Month: June 2021

“We’re Americans. We read your emails.” —Joe

Today’s quick review: Domino. While responding to a domestic disturbance, Copenhagen police officer Christian Toft (Nikolaj Coster-Waldau) makes a mistake that puts his partner Lars (Soren Malling) in the hospital. Determined to make things right, Christian goes after the attacker: a Libyan man named Ezra Tarzi (Eriq Ebouaney). In doing so, Christian becomes tangled in a terrorist plot and a CIA operation headed by Joe Martin (Guy Pearce).

Domino is a crime thriller from director Brian De Palma. The movie follows a Danish cop who stumbles onto the trail of ISIS leader Salah Al-Din (Mohammed Azaa) while pursuing the man who injured his partner. Domino plays its characters off one another, letting the conflicts between Christian, Ezra, Salah, and Joe drive its plot. However, its unsympathetic characters, mediocre craftsmanship, and lack of clear purpose make it an underwhelming watch.

Domino misplays its hand. The basic premise is interesting: one bad decision that leads to unforeseen consequences. But Domino quickly drops its more interesting elements—Christian’s guilt about Lars and Ezra’s mysterious motives—in favor of an unfocused, terrorist-oriented plot. Christian drifts sidelong into the hunt for Salah Al-Din, and the movie never settles on a concrete reason why Salah’s plot is more important than Ezra’s.

Domino also has other issues. Christian makes for a lukewarm protagonist, while Alex Boe (Carice van Houten), his new partner for the case, contributes little. The drama with Lars comes off flat, the thrills are never that tense, and any point the film might be trying to make ends up lost in the thicket of subplots. The kicker is an obtrusive orchestral soundtrack that tries too hard to set the tone and ends up being distracting instead.

None of these issues are crippling alone, but taken together, they strip the sheen off a movie that already has trouble distinguishing itself. Domino has the makings of a decent thriller, but a couple of significant plot missteps and mixed execution overall quickly stifle its momentum. Domino holds modest value for those looking for a brief jaunt into the crime genre, but there are other films that offer the same benefits and more.

For a richer look at terrorism and its surrounding issues, try The Kingdom or Traitor. For a more thrilling movie with a similar premise, try Unlocked. For a more plot-focused look at law enforcement’s response to terrorism, try Closed Circuit.

4.4 out of 10 on IMDB. I give it a 5.0 for a decent setup with flawed execution.

Today’s quick review: Ad Astra. After the disappearance of his father (Tommy Lee Jones) on a deep space mission years ago, Roy McBride (Brad Pitt) has honored his legacy by becoming one the finest astronauts in Space Command. But his resolve is put to the test when a series of destructive energy surges are traced to his father’s ship near Neptune. To stop the surges, Roy must venture into deep space and attempt to contact his missing father.

Ad Astra is a science fiction drama about an astronaut’s journey through the Solar System in search of his missing father. The movie takes place in the near future, when space travel is flourishing but the search for extraterrestrial life is ongoing. Ad Astra explores this future through the eyes of Roy McBride, a highly focused astronaut with deep psychological issues. Personal drama and the perils of space form the backbone of the film.

Ad Astra is a highly introspective film. The story is as much about Roy’s psychology as his mission, with frequent internal monologues and reflections on his mental state. Roy’s detached personality, abandonment issues, and utter devotion to his mission give the film a unique angle that meshes well with the danger and isolation of space. But his character arc has more intellectual than emotional appeal, due to a lack of subtlety in a few key places.

Unfortunately, Ad Astra doesn’t invest quite as much effort into its science fiction. The setting has the trappings of hard sci-fi, but the plot plays fast and loose with its science content. Ad Astra gives very little focus to the technical side of space travel, instead using it as a backdrop for a more personal story. The movie’s periodic attempts to inject action into the story come across as artificial, at odds with its sober setting.

The outcome is a hybrid of three strains of science fiction: personal drama, spacefaring adventure, and near-future speculation. Ad Astra fares the best with its drama, with an unusual main character in Roy McBride and a convincing performance from Brad Pitt. Its action and speculation are on shakier ground, but they bring enough to the table to make Ad Astra a solid pick for fans of the sci-fi genre, albeit one with some flaws.

For a more powerful sci-fi drama that deals with similar themes, try Interstellar. For a more grounded tale of survival ins pace, try Gravity or The Martian. For another story about a successor to failed space mission, try Sunshine. For a more artful rumination on space travel and the future of mankind, try 2001: A Space Odyssey.

