Month: September 2019

“What’s the world coming to when our murderers won’t tell us who they are?” —Sal Frieland

Today’s quick review: Anon. Years in the future, cybernetic implants record everything a person sees and does, as well as providing direct access to a wealth of digital information. Detective Sal Frieland (Clive Owen) spends his days solving crimes by consulting this perfect digital record. But when a serial killer hacks the record to cover their tracks, Sal’s only lead is a mysterious woman (Amanda Seyfried) who has erased all trace of her existence.

Anon is a cyber thriller set in a future where video surveillance is everywhere and only elusive hackers can provide anonymity. Anon extrapolates current technological trends to their unsettling conclusion: a world where technology is everywhere and privacy is nonexistent. The movie features a fascinating setting, innovative camerawork, and a decent mystery for its plot. However, flat characters and a mediocre ending put a damper on an otherwise solid film.

Anon works well as speculative fiction. The world it portrays resembles modern society with one major exception: smartphones and computers have been replaced with implants connected straight to the brain. Anon fleshes out its vision of the future with a number of subtle touches, including the effect of the technology on monetary transactions, the use of video records as surrogate memories, and austere, ultra-modern architecture and furniture.

The speculative setting also meshes well with the film’s plot and presentation style. The plot is a mystery that makes good use of the premise, showing just how vulnerable a fully digital future would be to the wrong sort of hacker. On the presentation side, Anon uses tricks like letterboxing, first-person camera, and elegant, wireframe-style UI to capture the effect of stepping into another person’s point of view.

However, Anon does have a few minor flaws that detract from its strengths. The plot begins strong and escalates well, but the ending is something of a letdown. The answers to the mystery are not as interesting as the build-up, the climax is not as gripping as it could have been, and the film goes through the motions of an emotional arc that never quite comes together, thanks to slight issues with the script and the detachment of the characters.

Anon is a solid pick for science fiction fans who enjoy the speculative side of the genre. Its premise sheds light on modern society, while its plot exploits the setting in clever ways. Those hoping for a fully satisfying story should look elsewhere. For a gripping sci-fi thriller with a similar premise, check out Minority Report or the various versions of Ghost in the Shell. For a simiar extrapolation of modern technology, check out Surrogates.

6.0 out of 10 on IMDB. I give it a 6.5 to 7.0 for an excellent premise and a decent plot.

Today’s quick review: Zu Warriors. Above the Zu Mountains in China, immortal warriors practice magic and seek enlightenment. When the ancient demon Insomnia attempts to destroy Omei, the greatest of the Zu schools, White Brows (Sammo Hung), the master of Omei, calls on King Sky (Ekin Cheng), the last warrior of the fallen city of Kunlun, and Red (Louis Koo), Omei’s finest student, to defend the school from the greatest threat it has ever faced.

Zu Warriors is a Chinese fantasy action movie that features high-flying special effects, plentiful CGI, and a creative fantasy setting. Zu Warriors depicts the climactic confrontation between the immortals of the Zu Mountains and a powerful demon that seeks to absorb their magic. In spite of the movie’s fanciful action and sense of scale, it suffers from an unclear plot and crude CGI. The result is an action movie with potential but little polish.

Zu Warriors’ greatest strength is its action. Nearly every character is an immortal warrior with a signature weapon and the ability to fly. Their fights are aerial clashes fueled by special effects and imagination. However, much of the fighting boils down to dueling rays of energy, and the movie seems to make up its rules as it goes along. The one or two times Zu Warriors dips into martial arts, the stunts are quite impressive, but the focus is on fantasy.

Zu Warriors suffers from a flimsy story. The core of the plot is straightforward: the Zu immortals fight a protracted, losing battle against Insomnia using every weapon at their disposal. But the particulars are almost incomprehensible, especially to a Western audience. The subplots and character arcs clearly have thought put into them, but the rules of the universe are poorly explained and the events of the plot are hard to follow.

Zu Warriors’ other major failing is the quality of its CGI. CGI is ubiquitous in the film, providing most of the sets and almost all of the action. The designs for the characters, magic, and locations range from adequate to quite good. But the execution of those designs is greatly constrained by the limits of early-2000s CGI. The special effects are far from realistic, and they have not aged well.

