Month: November 2018

Today’s quick review: Another Earth. Four years after her drunk driving killed a mother and child, Rhoda Williams (Brit Marling), a bright young woman, returns home from jail. Wracked with guilt, she takes a job cleaning for John Burroughs (William Mapother), the father who survived the crash, without telling him who she is. As the two work through their respective issues, the world marvels at a mirror Earth that appeared in the sky the night of the crash.

Another Earth is a budget science fiction drama that deals with themes of guilt, loss, and regret. Another Earth takes a close look at two lives affected by tragedy: the young woman responsible for the death of two innocents, and the man most affected by their loss. The movie’s sole sci-fi conceit is the mysterious appearance of another Earth in the sky, one that appears to be an exact copy of the familiar one.

Another Earth handles its drama well. Rhoda’s guilt, depression, and attempts at coping are all realistic, as are John’s. Another Earth captures countless little, significant moments that add up to a rich portrait of a tragedy. However, the films layers on its drama a little too thickly in places, and its few positive moments are not bright enough to cut through the film’s melancholy.

Another Earth makes limited use of its sci-fi elements. Earth 2 is a constant backdrop in the movie, but the questions it poses are largely rhetorical ones. Earth 2 exists primarily to prompt introspection in Rhoda, John, and humanity as a whole. The second planet has modest plot significance, but the focus remains on Rhoda and her troubles, not the larger questions of why the planet appeared or how interaction with it might play out.

Another Earth will most strongly appeal to fans of grounded, personal drama. Its rough production quality leaves something to be desired, but an insightful script and credible acting make it worthwhile for those interested in themes of guilt and depression. Skip it if you are looking for a light watch, or if you are a science fiction fan hoping to see contact with another planet. For marginally similar movies, check out Contact or Upside Down.

7.0 out of 10 on IMDB. I give it a 6.5 to 7.0 for well-handled drama, mixed production quality, and underused sci-fi elements.

Today’s quick review: Being John Malkovich. At the behest of his animal-loving wife Lotte (Cameron Diaz), unemployed puppeteer Craig Schwartz (John Cusack) takes a job at a strange company located on a half-floor in an office building. There he makes two life-changing discoveries: Maxine (Catherine Keener), an aloof coworker with whom he falls in love, and a hidden door leading inside the head of actor John Malkovich (John Malkovich).

Being John Malkovich is a surreal comedy with a unique premise from director Spike Jonze. Being John Malkovich takes a simple, arbitrary idea and runs with it. Those who go through the door get to experience fifteen minutes of John Malkovich’s life before being dumped by the side of the highway in New Jersey. The experience proves to be oddly fulfilling, and it has unexpected effects on the lives of Craig, Lotte, Maxine, and John himself.

Being John Malkovich is driven by its odd cast of characters. Craig is a loser with self-esteem issues and an unhealthy obsession with Maxine. Lotte’s first trip into Malkovich’s head uncovers a new side of her that further threatens her relationship with Craig. For her part, Maxine is a domineering woman who sees the door as a business opportunity and Craig as an amusement. Their relationships are dysfunctional in the extreme.

Just about the only normal character in the movie is John Malkovich himself. He is portrayed as an ordinary man, albeit something of a loner, who reacts with understandable outrage when he learns that his head is being used as a tourist attraction. Malkovich guides the movie through its most surreal moments, throwing himself into a memorable performance that examines the most personal details of his fictionalized life.

Being John Malkovich has a peculiar sense of humor that goes beyond just the fantasy portions of the movie. Every character is awkward in one way or another, and the ordinary world has a surreal edge to it, from Craig’s comically small office to his unusual dream of becoming a famous puppeteer. But even the moments that are neck-deep in fiction have a familiar tinge to them, exaggerating and distorting the struggles of real life.

