Month: January 2019

Today’s quick review: Babylon A.D. In a violent future, Toorop (Vin Diesel), a mercenary lying low in Serbia, takes a job escorting a girl (Melanie Thierry) and her protector (Michelle Yeoh) to New York. But as the trip progresses, the girl begins to show strange abilities, and Toorop questions the reason for his mission. Pursued by unknown enemies, Toorop must not only protect the girl but determine who she is and why so many people want her.

Babylon A.D. is a middle-of-the-road science fiction movie with reasonable dose of action and a mysterious plot. Babylon A.D. has strong enough fundamentals to satisfy, if not excite, fans of the sci-fi genre. Its direction is competent, its action has no glaring flaws, and its future is a believable one. But the movie does not reach far beyond these basics, making it a forgettable watch and an easy one to skip.

Babylon A.D.’s chief strengths are its lead character and its world. Vin Diesel makes for an effective protagonist, the toughest mercenary in a world full of them. His gruff personality and unflinching strength hold the same appeal that they did in the Riddick or Fast & Furious movies. However, Toorop has little going for him beyond what Vin Diesel brings to the table. He has no memorable lines, no signature traits, and nothing to make him stand out.

As for its world, Babylon A.D. assembles familiar building blocks in a credible pattern. None of the elements of the world are entirely novel, but they are presented well and form a coherent, dystopian vision of the future. From the desolate war zone of Serbia to the overgrown extravagance of New York, the setting shows thought and craft. Yet the film never really commits to its world, treating it like a backdrop rather than a key part of the story.

Where Babylon A.D. begins to show real weakness is its plot. The setup works just fine: a mercenary escorting a mysterious girl along a dangerous journey. But the movie plays its cards too close to its chest. The conflict throughout most of the movie lacks any context, and when the answers finally come, they are not interesting enough to justify the wait. The last leg of the plot also relies on characters and threads that spring up out of nowhere.

Watch Babylon A.D. if you are a science fiction fan looking for a little something to nosh on. Though not a groundbreaking entry into the genre, Babylon A.D is a passable one. Skip it if you aren’t already a sci-fi fan or you’re looking for something more rewarding. For a more effective sci-fi drama with a similar plot, check out Children of Men. For a surreal, experimental sci-fi film with similar elements, check out Immortal.

5.6 out of 10 on IMDB. I give it a 6.0 to 6.5 for decent but unexciting science fiction.

Today’s quick review: Raising Arizona. Unable to conceive a child of their own, ex-convict H.I. McDunnough (Nicolas Cage) and his wife Ed (Holly Hunter) decide to steal one from a wealthy local businessman who had quintuplets. With their new son Nathan, Jr. in tow, the couple set about the difficult business of parenting. But the appearance of two freshly escaped convicts (John Goodman, William Forsythe) threatens the stability of their new life.

Raising Arizona is a crime comedy from the Coen Brothers. The movie delivers the same mixture of elements that their comedies are known for: warm characters, a chaotic plot, and an undercurrent of sentimentality. However, Raising Arizona lacks the bite of their other work. It’s a pure comedy with a minimum of black humor and only mild violence. As such, it’s an easier, more straightforward watch than the likes of Fargo or Burn After Reading.

Raising Arizona carves out a unique niche for itself. Nicolas Cage and Holly Hunter make an excellent couple: well-meaning, maladjusted, and devoted to one another. The plot is complicated yet easy to follow, a short romp full of twists, turns, and coincidences. The film also has a touch of the surreal in the form of Leonard Smalls (Randall “Tex” Cobb), a larger-than-life bounty hunter on the trail of the stolen baby.

Raising Arizona does have its downsides. The film is light on substance; for all the motions of its plot, the conflict never rises far above its baseline level of chaos. The film’s humor is indirect, a product of its odd characters and colorful world rather than deliberate jokes. Raising Arizona also relies on the viewer connecting with H.I. and Ed. For all its quality, the movie simply will not click for some viewers.

Give Raising Arizona a shot when you’re in the mood for something silly, creative, and sweet. Fans of the Coen Brothers will enjoy it as one of their lighter comedies, while anyone with a taste for offbeat humor should give it a chance. For a Coen Brothers romp with a similar tone, check out O Brother, Where Art Thou?. For a Japanese animated comedy with a similar premise, check out Tokyo Godfathers.

7.4 out of 10 on IMDB. I give it a 7.5 for charming characters and an offbeat sense of humor.

