Month: September 2019

Today’s quick review: The Darkest Hour. Ben (Max Minghella), a young app developer, and Sean (Emile Hirsch), his slacker partner, are on a business trip to Moscow when the city is invaded by invisible energy beings capable of killing with a touch. Together with American tourists Natalie (Olivia Thirlby) and Anne (Rachael Taylor), Ben and Sean must learn to exploit the beings’ weaknesses to make it across the city to safety.

The Darkest Hour is a budget sci-fi survival thriller with an intriguing premise and mediocre execution. The film’s main draw is its unique aliens: invisible beings that can only be seen when they interact with electrical devices, such as light bulbs or car alarms. This core conceit lets the film make the most of its limited special effects budget, provides a strong sense of tension, and lets the characters learn survival strategies.

Beyond its clever design for its aliens, The Darkest Hour is a typical low-budget alien invasion movie. The characters are weak, offering no real depth, but they do display a healthy mix of optimism and pessimism. The plot develops reasonably well, feeding the survivors crumbs of progress at regular intervals. Overall, though, the execution leaves plenty to be desired, with bland acting, low production values, and a linear plot.

Watch The Darkest Hour only if you’re a fan of budget sci-fi. Interesting ideas and decent craftsmanship make it a fine pick by the standards of the genre. But those hoping for tense direction, stunning action, deep characters, or a cerebral plot should look elsewhere. For a military sci-fi take on a similar premise, try Spectral. For the big-budget equivalent, try War of the Worlds. For dark, moving horror in a similar vein, try A Quiet Place.

4.9 out of 10 on IMDB. I give it a 5.5 for a decent premise held back by low production values.

Today’s quick review: Beyond Skyline. When an alien attack devastates Los Angeles, Mark Corley (Frank Grillo), a washed-up Los Angeles police officer, and his son Trent (Jonny Weston) lead a group of survivors across the city in search of safety. But when an alien warship captures the remaining members of the group, Mark and the others are given a unique opportunity to take the fight to the aliens by using their own technology against them.

Beyond Skyline is a budget sci-fi action movie that picks up where the original Skyline left off. Decent special effects let the movie indulge in plenty of alien-fighting action, which takes advantage of the solid alien designs seen in the first film. But poor storytelling and bland characters keep Beyond Skyline from having much impact, forcing the film to rely entirely on spectacle. The result is a popcorn action flick that misses the mark.

Beyond Skyline suffers from an acute lack of tension. The original Skyline was a survival movie that made sure its aliens were mysterious, frightening, and nearly impossible to kill. The sequel scraps that angle in favor of more action, a reasonable progression for the franchise but one that ends up costing the film its dramatic tension. The aliens lack menace, making the story feel more like a series of events than an actual struggle.

Beyond Skyline has other storytelling issues that hurt it. The film races through the invasion of Los Angeles to catch its new characters up to the ending of the first film. From there it zigzags haphazardly, relying on half-baked plot devices to drive the story forward and trying to build drama with flat characters. Beyond Skyline does cover the basics of the genre, but it gets caught between its darker roots and the adventure it wants to be.

Give Beyond Skyline a shot when you’re in the mood for budget sci-fi action and aren’t too particular about plot. Beyond Skyline is a sideways step from the first film, trading the tension of the original for more action while keeping many of the same flaws. The movie does earn points for spectacle, but its flaws are pervasive enough that most viewers would be better off with one of the other movies in the genre.

For an alien invasion movie in a similar vein, check out Skyline, The Darkest Hour, or Revolt. For one with a bigger budget and a more fun attitude, check out Independence Day or Pacific Rim. For a sci-fi movie that blends action, tension, and mystery with greater success, try Prometheus.

5.3 out of 10 on IMDB. I give it a 5.5 for decent action held back by weak storytelling.

Today’s quick review: Skyline. On a visit to Los Angeles, Jarrod (Eric Balfour) and his girlfriend Elaine (Scottie Thompson) end up trapped in his friend Terry’s (Donald Faison) penthouse when aliens invade the city and begin abducting its residents. Together with Terry’s girlfriend Candice (Brittany Daniel) and his assistant Denise (Crystal Reed), the group must find a way out of Terry’s apartment building and to safety.

