Month: July 2019

Today’s quick review: Gods of Egypt. On the day the sky god Horus (Nikolaj Coster-Waldau) was meant to claim the throne of Egypt, his bitter uncle Set (Gerard Butler) stages a coup, killing Horus’ father and stealing Horus’ eyes. After a year of Set’s tyrannical rule, it falls to Bek (Brenton Thwaites), a daring young thief, to steal back Horus’ eyes, return them to Horus, and help the injured god reclaim his rightful throne.

Gods of Egypt is a fantasy action adventure that offers a fanciful, CGI-laden take on Egyptian mythology. Set in a shimmering, thriving Egypt still ruled directly by the gods, the movie features ample action, impressive visual design, an elaborate world, and a linear but densely packed story. However, its cast, its tone, its special effects, and its plot all have flaws that hold it back. The result is a fun watch that misses the chance to be more.

Gods of Egypt shows an impressive amount of craft. Its world is a loose reimagining of Egyptian myth that casts the gods as enormous, shapeshifting beings that walk among and rule over the humans. Its flavor of fantasy is geared towards action, with gigantic beasts to fight and exotic locations to explore. The designs also have a sci-fi flavor to them, with ornate metallic designs for the gods’ architecture, weapons, and armor.

The adventure manages to be solid as well. The film never finds the time for any deep character development or truly surprising plot twists, but it does deliver a competent, well-paced story that hits all the beats it needs to. Horus and Bek run into plenty of action over the course of their journey, while their banter helps to keep the tone light. The scope of the story is also suitably grand, working in higher stakes than strictly necessary.

But Gods of Egypt has a hard time capitalizing on its strengths. The setting shows promise, but its pieces do not fit as tightly together as a straight adaptation would. The rules of magic are just arbitrary enough to raise questions about the plot logic, while the light, adventurous tone is at odds with the mythic setting and serious events of the plot. Even the CGI has issues: most of the film looks fine, but a few kinds of effects are consistently off.

The movie also suffers from a mediocre cast. Gerard Butler makes for a surprisingly entertaining villain as Set, but Brenton Thwaites and Nikolaj Coster-Waldau are not the tight pairing they should be. Both turn in serviceable performances, but neither one conveys drama very well, and both have the same flippant tone. The supporting cast has a few hidden gems, however, including Chadwick Boseman as Thoth and Geoffrey Rush as Ra.

Overall, Gods of Egypt is a movie that aims high but falls short of its target. Critical viewers will find plenty to pick at, most notably its predictable plot and general lack of cohesion. But the movie’s action, creativity, and sheer spectacle are enough to make it an enjoyable popcorn watch for a willing viewer. Those willing to overlook its flaws will find plenty to love; those looking for a complete package should look elsewhere.

For a similar reimagining of Norse mythology, try Thor. For a modern-day sci-fi adventure with a similar plot, try Black Panther. For another action fantasy movie set in the ancient world, check out Immortals, Clash of the Titans, The Scorpion King, or Prince of Persia.

5.4 out of 10 on IMDB. I give it a 7.0 for action, scope, and imagination, held back by uneven execution and two mediocre leads.

Today’s quick review: Acts of Vengeance. When his wife and daughter are murdered, defense attorney Frank Valera (Antonio Banderas) takes a vow of silence until he can avenge their deaths. He gets himself in shape, learns how to fight, and sets about solving a case that even the police have given up on. The few clues point to the Russian mob, but to identify the killer, he will need the help of Alma (Paz Vega), a kindly ER nurse he meets along the way.

Acts of Vengeance is a crime drama with a touch of action. The movie follows Frank Valera as he reinvents himself from a smooth-talking, irresponsible lawyer to a mute seeker of justice. Acts of Vengeance sets up a decent mystery and a well-considered transformation for its main character. Frank Valera is far from an invincible action hero, but his training gives him enough of an edge to make it through several violent situations.

However, Acts of Vengeance has little to set it apart. Frank’s vow of silence works well on paper but doesn’t matter much in practice. Likewise, his adoption of Stoic philosophy is closer to window dressing than anything profound. The handful of action scenes fit well with the realistic style of the movie, but they are less frequent and less impressive than the ones found in dedicated action movies. The plot is fine but nothing special.

Give Acts of Vengeance a shot when you’re in the mood for a short, tidy crime story with few frills. Acts of Vengeance gets the basics right, but it is outclassed by other, more elaborate mysteries and action movies that have more flair. For a violent action movie with a nearly mute protagonist, try Drive. For a darker crime drama with a similar premise, try Rage. For a more involved take on a similar premise, try Seeking Justice.

