Month: February 2020

Today’s quick review: Dracula Untold. In the fifteenth century, Vlad (Luke Evans), the prince of Transylvania, faces a terrible choice: send one thousand boys to the Turks to become slave warriors or face annihilation at the hands of the Turkish armies. To protect his wife Mirena (Sarah Gadon) and son Ingeras (Art Parkinson), Vlad makes a deal with a vampire (Charles Dance), taking on its powers and its curse to fight back against the Turks.

Dracula Untold is a historical fantasy action movie based loosely on the life of Vlad the Impaler. Dracula Untold casts Vlad in a heroic role, a wise ruler whose love for his people forces him to strike a terrible bargain. The movie takes what could have been a shaky premise and makes a surprisingly credible attempt at spinning it into a full story. However, Dracula Untold comes up short in a few key ways that keep its efforts from paying off.

Dracula Untold invests heavily in its plot and its characters. Luke Evans makes for a sympathetic protagonist in Vlad, a former janissary who must go to great and tragic lengths to keep his son from suffering the same fate. The characters in general are not deep, but they do serve the needs of the story. The conflicts and relationships in the film are straightforward but effective, yielding a robust story setup that has all it needs for success.

However, Dracula Untold doesn’t quite have the dramatic chops to see its story all the way through. Vlad’s love for his family and the horrible sacrifice he must make to protect them make for potent dramatic themes, but the film overplays its hand and fumbles the execution of several key moments. The film also seems wed to the premise that one vampire can take on an army, skewing the plot and with it the outcome of the personal drama.

As for action, Dracula Untold fits comfortably into the middle of the fantasy action genre. Before his vampiric transformation, Vlad is a skilled hand with a sword, dancing his way through Ottoman troops with the help of solid fight choreography. After taking on the vampire’s curse, the combat becomes even more lopsided. Vampires in the film seem to have almost unlimited power, turning the later combat into a flight of fancy instead of a tense struggle.

Watch Dracula Untold if you’re an action fan looking for a respectable mix of story and action. Though Dracula Untold never rises to the level of greatness, its fundamentals are strong enough to make it a worthwhile watch for those interested in what it has to offer. Skip it if you’re not interested in action for its own sake, or if you’re looking for a more impressive entry into the genre.

For vampire action with a modern twist, check out the Underworld series or the Blade trilogy. For another reimagining of a classic horror story, one with somewhat more dubious results, try I, Frankenstein.

6.3 out of 10 on IMDB. I give it a 6.5 for solid action and a solid story.

“By iron and fire!” —Kaulder

Today’s quick review: The Last Witch Hunter. Eight centuries after he defeated the Witch Queen (Julie Engelbrecht) and was cursed with immortality, Kaulder (Vin Diesel) has become a legendary witch hunter. When a witch murders Father Dolan (Michael Caine), his biographer and friend, Kaulder must work with Dolan’s successor (Elijah Wood) and a young witch (Rose Leslie) to locate the killer before he can unleash an ancient evil on the world.

The Last Witch Hunter is an urban fantasy action adventure movie set in a world where witches continue to operate in secret, allowed to practice magic so long as they don’t harm humans. Kaulder, armed with lifetimes of experience, keeps the peace by hunting down those witches who use their power for evil. The Last Witch Hunter is a typical action fantasy movie with a few nice touches and a few shortcomings that keep it from doing more.

The Last Witch Hunter’s main draws are its lead, its world, and its action. Vin Diesel makes for an odd fit for the role of Kaulder, but he somehow works out. Kaulder shares his tough attitude and fearsome reputation with Diesel’s other characters, but Diesel has a harder time with the brainy, world-weary side of the character. In spite of this slight mismatch, Kaulder is a classic action protagonist and a worthy cornerstone for the movie.

The story takes place in a world that’s littered with strong ideas. The underground lives of the witches, the way magic works, and Kaulder’s own character are all fleshed out in a consistent way that hints at a large, rich universe. However, The Last Witch Hunter has trouble locking down its best ideas with the distinctive names and visuals needed to make them memorable, leaving it with a well-built world that comes across as generic.

The film’s action follows a similar pattern: workmanlike, plentiful, and often clever, but lacking the iconic moments needed to make it great. The Last Witch Hunter does a good job of finding ways to threaten Kaulder in spite of his immortality, using traps, drugs, and magic to keep his physical power from being overwhelming. But these indirect fights and a shortage of monsters mean that the film can’t truly take advantage of Kaulder’s talents.

