Author: Stan

Today’s quick review: High-Rise. Dr. Robert Laing (Tom Hiddleston) moves into a new high-rise apartment complex. There he makes friends with Wilder (Luke Evans), a loutish filmmaker; has a fling with Charlotte (Sienna Miller), a social climber; and even meets Mr. Royal (Jeremy Irons), the building’s architect. But tensions between the upper- and lower-class residents soon erupt into violence, sending the high-rise spiraling into anarchy.

High-Rise is a dark drama and social satire with traces of black comedy. High-Rise chronicles the descent into madness of an upscale British apartment building where the wealthy and the working class live together. The movie attempts to be an artistic, biting look at social stratification and humanity at its basest. However, the movie’s disjointed storytelling and over-reliance on shock value drown out whatever points it’s trying to make.

High-Rise makes for a disorienting watch. The film’s busy directorial style, dreamlike montages, and tendency to gloss over key plot developments all contribute to a story that comes across in bits and pieces, a mosaic of fleeting impressions rather than a tight, cohesive narrative. High-Rise has the trappings of an artistic drama, including a skilled cast and an eye for detail, but it lacks the hook to drag the viewer through its sex and violence.

At the core of the story is a leap that many viewers will not be able to take. The entire movie hinges on the hypothesis that, left to their own devices, people will resort to the crudest sort of violence and tribalism. This is a fine hypothesis for a drama to explore, but High-Rise does almost nothing to set it up. The situation escalates rapidly from simmering tension to full-scale rioting, with little justification and no steps in between.

The result is an uncomfortable watch that requires a peculiar form of suspension of disbelief to get the most out of. A viewer who’s willing to push through the graphic content, accept the nigh-instantaneous onset of savagery, and read meaning into the struggles of the occupants of the nameless high-rise will get plenty out of the film. Most viewers will find High-Rise to be either too dark, too incredible, or too obtuse to properly enjoy.

For a more focused, impactful taste of anarchy, try Fight Club. For a lighter account of the debauchery of the rich, try The Wolf of Wall Street. For a science fiction allegory for economic stratification, try In Time or Elysium. For a darker, more personal, and more gripping tale of insanity, try The Machinist. For a psychedelic British black comedy, try Moonwalkers.

5.6 out of 10 on IMDB. I give it a 5.5 for lofty ambitions and decent skill, hurt badly by muddled execution and an unmotivated story.

Today’s quick review: The Humanity Bureau. Years in the future, war and famine have turned America into a police state where resources are scarce and unproductive citizens are deported to the supposed paradise of New Eden. As an agent of the Humanity Bureau, Noah Kross (Nicolas Cage) decides who stays and who goes. But when he’s forced to deport a single mother (Sarah Lind) and her son (Jakob Davies), he questions the justice of the system he serves.

The Humanity Bureau is a dystopian science fiction movie about a bleak future for America. Environmental disaster, dwindling resources, and the collapse of manufacturing have led to a policy where only the productive are allowed to remain. The Humanity Bureau shows this world through the eyes of Agent Kross, a tool of the system whose beliefs are challenged when he sees their true cost, prompting him to go on the lam with a family he’s meant to deport.

The Humanity Bureau is workmanlike science fiction that holds few surprises. The premise fits right in with other dystopian stories, though its near future setting and clear political overtones make it one of the less subtle entries into the genre. Neither the script nor the acting is inspired; the film covers the basics but does little more. The same goes for the plot: its beats are predictable, and the few that aren’t don’t matter much in the end.

Still, The Humanity Bureau succeeds in telling the story it wants to tell while avoiding any major missteps. The movie lacks the innovation or craft to truly engross the viewer, but its acting and storytelling are competent enough to make it a passable watch. Fans of budget science fiction may want to give it a whirl just for its own sake. But most viewers will find The Humanity Bureau to be a bland take on a genre that has more to offer.

Try Equilibrium if you’re interested in more imaginative dystopian sci-fi with a greater focus on action. For moody, atmospheric sci-fi with similar elements, try Blade Runner or Blade Runner 2049. Check out Elysium for a sci-fi movie with a larger budget and similar political themes. For other budget sci-fi that explores similar themes, try Automata or Anon.

5.0 out of 10 on IMDB. I give it a 5.5 for mediocre execution of a familiar premise.