Watch Zu Warriors if you’re a fan of fantasy-style action and are willing to look past dated CGI and an impenetrable story to get it. Zu Warriors has severe enough flaws to be a niche pick at best. Its particular flavor of fantasy will appeal to some, but most viewers would be better off skipping it. For a martial arts movie based on Chinese mythology, try The Forbidden Kingdom. For a similar flavor of fantasy with better CGI, try Gods of Egypt.

5.3 out of 10 on IMDB. I give it a 6.0 for decent action and inventive fantasy hurt by a poorly-explained plot and primitive CGI.

Today’s quick review: Escape from L.A. In the gritty future of 2013, a massive earthquake has turned Los Angeles into an island that serves as a dumping ground for America’s undesirables. When the President’s radical daughter (A.J. Langer) steals a doomsday device, the government sends notorious outlaw Snake Plissken (Kurt Russell) into Los Angeles to retrieve it. Snake has only 10 hours to get the device back and win his freedom before his time runs out.

Escape from L.A. is a sci-fi action movie from director John Carpenter. The sequel to Escape from New York, Escape from L.A. copies the premise of its predecessor wholesale. Once again Snake Plissken must venture into an anarchic prison-city to retrieve soemthing valuable for the government. Where the sequel differs from the original is in its over-the-top action sequences, the setting’s technological bent, and its overt satire of modern culture.

The result is a tongue-in-cheek action movie with bigger thrills than the original. Snake takes a more active role in the action sequences, which feature more extreme stunts backed by mid-90s special effects. The setting spoofs modern Los Angeles, with run-down versions of familiar locations and caricatures of L.A. personalities. These changes come at the cost of cohesion: Escape from L.A. lacks the focused vision and atmosphere of the original.

Escape from L.A. also takes jabs at itself. Other characters alternately mock Snake as an anacrhonism and praise his exploits from the previous film. Entire sequences are lifted from Escape from New York almost word-for-word, a gimmick that does lead to some amusing humor. But the ubiquitous references to Escape from New York deal a further blow to the film’s credibility, and the returning elements of the story mesh oddly with its new ones.

Give Escape from L.A. a shot if you enjoyed the first film and are curious to see a variant on the same premise. Escape from L.A. does not have the patience or the craftsmanship of the original, but it does offer more in the way of action and satire. Whether this is a fair trade will depend on your taste. For an even more satirical 90s sci-fi action movie, check out Demolition Man. For a failed take on a similar premise, check out Judge Dredd.

5.7 out of 10 on IMDB. I give it a 6.0 to 6.5 for decent action and satire that doesn’t quite hit the mark.

Today’s quick review: Escape from New York. In the gritty future of 1997, skyrocketing crime rates have led to New York City being sealed off as one enormous prison. When the President (Donald Pleasence) crash-lands in New York, notorious outlaw Snake Plissken (Kurt Russell) agrees to rescue him in exchange for a full pardon. Snake has less than 24 hours to locate the President and get him to safety before the offer and Snake’s life expire.

Escape from New York is a sci-fi action movie from director John Carpenter. The film pits a tough-as-nails convict against a lawless city full of America’s worst criminals. Escape from New York features a strong cast, a powerful sense of atmosphere, and all-around solid execution. However, its slow pacing and low amount of actual action may limit its appeal for modern audiences. The result is a well-crafted film that depends heavily on taste.

How much you get out of Escape form New York will depend on how much you like its world. John Carpenter’s vision of New York is a trashy, dangerous wasteland populated by all kinds of peculiar characters. Snake Plissken, a laconic antihero and born survivor, fits right in. He’s joined by a cast of familiar faces, including Lee Van Cleef, Ernest Borgnine, and Isaac Hayes. The setting and characters are Escape from New York’s best assets.

The downside is that the movie is not as packed with action as one might think. Snake proves his mettle at key moments, but he spends more of the movie traversing New York and hunting down leads than engaging in any action. Escape from New York also takes its time getting set up. The slow pacing helps sell the characters and the setting, but it comes at the cost of immediate excitement. There’s action, but it comes second to the story.

Try Escape from New York if you’re a fan of classic-style action movies. For pure specatcle, it’s a dated pick, but its interesting world and solid craftsmanship make it a good choice for the right viewer. For a modern, sci-fi take on a similar premise, check out Lockout. For a superhero movie with a similar plot, check out Suicide Squad. For a campy fantasy action movie with the same director and lead actor, check out Big Trouble in Little China.

