Month: May 2020

Today’s quick review: Aquaman. The illegitimate half-human son of the Queen of Atlantis, Arthur Curry (Jason Momoa) now protects the seas as the hero Aquaman. When his half-brother Orm (Patrick Wilson) threatens to unite the undersea kingdoms and launch a war against the surface, Mera (Amber Heard) convinces Arthur to fight his brother and claim the Atlantean throne. But to do so, he will need to recover the legendary trident of Atlantis’ first king.

Aquaman is a superhero action movie based on the DC Comics character. Jason Momoa reprises his role as the titular hero, a half-Atlantean whose strength and ocean-based powers make him a formidable warrior. Aquaman features a likable protagonist, an adventurous tone, an elaborate world, and a ton of CGI-fueled action. The movie does not aspire to anything sophisticated. Instead, it delivers just what it promises: fun, bold action on a large scale.

Aquaman excels at spectacle. The underwater world of Atlantis is rendered in gorgeous, glittering detail by advanced CGI. The action ranges from hard-hitting, physics-defying, one-on-one fights to full-blown warfare between the undersea kingdoms. The action is backed by a fast-paced story with just enough heart and just enough humor to keep everything moving smoothly. The icing on the cake is Arthur himself, who’s blunt, easygoing, and loyal.

As far as story is concerned, Aquaman is broad but not deep. The movie covers a lot of ground in a short amount of time, including Queen Atlanna’s (Nicole Kidman) love for a lighthouse keeper, flashbacks to Arthur’s training under Zuko (Willem Dafoe), the origin of Black Manta (Yahya Abdul-Mateen II), undersea politics, and a jam-packed, globe-trotting adventure. Its emotional beats are simple but well-chosen to tie the movie together.

Aquaman does have a few flaws that keep it from joining the best movies in the genre. The movie’s crowded plot means that not every development gets the attention it deserves. This doesn’t hurt the movie’s consistency or sense of adventure, but it does make it a whirlwind of a watch. Likewise, the film’s visual style is solid overall, but here and there the costume choices and CGI physics don’t work as well as they should.

Watch Aquaman when you’re in the mood for unabashed spectacle and feel-good action. Aquaman doesn’t attain the same plot complexity or thematic richness as the best superhero movies, but its broad scope, strong action, and all-around quality make it an excellent choice nonetheless. For another solid pick from DC that has more emotional depth, try Wonder Woman. For the animated equivalent, try Justice League: Throne of Atlantis.

7.5 out of 10 on IMDB. I give it the same for sheer, simple fun.

“Okay, let’s do this one last time, yeah?” —Miles Morales

Today’s quick review: Spider-Man: Into the Spider-Verse. Miles Morales (Shameik Moore) is an ordinary teen until a spider bite gives him the same powers as Spider-Man. But when Spider-Man dies at the hands of the Kingpin (Liev Schrieber), Miles must take up the hero’s mantle and foil the villain’s plan to open a portal to another universe. Helping Miles on his journey is Peter B. Parker (Jake Johnson), the dejected Spider-Man of a different timeline.

Spider-Man: Into the Spider-Verse is an animated superhero comedy that puts a new spin on a classic character. Into the Spider-Verse dives head-first into a sprawling adventure, jam-packed with action, humor, and heart. The story pairs newcomer Miles Morales with an eclectic team of displaced Spider-Men and -Women in an effort to save the city of New York. The premise is backed by ample creativity, rock-solid execution, and plenty of style.

Into the Spider-Verse is a loving tribute to Spider-Man and his many incarnations. Into the Spider-Verse embraces the wacky, self-deprecating side of the character without sacrificing his sense of heart. Miles Morales makes for a likable protagonist, and his efforts to find his place as a student, as a son, and a hero help ground the madness. The emotional side of the story is handled with simple moments that are chosen extremely well.

