Month: October 2018

Today’s quick review: The Numbers Station. Following a crisis of conscience, Emerson (John Cusack), a hitman for an intelligence agency, is reassigned to quieter work guarding Katherine (Malin Akerman), a civilian cryptographer, as she transmits coded messages to agents in the field. But when their facility is attacked, Emerson and Katherine must hold out long enough for help to arrive.

The Numbers Station is a minimalistic thriller set in an isolated broadcast station. The Numbers Station features a decent plot, a suspenseful tone, and a fine pair of leads. Emerson and Katherine must use the few resources at their disposal to survive and get help. However, The Numbers Station’s limited story keeps the movie from making the most of an interesting premise.

The Numbers Station sacrifices world-building for tension. The attackers are anonymous gunmen who are never given a proper motive. Neither Katherine nor Emerson has a visible personal life. The lack of background color nicely mirrors the secrecy of the intelligence business, but it also means that the viewer has little to invest in beynod the characters’ immediate survival.

The Numbers Station does unfold well, with a few clever surprises along the way. The station makes for an interesting prison, and the two main characters occupy themselves hunting for clues about the attack. Once again, the movie’s restricted scope bites it. The plot twists are interesting, but without a richer world or a longer story to play into, they can only do so much.

Watch The Numbers Station if you are a John Cusack fan looking for a short, reasonably competent thriller. The Numbers Station lacks the substance to compete with the better entries in its genre, but it does enough right to be an enjoyable watch. Skip it if you are looking for a deep plot or flashy action. For a fuller execution of a similar premise, check out Safe House.

5.6 out of 10 on IMDB. I give it a 6.0 to 6.5 for decent execution that comes up a little short.

Today’s quick review: Intermission. John (Cilian Murphy), an underachieving supermarket clerk, grows jealous of his ex-girlfriend Deirdre (Kelly MacDonald) when she begins dating an older man. At the suggestion of Lehiff (Colin Farrell), a petty thief, John hatches a plan to embarrass Deirdre’s new boyfriend and get rich, all in one fell swoop. Meanwhile, Jerry (Colm Meaney), a self-important cop, seeks fame on a local television program.

Intermission is an unconventional crime movie with an ensemble cast and a decentralized storytelling style. Intermission follows a number of odd characters as their lives cross paths with one another. The movie has an understated but effective sense of humor in the Irish tradition, and it does a good job of placing its characters where they need to be. However, its mundane subject matter, complex plot, and slow build-up make it a mixed success.

Intermission has an expansive story with a handful of main threads. The movie jumps back and forth between a large cast of characters who are connected by friendship, acquaintance, and circumstance. Their various troubles form the moment-to-moment substance of the movie, while a larger storyline begins to emerge as the movie goes on. Clever segues help orient the viewer during the movie’s meandering beginning.

Intermission is a modestly entertaining and occasionally charming film. Its characters are well-acted, fairly likable, and believably human, and the movie does an excellent job of tripping them up just when they are getting ahead. The humor has a wry tinge to it that offsets its characters’ various failures. The plot’s actual substance is somewhat sparse, but it builds up to a satisfying finale that neatly ties up its many threads.

Watch Intermission when you are in the mood for a creative look at life and its foibles. Intermission does not have the impact that a more focused crime story or a more ridiculous comedy would have, but its unusual storytelling style, touches of humor, and good wrap-up make it a worthwhile watch. For a chaotic crime comedy with more punch, check out Lock, Stock, and Two Smoking Barrels. For a black comedy with a similar sense of humor, check out In Bruges.

6.9 out of 10 on IMDB. I give it a 7.0 for decent writing and a sprawling plot.

Today’s quick review: Birdman. Riggan Thomson (Michael Keaton) is a washed-up actor known for his work on the wildly successful superhero movie franchise Birdman. To revive his career and win back his dignity, Riggan begins production on a Broadway stage drama. But in addition to a temperamental cast, a skeptical public, and his failing personal relationships, Riggan must deal with his own inner demons, among them the prideful voice of Birdman in his head.

Birdman is a stylized drama with innovative cinematography and a touch of magical realism. Birdman boasts a solid script, stylish presentation, strong performances, and a host of subtler flourishes, including a jazz drum soundtrack and moments of fantasy that pair nicely with the film’s grounded setting. The story follows Riggan through the turbulent last days of rehearsal before his play opens.

Birdman’s most distinctive feature is its cinematography. Nearly the entire movie is presented as one, continuous camera shot. The camera follows the characters around as they move from location to location in and around Riggan’s theater. The few noticeable cuts are either well-hidden or elegantly dressed up. Birdman’s skillful use of its camera makes it a uniquely engrossing watch.

Beyond its novel camerawork, Birdman is a remarkably well-crafted film. The script weaves together clever themes, disparate subplots, and a variety of emotional beats to form a colorful and surprisingly coherent tapestry. The details of the story are chosen carefully to enhance the whole. Through it all, Michael Keaton shows a remarkable range, at times a capable actor fulfilling his dream, at times a failure on the verge of collapse.

Birdman’s story is backed by a talented cast. Edward Norton plays Mike Shiner, a brilliant but uncontrollable stage actor who joins Riggan’s cast at the last minute. Emma Stone plays Riggan’s daughter Sam, a recovering drug addict working as an assistant for her father. Zach Galifianakis plays Riggan’s best friend and producer Jake, the one man keeping the show together. The characters are multifaceted, unpredictable, and almost always interesting.

Birdman does have its foibles. The movie’s blend of quirky interactions and realistic drama won’t work for everybody. Its snappy presentation masks weighty themes of depression, aging, and the struggle for relevance. The film’s cultural commentary also dates it, tying it closely to the rise of the superhero genre. Still, Birdman’s baggage is minor compared to its strengths, and even skeptical viewers can easily get lost in its story.

Fans of the artistic side of cinema need to give Birdman a shot. Its vivid vision and polished execution make it an impressive feat of filmmaking and a fascinating watch. Those who prefer flashy action, unadulterated comedy, or straightforward storytelling should approach with caution. Birdman has enough quality to sway wary viewers, but its tone and subject matter give it a very particular kind of appeal.

7.8 out of 10 on IMDB. I give it a 7.5 to 8.0 for interesting writing, a great cast, and strong cinematography.