Month: June 2020

Today’s quick review: The Bone Collector. Four years after the accident that left him a quadriplegic, forensic investigator Lincoln Rhyme (Denzel Washington) has succumbed to despair. But his old skills are put to the test when the NYPD asks him to investigate a homicide with a perplexing set of clues. Together with Amelia Donaghy (Angelina Jolie), a young officer with good instincts, Rhyme races to catch the killer before he can kill again.

The Bone Collector is a crime thriller with a dark tone and a decent set of leads. The movie pits a suicidal, bedridden detective and a rookie investigator against a serial killer who mutilates his victims and leaves subtle clues about his next kills. The Bone Collector features a robust mystery, persistent tension, and two fine dramatic leads in Denzel Washington and Angelina Jolie. However, it lack the personality to truly stand out.

The Bone Collector does a good job of establishing and maintaining tension. From the first body to the last, the movie keeps a tight grip on what the audience feels and expects, using Amelia’s discomfort, flashes of gore, and the usual tricks of music and presentation to establish the mood. The investigation itself is rather linear—each victim provides a clue for the next one—but has enough exotic clues and red herrings to be engaging.

For all that it gets the basics right, The Bone Collector is not a distinctive movie. Its one unique trait is that Lincoln is bedridden, but with Amelia out in the field and the investigation being run from Lincoln’s bedroom, it doesn’t matter much to the plot. The lead characters are developed enough to be multidimensional, but not enough to make it through complete character arcs. The story gets what it needs from them but doesn’t take them much further.

Watch The Bone Collector when you’re in the mood for a mystery with some bite to it. Its plot, writing, and characters aren’t enough to rank it among the best movies in the crime genre, but solid execution and a tense investigation make it a worthwhile watch. Those looking for a lighter crime drama may want to steer clear; the film doesn’t go overboard with its gore, but it’s a shade more grisly than the average entry into the genre.

For another clue-based hunt for a serial killer, check out Zodiac. For a missing child investigation with riveting twists and turns, try Gone Baby Gone. For a dark mystery laced with uncertainty, check out Mystic River. For an investigation in a similar vein, try Insomnia. For a Denzel Washington thriller with a science fiction premise, check out Deja Vu.

6.7 out of 10 on IMDB. I give it a 6.5 to 7.0 for a decent mystery and well-managed tension.

Today’s quick review: The Upside. While looking for work, ex-con Dell Scott (Kevin Hart) stumbles into the wrong interview and accidentally applies to take care of Philip Lacasse (Bryan Cranston), a wealthy quadriplegic who’s all but given up on living. Philip hires Dell for the suicidal reason that he’s the least qualified for the job. But as the two men get to know each other, they end up forging a friendship that changes both of their lives.

The Upside is a heartfelt comedy that’s based on a true story. Kevin Hart stars as Dell Scott, a struggling ex-con who’s running low on second chances. Bryan Cranston plays opposite him as Philip Lacasse, an investor whose millions can’t restore the use of his body or bring back his dead wife. After a rocky acclimation period, the two men find ways to help each other: Dell teaches Philip to enjoy life again, while Philip gives Dell a way to make amends.

The Upside features light humor, adroit acting, and just the right amount of drama. Dell and Philip are immensely likable characters. Dell has the kind heart and brusque mannerisms needed to drag Philip out of his shell, and over the course of the movie, he visibly overcomes the habits that almost ruined his life. For his part, Philip makes for a sympathetic figure, with genuine struggles and the dry wit, tenacity, and burgeoning optimism to overcome them.

The Upside follows a recipe that’s simple and effective. The story itself is basically serious, chronicling a quadriplegic’s search for a reason to live and an ex-con’s attempts to escape his past. But the movie leavens its innate drama with plenty of humor, keeping the tone positive throughout. Kevin Hart and Bryan Cranston do an excellent job together, and their strong performances and infectious laughter give The Upside a potent core to work with.

Whether this recipe is right for you will depend on your taste in comedy. The jokes generally hit the mark, but they do skew lowbrow. The movie also downplays its drama in favor of comedy, trading the premise’s dramatic potential for a story that’s more uplifting and easy to digest. Finally, The Upside is heavily dependent on the viewer investing in its characters. Those who dislike Dell or Philip for whatever reason won’t get much from the movie.

