Month: April 2021

Today’s quick review: Broken City. Seven years after a shooting ended his police career, Billy Taggart (Mark Wahlberg) has been making ends meet as a private detective. But when Nick Hostetler (Russell Crowe), the Mayor of New York, hires him to follow his wife Cathleen (Catherine Zeta-Jones) to see if she’s having an affair, Billy finds himself in the middle of a political power struggle that could shake the city to its foundations.

Broken City is a crime drama about a private detective who becomes embroiled in the political machinations of the New York mayoral election. With Hostetler’s opponent, Councilman Jack Valliant (Barry Pepper), running neck and neck with him in the polls, it’s up to Billy to dig up the information Hostetler needs to win. Broken City has an intricate story that combines elements of crime drama, political drama, and mystery into a satisfying whole.

Broken City’s distinguishing feature is its plot. The movie sets effective hooks without seeming to, starting with a police shooting, moving on to a clandestine affair, and finally expanding into a full-blown conspiracy surrounding the mayoral election. The plot has interesting twists and turns without relying too heavily on artificial drama. Just letting the different factions play out their hands gives the film plenty of intrigue.

Broken City also benefits from believable characters who run the gamut of backgrounds and motivations. Billy Taggart is an efficient detective with a shady past. Nick Hostetler is a charismatic politician with an unscrupulous streak. Jack Valliant is his altruistic opponent, while his wife Cathleen harbors her own plans, separate from her husband’s. Their interactions follow naturally from who they are as people and form the basis of the plot.

Broken City is a solid pick for fans of the investigative side of the crime genre. Neither its story nor its characters are as compelling as the best films in the genre, but they are enough to make it a complete package. The combination of a tangible mystery and agency for its characters gives Broken City just the tools it needs. Skip it if you’re looking for a film that goes all-in on mystery or action rather than taking a balanced approach.

For a political investigation in a similar vein, try State of Play. For a crime drama about police corruption, try Pride and glory, Dark Blue, or Brooklyn’s Finest. For a legal drama with similar stakes, try Primal Fear.

6.2 out of 10 on IMDB. I give it a 7.0 for a well-crafted story.

Today’s quick review: The Matador. Starved for companionship, hitman Julian Noble (Pierce Brosnan) strikes up a drunken conversation with Danny Wright (Greg Kinnear), a mild-mannered businessman, at a hotel bar in Mexico City. Over the next few days, the two men bond over alcohol and bullfights. But their friendship is put to the test months later when, at the end of his rope, Julian comes to Danny for help with one last job.

The Matador is a crime comedy about a burnt-out hitman and the acquaintance who becomes his only friend. The movie centers on the mismatched pairing of Julian, whose skill at his job is beginning to be affected by his loneliness, bad habits, and self-doubt, and Danny, who has the ordinary life and loving marriage that Julian craves. The Matador gets some mileage out of its lead duo but lacks the sparkling characters or engaging plot to go farther.

The Matador’s main weakness is that it never moves beyond its initial premise. The movie takes its time setting up Julian and Danny as characters, letting them play off one another, and building to a plot twist that never arrives. The Matador flirts with the idea of dragging Danny into Julian’s world of violence but never commits to it. As such, the movie depends almost entirely on the two men’s conversations, which can only take it so far.

Still, The Matador works its way around to a couple of touching moments. Dysfunctional as it is, Julian and Danny’s friendship is a genuine one that brings out the best in both of them. The same goes to Danny’s marriage to Bean (Hope Davis), a plain but loving relationship. These two positive relationships, coupled with the movie’s light treatment of Julian’s line of work, give the movie an optimistic tone and its modest emotional payoff.

The Matador will hold some appeal for fans of the lighter side of the crime genre, with offbeat characters, low stakes, and no actual gore. Its leads are skilled enough to make the film enjoyable from moment to moment, and the characters have enough heart to accomplish some of what the film is trying to achieve. But its one-dimensional story keeps The Matador from reaching its full potential, leaving it a light watch without a strong hook.

For a crime comedy with a very similar premise, sharper humor, and a more elaborate plot, try The Whole Nine Yards. For a similar comedic pairing with richer characters and more overt comedy, try the original verison of The In-Laws. For a romantic crime comedy with an even more offbeat tone, try Mr. Right.

6.7 out of 10 on IMDB. I give it a 6.5 for decent character work and comedy, but with a premise that could have supported more.

