Month: December 2019

Today’s quick review: You Only Live Twice. When an unknown spacecraft gobbles up the latest American space launch, British intelligence manages to track the rogue vessel to the Sea of Japan. Secret agent James Bond (Sean Connery) heads to Tokyo to investigate, where he and his Japanese allies, Tiger Tanaka (Tetsuro Tamba) and Aki (Akiko Wakabayashi), must infiltrate Osato Chemical, a front for the international criminal organization SPECTRE.

You Only Live Twice is a spy adventure and the fifth film in the James Bond franchise. Sean Connery returns as James Bond, alias Agent 007, a suave British spy of many talents. This time Bond is tasked with foiling SPECTRE’s attempt to instigate a global war by targeting the USA’s space program. You Only Live Twice is a by-the-numbers Bond adventure with competent execution but little to set it apart.

You Only Live Twice succeeds where all good Bond movies do: in delivering the series’ characteristic blend of peril, spectacle, and class. The location this time around is Japan, where Bond takes in the local culture as he checks into Osato Chemical. Deadly assassins, gorgeous women, and an enormous SPECTRE operation are more than enough to keep Bond busy, and they help the film deliver its quota of spy-flavored action and intrigue.

But aside from its setting and one or two famous set pieces, such as SPECTRE’s hidden base, You Only Live Twice fails to distinguish itself. The investigation is a shade too linear, just a sequence of one lead after another. The writing is not as memorable as Bond’s best, both in terms of story and dialogue. Bond himself relies on outside help more often this time around, with a few key saves by Aki and Tiger Tanaka’s team of ninjas.

Watch You Only Live Twice when you’re in the mood for a fun spy movie with few frills. You Only Live Twice does all it needs to to ensure that fans of the series will have a good time, but those hoping for a more polished film should go with Dr. No, From Russia With Love, or Goldfinger instead. For a spy parody that draws heavily from You Only Live Twice, check out Austin Powers: International Man of Mystery.

6.9 out of 10 on IMDB. I give it a 7.0 for solid action and a decent plot.

Today’s quick review: Thunderball. SPECTRE unveils its most ambitious plan yet when the international criminal organization steals two nuclear bombs and uses them to threaten NATO. Following a lead, British secret agent James Bond (Sean Connery) heads to the Bahamas and runs into Largo (Adolfo Celi), SPECTRE’s second-in-command. But to get to the heart of the operation, he’ll first have to get close to Domino (Claudine Auger), Largo’s mistress.

Thunderball is a spy adventure and the fourth film in the James Bond franchise. Thunderball sees Bond head to the tropics in search of a pair of missing nukes. The film has all the hallmarks fo a Bond movie. Exotic locations, tricky gadgets, beautiful women, and a hefty dose of danger all combine to make a potent adventure. However, Thunderball is not quite as memorable as its predecessors, making it a solid watch that falls short of iconic.

Thunderball stacks up reasonably well against the other Bond offerings. Its villains are a step down from Dr. No and Goldfinger, and its plot is not as satisfying as From Russia With Love, but other than that, it’s a clean execution of the Bond formula. Sean Connery is a delight to watch in action, just the right mixture of suave, arrogant, and fallible. The plot fits in plenty of peril of all stripes, including capture, betrayal, and narrow escapes.

Thunderball’s chief strength, apart from Connery himself, is its action. Elaborate underwater action sequences help set it apart from the other entries in the Bond series and give the film a chance to showcase the gorgeous waters of the Bahamas. The underwater fights are not quite as weighty as others in the series, but the novelty factor, the difficulty of the stunts, and the variety of action elsewhere in the film make them a net success.

Watch Thunderball when you’re in the mood for another solid entry into the spy genre. The lines, situations, and villains aren’t quite as striking as Bond’s best, but the plot, the acting, and the action are all more than enough to satisfy. For a slightly better execution on a similar premise, check out Dr. No or Goldfinger. For a martial arts action comedy that dabbles in similar underwater stunts, check out Jackie Chan’s First Strike.

7.0 out of 10 on IMDB. I give it a 7.0 to 7.5 for good action, a strong lead, and a well-executed formula.

