Category: Uncategorized

Today’s quick review: Muppets from Space. Although surrounded by his friends, Gonzo feels more alone than ever. He is the only one of his kind, does not know his species, and has never known his family or his origins. But when he receives a communique through his breakfast cereal, he discovers that his family is a group of aliens that has been looking for him. His attempts to contact the aliens draw the attention of a touchy government agent (Jeffrey Tambor) tasked with investigating any alien sightings, and it falls to the Muppets to rescue Gonzo from the government and make contact with his long-lost family.

Muppets from Space is a light-hearted family comedy with a fun sense of humor and a great soundtrack. As far as its humor goes, it is one of the better Muppets films, with a steady trickle of classic Muppet humor, a few gags that make use of the newfound green screen and CGI technology of the time, and good roles for the cast additions from Muppets Tonight. The film is on the short side, clocking in at just under one-and-a-half hours, and a few of the characters get short shrift in exchange for a greater focus on Gonzo. The premise is strong enough for a charming parody of the alien contact genre that maintains Muppet sensibilities. But what truly separates Muppets from Space from the other Muppet films out there is its soundtrack: an energetic selection of funk hits gives the movies a unique flavor and turns good humor into a memorable experience.

Muppets from Space is not the top of the heap for Muppet movies, but its charming humor and inspired soundtrack make it a strong entry in the series. Watch it if you’re a fan of the Muppets, kid-friendly humor, or light-hearted fun. Skip it if you prefer more mature humor, want a deeper movie, or just aren’t a Muppets fan.

6.2 out of 10 on IMDB. I give it a 7.0 to 7.5 for good jokes and a great soundtrack.

Today’s quick review: A Fistful of Dollars. Clint Eastwood stars as The Man With No Name in the character’s first appearance. A nameless American rides into the Mexican town of San Miguel, where he is warned that he will make his fortune or wind up dead. The town is run by two rival families, the Rojos and the Baxters, each wealthy from selling guns or liquor across the nearby US border. But their rivalry has torn the town apart, and the only way to gain respect there is through killing. The stranger sees an opportunity to profit, and he wastes no time in pitting the two families against each other in a dangerous scheme to milk the situation for as much money as possible.

A Fistful of Dollars is a tightly executed Western with a sterling plot and capable direction. Clint Eastwood earns his legendary reputation by playing a steely gunslinger with lightning reflexes and a knack for turning every situation to his advantage. Eastwood’s character drives the plot to an astonishing degree, materializing opportunities out of thin air and turning a tense but stable situation into a powder keg. The plot of the movie achieves the similarly remarkable feat of getting something from nothing. The setting and characters are thinly sketched, yet the plot that unfolds from them is intricate, engrossing, and deeply satisfying. The schemes of the nameless protagonist are resourceful and clever but carry a real element of risk. Backed by intelligent direction and strong acting all around, the plot turns an ordinary setup for a Western into a high-quality finished product.

A Fistful of Dollars delivers exactly what it promises: a remarkable Western that showcases the strength of the genre. With one small town and a few simple characters, A Fistful of Dollars manages to tell a compelling and credible tale of greed, cunning, and revenge. How much you get out of the movie will be determined by how much you enjoy the Western genre and how much you appreciate quality storytelling. Fans of modern action movies may find A Fistful of Dollars slow-paced and relatively sedate, while those looking for deep characters and interpersonal drama should look elsewhere. But those who appreciate fine movies, who enjoy quality in its many indefinite forms, or who simply wish to see Clint Eastwood gun down bad guys should give A Fistful of Dollars a watch.

8.0 out of 10 on IMDB. An 8.0 seems fair for reasons of quality, but the score may dip as low as 7.0 depending on your interest in the genre and willingness to invest in the plot.