Today’s quick review: The Signal. While on a cross-country roadtrip, MIT students Nicholas (Brenton Thwaites), Haley (Olivia Cooke), and Jonah (Beau Knapp) take a detour to track down Nomad, a hacker who has been taunting them for weeks. What they find instead is extraterrestrial life. Afterward, Nicholas wakes up in a research facility, where Dr. Wallace Damon (Laurence Fishburne) interrogates him about the alien contact he can barely recollect.

The Signal is a science fiction mystery about a brilliant young man who finds himself in the middle of an alien cover-up. The movie follow Nicholas as he tries to figure out what exactly happened to him, locate his missing friends, and escape from the facility where he is being held prisoner. Several promising hooks and decent character work give The Signal some potential. However, it fails to build on its early groundwork in a satisfying manner.

The Signal has a knack for setting up interesting mysteries. The cryptic messages sent by Nomad, the bizarre incident that occurs when the students try to confront him, and strange goings-on of Dr. Damon’s research facility are all enough to pique the interest of a science fiction fan. The Signal does a good job of stringing the viewer along, incrementally deepening its mystery and forcing Nicholas into a tight spot he must use his wits to escape.

But The Signal has a hard time cashing in on its ideas. The movie keeps adding to its mystery long past the time it should have started to deliver answers. New clues pile up until the twists stop mattering and the story ceases to feel like a cohesive whole. It doesn’t help that the film can’t make up its mind about how much agency Nicholas should have, leading to a stilted plot as the movie vacillates between helping and hindering its hero.

The end result is a midrate sci-fi movie that sets up an intriguing situation but ultimately fails to deliver. The Signal may hold some appeal for fans of the genre, but its weak payoff and odd shifts in direction mean that most viewers will be left unsatisfied, though its ideas remain striking throughout. Give it a shot only if you’re in the mood to pick at a sci-fi puzzle and don’t care too deeply about the solution.

For a darker, more atmospheric, and more surreal sci-fi mystery, try Annihilation. For a tale of first contact with more heart, try Super 8 or Arrival. For a budget sci-fi movie whose hero is trapped in a similar situation, try Infinity Chamber. For a budget sci-fi movie whose story takes a similarly bizarre turn, check out 2036 Origin Unknown or The Beyond.

6.1 out of 10 on IMDB. I give it a 5.5 for interesting ideas with poor follow-through.

Today’s quick review: Fast & Furious Presents: Hobbs & Shaw. Luke Hobbs (Dwayne Johnson) and Deckard Shaw (Jason Statham) are reunited for another mission when Hattie (Vanessa Kirby), a talented MI-6 agent, injects herself with a deadly virus to keep it out of the hands of Brixton (Idris Elba), an unstoppable cyborg. The two men must learn to work together to track down Hattie, help her extract the virus, and put a stop to Brixton’s plan.

Fast & Furious Presents: Hobbs & Shaw is an action comedy starring Dwayne Johnson and Jason Statham. Taking place in its own corner of the Fast & Furious universe, Hobbs & Shaw steps away from Dominic Toretto and his extended family to focus on the titular duo, a pair of law enforcement officers with a tangled history. The movie features big-budget action, a great cast, and energetic comedy, making it a thoroughly enjoyable popcorn watch.

The showpiece of Hobbs & Shaw is its action. The film never passes up an opportunity for a fight or a chase, with creative stunts that make full use of Hobbs’ size, Shaw’s skill, and Hattie’s agility, not to mention an array of guns, gadgets, and vehicles. Hobbs & Shaw also goes a step further than previous entries in the franchise with the inclusion of Brixton, a killer whose cybernetic enhancements fuel some of the film’s more extreme stunts.

Hobbs & Shaw backs its action with some of the best comedy from Fast & Furious to date. Unencumbered by the weightier side of the franchise, Hobbs & Shaw is free to cut loose with as many jokes as it can squeeze in. Dwayne Johnson and Jason Statham continue to have excellent chemistry, and their rivalry forms the bedrock of the film’s humor. Fast-paced banter, good-natured humor, and a surprisingly talented supporting cast make the film sparkle.

The one major drawback of all this is that the film stretches its suspension of disbelief to the breaking point. The logic of the plot barely hangs together, the action scenes are exaggerated even by the standards of the genre, and the movie is missing the sense of heart of previous Fast & Furious films. Still, Hobbs & Shaw does a great job of catering to its strengths, making it easy to enjoy the ride without getting tangled in the details.

Fast & Furious Presents: Hobbs & Shaw is an excellent pick if you’re a fan of the unabashedly fun side of the action genre. Between its all-star cast, its large-scale action, and its deft comedy, the movie is the quintessential popcorn watch. Those looking for earnest, over-the-top action with plenty of comedy will find that Hobbs & Shaw is right up their alley. More critical viewers who are hoping for plot, character, or realism should steer clear.

