncharted paradise” whose only inhabitant is Fassbender's David. As is also made clear, it doesn't seem it takes too long after the crew encounters David that things begin to go horribly wrong and they're forced to find daring ways in which to escape. Still, those visuals. I'll give the trailer that even if I'm still not convinced this will match the hype. Alien: Covenant also stars Katherine Waterston, Billy Crudup, Demián Bichir, Carmen Ejogo, Jussie Smollet, Amy Seimetz, James Franco, Danny McBride, and opens on May 19th, 2017.

Teaser Trailer for BRIGHT Starring Will Smith

During the Oscar telecast on Sunday night Netflix decided to debut a first look trailer for their latest original feature film, Bright, which is written by Max Landis (Chronicle, American Ultra), directed by David Ayer (Fury, Suicide Squad), and stars Will Smith. Yes, Will Smith is in a feature length film that will not be making its premiere theatrically, but rather through the streaming service that you can enjoy from the comfort of your own home, on your own TV, on what would typically be a night out at the movies. The pros are obvious: your $10 a month subscription saves you a fair amount in ticket costs, the boxes of candy from Walgreen's are less than one box at the theater, you have a twelve pack of sodas in the fridge that cost less than the smallest drink at your local franchised cinema, and depending on your entertainment set-up your viewing experience might even be comparable to that of what a theater can offer, so what might the cons be? The theatrical-going experience is one of the last standing traditions in the world that can bring people together without much risk of tearing them apart at the same time. The theatrical experience is something you can't re-create in your home no matter how big of a television, projector, or how many people you watch with; there is something singular about sitting in the dark with strangers and experiencing an artists singular vision no matter the genre classification. Whether the purpose is to move us, make us laugh, or frighten us such an experience can only be felt or conveyed when it becomes apparent how a film might not have affected just you, but those from different walks of life who just witnessed the same thing. The last edge the theater chains held over the heads of its competitors was exclusivity in material, but with Netflix now holding the keys to movies with stars such as Will Smith in them the tide suddenly seems to be changing at a much faster rate. All of that said, Landis has called Bright his Star Wars as it is set in a modern take on a fantasy world where Smith's human cop is forced to work with an orc partner (Joel Edgerton) in order to find a powerful wand sought after by many. Bright also stars Noomi Rapace, Lucy Fry, Edgar Ramirez, Margaret Cho, Ike Barinholtz, and debuts globally this December.

First Trailer for ALIEN: COVENANT Starring Michael Fassbender

I am among those of the mind that consider Prometheus an astonishing achievement. A careful consideration of some very big questions that is as self-serious as could be, but with valid reasoning. Also, those visuals. The look of Prometheus is one that has stayed with me and has been hard to compete with even in the four plus years since its debut. And so, while I'm somewhat disheartened by the fact director Ridley Scott decided to go more with a direct prequel to his beloved 1979 film, Alien, rather than more of a sequel to that aforementioned 2012 hit with the follow-up I assume I'll get over it. With Alien: Covenant Scott seems to be more interested in reprogramming that film that started all of this rather than the continuing adventures of Noomi Rapace’s Elizabeth and Michael Fassbender’s David, but given Covenant finds Fassbender reprising his role as the android and the script comes from John Logan who adapted Hugo and had a hand in writing Skyfall and The Last Samurai I am optimistic that there could be enough story here to sustain this new chapter in the franchise. All of that said, I can't say that I'm overly excited for what this first look trailer promises. Sure, it looks like it might be more in the horror genre than that of the pure science fiction one, but while that may reassure most I preferred the direction Prometheus was going rather than the isolated story Alien presented. As far as story is concerned though, it seems we encounter David who is now the sole inhabitant of an “uncharted paradise” which is visited by the crew of the colony ship Covenant. Of course, once the crew arrives on this supposed "uncharted paradise" I'm sure it doesn't take long before things begin to go wrong and the (remaining) crew have to find daring ways in which they might escape. I'm not saying this can't be accomplished in an exciting manner, but I am saying this trailer doesn't do much for me by way of getting me excited for the film. Alien: Covenant also stars Katherine Waterston, Billy Crudup, Demián Bichir, Carmen Ejogo, Jussie Smollet, Amy Seimetz, James Franco, Danny McBride, and opens on May 19th, 2017. 