7.2 out of 10 on IMDB. I give it a 6.5 to 7.0 for its atmosphere and its characters, hurt somewhat by its slow pacing; your score will vary.

Today’s quick review: White House Down. John Cale (Channing Tatum) is a Capitol police officer, an aspiring Secret Service agent, and a divorced father of one. He also becomes the last hope for President James Sawyer (Jamie Foxx) when Secret Service head Martin Walker (James Woods) stages a coup. With the White House overrun by armed mercenaries, Cale must figure out a way to get the President to safety before Walker’s plan reaches fruition.

White House Down is an action thriller that pairs unlikely hero John Cale and innovative president James Sawyer as they attempt to escape from a takeover of the White House. The movie takes a basic premise and spins it into a solid action flick, one with plenty of action, a few good plot twists, and a suitably large sense of scope. However, weak characters, mediocre dialogue, and a slow setup keep it from living up to its full potential.

To its credit, White House Down gets most of the basics right. The action has the usual mix of guns, explosives, and hand-to-hand combat, as well as a few treats that make use of the White House grounds. The plot juggles quite a few characters with a reasonable amount of success. What starts as a straightforward coup becomes more complicated as the movie goes on, raising the stakes nicely and giving the movie a strong sense of momentum.

But the film has enough shortcomings to keep it from joining the best of the genre. Channing Tatum and Jamie Foxx make for lukewarm protagonists: Cale is consistently behind the curve, while Sawyer’s character never quite clicks. The script also tries to sprinkle in some comedy, but it lacks the skill to pull it off. The lighter moments don’t go too far awry, but they contrast oddly with the dramatic events of the plot.

Watch White House Down when you’re in the mood for straightforward action with competent action and a good sense of scope. Though not a perfect execution of the premise, White House Down is a worthwhile popcorn watch that will keep action fans entertained. For an action thriller with a suspiciously similar premise, check out Olympus Has Fallen. For one with a bit more bite, try Shooter. For one that gets the lighter tone right, try Live Free or Die Hard.

6.4 out of 10 on IMDB. I give it a 6.5 to 7.0 for solid action held back somewhat by its characters and writing.

Today’s quick review: London Has Fallen. The funeral of the British Prime Minister turns into a bloodbath when a terrorist group launches a devastating attack on the visiting heads of state. Secret Service agent Mike Banning (Gerard Butler) must escort President Ben Asher (Aaron Eckhart) through the hostile streets of London to get him to safety. But with terrorists posing as police and a mole in British security, safety will be hard to come by.

London Has Fallen is a gritty action thriller and the sequel to Olympus Has Fallen. London Has Fallen follows the same recipe as its predecessor: large-scale destruction, non-stop action, and a likable protagonist. The one major change is the setting; rather than a siege at the White House, the sequel has a running escape across London. London Has Fallen scratches the action itch quite well, but it misses the chance to become something more.

London Has Fallen gets its fundamentals right. Mike Banning makes for just as effective a hero as before, a calm, efficient ex-Ranger with just the right amount of attitude. The action sequences run the gamut from gritty hand-to-hand combat to sprawling firefights to special effects-fueled explosions. After a brief itnroduction to set the stage, the action never lets up for more than a few minutes at a time until the end of the movie.

London Has Fallen does miss out on a few of the strengths of its predecessor. Where the first film spent time establishing the relationship between Mike and Ben, the sequel takes its characters for granted. There’s no personal angle to make the plot more dramatic and little in the way of character growth. The plot also skimps on complexity once it gets rolling. None of the subplots amount to anything, and the main plot is highly linear.

The result is a credible sequel that’s a slight step down from the original. Those hoping for high drama or an intricate plot will be disappointed. But those who enjoy action for its own sake will appreciate London Has Fallen for the sheer spectacle. For an action thriller with similar plot elements and a spy genre twist, try Skyfall. For an unconventional political thriller with a more mysterious plot, try Vantage Point.

5.9 out of 10 on IMDB. I give it a 6.5 to 7.0 for strong action but little else.

Today’s quick review: Olympus Has Fallen. When a North Korean terrorist attack turns the White House into a war zone, it falls to Mike Banning (Gerard Butler), a disgraced Secret Service agent and personal friend of the President, to rescue President Ben Asher (Aaron Eckhart) from the White House’s secret bunker. Elsewhere, Speaker of the House Allan Trumbull (Morgan Freeman) assumes command of the government in the midst of its greatest crisis.