Today’s quick review: The Stranger. Following World War II, Mr. Wilson (Edward G. Robinson) of the Allied War Crimes Commission tracks Franz Kindler, an escaped Nazi war criminal, to Harper, Connecticut, where Kindler has made a new life for himself as Charles Rankin (Orson Welles), a respected professor at a local college. To prove Rankin’s true identity, Wilson will need the help of Mary Longstreet (Loretta Young), Rankin’s devoted but ignorant fiance.

The Stranger is a classic crime drama from director Orson Welles. The Stranger involves one man’s attempts to hunt down a Nazi fugitive who has gone to ground in the United States. Wilson needs proof that Rankin is Kindler before he can arrest him, while Rankin only needs to cover up the last traces of his identity, a task that proves harder than he thinks. Caught in the middle of this quiet struggle is Mary, a kind woman who doesn’t suspect the truth.

What follows is a tense cat-and-mouse game between two sharp opponents. The conflict remains covert throughout most of the movie, a series of subtle maneuvers that move Rankin in and out of danger. Bad luck, close calls, and the occasional murder keep the tension up in spite of the film’s calm tone and lack of action. As an added treat, The Stranger pays close attention to the psychology of its characters, especially that of Charles and Mary.

The end result is a solid pick for anyone who enjoys classic crime movies. The Stranger has everything it needs to be a robust, satisfying drama, including an unpredictable plot and nuanced characters that are worth investing in. Steer clear if you’re looking for more overt thrills. For a darker tale of political infiltration, try The Manchurian Candidate. For a crime comedy with a similar small town setting, try The Thin Man Goes Home.

7.4 out of 10 on IMDB. I give it a 7.0 to 7.5 for a well-crafted and engaging story.

Today’s quick review: The Third Man. In the wake of World War II, American writer Holly Martins (Joseph Cotten) travels to Vienna to take a job working for his friend Harry Lime, but he arrives to find that Lime has been killed in a car accident. Convinced of foul play, Martins enlists the help of Lime’s girlfriend, Anna Schmidt (Alida Valli), to question Lime’s associates, uncover what he was involved in, and figure out why he was killed.

The Third Man is a classic noir mystery set in the fragmented Vienna of the late 1940s. The story follows Holly Martins as he digs into the death of an old friend. His investigation leads him to reluctant witnesses, buried secrets, and a racketeering scheme the police are convinced Lime was responsible for. This engaging mystery is backed by nuanced characters, insightful themes, and canny direction that combine to give the movie remarkable depth.

One of The Third Man’s most intriguing aspects is its characters. The Third Man opts for characters with complex, human flaws that have a direct bearing on the story. Holly is an idealist, a romantic, and something of a drunk, putting him at a disadvantage in the cloak-and-dagger environment of Vienna. Anna Schmidt is too loyal for her own good, clinging to the memory of Harry long past her ability to help him. The supporting cast has similar nuance.

These characters are the basis of a robust, satisfying mystery. The components are simple enough—nagging suspicions, subtle incongruities, and hints at the truth—but the way they’re assembled makes them effective at hooking the viewer’s interest. The small questions soon give way to larger ones as Martins continues his investigation. Moreover, the nature of the mystery changes with Martins’ priorities, making it a hard plot to predict.

The Third Man is tied together by its skillful direction. The movie makes great use of light and shadow, especially when characters skulk around the streets of Vienna. The camera angles are chosen carefully, with a few unusual picks to keep the viewer from getting too complacent. The film’s jaunty soundtrack is an incongruous fit with its moody story, but it helps define the character of the movie and keeps the tone from skewing too bleak.

The overall effect is subtle but powerful. The Third Man never bludgeons the viewer over the head with its mystery, its characters, or its artistry. Instead, it makes countless little decisions that form a masterful whole. How much you get out of The Third Man will depend on how many of its layers you peel back. On the surface, it’s a solid noir with nuanced characters and a decent mystery. Deeper down, it’s a careful puzzle with a lot to unpack.

For a masterful drama with some of the same qualities, try Casablanca. For another classic noir, check out The Maltese Falcon. For a mystery that goes further with its sense of paranoia, check out The Lady Vanishes, North by Northwest, Strangers on a Train, or one of the other Hitchcock movies.

8.2 out of 10 on IMDB. I give it a 7.5 to 8.0 for being a well-rounded movie with hidden depths; your score will depend on how deeply you care to delve into its artistry.

