Month: January 2020

Today’s quick review: 300: Rise of an Empire. As King Xerxes (Rodrigo Santoro) of Persia wages battle against the Spartans in the south of Greece, Artemisia (Eva Green), his most trusted general, leads Persia’s navies against the forces of Athens in the north. Led by Themistocles (Sullivan Stapleton), the hero of the Battle of Marathon a decade before, the outnumbered Athenians fight a desperate battle to save their country.

300: Rise of an Empire is a violent action movie that revisits the stylized world of the original 300. Where 300 concerned King Leonidas’ and the Spartans’ stand against Xerxes, Rise of an Empire follows the Athenians under the command of Themistocles. Rise of an Empire offers action in a similar style to its predecessor and makes a valiant effort to match its intensity, but it lacks the story, cast, and focus to replicate 300’s success.

Rise of an Empire fits awkwardly around the previous film. Leonidas and his Spartan warriors cast a long shadow, undermining the movie’s attempts to build up Themistocles and the Athenians as formidable fighters in their own right. The story is stitched together from scraps, including the Battle of Marathon, the Battle of Salamis, and an origin story for Xerxes. The individual segments work well, but they make for an uneven plot when taken together.

The rest of the movie follows the same pattern: decent enough in concrete terms, but a marked step down from its predecessor. The script has a couple of good moments, but it has fewer memorable lines and less impact overall. The performances are splotchy: certain scenes click, but others never seem to find their rhythm. The direction is also rougher; the style resembles the original, but it has a tougher time managing its characters and story.

Rise of an Empire partially makes up for these issues by packing in action wherever it ca)n. Three large-scale naval battles and various skirmishes give the film plenty of material to work with. The fights are not quite as weighty as in the first film, but they share the same scope, brutality, and visual style. Rise of an Empire has enough in the way of budget, craftsmanship, and ambition to please viewers who are mostly in it for the spectacle.

Watch 300: Rise of an Empire when you’re in the mood for pure, violent action. As far as character, writing, and style go, Rise of an Empire is a pale imitation of the original. But as a popcorn flick, it offers both plenty of raw action and a second glimpse into 300’s unique world. For a more polished take on a similar story, check out the original 300. For violent action in a similar vein and with a mythological twist, check out Immortals.

6.2 out of 10 on IMDB. I give it a 6.5 to 7.0 for solid action and otherwise mixed execution.

“This is Sparta!” —King Leonidas

Today’s quick review: 300. When Xerxes (Rodrigo Santoro), the ruler of the Persian Empire, demands that the city-states of Greece submit to his rule, King Leonidas (Gerard Butler) of Sparta defies him. In retaliation, Xerxes sends his armies to conquer Greece by force. Forbidden to march with a full army of his own, Leonidas assembles 300 elite soldiers to face Xerxes at Thermopylae and keep his armies from overrunning Greece.

300 is a violent, stylized action movie directed by Zack Snyder. Based on the comic by Frank Miller, 300 portrays the historical Battle of Thermopylae as a brutal, dramatic clash between Sparta’s finest warriors and the fiercest threats Persia has to offer. The movie has enough action to satisfy almost any fan of the action genre, while its striking atmosphere, capable writing, and strong directorial style elevate it above the typical action movie.

300 represents the action genre at its purest. The movie chronicles the exploits of King Leonidas and his finest warriors on their doomed but glorious mission to hold off the advancing Persian army. What plot there is serves only to heighten the action, while the script scrupulously avoids any details that would distract from the Spartan ethos, the march against Xerxes, or the circumstances leading to Leonidas’ undermanned last stand.

The focus on action pays off in spades. The Spartans show their martial prowess against wave after wave of fearsome Persian troops. The fight scenes are well-choreographed, visceral, and heavily stylized. The stunts rely heavily on special effects, including frequent use of slowdown and ample amounts of gore, but are impressive nonetheless. However, the extreme stylization may be a turn-off for those who prefer simpler, more credible stunts.

300 backs its action with a world to match. The setting is a skewed take on the ancient world that emphasizes its brutality and its absolute moral conflicts. Every character is larger than life, whether in terms of strength, loyalty, courage, deformity, or cowardice. The dialogue is stern and memorable, with its most iconic quotes taken from Greek history, and the superb narration of David Wenham gives the film much of its mythic quality.

300 is a must-see for fans of the intense, violent side of the action genre. Its craftsmanship, focus, and style make it a uniquely satisfying and memorable watch. Skip it if you’re sensitive to violence or want something with more plot. For a loosely historical action movie with polished writing set in Ancient Rome, check out Gladiator. For similar levels of violent action and a more twisted tone, check out Kill Bill.