Olympus Has Fallen is a gritty action thriller that posits a devastating attack on the White House. The movie features a solid cast, a well-constructed plot, and a steady stream of destructive action. Its high body count and willingness to put the U.S. through the wringer give Olympus Has Fallen higher stakes than most action movies. Although the movie doesn’t venture far from the basics, good craftsmanship and a sizable budget make it an enjoyable watch.

Olympus Has Fallen covers its bases well. The film takes the time to establish Banning and Asher as characters before dropping them into the action. The plot finds plausible ways to keep Banning at the center of the action without cutting Trumbull and the rest of the government out of the loop completely. The action is a high-octane blend of large-scale destruction and brutal close-quarters combat that never lets up for more than a few minutes at a time.

Still, Olympus Has Fallen has its weaknesses. President Asher has potential as a character, but he comes off as weak and ineffectual during the crisis and never gets the chance to redeem himself. Mike Banning has more depth than many action heroes, but he’s still a shallow character as far as drama is concerned. The movie’s high stakes also come with a price, taking it just a little too far outside the status quo and hurting suspension of disbelief.

Watch Olympus Has Fallen when you’re in the mood for a competently executed, modern-style action thriller. Neither its characters nor its plot is enough to make it distinctive, but action fans will get what they are hoping for. Skip it if you prefer lighter action movies. For action thrillers with a similar setup and a more memorable protagonist, check out the Die Hard series. For an airborne take on a similar premise, check out Air Force One.

6.5 out of 10 on IMDB. I give it a 7.0 for solid execution of a good premise.

“Get off my plane!” —President Marshall

Today’s quick review: Air Force One. Following his announcement of a new, hard-line policy on war crimes and terrorism, President James Marshall (Harrison Ford) has his convictions put to the test when Ivan Korshunov (Gary Oldman), a Russian terrorist, hijacks Air Force One with the President and his family on board. As the only person on board to escape the terrorists, Marshall must wage a one-man war to take back the plane and save his family.

Air Force One is an action thriller with a straightforward premise and solid execution. Harrison Ford stars as an American president who is forced to take matters into his own hands to save his family. The movie follows the usual pattern of high-stakes action and spectacle, with only a few slight variations due to the unusual setting and the occupation of the hero. The result is a fun, if unsurprising, watch that makes good on its premise.

Air Force One delivers pure, uncomplicated action. President Marshall must use the few tricks at his disposal to stay one step ahead of Korshunov. The action consists of gunfights, hand-to-hand combat, and a few dangerous scenarios specific to planes. The CGI comes across as a little dated and the drama isn’t as moving as it’s meant to be, but on the whole the action is satisfying and the plot gets plenty of mileage out of the premise.

Watch Air Force One when you’re in the mood for a straightforward, competently executed take on the action genre. Though not a standout movie, Air Force One has what it takes to make good on its promises. Skip it if you’re looking for a more cerebral thriller. For an action thriller with a similar setup and better execution, try Die Hard or Speed. For a more comical variant, try Con Air. For a low-key thriller with a similar premise, check out Non-Stop.

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

Today’s quick review: Mute. Leo (Alexander Skarsgard), an Amish man rendered mute in a childhood accident, works as a bartender in a German nightclub. When his girlfriend Naadirah (Seyneb Saleh) goes missing, Leo embarks on a winding investigation to locate her, one that leads him to buried secrets about her past. Meanwhile, Cactus Bill (Paul Rudd), an AWOL American army doctor, looks for a way to get himself and his daughter out of the country.

Mute is a science fiction crime drama and mystery from director Duncan Jones. Set in a neon future where criminals rule the nightlife and technology has further worked its way into the fabric of society, Mute follows Leo on his single-minded quest to find his missing girlfriend. The movie features a well-drawn setting, a competent mystery, and unusual characters. However, its odd tone and slow pacing keep it from living up to its full potential.

Mute has solid craftsmanship, particularly when it comes to setting, character, and the slow drip of information. Mute’s vision of the future has plenty in common with films like Blade Runner, but its colorful, moody environments and keen eye for detail, particularly when it comes to the impact of technology on society, make it a worthwhile setting to visit. Mute manages to be forward-thinking yet grounded in familiar concepts.

