Sleight of Film

Today’s quick review: The Lego Movie. Emmet Brickowoski (Chris Pratt), a perfectly ordinary construction worker, gets dragged into an extraordinary adventure when he meets Wyldstyle (Elizabeth Banks), a mysterious woman on an important mission. With the help of Batman (Will Arnett), the wizard Vitruvius (Morgan Freeman), and a wide array of colorful characters, Emmet and Wyldstyle race to save the world from the evil Lord Business (Will Ferrell).

The Lego Movie is a family comedy based on Lego toys. Drawing from Lego’s many incarnations over the years, The Lego Movie tells a brand new story that is one part kids’ adventure, one part comedic romp, and one part love letter to the Lego brand. With sharp writing, a strong sense of humor, impressive visual detail, and a talented cast of voice actors, The Lego Movie is an entertaining watch for children and adults alike.

The story revolves around Emmet Brickowoski, whose generic personality and lack of talent lead him to wonder if anything about him is special. When Wyldstyle discovers that he is the hero destined to defeat Lord Business, she takes him to the Master Builders, an eclectic group capable of building amazing creations using just the Lego bricks around them. To fulfill his destiny, Emmet must discover what is special about him and become a Master Builder himself.

The world of The Lego Movie is composed of all kinds of genres of Lego pieces, from the City to the Old West. The realms are kept separate by Lord Business, and only Master Builders can slip between them. Lord Business has succeeded in driving the Master Builders into hiding, and his master plan to bring perfect order to the world is nearing completion. Only Emmet, a thoroughly underqualified hero, can stop him.

The Lego Movie uses CGI animation to replicate the look of real Lego. Almost everything in the film can be built with real Lego pieces, from the buildings and vehicles to the dust clouds and fire effects. The colorful CGI and freedom from conventional physics give the animation a very energetic feel, while detailed backgrounds, fast pacing, and some truly clever builds pack each scene with plenty to pay attention to.

The ability to draw from any Lego set ever released lets The Lego Movie mash up genres and franchises in a way that resembles any mixed bin of actual Lego pieces. The original characters appear alongside classic Lego minifigures, minifigures from themed Lego sets, and other characters as far-flung as Batman and Abraham Lincoln. Few of these characters earn more than brief cameos, but the sheer breadth of what is included is a testament to Lego’s many, many products.

The Lego Movie also features an all-star cast of voice actors that bring its jokes to life, including Chris Pratt, Elizabeth Banks, Morgan Freeman, Will Ferrell, Liam Neeson, Alison Brie, Will Arnett, and Charlie Day. The comedy works in quite a few subtle jokes alongside its more obvious, kid-friendly gags, and the detailed humor and fast pacing ensure that there is almost always something amusing happening onscreen.

There are drawbacks to The Lego Movie’s unique style. The various parts of the Lego universe never feel cohesive, and the supporting characters tend to be deliberately shallow. The sentimental parts of the film are a result of the characters and voice acting more than the story or world-building. The humor can be forced at times, relying too much on randomness and eccentricity, and the rapid pace can be difficult to keep up with.

But to its credit, these tradeoffs are conscious ones that let The Lego Movie achieve just what it wants to: the sense of unbridled creativity one gets from playing with a pile of mismatched Lego pieces. The jumbled setting, the flat world, and the token plot are all deliberate themes that the movie works with. The payoff is a free-spirited, entertaining movie with a nice message about finding identity and meaning in a world that is missing them.

Watch The Lego Movie if you are in the mood for a creative, energetic, and well-executed family comedy. Its unique blend of elements gives it a strange feel, but the humor, characters, and acting talent are more than enough to make up for any oddness. Skip it if you are looking for a movie with a more sedate tone, a more cohesive world, or a deeper plot.

7.8 out of 10 on IMDB. I give it an 8.0 for childlike energy and great humor.

“Iron Man sucks.” —Batman

Today’s quick review: The Lego Batman Movie. After Batman (Will Arnett), Gotham’s egotistical protector, foils the Joker’s (Zach Galifianakis) latest scheme, the supervillain hatches a plan to prove that he is Batman’s greatest villain. With the fate of Gotham on the line, Batman must learn to work with Barbara Gordon (Rosario Dawson), the new police commissioner, Dick Grayson (Michael Cera), his adopted son, and his butler Alfred (Ralph Fiennes) to save the day.

