Month: May 2020

Today’s quick review: John Carter. In Arizona in 1868, Virginia cavalryman John Carter (Taylor Kitsch) finds an ancient cave and is transported to Mars, where the reduced gravity gives him superhuman strength. There he befriends Tars Tarkas (Willem Dafoe), the leader of an alien tribe, and sets out to save Princess Deja Thoris (Lynn Collins) and her people from the warlord Sab Than (Dominic West) and his manipulative patron Matai Shang (Mark Strong).

John Carter is a sci-fi action adventure based on the books by Edgar Rice Burroughs. John Carter is space opera in the classic mold: an imaginative adventure that’s heavy on speculation and light on explanation. The movie takes place on a version of Mars populated by cities of human-like Red Martians, tribes of four-armed Green Martians, and a variety of beasts. Its fun action and rich special effects are offset by mixed overall execution.

John Carter’s chief selling point is its action. Carter’s strength on Mars and the warrior culture of the Green Martians give the movie plenty of opportunities for melee combat. The setting’s rifles, the airships of the Red Martians, and the even more advanced technology of Matai Shang complement the hand-to-hand fighting quite nicely, giving the movie a variety of action. John Carter visits a world that blends the primitive and the futuristic.

John Carter loosely follows the plot of Burroughs’ A Princess of Mars, with a few characters and concepts imported from later novels and a couple of new additions to smooth out the story for the screen. The changes work well for the most part. The setting is not airtight, but it serves the needs of the story just fine. The plot is pure adventure: John Carter and his allies must brave many challenges to defeat Sab Than and get Carter home to Earth.

Still, for all that John Carter gets the basics right, it struggles with the finishing touches. Taylor Kitsch and Lynn Collins are lukewarm leads, good enough to fill out their roles but not enough to make them sparkle. The combat is inconsistent: Carter ping-pongs between invincible warrior and helpless captive as needed. The tone gets trapped uncomfortably between the savagery of the original story and the comedic adventure Disney is known for.

Watch John Carter when you’re in the mood for popcorn sci-fi with plenty of action and a moderately interesting world. John Carter doesn’t have the depth, polish, or sheer excitement to match the best science fiction adventures, but it tells an entertaining story while avoiding any major missteps. It’s worth a watch for fans of the genre and those looking for something light. Viewers with exacting standards may want to steer clear.

For an action adventure with a similar focus on spectacle, try Gods of Egypt. For a more grounded adventure in a similar vein, try Conan the Barbarian or The Scorpion King. For more elaborate sci-fi with some of the same elements, try the various Star Wars movies.

6.6 out of 10 on IMDB. I give it a 6.5 to 7.0 for a fun adventure missing the extra touches needed to take it higher.

Today’s quick review: Mortal Engines. In the ravaged Earth of the future, enormous mobile cities prey on one another for the few remaining resources. Hester Shaw (Hera Hilmar) sneaks aboard the city of London to kill Thaddeus Valentine (Hugo Weaving) and avenge the death of her mother. But when Tom Natsworthy (Robert Sheehan) interferes, both Hester and Tom fall off the city into the surrounding wastes, forcing them to work together to make it back.

Mortal Engines is a steampunk action adventure based on the book by Philip Reeve. The movie takes place in a post-apocalyptic world where the remnants of civilization have gone mobile in an effort to survive. Mortal Engines features a creative premise, lots of action, and the CGI budget to back it up. However, it falters when it comes to its story, with an excess of supporting characters, predictable plot twists, and little depth to its situations.

Mortal Engines excels at one thing: fantasy. The setting’s massive, rolling cities and empty wastelands give the movie a sense of scale rarely seen elsewhere. Add in the setting’s airships, mechanical men, and remnants of old-world technology, and Mortal Engines has plenty of tools to work with when crafting its action and its story. City-sized chases, air battles, and a dash of dystopian conspiracy prove to be the film’s main offerings.

However, the setting’s creativity has some unintended consequences. The movie struggles with suspension of disbelief from the very beginning. Major issues include the amount of power required to move entire cities, the immense speeds at which they roll along, and the feasibility of living off scraps in a world with no apparent farmland. These practical issues don’t get in the way of the film telling its story, but they do hurt its immersion badly.