7.0 out of 10 on IMDB. I give it the same for strong character work and an interesting near future setting.

Today’s quick review: Good People. Tom Wright (James Franco) and his wife Anna (Kate Hudson) are trying to start a family, but they can barely make rent. Their luck turns around when their downstairs neighbor dies, leaving behind a small fortune in stolen cash. Hiding the money from John Halden (Tom Wilkinson), the detective in charge of the case, Tom and Anna weigh the costs of using their ill-gotten gains to pay off their debts.

Good People is a crime drama about an ordinary couple who find a bag of stolen money. Their decision to hide it rather than turn it into the police sparks a chain of events that puts Tom, Anna, and those around them in danger. Good People features solid character work, an intriguing premise, and a grounded and unpredictable plot. The movie doesn’t hit quite as hard as it could have, but it makes for a worthwhile story nonetheless.

The heart of the movie is the Wrights, a loving couple with good reasons to make the choices they do. James Franco and Kate Hudson strike a delicate balance with their characters. Tom and Anna are affectionate but not saccharine, fallible but sympathetic, and surprisingly tenacious. Neither one is outstanding as far as dramatic characters go, but there’s enough nuance to them to give the film some weight and help its story find traction.

The other major part of the film is the tangled struggle for the money. What starts as a basic moral dilemma becomes urgent when Jack Witkowski (Sam Spruell), the criminal who stole the money, comes for what’s his, pursued by Khan (Omar Sy), a French drug dealer and the money’s original owner. The interactions between the factions make the film hard to predict and give the Wrights the chance to show their resourcefulness.

The result is a decent watch that never rises to the level of greatness. Good People goes reasonably far with its characters, its premise, and the chaos that follows. But the film falls short of its potential: the moral ramifications of the Wrights’ choices are examined only in passing, while the plot isn’t as cleverly coordinated as it could have been. As such, Good People has something to offer crime fans but won’t satisfy critical viewers.

For a crime drama about a family man forced to confront hardened criminals, try A History of Violence. For one about five people in a similar situation, try Money. For a more subdued drama about the influence of wealth on good people, try The Treasure of the Sierra Madre. For a black comedy starring Tom Wilkinson in a similar role, try Dead in a Week (or Your Money Back).

5.5 out of 10 on IMDB. I give it a 6.5 for decent plot and character work.

Today’s quick review: Black Rose. To catch a serial killer who’s preying on Russian women, Captain Frank Dalano (Robert Davi) of the LAPD brings in Major Vladimir Kazatov (Alexander Nevsky) from Moscow over the objections of Matt Robinson (Adrian Paul), the former lead on the case. Vladimir partners with Emily Smith (Kristanna Loken), a rookie profiler, to search the Russian community for leads and try to catch the elusive killer.

Black Rose is a budget crime thriller that pairs a Russian cop with his American counterpart to hunt down a serial killer. Black Rose aims to be a tense investigation peppered with lighter moments of bonding for its two heroes. The skeleton of the plot works well enough for this goal, but it’s undermined by a bland villain and a thin mystery. Coupled with the film’s flawed execution in other areas, this makes Black Rose an underwhelming pick.

Black Rose never manages to build up the mystery it needs around its killer. There’s no compelling pattern for the crimes, the killer’s motives are flimsy, and the clues that drive the investigation tend to be tacked on as afterthoughts. The movie also has a hard time building up tension. It has a smattering of gore but not much shock value to go with it. Overactive direction and a needlessly grandiose soundtrack further damage the tone.

Its villain problems aside, Black Rose still has issues with the basics. The plot has most of the elements it needs but not the craftsmanship to make them work together. The story ends up feeling generic and predictable, with a weak payoff and no intermediate revelations before the finale. Like the writing, the acting is also lackluster. Alexander Nevsky gives a flat performance as Vladimir, while Kristanna Loken fairs slightly better as Emily.

Ultimately, Black Rose is a crime thriller with a weak hook and significant flaws in its execution. The aspects of its vision the film does get right are outclassed by other films in the genre. The film succeeds in telling a simple story and holds modest value for casual viewers, but the majority of viewers will be able to do better without much effort.

For a more unnerving serial killer investigation, try Se7en or The Bone Collector. For a serial killer drama with better acting and direction, try Zodiac. For a buddy cop comedy with a more fully developed clash of cultures, try Rush Hour.

2.5 out of 10 on IMDB. I give it a 3.5 for a decent setup, weak execution, and unsatisfying thrills.