7.7 out of 10 on IMDB. I give it a 7.5 to 8.0 for excellent action, writing, and atmosphere.

Today’s quick review: Venom. Investigative reporter Eddie Brock (Tom Hardy) has just hit rock bottom, losing his job and his girlfriend Anne (Michelle Williams) after a failed expose on Carlton Drake (Riz Ahmed), a brilliant futurist and the head of the Life Foundation. But Eddie gets a bizarre second chance when he becomes bonded to Venom, a symbiotic alien with an insatiable appetite brought to Earth for study by the Life Foundation.

Venom is a dark sci-fi action movie based on the Marvel Comics character. The movie pairs Eddie Brock, a down-on-his-luck reporter, with Venom, an alien lifeform known as a symbiote that gives its host incredible powers at a terrible cost. Venom delivers an excellent blend of action and comedy at the cost of almost everything else. The result is a deeply flawed but highly enjoyable watch that manages to hit the target it’s aiming for.

Venom is something of a throwback. In spite of its modern special effects and its willingness to embrace the extremes of its source material, it has little in common with the modern superhero genre. The plot is linear, the world-building is thin, and the cast has no standout performances save for Tom Hardy himself. From a technical perspective, Venom is a slipshod movie that leaves much of its considerable potential on the table.

But for all of its faults, Venom nails the one aspect it needs the most: its spirit. Venom is an unabashedly fun movie that thrives on the dynamic between Eddie Brock and his symbiote. The symbiote acts as Eddie’s warped, surrogate id, supplying him with an endless string of bloodthirsty suggestions that Eddie does his best to ignore. These exchanges provide the film with a surprisingly effective source of black humor.

The symbiote also lets Venom indulge in some truly creative action. The symbiote has great screen presence when it fully manifests itself, and the action scenes are ample proof that the alien is an absolute monster when it comes to combat. The action lacks the depth of bigger-budget offerings, but it’s fast-paced, makes great use of Venom’s powers, and manages to avoid the worst of the gore that would normally accompany a character like Venom.

Watch Venom when you’re in the mood for a popcorn action flick with some bite to it. Its cast and story leave something to be desired, but its unique style of action and humor make it a breezy, entertaining watch nonetheless. Skip it if you’re looking for a modern superhero epic, a horror movie, or a masterful comedy. For a darker, funnier, and more polished Marvel adaptation, try Deadpool. For sci-fi action in a similar vein, try the Blade trilogy.

7.1 out of 10 on IMDB. I give it a 7.0 for schlocky fun.

Today’s quick review: Shark Tale. Oscar (Will Smith), a fish who works a dead-end job at the Whale Wash, gets his chance at greatness when a freak accident lets him take credit for killing the son of Don Lino (Robert De Niro), a fearsome shark mobster. But his unearned success causes problems of its own, forcing Oscar to team up with Lenny (Jack Black), a soft-hearted shark and Don Lino’s other son, to keep up the ruse.

Shark Tale is an animated family comedy set in an undersea world of anthropomorphic fish. Shark Tale follows Oscar as he bounces from one tricky situation to the next. The movie features a star-studded cast, colorful visuals, an energetic tone, a complex plot for a kids’ film, and a bevvy of pop culture references. However, its hit-or-miss humor, mediocre characters, and unfocsed story keep it from having its desired impact.

Shark Tale relies heavily on pop culture for its laughs. The setting is an aquatic-themed parody of modern society, amounting to a series of thinly clever puns and sight gags. The dialogue riffs on popular movie quotes, the sharks parody the Italian gangsters of the crime genre directly, and the soundtrack uses upbeat pop music to set its tone. These many references result in a movie that’s often funny but is short on originality and heart.

The story has plenty going on, but it lacks focus. Plot threads include Oscar’s debt to his boss Mr. Sykes (Martin Scorsese), the unrequited love of his friend Angie (Renee Zellweger), his fame as a shark slayer, Lola’s (Angelina Jolie) attempts to take advantage of him, and Lenny’s strained relationship with his father. The plot threads tie together in interesting ways, but the film’s major shifts in focus keep it from telling a satisfying story.

Shark Tale is further hampered by thin characters and odd source material. Oscar lucks his way through most of the film without learning his lesson; when it finally comes, it lacks the weight it should have. Likewise, the rest of the cast do a decent job comedically but fail to make a real connection with the viewer. Even stranger, key parts of teh plot are lifted from the crime genre, an unusually mature source of inspiration for a kids’ movie.