Today’s quick review: The Man Who Wasn’t There. Ed Crane (Tommy Lee Jones) leads a mundane life as a barber working for his talkative brother-in-law (Michael Badalucco). He has a cold relationship with his wife Doris (Frances McDormand) and suspects her of cheating on him with her boss Big Dave (James Gandolfini). But when an entrepreneur (Jon Polito) drifts through town, looking for $10,000 to invest in a surefire business, Ed sees an opportunity to shake off his humdrum existence and try something different for a change. He blackmails Big Dave with his suspected affair, threatening to reveal his infidelity unless he provides the money that Ed needs to invest. But the blackmail does not go as smoothly as planned, and an unfortunate series of events causes Ed’s meager life to fall to pieces.

The Man Who Wasn’t There is a black-and-white crime drama from the Coen Brothers. Unlike the Coen Brothers’ more comedic work, The Man Who Wasn’t There falls squarely on the dramatic side of the spectrum. The film examines the bleakness of existence, the consequences of even the most sensible actions, and the ironies of life. Its progression is deliberate yet unpredictable, a sequence of events rather than one grand story. The plot twists come early and often, but no single twist defines the story. Instead, the twists serve to connect one event to the next while keeping the story from settling into an identifiable pattern. The product is a tight if unconventional plot: every scene and line of dialogue serves a clear purpose, either to move the plot along or develop one of the story’s themes.

Tommy Lee Jones delivers a solid performance as the reticent and detached Ed Crane, a man adrift in routine and almost without agency. His few concrete choices in the movie tend to backfire on him, and much of the time he is a passive observer of his own life. His sole form of escape is the piano music of Birdie Abundas (Scarlett Johansson), the teenage daughter of his friend. Birdie’s music provides the basis for the film’s magnificent soundtrack, a collection of beautiful Beethoven pieces for piano. Between the piano soundtrack, the black-and-white visuals, the clean direction, the crisp writing, and Tommy Lee Jones’ tempered and insightful narration, The Man Who Wasn’t There has all the elements of a masterful if depressing film.

Fans of drama and cinematic artistry should watch The Man Who Wasn’t There if only to experience its craftsmanship. The Coen Brothers are at their technical finest, and with The Man Who Wasn’t There, they prove they can deliver an engaging, well-crafted drama without relying on comedy, excessive violence, or even color photography. Those who prefer their films optimistic or fanciful would do well to steer clear. For all its quality, The Man Who Wasn’t There is an unrepentantly bleak film. Its value lies in its craft and execution rather than charm, action, mystery, or any other characteristic that an escapist might desire.

7.6 out of 10 on IMDB. I give it a 7.0 out of 10 for quality execution of a dark story; your own score will be higher or lower depending on how well you like the tone.

Today’s quick review: The Pink Panther. Peter Sellers stars as Inspector Jacques Clouseau, a bumbling French detective tasked with tracking down the elusive cat burglar known as the Phantom, who is in actuality the debonair Sir Charles Lytton (David Niven). He believes that the Phantom’s next target will be the Pink Panther, a valuable diamond in the possession of the charming Princess Dala (Claudia Cardinale). Clouseau travels to the ski lodge where Princess Dala is vacationing, accompanied by his wife Simone (Capucine), the secret lover and accomplice of Sir Charles. Meanwhile, Sir Charles’s gadabout nephew George (Robert Wagner) makes a surprise appearance at the lodge hoping to capitalize on the situation, throwing Sir Charles’s plans into disarray and turning a complex situation into chaos.

The Pink Panther is a classic comedy that introduced the world to Inspector Clouseau, one of comedy’s most iconic characters. Clouseau is the creation of the inimitable Peter Sellers, a walking disaster with a pseudo-French accent, a clumsy streak, and a misplaced belief in his own competence. Peter Sellers plays the part perfectly, turning even the simplest actions into an opportunity for slapstick. His opposite number, David Niven, does an excellent job as Sir Charles Lytton, a British gentleman whose wealth and charm are the perfect cover for his activities as the Phantom. Where Clouseau is bungling and effectual only by accident, Sir Charles is a meticulous planner capable of adapting to even the chaotic events of the movie.