CHILD 44 Review

Child 44 is a movie that seems to want to be one thing, but doesn't know how to be that thing. It has ideas of how to be this grand period piece/spy thriller yet it isn't sure how to convey the inherently intriguing story it is dealing with. There aren't necessarily too many facets occurring or even a lack of focus, it's simply put: a script issue in that the gripping story wasn't told in the most gripping of ways. It is actually somewhat impressive that what was seemingly used as the shooting script was able to make it to that stage in the first place. If the film I saw was taken directly from the screenplay, and it's highly unlikely there was any improv on this set, then one would imagine it would come to light pretty obviously that there were some major structural problems that needed to be reassessed. Instead, director Daniel Espinosa (Safe House) and his exceptionally talented cast drift through this somber and distinctly cold film without seeming to notice that the pieces weren't congruent. There could be any number of reasons Espinosa and his crew didn't take note of these shortcomings while in the midst of shooting as I imagine there is a great pressure to get things done in a certain amount of time and under budget, but while something should have come of this in the editing room (where many directors admit the a film is truly made) the major issues still come back around to point their fingers at the script. Based on what the final product delivered this was more like the second draft of a screenplay rather than one further down the road, one that was able to find its voice and emphasis on particular themes. Adapted from a novel by Tom Rob Smith and written for the screen by Richard Price (who hasn't written a feature since 2006 and has tellingly worked more in television) the editors were unable to craft a slimmer film from the footage that was shot because each moment admittedly relies on a detail in the previous scene to move forward despite the two halves of the film feeling completely disconnected.

First Trailer for CHILD 44

Between The Dark Knight Rises, Tinker Tailor Soldier Spy, Lawless and now Child 44 Tom Hardy and Gary Oldman might as well star taking roles in all of each others films no matter the lead. Still, the reason to be interested in the latest from director Daniel Espinosa (Safe House), for me at least, is that it features a seeming intense performance from Hardy. Hardy is not only one of the most exciting actors working today, but one of the most diverse and, in my opinion, the best. Between Locke and the (underrated) The Drop from last year Hardy has established himself alongside the likes of actors such as Jake Gyllenhaal and Michael Fassbender who are young, still feel up and coming and yet have the power and credibility to make their own creative choices and do the projects they actually want to do. With that said, I can't help but be excited for what Child 44 holds and what kind of year it might kick off for Hardy who will follow it up with at least three more major projects by years end. As for the film itself, this first full trailer gives us plenty to chew on as it dives deep into the plot taking place in Moscow of 1952. A disgraced member of the military police (Hardy) investigates a series of nasty child murders after his fellow soldier and his wife lose their son. There is a distinct style to the piece and an atmosphere that is almost irrepressible. More than this, the premise is extremely dour and feels right in line with the kind of mood Hardy typically thrives best in. Child 44 also stars Paddy Considine, Joel Kinnaman, Jason Clarke, Noomi Rapace, Charles Dance, Vincent Cassel and opens on April 17th.

THE DROP Review

When one approaches a film with a certain set of expectations based on the individual components and what it could potentially add up to as a whole it gives way to a certain direction we think the film will go. From the outside looking in The Drop starring Tom Hardy and James Gandolfini in his final screen role sold itself as a Brooklyn-based crime drama that centers around a robbery gone wrong and the investigation around the robbery that brings a certain drop-point system to its knees. While all of this is still very much a part of the film, it isn't the centerpiece, as an audience we aren't drawn into the plot as in the series of events that make up the story, but instead become more interested in how these specific characters will decide the course of the story rather than the tropes typically employed in this genre. To be fair, it is a deliberately slow-paced affair that sets the tone of not only the critical environment in which the movie takes place, but the attitude of our main character and how it lines up with the aforementioned plot elements that combine to bring home more than we bargained for in the third act. As the film goes on and we wonder why the tension never reaches breaking points with the police involvement or why more things, shocking things aren't happening we are getting a portrait painted for us and we don't even realize it until director Michaël R. Roskam wants us to. There are core questions people have to ask themselves when put in a predicament such as Bob Saginowski (Hardy) is here. What is his overall goal in life? What is standing in his way? What might he lose if he doesn't achieve his goal? They are questions that Dennis Lehane no doubt asked himself as well when he penned both the screenplay and his short story the film is based on. These questions though, ones that typically provide a kind of structure for where a story needs to go, while still in place, are allowed to become side-tracked and thus result in a film where it doesn't feel we are dipping in on a very specific moment in time in the life of the characters, but that this is simply another set of struggles, another set of detractors and minor set-backs in a neighborhood where everyone is fighting to make a living and maybe one day, achieve their ideal goals.