Watch Shark Tale if you’re interested in a fun but insubstantial family comedy that tries its hardest to be hip. Shark Tale’s over-reliance on cultural references, muddy story, and lack of an emotional core make it a marked step down from the competition. But its talented cast, workmanlike comedy, and upbeat tone are just enough to make it a pleasant watch for viewers who aren’t feeling too critical.

For a more heartfelt undersea family adventure, check out Finding Nemo. For an animated comedy from Dreamworks that tries a similar formula with more success, check out Robots or Flushed Away. For a more polished Dreamworks comedy with similar appeal, try Megamind.

6.0 out of 10 on IMDB. I give it a 6.0 to 6.5 for entertaining but derivative comedy hurt by a flawed story.

Today’s quick review: Moana. Moana (Auli’i Cravalho) becomes the only hope for her peaceful island in the Pacific when an ancient curse reaches its shores, poisoning its crops and driving away its fish. Moana must venture beyond the safety of her home to find Maui (Dwayne Johnson), a vain but kind-hearted demigod, and convince him to restore the heart he stole from the goddess Te Fiti, ending the curse and making the ocean navigable once more.

Moana is an animated family fantasy adventure from Disney that’s based on Polynesian mythology. The movie follows a spirited teenage girl into the unknown waters beyond her island in the hopes of reversing the ancient curse that endangers it. Moana features colorful and lavishly detailed CGI animation, a solid story, a pair of fun leads, and a decent sense of humor. Its strong craftsmanship will make it an excellent pick for most Disney fans.

Moana is a rock-solid execution of the Disney formula. Moana’s dream of sailing beyond her island forms the emotional core of the movie, and her search for Maui builds off it quite nicely. Moana and Maui play off each other well, with just the right balance of conflicting personalities and mutual respect. The challenges they face along the way also let the movie indulge in some action without interfering with the main plot.

Moana has a particular musical style that won’t appeal to everyone. While the songs are clearly put together with care, the lyrics are wordy and literal, used more to advance the plot than expand on a theme. As such, Moana has more in common with more recent Disney musicals like Frozen than older ones like Mulan. Some viewers will welcome the added complexity and tight story integration, but others will find it harder to get lost in the songs.

Give Moana a try when you’re in the mood for something light, adventurous, and visually stunning. How much you get out of the movie will depend on your particular taste in Disney films, but Moana has all the quality it needs to please a wide range of fans. For a modern Disney musical in a similar vein, check out Frozen. For a heartfelt Disney sci-fi adventure based on Hawaiian culture, check out Lilo & Stitch.

7.6 out of 10 on IMDB. I give it a 7.5 for impressive animation, a charming story, and a high degree of polish.

Today’s quick review: Get the Gringo. After a robbery gone wrong, a criminal (Mel Gibson) flees across the border to Mexico and ends up in El Pueblito, a town-sized Mexican prison with its own ramshackle economy. There he strikes up a friendship with an observant young boy (Kevin Hernandez) and his mother (Dolores Heredia) and begins to work on a plan to escape with the unwitting help of Javi (Daniel Gimenez Cacho), the man in charge.

Get the Gringo is a crime movie with traces of action and comedy. Mel Gibson stars as a nameless robber who makes a dubious getaway to Mexico, ending up in an unusual prison that holds as much opportunity as it does danger. There he must use his wits to navigate the criminal ecosystem, figure out a way to escape, and perhaps recover $2 million in stolen money along the way.

Get the Gringo does a surprisingly good job with its characters. Mel Gibson makes for a likable protagonist, an unabashed criminal with a clever mind and a kind heart. His wry narration gives the movie its distinctive flavor, and his schemes are fascinating to watch. Kevin Hernandez plays opposite him as a scrappy boy who lives with his mother in the prison. Hernandez delivers a subtle, credible performance that complements Gibson’s nicely.

Beyond its characters, Get the Gringo has a healthy mix of plot, drama, and action. The plot concerns the protagonist’s attempts to first survive in El Pueblito, then escape it. Corrupt cops, stolen cash, and the boy and his mother keep the plot from becoming too linear, while a couple of shootouts lend the film some action. Get the Gringo also borders on comedic from time to time, thanks mainly to Gibson’s character, but it never quite makes the leap.

Watch Get the Gringo when you’re in the mood for a tidy, entertaining crime flick that doesn’t overstay its welcome. Though not an overly ambitious movie, Get the Gringo is charming and cleanly executed, making it a solid pick for crime fans. Skip it if you are sensitive to violence. For a light action movie set around the Mexican border, check out 2 Guns. For a more romantic, more comedic movie about a roguish robber, try Out of Sight.

7.0 out of 10 on IMDB. I give it the same for well-drawn characters, a clever plot, and a likable lead.

