A MONSTER CALLS Review

Cancer movies suck. Let's go ahead and put it out there-having to deal with a movie, a piece of entertainment, that reminds us of just how debilitating and ruthless a disease cancer can be not to mention the lack of control we are able to extend over it is not exactly something we like to be reminded of in our attempts at escapism. Putting a plot in your film that concerns the disease dealing in abnormal cells can be cruel and if nothing else seem a blatant attempt to play on the real life emotions so many viewers will recognize from dealing with cancer themselves or through that of a loved one. It's a bastard of a disease and despite the fact it gets no different a representation in A Monster Calls, the latest from director J.A. Bayona (The Orphanage, The Impossible), it remains the focus of this sorrowful fairy tale serving as the catalyst for all that our young protagonist experiences. What is most fascinating about how A Monster Calls deals with this potentially tired trope of a disease though, is that it never allows the disease to take center stage. This is not a story about the person suffering from cancer and it isn't a movie about how cancer will define the lives of those it will leave in its wake, but more it is about confronting the disease, dealing with it in an honest fashion, and having the gall to stare it down. What I have always found disheartening about Bayona's films is that they consistently tell powerful and affecting stories that are executed in glorious visual fashion, but never tend to stay with the viewer in any real impactful manner. Rather, Bayona is a director who calculates in order to elicit emotion as his pieces are all in their place and his aesthetic is of just as much value as the way in which he conveys his necessary themes, but no emotion from his films ever seems to grow inherently out of these carefully considered factors that are coming together to tell this particular story. Maybe it's that he considers such elements too long to the point there is no opportunity for organic emotion to grow in between, but with A Monster Calls there are serious strides made. More than any other feature the director has led prior A Monster Calls latches onto its themes and is able to convey with conviction this truth that is hard for our protagonist to swallow as well as the agony and adventure he must go through in order to finally admit that truth to himself.

FINDING DORY Review

It has been thirteen years since Disney and Pixar released their fifth feature length film together in Finding Nemo, a movie about a timid clownfish who set out across the ocean to try and find his son. With that film, Disney and Pixar achieved the worldwide domination that the Toy Story franchise thus far had suggested and that Monsters Inc. had more or less solidified two years earlier. With Finding Nemo the animation studio proved once and for all they were no fluke and that their originals could be just as compelling and inventive as their sequels. So now, thirteen years later, we finally have a sequel to one of the Pixar films that both could have remained a stellar single film while also (along with The Incredibles) being one of the Pixar films that audiences longed for a sequel to and would have much preferred over another Cars movie. Has the moment passed though? Even Toy Story 3 came in under the thirteen year mark, but it has now legitimately been a full generation (or two) since Finding Nemo debuted in thetaers. Of course, the answer is no as through the power of DVD's, blu-ray's and the ever-improving home theater experience children and viewers who were once children who now have their own children will continue to watch their favorite Disney and Pixar films no matter how much time passes. I will certainly show my child the magic of Finding Nemo once she's emotionally ready for those first ten minutes, but the point is to say that it was never going to be too late for Finding Dory and more than anything most audiences will be happy to know it's finally here. And so, with that said and with all of that to live up to, how is the actual film? In short, it is perfectly capable. It is extremely sweet and cute in all the right ways. The flashbacks to Dory as a baby with her parents (voiced by Diane Keaton and Eugene Levy) teaching her how to cope with her short term memory loss will absolutely make a puddle out of any viewer with a heart. Finding Dory also succeeds in not being a carbon copy of the original and offers a fair amount of new characters that are also fun, sweet, and cute. As the film draws to its close though, it becomes clear Dory will pack none of the emotional heft that many of the best Pixar films do. While there are certainly moments of great weight and substance in Dory's quest to locate where she came from the overall arc of the film never latches onto a specific idea or theme in a way that through the films execution comes to feel profound. Instead, Finding Dory is a fun, beautifully animated diversion and sometimes that is just good enough.

