Sleight of Film

Today’s quick review: Ghost in the Shell 2: Innocence. Following a string of grisly murders by a prototype line of robots, Batou and Togusa of Section 9 are tasked with investigating Locus Solus, the company responsible for the robots’ manufacture. As the case becomes more tangled, Batou withdraws deeper into himself, following in the footsteps of his missing partner Major Motoko Kusanagi, a legendary Section 9 operative.

Ghost in the Shell 2: Innocence is a Japanese animated science fiction movie based on the manga by Shirow Masamune. Ghost in the Shell 2 is a sober, thoughtful sequel to the original film. Innocence revisits the cybernetic future of Japan and its questions of authenticity, reality, and humanity. Like its predecessor, the movie offers an investigation-driven plot, a dash of sci-fi action, and a detailed world.

Even among the philosophical Ghost in the Shell franchise, Innocence is an outlier. The film is peppered with philosophical quotes, tangential discussions about the nature of the soul, and brooding still shots that slow the action to a crawl. Where other Ghost in the Shell adaptations blend action and speculation almost seamlessly, Innocence skews heavily to the thoughtful side. As a result its plot unfolds at a slow, almost plodding pace.

Innocence opts for a melancholy tone that takes the detachment of the original movie to its logical conclusion. Its characters, already prone to introspection, become even more isolated. Batou and Togusa work by themselves on the case, and the rest of Section 9 appear briefly if at all. The disappearance of the Major takes with it much of the movie’s proactive spark; the investigation feels hopeless even when it is going well.

The film’s visuals and presentation are right in line with its dour tone. Washed-out colors, unsettling imagery, and odd camera angles all put the viewer on edge. The combination of hand-drawn characters and CGI environments is another peculiar choice. The CGI is of reasonably high quality, but it’s distracting and doesn’t add much to the film. On the whole, Innocence is visually sound but not nearly as striking as the original.

Give Ghost in the Shell 2: Innocence a shot if you’re a fan of the philosophical side of science fiction. The film’s slow pacing and middling action make it a poor choice for those looking for escapism, but its strong craftsmanship and rich speculation make it a worthwhile watch for the right kind of fan. Those looking for proper action would do better with Appleseed. For surreal but emotionally satisfying speculation about the mind, check out Paprika.

7.6 out of 10 on IMDB. I give it a 7.0 to 7.5 for science fiction that’s well-crafted, highly abstract, and a little short on impact.

Today’s quick review: Iron Man & Captain America: Heroes United. During a training session, Iron Man (Adrian Pasdar) and Captain America (Roger Craig Smith) are attacked by Taskmaster (Clancy Brown), a mercenary with a talent for mimicry. The mercenary has been hired by the Red Skull (Liam O’Brien) to take down Captain America and steal Iron Man’s technology for use in a secret weapon by the evil organization Hydra.

Iron Man & Captain America: Heroes United is a CGI-animated superhero movie based on the Marvel characters. Iron Man & Captain America is a kid-friendly movie with a bare-bones plot, simple conflicts, and nearly constant action. Low production values and a restrictive target demographic keep it from amounting to much, but the film does offer very modest entertainment for those looking for the equivalent of a Saturday morning cartoon.

Iron Man & Captain America is the second Heroes United movie, and it makes improvements on its predecessor, Iron Man & Hulk. Iron Man’s reduced dialogue and the absence of Hulk keep the number of cringe-inducing jokes down to a manageable level. Taskmaster shows potential as a villain, unlike the previous film’s generic and forgettable Zzzax, and his fight with Captain America is the best of the movie.

However, Iron Man & Captain America shares many of the same core weaknesses as Iron Man & Hulk. The animation is stiff and stilted, the character models are low-resolution, and the backgrounds are devoid of life. Thanks to the low animation quality, the action has little impact, although several of the fights do manage to be entertaining. The voice acting is passable but nothing more. These and other weaknesses drag the movie down.

Iron Man & Captain America: Heroes United is a step up from its predecessor, but it still has a ways to go to be a truly enjoyable film. Fans of the superhero genre may appreciate a few of its references, but there’s not enough that’s clever or exciting about the movie to make it worthwhile. Instead, fans of the genre should check out Ultimate Avengers, Justice League: War, or one of the other animated offerings from Marvel or DC.

