Month: March 2019

“We’ve got a blind date with Destiny, and it looks like she’s ordered the lobster.” —The Shoveler

Today’s quick review: Mystery Men. Looking for a boost to his reputation, Champion City’s greatest superhero, Captain Amazing (Greg Kinnear), arranges to have his old nemesis Casanova Frankenstein (Geoffrey Rush) released from the mental asylum. But when Frankenstein proves too much for Amazing, it falls to three wannabe heroes—the Shoveler (William H. Macy), the Blue Raja (Hank Azaria), and Mr. Furious (Ben Stiller)—to save the kidnapped superhero.

Mystery Men is a superhero comedy that follows a team of aspiring superheroes as they struggle to make a name for themselves in crime-ridden Champion City. The movie takes affectionate aim at the conventions of the superhero genre, from the cynical celebrity of Captain Amazing to the ineffectuality of the Mystery Men to the tawdry gimmicks of heroes and villains alike. However the movie’s pervasively weird tone makes it hit-or-miss as a comedy.

To its credit, Mystery Men does get a lot out of its cast. Hank Azaria, William H. Macy, and Ben Stillare all put in strong comedic performances at the head of an ensemble cast that includes Janeane Garofalo, Geoffrey Rush, and Eddie Izzard. The misfit heroes are not handled perfectly, and their sheer lack of talent raises questions about the plot logic. But Mystery Men does earn its laughs, and largely thanks to their enthusiastic performances.

As far as its setting, humor, and tone go, Mystery Men suffers from the same problem: flashes of creativity offset by the bizarre slant to the whole thing. The humor is often crude, the set and costume designs are deliberately tacky, and even the camerawork uses unusual angles. So much of the movie’s comedy is tied up in the parodic nature of its characters that it never builds up much momentum, although the plot is otherwise well-structured.

As such, Mystery Men makes for a divisive comedy. Fun performances, a decent story, and a steady stream of jokes are enough to make it an enjoyable watch for those who can overlook its strangeness. But those looking for a clean, sharp, or memorable parody will be disappointed. For a better-developed superhero comedy, check out Megamind. For a tamer, more kid-friendly one, check out Sky High.

6.1 out of 10 on IMDB. I give it a 6.5 for good performances and creativity held back by its offbeat tone.

Today’s quick review: Dr. No. Following the assassination of a British intelligence agent, James Bond (Sean Connery) is sent to Jamaica to investigate. There he picks up the threads of the dead agent’s last mission: to figure out the cause of a series of failed American rocket launches. Bond’s search leads him through a tangled web of traitors and killers, eventually taking him to a dangerous island owned by the enigmatic Dr. No (Joseph Wiseman).

Dr. No is a spy movie and the first film in the James Bond franchise. Dr. No features solid fundamentals, an excellent lead, several iconic moments, and nicely varied adventure elements. The first half of the film plays out like an investigation, following Bond as he braves attempts on his life and pieces together the few clues left to him. The second half of the film grows more fanciful as the villain comes into clearer focus.

Dr. No makes for a worthy template for the spy genre. James Bond is a resourceful and level-headed hero who must nevertheless rely on luck to survive in his risky profession. Sean Connery fits the role perfectly, with just the right balance of danger and charisma. The plot of the movie is just complex enough to be satisfying, and it manages to work in a healthy assortment of action along the way.

Dr. No does have its limitations. The second half wanders into the realm of the unknown; while Dr. No’s private island is tame compared to the exotic threats of later Bond movies, it’s a step away from the grounded spy drama that the movie opens as. Dr. No also lacks the scope of later Bond adventures in terms of its action and set pieces. What the movie presents is exciting and well-crafted, but there is some room for improvement.

Fans of James Bond should give Dr. No a shot sooner or later, both for its own merits and for its importance to the franchise. Viewers who are neutral on Bond himself should try it out for its balanced action and generally sound execution. Skip it if you dislike action or the spy genre, or if you prefer modern-style action.

7.3 out of 10 on IMDB. I give it a 7.5 for good action, a great lead, and a worthwhile glimpse into a world of spies and danger.

