Month: July 2021

Today’s quick review: Kick-Ass. Dave Lizewski (Aaron Johnson) leaves his ordinary life behind when he decides to become the world’s first real-life superhero: Kick-Ass. Equipped with a scuba suit, a pair of clubs, and no training whatsoever, Dave sets out to make the streets a safer place. But he soon gets embroiled in the fight between vigilantes Big Daddy (Nicolas Cage) and Hit-Girl (Chloe Grace Moretz) and crime boss Frank D’Amico (Mark Strong).

Kick-Ass is a superhero action comedy directed by Matthew Vaughn and based on the comic by Mark Millar. Kick-Ass asks a simple question about the superhero genre: If so many people like superheroes, why has nobody become one? What follows is a wry, semi-realistic take on crime-fighting, comic books, and adolescence. Kick-Ass’ creative premise and punchy attitude make it a fun watch, but its violence and warped humor won’t suit everyone.

Kick-Ass offers something unique. Its premise, world, and characters work together to tell a story that’s one part subversion of the superhero genre and one part loving tribute. Kick-Ass isn’t afraid to throw sucker punches, either at its characters or at the audience. The twists are unpredictable and are just as likely to be played for laughs as for drama. Tonal variety, sharp dialogue, and a strong cast keep the movie engaging and rewarding.

Kick-Ass does have a few notable drawbacks. The film’s variety is a double-edged sword; comedy and drama are mixed together even when the film would get cleaner results by sticking to one. The plot lurches around, with a solid structure overall but odd timing for its individual events. Several members of the supporting cast don’t get as much time or development as they deserve. Finally, the film’s explicit content will turn off some viewers.

Anyone interested in an irreverent take on the superhero genre should give Kick-Ass a try. The movie does have a few rough edges, but its clever ideas and solid execution make it worth a watch for fans of the genre. Those who aren’t interested in the genre, are sensitive to gore, or prefer adventures that are more innocent may want to give it a pass.

For a slicker, more action-packed adaptation of a Mark Millar comic by Matthew Vaughn, try Kingsman: The Secret Service. For a much more serious subversion of the superhero genre, try Watchmen. For another stylized black comedy about one man trying to make a difference, try Fight Club. For a more outlandish action movie based on a Mark Millar comic, try Wanted.

7.6 out of 10 on IMDB. I give it a 7.0 to 7.5 for skillful take on a novel premise.

Today’s quick review: Kite. In a lawless city where gangs of child traffickers rule the streets, Sawa (India Eisley) goes undercover as a prostitute to avenge her parents’ deaths. Her only ally is Lt. Karl Aker (Samuel L. Jackson), a police officer who covers for her vigilante activities from inside the police force. But as Sawa gets close to her last target, a boy named Oburi (Callan McAuliffe) approaches her with a secret about her past.

Kite is a violent action movie that pits a teenage girl against a ruthless human trafficking ring. Sawa uses subterfuge and seduction to get close to her targets, grill them for information, and kill them in brutal fashion. Kite has a fine premise for a revenge flick, and its colorful costumes and edgy direction help give it a unique identity. But its execution leaves something to be desired due to its generic plot and unclear presentation.

Kite is a confusing movie to watch. The broad strokes of the plot are easy enough to follow, but the particulars are convoluted. Kite has a habit of introducing new characters and situations without explaining them. In another movie this gamble could pay off, but Kite handles it poorly. The setting is too unfamiliar for Kite to play the kinds of storytelling tricks it wants to, so most of the little mysteries it tries to weave just end up tangled.

In spite of its shaky storytelling, Kite does have a few things going for it. The story dabbles with some interesting ideas, such as Sawa’s addiciton to a drug that helps her forget the trauma of her past. The action is gory and fairly engaging. The stunts themselves aren’t phenomenal, but Sawa’s small frame and reliance on surprise make the fights tense when things go wrong. Kite also has the makings of an interesting visual style.

Ultimately, Kite’s scattered strengths aren’t enough to make up for its weak foundation. The story is hard to follow, and the payoff isn’t enough to justify the effort. The movie is on slightly better footing with its action, but even there it doesn’t stand out. Fans of violent revenge flicks may want to give it a shot just to see what it has to offer. But even then, most viewers would be better off with something sharper and more thrilling.