The Last Witch Hunter is worth checking out if you’re a fan of the action fantasy genre. The movie comes up short in enough ways that most viewers would be better off with one of the more successful entries into the genre. But its misses are near misses, and The Last Witch Hunter offers enough in the way of world-building and action to be a fun popcorn watch for fans of Vin Diesel or the fantasy genre as a whole.

For witch- and monster-hunting action with more comedy and a heavier focus on action, check out Van Helsing, Hansel & Gretel: Witch Hunters, or Hellboy and its sequel. For a moodier urban fantasy film with horror elements, check out Constantine. For stylish vampire action in a modern setting, check out the Underworld series or the Blade trilogy. For Vin Diesel sci-fi action with an even tougher main character, check out the Riddick movies.

6.0 out of 10 on IMDB. I give it a 6.5 to 7.0 for a fun premise and decent execution, but without the vision or polish to stand out in a crowded genre.

Today’s quick review: Tau. Julia (Maika Monroe), a pickpocket saving up for a better life, is abducted from her home and locked in a cell by Alex (Ed Skrein), a genius who plans to run experiments on Julia to perfect his latest project. Her only companion is Tau (Gary Oldman), a prototype AI tasked with keeping her imprisoned. With the project deadline looming, Julia must outwit her captors and find a way to escape before she runs out of time.

Tau is a minimalistic sci-fi thriller about artificial intelligence. The title character is an advanced but flawed AI system designed by Alex to manage his home, including its security. It’s also the only thing standing between Julia and freedom. Tau offers a fairly interesting sci-fi premise, albeit one that has been explored in other movies. The quality of execution is high enough to tell its story well, but the movie lacks anything to set it apart.

Tau sets up its story well. Julia’s captivity is a ready source of tension. Alex’s house is an interesting setting with well-defined rules and boundaries for Julia to work with. The characters and conflicts are clearly established, while the cast’s solid acting is enough to bring its story to life. The film also dips its toes into the issues surrounding humanlike AI, although it doesn’t delve deep enough to say anything profound.

But the crux of the movie is the relationship between Julia and Tau, and this is where the writing begins to show cracks. The broad strokes of the relationship are fine: sensing an opportunity, Julia introduces Tau to the concept of personhood and teaches it about the world outside Alex’s house. But the particulars are clumsy. The film assumes a closer bond between Tau and Julia than it actually shows, and the script is merely workmanlike.

Tau has just enough going on to interest dedicated fans of the sci-fi genre, but the movie doesn’t offer enough to give it broad appeal. Give it a shot only if you’re interested in stories about AI for their own sake. For a minimalistic sci-fi thriller with a similar premise, check out Ex Machina. For a budget sci-fi movie about a man trying to outwit his AI jailer, check out Infinity Chamber. For a thriller about escaping a maniac, try Split.

5.7 out of 10 on IMDB. I give it a 6.0 to 6.5 for a decent premise and craftsmanship that don’t amount to anything too special.

Today’s quick review: Extinction. Plagued by visions of an alien invasion, Peter (Michael Pena) has been growing more distant from his wife Alice (Lizzy Caplan) and daughters Hannah (Amelia Crouch) and Lucy (Erica Tremblay). But when his visions come to pass and high-tech invaders overrun the city, Peter and his family are forced to fight their way to the factory where Peter works, where his visions predict they will make their final stand.

Extinction is a budget sci-fi movie that chronicles one man’s attempts to protect his family through an alien invasion. Extinction follows the sci-fi survival formula with one major wrinkle: Peter’s recurring visions hint at a larger mystery. The movie splits its time between this mystery, the invasion, and the relationship between Peter and his family, resulting in a movie with a fairly good balance of mystery, action, and drama.

Extinction does have a few rough edges. The action and special effects are good enough to tell the film’s story, but they aren’t that impressive in concrete terms. The film uses Peter’s visions for lots of foreshadowing and one good reveal, but it doesn’t explore the concept in any depth. The same goes for the story as a whole: the invasion plotline is not rich enough to support the film’s better ideas, missing out on some of their potential.

Still, Extinction makes good use of the tools at its disposal and earns its spot as a worthwhile pick for budget sci-fi fans. Those looking for top-notch acting, writing, or special effects won’t find anything too impressive in Extinction and may want to skip it. Those who don’t mind the film’s limitations will appreciate its solid execution. For a more elaborate take on a similar premise, check out War of the Worlds.