PROMETHEUS Review

To be fair, I may show a bit of favoritism in writing about Prometheus. This is my kind of movie and I was hooked from the beautiful opening shots of the soaring landscapes of a distant, alien planet. Also, to be fair, I should state that I may be one of the few cinema lovers who does not have Ridley Scott's Alien ingrained into my mind as a film I grew up on, I never even considered it one of my favorites. Before refreshing my mind just before screening Prometheus I had only seen the movie that made Sigourney Weaver a star once. So, while many reviews you might read about this film will contain a high level of discussion about how this new film contains DNA of the directors genre-defining sci-fi flick, mine will not. In essence though this aspect feels like nothing more than an afterthought and so the knowledge of those previous films is unnecessary only offering a bit tacked on to appease those who have waited 30 years for the director to re-visit the genre he so generously made contributions to. Prometheus is a monster all its own, with a strand of thinking that goes after what Alien only hinted at. Alien was a minimal sci-fi film, it was elegant in its execution and a slow burn in its pace. Prometheus, on the other hand, while sharing the fine eye for the pacing of its predecessor, also goes beyond the walls of the ship to explore the existential longings of two scientists who believe they may have just solved the mystery of human existence. With such a big question premise there was bound to be some disappointing aspects to the revelations but Scott has concocted a film that is nothing short of an accomplishment in visual wizardry despite fumbling the ball in the final act.

Meredith Vickers (Charlize Theron) and Janek (Idris Elba)
watch from the ship as they discover the unthinkable.

We, as human beings, develop belief systems based on basic human needs. We do this to protect ourselves and function in the world. People strive to have happy events occur in their lives while feeling as if we are connected to the world in which we live. We create these systems though in an attempt to understand the world we live in, it provides structure and it helps us understand information so that all of this makes sense. Prometheus asks the question of what if these are all nothing more than self fulfilling prophecies? Are they nothing more than tools to interpret events in a way that fit into those belief systems? That is what I found not only the most engaging about the film, but also the most pleasing. That this large scale film that looks like a summer blockbuster has the balls to meditate on big philosophical questions. It is visually stunning and intellectually stimulating much in the vein of something like The Tree of Life while maintaining a demand that is something closer to that of a Marvel movie. Prometheus approaches these questions with the fact that there is biology somewhere else in our universe, that Earth is not the only planet able to sustain life, even if only in the smallest of organisms. The way in which it chooses to explore these themes is by pondering the questions of the origins of mankind.  The thesis is that life came from another race of extraterrestrials. It is kept strictly scientific throughout only upping the credibility of what we are witnessing. That is not to discourage beliefs in a higher power, but is instead something that quenches every single persons need to see to believe. At times, we can feel the strain of the script being unable to meet the epic expectations the dialogue reaches for. Still, for the most part this satisfies our sense of wonder and mystery with the awe-inspiring visuals that also carry a good amount of dread.

Dr. Holloway (Logan Marshall-Green), Dr. Shaw (Noomi
Rapace) and android David (Michael Fassbender)
investigate ancient ruins on a distant planet.

These thoughts and musings are played out through the story of two doctors, Elizabeth Shaw (Noomi Rapace the original Girl with the Dragon Tattoo) and Charlie Holloway (Logan Marshall-Green) who have discovered markings in caves that span thousands of years but share a common characteristic. These drawings lead them to a specific set of stars and planets where they believe the secrets to the origins of mankind will be found. The two scientists are on board the ship appropriately titled Prometheus after the God who is credited with the creation of man from clay and the theft of fire for human use, an act that is said to have enabled progress and civilization in mythology. Shaw and Holloway are funded by Peter Weyland (Guy Pearce in tons of make-up) an aging corporate tycoon who believes in their theories. They are joined on board by Captain Janek (a scene stealing Idris Elba) as well as corporate manager for Weyland Industries Meredith Vickers (Charlize Theron playing the baddie for a second week in a row). And then there is David, the android who looks, talks, and for the most part acts like a human being. There is always one robot in these kinds of movies, but Michael Fassbender makes David one for the record books. While David is neither good or bad, he clearly has his own agenda and he will stop at nothing to accomplish his personal goals. While there are plenty of scares to be expected from the slimy alien life forms to the several creative ways crew members are dispensed, nothing comes close to the frightening realization of what David is and how much he is capable of. Fassbender makes the most out of this already stand out character by creepily yearning to be a human himself yet taking full advantage of the perks that come with existing without a soul and bottomless database.

David gets to the heart of the truth the explorers hoped
to find on their expedition.