Watch The Upside when you’re in the mood for a feel-good comedy that touches on some more serious themes. Two talented leads, likable characters, and a pleasant dusting of humor let The Upside hit the target it’s aiming for, at least for the right viewer. Steer clear if you’re looking for a more somber, cynical take on loss. For a more bittersweet comedy, try The Bucket List. For a more surreal comedy about fitting into high society, try Being There.

5.9 out of 10 on IMDB. I give it a 7.0 for great characters and effective humor.

Today’s quick review: High-Rise. Dr. Robert Laing (Tom Hiddleston) moves into a new high-rise apartment complex. There he makes friends with Wilder (Luke Evans), a loutish filmmaker; has a fling with Charlotte (Sienna Miller), a social climber; and even meets Mr. Royal (Jeremy Irons), the building’s architect. But tensions between the upper- and lower-class residents soon erupt into violence, sending the high-rise spiraling into anarchy.

High-Rise is a dark drama and social satire with traces of black comedy. High-Rise chronicles the descent into madness of an upscale British apartment building where the wealthy and the working class live together. The movie attempts to be an artistic, biting look at social stratification and humanity at its basest. However, the movie’s disjointed storytelling and over-reliance on shock value drown out whatever points it’s trying to make.

High-Rise makes for a disorienting watch. The film’s busy directorial style, dreamlike montages, and tendency to gloss over key plot developments all contribute to a story that comes across in bits and pieces, a mosaic of fleeting impressions rather than a tight, cohesive narrative. High-Rise has the trappings of an artistic drama, including a skilled cast and an eye for detail, but it lacks the hook to drag the viewer through its sex and violence.

At the core of the story is a leap that many viewers will not be able to take. The entire movie hinges on the hypothesis that, left to their own devices, people will resort to the crudest sort of violence and tribalism. This is a fine hypothesis for a drama to explore, but High-Rise does almost nothing to set it up. The situation escalates rapidly from simmering tension to full-scale rioting, with little justification and no steps in between.

The result is an uncomfortable watch that requires a peculiar form of suspension of disbelief to get the most out of. A viewer who’s willing to push through the graphic content, accept the nigh-instantaneous onset of savagery, and read meaning into the struggles of the occupants of the nameless high-rise will get plenty out of the film. Most viewers will find High-Rise to be either too dark, too incredible, or too obtuse to properly enjoy.

For a more focused, impactful taste of anarchy, try Fight Club. For a lighter account of the debauchery of the rich, try The Wolf of Wall Street. For a science fiction allegory for economic stratification, try In Time or Elysium. For a darker, more personal, and more gripping tale of insanity, try The Machinist. For a psychedelic British black comedy, try Moonwalkers.

5.6 out of 10 on IMDB. I give it a 5.5 for lofty ambitions and decent skill, hurt badly by muddled execution and an unmotivated story.

Today’s quick review: The Humanity Bureau. Years in the future, war and famine have turned America into a police state where resources are scarce and unproductive citizens are deported to the supposed paradise of New Eden. As an agent of the Humanity Bureau, Noah Kross (Nicolas Cage) decides who stays and who goes. But when he’s forced to deport a single mother (Sarah Lind) and her son (Jakob Davies), he questions the justice of the system he serves.

The Humanity Bureau is a dystopian science fiction movie about a bleak future for America. Environmental disaster, dwindling resources, and the collapse of manufacturing have led to a policy where only the productive are allowed to remain. The Humanity Bureau shows this world through the eyes of Agent Kross, a tool of the system whose beliefs are challenged when he sees their true cost, prompting him to go on the lam with a family he’s meant to deport.

The Humanity Bureau is workmanlike science fiction that holds few surprises. The premise fits right in with other dystopian stories, though its near future setting and clear political overtones make it one of the less subtle entries into the genre. Neither the script nor the acting is inspired; the film covers the basics but does little more. The same goes for the plot: its beats are predictable, and the few that aren’t don’t matter much in the end.

Still, The Humanity Bureau succeeds in telling the story it wants to tell while avoiding any major missteps. The movie lacks the innovation or craft to truly engross the viewer, but its acting and storytelling are competent enough to make it a passable watch. Fans of budget science fiction may want to give it a whirl just for its own sake. But most viewers will find The Humanity Bureau to be a bland take on a genre that has more to offer.

Try Equilibrium if you’re interested in more imaginative dystopian sci-fi with a greater focus on action. For moody, atmospheric sci-fi with similar elements, try Blade Runner or Blade Runner 2049. Check out Elysium for a sci-fi movie with a larger budget and similar political themes. For other budget sci-fi that explores similar themes, try Automata or Anon.