Today’s quick review: Blue Ruin. For years, Dwight Evans (Macon Blair) has lived a solitary life on the beach, living off what he can borrow or find. Upon learning that Wade Cleland (Sandy Barrett), the man who killed his parents, is going to be released from jail, he returns to his home in Virginia to take his revenge. But the situation grows complicated when Wade’s family gets involved, putting Dwight’s sister Sam (Amy Hargreaves) in danger.

Blue Ruin is a crime drama about bad blood between two families. A murderer’s release from prison reopens old wounds, sparking a cycle of revenge that turns Dwight Evans, ordinarily a gentle man, into a killer. Blue Ruin takes its premise to fascinating places without resorting to the usual contrivances of stories like it. Tight plot work, thoughtful direction, and believable characters make Blue Ruin a modest but polished tale of revenge.

The heart of the movie is Dwight, a soft-spoken protagonist bearing an understandable grudge. Dwight is a reluctant killer, willing to do what is necessary to avenge his parents but hesitant to escalate the situation any further. The contrast makes him a nuanced character who’s not overtly likable but quietly earns the audience’s respect through his resolve and decency. Macon Blair also does an excellent job of selling the role.

The other area where Blue Ruin excels is realism. The plot emerges from the characters’ choices, not from obvious coincidences or authorial meddling. Dwight is not an action hero, only an ordinary man with real failings. He succeeds through the clever use of the resources at his disposal, and even then his plans rarely go right. he finishing touch is well-jduged direction that puts every detail in its proper place without being too obvious.

Blue Ruin is a hidden gem for fans of the understated, cerebral side of the crime genre. Its modest scope and lack of strong emotional hooks mean that it’s outclassed by the best the genre has to offer, but in spite of this, it still brings something unique to the table. Those looking for an intimate and unpredictable crime drama should give it a shot. Those hoping for something with more flash or a greater emphasis on action may want to skip it.

For an even darker, more elaborate plot spun from a minimalistic premise, try Blood Simple. For a plot-focused crime thriller with a darker tone, try Memento. For a crime movie about a homeless veteran trying to make good, try Redemption.

7.1 out of 10 on IMDB. I give it a 7.0 for sound acting and direction coupled with a tight plot.

Today’s quick review: The Bad Batch. Branded as part of the Bad Batch, Arlen (Suki Waterhouse) is exiled ot a lawless wasteland in the Texas desert to live with other misfits and criminals. There she loses an arm and a leg to cannibals before finding Comfort, a cultish town run by The Dream (Keanu Reeves). Unsatisfied with her life there, she ventures back out into the desert and meets Miami Man (Jason Momoa), a cannibal searching for his daughter.

The Bad Batch is an offbeat thriller set in a bizarre wasteland. The movie follows Arlen as she gets to know Comfort, the dangers outside its walls, and the peculiar society that has sprung up in the absence of any formal government. The Bad Batch carves out a distinctive niche for itself with its unusual characters, laconic storytelling, and intriguing symbolism. However, its loose plot and explicit content make it something of a niche pick.

The Bad Batch is an odd watch. The wasteland Arlen finds herself in is a violent, mysterious, and quirky place. Resources are scarce, strangers can’t be trusted, and different breeds of insanity flourish unchecked. Just catching pieces of The Bad Batch’s world and trying to piece them together is one of the film’s main appeals. The effect is bolstered by hints of symbolism and social commentary, as well as its knack for saying a lot with a little.

The tradeoff is that The Bad Batch is very abstract. The plot feels less like a complete story and more like pieces of one, evocative bits taken from a larger whole. Arlen has no clear purpose in the wasteland, giving the film a passive feel even when she’s fighting for her life. The lack of a strong plot makes it hard to invest emotionally in the story and characters, while the film’s graphic nature can make it difficult to watch at times.

Fans of the odd, mature, and experimental may want to give The Bad Batch a shot. It never rises to the heights of tension that its premise implies, but the combination of an interesting world, skillful presentation, and open-ended dots to connect means that it does have something to offer. Still, few viewers will be drawn to its unusual combination of traits. Most people who are interested would be better off with a more straightforward pick.

For even more overt social commentary, try High-Rise or Snowpiercer.

5.3 out of 10 on IMDB. I give it a 6.0 for an interesting world without the plot to hold it together.

Today’s quick review: Rambo: Last Blood. Ten years ago, Vietnam veteran John Rambo (Sylvester Stallone) finally came home to his family’s ranch in Arizona and found a new purpose in life: taking care of his niece Gaby (Yvette Monreal). But when Gaby goes to Mexico by herself to search for the father who abandoned her, she ends up in the clutches of human traffickers, forcing John to use his violent skills to get her back.