For a twisted revenge flick with better action and a clearer vision, try Everly. For one with a looser plot and a better-drawn setting, try The Bad Batch. For a more wholesome action movie with a similar setting, try Alita: Battle Angel. For a more rewarding story about a young, would-be assassin, try The Professional. For a quirkier movie about vigilante justice, try The Boondock Saints.

4.4 out of 10 on IMDB. I give it a 5.0 for glimmers of originality let down by poor fundamentals.

Today’s quick review: 68 Kill. Chip (Matthew Gray Gubler) gets in over his head when his girlfriend Liza (AnnaLynne McCord) decides to steal $68,000 from the man she’s been sleeping with. But what should have been a simple robbery turns into a double homicide, leaving Chip with a guilty conscience and a witness, Violet (Alish Boe), to get rid of. Now Chip must decide whether to obey Liza’s orders or try to make a break with Violet and the cash.

68 Kill is a violent crime drama and black comedy that follows a blue collar man as he gets dragged deeper into his girlfriend’s criminal schemes. The movie aims to be an unpredictable romp fueled by sex, violence, and sheer bad luck. 68 Kill does manage to deliver some shock value with its escalating series of ridiculous, disturbing situations. But the movie is never as stylish as it tries to be, making its explicit content its defining trait.

68 Kill does a decent job with its plot and characters, but they’re missing a sense of purpose. AnnaLynne McCord turns in a convincingly psychotic performance as Liza, an abusive girlfriend with a loose moral compass. Chip’s attempts to break free of her grasp make for a reasonably interesting story, even if its random twists hurt its sense of cohesion. The movie can also be darkly amusing at times, chiefly by putting Chip through the wringer.

But the subtler aspects of 68 Kill are all but drowned out by its graphic content. The movie alternates between titillation and gore in a way that’s more blunt than artful. The explicit content does serve a purpose in driving home the movie’s themes, but for the most part, it seems to be included for its own sake. Fans of the perverse may get something out of 68 Kill; ordinary viewers will find it off-putting at best and distasteful at worst.

For a similarly graphic revenge movie with more of an action bent, try Everly. For a more earnest story about an ordinary man thrust into a criminal situation, try Blue Ruin. For a darker, more thrilling battle over stolen money, try No Country For Old Men. For more artful violence, try Kill Bill or Pulp Fiction.

6.0 out of 10 on IMDB. I give it a 5.5 for decent execution of a base story.

Today’s quick review: Outlawed. Jake O’Neil (Adam Collins), a decorated British soldier, hits rock bottom after failing to save a kidnapping victim. Turning his back on his military career, Jake spirals into self-destruction. But he gets the chance to set things right when his childhood friend Jade (Jessica Norris) approaches him with proof that Harry Archibald (Ian Hichens), a corrupt politician tied to the kidnapping, is guilty of murder.

Outlawed is a budget action movie about a special forces soldier on a mission to take down a powerful politician. Outlawed has more ambition than other budget flicks, taking the time to set up the details of Jake’s background and the many reasons Archibald deserves what’s coming to him. But in spite of having a decent story for its genre, Outlawed’s clunky writing, unconvincing acting, and weak action make it a mediocre pick at best.

Outlawed has a vision that it lacks the skill to achieve. The film sets up Harry Archibald as the villain from the very beginning, giving him personal ties to Jade and Jake, showing the collateral damage of his criminal activities, and painting him as untouchable. Yet the film stumbles when it tries to actually tell its story. The details of the story are laid out in a confusing order, are tricky to follow, and never lead to much payoff.

Nor is Outlawed’s action enough to carry the film. The fights are flashier than one might expect from its apparent budget, but their stunt work is lacking. Outlawed also has a habit of padding out its fights with masked gunmen who have no story reason to be there, rather than making tougher shootouts with fewer enemies. Topping it all off, Outlawed’s characteres are uncompelling and don’t connect in the right ways to the story around them.

The end result is a budget action flick that aims higher than its competition but still suffers from some of the same flaws. Outlawed may be a nice breather for budget action fans interested in seeing what a little more investment in story can do for the genre. But Outlawed still makes for a less than satisfying watch in absolute terms, a movie with glimmers of potential but execution that falls short of the mark.

For another movie about a British ex-soldier working his way back up from the bottom, try Redemption. For a more thrilling action movie about a killer forced to seek justice on his own, try Killer Elite. For a budget action flick with meatier action, try All the Devil’s Men. For one that tinkers with a more complex story and finds greater success, try Avengement.