5.0 out of 10 on IMDB. I give it a 5.5 for mediocre execution of a familiar premise.

Today’s quick review: The Stranger. Following World War II, Mr. Wilson (Edward G. Robinson) of the Allied War Crimes Commission tracks Franz Kindler, an escaped Nazi war criminal, to Harper, Connecticut, where Kindler has made a new life for himself as Charles Rankin (Orson Welles), a respected professor at a local college. To prove Rankin’s true identity, Wilson will need the help of Mary Longstreet (Loretta Young), Rankin’s devoted but ignorant fiance.

The Stranger is a classic crime drama from director Orson Welles. The Stranger involves one man’s attempts to hunt down a Nazi fugitive who has gone to ground in the United States. Wilson needs proof that Rankin is Kindler before he can arrest him, while Rankin only needs to cover up the last traces of his identity, a task that proves harder than he thinks. Caught in the middle of this quiet struggle is Mary, a kind woman who doesn’t suspect the truth.

What follows is a tense cat-and-mouse game between two sharp opponents. The conflict remains covert throughout most of the movie, a series of subtle maneuvers that move Rankin in and out of danger. Bad luck, close calls, and the occasional murder keep the tension up in spite of the film’s calm tone and lack of action. As an added treat, The Stranger pays close attention to the psychology of its characters, especially that of Charles and Mary.

The end result is a solid pick for anyone who enjoys classic crime movies. The Stranger has everything it needs to be a robust, satisfying drama, including an unpredictable plot and nuanced characters that are worth investing in. Steer clear if you’re looking for more overt thrills. For a darker tale of political infiltration, try The Manchurian Candidate. For a crime comedy with a similar small town setting, try The Thin Man Goes Home.

7.4 out of 10 on IMDB. I give it a 7.0 to 7.5 for a well-crafted and engaging story.

Today’s quick review: The Third Man. In the wake of World War II, American writer Holly Martins (Joseph Cotten) travels to Vienna to take a job working for his friend Harry Lime, but he arrives to find that Lime has been killed in a car accident. Convinced of foul play, Martins enlists the help of Lime’s girlfriend, Anna Schmidt (Alida Valli), to question Lime’s associates, uncover what he was involved in, and figure out why he was killed.

The Third Man is a classic noir mystery set in the fragmented Vienna of the late 1940s. The story follows Holly Martins as he digs into the death of an old friend. His investigation leads him to reluctant witnesses, buried secrets, and a racketeering scheme the police are convinced Lime was responsible for. This engaging mystery is backed by nuanced characters, insightful themes, and canny direction that combine to give the movie remarkable depth.

One of The Third Man’s most intriguing aspects is its characters. The Third Man opts for characters with complex, human flaws that have a direct bearing on the story. Holly is an idealist, a romantic, and something of a drunk, putting him at a disadvantage in the cloak-and-dagger environment of Vienna. Anna Schmidt is too loyal for her own good, clinging to the memory of Harry long past her ability to help him. The supporting cast has similar nuance.

These characters are the basis of a robust, satisfying mystery. The components are simple enough—nagging suspicions, subtle incongruities, and hints at the truth—but the way they’re assembled makes them effective at hooking the viewer’s interest. The small questions soon give way to larger ones as Martins continues his investigation. Moreover, the nature of the mystery changes with Martins’ priorities, making it a hard plot to predict.

The Third Man is tied together by its skillful direction. The movie makes great use of light and shadow, especially when characters skulk around the streets of Vienna. The camera angles are chosen carefully, with a few unusual picks to keep the viewer from getting too complacent. The film’s jaunty soundtrack is an incongruous fit with its moody story, but it helps define the character of the movie and keeps the tone from skewing too bleak.

The overall effect is subtle but powerful. The Third Man never bludgeons the viewer over the head with its mystery, its characters, or its artistry. Instead, it makes countless little decisions that form a masterful whole. How much you get out of The Third Man will depend on how many of its layers you peel back. On the surface, it’s a solid noir with nuanced characters and a decent mystery. Deeper down, it’s a careful puzzle with a lot to unpack.

For a masterful drama with some of the same qualities, try Casablanca. For another classic noir, check out The Maltese Falcon. For a mystery that goes further with its sense of paranoia, check out The Lady Vanishes, North by Northwest, Strangers on a Train, or one of the other Hitchcock movies.