5.8 out of 10 on IMDB. I give it a 6.5 for a good plot and characters, kept from going further by the film’s limited scope.

Today’s quick review: MFKZ. Angelino (Kenn Michael) and his friends Vinz (Vince Staples) and Willy (Dino Andrade) are just a trio of losers trying to eke out a living in Dark Meat City, a sweltering, crime-ridden California metropolis. But when an encounter with Luna (Dascha Polanco) awakens strange new powers in Angelino, the friends wind up at the top of the government’s most wanted list, courtesy of a shadowy organization with eyes everywhere.

MFKZ is a heavily stylized French and Japanese animated action movie based on a comic by Guillaume “Run” Renard. MFKZ combines an eclectic urban setting, oddball characters, a whirlwind of a plot, dashes of sci-fi and fantasy, and a distinctive art style to produce an experience that’s messy, inventive, and stylish. Its unique vision and solid craftsmanship make it a worthy pick for those who think they’ll appreciate its aesthetic.

MFKZ’s most distinctive and most polarizing feature is its sense of style. The characters are edgy and exaggerated, with many who aren’t fully human. The environments are bleak and dilapidated, yet visually interesting. The film uses a wide range of techniques to control its ebb and flow, including tilted camera angles, schlocky title cards, and shifts in art style. Rampant gore, swearing, and sexual content also make MFKZ a mature watch.

MFKZ’s story is just as eclectic. The plot involves a global conspiracy, supernatural beings, corrupt cops, luchadors, gang warfare, cockroaches, and a harsh world that just seems to want Angelino, Vinz, and Willy dead. The film keeps up a nice sense of energy throughout, bouncing rapidly from one insane situation to the next. It also manages to balance tension with comedy, hitting a broad range of the emotional spectrum with skill.

However, MFKZ is not as good at finishing what it starts. Scenes that start strong don’t always stick the landing, while the movie as a whole has more interesting plot threads than it knows what to do with. MFKZ manages to avoid any major blunders; each aspect of the movie has sufficient payoff to justify its inclusion. But MFKZ misses several chances to take its ideas even further and accomplish something not just good but great.

Watch MFKZ if you’re interested in something stylized, energetic, and experimental. Its mature content, edgy art style, and loose storytelling will turn off most viewers, but those with the right set of tastes will find MFKZ to be a rare treat. For an experimental sci-fi movie based on a French comic book with a more subdued tone, check out Immortal. For a similarly chaotic sci-fi comedy with a lighter tone, try The Fifth Element.

6.9 out of 10 on IMDB. I give it a 7.0 for a vivid and unique style; your score will vary wildly depending on your taste.

Today’s quick review: Miss Hokusai. O-Ei (Anne Watanabe) is a young Japanese artist who lives with her father Tetsuzo (Yutaka Matsushige), a renowned painter who works under the name Hokusai. O-Ei spends her days practicing her craft, keeping Tetsuzo’s pupil Zenjiro (Gaku Hamada) out of trouble, and taking care of O-Nao (Shion Shimizu), her blind younger sister. But for all the good in O-Ei’s life, the one thing missing is her own happiness.

Miss Hokusai is a Japanese animated historical drama and comedy based on the lives of Katsushika Hokusai and his daughter O-Ei. Miss Hokusai is a poignant look at life in Japan’s Edo Period and its blooming art industry. The film’s tranquil tone and loving animation make it a pleasant watch, while its mature observations about life give it some dramatic weight. However, its unfocused, slice-of-life story will limit its appeal for some viewers.

Miss Hokusai is a character portrait centered around O-Ei and her father. O-Ei is a proud, responsible woman who strives for perfection in her craft. Tetsuzo is a talented painter but an inattentive father, a laid-back man who shows little overt affection for his daughters. The heart of the film is their skewed but functional relationship: father and daughter cover for one another’s weaknesses and live in a tense but stable symbiosis.

Miss Hokusai ends up having an odd tone, in part due to this relationship. Happiness always seems to be out of reach, but simple joys abound, whether it’s a walk with O-Nao or an adventure that Zenjiro stumbles into. From moment to moment, the tone tends to be light, buoyed by bright visuals and understated comedy. But the film’s themes run deeper than that, and its more dramatic moments reflect mature truths about life, family, and art.