This emotional core gives Into the Spider-Verse a sturdy foundation to build on. The plot is a flurry of heroes, villains, battles, and gags that somehow never loses its sense of focus. The premise lets the movie run wild with its characters, ranging from credible heroes to walking gags to new designs for familiar villains. Astute viewers will catch a bevy of references to previous Spider-Man movies, the comics, and even the TV show.

For all its complexity, Into the Spider-Verse is surprisingly accessible. The script holds the audience’s hand just enough to get through the harder sells without belaboring the obvious. The spirit of each new idea shines though clearly, and the movie does a good job of slotting in its characters and plot points in a way that makes sense. Not every inclusion is a hit, but the majority are, and most viewers will find themselves drawn in rapidly.

Into the Spider-Verse ties it all together with a distinct visual style that combines CGI animation, comic book shading, and a vibrant color palette, as well as a few flourishes like visual sound effects. The film’s energy can be overwhelming at times, and its exaggerated character designs won’t be to everyone’s liking. But its vivid art style and punchy pacing keep the film moving at a rapid clip and help sell its goofy, rambunctious universe.

Spider-Man: Into the Spider-Verse has the craftsmanship and vision to appeal to a wide range of fans. Comic book fans and newcomers alike will find something to love in its varied web of characters and comedy. Those who prefer more subdued comedies or more conventional superhero movies may not get the most out of it. But its unique premise, overall quality, and sheer variety make it well worth a watch for anyone who’s remotely interested.

For a modern take on Spider-Man with a little more grounding, try Spider-Man: Homecoming or The Amazing Spider-Man. For a family superhero comedy that goes heavier on the comedy and lighter on the plot, try The Lego Batman Movie. For another animated take on the superhero genre, try Big Hero 6.

8.7 out of 10 on IMDB. I give it an 8.0 to 8.5 for spirit, polish, and creativity.

Today’s quick review: Bumblebee. Bumblebee, an Autobot warrior from the planet Cybertron, flees to Earth after the Autobots are routed by their enemies the Decepticons. Damaged in battle, Bumblebee disguises himself as a VW Beetle and lies dormant until he’s bought by Charlie (Hailee Steinfeld), a teenage girl coping with the death of her father. But when a pair of Decepticon hunters find him on Earth, Bumblebee is dragged back into the fight.

Bumblebee is a sci-fi action adventure based on the Transformers toy line. A loose prequel to the Transformers movies, Bumblebee scales down the scope of the series by focusing on a single Autobot and his friendship with a misfit teenager. The movie benefits from polished CGI, exciting action, a likable protagonist, and consistent humor. However, a predictable story and a misused supporting cast keep it from living up to its full potential.

Bumblebee hits a sweet spot between sci-fi action and coming-of-age story. The relationship between Charlie and Bumblebee holds few surprises, but it’s handled well and gives the movie some heart and a steady source of humor. The personal side of the story is scaffolded by its sci-fi plot. Bumblebee doesn’t attempt to chronicle a whole war, but instead slices off a manageable piece of it, a struggle suited for a lone robot and his human allies.

Bumblebee does make a few missteps that keep it from going further. The movie doesn’t make much of its supporting cast. Jack Burns (John Cena), a soldier hunting for Bumblebee, doesn’t get much screen time, while Charlie’s dorky friend Memo (Jorge Lendeborg, Jr.) makes for a lukewarm love interest. The action scenes are fun while they’re happening, but the movie has a tendency to abandon them for long periods of time to focus on Charlie.

Watch Bumblebee when you’re in the mood for a popcorn action flick that sticks to the basics but executes them well. Bumblebee’s premise and story will seem familiar to anyone who’s seen films like Transformers or The Iron Giant, but its solid execution makes it a fun watch regardless. Skip it if you’re looking for a film with more depth, a more unpredictable plot, or a heavier dose of action.

For another take on the same premise with rougher edges and a larger scale, try the original Transformers. For a similar sci-fi adventure that skews younger, try The Iron Giant. For one with a hostile alien and an even greater focus on character, try Super 8.

7.3 out of 10 on IMDB. I give it a 7.0 for a fun mixture of action, comedy, and heart.