Today’s quick review: Bright. LAPD officer Daryl Ward (Will Smith) has been in the line of fire from orc and cop alike ever since he was partnered with Nick Jakoby (Joel Edgerton), the city’s first orcish police officer. Their tenuous partnership is put to the test when they find a wand, a magical weapon that could be devastating in the wrong hands. Unsure of who they can trust, Ward and Jakoby must protect the wand long enough to get it to safety.

Bright is an urban fantasy movie set in a fictional version of Los Angeles that’s populated with humans, orcs, and elves. The three races maintain an uneasy coexistence, but distrust and hatred abound. At the center of this tension are Officer Nick Jakoby, an orcish outcast who’s reviled by his fellow police officers, and Officer Daryl Ward, an ordinary police officer with the misfortune to be his partner.

Bright takes this setup and spins it into an inventive buddy cop movie. Ward and Jakoby have an interesting dynamic. Neither one likes the other, and the combination of their conflicting personalities and the political situation surrounding Jakoby put them at odds with one another. But both of them are good men and good police officers, which is enough to give the film plenty of heart.

The setting is a peculiar one, transposing the racial tensions of real-world Los Angeles to races lifted from the fantasy genre. The orcs absorb most of gangster culture, while the elves take on the role of the glamorous elite. The allegory isn’t very subtle, but this doesn’t prove to be much of a sticking point. Bright takes real-world cultural issues as a starting point and goes on to tell its own story.

Bright backs up its characters and setting with a solid story and some well-executed action. The story invovles a multi-way hunt for the wand that Ward and Jakoby found, putting them on the run from human and orcish gangsters, corrupt cops, and elven terrorists. The action makes good use of the film’s fantasy elements, combining a healthy dose of gunplay with the superhuman strength and agility shown by the orcs and the elves.

Watch Bright when you’re in the mood for a solid action movie with an original premise. Bright combines the buddy cop and fantasy genres in a surprisingly natural way, and apart from a few rough edges on its setting, it achieves what it sets out to do. Give it a shot if you’re curious. For urban fantasty movie that goes heavier on the fantasy, try Hellboy or Hellboy II. For a gritty tale of police corruption, try Dark Blue.

6.4 out of 10 on IMDB. I give it a 7.0 for an original premise, solid execution, and a good mixture of character, plot, and action.

Today’s quick review: A Night in Casablanca. Following the murder of its manager, the Hotel Casablanca hires Ronald Kornblow (Groucho Marx) to fill the position. With the help of Corbaccio (Chico Marx), a camel driver, and his old friend Rusty (Harpo Marx), Kornblow settles into his new role. But the hotel is the hiding place for a fortune in Nazi treasure sought by Pfferman (Sig Ruman), a Nazi in disguise, and Bea (Lisette Verea), his accomplice.

A Night in Casablanca is a classic comedy from the Marx Brothers. A loose spoof of the original Casablanca, A Night in Casablanca sees Groucho, Chico, and Harpo drawn into an elaborate caper in North Africa involving a stash of Nazi treasure, a French pilot named Pierre (Charles Drake) and his sweetheart (Lois Collier), and a Nazi in exile. The film delivers plenty of laughs, but it fails to be as iconic as the Marx Brothers’ other offerings.

A Night in Casablanca has more of a plot than the other Marx Brothers movies, although it still doesn’t take itself that seriously. Pfferman is in Casablanca searching for the Nazi treasure that Pierre hijacked and hid there at the end of the war. His plan is to murder the manager of the Hotel Casablanca, take his place, and search the hotel himself, a plan that goes comically awry as soon as Groucho, Chico, and Harpo get involved.

Beyond its plot, A Night in Casablanca is simply an excuse for the Brothers to do what they do best. Groucho spouts rapid-fire quips and pitches woo to Bea, Chico bamboozles everyone he speaks to and plies his skill at the piano, and Harpo shows off his inimitable slapstick and pantomime. The Marx Brothers are as skilled as ever, but there are no routines that truly stand out, making the film more of a solid hit than a true home run.

Fans of comedy that’s fast-paced, witty, and altogether silly will want to give A Night in Casablanca a shot. Though not quite as memorable as the Marx Brothers’ best, it’s still an entertaining romp with rare energy. For more Marx Brothers, check out Animal Crackers or Horse Feathers. For modern slapstick in a similar vein, albeit with a slightly different spin to its humor, check out Airplane! or The Naked Gun.