Skyline is a science fiction survival thriller with a low budget and impressive special effects. The film follows the standard alien invasion formula to a tee: a group of survivors must face an alien menace they have no way of fighting against. Skyline offers a fair amount of action for a budget film, backed by well-used CGI and a decent sense of tension. However, its abrasive characters and bleak tone keep it from holding much appeal.

Skyline has major weaknesses in its characters, its acting, and its script. The parts of the film that are supposed to cause the audience to care are mediocre at best, making the movie more an excercise in survival than a proper story. The survivors never earn much sympathy, but they never drop to the level where schadenfreude kicks in. Coupled with the heroes’ lack of anything to do, this results in a movie that’s hard to invest in.

To its credit, Skyline does a lot with the resources available to it. The film disguises its modest budget well, and the special effects actually let it indulge in a fair amount of action. Skyline also scores a solid hit with its aliens. They are eclectically designed, unexplained, and implausibly hard to kill, but they play well onscreen and give the film a persistent sense of tension. Finally, the movie tucks away one or two good ideas near the end.

Still, Skyline’s virtues are not enough to redeem its weaknesses. For the right viewer, a sci-fi fan who cares about action, tension, and little else, Skyline just squeaks by. But most other viewers would be better served by one of the other movies in the genre. For another budget invasion movie, check out The Darkest Hour or Revolt. For one with more pep, try Attack the Block. For one with a bigger budget and a better script, try War of the Worlds.

4.4 out of 10 on IMDB. I give it a 5.5 for solid CGI and a couple of good ideas, held back by weak acting and writing.

Today’s quick review: Attack the Block. Moses (John Boyega) leads a gang of British teenagers (Alex Esmail, Leeon Jones, Franz Drameh, and Simon Howard) who spend their evenings robbing pedestrians and stirring up trouble. When a horde of alien beasts crashes to Earth in their neighborhood, Moses and his gang decide to take the fight to the creatures. But to protect their apartment complex, they will have to make amends with the neighbors they’ve wronged.

Attack the Block is a science fiction survival movie with comedy elements. Attack the Block savage alien monstersr against the residents of an English apartment complex. The movie features likable characters, punchy dialogue, and practical effects that are simple but effective. The plot holds few real surprises, but it moves fast and gets plenty of mileage out of its characters. The movie blends humor, action, and suspense in one tidy package.

Unlike other survival movies, Attack the Block takes care to flesh out its characters. There isn’t much in the way of backstory, but their personalities come through loud and clear. Moses and his gang skirt the line between despicable lowlifes and scrappy heroes, letting the viewer root for them while still giving them room to grow. The script’s crisp, organic dialogue helps bring the characters to life and keeps the film moving along at a rapid clip.

Watch Attack the Block when you’re in the mood for something punchy with a bit of action and a bit of comedy. Though not a masterpiece, Attack the Block is a fun watch that makes good on its premise and puts a fresh spin on the alien invasion genre. For an alien invasion movie with a similar premise and less likable characters, try Skyline or The Darkest Hour. For a British survival comedy with drier humor, check out The World’s End or Shaun of the Dead.

6.6 out of 10 on IMDB. I give it a 7.0 for lively characters, a punchy presentation style, and a decent plot.

Today’s quick review: Metropolis. Detective Shunsaku Ban (Kousei Tomita) and his nephew Ken-ichi (Kei Kobayashi) travel to the futuristic city of Metropolis in search of Dr. Laughton (Junpei Takiguchi), a scientist infamous for his illegal research. Instead they find Tima (Yuka Imoto), Laughton’s latest project: an advanced robot girl who holds the key to unlocking the power of the Ziggurat, a towering skyscraper at the heart of Metropolis.