8.2 out of 10 on IMDB. I give it a 7.5 to 8.0 for being a well-rounded movie with hidden depths; your score will depend on how deeply you care to delve into its artistry.

Today’s quick review: Special ID. For years, undercover police officer Zilong Chen (Donnie Yen) has led a double life, working his way up the Hong Kong underworld. When his old associate Sunny (Andy On) becomes a suspect in a murder investigation, Chen is sent to mainland China to investigate. There he joins forces with Jing Fang (Tian Jing), a straight-laced local cop, to gather evidence against Sunny and wrap up Chen’s undercover work for good.

Special ID is a martial arts action movie about a Hong Kong cop’s last undercover assignment. Donnie Yen stars as Zilong Chen, whose years posing as a criminal have turned him into a reckless but effective police officer. Special ID features capable stunt work, a promising premise, and a tone that switches between dramatic and light as needed. However, poor follow-through keeps the story from living up to its full potential.

Special ID’s main focus is on its martial arts action. The stunts are creative and crisply executed. There are no set pieces to help the movie stand out from the crowd, but each action scene has the energy and technical expertise to entertain. The movie does a good job of scaling its action to its heroes. Chen and Fang each get the chance to shine, proving their prowess against numerous foes, but the fights never feel easy for the heroes.

As far as story goes, Special ID lays the groundwork for a tense drama but doesn’t build on it. The film goes to the trouble of setting up Chen’s conflicted loyalties, his history with Sunny, and the dangers of him being unmaasked, then allows the tension to resolve in the simplest way possible. The plot serves mainly to drive the action, seeding the movie with just enough drama to establish the stakes, but never cashing in properly on its drama.

Watch Special ID if you’re a martial arts fan in the mood for a popcorn watch. Special ID does not stand out in terms of plot, action, or characters, but its solid action and decent ideas make it a fine pick. Skip it if you’re looking for something memorable.

For a more elaborate movie about an undercover cop, try Infernal Affairs or The Departed. For a more character-focused story about the criminal underworld, try Donnie Brasco. For a martial arts crime movie with more comedy, try Jack Chan’s First Strike. For sharper martial arts action, try The Protector.

5.6 out of 10 on IMDB. I give it a 6.5 for enjoyable action that’s thin on character and story.

Today’s quick review: The One. Yulaw (Jet Li) is a murderer who hunts down different versions of himself from across the Multiverse, kills them, and absorbs their power. After three years of killing, only one other version of him remains: Gabe Law (Jet Li), a valiant Los Angeles police officer who lives with his wife T.K. (Carla Gugino). As Yulaw stalks his last victim, two reality-hopping cops (Delroy Lindo and Jason Statham) race to stop him.

The One is a sci-fi martial arts action movie that pits a super-powered Jet Li against his murderous counterpart from another universe. The One funnels this premise into a fun, creative action movie that takes full advantage of Jet Li’s prowess as a martial artist. However, the movie pays minimal attention to its story. Its far-fetched premise, shallow characters, and one-note plot mean that, although its action is strong, it offers little else.

The One’s main draw is its slick martial arts action. The stunts are evenly split between Jet Li’s natural skills and special effects that showcase his powers as Yulaw. The special effects are blatantly artificial, but they fit well with the tone of the movie and aim to make the action as fast-paced and hard-hitting as possible. This healthy mix of traditional martial arts and superhuman powers gives the movie everything it needs on the action front.

The One’s story does not fare as well. The movie does the bare minimum needed to establish the premise, the characters, and what’s at stake but doesn’t go much farther than that. The characters are thin but have clear roles to play. The plot hits the expected beats, including some mistaken identity and plenty of action. But the story as a whole is a straight, no-frills execution of the premise with no interest in becoming anything more.

Watch The One when you’re in the mood for a popcorn action flick and aren’t too concerned about it making sense. The One pays less attention to its plot than other science fiction movies, but its stunts and superpowers make it a fun pick regardless. Steer clear if you’re looking for moving character, meaningful speculation, or a complicated plot. For a martial arts comedy with a similar touch of the extraordinary, try The Medallion.

5.9 out of 10 on IMDB. I give it a 6.5 for energetic action hurt by a thin plot.

Today’s quick review: Power Rangers. Five teenagers (Dacre Montgomery, Naomi Scott, RJ Cyler, Ludi Lin, and Bekcy G) from the small town of Angel Grove are recruited by Zordon (Bryan Cranston), an alien warrior, to become the next Power Rangers. Given superhuman strength, weapons, and armor, they set out to defend the Zeo Crystal from Rita Repulsa (Elizabeth Banks). But to stand a chance, they must first master their powers and learn to work together.