7.1 out of 10 on IMDB. I give it a 7.0 to 7.5 for strong humor and a fun, if insubstantial, story.

Today’s quick review: Horse Feathers. Professor Quincy Adams Wagstaff (Groucho Marx), the new president of Huxley College, makes it his first order of business to break the school’s decades-long losing streak at football. His son Frank (Zeppo Marx) suggests recruiting two star players from the local speakeasy. Instead Wagstaff winds up with Baravelli (Chico Marx) and Pinky (Harpo Marx), a pair of misfits, to lead the charge against the school’s rival.

Horse Feathers is a classic slapstick comedy from the Marx Brothers. Groucho, Chico, Harpo, and Zeppo slip into their usual roles, this time with an academic twist. Horse Feathers offers fast-paced comedy in a stew of complementary styles, including wordplay and insults, non sequiturs, sight gags, and plenty of slapstick, all topped off with a few musical interludes. Horse Feathers has little in the way of plot but plenty in the way of laughter.

The only substantive difference between Horse Feathers and the Marx Brothers’ other films is its academic setting. Groucho takes over the lecture hall and the football field with his distinctive style of patter, and he’s soon joined by Chico and Harpo for further mayhem. What plot there is involves Wagstaff’s attempts to win a football game by hook or by crook, but frequent distractions and a nonsensical ending make the story a moot point.

Fans of the Marx Brothers won’t want to miss Horse Feathers. The film has less of a story or supporting cast than some of their other offerings, but the comedy is as sharp as ever, and their particular flavor of wit remains impossible to find anywhere else. Skip it if you’re looking for subdued comedy or a story that makes perfect sense. For another Marx Brothers comedy of similar caliber, check out Animal Crackers.

7.7 out of 10 on IMDB. I give it a 7.5 for outstanding comedy.

Today’s quick review: Mission: Impossible – Fallout. IMF agent Ethan Hunt (Tom Cruise) faces his greatest fear when his team loses a trio of plutonium cores to a rogue terrorist group. With the material for three nuclear bombs out in the open, Hunt must employ a desperate gambit to set things right. But his mission is complicated by the presence of Agent Walker (Henry Cavill), sent by the CIA to keep an eye on the operation.

Mission: Impossible – Fallout is a spy action movie that sees the return of Ethan Hunt and his team of IMF agents. The sixth film in the Mission: Impossible series, Fallout continues the plot threads set up in the previous installment, Rogue Nation. With the leader of the Syndicate, Solomon Lane (Sean Harris), out of the picture, the IMF must deal with the remnants of his organization, now led by an elusive extremist named John Lark.

Fallout further refines the formula established in Ghost Protocol, the fourth film in the series. The usual high stakes, gadgets and gambits, and touches of humor are accompanied by a sharper sense of tension and a clever plot. The stunts are on par with the rest of the series but presented in an even more visceral, adrenaline-filled style. The writing shows remarkable skill, with satisfying plot twists and a firm grip on the film’s tone.

The cast of Fallout remains one of its biggest draws. Tom Cruise stars as Ethan Hunt and once again throws himself into the role, both literally and figuratively. He’s joined by teammates Luther Stickell (Ving Rhames) and Benji Dunn (Simon Pegg). Rebecca Ferguson reprises her role as conflicted MI6 agent Ilsa Faust, while Henry Cavill rounds out the main cast as Walker, a tough CIA agent who disapproves of the IMF’s methods.

Try Mission: Impossible – Fallout when you’re in the mood for a tense, well-executed action flick with impressive writing and stutnts. Fallout is a must-see for fans of the series and a strong choice for newcomers. For an entry into the series with a bit more comedy, try Mission: Impossible – Ghost Protocol. For a spy thriller of a similar caliber, try Skyfall. For a more grounded spy thriller, try The Bourne Identity.

8.1 out of 10 on IMDB. I give it an 8.0 to 8.5 for outstanding writing and action.

Today’s quick review: The Party. Hrundi V. Bakshi (Peter Sellers) is a well-meaning but hopelessly clumsy Indian actor who was just fired from his most recent role. But due to a mix-up, he’s not blacklisted but instead put on the guest list for a swanky Hollywood party. Whether it’s exploring the host’s luxurious house, fiddling with the decor, or trying to make small talk, Bakshi wreaks havoc everywhere he goes, threatening to derail the party completely.