Metropolis is a Japanese animated sci-fi adventure based on the manga by Osamu Tezuka. The movie’s friendly, cartoonish animation style and upbeat tone belie a surprisingly mature story about duty and sacrifice. Metropolis features intrepid heroes, nuanced villains, a multifaceted story, a lavish setting, skillful direction, and a lively jazz soundtrack. Although something of a niche pick, Metropolis is a rare treat for the right viewer.

Metropolis has only a loose connection to the science fiction classic of the same name. The setting and themes are similar, but Tezuka takes the story in a different direction. Tezuka’s Metropolis has a sprawling plot involving a bustling utopia, political unrest, and tensions between robots and humans, not to mention Shunsaku and Ken-ichi’s investigation, Tima’s discovery of her identity, and the machinations of Duke Red (Taro Ishida).

In spite of its grand themes, Metropolis never loses sight of its humanity. Ken-ichi and Shunsaku are adventure heroes in the classic mold—persistent, brave to a fault, and entirely selfless—and their allies are just as pure. Together, they give Metropolis an excellent sense of heart and make it a refreshing, wholesome watch. The villains are just as compelling and are driven by a mixture of blunt ambition and nuanced personal conflict.

Metropolis also has craftsmanship to spare. The animation is a distinctive hybrid of early Disney-style characters, richly detailed backgrounds, and tactful CGI machinery. The art style lacks the immediate, universal appeal of Studio Ghibli, but it has a beauty of its own that grows on the audience the more of it they see. The visuals are backed by a jazz soundtrack that helps keep the tone light and attentive direction from director Rintaro.

Still, Metropolis’ peculiar style that will not appeal to everyone. The story gets caught between two extremes: sci-fi epic, laced with politics and drama, and kid-friendly adventure, brimming with optimism and innocence. The combination of the two lets the movie reach farther than either one alone, but at the cost of focus. The logic of the plot also does not hold up perfectly, and its emtional beats are not quite as impactful as they might have been.

Those who enjoy pure-hearted adventure, gorgeous animation, and thoughtful science fiction should give Metropolis a shot. Its unusual combination of light tone and serious content will limit its appeal, but its overall quality makes it well worth a try for the curious. For a family-friendly adventure with a similar tone, try The Adventures of Tintin. For a much darker take on a similar premise, try Blade Runner 2049.

7.3 out of 10 on IMDB. I give it a 7.5 to 8.0 for outstanding craftsmanship.

“Got any duct tape?” —Will Sawyer

Today’s quick review: Skyscraper. Will Sawyer (Dwayne Johnson), a security consultant who lost a leg in the line of duty, has been tasked with verifying the safety of the Pearl, a high-tech Hong Kong skyscraper and the world’s tallest building. But when intruders set fire to the Pearl to get at Zhao Long Ji (Chin Han), the building’s owner, Sawyer must break into the building and navigate the flames to save his family, who are still trapped inside.

Skyscraper is an action thriller with a straightforward premise. Will Sawyer must get to the Pearl, figure out a way in, locate his family, and get them to safety before either the fire or the armed intruders can catch up with them. Skyscraper features decent action, a likable lead, and a well-balanced tone. However, its one-dimensional plot and lack of flair keep it from being anything more than a popcorn watch.

Skyscraper delivers exactly what it promises. The stunts make good use of the Pearl, focusing more on climbing and falling rather than physical combat. The plot includes everything it needs to and doesn’t overstay its welcome, but it offers little in the way of depth or complexity. The tone manages a good balance of levity and tension; the movie keeps the stakes high without going overboard on violence, and it offsets the drama with snippets of humor.

Watch Skyscraper when you’re in the mood for light action with a few good thrills. Those looking for exceptional action, an unpredictable plot, or sparkling dialogue should look elsewhere. But those looking for a popcorn flick with a different style of action should give it a try. For a more violent take on a similar premise, check out Die Hard. For a spy action comedy with similar stunts, check out Mission: Impossible – Ghost Protocol.

6.2 out of 10 on IMDB. I give it a 6.5 to 7.0 for competent action with few frills.