Today’s quick review: Super 8. In 1979, Joe Lamb (Joel Courtney), a boy living in a small Ohio town, spends his free time filming amateur movies with his friends. While out filming one night, the teens witness a train crash that releases a mysterious creature from captivity. As the Air Force moves in to cover up the crash, Joe and his friends set out to find the escaped creature, which is responsible for a series of disappearances around town.

Super 8 is a science fiction adventure movie from director J.J. Abrams. Set in the Midwest in the late 70s, Super 8 captures the adventure and innocence of youth, using an escaped monster and a government cover-up as its plot hooks. Great characters and sparkling dialogue make the movie a fun watch. The sci-fi side of the story gives the movie some nice tension and an effective mystery, but it frequently takes back seat to the kids’ antics.

Super 8’s best feature is its characters. Joe’s friends (Riley Griffiths, Zach Mills, Ryan Lee, and Gabriel Basso) are a spirited and loyal group of boys. Their dialogue is organic, their decisions are the right mix of responsible and reckless, and they fade easily into the background when the movie needs to focus on Joe. Joe himself is a likable protagonist given depth by his brave actions and his budding relationship with Alice (Elle Fanning).

The science fiction part of the movie suffices to drive the story but isn’t given as much attention as the characters themselves. Super 8 does a good job of keeping the creature mysterious and using it to establish tension, but the payoff isn’t as elaborate as it could have been. Those who go into the movie expecting a dark thriller or a deep mystery will be disappointed. Those hoping for an adventure with a dash of the unknown will get what they want.

For a more aggressive encounter between teens and aliens, check out Attack the Block. For a family movie with a sismilar story, check out The Iron Giant. For a darker brush with a destructive monster, check out Cloverfield.

7.0 out of 10 on IMDB. I give it the same for excellent characters and a solid story, hurt slightly by the imbalance between the two.

Today’s quick review: The Cabin in the Woods. For five college students (Kristen Connolly, Chris Hemsworth, Anna Hutchison, Jesse Williams, and Fran Kranz), a weekend in the woods turns into a nightmare when they accidentally resurrect a family of zombie cultists. But there’s more to their struggle than they realize. From within an underground control room, a team of technicians manipulates the environment to ensure the campers’ deaths.

The Cabin in the Woods is a horror movie with comedy elements. The movie turns the horror genre on its head by positing an architect for the usual string of grisly murders: a group of white-collar workers who use advanced technology to make sure the killings are a success. The addition of the technicians introduces a surreal element to the movie, allows it to explicitly toy with genre conventions, and gives it a steady source of black humor.

That extra layer of comedy and self-awareness makes The Cabin in the Woods a unique watch. The characters are deliberately stereotypical, but written well enough to stand on their own. The scares are genuine. Some of them are offset by the film’s dark comedy, but there’s enough in the way of actual horror to ground out the meta elements of the plot. The story itself serves as a fascinating peek behind the scenes of a familiar genre.

The downside is that The Cabin in the Woods ends up being something of a chimera. The meta elements push the movie in the direction of a sci-fi comedy, but the campers’ struggles pull it back to its roots as a horror film. The two sides to the movie undercut each other constantly, producing the film’s best moments but keeping either side from reaching its full potential. The result is an odd film that’s more intellectually than emotionally satisfying.

The Cabin in the Woods is a solid pick for anyone interested in something more than the typical horror movie. Due to its hybrid nature, the ideal viewer must both appreciate the horror genre and not be attached to it too deeply. Those watching for the meta elements have to be able to stomach some gore, while those watching for the horror have to be flexible enough to roll with the movie’s jabs. Sensitive viewers and horror purists should steer clear.

For a more family-friendly take on the genre, try Scooby-Doo. For a similarly meta take on the whodunit genre, try Murder by Death. For a pure comedy that explores similar ideas, try The Truman Show.

7.0 out of 10 on IMDB. I give it the same for clever ideas and solid execution, hurt somewhat by its fusion of genres.