6.0 out of 10 on IMDB. I give it a 5.0 for a decent story and midrate action let down by flawed overall execution.

Today’s quick review: The French Connection. Following a hunch, Brooklyn detectives Jimmy Doyle (Gene Hackman) and Buddy Russo (Roy Scheider) begin to tail Sal Boca (Tony Lo Bianco), a store owner who keeps questionable company. Convinced they’re onto a major drug deal, Doyle and Russo work long hours to find the evidence they need. But the mastermind of the operation remains just out of reach: French drug smuggler Alain Charnier (Fernando Rey).

The French Connection is a crime drama about two narcotics detectives’ hunt for a French drug smuggling ring. The movie dives into the details of their investigation, from their initial discovery of Boca to the raw legwork needed to find the next link in the chain. Meticulous storytelling, a high level of realism, and a couple of tense chases give The French Connection some appeal. However, its slow pacing and low stakes won’t work for everyone.

The French Connection immerses itself in the details of Doyle’s police work. His job is anything but glamorous, a tiresome sequence of stakeouts, leads that don’t pan out, and skepticism from his superiors on the police force. The slow grind of the investigation does lead to some good payoff down the line; Doyle’s victories are hard-won and satisfying. The French Connection also doles out a few well-chosen action scenes to ramp up the tension.

However, The French Connection doesn’t fare as well outside of these specific strengths. The plot moves slowly, is narrow in scope, and is missing the strong dramatic hooks and shocking reversals of other crime dramas. The deal between Charnier and Boca throws Doyle for a loop but isn’t all that clever in concrete terms. The movie gambles that the procedural side of the plot will occupy the audience until the plot finally begins to pay off.

The French Connection secures a place for itself with its grounded, realistic setup and targeted use of action. It aims for a specific effect with its investigation and largely achieves its goal. But the movie won’t have as much to offer for modern audiences who are used to more overt thrills and more elaborate plots. Those looking for an organic criminal investigation should give it a shot. Those looking for raw excitement may want to skip it.

For a more lurid crime drama from the same era, try Get Carter. For one with a wider tonal range and better character work, try Mean Streets. For a modern, more action-oriented drug investigation, try Miami Vice.

7.7 out of 10 on IMDB. I give it a 7.0 for solid execution of a particular flavor of crime drama; your score will vary.

Today’s quick review: Money Talks. Ticket scalper Franklin Hatchett (Chris Tucker) has a good racket going, at least until investigative reporter James Russell (Charlie Sheen) puts him behind bars. But when fellow prisoner Raymond Villard (Gerard Ismael) stages a breakout, Franklin is swept along with it and ends up as a wanted fugitive. Now Franklin must seek James’ help to clear his name and avoid the cops and criminals who want him dead.

Money Talks is a crime comedy about an unlikely pair of allies. Chris Tucker stars as Franklin Hatchett, a small-time criminal whose fast tongue gets him in trouble as often as it gets him out of it. Charlie Sheen plays opposite him as James Russell, a reporter in desparate need of a scoop. Talented leads and a few good comedy bits make Money Talks a light, entertaining watch. However, its premise and execution both lack the impact they could have.

Money Talks is primarily a vehicle for Chris Tucker. His fast patter and comedic energy drive the comedy and the plot alike, as Franklin searches for a way out of a situation that could end with him dead. Charlie Sheen acts as his straight man, toning down his own comedic style to better foil Tucker’s antics. The duo never clicks the way the strongest buddy pairings do, but they do work well enough together to keep the comedy coming.

The main thing Money Talks is missing is a strong hook. Franklin and James don’t have a compelling reason to stick together, and the script doesn’t invest enough effort into getting them to see eye to eye. The plot is a jumble of loosely connected elements, from Villard’s schemes to the police manhunt for Franklin to James’ pending wedding. The result is a comedy that has some funny moments but isn’t as satisfying as it could be.

Money Talks is a decent pick for those in the mood for a quick, light comedy. A decent setup, a madcap story, and the energy Chris Tucker brings to the role are enough to earn some laughs. But its premise, its execution, and the chemistry of its leads all leave something to be desired, leaving it outclassed by more memorable buddy films. Those who dislike Tucker’s hyperactive style will also want to steer clear.

