Month: October 2021

Today’s quick review: Teen Titans GO! to the Movies. Jealous that every other superhero has gotten a movie, the Teen Titans—Robin (Scott Menville), Cyborg (Khary Payton), Raven (Tara Strong), Beast Boy (Greg Cipes), and Starfire (Hynden Walch)—ask filmmaker Jade Wilson (Kristen Bell) to give them a shot at stardom. But to prove that they’re worthy of a Jade Wilson movie, the Titans must find a worthy nemesis to fight: Slade (Will Arnett).

Teen Titans GO! to the Movies is an animated superhero comedy based on the Teen Titans Go! TV show. The movie follows the Teen Titans, a rambunctious team of teenage superheroes, as they scour the DC Unvierse for a way to get the fame they crave. Teen Titans GO! to the Movies is a hyperactive comedy with a hit-or-miss sense of humor. A few standout jokes and some pointed jabs at the superhero genre are enough to make it a fun, if inconsistent, watch.

Teen Titans GO! to the Movies has the most to offer fans of the superhero genre. The movie takes shots at the superhero craze, the superhero formula, DC’s other movie adaptations, and even obscure characters from the comics. The other jokes are more general but less consistent. The comedy revolves around the Titans’ immature antics. There are a few comedic gems tucked away here and there, but most of the humor is shallow and crude.

As such, Teen Titans GO! to the Movies is a risky but potentially rewarding watch. The jokes that hit the mark are excellent, the superhero references show a true love of the genre, and the tone is upbeat and fun. But between the exaggerated animation style, the immature humor, and the lack of story or character to fall back on, Teen Titans GO! to the Movies is a movie that can easily rub some viewers the wrong way. Approach with caution.

For another eccentric DC superhero parody, try The Lego Batman Movie. For an animated superhero comedy with more in the way of story, heart, and visual artistry, try Spider-Man: Into the Spider-Verse. For a more serious animated movie starring the Teen Titans, try Justice League vs. Teen Titans or Teen Titans: The Judas Contract.

6.8 out of 10 on IMDB. I give it a 7.0 for shallow but entertaining comedy.

Today’s quick review: Resident Evil: The Final Chapter. As the remains of the Umbrella Corporation prepare to take control of the zombie-infested Earth, Alice (Milla Jovovich) learns that there’s still one thing that can stop them: an airborne cure for the T-virus. Alice sets out across the United States to reach Raccoon City, the location of the lab that holds the cure. But Dr. Isaacs (Iain Glen) is waiting for her, along with Umbrella’s darkest secrets.

Resident Evil: The Final Chapter is an action horror movie and the sixth entry in the Resident Evil series. The Final Chapter marks another hard shift for the franchise, once again dropping the plot threads and supporting cast of the previous film in favor of something new. The Final Chapter delivers answers to some of the series’ longest-running questions. However, major plot holes and choppy action make it one of the weaker Resident Evil films.

The Final Chapter tears up most of the groundwork laid by Retribution. The cliffhanger from the previous movie is abandoned, the villains are shuffled around yet again, and the action is dialed back down to the level of earlier Resident Evil movies. These changes pave the way for a definitive ending for the series, including the culmination of Umbrella’s plans and answers about Alice’s past. Whether the trade is worthwhile will depend on the viewer.

Unfortunately, The Final Chapter has issues that go beyond its relationship to the rest of the series. The plot hangs together only loosely, with poor explanations for some of its key points. Alice’s journey across a ruined America lacks the character and originality it should have. Even the action is inconsistent, with fast cuts that make it hard to follow. None of these issues are crippling by themselves, but together they take away some of the fun.

Resident Evil: The Final Chapter still has some value for fans of the franchise. The ideas it explores, the ending it delivers, and a serviceable amount of zombie action may be enough to fill some viewers’ need for action horror. But it’s missing both the grounding of the earlier movies in the franchise and the flashiness of the later ones, and its sweeping changes will displease some fans. The Final Chapter is best approached with caution.

5.5 out of 10 on IMDB. I give it a 6.0 for decent action and interesting ideas hampered by lackluster execution.

Today’s quick review: Resident Evil: Retribution. Captured by the Umbrella Corporation and taken to a remote facility in Russia, Alice (Milla Jovovich) must fight her way out through the Red Queen’s traps with the guidance of rogue Umbrella operative Ada Wong (Li Bingbing). Standing in their way are Umbrella’s most advanced T-virus zombies, a brainwashed Jill Valentine (Sienna Guillory), and Rain (Michelle Rodriguez), a one-time ally from Alice’s past.