Today’s quick review: Abbott & Costello Meet Frankenstein. Hired to deliver two crates to a house of horrors, Chick (Bud Abbott) and Wilbur (Lou Costello) are surprised to discover that the crates contain Dracula (Bela Lugosi) and Frankenstein’s Monster (Glenn Strange). The men are drawn further into trouble when Lawrence Talbot (Lon Chaney), the Wolfman, approaches them to catch the escaped monsters before it is too late.

Abbott & Costello Meet Frankenstein is a classic comedy that sends up the horror genre. Bud Abbott and Lou Costello bring their signature brand of humor to a movie that unites three of the horror genre’s most iconic monsters. The plot is a token one, but it does manage to juggle a fairly broad supporting cast. In spite of the title, the monster with the most screen time is Count Dracula, ably played by Bela Lugosi.

Abbott & Costello Meet Frankenstein has one shtick but does it well. Nearly all of the humor revolves around Lou Costello, whose expressive acting, cluelessness, and knack for physical humor give the film a solid base to build on. The formula is simple: Costello stumbles upon one of the monsters, narrowly avoids it, and reports back to a disbelieving But Abbott. The rest of the cast plays it all straight.

Give Abbott & Costello Meet Frankenstein a shot when you’re in the mood for old-school comedy. How much you get out of the film will depend heavily on how much you enjoy Lou Costello’s style of comedy. His antics are enough to fill the whole movie almost on their own, but they do make it a hit-or-miss proposition. Skip the movie if you’re looking for wordplay, sophisticated humor, or much of a plot.

For a more comprehensive and iconic parody of the horror genre, check out Young Frankenstein. Those who enjoy Lou Costello’s acting may also be interested in Zero Mostel’s role in A Funny Thing Happened on the Way to the Forum, an elaborate musical comedy.

7.6 out of 10 on IMDB. I give it a 7.0 for fun but one-dimensional comedy.

Today’s quick review: The Philadelphia Story. Two years after her messy divorce with C.K. Dexter Haven (Cary Grant), Philadelphia heiress Tracy Lord (Katharine Hepburn) is engaged to George Kittredge (John Howard), a self-made millionaire. Their wedding preparations are interrupted when Dexter drops by uninvited, accompanied by Mike Connor (James Stewart) and Liz Imbrie (Ruth Hussey), a pair of tabloid reporters sent to snoop on the wedding.

The Philadelphia Story is a classic comedy romance with an impressive cast and an outstanding script. Katharine Hepburn stars as Tracy Lord, a willful woman born to high society, whose wedding faces an unexpected challenge from her ex-husband. Cary Grant plays opposite her as Dexter Haven, the ex-husband in question, whose dry wit, helpful advice, and knack for being in the wrong place at the right time make him the perfect foil.

The Philadelphia Story’s greatest asset is its script. Sharp, rapid-fire dialogue is the movie’s bread and butter. The banter is witty, the characters are lively yet realistic, and the plot stands on its own even without the aid of its jokes. Perhaps even more impressive is the respect that The Philadelphia Story shows for its characters. Each one has virtues and faults, and none are pilloried unfairly or unilaterally.

The Philadelphia Story’s other great draw is its cast. Cary Grant, Katharine Hepburn, and James Stewart head a brilliant cast with several standout performances and no real weaknesses. Grant and Hepburn are made for each other, each one handling a subtle, multi-faceted character with aplomb. Stewart rounds out the main trio as Mike Connor, a sarcastic journalist with hidden depth. The leads are at their finest, and their performances are hard to top.

Even so, the supporting cast nearly does it. Ruth Hussey makes a lasting impression as Liz Imbrie, a sharp-minded and long-suffering photographer. Her performance is subtle, but once noticed it becomes one of the most striking of the film. Virginia Weidler steals the spotlight as Tracy’s playful younger sister Dinah, the movie’s purest source of comedy. Even the minor part of Uncle Willie (Roland Young) gets his moments.

The Philadelphia Story does have its flaws. The ending ties up most of the plot threads neatly, but it’s missing the delicate touch shown by the rest of the film. The movie also gets more serious as it goes along, shedding its breeziness in favor of more overt humor. The Philadelphia Story’s nuanced style of comedy may not be to everyone’s tastes, as it requires a keen ear and close attention to pick up on most of the jokes.