The Lego Batman Movie is a family action comedy from the creators of The Lego Movie. Packed with the same wacky humor as its spiritual predecessor, The Lego Batman Movie serves up a potent combination of absurd humor, silly action, and Batman parody. Its breakneck pacing, attention to detail, and kitchen sink approach to comedy make it an energetic and often hilarious watch for anyone with even a passing familiarity with Batman.

The film embraces all the extremes of the Batman mythos, from his expansive rogues’ gallery to his legendary fighting prowess to all the goofiest moments of the character’s decades-long history. But the story itself breaks the typical Batman mold. The heart of the movie is an exaggerated lesson about teamwork and overcoming emotional distance, delivered using the same loose, eclectic storytelling as The Lego Movie.

The movie kicks off with a quick, Joker-led caper involving a ridiculous number of Batman villains, but from there it veers into new territory. The movie’s parodies and exaggerations give it an identity distinct from any canonical incarnation of Batman, with a story cut from whole cloth. These departures make The Lego Batman Movie more a flight of fancy than a direct riff on the Batman formula.

The film’s sense of humor is its greatest strength. The rapid-fire jokes run the gamut from simple sight gags to jabs at the genre to obscure Batman references. The movie is packed to the brim with in-jokes for savvy fans, but it never loses its general appeal. The sheer intricacy of the scenes ensures that there will always be something funny going on. For every joke that misses the mark, there are two more that hit.

The comedy is backed by an impressive cast of voice actors. Will Arnett dominates with his self-absorbed caricature of Batman, a role that justifies the movie’s existence by itself. His childish personality, inflated ego, and penchant for beatboxing make for a character that is consistently funny. He is joined by Michael Cera as Robin, whose over-the-top innocence and vulnerability make him a foil to Batman.

The rest of the cast is solid as well. Ralph Fiennes voices Alfred, Batman’s surrogate father figure and a natural fit for the British actor. Rosario Dawson plays Barbara Gordon, Batman’s ally, professional rival, and dubious love interest. Zach Galifianakis makes for an odd but competent Joker, never topping Mark Hamill’s take but working well nonetheless. The rest of the cast contains a number of familiar names tucked away in unexpected roles.

Watch The Lego Batman Movie if you are in the mood for a hilarious parody of the superhero genre. Fans of The Lego Movie will find a lot to love in its spiritual successor, and Batman fans will enjoy the movie’s thorough treatment of the character. The rapid pacing, childlike storytelling, and genre-bending flavor may be enough to sour some viewers, but for most, The Lego Batman Movie will be a fun watch.

7.7 out of 10 on IMDB. I give it an 8.0 for excellent humor.

“Your punishment must be more severe.” —Bane

Today’s quick review: The Dark Knight Rises. Eight years after the disappearance of Batman, Gotham has entered a new era of prosperity and Bruce Wayne (Christian Bale) has secluded himself from the world. But the arrival of Bane (Tom Hardy), an outcast from the League of Shadows, in Gotham sparks a chain of events that pull Bruce out of retirement. To save his city, Bruce must confront his demons and once again take on the mantle of Batman.

The Dark Knight Rises is a superhero movie and the final film in the Dark Knight trilogy. Directed by Christopher Nolan, The Dark Knight Rises raises the stakes one last time as Bane threatens Gotham itself. The movie features the same talented cast, tight writing, and clear vision as the previous two films, making it one of the better entries in the superhero genre and a fitting end to an impressive trilogy.

The Dark Knight Rises departs from the tone established by the previous two films in several ways. Between the time jump, Bruce’s early retirement, and the sweeping plot of the movie, the viewer gets the impression that something has gone wrong. Gotham has been saved, but its heroes have fallen. The sense of discomfort is deliberate, mirroring Gotham’s complacency and Bruce Wayne’s lost sense of purpose.

At the same time, The Dark Knight Rises keeps the mainstays of its predecessors: a realistic tone, crime drama elements, and a brooding Batman. Drawing inspiration from the iconic The Dark Returns graphic novel by Frank Miller, the movie takes these elements one step farther to show a Gotham that no longer needs Batman and a Bruce Wayne who is unable to move on. Themes of obsession and loss add a layer of maturity to the trilogy’s crime thriller formula.

The plot revolves around the masked terrorist Bane and his plan to bring Gotham to its knees. The task of stopping him falls to Batman, whose years of absence and lingering injuries put him at a severe disadvantage. The plot takes offers just as many twists and turns as The Dark Knight’s, but it takes more risks along the way. The plot threads are not as tightly woven, yet they still deliver plenty of action, mystery, and excitement.