Resident Evil: Retribution is an action horror movie, the fifth in the Resident Evil series. Retribution picks up with Afterlife’s cliffhanger ending, showing what happened to Alice after Umbrella’s latest raid. Retribution throws the audience a few curveballs. Claire’s story is dropped altogether, the Red Queen AI has taken over Umbrella, and the setting dips further into science fiction. Still, the focus of the movie remains firmly on its action.

In large part, Resident Evil: Retribution is a tribute to the previous films in the series. The plot is reminiscent of the first Resident Evil, with several characters from that film returning. The zombies include some of the better designs from throughout the series. The story delves even deeper into Umbrella’s shady operations, shedding new light on their past actions. As such, Retribution features an unusual blend of new ideas and nostalgia.

However, not all of its gambles pay off. The abrupt shift in story direction is jarring. The setup comes off as contrived, albeit with the intention of recreating the highlights of the series. More importantly, the main conflict—the escape from the Russian facility—feels like a distraction from the larger conflict yet to come. Even the action has its ups and downs: slick fights with some of the zombies leading up to a sloppier final battle.

Resident Evil: Retribution has plenty to offer for fans of the Resident Evil movies, serving as a modern update to some of the series’ better ideas. But its execution is a mixed bag, making bold story moves that come at the cost of coherence and having a harder time with its fight choreography. Fans who are in it for the ride will still enjoy the big twists and schlocky action. Those hoping for something sensible or consistent will want to steer clear.

For a more measured dark sci-fi movie about a team of warriors in a dire situation, try Predator. For a sequel that offers a similar remix of its predecessors’ ideas, try Terminator Genisys. For similarly far-fetched sci-fi action with a lighter tone, try The Island.

5.4 out of 10 on IMDB. I give it a 6.0 to 6.5 for novel changes with mixed results.

Today’s quick review: Resident Evil: Afterlife. After a raid on the Umbrella Corporation’s headquarters and a costly confrontation with Chairman Wesker (Shawn Roberts), Alice (Milla Jovovich) sets out to reunite with Claire Redfield (Ali Larter) and her band of survivors. Finding only an amnesiac Claire and no sign of the others, Alice travels to Los Angeles in search of answers, where she joins forces with another group of survivors trapped in a prison.

Resident Evil: Afterlife is an action horror movie, the fourth in the series. Afterlife picks up months after the events of Extinction, following up on what happened to Claire and the others while Alice was tracking down Wesker. The movie doubles down on the series’ focus on action and features some interesting additions to the overarching plot. However, its oddly structured story and weak supporting cast keep it from having the impact it should.

Resident Evil: Afterlife aims for even more stylized action than its predecessors. Slow motion, liberal use of CGI, and fights designed for 3D all put a coat of polish on the movie’s action. However, they also draw attention to weak spots in the movie’s special effects and stunt choreography, especially when compared to movies like The Matrix that use a similar style. As such, the movie is flashy but uneven, with lots of spectacle but imperfect execution.

Resident Evil: Afterlife also suffers from a bizarre plot structure. The opening takes the action to new extremes, followed by a hard shift to the prison subplot and another abrupt change in focus for the finale. The plot does come full circle, but just barely. Between the dangling plot threads from Extinction, a new mystery to set up and resolve, and a lengthy digression in Los Angeles, Afterlife feels like it’s stitched from odds and ends.

The sum total is a movie that runs hot and cold. Fans who have enjoyed the series through Extinction will appreciate the extra effort that Afterlife puts into its action. Though not quite top-of-the-line, the action is enough to make the movie a fun popcorn watch and keep the series feeling fresh. However, Resident Evil: Afterlife fares worse with its story. Fans hoping for a level-headed continuation of the series should approach with caution.

For sci-fi action in a similar style, try The Matrix Revolutions or Equilibrium. For high-flying action with a more even-keeled story, try Brotherhood of the Wolf.

5.8 out of 10 on IMDB. I give it a 6.0 to 6.5 for flashy action let down by a jumbled plot.

Today’s quick review: Resident Evil: Extinction. Years after a T-virus outbreak wiped out almost all life on Earth, the few human survivors struggle to stay alive in a zombie-infested wasteland. Alice (Milla Jovovich), an escaped Umbrella Corporation test subject, helps Claire Redfield (Ali Larter) lead a band of survivors to safety. But her actions reveal her location to Dr. Isaacs (Iain Glen), an Umbrella scientist who wants to continue testing.