Today’s quick review: Special ID. For years, undercover police officer Zilong Chen (Donnie Yen) has led a double life, working his way up the Hong Kong underworld. When his old associate Sunny (Andy On) becomes a suspect in a murder investigation, Chen is sent to mainland China to investigate. There he joins forces with Jing Fang (Tian Jing), a straight-laced local cop, to gather evidence against Sunny and wrap up Chen’s undercover work for good.

Special ID is a martial arts action movie about a Hong Kong cop’s last undercover assignment. Donnie Yen stars as Zilong Chen, whose years posing as a criminal have turned him into a reckless but effective police officer. Special ID features capable stunt work, a promising premise, and a tone that switches between dramatic and light as needed. However, poor follow-through keeps the story from living up to its full potential.

Special ID’s main focus is on its martial arts action. The stunts are creative and crisply executed. There are no set pieces to help the movie stand out from the crowd, but each action scene has the energy and technical expertise to entertain. The movie does a good job of scaling its action to its heroes. Chen and Fang each get the chance to shine, proving their prowess against numerous foes, but the fights never feel easy for the heroes.

As far as story goes, Special ID lays the groundwork for a tense drama but doesn’t build on it. The film goes to the trouble of setting up Chen’s conflicted loyalties, his history with Sunny, and the dangers of him being unmaasked, then allows the tension to resolve in the simplest way possible. The plot serves mainly to drive the action, seeding the movie with just enough drama to establish the stakes, but never cashing in properly on its drama.

Watch Special ID if you’re a martial arts fan in the mood for a popcorn watch. Special ID does not stand out in terms of plot, action, or characters, but its solid action and decent ideas make it a fine pick. Skip it if you’re looking for something memorable.

For a more elaborate movie about an undercover cop, try Infernal Affairs or The Departed. For a more character-focused story about the criminal underworld, try Donnie Brasco. For a martial arts crime movie with more comedy, try Jack Chan’s First Strike. For sharper martial arts action, try The Protector.

5.6 out of 10 on IMDB. I give it a 6.5 for enjoyable action that’s thin on character and story.

Today’s quick review: The One. Yulaw (Jet Li) is a murderer who hunts down different versions of himself from across the Multiverse, kills them, and absorbs their power. After three years of killing, only one other version of him remains: Gabe Law (Jet Li), a valiant Los Angeles police officer who lives with his wife T.K. (Carla Gugino). As Yulaw stalks his last victim, two reality-hopping cops (Delroy Lindo and Jason Statham) race to stop him.

The One is a sci-fi martial arts action movie that pits a super-powered Jet Li against his murderous counterpart from another universe. The One funnels this premise into a fun, creative action movie that takes full advantage of Jet Li’s prowess as a martial artist. However, the movie pays minimal attention to its story. Its far-fetched premise, shallow characters, and one-note plot mean that, although its action is strong, it offers little else.

The One’s main draw is its slick martial arts action. The stunts are evenly split between Jet Li’s natural skills and special effects that showcase his powers as Yulaw. The special effects are blatantly artificial, but they fit well with the tone of the movie and aim to make the action as fast-paced and hard-hitting as possible. This healthy mix of traditional martial arts and superhuman powers gives the movie everything it needs on the action front.

The One’s story does not fare as well. The movie does the bare minimum needed to establish the premise, the characters, and what’s at stake but doesn’t go much farther than that. The characters are thin but have clear roles to play. The plot hits the expected beats, including some mistaken identity and plenty of action. But the story as a whole is a straight, no-frills execution of the premise with no interest in becoming anything more.

Watch The One when you’re in the mood for a popcorn action flick and aren’t too concerned about it making sense. The One pays less attention to its plot than other science fiction movies, but its stunts and superpowers make it a fun pick regardless. Steer clear if you’re looking for moving character, meaningful speculation, or a complicated plot. For a martial arts comedy with a similar touch of the extraordinary, try The Medallion.

5.9 out of 10 on IMDB. I give it a 6.5 for energetic action hurt by a thin plot.

Today’s quick review: Power Rangers. Five teenagers (Dacre Montgomery, Naomi Scott, RJ Cyler, Ludi Lin, and Bekcy G) from the small town of Angel Grove are recruited by Zordon (Bryan Cranston), an alien warrior, to become the next Power Rangers. Given superhuman strength, weapons, and armor, they set out to defend the Zeo Crystal from Rita Repulsa (Elizabeth Banks). But to stand a chance, they must first master their powers and learn to work together.