5.7 out of 10 on IMDB. I give it a 6.0 to 6.5 for a good story but little more.

Today’s quick review: Only God Forgives. Julian (Ryan Gosling) is an American living in Bangkok, where he deals drugs, runs a fight club, and reaps the rewards of the Thai nightlife. When his brother Billy (Tom Burke) is murdered, Julian sets out to find the men responsible. But the situation is more complicated than it first seemed, and Julian ends up on a collision course with Chang (Vithaya Pansringarm), a brutal cop who was involved in the murder.

Only God Forgives is a gritty, stylized crime drama that features striking cinematography, deliberate pacing, and a pervasive sense of detachment. The story is a dark tale of revenge and senseless violence told in an abstract style. However, the film’s thin plot, unlikable characters, and indirect presentation cause its artistry to go to waste. The result is a movie that’s briefly fascinating and occasionally beautiful but ultimately unrewarding.

Only God Forgives is hard to get a bead on. The film is peppered with stylistic devices that obfuscate the story. Brief dream sequences are impossible to distinguish from reality, portions of the story are told nonlinearly, and the film has a habit of ending scenes before they are fully resolved. Coupled with a laconic cast and a reluctance to share key facts, these attributes make watching Only God Forgives into something of a guessing game.

These problems are compounded by the characters. Julian makes for a strange protagonist, too quiet to get to know directly and too passive to characterize through his actions. Flashes of his character come through at key moments, but never enough to reconcile his moral streak with his lifestyle. His opposite, Chang, is a police officer who dispenses justice with a brutal hand, caught somewhere between violent hero and moral villain.

The movie’s main redeeming feature is its cinematography. The streets of Bangkok lend Only God Forgives a vivid color palette of reds and blues. The camera drinks in the scenery along with the characters’ slow, methodical actions. The stylized storytelling also has its merits, although the payoff tends not to be worth the effort of deciphering them. Only God Forgives makes for a visually interesting watch, but the story can’t quite back it up.

Try Only God Forgives when you’re in the mood for something short, dark, and stylized. The bleak tone and confusing presentation will be enough to turn off most viewers, but those willing to brave both will find the glimmer of something special. However, Only God Forgives does not offer the complete package, and even viewers who are intrigued by its style would likely be better off with another film in the same vein.

For a more successful violent crime drama with the same lead actor and director, check out Drive. For a more artful, gut-wrenching tale of violence and revenge, try Oldboy or No Country For Old Men. For an experimental crime drama that dives more deeply into its abstract elements, check out Revolver.

5.7 out of 10 on IMDB. I give it a 6.5 for skillful presentation that misses the mark and an empty story.

“You’re welcome, Canada.” —Deadpool

Today’s quick review: Deadpool 2. Following a disastrous attempt to join the X-Men, Deadpool (Ryan Reynolds), a violent hero with regenerative powers, ends up in a mutant prison with Russell (Julian Dennison), a teenage mutant with anger issues. Their stay is interrupted by Cable (Josh Brolin), a time-traveling soldier bent on changing the future by killing Russell. To save the boy and defeat Cable, Deadpool must assemble a new team of heroes.

Deadpool 2 is a violent black comedy and superhero action movie. Deadpool 2 features the same blend of irreverent humor and gory action as the first film. Ryan Reynolds reprises his role as Wade Wilson, a talkative mercenary with the ability to survive almost any injury. The story follows Wade as he enters a new phase of his life, trying for once to be a positive role model by saving Russell from both imminent death and a dark future.

Deadpool 2 has the same distinctive sense of humor as the original. Gory slapstick, fourth wall breaking, and jabs at the superhero genre abound. Not everyone will appreciate the film’s crude and explicit style of comedy, but those who do will be treated to a non-stop parade of well-timed, hard-hitting, and highly creative gags. Deadpool 2 reprises the humor of the first film and builds on it, making it a worthy successor.

Deadpool 2 also delivers plenty of action. Deadpool leads the cast as a one-man killing machine, using katanas, guns, and a wide range of improvised weaponry to take down his enemies. Cable is his opposite number: a muscular soldier with a metal arm, a massive gun, and a bag of futuristic tricks. Domino (Zazie Beetz), the foremost of Deadpool’s new allies, rounds out the main fighters, using her highly cinematic luck powers to glide through combat.