Today’s quick review: Casshern. Under the rule of the authoritarian Eastern Federation, Dr. Kotaro Azuma (Akira Terao) toils to perfect Neo Cells, a medical treatment capable of healing any injury. But when a lab accident gives birth to Neo-Sapiens, a race of superbeings bent on wiping out humanity, Dr. Azuma’s son Tetsuya (Yusuke Iseya), a soldier killed in battle and revived with the Neo Cells treatment, becomes the only hope of ending the bloodshed.

Casshern is a Japanese sci-fi action movie set in a bleak future where technological progress has failed to curb mankind’s violent tendencies. The film explores the futility of war, the inevitability of death, and human cruelty through the story of one man given a second chance to set things right. However, Casshern’s execution falls short of its ambitions, and flawed storytelling undermines its potential as an action movie and as a drama.

Casshern suffers primarily from unclear presentation. Key plot points are never fully explained, the story relies on shaky logic to hold it together, and choppy, busy cinematography makes the events of the film hard to follow at a visual level. None of these flaws are fatal, but they do make watching Casshern an uphill battle. The movie is further burdened with an oddly structured plot, high doses of melodrama, and an overly long finale.

Still, Casshern does show potential. The themes it tries to explore are a good fit for its dystopian world, and they only miss their mark due to flawed execution. The film’s liberal use of CGI helps its setting and action sequences feel larger than life. The action itself does not have the weight or consistency it should have, but its energy at least partially makes up for its lack of technical expertise.

Flawed storytelling and mediocre action keep Casshern from holding broad appeal, but dedicated sci-fi fans will appreciate what it is trying to do. Those hoping for stylish action or a truly moving story should skip it; those simply looking for something new may want to give it a shot. For sci-fi action in a similar vein, check out Aeon Flux, Immortal, Sky Captain and the World of Tomorrow, or Sucker Punch.

6.2 out of 10 on IMDB. I give it a 6.0 to 6.5 for decent action and the makings of a good story held back by unclear storytelling and inexpert direction.

Today’s quick review: Hostage. Jeff Talley (Bruce Willis), a former LAPD hostage negotiator turned small-town police chief, gets dragged into a high-stakes standoff when a trio of teen delinquents break into the home of Walter Smith (Kevin Pollak), a shady accountant, and take his family hostage. To ensure that Talley resolves the situation to their satisfaction, Smith’s criminal associates kidnap and threaten to kill Talley’s family.

Hostage is a crime thriller that drops a world-weary hostage negotiator into the middle of a complex standoff. With the teen criminals desperate for a way out, Smith’s associates willing to kill to protect their interests, and his own past failures haunting him, Jeff Talley must gamble everything to keep the hostages and his family alive. Hostage features a decent premise and a few good twists, but its dark tone and disconnected plot hold it back.

Tonally, Hostage is disturbing and bleak. The events of the movie are not that much darker than the typical crime drama, but Hostage goes out of its way to establish an oppressive atmosphere. The hostage negotiations in the film are almost always no-win situations, and Talley’s rare victories are offset by the steep prices he pays for them. The overly dark tone ends up overpowering everything else, including the viewer’s sympathy for the characters.

From a story perspective, Hostage is a mixed bag. The premise has potential, since it forces a hostage negotiator to confront his past failings. The various factions involved in the standoff also play off each other well, leading to a couple of good plot twists. But each plot thread pulls the story in a different direction, with only an overworked Jeff Talley to tie it all together. The result is an unfocused story with less impact than it should have.

Watch Hostage if you’re a fan of dark, tense crime movies. The film has enough going on to be a moderately interesting watch, and it avoids any glaring mistakes in its execution. But between its bleak tone, its jumbled plot threads, and its lack of distinctive traits, most viewers would be better off with a better-known crime movie instead. For a similarly bleak revenge movie with similar flaws, check out Rage.

6.6 out of 10 on IMDB. I give it a 6.0 for decent craftsmanship hurt by a cluttered plot and an excess of drama.