For all the effort that goes into the setting, the story itself is rather bland. The plot hinges on Thaddeus Valentine, London’s beloved second-in-command, and his treacherous plan to wage war on the peaceful land of Shan Guo using ancient technology. The film treats obvious conclusions the viewer will jump to as major plot twists, and it’s cluttered with plot threads and supporting characters that ultimately prove to be irrelevant.

The main characters are another missed opportunity. Hester is a hardened survivor willing to do whatever it takes to get her revenge on Valentine. Tom is a sheltered historian who doesn’t realize the kind of man Valentine is. Their dynamic works well enough on paper, but Hera Hilmar and Robert Sheehan lack chemistry onscreen. In the end, Tom and Hester come off as generic teen fantasy heroes without the depth or charisma to carry the story.

Watch Mortal Engines when you’re in the mood for some fantasy action and don’t mind sacrificing story quality to get it. Imaginative action and plentiful CGI give the film some appeal as a popcorn watch, but its mediocre characters and predictable story, not to mention the setting’s implausible logic, make it a disappointing watch for anyone expecting the steampunk epic it tries to be.

For teen fantasy with similar flaws that sticks to a more conventional setting, try The Mortal Instruments: City of Bones. For imaginative sci-fi action with similar strengths and weaknesses, try John Carter or Gods of Egypt. For a large-scale action movie featuring heavy machinery, try Pacific Rim. For a fantasy adventure with better characters and a storybook tone, try Stardust.

6.4 out of 10 on IMDB. I give it a 6.5 for solid action in an imaginative setting, without the plot or characters to make the most of it.

Today’s quick review: The Mortal Instruments: City of Bones. Teenager Clary Fray (Lily Collins) gets a crash course in the supernatural when Jace Wayland (Jamie Campbell Bower) tells her of her heritage as a Shadowhunter, a human imbued with angelic powers. Her newfound powers are put to the test when Valentine (Jonathan Rhys Meyers), a renegade Shadowhunter, kidnaps her mother Jocelyn (Lena Headey) to retrieve an artifact she stole years ago.

The Mortal Instruments: City of Bones is an urban fantasy adventure and romance based on the books by Cassandra Clare. The Mortal Instruments follows a young woman as she’s introduced to a world of demons, vampires, and werewolves and the Shadowhunters who keep them in line. Fantasy action and a detailed world give The Mortal Instruments some appeal, but its mediocre characters and generic plot keep it from standing out from a crowded field.

The Mortal Instruments invests a lot of time into developing its world. The approach it takes is broad but shallow, covering a wide variety of fantasy concepts in passing. No single element is all that original, but taken together they give the film a comprehensive setting to explore. However, the movie’s lack of focus keeps it from developing any one aspect of its setting enough to carry the story, leaving the plot with weak tools to work with.

One of the movie’s main focuses is its romance. Clary finds herself drawn to Jace, an exotic and aloof Shadowhunter, even as Simon (Robert Sheehan), her dependable childhood friend, tries to win her heart. Like the setting, the romance is jumbled and unfocused, with extraneous details that distract from the core love triangle. The problem is compounded by thin characters who are developed just enough to fill the plot but not enough to make it compelling.

Beyond the particulars of its setting and romance, The Mortal Instruments is a typical action fantasy film with nothing special to offer. Its varied setting, decent special effects, and episodic plot let it pack in a fair amount of action, but the action itself is indistinguishable from other entries in the genre. The story follows a similar pattern: a competent execution on the teen fantasy formula that’s missing the spark needed to set it apart.

How much you get out of The Mortal Instruments: City of Bones will depend on your taste. Fans of urban fantasy who enjoy the genre for its own sake will find The Mortal Instruments to be a fun but unexceptional popcorn watch. More exacting viewers will most likely run aground on its shallow characters, generic plot, and cluttered approach to storytelling. The Mortal Instruments falls short of its aspirations, but it does hold some value for the curious.