Power Rangers is a sci-fi action adventure based on the Power Rangers television series. The movie unites five misfits teens as the unlikely defenders of the crystal responsible for all life on Earth. Power Rangers makes a credible attempt at adapting the premise of the show, sporting fun characters and some decent action. However, its slow start, generic villain, and missteps regarding its plot and characters keep it from being a memorable watch.

Power Rangers feels like two separate movies combined into one. The bulk of the movie is spent introducing the cast, turning them into Power Rangers, and building up to the full use of their powers, with an emphasis on character development and comedy. The action only kicks in for the last half-hour, which is packed with the colorful fighting that’s largely absent from the rest of the movie. The abrupt shift isn’t unexpected, but it’s still jarring.

Much like the action, the characters can be a mixed bag. The Rangers’ personalities are distinctive, their banter is entertaining, and they are drawn at the right level of detail for the story. But there’s not much that’s truly original about them, and their repeated bad choices and forced camaraderie can easily turn off a critical viewer. Rita Repulsa is another miss, too violent for a kids’ villain and too single-minded to be a mature antagonist.

Power Rangers is worth a watch for those who want a light adventure and don’t mind a few flaws. Back-loaded action, mixed humor, and an over-reliance on characters who can’t quite carry the weight all keep Power Rangers from holding the broad appeal it intends to have. But even though it’s not the most impressive or original entry into its genre, the movie gets enough right to entertain those who are willing to be entertained.

For a sci-fi action movie with even more giant robots, try Pacific Rim, Pacific Rim: Uprising, or the various Transformers movies. For a sci-fi movie that takes a similar premise in a darker direction, try Chronicle. For an action comedy with a similar setup, better humor, and less reliance on its action, try Jumanji: Welcome to the Jungle. For a comedy about a similar group of teens, try The Breakfast Club.

6.0 out of 10 on IMDB. I give it a 6.5 for an earnest but flawed adaptation.

Today’s quick review: Reign of the Supermen. Following the death of Superman at the hands of Doomsday, four new heroes take up his mantle: Superboy (Cameron Monaghan), Steel (Cress Williams), the Eradicator (Charles Halford), and Cyborg Superman (Jerry O’Connell). Still grieving from her loss, Lois Lane (Rebecca Romijn) sets out to investigate the newcomers, find out their motives, and determine whether any of them are the man whose emblem they wear.

Reign of the Supermen is an animated superhero movie from DC Comics. The sequel to The Death of Superman, Reign of the Supermen picks up six months later as a quartet of new heroes tries to fill the void left by Superman’s passing. Like its predecessor, the movie features detailed animation, a tight story, and deft handling of a large cast of characters. Its solid craftsmanship and ingenuity make it a solid pick for fans of the superhero genre.

Reign of the Supermen accomplishes a surprising amount with its story. The premise seems arbitrary on paper, with no overarching plot to tie the four Supermen together. But Reign of the Supermen manages to cut one out of whole cloth, justifying the inclusion of each Superman with a well-considered origin story, giving each one a clear role in the story, and hooking the viewer’s interest until the true plot emerges from these little mysteries.

Reign of the Supermen’s solid storytelling extends beyond the four Supermen. Lois Lane steps up to the plate as the new protagonist, driving the investigation and serving an important role later in the film. The story works in both classic Superman characters like Lex Luthor (Rainn Wilson) and the version of the Justice League seen in DC’s other animated movies. There are plenty of characters, and Reign of the Supermen juggles them well.

Reign of the Supermen doesn’t disappoint when it comes to action, either. The extra Supermen running around let the film dip into fight scenes whenever it wants to, while late-game story developments broaden the scope of the action even more. Reign of the Supermen occasionally has to resort to clunky measures to keep its characters from resolving the wrong conflicts, but even these are handled as delicately as they can be under the circumstances.

Fans of the superhero genre with even a modest interest in animation will want to give Reign of the Supermen a shot. The movie’s sound judgment and robust craftsmanship let it tackle a difficult premise and succeed. Reign of the Supermen is not as self-contained or as emotionally moving as The Death of Superman, but it matches its predecessor’s high level of quality and makes for a worthy, thoroughly satisfying sequel.

7.2 out of 10 on IMDB. I give it a 7.5 for an impressive story, plenty of action, and few real faults.

Today’s quick review: Superman: Unbound. When Superman (Matt Bomer) defeats a robot from outer space, his cousin Supergirl (Molly Quinn) recognizes it as a probe sent by Braniac (John Noble), the cyborg who attacked Krypton shortly before its destruction. Superman ventures into space to find and defeat Braniac. But when the cyborg proves too much for the Man of Steel to handle alone, Supergirl must face her own deepest fears to save her adopted home.