CHAPPIE Review

Something rather odd occurred with Chappie as I attempted to take it in unphased by the haze of bad press it had swirling around it. For a good portion of the film, the parts before it essentially devolves into something of a mindless action film, I wasn't really gelling with what director Neill Blomkamp was going for. It's not that I didn't necessarily understand where he was coming from or what he was going for, but it just wasn't vibing with this particular audience member the way I feel he intended it to. As Chappie morphed into this one, big action sequence though I began to appreciate the way in which Blomkamp integrated all the elements he's been setting up even if some of those elements were rather frustrating. What I appreciated most though was the fact the film didn't go exactly where it could have and where I expected it to easily resort to, but in fact went a completely different direction and touched on a theme I didn't foresee the writer/director including in this script. As far as themes are concerned, Blomkamp is known for crafting large metaphors and for mirroring real-world issues with his science fiction stories, but as with Elysium my main problem here is that Blomkamp is touching on issues that are relevant now and not where those issues might push society in the future which is where Chappie is set and how science fiction typically works. Granted, it is only a few years, but after touching on South Africa's apartheid era in District 9 and the satire of Elysium commenting on the current state of separation between classes I somewhat expected Chappie to push things to a different level for Blomkamp and frequent writing partner Terri Tatchell. The issue with all of the elements Blomkamp introduces and that he and Tachell expertly integrate with one another is that instead of pushing things further, they just throw more plotlines with more themes at us to crowd our minds so that we might not focus on the fact the film doesn't have much to say about any single one of them, but more acknowledges that they exist and are rather interesting. In the end, what does this accomplish though? If no one line of thinking prevails, if no one idea is clarified, what is the point of the film? Herein lies the problem as I was entertained while watching Chappie, but took away my fair share of issues with it as well as not particularly liking large chunks of it.

EXODUS: GODS AND KINGS Review

What can you say about a film that is fine for what it is and nothing more? Exodus: Gods and Kings is a movie, it has entertaining moments, looks fantastic and while I obviously didn't love it there is certainly no reason to hate it either. The real problem is the fact there's no vision or passion behind the project. Director Ridley Scott (Alien, Blade Runner) is nearing eighty and in his aging state seems intent on pumping out films at a quicker rate than ever before. Since the massive success of Gladiator at the dawn of the millennium the director has not gone more than two years without making a film and more times than not he delivers one on an annual basis. With a project on the scale of Exodus though, one might imagine he'd have to take more time for prep and the development of visual effects at the least, but moreso for the necessity of trying to really make something substantial. Scott hardly seems interested in making anything of note these days though and instead is a misguided storyteller somewhat fascinated by history, more interested in spectacle and with no sense of impassioned faith, not even in his own work. I can only imagine what might come of an elder Scott picture were he to really take the process step by step and first develop the script he is given, this one patched together by four different screenwriters, then move on to planning a visual representation of that story that might actually allow the audience to become invested or feel a part of the action that is unfolding in front of them. Scott clearly has no problem getting budgets to secure the epic scope of his films nor is there an issue with attracting top talent to headline his movies, but instead of using these advantages to his advantage they are wasted on mediocre products that have consistently ended up feeling more like cogs in the machine than any type of exception to the rule. One might expect a Biblical epic in the vein of Cecil B. DeMille with a more contemporary approach to serve as fascinating for the generations that find Charlton Heston's version dated, but instead we receive more of what we are conditioned to. Exodus: Gods and Kings is less an inspired retelling of a story we all know and more another attempt by Hollywood to cash in on a pre-established brand.

First Trailer for Neill Blomkamp's CHAPPIE

While I was more of a fan of Elysium than it seemed like most people were, director Neill Blomkamp's claim to fame is still going to be his directorial debut, District 9. This is clear from the way in which his third film is being touted. It doesn't seem like nineteen months is long enough to turn around a film, especially one as technically involved as this seems to be, but Blomkamp has done it and to be honest this looks much better than I would have expected given the turn around time. It seems Blomkamp had done most of the time-consuming work beforehand on this one though as Chappie is seemingly a feature version of  his own 2004 short Tetra Vaal, with elements from his 2006 short Tempbot that features a similar-looking robot protagonist. Given all of that information I looked ahead to the trailer if not for it being another Blomkamp film, but for the fact it added an element of openly admitting it was a robot movie that inherently includes the fact artificial intelligence is built into the titular robot and not saving that as the big revelation. The look of the trailer is similar to both of Blomkamp's previous features in that it was shot in Johannesburg, South Africa but also in its grungy futuristic aesthetic. The visual f/x look flawless, the tone seems to be a mix of darkly cool and broadly funny while it will also be interesting to see Hugh Jackman play against type as the seeming villain of the piece. Chappie also stars Dev Patel, Ninja, Yo-Landi Visser, Jose Pablo Cantillo, Sharlto Copley, Sigourney Weaver and opens March 27, 2015.