Resident Evil: Extinction is an action horror movie and the third entry in the Resident Evil series. Extinction continues the progression of the first two movies, moving from a quarantined city to postapocalyptic wasteland. The setting gives the movie new options to explore, with new zombie threats, new combat environments, and a larger group of survivors. However, Extinction strays even further from the series’ survival horror roots.

Resident Evil: Extinction skews more toward science fiction than the previous two films. The enhancements given to Alice by Umbrella have evolved into full-blown psycic powers. New experiments by Dr. Isaacs continue to push the envelope of what’s possible. Extinction’s sci-fi elements let it expand on Umbrella’s shady activities, showing more of the company’s plan. Alice’s powers also let the movie indulge in even more over-the-top fight scenes.

Resident Evil: Extinction’s main appeal comes from its action. The core formula hasn’t changed: zombies, weapons, and a dash of superhuman powers for good measure. The story touches on some interesting ideas but doesn’t explore them in depth. Claire and the survivors provide a nice glimpse into the wasteland setting, but their story takes a back seat to Alice’s. Umbrella’s machinations are surprisingly worthwhile and give the movie a decent payoff.

Fans of the Resident Evil series will want to give Extinction a shot. The movie is another lateral move for the franchise, trading raw horror for new story ideas and the chance to push the action even farther. Viewers in the mood for some schlocky action should look no farther. Those who are hoping for a richer story or real scares should keep looking. For a more sober dystopian science fiction story, try Children of Men, Book of Eli, or The Road.

6.3 out of 10 on IMDB. I give it a 6.5 for solid action and some interesting, if underdeveloped, ideas.

Today’s quick review: Resident Evil: Apocalypse. Alice (Milla Jovovich) escapes from the Umbrella Corporation lab in Raccoon City only to find that a T-virus outbreak has overrun the city with zombies. Teaming up with fellow survivors Jill Valentine (Sienna Guillory) and Carlos Olivera (Oded Fehr), Alice cuts a deal with Umbrella scientist Charles Ashford (Jared Harris): rescue his daughter (Sophie Vavasseur) in exchange for a way out of the city.

Resident Evil: Apocalypse is an action horror movie and the second entry in the Resident Evil series. Resident Evil: Apocalypse chronicles the aftermath of the first movie, as the T-virus released from Umbrella’s underground lab spreads throughout Raccoon City. The movie trades the suspenseful atmosphere and raw horror of the original for more over-the-top action. The result is a schlocky, violent action flick that’s entertaining but not very deep.

Resident Evil: Apocalypse is where the series begins to stretch its legs. Freed from the plot threads of the first movie, Apocalypse puts its action front and center. Notable changes include more screen time for the zombies, new mutant variants for the survivors to fight, and a secondary heroine in Jill. The changes can be seen most dramatically with Alice, who now sports enhanced speed and strength thank to Umbrella’s experiments on her.

Resident Evil: Apocalypse has the freedom to indulge in more elaborate action sequences, but they come at the cost of horror. Gone are the cramped environments, bizarre mysteries, and brutal kills of the first movie. Apocalypse still delivers its share of grotesque monsters and violence, but it’s not trying as hard to scare the viewer. The movie makes a similar exchange with its story, opting for a simpler structure that supports the action.

Resident Evil: Apocalypse is a decent pick for fans of action for its own sake. Neither its stunts nor its story are groundbreaking, but they do make for a fun spectacle for anyone willing to go along for the ride. However, those who prefer the suspenseful side of the horror genre will find Apocalypse to be a step in the wrong direction. It has the monsters and gore it needs for pure horror, but not the delicate touch.

For action horror with a better story and a bit more polish, try Underworld. For a more grounded take on a zombie apocalypse, try 28 Days Later or its sequel. For a zombie movie that combines action with a more serious story, try I Am Legend. For action horror with some of the same appeal, try Priest.

6.2 out of 10 on IMDB. I give it a 6.5 for fun action wrapped around a serviceable plot.

“You’re all going to die down here.” —Red Queen

Today’s quick review: Resident Evil. A T-virus outbreak in the Hive, an underground research facility run by the Umbrella Corporation, causes the Red Queen (Michaela Dicker), the AI that runs the facility, to attempt to exterminate everyone inside. Umbrella sends a security team to shut down the Red Queen and seal the Hive. But to find the answers they seek, they’ll need the help of Alice (Milla Jovovich), a Hive security officer with amnesia.