For an even funnier action comedy starring Chris Tucker and directed by Brett Ratner, try Rush Hour. For a buddy cop crime comedy with a similar plot, try Starsky & Hutch. For another offbeat comedic pairing, try The In-Laws. For a similar comedy duo, try Ride Along.

6.2 out of 10 on IMDB. I give it a 6.0 to 6.5 for fun but not especially memorable comedy.

Today’s quick review: Mad City. Local reporter Max Brackett (Dustin Hoffman) lands the story of his career when ex-security guard Sam Baily (John Travolta) takes hostages at the museum Max is doing a story on. Max covers the standoff from the inside, even going so far as to help Sam get favorable press coverage and make sure no one gets hurt. But as the situation escalates, Max finds himself torn between his profession and his conscience.

Mad City is a crime drama about a working man pushed to the brink, the media firestorm his actions kick off, and the reporter caught in the middle of it all. Dustin Hoffman stars as Max, a new professional who sees Sam’s breakdown as his ticket back to the national stage. John Travolta plays opposite him as Sam, a frustrated man caught in a hostage negotiation he never wanted. Strong character work and pointed commentary on the media ensue.

The heart of the film is the relationship between Max and Sam. What begins as a cynical ploy to boost Max’s ratings gradually morphs into something resembling a real friendship. Sam comes to rely on Max for advice, while Max begins to take Sam’s side in the standoff. The characters are well-cast and draw on their actors’ respective strengths. The movie also ensures that their relationship has depth; it is never simple or unconflicted.

The other side of Mad City is its perspective on the media. Max Brackett is neck-deep in network politics, angling for the kind of sensational coverage that will boost his career back to its former heights. Human sympathy comes second, at least until his time with Sam shows him just how damaging the hunt for ratings can be. Mad City shows up close the damage that can be caused by a fickle public and a news media that’s eager for blood.

Mad City brings something unique to the table with its nuanced main characters and detailed breakdown of the media’s response to a crisis. It won’t appeal to fans of conventional crime dramas, since Sam’s criminal actions are almost accidental. It’s also missing some of the weight that the best real-life crime stories have. But those who are interested in something thoughtful and character-focused should give it a shot.

For an even more dramatic hostage situation with a similarly sympathetic protagonist, try Dog Day Afternoon.

6.3 out of 10 on IMDB. I give it a 7.0 for well-drawn characters and an interesting premise.

Today’s quick review: National Treasure: Book of Secrets. When Mitch Wilkinson (Ed Harris) publicizes evidence that Benjamin Gates’ (Nicolas Cage) ancestor was involved in the assassination of President Lincoln, Gates sets out to solve a centuries-old mystery and clear his family’s name. Reuniting with Dr. Abigail Chase (Diane Kruger) and Riley Poole (Justin Bartha), Gates searches for the proof he needs: the fabled City of Gold.

National Treasure: Book of Secrets is a light adventure movie about a secret treasure connected to some of the most important figures in American history. Nicolas Cage reprises his role as Benjamin Gates, a resourceful historiain with a knack for uncovering secrets. Book of Secrets has many of the same strengths as the first film: an engaging plot, likable characters, and a touch of action. However, its setup is not quite as solid.

Book of Secrets makes for a serviceable adventure. The plot dips into a new era of American history, the Civil War, for its clues and connections. The story covers enough ground to make good on its premise, and although it echoes the beats of the first movie, it shuffles enough of the details around to feel new. Benjamin, Abigail, and Riley continue to be the heart of the movie, and their interactions fuel its comedy as well as its plot.

The key difference from the original is that Gates’ motivations this time are wholly personal. Where in the first movie Gates had to break the law for the greater good, Book of Secrets has him trespassing and stealing just to clear his ancestor’s name. The change isn’t enough to dampen the film’s sense of adventure, but it does give the sequel a slightly shakier foundation than the original, which took pains to set up the stakes of its conflict.

Minor flaws notwithstanding, National Treasure: Book of Secrets is a worthy sequel to the first movie. It is a slight step down in terms of coherence and originality, but it otherwise retains the first movie’s charm. Those in the mood for an adventure with sound execution and a family-friendly tone should look no further. Those who want something deeper, more ambitious, or simply different form the first film may want to skip it.