5.7 out of 10 on IMDB. I give it a 5.0 for kid-oriented superhero action that’s missing most of its spark.

Today’s quick review: Murder, My Sweet. While helping recover a stolen necklace, private detective Philip Marlowe (Dick Powell) is ambushed and his client is killed. Soon after, Ann Grayle (Anne Shirley) approaches Marlowe looking for information. The necklace belonged to her young, philandering stepmother Helen (Claire Trevor). To solve the murder, Marlowe must determine who stole the necklace and why several dangerous strangers think he has it.

Murder, My Sweet is a classic noir adapted from a novel by Raymond Chandler. Murder, My Sweet is a clean-cut entry into the genre. It has a winding mystery of a plot that packs plenty of twists, and its colorful dialogue comes from the pen of a master. The whole package is tied together by a creditable performance from Dick Powell, whose Philip Marlowe is clever, practical, and thorough, yet far from infallible.

Murder, My Sweet’s sharp writing is a double-edged sword. On the one hand, its dynamic plot and excellent dialogue make it a rewarding watch. On the other hand, the film’s tangle of characters, lies, and hypotheses make it difficult to follow. Those willing to keep track of all the pieces will be treated to a noir with great fundamentals. Those looking for a simpler watch will soon lose interest.

Give Murder, My Sweet a shot if you’re a fan of the noir genre in its purest form. Murder, My Sweet is not as iconic as the best films of the genre, but its fundamentals carry it a long way. However, the film requires an investment of attention and effort, making it a poor choice for a casual watch. For a noir classic cast from the same mold, check out The Maltese Falcon.

7.6 out of 10 on IMDB. I give it a 7.0 to 7.5 for a sharp plot and worthy dialogue.

Today’s quick review: Infernal Affairs. Hong Kong mob boss Sam (Eric Tsang) sends Lau (Andy Lau), one of the youngest members of his gang, to join the police department and act as his eyes and ears inside the force. At the same time, Superintendent Wong (Anthony Wong) chooses Yan (Tony Leung), his most promising cadet, to go deep undercover within Sam’s organization. The two soon become each other’s greatest enemies.

Infernal Affairs is a Hong Kong crime thriller with a strong premise and excellent execution. Infernal Affairs pits an undercover cop against a mole in the police department in a tense cat-and-mouse game. The movie follows up on this promising start with a sensible script, striking plot twists, and crisp presentation. Infernal Affairs is an exemplary crime drama from start to finish and a worthwhile watch for any fan of the genre.

Infernal Affairs bears comparison with The Departed, its American remake. The two films share almost identical plots, but they differ in tone and pacing. Where The Departed is a drawn-out, gritty tale of betrayal, Infernal Affairs takes a more balanced approach. Its characters are easier to like, its story is streamlined, and its violence is restrained. In exchange, Infernal Affairs sacrifices some of the raw impact of its American cousin.

The difference between the two ultimately comes down to taste. American viewers are likely to prefer The Departed for its more elaborate plot and star-studded cast, but anyone who’s even remotely interested in the premise would do well to give Infernal Affairs a shot. It stands as both a sleeker alternative to The Departed and a rewarding movie in its own right.

8.1 out of 10 on IMDB. I give it a 7.5 to 8.0 for an excellent plot and polished execution.

Today’s quick review: Stone. To secure his early release from prison, Stone (Edward Norton), an unrepentant convict, sends his attractive wife Lucetta (Milla Jovovich) to seduce Jack (Robert De Niro), his jaded parole officer. As Jack gradually succumbs to temptation, Stone has an epiphany that sets his life on a new path. While dealing with his own darker side, Jack must decide whether or not to let Stone back out into society.

Stone is a moral drama with religious themes. The movie follows two men as they confront their own choices and the consequences of their actions. Stone attempts to be a thoughtful, moving drama with a plausible story, but it falls well short of the mark. Robert De Niro, Edward Norton, and Milla Jovovich lend the movie some star power, but a trio of fine performances cannot salvage their unlikable characters.