First Trailer for EXODUS: GODS AND KINGS

While Ridley Scott may not have had the best luck in terms of critical or commercial success lately with his latest he has seemed to place all of his figurative eggs in the baskets of those that have whether it be in story or the actors conveying it. This year alone we've had several religious-themed films made on small budgets only to reap big rewards (God's Not Dead, Heaven is for Real) as well as secular takes on bible stories such as Noah that maybe didn't make as much money as expected ($359 million worldwide on a $125 million budget), but were well-received by the majority of critics if not as ecstatically as one might expect a new Darren Aronofsky film to be. Into this mix Scott will place his take on the story of Moses and in doing so has recruited the likes of Christian Bale and Joel Edgerton to bring this famous, well-worn story to life. This kind of precedent didn't exactly bode well for Noah which the studio felt it had to place a label in front of and ultimately seemed too grand a jump for those resting comfortably in the Bible belt, but if Scott's filmography is any indication this film will be more in the tradition of grand historical epics than innovative interpretations and artistic expression. That is what the trailer seems to hint at anyway as the focus is on the scope of the kingdoms and the richness of the detail as much as it is the character and story. Scott knows how to make an epic in the vein of old Hollywood though and has had success in doing so. Is he simply re-hashing one of his last great original efforts with the packaging of the now reliable religious angle? We'll see, but if the trailer is any indication this will at least be a thrilling picture if not necessarily an insightful, motivating work as its source material intends to be. The film also stars Aaron Paul, Sir Ben Kingsley, John Turturro, Sigourney Weaveopens and opens on December 5th. Hit the jump to take a look at the new Exodus: Gods and Kings trailer and posters.

THE COLD LIGHT OF DAY Review

After several delays it became more and more evident exactly what the The Cold Light of Day really was. There is nothing that could have made this film look any less inspired except for the possibility that rising star Henry Cavill chose it as an opportunity to put his stamp on a good little chase film. The new Superman will have to continue trying though as this forgettable little action film from unknown director Mabrouk El Mechri reaches the pinnacle of generic. There is no depth to the script and no real time to even get to know the motivations of the stock characters that wander across the screen. One has to be curious as to how these kinds of movies continue to get made and with such impressive casts. As you watch the film you cannot help but to wonder who read this and thought it stood a chance of rising above an already crowded season of drudge and bland action flicks. Dropped in the wasteland that can be late August and early September the film will still have trouble finding an audience. What stood out besides an easy paycheck and free vacation to credible actors like Bruce Willis and Sigourney Weaver who show up, do what they are accustomed to and leave without even caring what the circumstances of their characters are? Probably that paycheck and free vacation, but still despite the lovely tour of Madrid the film does provide in spots I can't help but to feel I'm going to take out all my frustrations on the studio system for dumping this type of generic crap on unsuspecting moviegoers who will pay their good money to see Willis and Cavill in a good old fashioned action film when Willis is dead less than twenty minutes in.

Martin Shaw (Bruce Willis) and Sigourney Weaver's
typical CIA agents confront one another.

The paperthin plot of the film concerns Will Shaw (Cavill) who is fresh off the plane in Spain and not all that ready to spend a week sailing with his family. This family consisting of a father (Willis) he has clearly never had a strong relationship with and a mother played by Caroline Goodall who wants to put a nice blanket over everything. There is also a younger brother and his girlfriend who serve absolutely no purpose other than to have more people in peril. Even as we learn that why our protagonist isn't exactly excited to be reunited with the family we wait to see how it will affect the overall plot of the film. It doesn't. I even went to the lengths in my brain of wondering if I missed something in the film because of the fact that important facets of our characters were exposed with no reference to them later on. They were simply stated as a fact about that purpose and used in no way further to even develop the character. It's not even a spoiler to say that Will's small business is bankrupt because there is no more to it than that. He's a little stressed out and understandably, but things only get worse when he leaves the boat to go into town to get some supplies and arrives back to find the boat ransacked and his family missing. His dad shows back up and informs his oldest son of the truth about him and his career, that he is a CIA agent and owes some other angry intelligent agents a briefcase (which we seriously never find out the contents of) that he has from a mission a few months ago. Sigourney Weaver then shows up and it gets really ridiculous and twisted just to the point that you know exactly whats coming next.