Superman: Unbound is an animated superhero movie based on characters from DC Comics. Superman: Unbound introduces Braniac, one of Superman’s greatest foes, as well as Kara Zor-El, Superman’s cousin and fellow Kryptonian refugee. The film also touches on Superman’s relationship with Lois Lane (Stana Katic). Superman: Unbound has enough in the way of action and story to please fans of the genre, but it lacks the robustness to stand out from the crowd.

Superman: Unbound earns points as a classic Superman story. The film doesn’t shy away from the more outlandish parts of the Superman mythos, such as the Bottle City of Kandor, making it a sci-fi adventure that feels true to the spirit of the comics. Superman: Unbound features a worthy villain in Braniac, a powerful cyborg on a mission to catalog the universe. Its plot isn’t too elaborate, but it does have a few nice touches regarding Braniac and Krypton.

The downside to Superman: Unbound is that it only goes so far. The universe feels empty, with only four characters of note and a bare minimum of world-building. The movie doesn’t neglect its universe, touching on everything from the Daily Planet to Krypton to Smallville, but it lacks the level of detail found in most live-action superhero movies and more recent animated ones. It works as a standalone action movie but offers little else.

Watch Superman: Unbound when you’re in the mood for a fun, self-contained superhero adventure. Superman: Unbound offers nothing that can’t be found in DC’s other animated offerings, save its particular choice of ally and villain. But the film’s decent execution quality and classic Superman storyline make it a fine pick for fans of the genre. Newcomers to animated superhero movies may want to start with something more substantial.

For another Superman story of similar caliber, try Superman vs. The Elite. For one with more polish and a better story, try The Death of Superman. For an even broader look at Superman continuity, try All-Star Superman. For another animated adventure from DC, check out Justice League: War or Justice League: Crisis on Two Earths.

6.7 out of 10 on IMDB. I give it a 6.5 to 7.0 for some good action and a decent, if minimalistic, story.

Today’s quick review: Lego DC Comics Super Heroes: Aquaman – Rage of Atlantis. After an embarrassing mission with the Justice League, Aquaman (Dee Bradley Baker) makes matters worse by handing over the throne of Atlantis to his treacherous half-brother Oceanmaster (Trevor Devall). Now Aquaman must redeem himself by helping the Justice League defeat Oceanmaster and his new ally Atrocitus (Jonathan Adams), the leader of the rage-fueled Red Lanterns.

Lego DC Comics Super Heroes: Aquaman – Rage of Atlantis is an animated family superhero comedy set in a Lego version of the DC Universe. Rage of Atlantis mashes up two distinct corners of the DC Universe: Atlantis and the Green Lantern Corps. The team-up between Oceanmaster and Atrocitus gives the movie an excuse to work in plenty of DC concepts and characters, but it also stuffs it to bursting. The result is a messy watch that lacks polish.

The personal side of the movie revolves around Aquaman’s attempts to prove that he’s a useful member of the Justice League. This incarnation of Aquaman is a bumbling joke. He works well enough as a kids’ movie protagonist, but the movie leans too heavily on the character’s spotty reputation. Another subplot follows the same pattern: rookie Green Lantern Jessica Cruz (Cristinia Milizia) tries to overcome her stage fright and become an effective hero.

As far as humor goes, Rage of Atlantis is only a partial success. The comedy follows the Lego formula: cheap, kid-friendly jokes with a couple of rewarding details for DC fans. But the movie tries to do too much and doesn’t focus on any one thing, resulting in half-baked writing, a meandering plot, and jokes that aren’t supported by the scenes around them. There are some laughs to be had, but the movie misses as often as it hits.

Fans of the superhero genre, and of DC in particular, may want to give Lego DC Comics Super Heroes: Aquaman – Rage of Atlantis a shot. Its unconstrained premise lets it show off a broader slice of the DC Universe than most adaptations, and it has the self-aware humor and bouncy tone of most Lego adventures. But the combination of childish humor and mediocre writing mean that the film won’t have anything to offer for most fans.

For a live-action, big-budget version of Aquaman, try the movie Aquaman. For another animated take on the character, try Justice League: The Throne of Atlantis. For a more focused entry into the series with better execution, try Lego DC Comics Super Heroes: The Flash.

5.8 out of 10 on IMDB. I give it a 6.0 to 6.5 for humor that doesn’t quite hit the mark.