Stone’s chief failing is that it provides nothing to latch onto. Jack should be a flawed, sympathetic protagonist, so that the outcome of his moral struggle carries weight. But the film opens by showing Jack as an abusive husband, and nothing he does after that point is able to redeem him. For his part, Stone is a high-strung lowlife, abrasive at first but increasingly palatable as he discovers religion. Even then, he’s hard to connect with.

The plot suffers from similar problems. The juxtaposition between Stone’s rise and Jack’s fall should give the movie plenty of dramatic fodder to work with. But the plot has few truly memorable events; the characters just drift along their set trajectories until the ending. The script tries to develop its themes through its philosophical conversations and a few repeated symbols, but it offers nothing insightful or compelling.

Stone has some value for those interested in realistic moral drama, but its dull plot and unlikable characters hamstring what potential it has. Most viewers would be better off skipping it. For a tense legal drama that makes better use of Edward Norton, check out Primal Fear. For a more literal, horror-tinged look at temptation, take a look at The Devil’s Advocate. For a more thoughtful personal drama, check out K-PAX.

5.4 out of 10 on IMDB. I give it a 5.5 for a good cast, weak characters, and an unfulfilling plot.

Today’s quick review: Pan’s Labyrinth. At the end of the Spanish Civil War, young Ofelia (Ivana Baquero) and her pregnant mother (Ariadna Gil) travel to the Spanish countryside, where Captain Vidal (Sergi Lopez), her stern stepfather, has been tasked with rooting out the last of the rebels. There, a fairy leads her into a ruined labyrinth in the woods, where a faun (Doug Jones) recognizes her as the missing princess of an enchanted kingdom.

Pan’s Labyrinth is a dark fantasy and historical drama from writer and director Guillermo del Toro. Somber, unsettling, and occasionally uplifting, Pan’s Labyrinth is a unique and well-crafted tale of hardship and escape. The two sides to the film are brought to life by remarkable CGI and a slew of impressive performances. Del Toro’s skillful direction ties the movie together and gives it a polished finish.

Pan’s Labyrinth is most notable for its creative vision. Guillermo del Toro presents a raw, unfiltered sort of fairy tale, one where magic is something hidden, primal, and dangerous. The film walks the edge of horror but never quite crosses over. There are no true scares in the movie, and even its darker elements—disturbing creatures, haunting scenery, and focused bursts of violence—are delivered in measured doses and used to serve the plot.

The realistic side of Pan’s Labyrinth is just as compelling. The bloody conflict between Vidal’s soldiers and the Communist holdouts provides a suitably perilous backdrop to Ofelia’s own journey. At the personal level, Ofelia must deal with an ailing mother, bedridden due to a troubled pregnancy, and a draconian stepfather who cares only for his unborn son. The drama works well enough on its own, but it blends smoothly with the film’s fantasy elements.

Pan’s Labyrinth hits the target it aims for, and it does so with skill. But the film occupies a particular niche that won’t appeal to every viewer. Pan’s Labyrinth is not an action or adventure film; its fantasy is atmospheric and dreamlike. It is not a true horror movie either, more a fairy tale than a ghost story. Its drama is weighty and rewarding, but those looking for perfect realism may be put off by the fantasy elements.

In short, Pan’s Labyrinth is an excellent watch for those interested in what it has to offer. The ideal viewer should enjoy fantasy for its own sake, well-crafted drama, and a touch of darkness. Pan’s Labyrinth has quality enough to draw reluctant viewers into its world, but those looking for a light or free-sprited fantasy adventure should look elsewhere.

For a fantasy romance from Guillermo del Toro with a similar tone and craftsmanship, check out The Shape of Water. For an otherworldly fantasy with even stranger visuals and a lighter tone, check out Mirrormask. For a masterful, family-friendly take on a similar premise, check out Spirited Away. Finally, for an experimental drama that blurs the line between fantasy and fiction, check out The Fall.

8.2 out of 10 on IMDB. I give it a 7.5 to 8.0 for polished execution and unique vision.

Today’s quick review: Babylon A.D. In a violent future, Toorop (Vin Diesel), a mercenary lying low in Serbia, takes a job escorting a girl (Melanie Thierry) and her protector (Michelle Yeoh) to New York. But as the trip progresses, the girl begins to show strange abilities, and Toorop questions the reason for his mission. Pursued by unknown enemies, Toorop must not only protect the girl but determine who she is and why so many people want her.