The Party is a slapstick comedy starring Peter Sellers. The film follows the likable Hrundi V. Bakshi as he tries to make the best of a party he was never meant to be invited to. Packed with physical humor, awkward situations, and colorful characters, The Party is a playground for the talents of Sellers. Its light tone and numerous jokes are sure to earn at least a few laughs, but its flavor of comedy won’t be to everyone’s liking.

The Party excels at a very particular style of humor. Bakshi is both socially awkward and accident-prone, leading to cascades of problems as he tries and fails to correct his earlier mistakes. Peter Sellers shines her, resolving each new situation in the most roundabout way possible. The humor is never highbrow, but it’s often clever, with plenty of bonuses for attentive viewers. The film is topped off with the vibe of a laid-back 60s-era get-together.

The Party also does well by going easy on its protagonist from time to time. Bakshi is a kind person with a charming sense of humor and a knack for quick getaways. Many of the evening’s mishaps are not his fault at all, and the character really comes into his own when he meets Michele Monet (Claudine Longet), an aspiring singer who takes a liking to him. The two have great chemistry, and their relationship is as close as the film gets to a plot.

Give The Party a shot when you’re in the mood for light fare that shows off a master of comedy in his element. The Party has little in the way of substance, but its jokes hit often enough to make it a fun watch. For another Peter Sellers comedy with a more convoluted plot, try The Pink Panther or A Shot in the Dark. For a more tongue-in-cheek style of slapstick, try Airplane! or The Naked Gun.

7.6 out of 10 on IMDB. I give it a 7.0 for fun, charm, and inventive slapstick but not much in the way of story; your score will vary according to your taste in comedy.

“I’m your huckleberry.” —Doc Holliday

Today’s quick review: Tombstone. Retired lawman Wyatt Earp (Kurt Russell) heads west to the boom town of Tombstone, Arizona, to seek his fortune, accompanied by his best friend Doc Holliday (Val Kilmer), a sickly gambler, and his brothers Virgil (Sam Elliott) and Morgan (Bill Paxton). In spite of their best efforts to stay neutral, Wyatt and his brothers soon find themselves drawn into a conflict with the Cowboys, a ruthless gang of outlaws.

Tombstone is a Western based on the life of famed marshal Wyatt Earp. Now retired from law enforcement, Wyatt wants nothing more than to live a quiet life as a civilian. But a series of escalating encounters with the Cowboys gives him no choice but to pick up his badge once more. Tombstone offers a satisfying blend of action, adventure, and drama in true Western style, all backed by a skillfully written script and a slew of impressive performances.

The heart of Tombstone is its cast. Kurt Russell fits the role of Wyatt Earp remarkably well. Thanks to Russell’s performance, both sides of the character shine through: the noble but flawed man and the gun-toting legend. Russell is backed ably by Sam Elliott and Bill Paxton as Virgil and Morgan Earp. The Earp brothers have distinct personalities but a shared sense of justice, a dynamic that gives the movie a firm foundation to build on.

But the standout performance by far comes from Val Kilmer as Doc Holliday. Holliday is a genteel gambler laid low by tuberculosis. But in spite of his infirmity, he’s a sharp tongue, a quick draw, and a fast friend. Kilmer delivers Holliday’s laconic, sarcastic lines with quiet intensity. The illness is convincing, and Holliday ends up as one of the most interesting characters the Western genre has to offer.

These four men form the core of a well-written story. The plot has the ebb and flow of a biography, but it never loses focus and never stops marching forward. Memorable dialogue, dramatic shootouts, and a bold soundtrack help complete the package. The film isn’t as immediately gripping as an action thriller or as moving as a gritty drama, but it earns the audience’s trust over time. Those willing to invest in the film will be rewarded.

But for all its strengths, Tombstone has one attribute that makes it a polarizing watch: its tendency to wear its heart on its sleeve. Those who like stories with clear, honest emotions will appreciate the way Tombstone hits the right emotional beats without sacrificing craftsmanship. Those who prefer coy, understated storytelling will bounce right off the film. Tombstone delivers what it promises, but in a way that simply won’t click for some viewers.