From a story perspective, Deadpool 2 manages to weave together a number of disparate plot threads into a cohesive whole. The core story involves Cable’s attempts to kill Russell and Deadpool’s attempts to save him, but important subplots include Wade’s evolving relationship with Vanessa (Morena Baccarin) and his erratic interactions with the X-Men. However, a winding trajectory and one or two plot holes keep the story from being a complete success.

Deadpool 2 does have a few drawbacks. The violence goes even farther than in the first film, although it’s usually played for comedy. The fourth wall breaking also reaches dangerous new heights. Finally, the film makes tradeoffs regarding what it adapts from its comic book source material. For most viewers, these issues won’t detract from an impressive sequel, but those who have built up particular expectations should approach with caution.

Give Deadpool 2 a shot if you got any enjoyment out of the first one. Deadpool 2 is an action comedy that delivers at all levels, and anyone who subscribes to its gory sense of humor will be richly rewarded. Skip it if you dislike violence or didn’t enjoy the first one. New viewers can probably jump in without watching the original; they won’t have the background on certain characters, but the plot is relatively self-contained.

8.2 out of 10 on IMDB. I give it an 8.5 to 9.0 for strong action and fantastic humor.

Today’s quick review: Ninja Assassin. Interpol agent Mika Coretti (Naomie Harris) becomes the target of a deadly cover-up when she uncovers evidence that the Nine Clans, an ancient order of ninjas, are still conducting assassinations from the shadows. The only thing standing between her and a gory end is Raizo (Rain), a ninja who turned his back on the Nine Clans. With Mika’s help, Raizo uses his training to hunt down his former brothers-in-arms.

Ninja Assassin is a violent action movie that pits ninja against ninja. Ninja Assassin features stylish action, lots of gore, and a bare minimum of plot. The story follows Raizo through his training as a ninja, his departure from the clan, and his impromptu alliance with Mika. Touches of CGI and light fantasy elements round out the action. However, the one-note nature of the film limits its potential.

Ninja Assassin’s main draw is its gory action. Raizo dances his way through dozens of ninjas, using knives, swords, and shuriken to dispatch them in short order. The fights are more about flash than technique. The choreography shows off plenty of martial arts prowess, but the focus remains on spinning blades, spurts of blood, and dismemberment. The result is a consistent but grotesque stream of action that serves as the backbone of the movie.

Ninja Assassin does run into a few issues. Its story has only three major components: Raizo’s origin, Mika’s investigation, and their team-up to fight the assassins. There are few real surprises, and while the film puts some effort into world-building, it’s mostly to build up the ninjas as an indomitable foe. Ninja Assassin also suffers from mild pacing issues; Raizo’s backstory slows down the main plot before it can get going.

Give Ninja Assassin a shot when you’re in the mood for no-frills violence. There’s enough action and enough style to make for a satisfying popcorn watch, but the story misses the chance to make the film into something more. Skip it if you’re at all averse to blood or gore. For a violent action movie with more flair, check out Kill Bill. For a grittier take on violent martial arts action, check out The Raid.

6.4 out of 10 on IMDB. I give it a 6.5 to 7.0 for solid action but little depth.

Today’s quick review: The Rock. When General Francis Hummel (Ed Harris) and an elite team of soldiers take over the island of Alcatraz and threaten to bombard San Francisco with stolen chemical weapons, the FBI sends in Stanley Goodspeed (Nicolas Cage), a high-strung chemical specialist, to defuse the situation. His guide for the mission is John Mason (Sean Connery), a former SAS soldier in federal custody and the only man to ever escape Alcatraz.

The Rock is an action thriller from director Michael Bay. The Rock delivers Michael Bay’s signature style of high-octane action. The stunts are grand in scope, the drama is gratuitous, and the whole package is wrapped up in straight-faced delivery that still manages to be fun. The plot follows Stanley Goodspeed, an FBI lab tech, on his first field mission: to infiltrate one of the most secure prisons on Earth, with the lives of an entire city at stake.

The Rock obeys one simple rule: when in doubt, go big. The stunts go above and beyond what’s necessary and into the realm of pure spectacle. The film milks its dramatic twists for all they’re worth. Even the characters are extreme: Hummel is the epitome of misguided honor, Goodspeed is as brilliant as he is inexperienced, and Mason is a living legend imprisoned by the American government because of what he knows and what he can do.