Today’s quick review: The Maltese Falcon. Private detective Sam Spade (Humphrey Bogart) is drawn into a tangled conflict when his partner is killed while working a case for a mysterious woman (Mary Astor). Sam soon learns that she’s after the Maltese Falcon, a long-lost treasure worth a fortune. Also after the Falcon are a pair of distinctive criminals (Peter Lorre, Sydney Greenstreet) who approach Sam with their own coercive offers.

The Maltese Falcon is a classic noir based on the novel by Dashiell Hammett. The Maltese Falcon is notable for its polished execution, its intricate plot, and its memorable protagonist. Sam Spade wends his way through an intricate mystery where lives are at stake and no one can be trusted. The movie has robust craftsmanship, from its script to its acting to its cinematography. However, its particular style of mystery won’t appeal to everyone.

Humphrey Bogart cuts a fascinating figure as Sam Spade. Neither entirely honest nor as crooked as the criminals he deals with, Sam succeeds in a dangerous business thanks to his sharp wits and a healthy distrust of those around him. Mary Astor plays opposite him as Brigid, a frequent liar whose only chance is to rely on Sam. They are supported by a pair of strong performances from Peter Lorre and Sydney Greenstreet.

The Maltese Falcon has a complicated, dramatic plot that hangs together in peculiar ways. Every event in the story is logical enough, but they tend to be explained after the fact. Key developments in the case simply fall into Sam’s lap, although he has to earn his victories the hard way. The film’s unpredictability keeps it engaging to the end. But those not used to the abrupt twists of the noir genre may finds its plot erratic.

Watch The Maltese Falcon if you’re interested in a classic mystery with excellent craftsmanship. Your exact reaction to The Maltese Falcon will depend on your taste for the noir genre, but the film packs enough quality and cultural impact to be worth a watch for even the mildly curious. Skip it if you prefer serious action or subtler plot work. For another classic drama starring Humphrey Bogart, try Casablanca.

8.1 out of 10 on IMDB. I give it a 7.5 for strong craftsmanship and iconic characters.

Today’s quick review: Beat the Devil. Billy Dannreuther (Humphrey Bogart) and his dubious associates are bound for Africa, where a fortune in crooked uranium awaits them. While waiting for their ship in a small town, Billy and his wife Maria (Gina Lollobrigida) become entangled with a curious British couple: Harry Chelm (Edward Underdown), a seeming gentleman, and his wife Gwendolen (Jennifer Jones), an imaginative woman who takes an interest in Billy.

Beat the Devil is a crime comedy that features an enjoyable cast, sharp dialogue, and an elaborate setup. The movie follows Billy, Gwendolen, and their spouses and colleagues as they brave a series of mishaps to seek their fortunes overseas. However, Beat the Devil’s strengths are tempered by its subdued humor and a meandering plot. The result is a pleasant but insubstantial watch that can’t match the classics of the mid-20th century.

Beat the Devil is more setup than payoff. The premise is overly complex, a difficult scheme involving stolen mineral rights, a troublesome voyage, and a preemptive murder. The core elements of the plot work well enough, but tracking the plans of the characters is an exercise in itself. The conclusion to the story falls short of the steps taken together, and several promising plot threads end up amounting to little.

Still, Beat the Devil does have qualities that make it a charming watch. Humphrey Bogart and Jennifer Jones get along splendidly, Bogart as an unflappable criminal and Jones as a lively fabulist. The movie has a dry, tongue-in-cheek sense of humor that deliberately undermines the gravity of its cast. Rather than the striking figures of a straight adventure, Beat the Devil’s characters are all a bit skewed, recognizable archetypes with little comic twists.

Give Beat the Devil a shot when you’re in the mood for a classic-style comedy with a good cast and a decent sense of humor. The gags are far from outstanding and the plot is more trouble than it’s ultimately worth, but Beat the Devil does show enough quality to please fans of the genre. Skip it if you’re looking for a more memorable comedy or one that makes better use of its plot. For a more polished movie in a similar vein, check out Charade.

6.6 out of 10 on IMDB. I give it a 7.0 for fine acting and a decent script, held back by unneeded complexity and a limp payoff.

Today’s quick review: The Illusionist. Eisenheim the Illusionist (Edward Norton), an accomplished stage magician, returns to Vienna after years abroad. His act catches the attention of Crown Prince Leopold (Rufus Sewell), as well as his fiance Sophie (Jessica Biel), the magician’s lost love. As Sophie and Eisenheim secretly rekindle their relationship, the Prince sets Inspector Uhl (Paul Giamatti) to investigate the mysterious man.

