Month: November 2019

Today’s quick review: The Heist. After four years in prison for a crime he didn’t commit, Neal Skinner (Pierce Brosnan), the former head of security at a horse racetrack, has a plan to get back at Ebet Berens (Tom Skerritt), the partner who set him up. Using a few of his old friends as accomplices, Neal plans to steal $5 million from the track right from under Berens’ nose and win back the heart of his ex-girlfriend Sheila (Wendy Hughes) in the process.

The Heist is a light crime movie about a security expert with a score to settle. The Heist follows Neal as he braves Berens’ goons (Ben Mittleman and Nino Surdo), an overbearing detective (Tom Atkins), and rejection from his sweetheart to pull off his daring caper. The Heist has a few interesting ideas, and its light tone makes it a pleasant enough watch. But a thin supporting cast and a mediocre plan for the actual heist leave the film outclassed.

The Heist’s most distinctive feature is its ambiguity. Berens is wise to Neal’s plan from the very beginning; the only question is whether Neal knows that he knows. With this cat-and-mouse setup in place, The Heist has everything to gain by playing its cards close to its chest. Neal’s actions could be part of a larger scheme, or they could be just as transparent as they seem. Sheila serves as the film’s wildcard, with her loyalties uncertain.

Beyond these mysteries, The Heist doesn’t have that much to offer. Neal’s actual plan has a few neat twists but nothing astounding. The perpetual ambiguity makes it hard to tell what the plot developments mean. Neal’s accomplices are one-note, forgettable characters; Sheila and Berens are only a little better. Sheila in particular is a missed opportunity, a lukewarm love interest who shows little evidence of her past relationship with Neal.

Watch The Heist when you’re in the mood for a caper with a light tone and a dash of mystery. The Heist lacks the quality of acting and writing needed to stand up to its competition, but taken in isolation, it’s a decent popcorn watch. For a sharper take on a similar premise, try Ocean’s Eleven. For a convoluted caper with more overt comedy, try A Fish Called Wanda. For a similar plot and a better romance, try Out of Sight.

6.1 out of 10 on IMDB. I give it a 6.0 to 6.5 for a light tone and a few nice twists, but not much in the way of substance.

Today’s quick review: Colombiana. As a child, Cataleya (Zoe Saldana) witnesses her parents’ murder at the hands of Marco (Jordi Molla), an enforcer for Colombian crime boss Don Luis (Beto Benites). Fleeing to America to live with her uncle Emilio (Cliff Curtis), she vows to get her revenge. Fifteen years later, Cataleya finally has the skills she needs. Now working as an assassin, every job she completes brings her one step closer to Marco and Luis.

Colombiana is an action movie about one woman’s quest for revenge. Colombiana pits its hero against a variety of criminal targets as she works her way up the ladder to Luis, now in hiding with the help of the CIA. The action is fast-paced and exciting, a mixture of stealthy assassinations, rooftop chases, and the occasional firefight. There are no stunts that are truly jaw-dropping, but there’s enough solid action to make Colombiana a viable popcorn watch.

However, Colombiana has a few weaknesses when it comes to its story. The basic plot isn’t too shabby, but the film takes its time getting set up. Cataleya remains a child for the first half-hour, and while the time is well-spent, the movie invests heavily in background details that aren’t all that important. The main plot does accomplish what it needs to, hitting the necessary beats and serving as a vehicle for the action, but it holds few surprises.

Cataleya also isn’t as sympathetic a protagonist as she’s meant to be. Her actions paint her as bloodthirsty, driven, and more than a little reckless, but the story treats her like an innocent. Zoe Saldana handles both sides of the character well, but the inconsistency is still noticeable. The same goes for Cataleya’s family. Her father and uncle are both unrepentant criminals, and only Cataleya’s targetting of other criminals puts her in the right.

Watch Colombiana when you’re in the mood for a decent action flick with a serious tone. The story doesn’t come together as well as it should, but for quick entertainment, Colombiana has all it needs. For a more violent, more stylized tale of revenge, check out Kill Bill. For the transformation of an ordinary woman into an assassin, check out La Femme Nikita. For a more interesting action movie about a hitman, check out The Mechanic.