The result is a polished action movie that delivers exactly what it promises. Fans of the action genre will enjoy The Rock for its high tension, its clean execution, and its pure motives. Skip it if you’re looking for grit, realism, or an 80s-style action hero. For another action thriller with a similar plot, check out Die Hard. For sci-fi action with a similar flavor, check out Armageddon or Independence Day.

7.4 out of 10 on IMDB. I give it a 7.0 to 7.5 for having everything an action movie needs.

Today’s quick review: Metropolis. Freder (Gustav Frohlich) lives in Metropolis, a towering utopia where the wealthy lead lives of leisure. But an encounter with Maria (Brigitte Helm), a kindly working-class woman, shows him another side to the city: a cruel underground city where workers toil at the machines that power Metropolis. As Freder searches for a way to help the workers, his father Joh (Alfred Abel), master of Metropolis, plots to stop him.

Metropolis is a science fiction movie about a gleaming futuristic city and its darker side. One of the earliest large-scale sci-fi movies, Metropolis boasts impressive special effects, simple yet effective storytelling, and iconic imagery. The movie shows the stratification of industrialist society writ large. But as clear an allegory as it is, its broad brushstrokes, sci-fi setting, and message of peace give it an identity of its own.

Even colorized and given a modern soundtrack, Metropolis still shows its age. It has all the hallmarks of a silent film: sparse dialogue, grainy visuals, peculiar makeup, exaggerated body language, and jerky movements. But once the viewer gets used to the medium, the film begins to shine. Metropolis is a visual feat that stands the test of time, replete with enormous sets, innovative practical effects, and camera techniques that make its world come alive.

The story is a class struggle with a few twists. Maria is a spiritual leader for the workers, preaching a message of hope and understanding that Freder comes to champion. Fearing upheaval, Joh enlists the inventor C.A. Rotwang (Rudolf Klein-Rogge) to construct a robotic doppelganger of Maria to control the workers. But when the doppelganger goes rogue, whipping the workers into a frenzy, it falls to Freder to restore peace.

Each leg of the plot is simple in premise and straightforward in execution, but taken together they make for an elaborate story with surprising nuance. The coarse emotional threads of the movie come across clearly: Freder’s love for Maria, Maria’s golden ideals, and the sheer horror of the doppelganger. But subtler points come across just as well. Joh is a severe man but not a monster, while the downtrodden workers are capable of their own evil.

Metropolis is well worth a watch for any science fiction fan or fan of classic cinema. Its iconic imagery and pioneering special effects give it a firm place in movie history, while its story and craftsmanship hold up to this day. But be warned that the movie is an investment. Those willing to bridge the gap in time and moviemaking technique will be treated to a true classic. Those who can’t bridge the gap will find it dated and tough to follow.

As one final note, these remarks apply to the 1984 re-release of Metropolis by Giorgio Moroder. This edition of the film has been restored, partially colorized, outfitted with subtitles, and set to a contemporary soundtrack of synth music and 80s rock. This cut is significantly shorter than the original release, clocking in at 80 minutes compared to the original’s 153 minutes and the 123 minutes of the later 2002 release.

8.3 out of 10 on IMDB. I give it a 7.5 to 8.0 for iconic visuals and effective storytelling.

Today’s quick review: Lady Bird. Christine “Lady Bird” McPherson (Saoirse Ronan), a free-spirited high school senior living in Sacramento, dreams of going to college on the East Coast. Only three things stand in her way: poor grades, the cost of tuition, and her overbearing mother (Laurie Metcalf). With one year to get her life on track, Lady Bird attempts to navigate the rocky waters of high school long enough to taste freedom on the other side.

Lady Bird is a coming-of-age comedy about an offbeat girl struggling to find herself. The movie paints a nuanced picture of being a teenager, from Lady Bird’s love-hate relationship with her family to the petty drama of high school. The film’s astute observations about life give it an uncommon amount of credibility. At the same time, snappy dialogue, brisk pacing, and a firm sense of irony help to keep the tone light.

One of Lady Bird’s greatest strengths is its characters. Lady Bird herself makes for a subtle protagonist, torn between her dreams and her reality. She rebels at Catholic school, seeks romance, looks for a job, and tries to finagle her way into college, all with the ambivalence that comes with adolescence. But the heart of the movie is her tumultuous relationship with her mother, a willful woman struggling to provide for her family.