Rambo: Last Blood is a gritty action movie and the fifth entry in the Rambo series. Set roughly a decade after the end of the previous film, Last Blood finds John Rambo happily retired, content to raise horses, work on the ranch, and watch over his niece. That all changes when a Mexican gang takes Gaby, setting up the heavy drama and gory violene the series is known for. The result is a film that’s narrow in scope but effective at what it does.

Last Blood follows in the footsteps of Rambo, the previous entry into the series. Like its predecessor, Last Blood spends its first half establishing the stakes before taking a hard turn into action. The tone of the film is heavier than most movies in the genre, with real dangers and a plot that doesn’t pull punches. The film’s darker moments keep it from being the unfettered romp that some viewers may want, but the drama is handled fairly well.

The main draw of Last Blood is violence, and it delivers in spades. John shows his mastery of guerrilla warfare in brutal fashion, with violent and creative traps, ruthless kills, and even more gore than the film’s predecessors. The late start to the action means that it doesn’t last that long, but it makes up for duration with density. The action does feel a little rushed and one-sided as a result, but the sheer spectacle makes this a fair trade.

Rambo: Last Blood is not for the faint of heart. Its heavy tone and pervasive gore mean that it will only appeal to fans of the hardcore side of the action genre, and even these will be split by its choices when it comes to drama and pacing. But within the niche it carves out for itself, Rambo: Last Blood is a solid movie that delivers a good mixture of story and violence. Those hoping for a dark, bloody revenge film should look no farther.

For an action thriller with a similar premise, try Taken. For another Rambo movie in the same vein, try Rambo. For another tale of a father’s revenge, try Death Wish. For the even weightier superhero equivalent, try Logan. For an even more twisted revenge drama, try Oldboy. For more stylized action with similar brutality, try the John Wick series.

6.7 out of 10 on IMDB. I give it a 7.0 for viscerally satisfying action.

Today’s quick review: The Road. Years after a nuclear holocaust ravaged the Earth, the plants and animals have died, the climate has turned cold, and humanity’s few survivors are forced to fight for the scant resources that remain. In this harsh environment, a man (Viggo Mortensen) struggles to keep his son (Kodi Smit-McPhee) alive. Haunted by the memory of his lost wife (Charlize Theron), he heads for the coast, their only hope for a better home.

The Road is a postapocalyptic drama based on the novel by Cormac McCarthy. The Road is a bleak and realistic portrayal of a world where humanity is all but extinct. Ruinous landscapes, dwindling food, and the constant threat of other survivors all make The Road a harrowing watch. The movie does a skilled job of bringing its world and its characters to life. However, its exceedingly bleak tone and aimless plot won’t appeal to everyone.

The Road shows a high degree of craftsmanship in its acting, world-building, and writing. Its characters are not precisely likable, but they are convincing, earning the audience’s sympathy through their suffering and what compassion they can afford. The setting has a similar impact, a mess of ruins, cannibals, and ash where no hope grows. There’s nothing unique about The Road’s vision of the apocalypse, but it sells that vision thoroughly.

Unlike other dramas, The Road doesn’t pull its punches. The plot is a series of close calls and setbacks with only a vague goal in mind. The trials the man and the boy face on their journey are brutal, ranging from grisly violence to overwhelming despair. There are a few faint embers of hope, but nowhere near enough to counterbalance the gloom. The result is a feast of narrative and moral ambiguity, a story without any of the usual crutches.

The drawback to all of this is that The Road fills a very specific niche, and it holds almost no appeal outside of it. Those who want gritty realism, who comiserate with the man and his son, or who simply relish a tale with no guarantee of a happy ending will find exactly what they’re looking for. Those who prefer tidy stories or simply want catharsis for their drama will find The Road to be a difficult watch with precious little reward.

For a dystopian drama with a clearer endpoint in mind, try Children of Men. For another postapocalyptic journey, try The Book of Eli. For the tale of a family trying to survive in a hostile world, try A Quiet Place. For a postapocalyptic zombie action movie with some of the same lonely tone, try I Am Legend. For a poignant drama with a subtler touch, try The Grave of the Fireflies.

7.2 out of 10 on IMDB. I give it a 7.0 to 7.5 for effective drama that comes at a steep price.

