Month: August 2022

Today’s quick review: Aftermath. Roman Melnyk (Arnold Schwarzenegger) loses everything he cares about when his wife and pregnant daughter die in a plane crash. As he tries to cope with his grief, he focuses his energy on getting an apology from the airline. Meanwhile, Jake Bonanos (Scoot McNairy), the air traffic controller on duty at the time of the crash, struggles with crippling guilt and public pressure over his role in the accident.

Aftermath is a drama about two men coming to grips with a tragic plane crash that irrevocably alters their lives. The movie follows Roman and Jake as they attempt to move on with their lives, only to succumb to anger and depression. Aftermath is a slow burn that focuses on the mental states of its characters and the obsessive nature of grief. However, in spite of good performances from its leads, the movie never does much with its story.

Aftermath suffers from an incredibly passive plot. The movie focuses on the mental states of Roman and Jake to the exclusion of nearly everything else. There’s no external action that could fuel a revenge story, and neither character makes it far enough through the healing process to make Aftermath a tale of redemption. Instead, what the audience gets is a sluggish, one-note drama that captures the emotion of sorrow but never goes farther than that.

Aftermath holds some value for fans of low-key, grounded drama that focuses on characters over plot. Arnold Schwarzenegger and Scoot McNairy do a fine job of acting out the film’s many somber moments. But most viewers will find that the movie has very little to offer, with neither the dark thrills of a revenge movie nor the emotional catharsis of other dramas.

For a more exotic drama about a plane crash, try Cast Away. For a revenge movie with more violence, try Rage, Acts of Violence, The Brave One, or Edge of Darkness. For a more intricate drama about a mother dealing with grief, or Three Billboards Outside Ebbing, Missouri.

5.6 out of 10 on IMDB. I give it a 5.5 for decent performances that can’t make up for a dull plot.

Today’s quick review: Killing Gunther. Blake Hammon (Taran Killam) sets out to prove that he’s the best assassin in the world by killing Gunther (Arnold Schwarzenegger), a legendary assassin who has never been seen. With the help of his friends Donnie (Bobby Moynihan) and Sanaa (Hannah Simone), Blake recruits the best killers he can find to beat Gunther at his own game. But when Gunther strikes back, it’s up to Blake to finish the job.

Killing Gunther is a black comedy and action movie done in a faux-documentary style. The movie follows Blake and his team of bumbling killers as they try and repeatedly fail to take out the best assassin in the business. Killing Gunther has a goofy, easygoing attitude that spoofs the slick world of contract killers seen in other movies. Colorful characters and a good sense of comedic timing make the movie a fun, breezy watch.

Killing Gunther has plenty of rough edges, but they end up adding to its charm. The action is done on a budget, with cheap special effects and clear limits on the types of action scenes. The acting lacks the smoothness found in other comedies, but the choppier style fits the characters well. The plot isn’t meant to be taken seriously. It hangs together loosely, driven by petty motivations and capped off with a couple of ridiculous twists.

Killing Gunther scores points with its comedy, although its sense of humor is hit-or-miss. Nearly all of the movie’s gags come from either the ineptness of Blake and his team or the impossible prowess of Gunther. The jokes are simple but spirited, and strong comedic timing helps even the most predictable jokes land correctly. Still, the movie’s lowbrow humor and disposable treatment of its characters will not work for every viewer.

For the right viewer, Killing Gunther is a fun and creative comedy that doesn’t overstay its welcome. Critical viewers will find plenty of flaws in the movie’s modest production values, flimsy story, and cheap humor. But viewers with a taste for absurd humor, who are willing to relax and have fun, will find Killing Gunther to be a diamond in the rough.

For a wry British comedy about an inept assassin, try Dead in a Week (Or Your Money Back). For a faux documentary with a sharper sense of humor, check out This is Spinal Tap. For a violent and stylish action movie about a hidden world of assassins, try Smokin’ Aces or John Wick. For a comedy that serves up similar humor with more skill, try Super Troopers.

4.8 out of 10 on IMDB. I give it a 6.5 for hit-or-miss humor and an odd sort of charm.