6.4 out of 10 on IMDB. I give it a 6.5 for decent action, with effort put into the story and characters that doesn’t quite pay off.

Today’s quick review: The Counselor. To solve his money woes and marry his sweetheart Laura (Penelope Cruz), an El Paso defense attorney (Michael Fassbender) joins Reiner (Javier Bardem), a wealthy entrepreneur, and Westray (Brad Pitt), a shady middleman, in a drug smuggling operation worth $20 million. But the meddling of Malkina (Cameron Diaz), Reiner’s scheming girlfriend, throws the plan off-track and puts all their lives in danger.

The Counselor is a gritty crime drama written by Cormac McCarthy and directed by Ridley Scott. The Counselor features a dark tone, a complex story, capable writing and direction, and an impressive cast. However, the film does not come together the way it should. Its mature content and open-ended plot make it a taxing watch, while the story’s missing pieces, passive nature, and unsatisfying resolution keep it from having its intended impact.

How much you get out of The Counselor will depend heavily on your taste. At its core, The Counselor is the tale of a man who gets in over his head with a drug cartel, becoming the victim of a complicated double-cross. The story will appeal to those who like the darker side of the crime genre, laced with graphic violence and foreboding. But the trap is almost too perfect, giving Michael Fassbender’s character very little counterplay to the looming danger.

The execution of the premise in general leaves something to be desired. Key points of the story are left for the viewer to fill in, including the exact nature of the scheme and the players involved. The supporting details of the story, such as the main character’s occupation as a lawyer, play almost no role whatsoever. The dialogue also skews philosophical, with at least four or five speeches that are loftier than anything else around them.

Give The Counselor a shot if you’re a fan of dark, nihilistic crime movies. The Counselor has most of the elements it needs to be a compelling watch, but the way they’re assembled lacks the cohesion the best films in the genre have to offer. There’s value to be had for the right viewer, but those hoping for a tightly written story should steer clear. Skip it if you’re sensitive to violence or prefer movies with more active leads.

For a violent, artistic crime thriller with more action, check out Sicario. For a sprawling tale of greed and revenge from Cormac McCarthy, try No Country For Old Men. For a violent story in a similar vein with a lower budget and better twists, try The Hollow Point. For a multifaceted look at the drug trade, check out Traffic.

5.3 out of 10 on IMDB. I give it a 6.5 for decent pieces that don’t quite form a complete puzzle.

Today’s quick review: Barton Fink. Barton Fink (John Turturro), an up-and-coming New York playwright, takes a detour to Hollywood to become a screenwriter. His first assignmen, handed down by fast-talking studio mogul Jack Lipnick (Michael Lerner), is a wrestling picture. But Barton’s muse proves elusive, and he soon finds himself searching for inspiration from his neighbor Charlie Meadows (John Goodman), an amiable insurance salesman.

Barton Fink is a black comedy and drama from the Coen Brothers. Barton Fink centers around the title character, a nervous, introverted writer who takes his work seriously. Holed up in a ramshackle Los Angeles hotel, Fink struggles to come up with a plot that will capture the plight of the common man. Skillful cinematography and a unique vision make Barton Fink an interesting pick, but its offbeat tone, dry humor, and dark undertones make it a niche one.

Barton Fink is an odd duck. One part musing on the creative process, one part Hollywood satire, the film takes a dark turn near the halfway point. As Fink’s mental state deteriorates, the world around him becomes more unsettling and more surreal. Barton Fink never quite crosses over into horror or fantasy, but the film’s odd occurrences, focused presentation style, and lingering ambiguities set the viewer adrift in Fink’s fraying life.

As such, Barton Fink has more artistic value than entertainment value. The comedy is dry even by the Coen Brothers’ standards. The drama touches on interesting themes, but Fink’s story arc leaves plenty to the imagination. John Turturro and John Goodman both turn in solid performances, but their characters are both unusual enough that they’re hard to get a bead on. The direction is attentive and uses subtle tricks to achieve the desired tone.

Watch Barton Fink if you’re interested in the creative struggle, looking for something unconventional, or enjoy thoughtful cinematography for its own sake. As far as entertainment goes, Barton Fink is all over the map; most viewers will have a hard time sifting through it to find a satisfying story. But those with an artistic bent may want to check it out, as its acting, craftsmanship, and unique vision give the audience plenty to chew on.