Today’s quick review: Love Shot. Max (Dakota Loesch), a hitman and vinyl enthusiast, finally finds a kindred spirit when he meets Karen (Amy Tsang), a karaoke singer with the same musical tastes as him. Their romance hits a snag, however, when Max’s bosses order him to kill her. Max decides to run away with her instead, but only after he takes one last job from Tony Kaufman (John Kapelos), the newest crime boss in Koreatown.

Love Shot is a budget crime romance with elements of black comedy. The movie follows the ill-fated relationship between Max, a shy and awkward hitman, and Karen, a singer with troubles of her own. The combination of blooming love, criminal intrigue, and a packed soundtrack gives Love Shot a distinct tone. But its execution falls well short of its vision, and its stilted dialogue, empty plot, and weak characters outweigh its strengths.

Love Shot has an awkward rhythm to it. The dialogue feels unnatural, written more to check off objectives than to emulate organic conversations. Max and Karen are occasionally cute together, but the movie overstates their chemistry by a wide margin. It also seems ambivalent about them as a couple, simultaneously portraying their relationship as idyllic while trying to show how truly dysfunctional it is. This makes it hard to invest in the film.

Love Shot also has a hard time building up momentum. There’s no sense of tension, only a vague notion that Karen is in danger. The question of who wants Karen dead isn’t enough to drive the movie, and the answers the movie does eventually provide are thin and unsatisfying. As such, Love Shot often seems like it’s stalling for time. Max and Karen go back and forth about their relationship, listen to music, and only rarely move the plot along.

Love Shot is a movie whose reach exceeds its grasp. The few moments where it finds its rhythm show real potential, and the ideas it toys with are worth exploring. But the handful of jokes that land, the directorial flourishes that hit the right timing, and the musings on the nature of romance are all undermined by the rest of the film’s execution. As a result, Love Shot will only really appeal to those willing to take the pieces and ignore the whole.

For a crime comedy with a more intricate plot and a better lead couple, try Lucky Number Slevin. For a romantic black comedy with a more inventive premise, try Dead in a Week (Or Your Money Back). For a quirkier, more upbeat romance involving a hitman, try Mr. Right. For a more thorough subversion of storybook romance, try 500 Days of Summer.

5.5 out of 10 on IMDB. I give it a 4.5 for flashes of inspiration without the fundamentals to support them.

Today’s quick review: Inside Man: Most Wanted. When a gang of robbers takes hostages at the New York Federal Reserve Bank, Agent Brynn Stewart (Rhea Seehorn) of the FBI and Detective Remy Darbonne (Aml Ameen) of the NYPD must work together to resolve the situation peacefully. The negotiation gets more complicated when they meet “Most Wanted” (Roxanne McKee), the mastermind of the robbery, and learn that there’s more to her plan than meets the eye.

Inside Man: Most Wanted is a crime drama about a bank robbery with an ulterior motive. Most Wanted is a loose sequel to the original Inside Man, featuring a new cast, a new robbery, and several connections to the events of the previous film. The movie’s main draw is the robbery itself, a complicated plan that involves manipulating Brynn and Remy in specific ways. However, the movie fares worse when it comes to its characters and payoff.

Inside Man: Most Wanted takes its cues from the original Inside Man. The core of the plot is a bank robbery where nothing is as it seems. The title character attempts to manipulate and misdirect Brynn and Remy, while they try to uncover her true motives and the escape she has planned. There are enough twists and turns to make the film interesting to follow. Even so, the mystery isn’t as tight or as clever as it’s trying to be.

Most Wanted also runs into issues with its characters. Each one serves the plot well enough individually, but they don’t have much chemistry together. Their character arcs are also underdeveloped. Remy remains a constant throughout the film, a smooth-talking hostage negotiator with a positive attitude and boundless confidence, but Brynn’s attempts to prove herself to her bosses and Most Wanted’s ulterior motive for the robbery both fall somewhat flat.

The end result is a crime drama that goes through the motions well but ultimately rings hollow. Inside Man: Most Wanted is a decent pick for those who are interested in the heist itself and a disappointing one for those looking for a complete package. It also spoils the plot of the original movie, so new viewers should approach it with caution.

For a crime drama with a similar premise and better plot, acting, and presentation, try the original Inside Man. For a more thrilling take on a hostage crisis, try The Taking of Pelham 1 2 3. For another bank robbery that takes a turn for the complicated, try Chaos.

5.3 out of 10 on IMDB. I give it a 6.0 to 6.5 for an interesting robbery let down by mediocre characters.