Today’s quick review: The Thing. An Antarctic research base becomes the site of a deadly conflict when a shapeshifting, flesh-eating alien sneaks inside. Capable of devouring and imitating any lifeform, the alien begins to pick off the inhabitants of the research base and replace them one by one. It’s up to MacReady (Kurt Russell) to organize the men, root out the imposters in their midst, and keep the alien from getting back to civilization.

The Thing is a science fiction horror movie from director John Carpenter. The movie pits an Antarctic research team against an otherworldly shapeshifter that can kill with a touch and pose as anyone. A compelling premise, believable characters, and an unpredictable plot make The Thing an effective horror story with everything it needs and nothing more. However, its tense atmosphere and disturbing visuals mean that it’s not for the faint of heart.

The Thing is best known for its incredible practical effects. The design of the alien sits at a sweet spot: grotesque, memorable, and capable of being anywhere at any time. The special effects hold up remarkably well, rivaling even the best modern CGI, while the shapeshifting monster means that the film never has to repeat a trick. The result is a horror movie where each scare is worth the wait just to see the next, twisted incarnation of the Thing.

The Thing’s special effects are backed by a chilling sci-fi premise and the steady direction of John Carpenter. The movie does an excellent job of establishing its atmosphere and hooking the viewer’s interest. The pacing of the movie is deliberately unsteady, with slow patches that erupt into bursts of horror and violence. The Thing also lets its characters play off each other naturally, leading to smarter decisions and a more meaningful plot.

How much you get out of The Thing will depend heavily on your taste in genres. Fans of horror and the darker side of science fiction will want to give it a shot. Its iconic monster and steady execution make it a classic of the genre, and the scares are just restrained enough to make it accessible to those who only dabble in horror. Sensitive viewers and science fiction fans who prefer action over atmosphere will want to give it a miss.

For a darkly surreal sci-fi movie with similarly vivid visuals, try Annihilation. For another strong thriller, try A Quiet Place. For dark sci-fi with deadly creatures and more action, try Prometheus. For a more proactive, action-oriented take on a similar premise, try Predator.

8.1 out of 10 on IMDB. I give it a 7.5 for superb special effects and a tense, well-judged story; your score will vary depending on your taste in horror.

“I’m all out of bubblegum.” —Nada

Today’s quick review: They Live. Nada (Roddy Piper), an itinerant worker, becomes involved in something much larger than himself when he stumbles across a group of subversives preaching an unbelievable message: that the world is run by aliens who hide in plain sight and keep humanity pacified using subliminal messages. Initially skeptical, Nada soon sees the truth for himself and sets out to wage a one-man war against society’s hidden elite.

They Live is a science fiction thriller from director John Carpenter. They Live is built around a single idea: that modern society is a lie. This simple claim motivates everything from the film’s choice of protagonist to its sense of paranoia to its portrayal of the media and consumer culture. They Live does not cast as wide a net as other sci-fi adventures, but it picks a potent idea to focus on and backs it up with solid craftsmanship.

They Live plays out like a thought experiment. The setup is slow and deliberate, laying the groundwork for what’s to come. The reveal of the aliens kicks off a short, concentrated conflict that ends abruptly once the movie has said what it wants to say. At all times, They Live remains focused on the aliens and their mechanisms of control. Its social commentary is simple, to the point, and wrapped in just enough of a story to make it a smooth watch.

Fans of the science fiction genre should give They Live a shot. Its striking ideas and clean execution make it a classic of the genre, albeit a niche one. Fans who prefer fast-paced action and flashy special effects to thoughtful speculation won’t get as much out of it. For a similar style of sci-fi, check out The Omega Man or Logan’s Run. For fiction that explores similar ideas about society, try The Matrix, Fight Club, or The Adjustment Bureau.

7.3 out of 10 on IMDB. I give it a 7.0 for solid execution of a compelling idea.