Power Rangers is a sci-fi action adventure based on the Power Rangers television series. The movie unites five misfits teens as the unlikely defenders of the crystal responsible for all life on Earth. Power Rangers makes a credible attempt at adapting the premise of the show, sporting fun characters and some decent action. However, its slow start, generic villain, and missteps regarding its plot and characters keep it from being a memorable watch.

Power Rangers feels like two separate movies combined into one. The bulk of the movie is spent introducing the cast, turning them into Power Rangers, and building up to the full use of their powers, with an emphasis on character development and comedy. The action only kicks in for the last half-hour, which is packed with the colorful fighting that’s largely absent from the rest of the movie. The abrupt shift isn’t unexpected, but it’s still jarring.

Much like the action, the characters can be a mixed bag. The Rangers’ personalities are distinctive, their banter is entertaining, and they are drawn at the right level of detail for the story. But there’s not much that’s truly original about them, and their repeated bad choices and forced camaraderie can easily turn off a critical viewer. Rita Repulsa is another miss, too violent for a kids’ villain and too single-minded to be a mature antagonist.

Power Rangers is worth a watch for those who want a light adventure and don’t mind a few flaws. Back-loaded action, mixed humor, and an over-reliance on characters who can’t quite carry the weight all keep Power Rangers from holding the broad appeal it intends to have. But even though it’s not the most impressive or original entry into its genre, the movie gets enough right to entertain those who are willing to be entertained.

For a sci-fi action movie with even more giant robots, try Pacific Rim, Pacific Rim: Uprising, or the various Transformers movies. For a sci-fi movie that takes a similar premise in a darker direction, try Chronicle. For an action comedy with a similar setup, better humor, and less reliance on its action, try Jumanji: Welcome to the Jungle. For a comedy about a similar group of teens, try The Breakfast Club.

6.0 out of 10 on IMDB. I give it a 6.5 for an earnest but flawed adaptation.

Today’s quick review: Reign of the Supermen. Following the death of Superman at the hands of Doomsday, four new heroes take up his mantle: Superboy (Cameron Monaghan), Steel (Cress Williams), the Eradicator (Charles Halford), and Cyborg Superman (Jerry O’Connell). Still grieving from her loss, Lois Lane (Rebecca Romijn) sets out to investigate the newcomers, find out their motives, and determine whether any of them are the man whose emblem they wear.

Reign of the Supermen is an animated superhero movie from DC Comics. The sequel to The Death of Superman, Reign of the Supermen picks up six months later as a quartet of new heroes tries to fill the void left by Superman’s passing. Like its predecessor, the movie features detailed animation, a tight story, and deft handling of a large cast of characters. Its solid craftsmanship and ingenuity make it a solid pick for fans of the superhero genre.

Reign of the Supermen accomplishes a surprising amount with its story. The premise seems arbitrary on paper, with no overarching plot to tie the four Supermen together. But Reign of the Supermen manages to cut one out of whole cloth, justifying the inclusion of each Superman with a well-considered origin story, giving each one a clear role in the story, and hooking the viewer’s interest until the true plot emerges from these little mysteries.

Reign of the Supermen’s solid storytelling extends beyond the four Supermen. Lois Lane steps up to the plate as the new protagonist, driving the investigation and serving an important role later in the film. The story works in both classic Superman characters like Lex Luthor (Rainn Wilson) and the version of the Justice League seen in DC’s other animated movies. There are plenty of characters, and Reign of the Supermen juggles them well.

Reign of the Supermen doesn’t disappoint when it comes to action, either. The extra Supermen running around let the film dip into fight scenes whenever it wants to, while late-game story developments broaden the scope of the action even more. Reign of the Supermen occasionally has to resort to clunky measures to keep its characters from resolving the wrong conflicts, but even these are handled as delicately as they can be under the circumstances.

Fans of the superhero genre with even a modest interest in animation will want to give Reign of the Supermen a shot. The movie’s sound judgment and robust craftsmanship let it tackle a difficult premise and succeed. Reign of the Supermen is not as self-contained or as emotionally moving as The Death of Superman, but it matches its predecessor’s high level of quality and makes for a worthy, thoroughly satisfying sequel.

7.2 out of 10 on IMDB. I give it a 7.5 for an impressive story, plenty of action, and few real faults.