For more action comedy in the same vein, try the other entries in the Fast & Furious series, in particular Fast & Furious 6, Furious 7, and The Fate of the Furious. For a more dramatic action thriller with some of the same appeal, try Mission: Impossible – Fallout. For a smaller-scale action comedy with a similar sense of humor, try The Hitman’s Bodyguard.

6.8 out of 10 on IMDB. I give it a 7.5 to 8.0 for raw, big-budget entertainment.

Today’s quick review: Faster. After ten years in prison, the driver for a bank job (Dwayne Johnson) sets out to get revenge on the crew that killed his brother. He begins hunting down the killers one by one, but his bold murders catch the attention of the police, who assign a washed-up detective (Billy Bob Thornton) and his new partner (Carla Gugino) to the case. Meanwhile, a hitman (Oliver Jackson-Cohen) takes a contract on the driver’s life.

Faster is an action movie and crime drama starring Dwayne Johnson. Faster is a very direct movie in terms of its pacing and its protagonist. The nameless driver wastes no time in checking the names off his list, and his blunt efficiency gives the film much of its momentum. Along the way, the film also builds up a tidy mystery around the driver’s motives and who is on his list. The result is basic but satisfying action flick with a dark tone.

Faster’s main weakness is that it aspires to more drama than it can properly support. The movie goes out of its way to inject moral ambiguity into the driver’s kills, but neither the writing nor the direction is up to the task. Moments that are meant to be meaningful have only part of the desired effect, and Faster never breaks free of its action movie roots. Even so, the drama doesn’t miss the mark by much, and it helps to keep the tension high.

Check out Faster when you’re in the mood for an action flick with a slightly darker tone. The movie doesn’t take full advantage of the resources at its disposal, with missed chances for more effective drama and a role that only puts a portion of Dwayne Johnson’s talents to use. But in spite of these flaws, Faster serves up a nice mix of violence and plot, moves quickly, and delivers on its promises, making it a serviceable pick for action fans.

For a more stylized tale of revenge, try Kill Bill. For a moody action movie with another quiet, highly motivated protagonist, try Drive. For a crime drama that plays in the same space as the police side of the story, try Insomnia. For an action movie about a fighter’s life after prison, try Blood and Bone. For a much darker, more passive crime drama about an ex-con and revenge, try The Samaritan.

6.4 out of 10 on IMDB. I give it a 6.5 to 7.0 for solid action and a focused plot.

Today’s quick review: Ride Along. Ben Barber (Kevin Hart) has two dreams in life: to become a police officer, and to marry his girlfriend Angela (Tika Sumpter). Ben gets the chance at both when James Payton (Ice Cube), Angela’s brother and one of Atlanta’s toughest cops, takes him on a ride along to see what he’s made of. Now Ben has just one day to prove that he has what it takes to be a good cop and husband, despite all evidence to the contrary.

Ride Along is a buddy cop comedy about an aspiring police officer and the man he needs to impress. Kevin Hart stars as Ben, a likable loudmouth with none of the backbone or street smarts to be an effective officer. Ice Cube plays opposite him as James, a no-nonsense cop who disapproves of Ben and intends to subject him to the worst assignments the profession has to offer. The dynamic between them leads to the bulk of the film’s comedy.

Ride Along has a simple premise but uses it well. The titular ride along is an excuse to drop Ben in ridiculous situations that he must talk his way out of, while James judges from the sidelines. Kevin Hart carries the role of Ben and, with it, the movie. His routines hit a sweet spot: energetic but not hyperactive, boastful but not obnoxious, and inventive but not random. Watching Hart run with his character is the main draw of the film.

However, Ride Along does not have the depth of plot, character, or comedy to be a memorable watch. There’s just enough of a story to hold the movie together, but nothing more. Even when the story grows beyond a series of disconnected crimes, the roots aren’t deep enough to support a big finale. Kevin Hart also ends up pulling most of the film’s comedic weight. Ice Cube works well enough as a straight man but doesn’t add much on his own.

Watch Ride Along when you’re looking for an easy watch with a few good laughs and no real complications. Kevin Hart’s energetic peformance makes the film what it is, and those who appreciate his style of humor will enjoy what the film has to offer. Those looking for a substantive story, real action, or a more memorable comedic duo may want to steer clear.

For a buddy cop comedy with more action, try Rush Hour. For an action movie with another pair of mismatched leads, try Bad Boys. For a goofier take on the crime genre, try Police Academy. For a much darker, more dramatic movie with a similar premise, try Training Day.