While the first hour or so of the film is completely compelling with non-stop discussion of the possibilities that lie ahead and the talk of what they already know and what they hope to discover; the conclusion does see the script slightly crumble. It is all very fascinating and is both in word and scope genuinely epic. I don't know that I have ever seen more clear, pristine visuals coated with such looming nuances of fear. Each of the actors bring a fine performance to the table and Rapace should certainly be commended for anchoring this huge film with such humility and confidence. Though her Dr. Shaw is unlikely to become as iconic a character as Weaver's Ripley, that role was of a different time and social landscape where now a woman protagonist is not as unheard of. What is most important is that Rapace proves herself up to the challenge and I am excited to see where her career in the U.S. will go from here. The only disheartening bit about the film and the only reason it ranks a four-star rather than a full five in my books is because of the questions it leaves unanswered. While this could of course be left to the explanation that Scott wants viewers to discuss and draw their own conclusions the truth feels closer to the fact that the screenwriters were unable to create an end result that matches the hype the early discussions build. The entire running time the audience is looking forward to answers to continuous questions being asked. When we finally reach the climax of the film we receive no concrete explanation (which I can live with) but we are not really given anything to draw from either. We see a set of actions take place with no justification. It's as if the writers hope the crowd will be so distracted by the loop around to the Alien connection that we will forget about the meat of why we are here. Not true, and I held such high hopes for what revelation might come. I can only hope that those unanswered questions were left open for a sequel that might offer insight rather than a discussion that will only ever consist of speculation.

  

PROMETHEUS Review

To be fair, I may show a bit of favoritism in writing about Prometheus. This is my kind of movie and I was hooked from the beautiful opening shots of the soaring landscapes of a distant, alien planet. Also, to be fair, I should state that I may be one of the few cinema lovers who does not have Ridley Scott's Alien ingrained into my mind as a film I grew up on, I never even considered it one of my favorites. Before refreshing my mind just before screening Prometheus I had only seen the movie that made Sigourney Weaver a star once. So, while many reviews you might read about this film will contain a high level of discussion about how this new film contains DNA of the directors genre-defining sci-fi flick, mine will not. In essence though this aspect feels like nothing more than an afterthought and so the knowledge of those previous films is unnecessary only offering a bit tacked on to appease those who have waited 30 years for the director to re-visit the genre he so generously made contributions to. Prometheus is a monster all its own, with a strand of thinking that goes after what Alien only hinted at. Alien was a minimal sci-fi film, it was elegant in its execution and a slow burn in its pace. Prometheus, on the other hand, while sharing the fine eye for the pacing of its predecessor, also goes beyond the walls of the ship to explore the existential longings of two scientists who believe they may have just solved the mystery of human existence. With such a big question premise there was bound to be some disappointing aspects to the revelations but Scott has concocted a film that is nothing short of an accomplishment in visual wizardry despite fumbling the ball in the final act.

SHERLOCK HOLMES: A GAME OF SHADOWS Review

There is an energy to the Sherlock Holmes films that engages an audience member such as myself. It is not a dumbed down action film that takes itself too seriously, in fact the film had me laughing much more than I expected. This franchise is about style and Holmes has a lot of it even if he doesn't flaunt it. The way in which Robert Downey Jr. portrays the character seems to have no resemblance to the classic character of Arthur Conan Doyle's literature, but the characteristics that Downey does add, the kind of smooth talking eccentric is what makes the pairing of he and Dr. Watson so appealing. And that is indeed the highlight of this second film as much of the time and story is paid to the constantly changing relationship between Watson and Holmes. As was indicated in the first film, Watson is getting married and when it actually comes time for the ceremony in "Game of Shadows" it finally sinks in with Holmes that he will be somewhat losing his best friend. While this serves as a motivation for Holmes to cherish the sidekick he never showed appreciation it also makes Holmes detest the man who has designed an elaborate plan to disrupt the world by jump starting WWI. While some may not enjoy this Holmes as much as the first, the pure fact it positions Holmes against his greatest nemesis, Professor James Moriarty, is reason enough to see it. The fact director Guy Ritchie keeps the tone and style the same while capturing bigger and better action sequences on screen should also allow the film an approving nod from all fans of the series.

Sherlock Holmes (Robert Downey Jr.) and his sidekick
Watson (Jude Law) toast to Watson's upcoming wedding.