The Illusionist is a romantic mystery with a historical setting and a magical twist. The Illusionist features a cerebral plot, skilled acting, and a well-crafted, dramatic portrayal of its characters and time period. The movie uses Eisenheim’s illusions to good effect in both constructing its plot and establishing its sense of mystery. However, various imperfections in its mystery and romance keep it from reaching greater heights.

The Illusionist’s greatest strength is its plot. The movie sets up a clever, engaging mystery that’s tied directly to Eisenheim’s magic and the Prince’s ego. Inspector Uhl plays a central role as the man trying to decipher Eisenheim’s schemes. The mystery has a nice sense of progression and moves its pieces into place skillfully. However, it lets a few details slip too early, and it’s one twist shy of cementing itself as a truly masterful tale.

As far as acting goes, Paul Giamatti is the glue that holds the movie together. His Inspector Uhl is a nuanced character, a fundamentally honest man who is yet beholden to the prince. Rufus Sewell is an elegant complement to him as Leopold, a sharp, proud man whose outward humanity conceals a much darker side. For their part, Edward Norton and Jessica Biel do fine work individually, but their chemistry together is lacking.

The movie does have weaknesses that keep it from reaching all of its considerable potential. The mystery tips its hand a little too early. Although the viewer’s guess is not likely to be completely accurate, the film doesn’t take advantage of the suspicions it plants in the viewer’s mind. The Illusionist also mishandles its romance. The romance is central to the story, but it’s more important for the drama it inspires than the love and loss along the way.

The Illusionist also handles its magic in a way that not all viewers will appreciate. Those hoping for concrete answers will have to content themselves with conjecture: few of Eisenheim’s tricks are explained, and several defy logic completely. The Illusionist never quite makes the jump into fantasy, but it takes for granted that Eisenheim is capable of feats that the movie cannot explain. The core mystery receives answers, but the ancillary ones do not.

Give The Illusionist a shot when you’re in the mood for a well-executed, cerebral drama. The Illusionist does have a few flaws that set it back, but they are subjective in nature, and it has enough quality to be worth the watch regardless. For a magic-based mystery with a tighter, more intricate plot, check out The Prestige. For a livelier, more comedic mystery set in a similar time period, check out the Guy Ritchie version of Sherlock Holmes.

7.6 out of 10 on IMDB. I give it a 7.0 to 7.5 for a strong plot and cast, kept from its fullest potential by slight misplays.

Today’s quick review: Bubba Ho-Tep. An aging Elvis Presley (Bruce Campbell) now lives in a nursing home in Texas, having traded places with an impersonator years before. When the occupants of the nursing home begin to die under mysterious circumstances, Elvis and his friend Jack (Ossie Davis), an old man who claims to be the real JFK, discover that their friends are being preyed on by a soul-sucking Egyptian mummy.

Bubba Ho-Tep is a horror comedy with a low budget and an indulgent premise. Tapping into the conspiracy theories surrounding Elvis’ death, Bubba Ho-Tep offers a low-stakes, humorous take on the typical monster movie formula. Bruce Campbell delivers as a convincing performance as the geriatric Elvis, and he’s backed by an effective partner in Ossie Davis. The movie is short, straightforward, and genuinely creative.

Even ignoring its absurd premise, Bubba Ho-Tep has an odd flavor to it. The pall of aging hangs heavily over the movie, especially its first half. Elvis’ struggles are just dramatic enough to be credible, heightening the film’s comedy by contrast but pushing its tone in an unexpectedly serious direction. The humor can be crude, but it has a few gems mixed in. However, the jokes don’t come hard or fast enough to win over reluctant viewers.

Give Bubba Ho-Tep a shot if you’re interested in the silly side of the horror genre. Though a little short on substance, Bubba Ho-Tep is a one-of-a-kind watch that has a peculiar nobility to it. Skip it if you’re looking for credible horror or harder-hitting comedy. Also give it a pass if you’re sensitive to horror; as tame and tacky as its scares are, it still has the atmosphere of a horror flick.

7.2 out of 10 on IMDB. I give it a 6.5 for a fun premise and decent execution, with the potential for a much higher score for the right viewer.