The plot has an unconventional structure that requires close attention to properly follow. Each character has his own shifting motivations governed by intricate patterns of known, unknown, assumed, and falsely assumed information, and the ever-changing factions in the film make the plot quite complex for a comedy. The reward for following all the twists and turns is an intricate comedy masterpiece. Even a casual viewing should prove amusing, if confusing, but be warned that The Pink Panther requires much more investment than modern comedies.

The Pink Panther is a must-see for fans of classic comedy and an excellent choice for comedy fans in general. Those who prefer their comedy simple and overt should skip The Pink Panther, as should those without the inclination to give it the attention it requires. The Pink Panther is a cultural touchstone and an entertaining watch that stands up to repeated viewings.

7.2 out of 10 on IMDB. I give it 7.5 to 8.0 for great comedy and craftsmanship, held back only by its complexity.

Today’s quick review: Top Secret!. When American rock star Nick Rivers (Val Kilmer) is invited to East Berlin, the East Germans get more than they bargained for. Not only do his rebellious tendencies threaten to cause an international incident, but a chance meeting brings him into contact with Hillary Flammond (Lucy Gutteridge), a member of the French Resistance. Hillary recruits Nick into helping the Resistance rescue her father, a scientist kidnapped by the East Germans and forced to work on a superweapon for them. It’s up to Nick and his newfound allies to rescue Dr. Flammond and foil the plans of the East Germans.

Top Secret! is an eclectic pastiche of war films and American rock and roll. In spite of the nominal Cold War setting, the East Germans behave like Nazis, and their machinations are inexplicably opposed by a spirited French Resistance, despite the lack of a conquered France to oppose them. Val Kilmer plays the role of the brash, young American out to bring the American spirit to a country devoid of it. His character parodies American pop stars of the rock-and-roll era, particularly Elvis and The Beach Boys. The soundtrack of the film includes several fully-realized parodies of American rock music, songs that are both funny parodies and catchy in their own right.

Top Secret! is a fundamentally silly movie that is packed to the gills with sight gags, puns, and cheap jokes. Fans of Airplane! will find plenty to enjoy here. The plot makes little sense, jamming bits and pieces of war movies in with a music-based clash of cultures, but the jokes are solid and the film as a whole is quite entertaining. Watch Top Secret! when you’re in the mood for a silly, Airplane!-style comedy. Skip it if you’re looking for a deep, mature movie or a plot that makes sense.

7.2 out of 10 on IMDB. I give it a 7.5 for good humor and a surprisingly strong set of parody songs.

Today’s quick review: Sleuth. Michael Caine stars as Andrew Wyke, a wealthy, aging writer who lives alone in a mansion. Jude Law co-stars as Milo Tindle, the young, struggling actor that Andrew’s wife ran off with. When Andrew invites Milo to his estate, Milo shows up with the hope of getting Andrew to sign his divorce papers and finally let his wife go. But Andrew has other plans, and their conversation moves from tense to bizarre as the pair match wits in an impromptu game of honor and humiliation.

Sleuth is a minimalistic cat-and-mouse thriller structured like a stage play. The film focuses on the wending conversation between Andrew and Milo, the barbs they hurl at each other, and the peculiar consequences when their conflict escalates. The film handles its suspense well, establishing a dark, uncertain tone and holding it for as long as it can. The plot is fittingly difficult to predict, and both Michael Caine and Jude Law deliver solid performances as a pair of driven men each searching for an advantage to use against the other.

But for all that Sleuth effectively conveys a sense of mystery, there is little point to the movie. The minimalistic cast and setting wear thin, the twists and turns of the plot are arbitrary, and neither of the main characters is very sympathetic. The movie appears to be an investigation into forms of power and what two obsessed men are capable of, but the minimalistic execution means that the movie lives and dies on this one theme. Weaving this theme and this character dynamic into a fuller movie could have produced interesting results, but as it is, Sleuth gives little reason to watch it beyond its exceptional tone.