"Game of Shadows" drops the super natural element brought to the first film by villain Marc Strong in service of adding Holmes's greatest archenemy Professor Moriarty. Mad Men's Jarred Harris portrays the criminal genius with a flair of arrogance and grit that is smarmy yet inviting. As Moriarty, Harris is the right amount of indulgent villain with enough credibility to come off as the genius he is portraying The new film gives us Holmes coming to the aid of a fortuneteller (Noomi Rapace in her American film debut) who is threatened by Moriarty. He does this on the eve of Watson's wedding, somewhat luring the groom-to-be into killing two birds with one stone. The films compliment one another better than expected as at first we were led to believe Rachel McAdams Irene Adler would not be returning for the sequel, but as revealed in the opening moments she is of much importance to our story and Holmes' motivation to do away with Moriarty. This continuity funnily enough gave me a kind of peace over the series. In realizing the scope of the plot was much broader with this one than the first it also gave me the instinct this was a film in which everyone involved did seem to be trying. That seems more and more an important quality in these blockbuster films as they sometimes can be so rushed for release we see the affects on the quality, but I was nothing if not satisfied at the conclusion of "Game of Shadows".

Holmes and Watson team up with Madam Simza Heron
(Noomi Rapace) to protect her from Moriarty.

I have always enjoyed director Guy Ritchie's insight into the gritty underground world of England and how he brought that to the 19th century proved even more intriguing than I anticipated. The way in which he captures the tone with the films gray palette and Victorian set design with a lack of elegance is all the more engaging in terms of creating a world for these characters to exist in. I think the guy has a knack for pre-visualizing the film in his head and how it will play out. In all of his films, there are scenes of real innovation where editing is key, but the way in which it is shot compliment that editing style all the more. In the Sherlock films this proves true when Holmes envisions his battle tactics before they even happen. This innovation in style was a stand-out in the first film and those sequences continue in the second as the techniques to how the story is told are just as important to the story the film is telling. This is an important lesson that filmmakers should take note of, as Ritchie especially just seems to "get it". The down side of the second Sherlock though is indeed the execution of the story. Most problems seeming to come inherently from the script though. The film feels a bit long even at two hours and I was especially disappointed at the fact Rapace was not more prominently featured. While I appreciated the character development within our two leads it seemed to leave everything else as an afterthought. Even Moriarty (though his scheme was as crafty and epic as expected) seemed to have limited screen time.

Professor James Moriarty (Jared Harris) has Holmes right
where he wants him, at least he thinks he does.

The overall effect didn't suffer as much as those previous sentences might lead you to expect though. As the film reached its second act it seemed to find its grounding and the pacing was much better allowing it to go out on a high note. In the end "Sherlock Holmes: A Game of Shadows" was an entertaining thrill ride that in many regards improved upon the original. I was left with a fun, adventurous, feeling as the last frame of the film flashed on screen. It is simply good fun and it is clear Downey Jr. has just as much fun playing Sherlock as he does Tony Stark. That is what the attraction of these films really comes down to. That central figure of Downey and his sharp edged charisma pulls on the curiosity of viewers and what he has done and will continue to do with such a classic and iconic character. The pairing of he and Jude Law, whom I have failed to mention so far, is one of the better on screen pairs in recent years as well. I can at least hope that the final scene proves true and that the dynamics it has set up give us a possibly better scripted third entry in the series, but one that keeps the same amount of energy and effort going for it as these first two films. The way I see it, things can only get better from here.

 

SHERLOCK HOLMES: A GAME OF SHADOWS Review

There is an energy to the Sherlock Holmes films that engages an audience member such as myself. It is not a dumbed down action film that takes itself too seriously, in fact the film had me laughing much more than I expected. This franchise is about style and Holmes has a lot of it even if he doesn't flaunt it. The way in which Robert Downey Jr. portrays the character seems to have no resemblance to the classic character of Arthur Conan Doyle's literature, but the characteristics that Downey does add, the kind of smooth talking eccentric is what makes the pairing of he and Dr. Watson so appealing. And that is indeed the highlight of this second film as much of the time and story is paid to the constantly changing relationship between Watson and Holmes. As was indicated in the first film, Watson is getting married and when it actually comes time for the ceremony in "Game of Shadows" it finally sinks in with Holmes that he will be somewhat losing his best friend. While this serves as a motivation for Holmes to cherish the sidekick he never showed appreciation it also makes Holmes detest the man who has designed an elaborate plan to disrupt the world by jump starting WWI. While some may not enjoy this Holmes as much as the first, the pure fact it positions Holmes against his greatest nemesis, Professor James Moriarty, is reason enough to see it. The fact director Guy Ritchie keeps the tone and style the same while capturing bigger and better action sequences on screen should also allow the film an approving nod from all fans of the series.