Today’s quick review: Assassination Games. To lure world-class assassin Roland Flint (Scott Adkins) out of hiding, a trio of crooked Interpol agents arrange for Polo Yakur (Ivan Kaye), the criminal who beat Flint’s wife into a coma, to be released from prison as bait. But Flint is not the only one who wants the contract on Polo. To get his revenge, he’ll have to beat rival assassin Vincent Brazil (Jean-Claude Van Damme) to his target.

Assassination Games is a violent action movie about a pair of assassins intent on killing the same mark. Assassination Games delivers solid action and a reasonably well-developed plot, making it a decent pick for action fans who don’t mind a bit of gore. However, its bleak tone and joyless characters make it a heavier watch than the usual action romp. The result is a competent but unexceptional action movie with decent fundamentals and a few visible flaws.

Assassination Games handles the bread and butter of the action genre well. Its plot pits two rival assassins off one another in interesting ways, first as enemies, then reluctant allies. Between the two assassins, the criminal they’re after, and the crooked Interpol agents, there are enough parties working at cross purposes to set up a couple of good twists and betrayals. The action is well-choreographed and sprinkled liberally throughout the movie.

But Assassination Games has two major weaknesses that hold it back. First of all, Scott Adkins is a swing and a miss. Jean-Claude Van Damme hits the sweet spot as a cold, professional assassin protagonist; Scott Adkins misses the mark. Second of all, Assassination Games has a grim tone that puts a damper on the action. Innocents die, often in brutal ways, and even Roland and Vincent’s triumphs are only partial victories. It is not a light watch.

Give Assassination Games a watch when you’re an action fan who’s in the mood for something a little darker. Nothing about the film is exceptional, but competent action and just enough in the way of plot make it a decent pick. For a slick assassin movie with better action and more style, try out John Wick. For a violent one with a more bombastic tone, try Smokin’ Aces. For a more thoughtful, fulfilling look at a hitman’s life, try The Professional.

6.2 out of 10 on IMDB. I give it a 6.5 for good action backed by a decent plot, but little else.

Today’s quick review: Traitor. Samir Horn (Don Cheadle), a devout Muslim with a checkered past, strikes up a friendship with Omar (Said Taghmaoui), a member of a terrorist organization. At Omar’s invitation, Samir puts aside his misgivings and joins the organization as a bomb maker. Meanwhile, FBI agents Roy Clayton (Guy Pearce) and Max Archer (Neal McDonough) try to track down Samir, their only lead in a pending terrorist attack.

Traitor is a crime drama with political overtones. The movie aims to be a sober look at the complexities of Islamic terror. In this it is successful, thanks to the range of viewpoints on display, a nuanced protagonist in Samir, and a plot that brings questions of faith and loyalty to the fore. However, Traitor’s slow pacing and restrained, realistic action keep it from holding as much of a thrill as Hollywood’s more fanciful crime movies.

Don Cheadle is the glue that holds the movie together. His performance as Samir Horn captures a great deal of subtlety, and Samir is a rare criminal protagonist who is neither perfectly likable nor entirely irredeemable. Samir walks a fine moral line, with his ever-bloodier terrorist activities on one side and his faith and moral center on the other. The film does a skillful job of pulling him in both directions at once.

But beyond its nuanced protagonist, Traitor is a middling film. The movie skews more towards drama than excitement, but it doesn’t have enough depth to be truly touching. The plot is competently assembled, with one or two decent twists, but it never builds up the momentum or complexity seen in the best crime thrillers. Traitor has few real weaknesses, but its strengths rely heavily on the viewer’s tastes for politics, character drama, and ambiguity.

Give Traitor a shot if you are interested in a somewhat more thoughtful take on terrorism and the issues surrounding it. Traitor’s solid craftsmanship lets it pass as a crime thriller if needed, but its strengths lie in its political and moral questions. For a somewhat more thrilling take on Middle Eastern politics, check out Body of Lies. For a mob drama with a similarly nuanced protagonist, check out Donnie Brasco.

7.0 out of 10 on IMDB. I give it a 6.5 for solid drama, a well-developed main character, and a decent plot.