Bane’s scheme sweeps up a number of supporting characters in its wake: Selina Kyle (Anne Hathaway), a cat burglar looking for a clean slate; John Blake (Joseph Gordon-Levitt), a young detective who once looked up to Bruce; and Miranda Tate (Marion Cotillard), Bruce’s partner on a failed clean energy project. Their varied roles in the plot, ranging from minor to pivotal, give the story its complexity and sense of unpredictability.

The core conflicts of the film are once again ideological. Bane considers himself Gotham’s reckoning for decades of corruption in a bastardized offshoot of the League of Shadows’ credo. Selina Kyle offers a more balanced take, disdainful of the rich but uncomfortable with Bane’s brutal methods. John Blake is an echo of the hero Bruce once was, while Alfred Pennyworth is his long-neglected voice of reason.

The characters in The Dark Knight Rises are as strong as ever. While no one manages to top Heath Ledger’s Joker, the cast brings together a number of the most respected actors in Hollywood with no real misses. Christian Bale handles his character’s transformation well. Michael Caine, Gary Oldman, and Morgan Freeman return as Alfred Pennyworth, Jim Gordon, and Lucius Fox, respectively and are all given important supporting roles.

The new additions to the cast help flesh out the world of the Dark Knight trilogy and set up the movie’s plot and themes. Tom Hardy plays a suitably meancing Bane, whose ruthless tactics and muscular build make him a formidable foe for Batman. Anne Hathaway presents a nuanced Selina Kyle, a thief caught between conscience and self-interest. Joseph Gordon-Levitt makes for a strong secondary protagonist as John Blake, an honest cop who shakes Bruce out of his languor.

Watch The Dark Knight Rises if you enjoyed either of the first two films in the trilogy. Although a shade less compelling than The Dark Knight, The Dark Knight Rises is still a polished film with excellent writing, acting, and direction. It makes for a gripping watch and serves as a worthy finale to the series.

8.5 out of 10 on IMDB. I give it the same for incredible quality all the way around.

“Let’s put a smile on that face.” —The Joker

Today’s quick review: The Dark Knight. With the masked vigilante Batman (Christian Bale), veteran cop Jim Gordon (Gary Oldman), and the fearless new district attorney Harvey Dent (Aaron Eckhart) cleaning up the streets of Gotham, the city’s remaining mob bosses turn to the Joker (Heath Ledger) to rid the city of its heroes. A demented criminal genius, the Joker unleashes a sadistic crime wave that threatens to shatter the city’s fragile grip on law and order.

The Dark Knight is a superhero movie with heavy crime drama and thriller elements. The second entry in the Dark Knight trilogy from director Christopher Nolan, The Dark Knight picks up six months after the events of the first movie, as Batman’s example begins to improve Gotham. The execution of the film is stellar, with a phenomenal cast, memorable writing, and plenty of action, making The Dark Knight a rare superhero film that appeals to fans across genre lines.

The Dark Knight offers the same dramatic, realistic take on the DC superhero as the first film. Bruce Wayne is not a billionaire in spandex, but a uniquely driven man with the years of training and arsenal of tools needed to wage a one-man war on the criminals of Gotham. This tone works remarkably well, combining the grit and dramatic potential of the crime genre with the flexibility and staunch moral conflict of the superhero genre.

The Dark Knight is even more grim than Batman Begins, but it has an undercurrent of heroism and faith that keeps it from becoming bleak. Where Batman Begins was an intricate origin story for Gotham’s first superhero, The Dark Knight is a dramatic clash of symbols: heroes and villains wrestling for the soul of Gotham. With a few welcome additions to the main cast and a few new gadgets for Batman, the second film enriches and expands upon the tone of the first.

The plot is a complex, twisting affair involving a city on the verge of redemption, its desperate remnants of organized crime, and an anarchic wildcard who sends the situation spiraling out of control. The Joker proves his seriousness as a villain with a series of crimes that hit Gotham where it is most vulnerable. Between his elaborate schemes and the heroes’ frantic attempts to keep up, the plot quickly becomes tense and unpredictable.

The heart of the film involves the relationship between Gotham’s three greatest defenders: Batman, Jim Gordon, and Harvey Dent. The conflict between them is driven by one simple fact: for all his effectiveness, Batman can never leave the shadows. And while Harvey Dent has shown what can be done in the light, his actions have made him a target. At this crossroads, the appearance of the Joker complicates the difficult question of what kind of hero Gotham truly needs.