For a teen sci-fi adventure with a similar tone and even deeper flaws, try Jupiter Ascending. For one with a more original world but weaker fundamentsl, try Mortal Engines. For a more modest teen fantasy adaptation, try Seventh Son. For action-focused urban fantasy without the romance, try The Last Witch Hunter. For a more mature take on fantasy creatures in a modern setting, try the Underworld series.

5.9 out of 10 on IMDB. I give it a 6.5 for fine action and a decent setting, held back by a lack of distinguishing characteristics.

Today’s quick review: The Quiet Man. American boxer Sean Thornton (John Wayne) returns to his native Ireland to start a new, peaceful life in the quiet town of Inisfree. There he falls in love with Mary Kate Danaher (Maureen O’Hara), a fiery woman with no dowry, and manages to win her heart with the help of a crafty old local (Barry Fitzgerald). But before Sean can tie the knot, he’ll need the approval of her stubborn brother Will (Victor McLaglen).

The Quiet Man is a romance set in the green hills of rural Ireland. The story follows Sean Thornton as he settles into life in the Irish countryside and wrestles with the obstacles standing between him and marriage to the woman he loves. The Quiet Man features an excellent cast, delightful comedy, a gorgeous setting, and a story that’s uniquely Irish in character. The film’s quality and originality make it a must-see for fans of old-fashioned romance.

Nearly all of The Quiet Man’s considerable charm comes from its vivid characters. John Wayne and Maureen O’Hara are effective leads with great chemistry, but they’re almost lost in the sea of lively performances from the townfolk. The town of Inisfree is brimming with character. The townsfolk are proud but loyal, the clergymen are lax and friendly, and there’s always time for a conversation, an argument, or the latest piece of gossip.

The film’s characters give rise to a rather unique spin on the romance genre. Sean Thornton has to fight not only to win Mary Kate’s heart, but to overcome the disapproval of her brother, settle the sticking point of her dowry, and stand by his own non-violent principles, all while adhering to the town’s strict rules for courtship and marriage. These conflicts lead to a rich and satisfying story of devotion, cunning, and perseverance.

Watch The Quiet Man if you’re in the mood for a spirited, antagonistic romance with a light tone and plenty of comedy. The Quiet Man turns a simple premise into a lively tale that earns its place as a classic. Steer clear if you prefer modern romance, as the film is decidedly old-fashioned in character. For something similar, try Seven Brides for Seven Brothers, Brigadoon, or The Englishman Who Went Up a Hill But Came Down a Mountain.

7.8 out of 10 on IMDB. I give it a 7.5 to 8.0 for vivid characters, a sweet story, and plenty of charm.

Today’s quick review: Pixels. Once a world-class video game player, Sam Brenner (Adam Sandler) now has a dead-end job and no prospects. But he gets a second chance to shine when video game-themed aliens invade Earth. To fight off the aliens, President Cooper (Kevin James), Sam’s childhood friend, assembles a task force including Sam, his friend Ludlow (Josh Gad), his rival Eddie (Peter Dinklage), and Violet (Michelle Monaghan), their DARPA liaison.

Pixels is a sci-fi action comedy about an arcade-themed alien invasion that only a team of misfit gamers can stop. Pixels pits Adam Sandler and company against arcade classics such as Centipede, Pac-Man, and Donkey Kong, brought to life as large, glowing constructs that destroy anything they touch. The movie banks on a combination of mainstream comedy, large-scale sci-fi action, and arcade nostalgia. However, its execution leaves something to be desired.

Pixels earns some laughs with its absurd premise and ridiculous characters, but its jokes miss as often as they hit. The film consistently goes for cheap humor with broad appeal rather than the geekier humor its premise would imply. Many of the jokes connect just fine—Sam’s sarcastic quips, Cooper’s antics as an everyman president, and Eddie’s outrageous ego—but enough of them land awkardly to dissuade anyone who’s watching for the comedy alone.

However, Pixels’ greatest failing is its inability to sell its premise. The arcade invasion is far-fetched at best, and the problem is only exacerbated by loose plot logic that keeps the viewer picking at holes instead of having fun. Pixels depends on the audience seeing the action scenes with the same awe and excitement that its characters do, but it never manages to pull this off. The action is flashy but lacks the credibility to make it mean anything.