Still, even casual fans of classic comedies will get their money’s worth from The Philadelphia Story. Its stellar cast and impeccable dialogue are enough to make it a true classic. Not everyone will appreciate its wry, dialogue-heavy flavor of humor, but those who do will find The Philadelphia Story to be a rare gem. Skip it if you are looking for a more heartfelt romance or a comedy with less substance.

8.0 out of 10 on IMDB. I give it an 8.0 to 8.5 for superb dialogue and spot-on acting.

Today’s quick review: The Naked Gun 2 1/2: The Smell of Fear. When a cabal of energy-industry tycoons hatches a plan to get rid of Dr. Meinheimer (Richard Griffiths), the President’s energy policy advisor, Lt. Frank Drebin (Leslie Nielsen) of Police Squad takes up the investigation. The case is complicated by the involvement of Jane (Priscilla Presley), his ex-fiance, who happens to be one of Dr. Meinheimer’s closest coworkers.

The Naked Gun 2 1/2: The Smell of Fear is a goofy crime comedy from the creators of Airplane!. The Naked Gun 2 1/2 sees the return of Leslie Nielsen as bumbling supercop Frank Drebin, as well as his talented supporting cast from the first film: Priscilla Presley, George Kennedy, and O.J. Simpson. The movie offers the same cocktail of slapstick, sight gags, and wordplay as its predecessor, all delivered with a straight face and impeccable timing.

The Naked Gun 2 1/2 is a worthy entry into the Airplane! family. Leslie Nielsen is in fine form, the jokes are frequently hilarious, and the plot has just enough substance to let the film feel like a cohesive whole. Compared to the first film, the sequel has slightly less polish and fewer memorable gags. Those who had their fill the first time around will find that The Naked Gun 2 1/2 brings nothing new to the table.

But those who still appreciate the formula will find The Naked Gun 2 1/2: The Smell of Fear to be a light, irreverent, and thoroughly entertaining watch. Give it a try if your sense of humor trends toward the lowbrow and the absurd. Skip it if you prefer subtler humor or if you disliked the original. For other movies in the same vein, check out Airplane!, Hot Shots!, or the other two Naked Gun films.

6.8 out of 10 on IMDB. I give it a 7.0 to 7.5 for silly, satisfying humor.

Today’s quick review: Terminus. David Chamberlain (Jai Koutrae) is a mechanic struggling to support his daughter Annabelle (Kendra Appleton). His life changes forever when a meteorite lands near him, exposing him to an alien organism with healing properties. David begins to experience visions of his dead wife, who urges him to build a structure to house the organism. Helping him in the project is Zach Aronson (Todd Lasance), a crippled veteran.

Terminus is a budget science fiction movie with a dark tone, a mysterious plot, and a heavy dose of personal drama. The movie follows the lives of David, Zach, and Annabelle as they get drawn into the mystery surrounding the alien organism. The film’s true premise, once it tips its hand, does make for viable science fiction. But Terminus’s plodding plot, focus on mundane drama, and mediocre execution hamstring what potential it has.

Terminus is an unrelentingly bleak film grounded in a disturbingly plausible future. David and Annabelle are on the verge of collapse, with no money left and unhealed wounds from the death of David’s wife. Their entire town is in dire straits thanks to a ruinous US war in Iran. The one ray of hope is the alien organism, but it is too strange and foreboding to offer any comfort. The surfeit of drama makes the film hard to invest in and ultimately unrewarding.

Beyond its exceptionally heavy tone, Terminus is a competent but uninspired sci-fi flick. The performances are fine, but there are no real standouts. The script succeeds in creating drama but not in putting it to use. The plot takes nearly an hour to get rolling, and even then the conflict is not worht the wait. The film does do an admirable job of doling out clues about the organism, but it stunts its plot progression in the process.

Give Terminus a shot when you’re in the mood for a dark, serious film wrapped around a decent mystery. The film’s heavy tone and limited payoff make it a poor choice for most viewers, but there is just enough substance there to please the odd sci-fi fan. For a sci-fi thriller with similar elements, check out Knowing. For a slightly lighter personal drama about alien contact, check out Phenomenon.

5.4 out of 10 on IMDB. I give it a 6.0 for credible but uninspiring sci-fi.