Today’s quick review: The Mummy: Tomb of the Dragon Emperor. Rick (Brendan Fraser) and Evelyn (Maria Bello) O’Connell are drawn from retirement when their son Alex (Luke Ford), now an archaeologist in his own right, unearths the Dragon Emperor (Jet Li), an ancient Chinese emperor cursed by the witch Zi Yuan (Michelle Yeoh) for his treachery. The family must stop the Emperor before he can be restored to his full power and raise his army of terracotta soldiers.

The Mummy: Tomb of the Dragon Emperor is a fantasy adventure comedy. The third Mummy movie with Brendan Fraser, Tomb of the Dragon Emperor charts new territory for the franchise, eschewing the tombs of Ancient Egypt for those of China. Like its predecessors, the movie offers fantasy-infused action and a pervasive sense of humor. However, its flawed writing and mismanaged tone keep it from reaching its full potential.

If The Mummy Returns stays too close to the original, Tomb of the Dragon Emperor veers too far in the opposite direction. The new ideas have potential, but the movie struggles to find its voice. The script lacks the clever, feel-good humor of the original. The plot sets up plenty of action, but its pieces do not fit together as well as they could. The result is a film that feels much more generic than its predecessors.

Many of the movie’s problems stem from its use of its cast. Brendan Fraser is missing much of his old flair, leaving a hole at the heart of the movie. Maria Bello is a lackluster substitute for Rachel Weisz and lacks the spirit Evelyn needs. Newcomer Luke Ford never really sells the character of Alex. Jet Li and Michelle Yeoh do get a fair amount of screen time, but their martial arts skills are overshadowed by the film’s fantasy elements.

Tomb of the Dragon Emperor does make for a fine popcorn flick. Its action sequences are fanciful, CGI-driven affairs that take advantage of the story’s magic. Neither the CGI nor the fight choreography are outstandings, but they do get the job done. The humor is a step down from the previous movies, but it does keep the movie light. The movie also drops the series’ horror elements, opting for more palatable but less distinctive fantasy instead.

The Mummy: Tomb of the Dragon Emperor works best when viewed as a fantasy action movie with decent production values. Fans of the series will be disappointed by its departures from the original and its gambles that don’t pay off, but it’s still an enjoyable watch for action fans. Skip it if you’re looking for something unique or memorable. For a Chinese fantasy action movie in a similar vein, check out The Great Wall.

5.6 out of 10 on IMDB. I give it a 6.5 for decent action and comedy, held back by weak writing and poor use of its cast.

Today’s quick review: The Mummy Returns. Now married with a son, Rick (Brendan Fraser) and Evelyn (Rachel Weisz) O’Connell unearth the Bracelet of Anubis, the key to unlocking the Army of Anubis and wresting control of it from the Scorpion King (Dwayne Johnson). But when a mysterious woman (Patricia Velasquez) revives the Egyptian priest Imhotep (Arnold Vosloo), the O’Connells must stop him before he can claim the Army for himself.

The Mummy Returns is an adventure comedy with horror elements. The sequel to The Mummy, The Mummy Returns delivers the same effortless blend of action and humor as its predecessor. The movie has an entertaining cast, fast pacing, and a healthy sense of adventure. However, The Mummy Returns lacks the tact and patience of the original, resulting in a looser plot, cheaper thrills, and derivative moments.

Many of the strengths of the first movie carry over to the sequel. Writer and director Stephen Sommers returns, as do most of the original cast. Brendan Fraser and Rachel Weisz make for an enjoyable pair of heroes. Their son Alex (Freddie Boath) serves as a fun partner for comic relief Jonathan (John Hannah), Evelyn’s brother. The moment-to-moment action is handled well, and it’s threaded with enough humor to make for a capable popcorn flick.

But The Mummy Returns is not as careful with its story as it should be. Where The Mummy deliberately set up its world, its characters, and the rules of its conflict, The Mummy Returns flies by the seat of its pants. Imhotep returns with little ceremony, accompanied by new characters that are shoehorned into the existing canon. The story dispatches with much of the original’s build-up, and so the payoff is less satisfying.

The Mummy Returns has other, lesser foibles. The plot borrows heavily from the original, all the way down to specific moments. It does so with a wink and a nod, but the comparison does not favor the sequel. Dwayne Johnson is a strong pick for the Scorpion King, but he barely gets any screen time. Rounding out the changes, the scares have been diluted by the film’s faster pace, tipping the tone towards action-adventure and away from horror.

In spite of these shortcomings, The Mummy Returns makes for an enjoyable watch. Those who appreciated the original’s action and sense of humor will enjoy the sequel’s as well. Just be prepared for an inferior story that doesn’t manage its ideas as well as the original did. For an adventure in a similar vein, check out the Indiana Jones series or the Librarian series. For more Dwayne Johnson, check out the spinoff The Scorpion King.