Today’s quick review: From Paris with Love. James Reese (Jonathan Rhys Meyers) is an intelligence officer with the U.S. embassy in Paris. Now in a stable relationship with Caroline (Kasia Smutniak), Reese is eager to take the next step in his career: special ops field work. He gets his chance when he’s partnered with Charlie Wax (John Travolta), a talented but unconventional field operative who’s in town to take down a drug ring by force.

From Paris with Love is a fast-paced action movie that pairs an inexperienced intelligence agent with an eccentric master of the craft. The movie follows Wax and Reese as they tear around Paris, tracking down criminals according to Wax’s inscrutable logic. From Paris with Love features plenty of action and an engaging lead in John Travolta. However, its loose plot and shallow characters keep it from being anything more than a popcorn watch.

From Paris with Love handles its action well. The action scenes are fast and frantic, thanks mainly to Wax’s gung ho approach to combat. The film doesn’t push the envelope with its stunts, but it does execute them cleanly and provides a nice variety of firefights, explosions, and chase scenes. The action never lets up for long; Wax always seems to find somebody new to shoot at every few minutes.

The movie’s other main draw is John Travolta. Charlie Wax is a chance for Travolta to open up and have some fun. Wax lacks the subtle touches that make other eccentric characters so charismatic, but he makes up for in enthusiasm what he lacks in subtlety. His partnership with Reese is a missed opportunity. Meant to be the cornerstone of the film, the pairing lacks the tension it needs and comes across as a forced friendship.

From Paris with Love is also on shaky ground when it comes to its plot. Much like Charlie Wax himself, the movie tends to jump without looking. From Paris with Love tends to lead with plot twists and then try to explain them later. This works well for cramming in as much action as possible, but it damages the impact of the story. There is no clear direction for the movie and no lead-in for any of its twists; the story feels like an afterthought.

Give From Paris with Love a shot when you’re in the mood for a pure, energetic action movie. The movie has little to offer in the way of plot, and its characters are only a partial success, but those who are just in it for the spectacle will get exactly what they want. For a more dramatic action movie with a pair of unlikely allies, check out Safe House. For a darker, more dramatic take on a similar premise, check out Training Day.

6.5 out of 10 on IMDB. I give it the same for high-octane action and a decent plot hurt somewhat by its seat-of-the-pants storytelling.

Today’s quick review: Diamonds Are Forever. After finally killing his nemesis Blofeld (Charles Gray), British secret agent James Bond (Sean Connery) takes on a new mission rooting out an international diamond smuggling operation. Posing as a smuggler, Bond enlists Tiffany Case (Jill St. John), the next link in the chain, to help him trace the diamonds to their destination: Las Vegas and the casino of reclusive millionaire Willard Whyte (Jimmy Dean).

Diamonds Are Forever is a spy adventure and the seventh film in the James Bond franchise. Sean Connery returns after a one-film hiatus for his final outing as Bond in the main series. The movie offers the series’ usual assortment of thrills: daring stunts, unhinged villains, clever gadgets, and beautiful women. However, Diamonds Are Forever lacks the focus of other Bond films, with a disjointed plot that only comes together near the end.

The unusual structure of the movie’s plot comes from the nature of Bond’s investigation. For once, James Bond is tasked with solving an ordinary crime, albeit one of extraordinary scale. The diamond smuggling scheme does end up having a greater purpose than just control over the market, but most of the movie is spent discovering that something unusual is going on at all, in contrast to the clear-cut inciting incidents of, say, Dr. No or Thunderball.

The result is a plot that’s harder to follow than the typical Bond adventure. The complexity of Bond’s investigation leaves the viewer with puzzle pieces that only fit together later on in the film, rather than fitting into place one by one. To the film’s credit, the completed puzzle makes for a fun, coherent Bond adventure, and the individual pieces are memorable. It’s only the way they are put together that leads to some awkwardness.

Diamonds Are Forever does deliver when it comes to spectacle. Unique stunts, an iconic villain, and a variety of locations across Europe and around Las Vegas are all enough to qualify Diamonds Are Forever as a strong action movie. A few of the moments do feel out of place in a Bond movie, trending a little too goofy or a little too far-fetched, but on the whole, the quality, quantity, and variety of the action are all high.

Give Diamonds Are Forever a watch when you’re in the mood for a creative action movie. The movie falls short of Bond’s best thanks to issues with its plot and tone, but what’s there should be more than enough to entertain fans of the series. Skip it if you’re looking for a tightly-scripted mystery. For a Connery Bond movie of roughly similar caliber, try Thunderball or You Only Live Twice.

6.7 out of 10 on IMDB. I give it a 7.0 for strong action held back by slight plot issues.