For an action movie starring Nicolas Cage and Ed Harris, try The Rock. For a heist with sharper writing and more comedy, try Ocean’s Eleven. For a treasure-hunting adventure with more attitude, try Lara Croft: Tomb Raider.

6.5 out of 10 on IMDB. I give it a 6.5 to 7.0 for good characters and a decent plot.

Today’s quick review: National Treasure. Historian Benjamin Gates (Nicolas Cage) has spent his life hunting for a legendary treasure hidden by the Founding Fathers and protected by a series of cryptic clues. Now with the help of financier Ian Howe (Sean Bean), Gates is on the verge of finding it. But when Howe betrays him, Gates has no choice but steal the next clue to keep it out of Howe’s hands: the Declaration of Independence itself.

National Treasure is a light adventure movie about an ancient treasure hidden at America’s founding. Nicolas Cage stars as Benjamin Gates, a firm believer in the existence of the treasure and one of the few people with the historical knowledge to find it. National Treasure spins this premise into an entertaining plot that touches on some of the most iconic parts of America’s history, seasoning its story with comedy and a dash of action.

National Treasure hits a sweet spot with its story. The premise has enough in common with movies like Indiana Jones or The Da Vinci Code to feel familiar, but its lighter tone and emphasis on American history give it a unique niche. The plot is well-paced, well-structured, and hides interesting clues in America’s national symbols and landmarks. More generally, National Treasure scopes its story well and doesn’t skimp on character or detail.

National Treasure scores another hit with its characters. Benjamin Gates is joined in his hunt for the treasure by Dr. Abigail Chase (Diane Kruger), a caretaker of the Declaration of Independence, and Riley Poole (Justin Bartha), a hacker hired by Benjamin. The characters are distinct, likable, and play off each other well. The movie also puts them to good use, giving each one an important role to play while letting Benjamin take the lead.

National Treasure is a family-friendly adventure with surprisingly solid execution. National Treasure doesn’t break the mold in terms of concept or execution, but strong storytelling fundamentals, good chemistry within its cast, and a clear love for its subjet matter make it an enjoyable watch. Steer clear if you’re looking for all-out action or a truly cerebral plot.

For a historical conspiracy thriller with a darker tone, try The Da Vinci Code or Angels & Demons. For globe-trotting, action-oriented adventure, try the Indiana Jones movies. For a fantasy adventure with the same director and stary, try The Sorcerer’s Apprentice.

6.8 out of 10 on IMDB. I give it a 7.0 for simple, feel-good adventure.

Today’s quick review: The Runner. In the wake of the Deepwater Horizon oil spill, Congressman Colin Pryce (Nicolas Cage) catapults onto the national stage thanks to his impassioned defense of Louisiana and its residents. However, his newfound fame backfires when he’s caught cheating on his wife Deborah (Connie Nielsen). Now Pryce must repair his damaged reputation in order to help lead the cleanup efforts and salvage his planned Senate run.

The Runner is a political drama about an idealistic politician searching for redemption in the wake of a scandal. The movie puts Congressman Pryce’s principles to the test during the worst crisis of his career, forcing him to choose between the people of Louisiana and his own future in poitics. The Runner is a case study about the pressures and compromises of politics, but it lacks the gripping plot or emotional resonance to be an effective story.

The Runner’s chief failing is that it’s a dry watch. The centerpiece of the film is the character of Colin Pryce, and to the film’s credit, it does a reasonable job of capturing his earnest ideals and his human weaknesses. But the work it puts into Pryce never translates into effective drama. For all his suffering, Pryce only ever comes across as mildly sympathetic, while the stakes are oddly low given the story’s significant political backdrop.

As such, The Runner will primarily appeal to viewers who are interested in the political process for its own sake, and even these will find its plot too shallow to get much enjoyment from. The Runner has decent character work and serves as an unusually believable look into the world of politics, but its ideas never cash out into dramatic tension or pathos. Those hoping for a deep, insightful, or moving story should give it a pass.

For a thriller that puts Nicolas Cage on the opposite side of the moral spectrum, try Snake Eyes. For a farther-reaching look at the dark side of the oil industry, try Syriana. For a more engrossing look at a real-world political crisis, try Magin Call or The Big Short. For a thriller about a politician coping with a similar scandal, try State of Play.

4.7 out of 10 on IMDB. I give it a 5.5 for an interesting moral conundrum without the heart to make it work.