6.2 out of 10 on IMDB. I give it a 6.5 to 7.0 for fun but insubstantial comedy.

Today’s quick review: Angel Has Fallen. After years of painful service to his country, Secret Service agent Mike Banning (Gerard Butler) faces one last challenge when he’s framed for a devastating attack on President Trumbull (Morgan Freeman). Hunted by Agent Thompson (Jada Pinkett Smith) of the FBI, Mike must go on the run to clear his name. But to stay ahead of the government, he’ll need help from an unlikely source: his father (Nick Nolte).

Angel Has Fallen is an action thriller about a loyal Secret Service agent framed for an assassination attempt against the President. The second sequel to Olympus Has Fallen, Angel Has Fallen puts a new spin on the formula of the first two films. This time around, the President’s would-be assassins attack Mike himself, destroying his reputation and isolating him from the man he’s sworn to protect.

Angel Has Fallen is more grounded than the previous films in the series. The stakes are still high and the story is very much fiction, but the series’ less credible aspects—like its superweapons and massive, coordinated terror attacks—have been dialed down considerably. Likewise, although Mike is still a force to be reckoned with, he’s beginning to show the effects of a lifetime of wear and tear.

Beyond this slight shift in tone, Angel Has Fallen is a workmanlike thriller that fits right in with the rest of the series. The plot follows Mike as he races once again to save the President’s life and uncover a sinister conspiracy. Consistent action and a decent cast will make it a fun ride for fans of the genre. However, the movie packs few surprises, and there’s nothing about its stunts, story, or dialogue to make the film memorable.

Give Angel Has Fallen a shot when you’re in the mood for a straightforward, competently executed thriller. The movie has enough in the way of basic craftsmanship to please action fans, but it lacks the vision to truly stand out. Steer clear if you’re looking for an innovative plot or action with more style. For a more over-the-top take on a similar premise, try Olympus Has Fallen. For a tight, gritty thriller in the same vein, try Shooter.

6.8 out of 10 on IMDB. I give it a 6.5 to 7.0 for solid, no-frills action.

Today’s quick review: Big Kill. Following their latest misadventure, scofflaws Jake Logan (Scott Martin) and Travis Parker (Clint Hummel) partner with James Andrews (Christoph Sanders), an accountant from back East, to travel to Big Kill, Arizona, a mining town where James’ brother owns a saloon. But when they arrive in Big Kill, they find the town half-deserted, James’ brother missing, and justice dispensed by a gun-toting preacher (Jason Patric).

Big Kill is a Western about three travelers who end up in a town where they are decidedly unwelcome. Big Kill features a dramatic plot offset by doses of humor. Jake and Travis are meant to be likable rogues, while James serves as the moral backbone of the group. But in spite of a premise with some potential, Big Kill’s execution leaves much to be desired. Flat dialogue, a linear plot, and an uneven tone make it a film with little to offer.

Big Kill struggles to turn its ideas into a tangible reality. Jake and Travis are shallow and uninteresting, neither talented nor charming enough to be the heroes the film wants them to be. On paper, James gives the film its heart, but his character isn’t weighty enough to do so in practice. Furthermore, the leads are a poor fit for the story, better suited for a breezy comedy than the tense drama Big Kill tries to sell itself as.

The mechanics of the plot have similar issues. Big Kill divvies up its story into bite-sized chunks, each with another serving of exposition and at most one or two other characters for the leads to interact with. Not every scene follows this pattern, but enough of them do to make the early movie feel linear and repetitive, with a needlessly large supporting cast. Again, the story ideas have potential but never come together as intended.

In spite of all of this, Big Kill has a few things going for it. With a few more jokes and a script to scaffold them, Jake and Travis could have been the comedic heroes they were destined to be. Smarter use of the film’s supporting cast and the introduction of a few more meaningful plot threads could have heightened the drama considerably. And the setting of a crime-ridden mining town could have supported a much more compelling story.

Watch Big Kill only if you’re in the mood for a Western and aren’t feeling too exacting about quality. Big Kill makes an earnest effort, but it lacks the clear vision and raw skill needed to accomplish what it tries to do. As it stands, the movie is outclassed by most other entries into the Western genre, and the majority of viewers would be better off skipping it.

For a Western anthology with better drama and more black humor, try The Ballad of Buster Scruggs. For a Western with more well-rounded characters, try Tombstone. For a Western with a similar premise and a much darker tone, try The Duel. For a Western about a more competent hero intervening in a crime-ridden town, try A Fistful of Dollars.

5.1 out of 10 on IMDB. I give it a 5.5 for a decent premise marred by weak execution.

