Author: Stan

“Hasta la vista, baby.” —The Terminator

Today’s quick review: Terminator 2: Judgment Day. Ever since she caught a glimpse of a future ruled by machines, Sarah Connor (Linda Hamilton) has been preparing for Judgment Day, the day when Skynet will trigger a nuclear holocaust. Sarah gets the chance to change fate when a reprogrammed Terminator (Arnold Schwarzenegger) comes back in time to save her son John (Edward Furlong) from the T-1000 (Robert Patrick), the newer model sent to kill him.

Terminator 2: Judgment Day is a sci-fi action movie written and directed by James Cameron. Terminator 2 follows in the footsteps of the first film, keeping the same core of solid sci-fi while putting a new spin on the premise. Impressive action, a menacing villain, a high-stakes plot, and a range of iconic moments combine to make the movie a classic of the genre. Like its predecessor, Terminator 2 encapsulates the best sci-fi has to offer.

Terminator 2 builds on the strong foundation laid by the first movie. Sarah Connor has become a hardened warrior, willing to do anything to prevent the apocalypse. Her son John has been raised by foster parents, a troublemaker with only faint signs of the leader he’s destined to be. The Terminator has been reprogrammed as an ally, a tough an literal-minded guardian for John. In general, the changes to the formula are well-considered and interesting.

Terminator 2 has the same high execution quality as The Terminator, only with improved special effects and a greater emphasis on action. The movie delivers action in spades, with vehicle chases, gunfights, and tense showdowns. The plot finds interesting roles for its characters and has enough substance to satisfyingly fill the movie. Finally, Terminator 2 serves up another iconic villain in the form of the cold, shapeshifting T-1000.

Terminator 2 will still have some variation due to taste. The mvoie skews towards the dark, destructive side of the sci-fi genre, with traces of horror in the design and behavior of the T-1000. Its plot doesn’t delve as heavily into speculation as some science fiction, while its increased action and humor from the first movie may not sit well with purists. But these minor points are outweighed by the movie’s strong premise and high quality.

Watch Terminator 2: Judgment Day if you’re a fan of sci-fi, action, or iconic movies in general. The film does great things with the tools at its disposal, using the strength of its ideas, the tightness of its execution, and the polish of its special effects to carry off its premise. For another well-constructed sequel from James Cameron, try Aliens. For a sci-fi action movie whose story involves a hidden truth about the world, try The Matrix.

8.5 out of 10 on IMDB. I give it an 8.0 for a memorable story backed by excellent fundamentals.

“I’ll be back.” —The Terminator

Today’s quick review: The Terminator. Los Angeles turns into a battleground when the Terminator (Arnold Schwarzenegger), an unstoppable cyborg with a human exterior, arrives from the future to kill Sarah Connor (Linda Hamilton), an ordinary waitress with an extraordinary destiny. Her only chance of survival is to go with Kyle Reese (Michael Biehn), a soldier sent from the future, and try to stay one step ahead of a killer that never gets tired.

The Terminator is a sci-fi action movie written and directed by James Cameron. The plot centers around Sarah Connor, an ordinary young woman who holds the key to humanity’s survival in a dystopian future ruled by machines. The Terminator sits at the intersection of some of the best features of the sci-fi genre. Technological speculation, an intricate plot, cutting-edge special effects, and raw action make The Terminator a satisfying watch.

The Terminator gets a lot of mileage out of its premise. The setup seems simple enough at first, with Reese on one side and the Terminator on the other in the battle for Sarah’s life. But soon enough, the story develops wrinkles. The mechanics of the Terminator’s hunt, Sarah’s gradual introduction to the danger she’s in, and the complications of time travel all work in the movie’s favor, helping to fill out a complete and interesting story.

The other core strength of The Terminator is its villain. The Terminator makes for an imposing and inhuman foe, pursuing its target with a mix of brute force and subterfuge. The design of the character stands the test of time, a terrifying endoskeleton layered with cold, disposable human flesh. The special effects are rough by modern standards, but they are impressive for their era and are still enough to do the Terminator justice as a villain.

The Terminator is a must-see for fans of the science fiction genre and a strong pick for action fans in general. There are movies that outclass it in terms of plot, action, and scope, but its memorable premise and rock-solid execution secure it a place as one of the classics of the genre. For its more action-oriented sequel, try Terminator 2: Judgment Day. For a lower-stakes clash with a humanlike robot, try Westworld.

8.0 out of 10 on IMDB. I give it a 7.5 for strong fundamentals and an iconic villain.

Today’s quick review: Batman: Hush. While investigating a kidnapping, Batman (Jason O’Mara) uncovers a mystery involving some of his greatest foes. As Batman searches for the mastermind who has been pulling their strings, a man known only as Hush, Hush takes aim at Batman with a series of targeted, personal attacks. Meanwhile, circumstances bring Batman closer to Catwoman (Jennifer Morrison), who has been trying to put her criminal past behind her.

Batman: Hush is an animated superhero movie based on the DC comic book series of the same name. Batman: Hush is a sprawling mystery that pits Batman against a sizable portion of his rogues’ gallery, as well as Hush, a new foe who always seems to be one step ahead. The movie has plenty to offer fans of the genre, with a solid balance of action, character development, and plot. However, its loose story structure won’t satisfy everyone.

Batman: Hush has the same consistent quality as the other movies set in the Son of Batman universe. The animation is nicely detailed without feeling stiff. The voice acting is skilled. There’s plenty of action as Batman fights his way through villain after villain. The script scores a few hits, especially when it visits the other members of Batman’s extended family. It also delivers up another peek into a living, breathing superhero universe.