Being John Malkovich is not a satisfying movie. Its characters are outside the usual boundaries of normalcy, its premise is entirely arbitrary, and its plot only gets stranger as it goes along. Its artistic statement about life, if there is one, is open to interpretation. But Being John Malkovich achieves what it sets out to do, and those interested by abstract, experimental films would do well to give it a shot.

For those with more conventional tastes, The Truman Show gets at similar themes without going as far afield.

7.8 out of 10 on IMDB. I give it a 7.0 to 7.5 for a novel premise, solid execution, and questionable payoff; your score will vary wildly.

Today’s quick review: Kill Me Three Times. Hired to follow Alice (Alice Braga) by her suspicious husband Jack (Callan Mulvey), gun-for-hire Charlie Wolfe (Simon Pegg) stumbles upon a crime in the making: to pay off his gambling debts, dentist Nathan (Sullivan Stapleton) and his wife Lucy (Teresa Palmer) have arranged to kill Alice in an insurance scam. Meanwhile, Alice’s disappearance causes her lover Dylan (Liam Hemsworth) to start asking questions.

Kill Me Three Times is a black comedy that follows the tangled, criminal interactions of eight people in a small Australian town. Kill Me Three Times has a low budget but interesting writing and capable presentation. The movie makes liberal use of violence, swearing, and treachery, but its dark nature is offset by an irrepressible sense of humor.

Kill Me Three Times has the winding plot and darkly comical tone of a Coen Brothers movie. The movie retraces its steps on several occasions, showing its events from a new perspective and layering extra complexity into the plot. However, Kill Me Three Times handles a few of its twists inexpertly, and it has a tendency to resolve its plot threads with violence rather than anything more sophisticated.

Kill Me Three Times also deserves some credit for its characters. Alice makes for a sympathetic figure, not quite innocent but purer than the scoundrels around her. Simon Pegg ties the movie together as Charlie Wolfe, a cocksure assassin with a casual attitude and a professional edge. As for the rest of the cast, they fill their roles well enough. The acting is a step down from bigger-budget movies, but the film’s colorful writing helps make up the difference.

More than most movies, how much you get out of Kill Me Three Times will depend on your tastes. Fans of quirky crime movies who don’t mind a dip in execution quality will find it to be a short, entertaining romp with plenty of plot to chew on. But in the end, it is missing the extra polish and clarity of vision of the best movies that try the same thing. For a crime comedy in a similar vein, check out Burn After Reading, The Whole Nine Yards, or The Big Lebowski.

5.9 out of 10 on IMDB. I give it a 6.5 to 7.0 for an intricate and amusing plot.

“When I want your opinion, I will buy you a brain.” —Robert Morel

Today’s quick review: Bullet to the Head. When his partner is murdered by a mercenary named Keegan (Jason Momoa), hitman James Bonomo (Sylvester Stallone) teams up with Detective Taylor Kwon (Sung Kang) to track down Keegan’s employer, also the man responsible for the death of Taylor’s ex-partner. Their investigation pits them against the formidable resources of criminal real estate tycoon Robert Morel (Adewale Akinnuoye-Agbaje).

Bullet to the Head is a buddy action movie that pairs a trigger-happy hitman with a straight-laced cop. Bullet to the Head shows flashes of style, such as its punchy opening credits and its distinctive blues soundtrack, but the film never makes good on its promise. Instead, Bullet to the Head offers a typical action movie package: competent action with limited scope, an entertaining lead in Sylvester Stallone, and a forgettable plot.

Bullet to the Head’s main appeal should come from its mismatched leads, but the relationship never quite clicks. James Bonomo is a classic tough guy with a smattering of good lines, but Taylor Kwon never manages to prove himself. The two partners just aren’t equals in terms of competence, respect for each other, or audience appeal. While the script plays this dynamic for laughs with modest success, it is a weak spot at the core of the movie.

Bullet to the Head is a fine watch when you’re in the mood for some straightforward action. Sylvester Stallone, competent fight choreography, and a few stylistic flourishes make the movie a fun enough watch for action fans, but Bullet to the Head mishandles what should be a strong relationship between its two leads. For a buddy movie with a better dynamic, check out The Hitman’s Bodyguard or 2 Guns.