Today’s quick review: The Duel. When the bodies of dozens of Mexicans wash up downriver of Mount Hermon, Texas ranger David Kingston (Liam Hemsworth) and his wife Marisol (Alice Braga) travel to the secluded town to investigate. There they find Abraham Brant (Woody Harrelson), a hypnotic preacher with a firm grip on the townsfolk. But as David digs into the town’s dirty secrets, what he uncovers could end up costing him his marriage and his life.

The Duel is a gritty Western drama about a Texas ranger and a small-town preacher with plenty to hide. The Duel plays out as a cat-and-mouse game between the two men, as David investigates the murders that brought him to Mount Hermon and Abraham works his charm on David’s wife. The film goes a good job of establishing tension, but it has a harder time bringing it to bear. The result is a mechanically solid film with mixed payoff.

The Duel manages its drama fairly well. Liam Hemsworth, Woody Harrelson, and Alice Braga all turn in credible performances, with Harrelson standing out as the charming yet menacing Abraham Brant. The plot is a slow boil that splits its time between drip-feeding clues to David and building a sense of foreboding around Mount Hermon and its residents. More generally, The Duel does a good job hinting that something is wrong without specifying what.

Where The Duel struggles is in putting its tension to good use. The plot culminates in a mediocre finale that wraps up the main plot satisfactorily but leaves the other threads dangling. The drama surrounding David’s relationship to Marisol is undermined by the fact that they don’t have much chemistry to begin with. The tone of the film also skews bleak: a slow worsening of a bad situation without enough counterplay for David.

The Duel may appeal to those who like darker mysteries centered around charismatic villains. The film’s plot, acting, and suspense are enough to make it a decent watch for the right viewer. But it lacks the writing to make its best elements shine, and its mystery is neither as intricate nor as fulfilling as its premise would suggest. Fans of the heroic side of the Western genre should steer clear.

For a classic Western about a roving lawman, try Hang ‘Em High. For a modern Western with a gritty tone and a more nuanced villain, try 3:10 to Yuma. For a more offbeat Western with black comedy elements, try The Ballad of Buster Scruggs. For a horror drama with similar conflicts and more overt scares, try The Devil’s Advocate.

5.8 out of 10 on IMDB. I give it a 6.5 for the makings of a suspenseful drama without the skill to bring it home.

Today’s quick review: Once Upon a Time in the West. Jill McBain (Claudia Cardinale) travels to a frontier town to make a fresh start with her new husband and his children, only to find them dead at the hands of Frank (Henry Fonda), a ruthless killer. Meanwhile, a nameless drifter (Charles Bronson) comes to town searching for Frank and makes a tenuous alliance with Cheyenne (Jason Robards), a wily outlaw blamed for the murders.

Once Upon a Time in the West is a classic Western from director Sergio Leone. Much like Leone’s previous work in the genre, it is a broadly scoped Western with top-notch cinematography, deliberate pacing, and a cast of resolute characters. However, the movie takes a slightly different tack with its story. Once Upon a Time in the West is more cohesive and more evenly balanced than its predecessors, but at the cost of some of their raw tension.

Once Upon a Time in the West draws much of its strength from its cast. Claudia Cardinale, Henry Fonda, Charles Bronson, and Jason Robards deliver strong performances that fit well with Sergio Leone’s style. Their four characters are fleshed out well over the course of the film, and the shifts in their motivations and relationships give the film much of its drama. The film’s solid cast is backed by a rich plot and Leone’s expert direction.

Still, Once Upon a Time in the West is not as cutting as Sergio Leone’s other Westerns. There are tense moments throughout the film, but none as masterful as the ones found in The Good, the Bad and the Ugly. The conflicts between the characters play out as a series of incremental moves rather than the all-or-nothing gambits seen in the Eastwood films. What the film gets in exchange is a focused, detailed plot with a more earnest tone.

Once Upon a Time in the West is another strong pick for fans of fine cinematography or the Western genre in general. How it compares to Leone’s other Westerns will come down to taste. Fans of sharper conflict and active heroes will prefer the Eastwood films, while those who prefer calmer stories will give this one the nod. In either case, Once Upon a Time in the West is a classic that finds itself in good company at the top of the Western genre.

For another top-notch Western from Sergio Leone, try A Fistful of Dollars, For a Few Dollars More, or The Good, the Bad and the Ugly. For another well-rounded Western with an emphasis on character and story, try Tombstone. For a modern Western with an even heavier focus on character, try 3:10 to Yuma.

8.5 out of 10 on IMDB. I give it a 7.5 to 8.0 for excellent direction and a fascinating cast.