Watch Sleuth only if you are into minimalistic, experimental films with a dark tone. Sleuth does do a good job of establishing a tone, setting up plot twists, and boiling a battle of wits down to its essentials, but there is nothing else going on. Skip Sleuth if you prefer more meat on your movies’ bones, you dislike morally ambiguous characters, or you dislike pervasive, uncertain tension.

6.5 out of 10 on IMDB. I also give it a 6.5 for a decent build-up but very little payoff.

Today’s quick review: Star Trek Beyond. Three years into their five-year deep space mission, the crew of the Enterprise has fallen into a rut. Kirk (Chris Pine) is considering transferring to a position closer to civilization, Spock (Zachary Quinto) is preoccupied with the fate of New Vulcan, and the extended stay in deep space is beginning to get to the crew. But when an alien warlord named Krall (Idris Elba) attacks the Enterprise with overwhelming force, the monotony turns into a life-or-death struggle and the crew is forced to evacuate the ship. Marooned on a remote planet and isolated from each other, the crew of the Enterprise must find a way to stop Krall before he uses an ancient superweapon to bring the Federation to its knees.

Star Trek Beyond is the third installment of the modern reboot of the classic sci-fi series. Beyond takes the Enterprise to deep space for the first time in the new canon, a welcome step for the new series. The film continues in the vein of its predecessors: tense action and sleek, modern visuals coupled with loving callbacks to the original series. The cast continues to show their worth through strong character interactions, giving the scenes a vibrancy and sense of humor that keeps audience engagement high. The tone is consistent with the previous two films: grittier and more visceral than the original series, but fundamentally fun-loving and hopeful. Beyond does a good job of balancing peril with adventure, and the somewhat darker opening to the film gives way to increasing optimism as the crew rallies.

Star Trek Beyond is a great watch and plenty of fun. The plot is not particularly deep but has a few good layers to it. Character development is split between the sizable cast, but the film does a good job of making each character’s scenes count. In particular, Beyond does a good job of capturing the spirit of the original series and transplanting it to the new universe; heightened peril aside, Beyond could easily have been a longer version of an episode from the original series. Fans of either of the last two Star Trek movies or action sci-fi in general won’t want to miss Star Trek Beyond. Those who dislike the flavor of the new Star Trek should steer clear.

7.5 out of 10 on IMDB. I give it an 8.0 for high production quality, solid writing, and good fun.

Today’s quick review: Mission: Impossible. Ethan Hunt (Tom Cruise) is one of the IMF’s top agents. But when his team is betrayed and Ethan is set up to take the blame, Ethan must venture out on his own to catch the real culprit and avenge the death of his mentor, Jim Phelps (Jon Voight). The only way he can find the traitor is through a black market arms dealer named Max, and the only way to earn Max’s cooperation is to break into CIA headquarters and steal classified information that Max is willing to pay top dollar for. With the help of Franz Krieger (Jean Reno) and Luther Stickell (Ving Rhames), Ethan sets out to complete an impossible mission, catch the traitor, and clear his name.

Mission: Impossible is a modern reboot of the classic TV series and the first in a successful series of spy action movies. Tom Cruise does a great job in his debut as Ethan Hunt, a capable spy who’s fearless and quick on his feet. The stunts are iconic and visually interesting, providing action-packed punctuation to the intrigue of the plot. The plot is put together well, with a strong premise, a steady drip of information, and several clever twists along the way.

Compared to later installments of the series, Mission: Impossible is closer to a typical spy movie. The incredible stunts and spy technology that the series is known for are present, but in a nascent form, and the focus is on the mystery as much as the action. The comedy and charm of the later series is present, but in smaller doses. The first installment takes itself more seriously than more recent Mission: Impossible films, trading off some humor in exchange for a tenser, more dramatic plot.