Today’s quick review: The Family. Former gangster Giovanni Manzoni (Robert De Niro) jumped to the top of the mob’s hit list when he testified against Don Luchese (Stan Carp) to the FBI. Now Giovanni and his family (Michelle Pfeiffer, Dianna Agron, and John D’Leo) are living in Witness Protection in a small village in Normandy. But in spite of the Manzonis’ best efforts to keep a low profile, their criminal habits prove hard to break.

The Family is a dramatic crime comedy from director Luc Besson. The Family follows Giovanni and his family as they try to adjust to life in the French countryside. The Manzonis are criminals to their core, and even their basic interactions with the locals often turn violent. This simple setup gives The Family a steady source of dark comedy. Meanwhile, the looming threat of Don Luchese’s hitmen gives the story the touch of drama it needs.

The Family makes good on its setup. Giovanni, his wife Maggie (Michelle Pfeiffer), and their daughter Belle (Dianna Agron) and son Warren (John D’Leo) have distinct personalities that play off each other well. The Manzonis are blunt and efficient, quickly leaving their mark on the town. The jokes are somewhat predictable, but they are executed well, and the characters strike the right balance between unscrupulous criminals and a likable family.

The Family also manages some good tension once it gets going. The one part of its premise the movie takes seriously is the threat posed by Don Luchese and his gang. As soon as Luchese gets a bead on Giovanni and his family, the tone immediately becomes serious, leading to a well-handled finale. Again, The Family does not really innovate with its story, sticking with fairly simple conflicts, but decent characters and good direction see it through.

The Family is a fine pick for anyone in the mood for a modest but enjoyable crime comedy. The Family misses a few opportunities to go further with its premise, sticking to a straightforward plot and obvious humor, but its jokes hit the mark and its conflict works well. Those who don’t mind a bit of dark humor should give it a shot. Those looking for something truly outstanding should keep looking.

For a crime comedy about criminals hiding out in a quiet European town, check out In Bruges or American Cousins. For a comedy about superheroes trying to fit in with civilian life, try The Incredibles or Kick-Ass 2. For a comedy with a similar juxtaposition of crime and domesticity, check out The Whole Nine Yards or Mr. and Mrs. Smith. For an absurd parody of mob movies, check out Johnny Dangerously or Mafia!.

6.3 out of 10 on IMDB. I give it a 6.5 to 7.0 for solid comedy with a few nice touches.

Today’s quick review: Spenser Confidential. After five years in prison for beating up a police captain, Spenser (Mark Wahlberg), a former Boston cop, wants nothing more than to move on with his life. But when the captain is found murdered and the official investigation pins the blame on an honest cop, Spenser enlists the help of his new roommate Hawk (Winston Duke) and his old friend Henry (Alan Arkin) to bring the real killer to justice.

Spenser Confidential is a crime drama about a disgraced officer who sets out to investigate a murder the police are covering up. Most of the movie’s appeal comes from its main character, a tenacious man with a strong sense of justice. Like many a noir protagonist before him, Spenser never backs down from a fight, even when he has nothing personal to gain. His tenacity, a decent plot, and a light tone make Spenser Confidential an enjoyable watch.

Spenser Confidential gets the basics right, but it misses a few opportunities as well. Hawk never really comes into his own, hovering awkwardly between being a side character and a full-blown partner in the investigation. The plot has a good progression and always keeps Spenser occupied, but its twists are not that inventive. And while the movie has a jaunty tone throughout, it never quite tips over into comedy, underselling some fun characters.

Overall, Spenser Confidential is a fun popcorn watch that’s missing the vision it needs to go farther. The plot, the characters, and the action are all entertaining enough for an accommodating viewer to have a good time. Exacting viewers who are hoping for a dedicated comedy, a thrilling plot, or all-out action may find that it comes up short.

For a more raucous crime comedy starring Mark Wahlberg, try The Other Guys. For a crime comedy with black humor and a more intricate plot, try The Nice Guys. For a more action-heavy movie with a similar mystery, try Jack Reacher. For a thriller about an honest law enforcement officer up against a police conspiracy, check out The Negotiator.