For a more overt Coen Brothers comedy, try O Brother, Where Art Thou?. For a Coen Brothers movie with a similarly dry, dramatic tone, try The Man Who Wasn’t There. For a surreal sci-fi mystery thriller that touches on similar themes, try Dark City. For a cat-and-mouse mystery about writers with dry comedy and a murderous twist, try Deathtrap or Sleuth.

7.7 out of 10 on IMDB. I give it a 6.5 to 7.0 for solid execution of a vision that’s hard to comprehend; your score will depend on how much you appreciate the vision.

“My name is Jack Abramoff, and I work out every day.” —Jack

Today’s quick review: Casino Jack. Jack Abramoff (Kevin Spacey), a shady Washington lobbyist, and his partner Mike Scanlon (Barry Pepper) hatch a scheme to make a fortune by overcharging an American Indian tribe for their services, then funneling the proceeds into a struggling Florida casino business. But when Jack and Mike push their luck too far, their multi-million dollar plan turns into a scandal that could cost them their careers or worse.

Casino Jack is a white-collar crime comedy about a corrupt lobbyist who exploits his clients for personal gain. The movie is a portrait of Jack Abramoff, from his political wheelings and dealings to his personal ambitions and failings. As a biographical piece, Casino Jack is modestly successful, thanks largely to the talents of Kevin Spacey. However, the movie is on shakier ground when it comes to its plot, its supporting cast, and its comedy.

Casino Jack’s best aspect is Kevin Spacey as Jack Abramoff. Spacey portrays him as shallow, egotistical, and not nearly as clever as he thinks. Even so, Jack falls well short of the mark when it comes to criminal protagonists. His charisma is deliberately superficial, and what humor can be derived from his phoniness quickly wears thin. Jack is also short on redeeming qualities, so when the mask slips, he comes across as pathetic rather than sympathetic.

Beyond its lead, Casino Jack is a mediocre watch. The plot involves Jack’s plan to defraud one casino to invest in another, but there’s no real trajectory to it, just the gradual unraveling of a plan that wasn’t that sound to begin with. There’s little of the conspicuous consumption seen in other crime movies, just a few pet investments for Jack. The humor itself is subdued, mainly playing on Jack’s character and the corruption in Washington.

Casino Jack is only worth a watch if you’re a Kevin Spacey fan who enjoys political commentary for its own sake. Its execution is enough to make it a decent watch, but it is outclassed when it comes to actual comedy, leaving it only a half-decent lead character and a wry take on the political process to set it apart. Most viewers would be better off with The Wolf of Wall Street, Margin Call, The Big Short, or even The Informant!.

6.2 out of 10 on IMDB. I give it a 6.0 for a somewhat interesting lead coupled with a dull story and little real humor.

Today’s quick review: Split. On the way home from a party, three teenage girls (Anya Taylor-Joy, Haley Lu Richardson, and Jessica Sula) are drugged, kidnapped, and locked in a basement prison by Kevin (James McAvoy), a troubled man with a split personality. Dennis, his now-dominant personality, intends to sacrifice them to the Beast, a dangerous new personality. The girls must use all their cunning to escape their captor before it is too late.

Split is a suspense thriller from writer and director M. Night Shyamalan. Split delves into the fractured mind of Kevin, whose traumatic childhood has led him to develop some two dozen separate personalities, some harmless and some twisted. To free herself and the two girls trapped with her, Casey Cooke (Anya Taylor-Joy), a reclusive girl dealing with trauma of her own, must learn to navigate Kevin’s psyche and uncover an opening for escape.

Split has three strong pillars that support the movie: James McAvoy, Anya Taylor-Joy, and M. Night Shyamalan himself. McAvoy gives a standout performance as Kevin, shifting between his many personalities with only subtle shifts in posture and delivery. Taylor-Joy grounds the movie as Casey, whose resilience and pragmatism keep a spark of hope alive. Shyamalan is in fine form, with solid writing, patient storytelling, and attentive cinematography.