As a result, Pixels never quite clicks. Those who can lose themselves in giant games of Pac-Man and Centipede will enjoy the movie for what it is: a nostalgic romp with some exciting action and a couple of good laughs. But viewers who are even slightly skeptical will trip over the movie’s premise, plot holes, or failed jokes and walk away unsatisfied. Pixels tries its best to be a fun popcorn watch, but most viewers will find that it comes up short.

For a more heartfelt tribute to classic arcade games, try Wreck-It Ralph. For a flashier, video game-based sci-fi adventure, try Ready Player One. For another sci-fi comedy about a nerdy interest made real, try Galaxy Quest. For a more dramatic alien invastion movie, try Independence Day. For a more creative adventure with video game influences, try Scott Pilgrim vs. the World. For a more iconic comedy built around a similar team, try Ghostbusters.

5.6 out of 10 on IMDB. I give it a 6.0 to 6.5 for mixed humor and decent action, held back by comedic missteps and a premise that’s hard to sell.

Today’s quick review: The Art of the Steal. After a botched job leads to a five-year stint in prison, wheelman Crunch Calhoun (Kurt Russell) retires from crime to make an honest living as a motorcycle daredevil. But his new life lasts only until his half-brother Nicky (Matt Dillon) resurfaces with a new job. Against his better judgment, Crunch reunites with his old crew to steal a book that’s worth a small fortune from a border station in Canada.

The Art of the Steal is a budget crime comedy starring Kurt Russell. The film reunites a gang of colorful art thieves for one last score. The Art of the Steal is not as flashy as its bigger-budget counterparts. The stakes are modest, the world is small, and the stunts are all but nonexistent. But what the movie lacks in scope it makes up for in cunning and style. The result is a fun but coarse watch that packs a couple of nice surprises.

The Art of the Steal goes a long way on its wits alone. The plot takes more setup than seems strictly necessary, but the added complexity pays off with some clever wrinkles down the line. The emphasis is less on the heist itself than on the drama surrounding it: Nicky was the reason Crunch wound up in jail, and the entire job hinges on whether he’s trustworthy. This gives The Art of the Steal just enough going on to make it a worthwhile heist film.

The Art of the Steal never goes for big laughs, but it scores a string of modest hits with its characters. Kurt Russell headlines as Crunch Calhoun, a washed-up criminal of limited means. He’s joined by a cast of thieves who keep the plot moving and the dialogue lively. There are no brilliant performances, but Jay Baruchel, Matt Dillon, Terence Stamp, and Jason Jones all contribute to the film’s atmosphere of honest thievery and light bickering.

The Art of the Steal is a solid pick for heist fans who don’t mind some rough edges. Compared to other crime movies, there’s not much excitement and the stakes are low. But within these boundaries, The Art of the Steal manages to scrape together a decent plot and a likable cast of rogues. Those expecting lots of action or a jaw-dropping heist will be disappointed. Those looking for a light caper with a touch of style should look no further.

For a punchier crime comedy with an even more elaborate plot and a better payoff, try one of Guy Ritchie’s takes on the genre, including Snatch, RocknRolla, and Lock, Stock, and Two Smoking Barrels. For a flashier crime comedy in the same vein, try either version of The Italian Job. For a tamer heist film that plays similar tricks with a limited budget, try Gambit. For better humor and fancier heists, try Ocean’s Eleven and its sequels.

6.3 out of 10 on IMDB. I give it a 6.5 for a modest but successful caper.

Today’s quick review: Love Actually. As Christmas approaches in London, the Prime Minister (Hugh Grant) falls for his assistant (Martine McCutcheon), and his sister (Emma Thompson) worries that her husband (Alan Rickman) is cheating. Elsewhere, a writer (Colin Firth) and his housekeeper (Lucia Moniz) fall in love, a widower (Liam Neeson) helps his stepson (Thomas Brodie-Sangster) with a crush, and a washed-up singer (Bill Nighy) stages a comeback.

Love Actually is a romantic comedy with an ensemble cast. The movie tells nearly a dozen interconnected love stories, ranging from short and sweet tales of mutual attraction to more complex, ambivalent situations. The individual stories are pleasant enough on their own, but taken together, along with the film’s suite of excellent performances, they form a rich and fulfilling tapestry. Fans of uplifting romance will get everything they could ask for.