Today’s quick review: Unknown. Five men (Jim Caviezel, Greg Kinnear, Joe Pantoliano, Barry Pepper, Jeremy Sisto) wake up in a dilapidated warehouse with no memory of who they are or what happened to them. The scant clues they can find point to a kidnapping gone wrong, but the men have no way to tell which of them are the kidnappers and which of them are the victims. To find a way out, they must first find a way to trust each other.

Unknown is a crime thriller that drops five amnesiacs into a complex situation whose outcome depends not only on their past but on the content of their character. The movie toys with issues of trust and identity, using amnesia to construct a logically and morally perplexing situation. The film has little in the way of action or dramatic brilliance, but its intriguing plot and decent execution are enough to make it a worthwhile watch.

Unknown shows promise but doesn’t live up to its full potential. The acting flutters between skilled and lackluster, never sinking to budget levels but never quite capturing the full drama of the situation. The plot has enough twists and turns to keep the viewer hooked, but the answers are mundane compared to the setup. The script does a good job of playing the characters off one another but isn’t particularly memorable.

Give Unknown a shot when you’re in the mood for a minimalistic crime drama with a mysterious premise. The movie is far from extraordinary, but it avoids any major mistakes and should be enough to please fans of the crime genre. For a much more compelling take on a similar premise, check out Reservoir Dogs. For a warehouse shootout with a touch of comedy and a touch of mystery, check out Free Fire.

6.5 out of 10 on IMDB. I give it the same for an interesting premise and mixed execution.

Today’s quick review: Mary and the Witch’s Flower. While staying with her great-aunt in a small British village, Mary Smith, a helpful but clumsy girl, discovers a rare flower growing in the woods that awakens a magical power within her. Mary also stumbles upon an enchanted broomstick that carries her to Endor College, a school of magic floating in the sky, where the headmistress, Madam Mumblechook, takes an interest in Mary’s supposed talents.

Mary and the Witch’s Flower is a Japanese animated children’s fantasy adventure. The movie follows its young protagonist into an imaginative magical world far removed from Mary’s humdrum life. Mary and the Witch’s Flower features gorgeous animation, a moving score, and a pleasant blend of fantasy elements. However, the movie is missing the degree of mastery that would let it stand shoulder-to-shoulder with similar films from Studio Ghibli.

The flaws in Mary and the Witch’s Flower are subtle but pervasive. Mary and her friend Peter are underdeveloped as characters. Their traits are penciled in but never made fully real. Thanks in part to the flower’s potency, many of Mary’s victories feel unearned. The film also struggles to sync up its emotional beats with the twists of its plot, robbing the story of some of its impact and forcing the soundtrack to pick up the slack.

Still, in spite of these flaws, Mary and the Witch’s Flower gets enough right to be an enjoyable watch. Its attentive animation and lush backgrounds make it a visual treat. Its fanciful style of fantasy has a nice sense of wonder to it, even if its ideas are not always used to their fullest. The story has enough substance to it to feel worthwhile, and it picks up quite a bit of momentum by the end.

Watch Mary and the Witch’s Flower when you’re in the mood for something light, beautiful, and wholesome. It’s missing the extra spark that would make it a classic, but even with its shortcomings it’s a high-quality film. For a surreal children’s fantasy with enduring quality, check out Spirited Away. For a heartwarming story about a young witch, check out Kiki’s Delivery Service.

6.8 out of 10 on IMDB. I give it a 7.0 for solid animation and creative fantasy, let down by a lack of storytelling mastery.

“Traitor!” —Stormtrooper

Today’s quick review: Star Wars: Episode VII – The Force Awakens. Struck by a crisis of conscience, Finn (John Boyega), a Stormtrooper for the First Order, defects to join the Resistance. Crashing on a desert planet, Finn joins up with Rey (Daisy Ridley), a local scrapper, to escape his pursuers and figure out a way to destroy the First Order’s new superweapon. But to do so they must first defeat Kylo Ren (Adam Driver), an aspiring young Sith Lord.