The movie’s plot is backed by a deep cast and a set of strong performances. Heath Ledger steals the show as the Joker, a maniacal villain with an uncanny talent for staying two steps ahead of the law. Ledger’s take on the character is different from any before it: sinister, unnerving, and memorable. The classical elements of the character meet new quirks and a renewed sense of lethality, all held together by Ledger’s potent acting.

The rest of the cast is impressive as well. Christian Bale’s Bruce Wayne and Gary Oldman’s Jim Gordon are pushed further by the trials they undergo. Michael Caine and Morgan Freeman return as Alfred Pennyworth and Lucius Fox, respectively, Bruce’s friends and mentors. Maggie Gyllenhaal replaces Katie Holmes as Rachel Dawes, Bruce’s last tie to normalcy. Finally, Aaron Eckhart does a fantastic job with the pivotal role of Harvey Dent, Batman’s charismatic counterpart.

The Dark Knight boasts tight execution all the way around. Hans Zimmer provides a tense, dramatic soundtrack that sticks with the viewer without being overtly catchy. The film is well-paced and maintains excellent tension throughout. Its direction is solid, and its script is filled with memorable lines. Despite a few flaws, such as a difficult plot and a lengthy finale, The Dark Knight is a powerful feat of filmmaking.

Watch The Dark Knight if you have any taste for crime dramas or superhero movies whatsoever. Its magnificent execution and quasi-realistic take on the superhero genre give it broad appeal. Only the truly disinterested should skip it.

9.0 out of 10 on IMDB. I give it an 8.5 to 9.0 for outstanding vision and execution.

Today’s quick review: The Matrix Revolutions. With the Machines mere hours from breaking through to Zion, Morpheus (Laurence Fishburne) and Trinity (Carrie-Anne Moss) dive back into the Matrix to rescue Neo (Keanu Reeves), whose mind has become trapped. With the Matrix itself threatened by Agent Smith (Hugo Weaving) and Zion preparing its final stand, Neo attempts to reach the Machine City to fulfill the destiny of the One and put an end to the war.

The Matrix Revolutions is a science fiction action movie and the final film in the Matrix trilogy. The story of the Matrix reaches its climax as the plot threads established in The Matrix Reloaded begin to come together. Featuring the same compelling style as the first two films and much of the action, The Matrix Revolutions makes for a solid watch on its own but a mediocre ending to a reputable series.

The Matrix Revolutions has flaws that its two predecessors lack. The movie spends very little time in the Matrix, opting instead to focus on the grim war going on in the real world. As such, the movie’s action sequences have a very different flavor than those in the previous films. The smaller number of Matrix fight scenes are supplemented with competent but more conventional action scenes set in the real world.

The third movie is also heavier on plot and drama than the previous films. The movie slows down in the middle as it sets up for the finale, with several sequences that could have been cut or abridged with little damage to the story. The film’s greatest weakness is the way it wraps up the plot of the series. Its tonal shift, unclear logic, and ambiguous ending make The Matrix Revolutions a less than satisfying conclusion to the trilogy.

Nevertheless, The Matrix Revolutions remains a strong science fiction film in concrete terms. The special effects are as polished as ever, the setting is well-developed, and the action scenes are still exciting. Between its swarms of robots, hovercrafts, power armor, virtual reality, and dystopian future, The Matrix Revolutions is quintessential science fiction, with the budget and action to back up its premise.

Watch The Matrix Revolutions to find out how the Matrix trilogy ends. The Matrix Revolutions is a decent film with several virtues of its own, but it is a marked step down from the quality of the first two. Skip it if you disliked The Matrix Reloaded or you are invested in the trilogy ending on a high note.

6.7 out of 10 on IMDB. I give it a 7.5 for fine science fiction and visual spectacle that fails to live up to its predecessors.

Today’s quick review: The Matrix Reloaded. As the Machines tunnel to Zion, the last refuge of humanity, Morpheus (Laurence Fishburne), Neo (Keanu Reeves), and Trinity (Carrie-Anne Moss) journey inside the Matrix to look for a way to stop the onslaught. Their only hope lies with the Oracle (Gloria Foster) and the prophecy of the One, but even that hope might prove to be yet another layer of Machine control.

The Matrix Reloaded is a science fiction action movie that picks up six months after the events of The Matrix. The war against the Machines has spilled into the real world even as the Matrix grows more dangerous. Written and directed by the Wachowskis, The Matrix Reloaded continues its predecessor’s trend of special effects innovation and stylish sci-fi action. Though it lacks the tight writing of the original, it offers spectacle and creative sci-fi in abundance.