Love Actually pulls off its ambitious feat of storytelling for one simple reason: its stories are worth telling. Not all of them are elaborate affairs, but even the most linear ones have heart, likable characters, and a hopeful tone. The film’s limited forays into drama also give it some emotional weight, touching on the realistic side of love in thoughtful ways without puncturing the storybook bubble the rest of the film lives in.

The piecemeal format lets the audience choose which stories to invest in. Those who dislike one story won’t have have to put up with it for too long, and the variety of characters and situations means that the dissatisfied are bound to find something they enjoy. The connections between the stories provide an extra layer of enjoyment. Not only are they the glue that binds the movie together, but they also let the joint finale punch above its weight.

None of this would be possibel without the film’s outstanding ensemble cast. Familiar faces include Liam Neeson, Colin Firth, Hugh Grant, Bill Nighy, Emma Thompson, Alan Rickman, Keira Knightley, Chiwetel Ejiofor, Martin Freeman, Rowan Atkinson, and Billy Bob Thornton. Everyone is in fine form, with especially strong performances from Liam Neeson, Emma Thompson, Bill Nighy, and the young Thomas Brodie-Sangster to make the film a delight to watch.

Love Actually comes with a few major caveats. Those who dislike sentimental movies and storybook romances will abhor the film for obvious reasons. Those hoping for an in-depth story about a single relationship will likewise be disappointed. Love Actually also imposes a steep cost from those who watch it. Its enormous cast and interweaving stories make it a challenge to follow, and getting the full effect of the film requires careful viewing.

For the right viewer, Love Actually is a top-notch pick that packs in a wide variety of heartwarming stories. Its scope, its cast, and its many takes on love make it a movie that fans of the lighter side of romance are sure to enjoy. Those looking for a story that’s simple, focused, or realistic should look elsewhere.

7.6 out of 10 on IMDB. I give it a 7.5 to 8.0 for an outstanding cast and pleasant romance en masse.

Today’s quick review: The Christmas Chronicles. Ten-year-old Kate Pierce (Darby Camp) and her surly older brother Teddy (Judah Lewis) are left alone on Christmas Eve. The two siblings stay up late to catch Santa Claus (Kurt Russell) in the act and even manage to hitch a ride in his sleigh. But when Kate startles Santa and causes him to crash his sleigh in Chicago, it’s up to the Pierce siblings to help Santa round up his reindeer and save Christmas.

The Christmas Chronicles is a Christmas adventure about a brother and sister who have to help Santa set his sleigh to rights before Christmas cheer falls to crisis levels. The Christmas Chronicles is a family-friendly romp with a cute premise, a fair dose of excitement, and a likable take on Santa Claus. The movie sticks to familiar themes of hope, belief, and family but executes them well, resulting in a quintessential family Christmas film.

The Christmas Chronicles is a balanced movie that has just what it needs. The hunt for Santa’s bag and reindeer gives the movie its share of action, enough to keep the movie moving crisply along. The emotional heart of the movie comes from the relationship between Kate and her older brother, who’s become rebellious and withdrawn since the death of their father. The Christmas Chronicles doesn’t innovate with its story, but it handles it well.

As for the cast, Kurt Russell steals the show as Santa Claus. His take on Saint Nick is lively and energetic, injecting the classic character with attitude without changing him completely. For her part, Darby Camp makes for a plucky, optimistic heroine as Kate. Judah Lewis isn’t a standout as Teddy, but he holds his own. The cast holds few real surprises—everyone stays in the bounds of a kids’ film—but there are no major weaknesses either.

Those looking to vary up their holiday viewing should give The Christmas Chronicles a try. It’s not quite original enough to stand with the Christmas classics, but it delivers what it promises, shows plenty of creativity, and makes for a fun, light watch that fans of family movies are sure to enjoy. For a similar take on Santa Claus and his toolkit, try The Santa Clause. For a kid-focused holiday classic with some action, try Home Alone.

7.2 out of 10 on IMDB. I give it a 7.0 for solid execution and a healthy sense of adventure.