Will (Henry Cavill) gets in deeper than he ever imagined
after his family disappears.

I kid you not when I say that the story is that straight forward and there are no layers to it. At one point in the film Will finds a companion in Lucia (Veronica Echegui) and when she asks him what he does he tells her he is a business consultant. No more, no less. The script is so vague with its action film cliches it doesn't even bother to give us reasonable explanations for how Will is so suddenly able to defend himself against government trained agents who have years of experience on him. Other than his size and an early reference to his domination in high school sports, we have nothing and are led to believe his broad physique and obvious intelligence (he has his own business, duh!) will help carry him through these traumatic experiences. Let us not forget the tagline though, "instinct is his only weapon". The film at least realizes its own gaping hole in logic and therefore attempts to chock it up to the genetic bad-assery of Willis being the guys dad. Oh please, don't try to brainwash me with your poster before I walk into the theater and call you out. Will goes onto discover many things about his father that before his death had made him the mysterious and brutal figure he never got along with. What bugs me most about the film is likely this fact though. Willis is obviously a big pull for the film, likely more even than the fact its serving as a precursor to Cavill's turn as the man of steel, but even his character is nothing more than a cameo and after he is gone there is no justification for why all of the running, shooting, and conflict in general had to take place. What was in the suit case? What drove a man who is made out to be a stand up guy in parts to betray his country? We don't know because we are provided as many facts to think the guy is a scumbag as we are to think he did this for the benefit of someone other than himself. I honestly hope that the screenplay was much thicker than the film it has produced because once everyone is safe here the credits roll with no explanation as to what was really going on.

The Shaw family are the only one's held in real
suspense in The Cold Light of Day.

"Thanks for helping us clean up our own mess," and "your father was an honest man," are the closest things we get to any kind of explanation before the film wraps up two minutes later with another one of those unresolved plot lines laying in a hospital bed. There is a line included in there somewhere as well that hints at the fact someone, somewhere actually thought this movie might warrant a sequel and that Will Shaw would become some kind of franchise but if they were going to cut anything from the film it should have been that line as this film stands no chance of seeing a future beyond its limited first week of September release. I will be surprised if it even makes it into the top ten at the box office this weekend. I don't usually wish ill will on a film, but the urge to do so here has overcome me. Not because I particularly hated the movie that much but because of what this movie represents. A straightforward action movie that has combined elements of every film like this we have ever seen before and dumped it on unsuspecting audiences on a slow weekend at the movies where people will see it because they like Willis and they like Weaver or they want to know what this Cavill kid is all about because they haven't watched The Tudors. It's like serving crap to someone who's never had chocolate and telling them it's chocolate. It's messed up and will forever derive their opinion of a genre that can sometimes be so exhilarating and intelligent at the same time. The Cold Light of Day is neither of these things and deserves to have stayed on that shelf it sat on for so long. If we don't see the films they won't keep making them. Let's use this generic piece of dumbed-down entertainment to make a point rather than prove them right.

THE COLD LIGHT OF DAY Review

After several delays it became more and more evident exactly what the The Cold Light of Day really was. There is nothing that could have made this film look any less inspired except for the possibility that rising star Henry Cavill chose it as an opportunity to put his stamp on a good little chase film. The new Superman will have to continue trying though as this forgettable little action film from unknown director Mabrouk El Mechri reaches the pinnacle of generic. There is no depth to the script and no real time to even get to know the motivations of the stock characters that wander across the screen. One has to be curious as to how these kinds of movies continue to get made and with such impressive casts. As you watch the film you cannot help but to wonder who read this and thought it stood a chance of rising above an already crowded season of drudge and bland action flicks. Dropped in the wasteland that can be late August and early September the film will still have trouble finding an audience. What stood out besides an easy paycheck and free vacation to credible actors like Bruce Willis and Sigourney Weaver who show up, do what they are accustomed to and leave without even caring what the circumstances of their characters are? Probably that paycheck and free vacation, but still despite the lovely tour of Madrid the film does provide in spots I can't help but to feel I'm going to take out all my frustrations on the studio system for dumping this type of generic crap on unsuspecting moviegoers who will pay their good money to see Willis and Cavill in a good old fashioned action film when Willis is dead less than twenty minutes in.