Where Batman: Hush takes risks is with its story. The plot is a loose adaptation of the comic, keeping the villain and several of the key beats while stripping out some of the complexity. The changes go a long way towards streamlining the movie, but they do tweak some of the moments hardcore fans will consider pivotal. Batman: Hush also dives into Batman’s relationship with Catwoman, which is handled well and helps tie the movie together.

Fans of the superhero genre should give Batman: Hush a shot. It’s a concentrated dose of what the superhero genre excels at, with a story that covers a lot of ground and execution quality that’s hard to fault. Some viewers may not get as much as they hope to out of the mystery, thanks to its winding structure and grab bag assortment of characters. But Batman: Hush offers enough to please most existing fans and makes a great sampler for new ones.

For other animated movies in the same series, try Son of Batman, Batman vs. Robin, or Batman: Bad Blood. For a more realistic take on the character, try the Dark Knight trilogy from Christopher Nolan. For a similar adaptation on the Superman side of the universe, try The Death of Superman.

6.9 out of 10 on IMDB. I give it a 7.0 to 7.5 for a high-quality and nicely varied superhero adventure.

Today’s quick review: Cross Wars. With the power of an ancient amulet and the help of his team of crime-fighters, Callan (Brian Austin Green) protects the streets of Los Angeles. But when a new, ruthless mob boss named Muerte (Danny Trejo) takes over the city’s criminal underworld, Callan must reunite with Riley (Amy Jane), an old flame with her own team and amulet, to stop Muerte and his immortal ally, Callan’s nemesis Gunnar (Vinnie Jones).

Cross Wars is a budget superhero movie with comic book stylings. The movie follows Callan, Riley, and their respective superhero teams as they fight against the forces of evil. Cross Wars aims to be a light take on the superhero genre with clear nods to the genre’s origins. However, its flat world, low production values, and unskilled execution cause it to fall far short of its goal, making Cross Wars a bland watch with little to help it stand out.

Cross Wars struggles with the basics. Its characters are poorly defined, with generic personalities, no memorable features, and very little to justify the film’s fantasy elements. The acting is unconvincing and isn’t helped by the film’s flimsy dialogue. The plot has no real purpose, a series of abrbitrary skirmishes that never feel like part of a larger story. The individual scenes are also mishandled and never succeed in building any tension.

Cross Wars’ special effects are another mark against it. Due to its limited budget, the movie has to make do with bottom-of-the-barrel CGI for its superpowers, gunfights, and occasional comic book-style visuals. The resulting special effects are a distraction whenever they appear. The one place where Cross Wars almost succeeds is with its large cast, a rarity for budget movies. But even then the extra characters don’t bring much to the table.

Watch Cross Wars only if you’re more interested in passion than results. The movie clearly has a story it wants to tell and a world it wants to play in, but it lacks either the budget or the technical skill needed to reach its goals. Some fans of the superhero genre may find that its heart is in the right place, but most will be put off by its uninteresting story and weak action. Most viewers would be better off skipping it.

For a martial arts action movie with comic book influences and more creativity, try Dragon Tiger Gate. For a budget take on the superhero genre with a more appropriate scope, try American Hero. For a superhero comedy with more flavor, try Mystery Men. For one with more heart, try Sky High.

2.3 out of 10 on IMDB. I give it a 3.0 for uniformly poor execution.

Today’s quick review: Kick-Ass 2. Two years after Dave Lizewski (Aaron Taylor-Johnson) became the world’s first superhero, others have begun to follow his example. As Dave makes new friends and trains to be a better hero, Mindy McCready (Chloe Grace Moretz), the former Hit-Girl, tries to put her violent past behind her. Meanwhile, Chris D’Amico (Christopher Mintz-Plasse) rebrands himself as the world’s first supervillain and sets out for revenge.

Kick-Ass 2 is a superhero action comedy based on the comic by Mark Millar. Kick-Ass 2 revisits Dave Lizewski’s world two years after the events of the first film, dealing with the ramifications of his career as a self-made superhero. The sequel maintains the series’ tradition of quirky characters, extreme violence, and realism cut with black comedy. However, a weaker story and less consistent direction make it a step down from the original.

Kick-Ass 2 has much of the same appeal as the first movie. It pushes the premise of superheroes in the real world even farther by introducing teams of heroes and self-proclaimed supervillains into the mix. The characters are as colorful as ever, combining realistic foibles with comic book situations. The humor is less consistent than in the first movie, but its irony and black comedy still hit the mark more often than not, with a few standout jokes.

However, Kick-Ass 2 lacks some of the finesse of its predecessor. Its dialogue and presentation aren’t as snappy, it makes a few questionable choices with its writing, and its story isn’t as tightly motivated or cohesive. The biggest misses are the movie’s attempts at drama, which work well enough on paper but lack the build-up and delivery to have any real impact. The same goes for the movie’s plot beats in general: fine but slightly underwhelming.

Watch Kick-Ass 2 when you’re in the mood for something violent, funny, and a little schlocky. Although the sequel doesn’t reach the heights of the original, it still has enough going on to be a fun watch. Those willing to accept a dip in quality to spend more time in Dave Lizewski’s world should give it a shot. Those content to end the series on a high note may want to skip it. Sensitive viewers should steer clear.

6.5 out of 10 on IMDB. I give it a 6.5 to 7.0 for a comedy with clever ideas that’s missing some polish.

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.