“This never happened to the other fellow.” —James Bond

Today’s quick review: On Her Majesty’s Secret Service. While searching for his nemesis Blofeld (Telly Savalas) across Europe, British secret agent James Bond (George Lazenby) stumbles across an unexpected lead in Tracy (Diana Rigg), a fiery countess with a criminal father. While pursuing a relationship with the heiress, Bond uses her father’s connections to track Blofeld to a lab located high in the mountains of Switzerland.

On Her Majesty’s Secret Service is a spy adventure and the sixth film in the James Bond franchise. The movie sees George Lazenby take the reins as James Bond for the first and last time. Agent 007 must travel undercover to Switzerland to try to locate Blofeld, the criminal mastermind who escaped Bond two years prior. The movie also gives Bond a brand new love interest in Tracy, a willful woman whom Bond develops genuine affection for.

George Lazenby takes the character of James Bond in a new direction. His Bond is more polite, more chivalrous, and less aggressive than Sean Connery’s. The changes are broadly compatible with the iconic British spy, but they have a noticeable effect on the way the movie is put together. There are also a number of jarring moments where Lazenby zigs where Connery would have zagged. Generally speaking, Connery’s rendition of the character is more memorable.

Beyond its changes in tone and character, On Her Majesty’s Secret Service has a few issues that make it a step down from prior Bond films. The cinematography is choppy, with excess shots to show basic actions and even more rapid cuts during action scenes. The stunts are less impressive than Bond’s best. The plot also takes a long time to get going, thanks to both Tracy’s lengthy introduction and an extended undercover sequence.

Still, On Her Majesty’s Secret Service is a James Bond film, with all the raw appeal that entails. Peril, exotic locales, and a touch of romance combine to make for a light, adventurous watch with plenty of variety. On Her Majesty’s Secret Service takes a while to get warmed up, but once it does, the action and adventure continue straight through to the end. As a bonus, the movie also includes a few shoutouts to other Bond films for observant viewers.

As with most changes to the Bond formula, how much you get out of On Her Majesty’s Secret Service will depend heavily on your taste. Fans of the older Bond films who aren’t attached to Sean Connery will get the most out of the movie, while those who prefer a more rakish, assertive Bond may be disappointed. For a Bond film with similar plot elements and somewhat better execution, check out Dr. No, Goldfinger, or You Only Live Twice.

6.8 out of 10 on IMDB. I give it a 6.5 for solid action and a decent premise, hurt somewhat by the changes to Bond’s character and a few rough edges.

Today’s quick review: A Day at the Races. To save her struggling sanatorium, Judy Standish (Maureen O’Sullivan) turns to Dr. Hugo Z. Hackenbush (Groucho Marx), a horse doctor and the only one who convince the wealthy Mrs. Upjohn (Margaret Dumont) to invest in the sanatorium. Meanwhile, Judy’s boyfriend Gil (Allan Jones) invests in a racehorse that could, with a little help from Tony (Chico Marx) and Stuffy (Harpo Marx), solve their money woes.

A Day at the Races is a classic comedy from the Marx Brothers. A Day at the Races sees the Brothers take over the resort town of Sparkling Springs Lake, in particular its sanatorium and racetrack. The movie embeds the Brothers’ usual routines in a more conventional comedy plot, a roundabout scheme to gather the money needed to save the female lead’s flagging business. Slapstick, music, and wisecracks abound, delivered by three masters of the craft.

A Day at the Races sports a different flavor than other Marx Brothers films. The story takes center stage, leading to a slow start, more conventional comedy heroes in Judy and Gil, and stretches of the movie that barely feature the Brothers at all. The Brothers eventually succeed in stealing the show, but the story’s elaborate setup leaves its mark. The result is an enjoyable comedy that happens to move slower than usual.

In spite of the more heavyweight plot machinery, A Day at the Races shines as a comedy. The Brothers’ routines have a few false starts, thanks to slight missteps in timing or pacing, but they soon settle into their practiced rhythm. The sanatorium and racetrack offer ample opportunity for humor, and the gags the Brothers come up with are as memorable as ever. However, the film does tend to get sidetracked by its many comedy interludes and musical numbers.

Watch A Day at the Races if you’re a fan of the Marx Brothers or classic comedy in general. Whether the extra investment in plot bogs the movie down or helps tie it together is a matter of taste, but a core of rock-solid comedy makes A Day at the Races a worthy watch regardless. For more Marx Brothers fun, try A Night at the Opera, Animal Crackers, or Duck Soup. For another classic comedy with drier humor and a mystery twist, try The Thin Man.

7.7 out of 10 on IMDB. I give it a 7.5 for strong, varied comedy.