5.7 out of 10 on IMDB. I give it a 6.5 for an entertaining lead and some decent action.

Today’s quick review: The Iceman. Richard Kuklinski (Michael Shannon), a cold-blooded man with a hidden temper, takes a job as a hitman for Roy Demeo (Ray Liotta), a local mob boss. His dozens of kills for Roy and, later, freelance hitman Robert Pronge (Chris Evans) bring home enough cash to support his wife Deborah (Winona Ryder) and their two daughters. But eventually his secret profession threatens to destroy what he loves most in the world.

The Iceman is a dark crime drama based on a true story. The Iceman follows Richard Kuklinski through his two-decade career as a killer, including his prolific work for Roy Demeo and his seemingly idyllic family life. The Iceman is a competent drama with polished presentation, well-drawn characters, and credible acting. However, its dark subject matter and aimless plot keep it from joining the ranks of the best crime stories.

The Iceman’s one major sticking point is its subject matter. Michael Shannon delivers a suitably stony performance as Richard Kuklinski. But unlike other criminal protagonists, Richard has no redeeming features. His family life humanizes him just a shade, but his frequent, remorseless, and graphic murders bleed away what sympathy he earns. The problem is unavoidable given the source material, but it still makes The Iceman a tough watch.

Give The Iceman a shot if you are into the heavier side of drama. The Iceman has little of the romantic appeal of other crime dramas, but its solid execution makes it a fine choice for those with a taste for the macabre. Skip it if you are looking for a sympathetic protagonist or a rise-to-power story. For crime dramas that hit similar notes with more likable characters and slightly less violence, check out Goodfellas, Donnie Brasco, or Casino.

6.9 out of 10 on IMDB. I give it a 6.5 to 7.0 for solid execution and strong acting hampered by a downer of a story.

“It’s a bad world all around.” —Sinclair

Today’s quick review: The Last Heist. Sensing an opportunity, Paul (Torrance Coombs) leads his gang of thieves to rob what should be a soft target: a small bank on the verge of closing down. But the heist goes wrong when one of the customers (Henry Rollins) turns out to be a serial killer. With the police outside and a killer on the loose inside, the criminals must find a way to escape the bank with their money and their lives.

The Last Heist is a hybrid crime drama and slasher flick that pits an unhinged serial killer against a team of bank robbers who already have their hands full. The premise has potential, thanks to the cramped quarters, isolated characters, and unpredictability that the two genres share. But The Last Heist is simply not up to the challenge, and what potential the movie has goes to waste.

The Last Heist’s problems begin with its writing. The heist has no clear trajectory, even when it’s going according to plan, and the movie’s progression is thrown off badly by the killer’s activities and meaningless plot twists. None of the characters react the way they should, either. Basic interactions are packed with needless conflict, while serious events are treated with casual indifference.

The mechanics of the plot are broken as well. Nearly every event of the movie is driven by one bad decision or another, a fact that neither the characters nor the movie itself seem willing to acknowledge. The unforced errors range from Paul unmasking with no provocation to various characters allowing the killer to approach within knife range instead of shooting him. The plot hinges on the fact that none of its characters show common sense.

There are other issues that are subtler. Henry Rollins makes for a suitably disturbing serial killer, but his kills are random and have little dramatic effect. Paul’s crew are meant to be professionals, but they behave like amateurs. They also outnumber both the hostages and the first wave of police to arrive, an odd arrangement that raises the question of why they can’t simply leave.

Most viewers would be better off avoiding The Last Heist. Its failings are extensive, and even its value as a mindless heist movie is hurt by its bloody, slasher-style violence. Those hoping for a few laughs at the movie’s expense might find some enjoyment, but its issues are more pervasive than outrageous. For a more endearing heist movie of similar quality, check out Checkmate. For a higher-quality heist movie, check out Inside Man.