Watch Mission: Impossible when you’re in the mood for a well-constructed spy thriller with a good blend of action and duplicity. Skip it if you aren’t into action movies, prefer more low-key thrillers, or dislike Tom Cruise. Mission: Impossible is a modern spy classic that is well worth a watch if you haven’t seen it already and well worth a rewatch if you have.

7.1 out of 10 on IMDB. I give it an 8.0 for tight execution, memorable stunts, and being a strong start to an excellent franchise.

Today’s quick review: Death Race. In the near future of 2012, one of the most popular sports is a deadly race between death row inmates. Given weapon-laden cars and pitted against each other in a merciless race track of lethal obstacles, those prisoners who can survive the track and outrace their competition are given their freedom. When the sport’s most popular racer, the mask-wearing Frankenstein, is killed in a crash, Jensen Ames (Jason Statham) is given the chance to take up Frankenstein’s mantle for what would have been Frankenstein’s last race before freedom. Falsely imprisoned for his wife’s murder and hoping to see his child again, Ames accepts the challenge and sets about trying to win the most deadly event of his life.

Death Race is a racing-based action movie centered around a prison death game. The premise is pure action fodder, and plot exists solely to support the race scenes. There are a few plot twists along the way; none of them are particularly surprising, but they are enjoyable nonetheless. Jason Statham plays his typical character: a tough-as-nails action hero with a rocky exterior and a kind heart. Jensen Ames is not as interesting or as memorable as Statham’s character Frank Martin from The Transporter, but he gets the job done. The action of Death Race is actually rather impressive. The races have a nice progression to them, racing and combat are blended well, and the array of traps and surprises in the tracks give the races a sense of dynamism and peril.

Death Race is a surprisingly fun action movie with creative stunts, an uncommon take on the death game genre, and a strong lead in the form of Jason Statham. Watch it when you’re in the mood for cars, violence, and Jason Statham. Skip it if you dislike violence, far-fetched premises, or thin plots. For your fix of popcorn action, look no farther.

6.4 out of 10 on IMDB. I give it a 7.0 for fun execution of a simple premise.

Today’s quick review: The Music Man. Con man Harold Hill (Robert Preston) is a master of his craft. He visits a town, convinces them to start up a boys’ marching band under Hill’s tutelage, collects money for instruments and uniforms, and moves on to the next town before he has to conduct a single note. But when he tries to con a quiet Iowa town on a whim, he finally meets his match. The townsfolk buy into his act, but Marion Paroo (Shirley Jones), the town librarian and piano teacher, sees right through him. To succeed with his scheme, he must wheedle his way past her icy facade at the risk of catching feelings of his own.

The Music Man is a classic musical set in an early 20th-century Midwestern town. The songs are catchy, well-orchestrated, and abundant, with everything from zesty marching band tunes and wistful love songs to barbershop quartets and lively reels. Shirley Jones handles both sides of her character very well: stern to a fault at first, but gradually won over by Hill’s persistence and his effect on the town. Robert Preston plays a very convincing con man, but his character is slow to change. The result is a pairing that works well at any particular stage of the movie, but whose progression is somewhat stilted.

The musical also suffers from pacing issues. The story is not very complex, but the film clocks in at 150 minutes. The excess time is devoted to additional songs; in that sense, the length as a boon to musical lovers. But several reprises could have been cut with no damage to the plot, and Hill’s various discussions with the townsfolk could easily have been shuffled as needed. Despite the drawn-out plot, the quality of the music is top-notch and the substance of the plot is satisfying. Watch The Music Man if you’re in the mood for a classic musical with cute but tame jokes, a pleasant love story, and an excellent score. Skip if you aren’t drawn to musicals.

7.7 out of 10 on IMDB. I give it a 7.5 as a balance between its excellent music and its slow progression; musical lovers will rate it higher, while those who dislike musicals will rate it lower.