Star Wars: Episode VII – The Force Awakens is a sci-fi action adventure movie and the seventh live-action film in the Star Wars franchise. The Force Awakens kicks off a new story set several decades after the end of the original Star Wars trilogy. The First Order has risen from the ashes of the Empire, Luke Skywalker has gone missing, and only the fighters of the Resistance can keep the First Order from annihilating the nascent Republic.

The Force Awakens features a young new cast, familiar story themes, and an impressive combination of practical effects and modern CGI. The film taps into nostalgia for the original trilogy in everything from its planets to its props to its camera cuts. Fans of the series will feel right at home in the world of The Force Awakens, at least visually. However, the heavy dose of nostalgia can distract from the movie’s own contributions to the universe.

The Force Awakens also sees the return of many of the original Star Wars cast, including Harrison Ford as Han Solo, Carrie Fisher as Leia Organa, Anthony Daniels as C-3PO, and Peter Mayhew as Chewbacca. The returning characters are not worked in perfectly, but they do give the sequel a sense of continuity. For their part, Daisy Ridley, John Boyega, Adam Driver, and the rest of the new cast have a few rough spots but show good potential.

The Force Awakens has issues with how it develops and uses its characters. Rey has the makings of an interesting character arc, but the script is blunt about the gifts it gives her and she’s too stubborn to show much growth. Finn makes a strong entrance as a reformed Stormtrooper but soon takes a backseat to Rey. Kylo Ren meets some success as an experimental type of villain: a temperamental Sith trainee with raw power but little control.

The core plot threads—Finn’s defection from the First Order, Rey’s search for Luke Skywalker, the looming threat of Starkiller Base—are all potent enough to give the movie plenty of material to work with. But individual plot points don’t always make sense, and the film’s grasp on its character motivations is often tenuous. The result is a plot that packs in plenty of action and a good variety of sci-fi spectacle but doesn’t stand up to close scrutiny.

How much you enjoy Star Wars: Episode VII – The Force Awakens will depend heavily on your taste. New fans and those hoping for a fresh take on the franchise will find plenty to love, as well as a few flaws that barely register. Critical fans won’t be able to get over a few crucial decisions that the film makes with its plot and characters. If you’re on the fence, give it a chance just to see if it clicks.

8.0 out of 10 on IMDB. I give it the same for high production values, visual spectacle, and an assortment of good ideas; your score will vary.

Today’s quick review: Seventh Son. After the witch Mother Malkin (Julianne Moore) escapes her prison, Sir Gregory (Jeff Bridges), a knight tasked with fighting darkness, sets out to replace the apprentice she killed. To fill the job, he finds Tom Ward (Ben Barnes), a young swineherd with brief glimpses of the future. With the Blood Moon approaching, Gregory has only days to train his new apprentice before Malkin reaches the height of her power.

Seventh Son is a fantasy action movie based on a novel by Joseph Delaney. Seventh Son uses modern special effects to bring to life a fantasy world of witches, demons, and all manner of beasts. Between its fairly capable leads, its reasonably high produdction values, and its assortment of action, Seventh Son clears the bar for a watchable fantasy flick. However, weaknesses in its world-building and characterization strip it of much of its potential.

Seventh Son suffers from a peculiar problem with its writing. The basics of its characters and setting are fine, but the way they are presented is almost backwards. Characteres who only just met act as if they know each other well. The plot spins out new developments before they are properly explained. The parts of the world that are most unique are barely explored while the simplest and least satisfying are front and center.

The result is a competent movie that fails to resonate. Beyond the film’s writing, its leads are a mixed bag. Julianne Moore and Jeff Bridges lend the movie some star power, although their roles do not make full use of their talents. Ben Barnes is somewhat lacking as a protagonist, but not enough so to derail the movie. The action is not particularly creative, but there’s plenty of it and the special effects are enough to get the job done.

None of its issues stop Seventh Son from being a serviceable entry into its genre. Give it a shot when you have a hankering for fantasy action with a youth fiction vibe. Give it a pass if you’re looking for something groundbreaking or exceptional. For a darker fantasy action film, check out Solomon Kane or Season of the Witch. For a fantasy action movie of lower quality and greater charm, check out In the Name of the King.

5.5 out of 10 on IMDB. I give it a 6.0 to 6.5 for fine action and a decent fantasy world let down by issues with its characters and writing.