The supporting cast is just as carefully sketched. Although Lady Bird remains the focus throughout the story, her friends and family are clearly going through their own struggles. None of the characters are one-dimensional, and the myriad ways they interact contribute to the movie’s rich tapestry. The plot is episodic, a highlight reel of Lady Bird’s senior year, but its fast pace, colorful scenes, and recurring themes help it feel cohesive nonetheless.

Give Lady Bird a shot when you’re in the mood for a grounded comedy with strong characters and a fair amount of humor. How much you enjoy the film will depend on how much the main character resonates with you, so steer clear if the struggles of a misfit teenager don’t appeal. For a more stylized look at high school, check out Rushmore. For a more uplifting and child-friendly coming-of-age story, cehck out Whisper of the Heart.

7.5 out of 10 on IMDB. I give it a 7.0 to 7.5 for rich characters and insightful writing; your score will vary.

Today’s quick review: Lara Croft: Tomb Raider – The Cradle of Life. When Jonathan Reiss (Ciaran Hinds), a purveyor of biological weapons, gets his hands on the map to Pandora’s Box, treasure hunter Lara Croft (Angelina Jolie) recruits the help of Terry Sheridan (Gerard Butler), a shady mercenary and old flame, to recover it. The duo must stop Reiss before he can decode the map, locate the box, and unleash a catastrophic plague on the Earth.

Lara Croft: Tomb Raider – The Cradle of Life is an action adventure movie. The Cradle of Life offers the same appeal as the original Tomb Raider: ancient tombs, armed thugs, an unflappable heroine, and a touch of fantasy. The movie is an action flick at heart. The plot is a straightforward race against time, and the only character development of note revolves around Lara’s relationship with Terry, her untrustworthy double.

The Cradle of Life has a slightly different vibe from the first film. The Cradle of Life relies less on supernatural threats and more on human ones, making it more of a spy adventure than pure fantasy. The shift in focus yields a more credible but less distinctive adventure for Lara. The stunts are capable and reasonably creative, and while there’s little in the movie that’s groundbreaking, it makes for a fun ride all the same.

Try Lara Croft: Tomb Raider – The Cradle of Life when you’re in the mood for popcorn action. Though not as unique as the original movie, The Cradle of Life is still a satisfying watch for action fans looking for something light. For a grittier take on the same premise, check out the Tomb Raider remake. For more iconic adventure in a similar mold, check out the Indiana Jones series. For a more modest fantasy adventure, try the Librarian series.

5.5 out of 10 on IMDB. I give it a 6.5 for plain, honest action.

Today’s quick review: American Heist. James Kelly (Hayden Christensen), an ex-con mechanic, gets dragged back into the world of crime when his lowlife brother Frankie (Adrien Brody) comes home after a decade in prison. Frankie ropes James into a bank robbery dreamed up by Ray (Tory Kittles), a cutthroat criminal who protected Frankie in prison. With no way to back out, James must commit one last crime if he wants to put his past behind him.

American Heist is a budget crime drama about brotherhood and forgiveness. American Heist aims to be a harrowing look at crime and the decisions that lead to it. James finds himself betrayed at every turn by his brother, but the ties of blood still keep them together. Unfortunately, the movie falls short of its ambition. Uneven characters, a linear plot, and plot threads that go nowhere all contribute to a mediocre experience.

American Heist hinges on Adrien Brody’s performance as Frankie Kelly. The role is an uncomfortable fit. Brody does not make for a natural lowlife, and Frankie comes off as a nervous, untrustworthy poser rather than anyone who belongs on the streets. To a certain extent, the effect is intentional: Frankie is a tragic figure who gets taken advantage of by those stronger or smarter than him. But intended or not, the character just doesn’t work.

Without its lynchpin, the rest of the movie does not amount to much. Hayden Christensen makes for an average protagonist, but he never manages to take control of his situation or redeem the good will he accumulates. The film does save its special effects budget for a lavish robbery sequence at the end. However, the robbers’ amateur tactics and the film’s abrupt ending leave much to be desired.

With a weak crime and failed drama, American Heist has little to offer. Those willing to take a chance on the Kelly brothers will discover a smattering of good ideas let down by the film’s execution. The result is a watchable crime flick without much payoff. For a much cleaner execution of a similar premise, try The Town or Dog Day Afternoon. Other, similar movies include Rounders, Takers, Tracers, and Stone.

5.2 out of 10 on IMDB. I give it a 6.0 for a decent plot and premise marred by ineffectual drama and weak payoff.