Resident Evil is an action horror movie based on the video game series of the same name. Milla Jovovich stars as Alice, an amnesiac caught in the middle of a zombie outbreak and forced to fight to survive. Resident Evil splits its attention between the Hive’s secrets and zombie action, with a good mix of suspense and gory combat. The movie makes for a fun watch for fans of survival horror, but suffers from a few issues when it comes to story and tone.

The chief appeal of Resident Evil comes from its action. The Hive makes for a suitably creepy environment for Alice and the others to explore, filled with deathtraps, corporate secrets, and the living dead. The movie doesn’t pull its punches when it comes to gory kills. However, its attempts to build up a suspenseful atmosphere are at odds with Alice’s fighting prowess. Both aspects of the movie are fine on their own but don’t blend together very well.

Resident Evil is on shakier ground when it comes to its story. The skeleton of the plot is typical for the survival horror genre: a well-armed team journeys into a cramped environment full of unknown threats. But the pacing is off, saving the zombies for late in the game and sinking time into an amnesia subplot that never really pays off. Resident Evil aims higher than the average zombie movie, but its aspirations come at the cost of consistency.

How much you get out of Resident Evil will depend strongly on taste. Resident Evil has some visceral moments and some clever story ideas, but its issues with tone and pacing keep it from realizing its full potential. Horror fans may find its story to be flaky and some of its action sequences to be out of place. Fans of violent, schlocky action will get more out of it; it’s a decent popcorn watch for anyone in the mood for something dark and action-packed.

For creepier sci-fi horror, try The Thing. For a sci-fi action horror movie with a similar setup and better execution, try Aliens. For action horror in a similar vein, try Doom.

6.7 out of 10 on IMDB. I give it a 6.5 solid survival horror with a few rough edeges.

Today’s quick review: Christmas in Connecticut. As a favor to a friend, publisher Alexander Yardley (Sydney Greenstreet) sends Jefferson Jones (Dennis Morgan) to spend Christmas with Elizabeth Lane (Barbara Stanwyck), a popular recipe columnist for one of Yardley’s magazines. There’s just one catch: Elizabeth is a fraud. To keep her job, Elizabeth has to find a way to fake the good cooking and loving home she writes about in her columns.

Christmas in Connecticut is a romantic comedy about a popular writer with no choice but to live up to her false reputation. Her elaborate ruse ropes in her uncle Felix (S.Z. Sakall), a wealthy suitor (Reginald Gardiner), and a farm in Connecticut, all to dupe her publisher and give a lonely sailor the Christmas he’s dreamed of. A fruitful premise and a clever script are enough to make Christmas in Connecticut a solid pick for fans of the classics.

Elizabeth’s ruse is handled well enough to fuel the film’s comedy and set up its romance. The film’s comedic elements are typical for its genre and era, a series of escalating lies that spiral out of control. The gags aren’t brilliant, but they are consistently entertaining. Barbara Stanwyck has great comedic timing, helping to sell many of the jokes. S.Z. Sakall also manages to steal the scene once or twice as Elizabeth’s crafty uncle Felix.

Christmas in Connecticut’s romance has less development, but it still manages to set up a suitably complicated love triangle. To pull off her ruse, Elizabeth reluctantly agrees to marry her long-time suitor, John Sloan. But before they can tie the knot and make their fake marriage real, Jefferson arrives and captures Elizabeth’s heart. What follows is a light courtship with a few complications that’s used mainly to serve up more comedy.

Christmas in Connecticut is a pleasant comedy that delivers what it promises. Though it’s not quite as sharp with its dialogue or performances as the best comedies of the era, it’s still a strong choice for anyone in the mood for old-fashioned fun. For a classic romantic comedy in a similar mold, try The Philadelphia Story or It Happened One Night. For more comedy in the same vein, try My Man Godfrey or The Thin Man.

7.4 out of 10 on IMDB. I give it a 7.0 to 7.5 for well-structured comedy.

Today’s quick review: An American in Paris. Jerry Mulligan (Gene Kelly), an American painter living in Paris, gets the break he’s been hoping for when his paintings catch the eye of Milo Roberts (Nina Foch), a wealthy heiress who offers to become his sponsor. But their relationship grows complicated when Jerry falls in love with Lise (Leslie Caron), a young woman who Jerry doesn’t know is in a relationship with his friend Henri (Georges Guetary).