6.3 out of 10 on IMDB. I give it a 6.5 to 7.0 for fine comedy and adventure hurt by a loose story.

Today’s quick review: The Mummy. Spotting an opportunity, Evelyn (Rachel Weisz), a librarian specializing in Egyptian history, recruits Rick O’Connell (Brendan Fraser), a washed-up ex-soldier, to take her to the mythical city of Hamunaptra. Along with Evelyn’s brother Jonathan (John Hannah), the adventurers unwittingly release Imhotep (Arnold Vosloo), an Ancient Egyptian priest cursed to an eternity of undeath.

The Mummy is an adventure comedy with horror elements. The movie pits a ragtag team of explorers against an ancient corpse with otherworldly powers. The Mummy offers a satisfying blend of gun-toting action, well-judged comedy, and CGI-driven horror. The movie makes for a competent, enjoyable adventure that delivers exactly what it promises. However, its straightforward plot and focus on moment-to-moment entertainment keep it from achieving anything more.

The Mummy has solid craftsmanship and a strong understanding of what it’s trying to do. The script is surprisingly engaging: it presents the important information clearly and gives its characters plenty to do. The plot is simple enough to follow and eventful enough to fill out the movie. The characters are lively, and their interactions are consistently amusing. The omnipresent bits of comedy mesh organically with the adventure proper.

The Mummy does have its limitations. The CGI, though functional, is dated. The horror coating gives the film an edge that not all viewers will appreciate. The style of magic is consistent but its rules are arbitrary. The Mummy also takes a while to put its pieces on the board. The opening section of the film has plenty of action and moves along at a brisk pace, but the actual mummy doesn’t appear for forty-five minutes.

Give The Mummy a watch when you are in the mood for a fun adventure with plenty of action. Gruesome images and the occasional scare make The Mummy a slightly harder watch than similar offerings, but those who don’t mind a touch of horror will be rewarded with a thoroughly entertaining popcorn flick. For more adventure in a similar style, check out the Indiana Jones series or the Librarian series.

7.0 out of 10 on IMDB. I give it the same for good humor, plentiful action, and overall solid execution.

“Matt Damon.” —Matt Damon

Today’s quick review: Team America: World Police. Gary Johnston (Trey Parker), a successful Broadway actor, is recruited to join Team America, an elite counter-terrorism task force, for an important undercover mission. Gary must use all of his acting ability to infiltrate a terrorist cell and stop a global terrorist threat. But the team is torn apart from within when Gary admits his feelings for his teammate Lisa (Kristen Miller).

Team America: World Police is a puppet-based action comedy that spoofs the War on Terror. Packed with crude humor and violence, Team America is an action movie run amok. Mustering all the false drama it can, the movie presents even the most absurd situations with a straight face. Its gags range from tasteless to brilliant, and its story manages to satsify in spite of its deliberately shallow plot and characters.

Team America’s puppetry serves a crucial role in the movie. The use of puppets puts an extra buffer between the movie and its subject matter, allowing it to maintain a light tone in the face of exaggerated violence and biting social commentary. The entire endeavor feels like Trey Parker playing with his toys. The puppets are also used to comedic effect: the movie has a number of subtle jokes about the diminished scale of its characters.

Though the film is a political satire, it’s more silly than incisive. The over-the-top patriotism and bravado of Team America is shown as destructive, but it’s never seriously condemned. The film takes shots at the entire political spectrum, and it can be enjoyed as an action parody without drawing any serious conclusions from it. Its pop culture references have become dated, but a cursory knowledge of the early 2000s is enough to make them click.

Team America’s most divisive quality is its vulgarity. Team America has bursts of violence and sexual humor that are at the far end of the rating spectrum. The portions of the movie between these spikes are almost tame by comparison. The movie also features rampant swearing and pervasive use of stereotypes. These are effective sources of humor for the movie, but they are enough to turn off any sensitive viewers.

Try Team America: World Police if you’re in the mood for something excessive and ridiculous. Its mature content makes it a poor choice for polite company, but those willing to put up with its less tasteful gags will find the movie to be a rewarding trove of comedy. For a somewhat less vulgar comedy in a similar vein, check out Tropic Thunder, Kung Pow: Enter the Fist, or Hot Shots!.

7.2 out of 10 on IMDB. I give it a 7.0 for raunchy but effective humor.