For another Western with a strong cast and a heavier tone, try 3:10 to Yuma. For an iconic Western with an even grander scope, check out The Good, the Bad and the Ugly. For a more offbeat Western, try The Good, The Bad, The Weird.

7.8 out of 10 on IMDB. I give it a 7.5 for a well-rounded story with impressive acting and a high degree of polish.

Today’s quick review: 3:10 to Yuma. Dan Evans (Christian Bale), a cattle rancher struggling to support his family, takes the dangerous job of escorting the prisoner Ben Wade (Russell Crowe), a charismatic stage coach robber, to a nearby town in time for the next train to Yuma Prison. Standing in Dan’s way are the rest of Wade’s gang, led by the vicious killer Charlie Prince (Ben Foster), and two days of hard travel with the cunning prisoner.

3:10 to Yuma is a Western with a dramatic tone and a surprising amount of heart. Russell Crowe and Christian Bale share the spotlight as a notorious outlaw and a desperate family man escorting him to prison, respectively. The film features rich character development, engrossing writing, several impressive performances, and a fair dose of Western action. 3:10 is a polished, well-rounded film that hits the mark it is aiming for.

3:10 to Yuma’s most notable feature is its pair of leads. Christian Bale sells Dan Evans, a crippled Civil War veteran driven to desperate measures, as a layered character with hidden resilience. For his part, Russell Crowe as Ben Wade is soft-spoken, polite, and lethal, a constant threat to Dan and the rest of the posse. The two men have an excellent dynamic; each one reveals new depths to the other’s character as the film goes on.

Fans of the Western genre, action movies, or drama in general will want to give 3:10 to Yuma a shot. Its remarkable craftsmanship and well-judged characters and plot make it a solid hit, if a somber one, that most viewers will enjoy. Skip it if you’re looking for something lighter. For a Western with a more adventurous tone, try Tombstone. For one with a similarly strong story and even better execution, try The Good, the Bad and the Ugly.

7.7 out of 10 on IMDB. I give it a 7.5 for rock-solid storytelling backed by strong dramatic performances.

Today’s quick review: The Tuxedo. Taxi driver Jimmy Tong (Jackie Chan) takes a new job as a chauffeur for suave superspy Clark Devlin (Jason Isaacs). But when an enemy attack puts Clark in the hospital, Jimmy has to fill in for his boss with the help of a high-tech tuxedo that grants its wearer incredible skills. Now Jimmy must continue Clark’s mission and stop a bottled water mogul (Ritchie Coster) from contaminating America’s water supply.

The Tuxedo is a spy action comedy that places an ordinary man in the shoes of one of the world’s greatest spies. The Tuxedo puts a spy-genre twist on Jackie Chan’s usual formula, using Devlin’s tux to turn Jimmy into a martial arts machine. The film offers light comedy, martial arts slapstick, and some creative stunt work. However, mediocre writing, humor that aims too low, and a weak supporting cast keep The Tuxedo from being a fully enjoyable watch.

The Tuxedo’s best attributes are its lead and its premise. Jimmy Tong isn’t the deepest character, but he’s easy to like. His high-tech tuxedo gives the film a decent hook, at least for a family comedy, and its many modes are a cheap, consistent source of gags throughout the film. The tux also gives Jackie Chan the chance to show off his talents, with acrobatic stunts, seat-of-the-pants fights, and the convincing impression that the suit is wearing him.

But these strengths only take the movie so far. The writing aims young, sticking with a transparent plot and lowbrow humor. Few of the gags are all that clever, while the tuxedo gimmick puts a barrier between Chan and his normal role as a talented underdog. The film also misses in a big way with Jimmy’s sidekick on his mission: Del Blaine (Jennifer Love Hewitt), an agent on her first field assignment, who comes off as more abrasive than funny.

Fans of Jackie Chan’s family comedies should give The Tuxedo a try. Though somewhat lacking in terms of writing and character, the stunts and the charm are still there, making The Tuxedo a decent pick for those who don’t mind the trappings of a kids’ movie. Those looking for a well-rounded movie or something a little more mature should look elsewhere. For a Chan movie with better stunts, try Who Am I?. For one with better humor, try Rush Hour.

5.3 out ouf 10 on IMDB. I give it a 6.0 to 6.5 for fun action and a decent premise hurt by lackluster writing.