Today’s quick review: The Happening. As an inexplicable spate of mass suicides spreads across the Northeast, Elliot Moore (Mark Wahlberg), a science teacher at a Philadelphia high school, flees to rural Pennsylvania with his wife Alma (Zooey Deschanel), his friend Julian (John Leguizamo), and Julian’s daughter Jess (Ashlyn Sanchez). As the epidemic spreads even further inland, Elliot must uncover the secret behind the suicides to save the ones he loves.

The Happening is a mystery thriller written and directed by M. Night Shyamalan. The movie chronicles one group’s attempts to survive a spontaneous outbreak of a neurotoxin that causes humans to kill themselves. The Happening combines a science fiction mystery about the neurotoxin and how it’s spreading with the helplessness and uncertainty of living through an epidemic. However, several major missteps cripple the movie’s attempts at tension.

The Happening’s premise has a core flaw: The rash of suicides is too abstract a threat to be effective. There are no clear rules to the epidemic early on, making it difficult to tell when characters are in danger. Even when the movie pins down how the toxin spreads, there’s no real threat to the characters. The nature of the threat means its victims are either in the clear or already dead, with no tangible menace for them to escape from.

The Happening struggles at a technical level as well. The careful craftsmanship of Shyamalan’s best work is nowhere to be found. The acting is a poor fit for the tone of the movie, with a passive performance from Mark Wahlberg and an unsympathetic one from Zooey Deschanel. The script doesn’t help either, with distracting dialogue at key moments, unjustifiably bad decisions by the characters, and an aimless plot that fixates on an abstract threat.

The end result is a film with very little of its intended tension. With a flawed premise and shaky execution, The Happening is forced to coast on the shock value of its graphic suicides, a macarbe sort of appeal that soon wears off. Horror and thriller fans won’t find much to keep them engaged, while fans of disaster movies and dramas will take issue the movie’s weak plot and characters. Most viewers would be better off skipping it.

That said, The Happening does have the pieces of a good movie jumbled in with its many failures. Its premise dabbles in something terrifying, its plot tries to capture a sense of mystery and desperation, and its cast have all done good work in other contexts. Viewers who are interested in picking apart its ideas, observing where it went wrong, or simply watching a thriller that nears the mark but never hits it will get some value from The Happening.

For a sci-fi thriller from M. Night Shyamalan with a better mystery and more engaging characters, try Signs. For a sci-fi disaster movie with some of the same flavor, try War of the Worlds. For a more action-oriented survival movie with better tension, try I Am Legend or World War Z. For a ground-level perspective at a different world-changing event, check out Arrival.

5.0 out of 10 on IMDB. I give it a 6.0 for decent ideas tied to poor execution and a difficult premise to sell.

Today’s quick review: Lady in the Water. One night, Cleveland Heep (Paul Giamatti), the hard-working manager of an apartment building, makes a startling discovery: a strange woman (Bryce Dallas Howard) swimming in the pool. The woman introduces herself as Story, a water nymph sent to the surface world to inspire a writer in his work. But to help her fulfill her purpose and return home, Cleveland must protect her from an evil beast determined to stop her.

Lady in the Water is a fantasy movie from writer and director M. Night Shyamalan. Lady in the Water presents itself as a modern take on an ancient myth. Cleveland Heep finds himself in the middle of a bedtime story he has never heard before and must navigate its peculiar rules to get Story home safely. Lady in the Water has much of Shyamalan’s deliberate, moody directorial style, but it lacks the suspense or sense of wonder to make it worthwhile.

Lady in the Water struggles to achieve the storybook tone it’s going for. The rules of Story’s world are as arbitrary as any fairy tale, but without the accompanying sense of certainty from the characters. Cleveland ends up guessing blindly at what he needs to do, guided only by what cryptic clues he is able to gather from Story. As such, Lady in the Water plays out like a mystery whose stakes are unclear and whose solution shifts as it goes along.

Lady in the Water has other issues as well. The film’s slow pacing makes it hard to invest in the story, and it lacks the brooding tension Shyamalan uses to hook the viewer in his other films. The scale of the fantasy is small enough that the movie never builds up much in the way of drama or wonder, while the characters aren’t rich enough to pick up the slack. The conflict itself is rather abstract, told mostly through exposition rather than shown.