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

Today’s quick review: 6 Underground. After a life-changing event, a billionaire (Ryan Reynolds) fakes his death and recruits a team of specialists (Melanie Laurent, Manuel Garcia-Rulfo, Ben Hardy, Adria Arjona, Dave Franco, and Corey Hawkins) to take down the targets that world governments refuse to touch. For the team’s first mission, they set their sights on toppling Rovach Alimov (Lior Raz), the brutal dictator of Turgistan.

6 Underground is an action thriller from director Michael Bay. Ryan Reynolds stars as One, a quirky billionaire who left his old life behind so he could change the world. 6 Underground features stylized direction, black humor, breakneck pacing, and non-stop action from start to finish. The film delivers big stunts in bulk and even manages to put together an enjoyable story. However, 6 Underground is held back by its frantic and unfocused nature.

Tonally, 6 Underground is all over the map. The action sequences are chaotic and destructive, with flashy stunts, lots of collateral damage, and a devil-may-care attitude from One and his team. But there are a few times when the movie shifts gears into drama, abruptly switching from a fanciful romp to a conflict where actions have consequences. The effect is jarring whenever it happens, and it keeps the movie from ever truly finding its rhythm.

Tonal issues aside, 6 Underground makes for a fun watch. Ryan Reynolds is in fine form, cracking jokes at every opportunity, although One’s position as team leader is an odd fit for him. The rest of the team is fine but unexceptional: thin characters who help to vary up the action. Likewise, the story has some rough spots, especially when the movie tries to get too clever with its flashbacks, but it succeeds in its primary purpose of serving up action.

Give 6 Underground when you’re in the mood for an over-the-top action movie with creative stunts and relentless pacing. The movie has some clear flaws with its story, tone, and presentation style, but its combination of irreverent humor and raw spectacle still gives it plenty of appeal. Fans of pure action movies will have a good time with 6 Underground in spite of its flaws. Those looking for something smarter or more focused will want to skip it.

For a Ryan Reynolds action comedy with better humor and a narrower scope, check out The Hitman’s Bodyguard. For an action comedy that balances its tone better, check out RED. For another action movie about a rogue team of do-gooders, try The Losers or The A-Team.

6.1 out of 10 on IMDB. I give it a 6.5 to 7.0 for thrilling stunts held back by a jumbled overall vision.

Today’s quick review: Extraction. Ovi Mahajan (Rudhraksh Jaiswal) is the teenage son of a drug lord. When Ovi is kidnapped by one of his father’s rivals, the boy’s guardian Saju (Randeep Hooda) hires Australian mercenary Tyler Rake (Chris Hemsworth) to rescue him. Tyler successfully frees the boy from his captors, but the mission falls apart when Saju double-crosses him, leaving Tyler and Ovi to fend for themselves in a city full of enemies.

Extraction is an action thriller about a jaded mercenary and the boy he’s sent to rescue. The movie follows Tyler and Ovi as they attempt to escape from Dhaka, Bangladesh, a city where drug lord Amir Asif (Priyanshu Painyuli) controls both the gangs and the police. Extraction takes a straightforward premise and spins it into a tense and satisfying thriller. Top-notch action and a dash of drama make it a strong pick for fans of the genre.

Extraction excels at arguably the most important aspect of an action movie: the action itself. The firefights are tightly choreographed and take full advantage of Dhaka’s dense urban environment. The stunts are fast and brutal, showing off the full breadth of Tyler’s combat skills. The camerawork makes the fights feel frantic and vivid without making them hard to follow. Fans of gritty action will find that Extraction delivers it in spades.

Extraction backs up its spectacle with just the right amount of drama. For all of Tyler’s prowess, he remains haunted by his past. To him, rescuing Ovi is both a paycheck and a chance to die in combat. But as he gets to know the boy, he becomes personally invested in getting him out of the city alive. Extraction’s character arcs are not revolutionary, but the movie handles them well, giving the many action scenes a sturdy dramatic backbone.

Give Extraction a shot when you’re in the mood for something tense, action-packed, and serious. While Extraction doesn’t change the action formula in any significant way, its polished stunts and good character work make it an unusually sharp entry into the genre. Viewers who are okay with violence and an occasionally heavy tone should give it a shot. Those looking for a lighter romp or a more inventive take on the genre may want to keep looking.