Watch Miss Hokusai if you’re interested in a meandering experience that mixes beauty and melancholy. Its animation and writing aren’t quite enough to rank it among Japan’s best, but its quality of execution is enough to make it a rewarding watch for the right viewer. Skip it if you’re looking for a focused plot, a pure comedy, or a darker drama. For a much bleaker historical drama set in Japan, check out Grave of the Fireflies.

6.7 out of 10 on IMDB. I give it a 7.0 for pleasant art, vivid characters, and a beautiful tone.

Today’s quick review: Black Jack: The Movie. Two years after a spate of superhuman performances at the Olympics, the athletes have begun to suffer from Moira Syndrome, an inexplicable illness that causes complete organ failure. Jo Carol, the head of a medical research lab, hires Dr. Black Jack, an unlicensed surgeon with world-class skills, to cure the disease. But Black Jack soon learns that there’s more to the story than his employer has let on.

Black Jack: The Movie is a Japanese animated medical drama based on the manga by Osamu Tezuka. The movie follows Black Jack, a stern but skilled surgeon, as he tackles a condition that could determine the fate of humanity. Black Jack: The Movie features a competent plot, a fair amount of drama, and reasonable craftsmanship overall. However, its thin cast, dated animation style, and lack of a clear emotional arc make it something of a niche pick.

Black Jack: The Movie is a loose spinoff of the 90s Black Jack television series, and its roots show. Black Jack and his daughter Pinoko are treated as constants, with minimal introduction and no significant character progression. Moira Syndrome, though calamitous, has the feel of a weekly illness. The supporting cast is limited to Jo Carol, an untrustworthy scientist, who happens to be the only character to undergo a complete character arc.

These factors don’t really affect the quality of the movie, but they do affect its scope. The story begins and ends with Moira Syndrome. The plot concerns the secrets behind the disease, the drama comes from Black Jack’s efforts to treat the disease, and the film’s main theme involves the possibility of superhuman performance that seems inextricably tied to the disease. The result is a focused movie with few frills.

Black Jack: The Movie is mainly worth a watch for fans of Osamu Tezuka or old-school anime in general. The movie delivers on its premise, but it doesn’t have enough in terms of plot, character, or artistry to draw in viewers who aren’t already interested. For an Osamu Tezuka adaptation with gorgeous animation and a more elaborate story, try Metropolis. For another anime spinoff with richer themes and a better plot, try Cowboy Bebop: The Movie.

6.8 out of 10 on IMDB. I give it a 6.5 for a decent, self-contained story without the scope to have a deeper impact.

Today’s quick review: Bad Times at the El Royale. Trouble looms when a struggling singer (Cynthia Erivo), an amiable priest (Jeff Bridges), a traveling salesman (Jon Hamm), and a temperamental hippie (Dakota Johnson) cross paths at the El Royale, a deserted hotel straddling the border between California and Nevada. As the night wears on, the guests discover that everyone there is harboring secrets, including the hotel’s nervous clerk (Lewis Pullman).

Bad Times at the El Royale is a crime thriller with an ensemble cast and a plot packed with mystery. The movie follows the interlocking stories of a group of strangers staying at a hotel where nothing is as it seems. Bad Times at the El Royale has thoughtful direction, deliberate pacing, a capable cast, a well-used soundtrack, and a bevy of interesting plot threads. These elements give the movie all it needs to be a tense, engrossing watch.

Bad Times at the El Royale uses its impressive cast as the foundation of its story. Each character has a distinct personality, human foibles, and a fascinating back story with a few open-ended questions to keep the audience guessing. Nearly everyone in the cast turns in a strong performance, from Cynthia Erivo’s vocal talents and tenacity to Jeff Bridges’ mix of friendliness and shadiness to the dark charisma of late arrival Chris Hemsworth.

The story plays out as a series of mysteries. Some of the guests have ulterior motives for staying at the El Royale, while the hotel itself hides a darker side behind all its faded glamor. The movie spider-walks between the guests, delivering morsels of back story, teasing at revelations yet to come, and moving on. What’s more, the characters’ actions have real consequences for themselves and those around them, helping to keep the stakes high.

How these plot threads come together is the one area that may not satisfy all potential fans of the film. The mysteries all start strong and their revelations are all credible. But the movie does not explore every question to its fullest, and not every mystery matters at the end of the film. The payoff is still worth the wait, but it’s a staggered sort of payoff, not the single climactic revelation that some viewers may be expecting.