Today’s quick review: Home Alone 2: Lost in New York. Kevin McCallister (Macaulay Culkin) gets another Christmas on his own when he boards the wrong flight and ends up in New York without his family. Kevin takes the opportunity to see the city and spoil himself using his dad’s credit card. But his vacation is cut short when he runs into Harry (Joe Pesci) and Marv (Daniel Stern), a pair of escaped convicts who plan to rob a toy store on Christmas Eve.

Home Alone 2: Lost in New York is a Christmas comedy about a boy left on his own for Christmas. Lost in New York puts a new spin on the Home Alone premise by dropping Kevin in New York. The Plaza Hotel, Central Park, and his uncle’s empty townhouse take the place of the McCallisters’ home and neighborhood from the first movie. Home Alone 2 lacks the delicate touch of the original but retains its cast, winning formula, and sense of fun.

Lost in New York hews closely to the template laid down by the first movie. The specific circumstances are different, but the premise, the story beats, and even many of the gags are the same. The change in scenery does go a long way towards keeping the humor fresh, giving Kevin a brand new environment to run wild in, but the movie takes very few chances on the whole. The result is a comedy that’s predictable but still spirited and enjoyable.

Other differences from the original include a looser story, more violent slapstick, and less heart. Unlike the first movie, Kevin seeks out trouble, passing up several opportunities to alert the authorities and go home. The plot still hangs together well enough to entertain, but it’s not as robust as the first film’s. The sequel also invests less time in its themes of family and responsibility, leading to tender moments that feel perfunctory.

Still, Home Alone 2: Lost in New York is a fun watch that’s full of mischief, slapstick, and holiday spirit. Those looking for a feel-good Christmas movie with a light story and some good laughs should look no further. Those looking for a more heartfelt story should stick with the original Home Alone. For another movie that uses Joe Pesci’s comedic talents, try My Cousin Vinny. For a similar flavor of Christmas movie, try A Christmas Story.

6.7 out of 10 on IMDB. I give it a 7.0 to 7.5 for fun slapstick and solid execution without the depth or originality of the first movie.

Today’s quick review: Home Alone. The black sheep of his family, eight-year-old Kevin McCallister (Macaulay Culkin) gets his Christmas wish when his family leaves on vacation without him. With the house to himself and no family to tell him what to do, Kevin takes the opportunity to have some fun. But when Harry (Joe Pesci) and Marv (Daniel Stern), a pair of burglars, set their sights on the McCallister house, it’s up to Kevin to defend his home.

Home Alone is a Christmas comedy about a boy left on his own for Christmas. Kevin must use his wits to fend off a pair of burglars determined to rob his house while his family is away. Home Alone is best known for its slapstick, thanks to the improvised traps Kevin sets up to beat Harry and Marv. But the movie’s appeal goes beyond physical comedy. Home Alone is an original, funny, and touching movie that earns its place as a modern Christmas classic.

Home Alone does an excellent job of showing the world through Kevin’s eyes. His frustration with his family, his elation at their disappearance, his fears, and his courage all shine through crystal clear. The stakes are low in objective terms, but they’re high to Kevin, and that’s what matters. Kevin’s growth, his relationship with his family, and his mother Kate’s (Catherine O’Hara) attempts to get back to him give the movie plenty of heart.

Home Alone builds on this solid foundation with excellent craftsmanship and a knack for humor. Joe Pesci and Daniel Stern deliver standout performances as Harry and Marv, petty criminals who are just the right mixture of menacing and bungling. Even before the slapstick kicks in, Home Alone captures the wonder, mischief, and all-around chaos that comes with being a kid in a large family. The icing on the cake is a memorable soundtrack by John Williams.

Give Home Alone a shot when you’re in the mood for some madcap fun. The movie’s original premise, punchy humor, and heartfelt themes make it a worthy pick for viewers of all ages. Those looking for a gentler Christmas movie should look elsewhere. For another Christmas movie with a wry sense of humor, check out A Christmas Story. For a teen comedy with a similar spirit of adventure, check out Ferris Bueller’s Day Off.

7.5 out of 10 on IMDB. I give it an 8.0 for a the right balance of slapstick and heart.