For an action thriller about a jaded man who finds redemption by saving a child, check out Man on Fire or Safe. For a similar rescue mission with less elaborate action, try Close. For a martial arts action movie about a hero trapped in enemy territory, check out The Raid. For tight, violent action with even more style, check out John Wick.

6.7 out of 10 on IMDB. I give it a 7.0 to 7.5 for strong craftsmanship.

“There are two kinds of people in this world: men of action and everyone else.” —Evan Lake

Today’s quick review: Dying of the Light. Evan Lake (Nicolas Cage) has spent a lifetime serving the CIA, but now a degenerative neurological condition is forcing him to retire. Before he leaves the intelligence game for good, Lake wants one last shot at Muhammad Banir (Alexander Karim), a terrorist who eluded him two decades before. With his protege Milton Schultz (Anton Yelchin) in tow, Lake travels to Bucharest in search of Banir.

Dying of the Light is a budget action movie about the last mission of a terminally ill CIA agent. Nicolas Cage stars as Evan Lake, whose condition has begun to affect his memory, his judgment, and his senses. Lake must hang on to his health just long enough to get his revenge on Banir, a man the rest of the world believes is dead. Dying of the Light aims to be a moving thriller about a dying man; howeve,r its execution leaves much to be desired.

Dying of the Light has a decent setup but lacks the skill to do much with it. Lake’s obsession with revenge, his deteriorating mental condition, and the elusive nature of Banir all have the potential for good drama. However, the combination of a mediocre script and stiff acting keeps the story from going anywhere special. Every time the movie appears to be building to something clever or meaningful, it backs down and goes with a safer option.

Dying of the Light may have mild interest for budget action fans, but it finds itself outclassed by big-budget movies with more polish and low-budget movies with more spirit. The seeds of potential are there, but they never truly take root. Most viewers would be better off with something that either has flashier action or a more carefully assembled script.

For another thriller about a dying spy’s last mission, try 3 Days to Kill. For a CIA action movie in a similar vein, try The Double, The Recruit, or The Bourne Legacy. For a more mundane spy drama, check out Breach.

4.4 out of 10 on IMDB. I give it a 5.0 for a few good ideas and weak execution.

Today’s quick review: American Assassin. After his fiance is murdered by terrorists, Mitch Rapp (Dylan O’Brien) trains himself to become a killer so he can get revenge on the men responsible. Seeing Rapp’s potential, CIA Deputy Director Irene Kennedy (Sanaa Lathan) recruits him for Orion, a secret team led by Stan Hurley (Michael Keaton). Soon, Rapp is sent on his first mission: recovering stolen plutonium before it can be turned into a bomb.

American Assassin is an action thriller based on the novel by Vince Flynn. Dylan O’Brien stars as Mitch Rapp, a self-made warrior who gains new purpose when he joins Stan Hurley’s team of elite operatives. American Assassin is a tightly paced thriller with a high-stakes plot and a hefty dose of brutal action. The movie sticks to the basics of the genre—covert ops, gun fights, and nuclear weapons—but its clean execution makes it well worth a watch.

The lynchpin of the movie is Rapp himself. Unlike other action heroes, Rapp has a clear set of flaws that hold him back as an operative. He has the skills and the drive to become one of the best, but his seeting anger over his fiance’s death keeps him from thinking clearly. American Assassin does a good job of balancing his strengths with his weaknesses, resulting in a bold protagonist capable of making big moves and big mistakes.

American Assassin will be just what action fans are looking for. The movie does not try to innovate in any significant way. Instead, it makes a series of safe bets on its characters, its plot, and its action that add up to an engrossing thriller. Viewers who enjoy the typical action thriller formula will find American Assassin to be an unusually sharp take on it. Those hoping for something with a little more depth or style should look elsewhere.

For a less action-heavy thriller about a new recruit to the CIA, check out The Recruit. For a superhero crime drama about a man remaking himself into a vigilante, try Batman Begins. For a more nuanced drama about infiltrating a terrorist cell, try Traitor.

6.2 out of 10 on IMDB. I give it a 7.0 for solid execution.