3.5 out of 10 on IMDB. I give it a 4.5 for weak characters, flimsy writing, and all-around poor execution.

Today’s quick review: Angels & Demons. Following the death of the Pope, an unknown party claiming to be the Illuminati kidnaps four cardinals and threatens to detonate a stolen cannister of antimatter within the Vatican. The Vatican calls in Harvard symbologist Robert Langdon (Tom Hanks) and CERN scientist Vittoria Vetra (Ayelet Zurer) to decipher the Illuminati’s clues and locate the bomb before it is too late.

Angels & Demons is a mystery thriller based on the novel by Dan Brown. The sequel to The Da Vinci Code, Angels & Demons recreates its predecessor’s distinct flavor of historical mystery. Tom Hanks returns as Robert Langdon, a religious symbologist with a sharp mind for puzzles, in another incident involving the Catholic Church. But this time the threat is not an ancient conspiracy but a modern one, resulting in a race against time all across the Vatican.

Angels & Demons has strong craftsmanship that makes it an unusually substantive thriller. The cast is once again geared for drama, and supporting cast members Ayelet Zurer, Ewan McGregor, and Stellan Skarsgard hold their own. The plot is not as iconic as The Da Vinci Code’s, but it remains gripping from start to finish. Director Ron Howard and composer Hans Zimmer also lend their talents again, giving the movie a polished, consistent feel.

Angels & Demons makes a better attempt than most movies at being a coherent, intellectual thriller, but it falls short in a few key respects. Much like The Da Vinci Code, the logic of the plot does not hold up to close scrutiny, and individual events often seem contrived. The film also wades into deeper philosophical waters than it can handle, making pronouncements about religion that it doesn’t have time to argue in depth.

These issues do not stop Angels & Demons from being a well-crafted, entertaining watch. Give it a shot when you feel like something from the serious, mystery-driven side of the thriller genre. Viewers prone to nitpicking should steer clear, as Angels & Demons aims just high enough to make itself an irresistible target. Newcomers to the series can safely watch the movies in either order, as the plot has no real ties to The Da Vinci Code.

6.7 out of 10 on IMDB. I give it a 7.0 to 7.5 for a striking plot, an interesting premise, and solid execution, let down some by plot holes and philosophical quibbles.

Today’s quick review: Skin Trade. Following the death of his family at the hands of human trafficker Viktor Dragovic (Ron Perlman), New Jersey cop Nick Cassidy (Dolph Lundgren) travels to Cambodia to exact his revenge. Tasked with stopping his rampage are Special Agent Reed (Michael Jai White) of the FBI and Tony Vitayakul (Tony Jaa), a Thai detective deeply involved in the Dragovic investigation.

Skin Trade is an action movie that takes aim at human trafficking. Skin Trade unites a cast of familiar faces for a fast-paced tale of revenge with plenty of violent action. However, the film comes up short when it comes to plot, writing, and direction. Coupled with the film’s heavy subject matter, these flaws make Skin Trade a midrate action movie at best, too dark for a romp and too flimsy for a drama.

Skin Trade does a fairly good job with its action. Tony Jaa leads the charge with his martial arts prowess, while Dolph Lundgren slips into his traditional action role: a bruiser with heavy kicks and an itchy trigger finger. The stunts are fast and plentiful, but they are a marked step down from what Tony Jaa could do in a devoted martial arts movie. The fight choreography is decent but could have been much more impressive.

Skin Trade has a host of minor flaws that keep it from fulfilling its potential. The plot takes too long to set up and wraps up too quickly, giving the main part of the story remarkably little time to play out. The setup itself is fairly interesting and wouldn’t have been out of place in a longer movie, but Skin Trade mishandles its plot threads and offers little payoff for its trouble. Poor editing chips away another piece of the movie’s overall quality.