Mute’s cast has a very particular flavor to it. Each character has a distinctive personality, but all of them are abnormal. Leo is a kind-hearted mute with poor technological skills and a one-track mind. Cactus Bill is a brash, temperamental criminal with an honorable streak. Even supporting characters such as Duck (Justin Theroux), Bill’s best friend and fellow doctor, are twisted in their own ways. The result is a skewed cast that’s hard to read.

Mute’s plot is just as hard to get a bead on. The mystery moves slowly, always chugging steadily forward but never building up real momentum. The plot has a few good twists, but actual clues are scarce and the answers are not entirely satisfying. Mute also leaves the viewer to connect a lot of the dots, which can make the story hard to follow. Leo’s investigation ping-pongs around a complicated criminal underworld with plenty to keep track of.

Mute never quite clicks. Its individual pieces show potential, but its unusual characters, its futuristic setting, and its vague mystery make it too alien to work well as a drama. Even a sympathetic protagonist in Leo is not enough to ground the story, and without a solid emotional foundation to build on, Mute struggles to tell a satisfying story. The film also contains explicit, mature content that some viewers will find unpalatable.

Try Mute when you’re in the mood for a dark, personal peek at the future. Solid craftsmanship and a decent mystery make the movie a worthwhile watch for curious viewers, but those hoping for a cohesive, moving experience will be disappointed. Steer clear if you’re looking for action-oriented sci-fi, a faster-paced mystery, or immediately relatable characters. Also steer clear if you’re sensitive to mature content or prefer lighter films.

For a minimalistic sci-fi thriller from the same director, check out Moon. For a much more artful take on a similar future, check out Blade Runner 2049. For a present-day noir with a similar plot and tone, check out Brick. For a gritty, violent action movie with a similar atmosphere, check out Drive. For a less successful attempt at something similar, try Only God Forgives.

5.4 out of 10 on IMDB. I give it a 6.5 for its setting and mystery, held back by warped characters, a dark tone, and only modest payoff.

Today’s quick review: Batman Ninja. When Gorilla Grodd’s (Fred Tatasciore) latest invention malfunctions, it sends Batman (Roger Craig Smith) and Gotham’s most notorious criminals back in time to feudal Japan. The Joker (Tony Hale) quickly takes charge of Japan’s largest state, while the other villains fight to stake their own claims. To save Japan and return home, Batman must master the Way of the Ninja and accept the help of some new allies.

Batman Ninja is an animated superhero movie with heavy anime influences. Batman Ninja mashes up the Batman mythos with anime-style art, a Japanese setting, and rules lifted from the ninja and mech genres of anime. The movie is a hodgepodge of genres, characters, and storytelling styles whose main unifying theme is what would make for the most fun. However, uneven execution and flimsy plot logic keep the movie from living up to its full potential.

Batman Ninja’s chief appeal is its willingness to embrace its far-fetched premise. All the familiar Batman characters receive a Japanese-style redesign, and their gimmicks map surprisingly well to samurai, ninjas, and the other mainstays of feudal Japan. The action is loose and imaginative, the presentation has a few nice flourishes, and the film indulges its creative side continuously. It even throws in a few giant robots for good measure.

But Batman Ninja runs into problems where its story is concerned. The plot is all over the map, a mess of fakeouts and betrayals that never settles into a cohesive story arc. Batman himself drops into the background on two or three occasions as the villains take center stage, and his own growth as a character is only discussed, never shown onscreen. The action also suffers from nonsensical, ill-defined rules, even by the lax standards of the genre.

The result is a movie where anything can happen, including things that shouldn’t. Batman Ninja’s attempts to work mechs into a feudal Japanese setting are appreciated but not very graceful. The ninja aspects of the movie are thematically appropriate but never properly worked into the plot. The movie’s technical execution is generally fine, but there are a handful of noticeable missteps, such as stiff, CGI-based animation and weak mech design.

Watch Batman Ninja if you’re interested in an anime-inspired take on Batman. Though the movie suffers from a poorly structured plot and uneven execution quality, Batman Ninja has enough enthusiasm and creativity to make for an entertaining watch. Viewers willing to sacrifice storytelling for spectacle should give it a watch. Those hoping for a more cohesive animated film should try Son of Batman for the superhero genre and Ninja Scroll for mature anime.

5.7 out of 10 on IMDB. I give it a 6.5 to 7.0 for high creative potential let down by weak plot logic and technical flaws.