The end result is a slow, fickle movie that falls short of its ambitions. Shyamalan fans will be disappointed by its lack of suspense and the absence of the magnetic quality found in his best films. Fans of storybook fantasy will dislike by the story’s limited scope, mundane tone, and restricted fantasy elements. Lady in the Water earns some points for creativity, moody drama, and basic cinematic competence, but most viewers would be better off skipping.

For a more suspenseful, dramatic movie from M. Night Shyamalan, try The Village. For a darker, more romantic take on a similar premise, try The Shape of Water. For a much darker drama with a haunting fairy tale tone, check out Pan’s Labyrinth. For a more adventurous take on storybook fantasy, try The Princess Bride or Stardust. For a more personal brush with the inexplicable, check out K-PAX.

5.6 out of 10 on IMDB. I give it a 6.0 to 6.5 for the seeds of a decent story let down by poor follow-through.

Today’s quick review: The Legend of Tarzan. After eight years in England, Tarzan (Alexander Skarsgard) and his wife Jane (Margot Robbie) return to their home in the jungles of Africa to help American emissary Dr. Williams (Samuel L. Jackson) gather evidence that Belgium is taking slaves in the Congo. To do so, Tarzan will have to face Leon Rom (Christoph Waltz), a ruthless Belgian agent, and his ally Chief Mbonga (Djimon Hounsou), an old enemy of Tarzan’s.

The Legend of Tarzan is an action adventure movie based on the books by Edgar Rice Burroughs. The Legend of Tarzan tells the story of a mature Tarzan who has reclaimed his place in England as John Clayton, the Lord Greystoke. Tarzan must return to Africa for a worthy cause on a journey that will reunite him with old friends and pit him against new enemies. Decent action and a well thought out story give the movie some appeal in spite of its flaws.

The Legend of Tarzan is notable for its grounded, balanced take on the character. This incarnation of Tarzan has a rich history and a robust skill set. Physical strength, an affinity for animals, and a deep knowledge of the wilds and the people of Africa give Tarzan the tools he needs to succeed as an action hero. The action sequences are a mixture of animal fights, hand-to-hand combat, and vine-swinging; these are capably done but not outstanding.

The Legend of Tarzan also puts a fair amount of thought into its story. The plot concerns a bid by King Leopold of Belgium to take over the Congo by hook or by crook. The movie uses this premise to weave the classic tale of Tarzan, Tarzan’s mastery of the wild, a new villain for him to face, and the colonialism of the late 19th century together into one coherent story. This coherence gives it an unusually well-developed story for the adventure genre.

However, the movie does make a few mistakes that end up costing it. The film uses special effects to handle its action, animals, and environments, but it doesn’t always do the best job of blending them in. The CGI gives the film an odd visual quality that hurts its immersion and takes some of the weight from its action scenes. The slight skew to the visuals goes hand-in-hand with a style of direction that’s a little too busy for the story at hand.

The Legend of Tarzan also fails to make the most of a talented cast. The only major misstep is Margot Robbie, whose capable, caring take on Jane gets roped into being an unnecessary mouthpiece for the modern perspective. The other performances are workmanlike in a cast that can deliver better. The only real hit is Christoph Waltz as Leon Rom, a soft-spoken villain with the presence to come across as a credible threat.

Watch The Legend of Tarzan when you’re in the mood for some adventure with a serious tone. The Legend of Tarzan does enough right to make for an interesting watch, both as an action adventure and as a cohesive story. However, it makes enough minor mistakes to keep it from being the wondrous, exciting movie it’s trying to be. The curious should give it a shot. Skeptics may want to steer clear.

For a kid-friendly take on the same source material, try Disney’s Tarzan. For another adaptation of a Burroughs story that gets mixed results, try John Carter. For a similar reimagining of a familiar story, try Dracula Untold.

6.3 out of 10 on IMDB. I give it a 6.5 for a competent take on a classic story.