Give Skin Trade a shot if you are a fan of budget action movies and don’t mind one with a heavier tone and mixed execution. The movie does deliver action, and its cast will be a draw for the right viewer, but its weaknesses are significant. For a martial arts movie that shows off Tony Jaa’s full skill set, check out The Protector. For a revenge-based action movie with more style and better delivery, check out John Wick.

5.7 out of 10 on IMDB. I give it a 6.0 to 6.5 for good action and modest star power held back by mediocre execution.

Today’s quick review: Falcon Rising. When his sister is nearly beaten to death in a Brazilian favela, John Chapman (Michael Jai White), a veteran struggling with depression, heads to Rio de Janeiro to find out why. With the help of Manny (Neal McDonough), a US Embassy official, and Katarina (Millie Ruperto), a compassionate local cop, John continues his sister’s work: uncovering a human trafficking ring run by the yakuza.

Set in Brazil, Falcon Rising is a textbook action movie with clean but unexceptional execution. Michael Jai White makes for a credible action hero: strongheaded, compassionate, and dangerous enough to take the fight to criminals. The combat is a pleasing mixture of martial arts and gunplay, and while the stunts are far from innovative, they are skillful enough to get the job done.

Falcon Rising also has a fairly involved plot for an action movie. The key plot points are typical for the genre, but the film cultivates a large supporting cast and gives John’s investigation a nice progression. Falcon Rising falls well short of a moving drama: none of the characters are all that deep, and the writing lacks finesse. But Falcon Rising pays more attention to its story than similar movies, and it doesn’t sacrifice its action to do so.

Watch Falcon Rising if you are in the mood for a competent action movie with no frills. Falcon Rising is a textbook entry into the genre that delivers just enough quality to entertain action fans. Skip it if you aren’t into budget action movies. For Brazilian action with an ensemble cast, a lighter tone, and a bigger budget, check out Fast Five.

5.8 out of 10 on IMDB. I give it a 6.5 for plain but satisfying action.

Today’s quick review: The Da Vinci Code. The murder of a museum curator draws religious symbologist Robert Langdon (Tom Hanks) and French policewoman Sophie Neveu (Audrey Tautou) into an ancient mystery involving a secretive sect of the Catholic Church. Pursued by a dogged inspector (Jean Reno) and a murderous fanatic (Paul Bettany), the two seek the help of British scholar Leigh Teabing (Ian McKellen) to decipher the clues.

The Da Vinci Code is a mystery thriller based on the novel by Dan Brown. The Da Vinci Code posits a sweeping conspiracy theory based on obscure historical facts and symbology. Robert and Sophie are left with a series of cryptic clues to guide them: hidden messages, artistic breadcrumbs, and centuries-old riddles. The Da Vinci Code is an inventive thriller with a competent plot and polished presentation.

The Da Vinci Code’s mystery is a compelling one. The plot is suitably complex, with dramatic beats that are handled well for a thriller of its kind. The movie taps into the allure of a realistic conspiracy theory, sprinkling juicy historical tidbits along the way. The whole affair is backed by varied performances from a skilled cast, smart direction, and a subtly impressive soundtrack from Hans Zimmer.

Though The Da Vinci Code has a subtler touch than most mysteries, the machinery of the plot shows through in places. The mystery noticeably bends to accommodate Robert’s skill set, and his leaps of logic are often dubious. The movie is also riddled with plot holes of varying sizes and controversial interpretations of history. These issues are only relevant because the movie aims high, but they distract from its otherwise solid craftsmanship.

Give The Da Vinci Code a try when you are in the mood for a serious and unusually rich thriller. The plot does not necessarily hold up to a skeptical eye, but its fascinating subject matter and strong fundamentals make it worth checking out for the curious. Skip it if you are a habitually critical viewer or you dislike shots taken at the Catholic Church. For a less dramatic conspiracy with a touch of comedy, check out National Treasure.

6.6 out of 10 on IMDB. I give it a 7.0 to 7.5 for an intriguing premise and solid presentation.