Split still manages to be an unusual watch in several key ways. The question of whether the Beast is real or simply another delusion adds a layer of mystery to the movie, as well as supernatural overtones. The plot progresses slowly but steadily. Much of the film is spent on setup, but the time doesn’t feel wasted. Split also isn’t as frightening as it first appears. The situation is unnerving, but the rules of the story are fair.

Watch Split when you’re in the mood for a well-executed thriller with a few clever ideas. Those interested in the premise will be impressed by James McAvoy’s performance and the film’s all-around solid craftsmanship. Those looking for a pure horror movie or a more elaborate plot may want to give it a pass. For a darker thriller with similar elements, try Identity. For a somewhat lighter take on similar questions from the same director, try Unbreakable.

7.3 out of 10 on IMDB. I give it a 7.0 to 7.5 for a well-crafted story and an impressive lead performance.

Today’s quick review: Unbreakable. David Dunn (Bruce Willis) is an ordinary security guard who becomes briefly famous when he emerges unscathed from a catastrophic train crash. Shortly after, Elijah Price (Samuel L. Jackson), a brittle-boned comic book aficionado, contacts David with his own theory: that David is his opposite, a man who’s impervious to harm. To learn the truth, David must push himself in ways he never has before.

Unbreakable is a dramatic take on the superhero genre from writer and director M. Night Shyamalan. Unbreakable posits a world where superheroes exist as real people with unusual abilities, at least according to Elijah Price. Whether his theory is true or simply a delusion is the question at the heart of the film. Unbreakable backs this premise with a thoughtful script and skillful direction, but its slow pacing and somber tone make it an unusual pick.

Unbreakable’s greatest strength is what M. Night Shyamalan brings to the table. Interesting camera angles, subtle tricks with framing and use of color, and nuanced character development all reward close viewing. Unbreakable has a very particular vision, and it develops it methodically, scene by scene, until its finale. The film also has two capable leads in Bruce Willis and Samuel L. Jackson, but both are in more dramatic roles than usual.

But in spite of its craftsmanship, Unbreakable does have its eccentricities. The film moves remarkably slowly in setting up its characters and its core mystery. The story is interesting enough to offset the pacing issues, but Unbreakable is a decidedly slow boil. It’s also an understated movie that lacks the action and overt heroism found in even the most realistic superhero adaptations. Its payoff is more intellectual than emotional.

Watch Unbreakable if you’re interested in a cerebral musing on the existence of superheroes. Fine drama and cinematography let Unbreakable accomplish what it sets out to do, but its lack of the usual hooks in the form of action or clear supernatural abilities make it a better pick for drama fans than superhero ones. For a darker thriller from the same director that toys with the existence of supernatural abilities, try Split.

7.3 out of 10 on IMDB. I give it a 7.0 for solid execution of an inventive premise.

Today’s quick review: The Death of Superman. Superman (Jerry O’Connell) is at a turning point in his life. Lex Luthor (Rainn Wilson) is under house arrest, Superman has been dating Lois Lane (Rebecca Romijn) as Clark Kent, and the time has come to decide whether to tell her his secret identity. But before he can take the next step in their relationship, he’s called away to fight Doomsday, an invincible monster headed straight for Metropolis.

The Death of Superman is an animated superhero movie that adapts the storyline of the same name from DC Comics. As the first solo Superman movie in the Justice League: War continuity, The Death of Superman is responsible for introducing Superman’s corner of the universe. The film does so adroitly, smoothly working in the background details of Superman’s world while telling a story that does justice to both Superman and Clark Kent.

The Death of Superman features a surprisingly strong story. The film works equally well as an adaptation of the comic book storyline, a primer on Superman, and a new entry in an established continuity. Each part of the sstory is interesting on its own, while the film’s skillful writing lets it pivot between these parts with ease. The capstone is a nuanced take on Supermran that gives him human cares without sacrificing his image.

At the same time, The Death of Superman offers plenty in the way of action, with early fight scenes that build into a massive showdown at the climax. The fights are a step up from the usual animated fare in terms of smoothness, creativity, and scope. The animation is done in the same clean style as the other movies in the continuity, and it’s backed by top-notch voice acting, especially from Jerry O’Connell and Rebecca Romijn.