Babylon A.D. is a middle-of-the-road science fiction movie with reasonable dose of action and a mysterious plot. Babylon A.D. has strong enough fundamentals to satisfy, if not excite, fans of the sci-fi genre. Its direction is competent, its action has no glaring flaws, and its future is a believable one. But the movie does not reach far beyond these basics, making it a forgettable watch and an easy one to skip.

Babylon A.D.’s chief strengths are its lead character and its world. Vin Diesel makes for an effective protagonist, the toughest mercenary in a world full of them. His gruff personality and unflinching strength hold the same appeal that they did in the Riddick or Fast & Furious movies. However, Toorop has little going for him beyond what Vin Diesel brings to the table. He has no memorable lines, no signature traits, and nothing to make him stand out.

As for its world, Babylon A.D. assembles familiar building blocks in a credible pattern. None of the elements of the world are entirely novel, but they are presented well and form a coherent, dystopian vision of the future. From the desolate war zone of Serbia to the overgrown extravagance of New York, the setting shows thought and craft. Yet the film never really commits to its world, treating it like a backdrop rather than a key part of the story.

Where Babylon A.D. begins to show real weakness is its plot. The setup works just fine: a mercenary escorting a mysterious girl along a dangerous journey. But the movie plays its cards too close to its chest. The conflict throughout most of the movie lacks any context, and when the answers finally come, they are not interesting enough to justify the wait. The last leg of the plot also relies on characters and threads that spring up out of nowhere.

Watch Babylon A.D. if you are a science fiction fan looking for a little something to nosh on. Though not a groundbreaking entry into the genre, Babylon A.D is a passable one. Skip it if you aren’t already a sci-fi fan or you’re looking for something more rewarding. For a more effective sci-fi drama with a similar plot, check out Children of Men. For a surreal, experimental sci-fi film with similar elements, check out Immortal.

5.6 out of 10 on IMDB. I give it a 6.0 to 6.5 for decent but unexciting science fiction.

Today’s quick review: Raising Arizona. Unable to conceive a child of their own, ex-convict H.I. McDunnough (Nicolas Cage) and his wife Ed (Holly Hunter) decide to steal one from a wealthy local businessman who had quintuplets. With their new son Nathan, Jr. in tow, the couple set about the difficult business of parenting. But the appearance of two freshly escaped convicts (John Goodman, William Forsythe) threatens the stability of their new life.

Raising Arizona is a crime comedy from the Coen Brothers. The movie delivers the same mixture of elements that their comedies are known for: warm characters, a chaotic plot, and an undercurrent of sentimentality. However, Raising Arizona lacks the bite of their other work. It’s a pure comedy with a minimum of black humor and only mild violence. As such, it’s an easier, more straightforward watch than the likes of Fargo or Burn After Reading.

Raising Arizona carves out a unique niche for itself. Nicolas Cage and Holly Hunter make an excellent couple: well-meaning, maladjusted, and devoted to one another. The plot is complicated yet easy to follow, a short romp full of twists, turns, and coincidences. The film also has a touch of the surreal in the form of Leonard Smalls (Randall “Tex” Cobb), a larger-than-life bounty hunter on the trail of the stolen baby.

Raising Arizona does have its downsides. The film is light on substance; for all the motions of its plot, the conflict never rises far above its baseline level of chaos. The film’s humor is indirect, a product of its odd characters and colorful world rather than deliberate jokes. Raising Arizona also relies on the viewer connecting with H.I. and Ed. For all its quality, the movie simply will not click for some viewers.

Give Raising Arizona a shot when you’re in the mood for something silly, creative, and sweet. Fans of the Coen Brothers will enjoy it as one of their lighter comedies, while anyone with a taste for offbeat humor should give it a chance. For a Coen Brothers romp with a similar tone, check out O Brother, Where Art Thou?. For a Japanese animated comedy with a similar premise, check out Tokyo Godfathers.

7.4 out of 10 on IMDB. I give it a 7.5 for charming characters and an offbeat sense of humor.