Try Bad Times at the El Royale when you’re in the mood for a dark, well-crafted mystery. Its believable characters, intriguing mysteries, and keen sense of tension are enough to make it a strong pick for those interested in such things. For a darker thriller set at a hotel, try Identity. For a shorter, more action-oriented movie with a similar premise, check out Hotel Artemis. For a black crime comedy with an ensemble cast, check out Seven Psychopaths.

7.5 out of 10 on IMDB. I give it the same for strong execution on an interesting premise.

Today’s quick review: The Old Man & the Gun. Forrest Tucker (Robert Redford) is an elderly bank robber with an unusual modus operandi, robbing banks with just a polite smile and the glimpse of a gun. His string of robberies soon catches the attention of John Hunt (Casey Affleck), a Texas police officer and family man. At the same time, Tucker pursues a romance with Jewel (Sissy Spacek), a widow who might convince him to settle down for good.

The Old Man & the Gun is a soft-spoken crime comedy that’s based on a true story. Robert Redford stars as Forrest Tucker, a polite criminal who lives for the thrill of robbing banks. Late in his career, Tucker faces a choice: keep robbing banks and risk getting caught by Hunt, or give up his profession and make a new life with Jewel. The Old Man & the Gun uses these building blocks to craft an enjoyable story about living well and old age.

The Old Man & the Gun is a throwback to a gentler era of cinema. The film has almost no violence, a sprinkling of action, and only one instance of swearing. The story itself is a low-stakes confrontation between a bank robber who never hurts anyone and a police officer who isn’t sure that he wants to catch him. The film’s light tone works to its advantage, making its characters all the more likable and keeping its story optimistic throughout.

Where The Old Man & the Gun spends the most effort is developing its characters. The movie acts as a character portrait for Forrest Tucker, a gentlemanly robber who’s hard not to like. His motivations are simple, but just unusual enough to be interesting. Jewel matches him well, an older woman who helps him take joy in life. The lead trio is rounded out by John Hunt, a sympathetic cop who finally finds in Tucker a case worth caring about.

Watch The Old Man & the Gun when you’re in the mood for a light, heartwarming tale with a dash of mischief. What the film lacks in plot, it more than makes up for in character. Skip it if you’re looking for thrills, high drama, or anything resembling modern action. For a light crime caper with an older cast, check out The Maiden Heist or either version of Going in Style. For a more bittersweet comedy about old age, check out The Bucket List.

7.4 out of 10 on IMDB. I give it a 7.0 for a charming story and strong acting.

Today’s quick review: The Golden Child. Chandler Jarrell (Eddie Murphy) is a Los Angeles detective who specializes in recovering lost and kidnapped children. While working a case, Chandler is approached by Kee Nang (Charlotte Lewis), a Tibetan woman who claims he is the Chosen One. To fulfill his destiny, Chandler must rescue the Golden Child (J.L. Reate), a boy with mystic powers, from the clutches of the evil Sardo Numspa (Charles Dance).

The Golden Child is a fantasy action comedy that drops a sly Los Angeles detective into a supernatural Tibetan conflict. Chandler’s quick thinking and kind heart turn out to be just what he needs to save the Child, in spite of his objections at being involved in the case at all. Most of the film’s comedy comes from Chandler’s quips and complaints, while the story is a basic but competently handled fantasy adventure with a light tone.

However, that’s as far as The Golden Child goes. It’s entertaining to see Chandler talk his way out of tricky situations, but the comedy as a whole isn’t as sharp or as memorable as other Eddie Murphy films. The romance between Chandler and Kee comes across as forced. The plot does what it needs to but offers few surprises. Likewise, the action helps spice up the movie and uses some clever special effects but isn’t enough to carry the film.

The Golden Child is worth a watch when you’re in the mood for a light adventure and aren’t too particular about being impressed. Its blend of comedy, action, and the supernatural makes it an enjoyable watch for Eddie Murphy fans, but it’s largely outclassed by other films that play around in the same space. Skip it if you’re looking for a compelling story or jaw-dropping action.

For a funnier Eddie Murphy comedy, check out Beverly Hills Cop. For an action fantasy movie with a similar plot and more supernatural action, check out The Medallion. For a tongue-in-cheek cross between Western action and Eastern mysticism, check out Big Trouble in Little China.

5.9 out of 10 on IMDB. I give it a 6.0 to 6.5 for a decent story and some laughs, but not much else.