Fans of the superhero genre should strongly consider giving The Death of Superman a shot. The film is among DC’s best animated offerings, and its polish and craftsmanship make it a great pick for both new fans and old ones. Skip it if you’re not a fan of the genre or dislike animation. For a live-action Superman origin story, try Man of Steel or the original Superman. For another solid animated pick, try Son of Batman or Justice League: War.

7.4 out of 10 on IMDB. I give it a 7.5 for high all-around quality.

Today’s quick review: Lego DC Comics Super Heroes: The Flash. The Flash (James Arnold Taylor) faces his greatest challenge yet when the Reverse-Flash (Dwight Schultz), his evil nemesis from the future, traps the Flash in a time loop and sets out to destroy his reputation. To undo the damage, the Flash must take the advice of Superman (Nolan North), Batman (Troy Baker), and Wonder Woman (Grey Griffin) and learn to slow down and think things through.

Lego DC Comics Super Heroes: The Flash is a CGI-animated family superhero comedy. Set in a Lego rendition of the DC Universe, The Flash combines kid-friendly, Lego-style humor with a deep love for its comic book source material. The film’s light tone and clever humor are enough to make up for its shaky beginnings and its simplistic plot, while the Lego animation and talented voice cast help disguise the limits of the film’s budget.

The Flash skews young in terms of its plot, its conflict, and its sense of humor. The jokes are simple and obvious, the plot hinges on the usual kid-friendly morals, and the drama is almost nonexistent. But for all that, The Flash has charm that will appeal to older viewers as well. Not every joke hits the mark, but enough of them do to steadily win over the audience. The Flash is a breezy watch that gets more entertaining as it goes on.

Superhero fans in the mood for something amusing, self-contained, and refreshingly innocent should consider giving Lego DC Comics Super Heroes: The Flash a shot. Its young age range and limited budget make it a niche pick, but fans of the genre who want a break from deep writing and heavy drama will find plenty to love. For a funnier, more energetic, and larger-scale take on a similar premise, check out The Lego Batman Movie.

6.4 out of 10 on IMDB. I give it a 6.5 to 7.0 for enjoyable humor, love for the superhero genre, and innocence.

Today’s quick review: Suicide Squad: Hell to Pay. Deadshot (Christian Slater) and Harley Quinn (Tara Strong) headline the newest incarnation of the Suicide Squad, a black ops team of super-powered convicts working for the US government. Their latest mission is to retrieve a mystical “Get Out of Hell Free” card for Amanda Waller (Vanessa Williams), the team’s dying handler. But with other villains after the card, securing it won’t be easy.

Suicide Squad: Hell to Pay is an animated superhero movie set in the same continuity as DC’s other recent animated offerings. Hell to Pay takes advantage of a laxer rating to dip into the mature side of the DC Universe, including sex, swearing, and gory violence. The film’s main draw is its complex web of villain-against-villain conflict, which is brought to life with solid animation and a fair amount of action.

Hell to Pay has a lot going for it. The premise is intriguing: a dying Amanda Waller sends the Squad after a card that can save her soul from a nasty fate. That leads to a potent three-way conflict between the Squad and two separate groups of supervillains who want the card. The result is an elaborate, no-holds-barred battle royale between a dozen of DC’s deadliest villains. Decent writing and polished animation round out the package.

The one major weakness of Hell to Pay is a shaky plot structure. To get the card, the Suicide Squad embarks on an RV roadtrip that borders on surreal. The fights along the way live up to their promise, but the investigation itself doesn’t. The hunt for the card veers in different directions with no sense of overarching structure, while the roadtrip itself is executed blandly, with little of the comedy or character development the idea should entail.

Still, Suicide Squad: Hell to Pay is a strong pick for DC fans who want to see a dozen or more villains duke it out. Its gore and swearing will turn off fans of the lighter side of the superhero genre, but those who don’t mind them will appreciate the film’s interesting, self-contained story. For another mature animated movie from DC, try Justice League Dark. For more Suicide Squad, try either the live-action movie or Suicide Squad: Assault on Arkham.

7.0 out of 10 on IMDB. I give it a 6.5 to 7.0 for good action and an interesting premise hurt slightly by the way its plot is set up.