Today’s quick review: The Maltese Falcon. Private detective Sam Spade (Humphrey Bogart) is drawn into a tangled conflict when his partner is killed while working a case for a mysterious woman (Mary Astor). Sam soon learns that she’s after the Maltese Falcon, a long-lost treasure worth a fortune. Also after the Falcon are a pair of distinctive criminals (Peter Lorre, Sydney Greenstreet) who approach Sam with their own coercive offers.

The Maltese Falcon is a classic noir based on the novel by Dashiell Hammett. The Maltese Falcon is notable for its polished execution, its intricate plot, and its memorable protagonist. Sam Spade wends his way through an intricate mystery where lives are at stake and no one can be trusted. The movie has robust craftsmanship, from its script to its acting to its cinematography. However, its particular style of mystery won’t appeal to everyone.

Humphrey Bogart cuts a fascinating figure as Sam Spade. Neither entirely honest nor as crooked as the criminals he deals with, Sam succeeds in a dangerous business thanks to his sharp wits and a healthy distrust of those around him. Mary Astor plays opposite him as Brigid, a frequent liar whose only chance is to rely on Sam. They are supported by a pair of strong performances from Peter Lorre and Sydney Greenstreet.

The Maltese Falcon has a complicated, dramatic plot that hangs together in peculiar ways. Every event in the story is logical enough, but they tend to be explained after the fact. Key developments in the case simply fall into Sam’s lap, although he has to earn his victories the hard way. The film’s unpredictability keeps it engaging to the end. But those not used to the abrupt twists of the noir genre may finds its plot erratic.

Watch The Maltese Falcon if you’re interested in a classic mystery with excellent craftsmanship. Your exact reaction to The Maltese Falcon will depend on your taste for the noir genre, but the film packs enough quality and cultural impact to be worth a watch for even the mildly curious. Skip it if you prefer serious action or subtler plot work. For another classic drama starring Humphrey Bogart, try Casablanca.

8.1 out of 10 on IMDB. I give it a 7.5 for strong craftsmanship and iconic characters.

Today’s quick review: Beat the Devil. Billy Dannreuther (Humphrey Bogart) and his dubious associates are bound for Africa, where a fortune in crooked uranium awaits them. While waiting for their ship in a small town, Billy and his wife Maria (Gina Lollobrigida) become entangled with a curious British couple: Harry Chelm (Edward Underdown), a seeming gentleman, and his wife Gwendolen (Jennifer Jones), an imaginative woman who takes an interest in Billy.

Beat the Devil is a crime comedy that features an enjoyable cast, sharp dialogue, and an elaborate setup. The movie follows Billy, Gwendolen, and their spouses and colleagues as they brave a series of mishaps to seek their fortunes overseas. However, Beat the Devil’s strengths are tempered by its subdued humor and a meandering plot. The result is a pleasant but insubstantial watch that can’t match the classics of the mid-20th century.

Beat the Devil is more setup than payoff. The premise is overly complex, a difficult scheme involving stolen mineral rights, a troublesome voyage, and a preemptive murder. The core elements of the plot work well enough, but tracking the plans of the characters is an exercise in itself. The conclusion to the story falls short of the steps taken together, and several promising plot threads end up amounting to little.

Still, Beat the Devil does have qualities that make it a charming watch. Humphrey Bogart and Jennifer Jones get along splendidly, Bogart as an unflappable criminal and Jones as a lively fabulist. The movie has a dry, tongue-in-cheek sense of humor that deliberately undermines the gravity of its cast. Rather than the striking figures of a straight adventure, Beat the Devil’s characters are all a bit skewed, recognizable archetypes with little comic twists.

Give Beat the Devil a shot when you’re in the mood for a classic-style comedy with a good cast and a decent sense of humor. The gags are far from outstanding and the plot is more trouble than it’s ultimately worth, but Beat the Devil does show enough quality to please fans of the genre. Skip it if you’re looking for a more memorable comedy or one that makes better use of its plot. For a more polished movie in a similar vein, check out Charade.

6.6 out of 10 on IMDB. I give it a 7.0 for fine acting and a decent script, held back by unneeded complexity and a limp payoff.