An American in Paris is a classic musical romance starring Gene Kelly. An American in Paris follows the entanglements of a former American GI as he pursues art and romance in the picturesque French capital. The film is a showcase for the music of George and Ira Gershwin, packed with elaborate musical numbers that make good use of its cast. However, in spite of its high quality, the particulars of its music and story won’t appeal to everyone.

The chief appeal of An American in Paris comes from its musical side. The songs cover the full spectrum of 40s and 50s musical numbers, from simple solos and duets to sprawling dances and even the odd orchestral piece. Like other musicals of the era, the tone is upbeat and romantic with a tinge of wistfulness. Gene Kelly makes for an excellent lead, with a cheery personality and dancing talents that carry entire stretches of the film.

An American in Paris also deserves praise for the interesting relationships between its characters. Though the overall tone is still positive, the film isn’t afraid to let its characters act selfish and make mistakes. Milo’s unrequited love for Jerry, Jerry’s passion for Lise, and Lise’s obligation to Henri make for a fraught love triangle with more opportunity for tragedy than happiness. This setup is one of the subtler strengths of the film.

Still, An American in Paris makes a few choices that will dampen its impact, even for musical lovers. The songs are shoehorned in wherever they fit and have only minor connections to the story. The film gambles on its dancing in a big way, culminating in a gorgeous but lengthy ballet sequence near the end that can make or break the film, depending on the viewer’s taste and patience. The film’s mature, ambivalent flavor of romance is another gamble.

An American in Paris is a strong pick for those who love classic musicals, especially fans of dancing. Bright songs, a talented cast, and a romance that’s more complicated than in the average musical make it an enjoyable watch with plenty to offer. However, the strengths of the movie don’t necessarily come together as a cohesive whole, leaving the audience to connect with each piece individually.

For an even more energetic musical starring Gene Kelly, try On the Town. For another musical romance set in Paris, try Funny Face. For a romance with no musical numbers and similar character dynamics, try Breakfast at Tiffany’s. For an even more mature romance, try Roman Holiday. For a comedy with some similar plot elements and a dash of music, try A Night at the Opera.

7.2 out of 10 on IMDB. I give it a 7.0 to 7.5 for impressive music and dancing coupled with a tangled romance.

Today’s quick review: Call Me Madam. Washington socialite Sally Adams (Ethel Merman) causes quite a stir when she’s appointed as the American ambassador to Lichtenburg, a small European country. With her new press attache (Donald O’Connor) in tow, she sets out to represent U.S. interests by refusing to give Lichtenburg a badly needed loan. But the diplomatic situation becomes complicated when she falls for the handsome foreign minister (George Sanders).

Call Me Madam is a classic musical about a sociable but inexperienced diplomat sent to handle a delicate situation in Europe. Call Me Madam is a light movie that centers around two romances: the one between Sally Adams and General Cosmo Constantine (George Sanders), and the one between Kenneth Gibson (Donald O’Connor) and Princess Maria (Vera-Ellen). The film’s bare-bones plot serves as a vehicle for the singing and dancing talents of its stars.

Call Me Madam goes far on the basis of these talents. Ethel Merman lends her robust singing voice to many of the musical numbers. Donald O’Connor and Vera-Ellen are superbly talented dancers and well-matched for one another. George Sanders balances out the cast with his calm presence and the odd song of his own. The songs are less elaborate and less memorable than other musicals’, but they make for a fun, breezy showcase of the stars’ abilities.

Call Me Madam has less to offer in the way of story. The premise serves mainly to get the movie’s characters in the room together. Tension, pacing, and character are secondary considerations. Neither the $100 million loan sought by Lichtenburg nor Princess Maria’s engagement to another man is enough to shake the movie’s carefree tone. As such, the romance comes across as unearned, and the story meanders before skipping to an abrupt ending.

None of this will dampen musical lovers’ enjoyment of the film. Call Me Madam is a pleasant watch with an easy story, a smattering of light comedy, and plenty of singing and dancing. Its story and romance are on the shallow side, even by the standards of the genre, but it serves its main purpose—music—admirably. Skip it if you’re not a fan of musicals or you’re looking for a more emotional tale of romance.

For another upbeat musical with some of the same stars, try Singin’ in the Rain, White Christmas, or On the Town. For a romance with a similar setup and more depth, try Roman Holiday.

6.8 out of 10 on IMDB. I give it a 7.0 for strong musical performances set in a thin but adequate story.