Today’s quick review: The Contract. Ray Keene (John Cusack) is on a camping trip with his son Chris (Jamie Anderson) when they find Frank Carden (Morgan Freeman), a contract killer trying to escape from federal custody. Obeying the dying instructions of a U.S. Marshal, Ray and Chris take Frank prisoner and head for civilization. But in order to get there, they must cross miles of wilderness while being pursued by Frank’s murderous associates.

The Contract is a thriller about a father and son who are left in charge of an escaped prisoner miles from the nearest help. The movie follows Ray and Chris as they try to escape the forest in one piece and bring Frank to justice. The Contract features a decent setup that includes father-son bonding, a planned assassination, and a government cover-up. But even though the movie has the ingredients of a good thriller, its execution is disappointing.

The Contract’s main failing is that it never figures out what to do with Frank. Frank is shown to be a ruthless killer who can be polite when it suits him, and he never really deviates from that. He never develops a connection with Ray or Chris, he never grows as a character, and he never gives the audience a reason to care about him one way or the other. As such, what should be the defining role of the movie ends up falling flat.

The Contract also has issues with its plot. The heart of the story should be the relationship between Ray and Chris, who grow closer to each other as a result of their ordeal. But instead of digging deeper into their relationship, the movie spends its time weaving a conspiracy around Frank’s latest job, an assassination that the government wants hushed up. This leads to an overly complicated plot where the most important conflicts happen offscreen.

The Contract has the makings of a decent thriller, but it falls well short of its potential. The static nature of Frank’s character keeps the story from ever having a real impact, while what could have been a moving father-son relationship between Ray and Chris gets lost in the weeds. The Contract is a passable choice for viewers who are just looking for a little tension. Those looking for a richer and more satisfying story should look elsewhere.

For a Western that goes a lot farther with a similar premise, check out 3:10 to Yuma. For a minimalistic thriller set in the woods, try Killing Season or Blood Money. For an action thriller about a CIA agent and his prisoner, try Safe House.

5.6 out of 10 on IMDB. I give it a 6.0 for fine craftsmanship let down by an unsatisfying plot.

Today’s quick review: Sweet Virginia. Violence comes to a small town when Lila Mccabe (Imogen Poots) hires Elwood (Christopher Abbott), an odd drifter, to kill her husband. Elwood finishes the job, but he murders two other men in the process, making a widow of Bernadette Barrett (Rosemarie DeWitt). As the search for the killer continues, Sam Rossi (Jon Bernthal), the owner of the local motel and Bernadette’s lover, finds himself at the center of it all.

Sweet Virginia is a crime thriller about a trio of murders in a small country town. The movie follows the intersecting lives of Sam, Elwood, Lila, and Bernadette as they cope with the aftermath of Elwood’s deed. Sweet Virginia has a brooding atmosphere, as well as an intricate story that emphasizes its cast of realistic characters. However, in spite of these strengths, its low stakes and slow pacing make the movie less engrossing than it tries to be.

Sweet Virginia has the right ingredients in the wrong proportions. The emotionally damaged characters, the lingering camerawork, the eerie soundtrack, and the slow-motion collision course between Sam and Elwood all set Sweet Virginia up to be an effective thriller, but the movie never gets them to work well together. Dramatic camera techniques are wasted on inconsequential moments, while the climax of the film is not quite worth the build-up.

Sweet Virginia will appeal to fans of mundane crime thrillers fueled by anticipation. The movie does not have the expert touch that makes the greatest films in the genre so compelling, but it does have enough of the right elements to be a decent pick for the right viewer. Those looking for something slow, personal, and somewhat ominous may want to give it a shot. Those looking for a crime movie with a more active plot should steer clear.

For a minimalistic crime thriller with more to offer, try Blood Simple or Blue Ruin. For a more violent and gripping story about a roving killer, try No Country for Old Men. For a small-town crime drama built from similar parts, check out Cut Bank. For a darker thriller that pits two men against each other in a rural setting, try Mojave.

6.2 out of 10 on IMDB. I give it a 6.0 to 6.5 for decent characters and atmosphere hurt by a sluggish plot.