The sequel takes a risk by expanding the universe of the Matrix beyond the limited slice seen in the first film. The movie introduces the concept of Exiles, programs banished from the Machine mainframe who have taken up residence in the Matrix. The reborn Agent Smith (Hugo Weaving) is a great addition to the canon, while a number of smaller changes help set up some of the movie’s creative fight scenes.

But these changes come with a price. In its attempts to grow beyond the confines of the first film, The Matrix Reloaded sacrifices its philosophical finesse and sense of mystery. The answers Neo finds are vague, cryptic, and unsatisfying, robbing the movie of much of its intellectual and emotional impact. Fans of the first film’s qualities as a science fiction drama may be disappointed in the sequel’s weaker mysteries and action-oriented plot.

What The Matrix Reloaded lacks in philosophical coherence, it makes up for in pure action. The sequel improves on the already outstanding action of the first film, upgrading its special effects, inventiveness, and scope. Featuring physics-bending martial arts, a wide variety of weapons, polished CGI, and uniformly excellent premises, the action sequences in The Matrix Reloaded are some of the most iconic in cinema.

Any action fan who enjoyed The Matrix will get something out of The Matrix Reloaded. The movie’s weaknesses in writing and exposition keep it from being an entirely satisfactory sequel, but its decent plot, strong atmosphere, and jaw-dropping action scenes are enough to set it apart from typical action fare. Those who only liked The Matrix for its cerebral side will dislike the answers the sequel provides.

7.2 out of 10 on IMDB. I give it an 8.5 for superb action, a decent plot, and an excellent setting.

Today’s quick review: The Animatrix. While fleeing from a Sentinel ambush, the crew of the hovercraft Osiris discovers that the Machines have begun drilling toward Zion. Meanwhile, in the Matrix, a high school boy’s faith in Neo sets him free. Elsewhere in the Matrix, lonely individuals brush with the true nature of their reality. And centuries earlier, a disobedient android sets off a robotic revolution that leads to the scourging of the Earth.

The Animatrix is a collection of animated sci-fi shorts set in the universe of The Matrix. Released between alongside the second entry in the series, The Animatrix consists of nine ten-minute short films that flesh out the world of the franchise. The shorts vary drastically in style, tone, quality, and purpose, with a few shedding light on the series’ backstory, a few tying into the main plot in minor ways, and a few that ony use the Matrix as a backdrop.

The closest short to the established canon is the first one, The Last Flight of the Osiris, a CGI film set just before The Matrix Reloaded. A prequel of sorts, the short shows how Zion came to be warned about the Machine’s offensive. The short has impressive CGI and a fair bit of action, but ultimately consists of a single, expendable scene that could have easily been part of the second movie.

The Second Renaissance Parts I & II are a pair of shorts that depict the events leading up to the war between humanity and the Machines. With a decent art style and competent writing, the quality of the shorts is reasonable, but the tone is at odds with that of the main films. The shorts make explicit the series’ backstory, removing some of the mystery and replacing it with well-executed but conventional science fiction.

Kid’s Story is the last short of note, an origin story for a supporting character in the second and third movies. When a teenager in the Matrix is contacted by Neo, he begins to understand the truth but earns the attention of the Agents in the process. The concept is interesting, but the art style is loose and messy and the writing leaves a few crucial points unstated. The main draw of the short is its minor connection to the movies.

The rest of the shorts are vignettes with varying degrees of relevance and quality. They range from bleak to downright psychedelic, and in general they add very little to the canon. There are a few neat ideas tucked away in there, such as an elaborate samurai battle in a training program or a black-and-white noir, enough to catch the interest of a devoted science fiction fan, but the shorts are very hit-or-miss and dependent on taste.

How much you enjoy The Animatrix will depend on your taste in animation and science fiction. The shorts are meant to be artistic standalone pieces, guest segments that take the world of the Matrix and run with it. But between the splotchy art quality, the limited nature of the format, and the poor connection to the main plot, the shorts are easy to skip and should only be sought out by Matrix fans with a taste for experimental animation.

7.4 out of 10 on IMDB. I give it a 6.5 for a couple of decent shorts, a few bad ones, and mediocre use of a strong setting.

Today’s quick review: Speed Racer. Eight years after his older brother died on the track, Speed Racer (Emile Hirsch) has become one of the best racers in the world. But when Royalton (Roger Allam), a powerful corporate executive, tries to recruit him, Speed is exposed to the seamier side of professional racing. To restore his faith in the sport he loves and put an end to Royalton’s shady activities, Speed must outrace a field of nefarious opponents.

Speed Racer is a family action film based on the classic cartoon series. Sporting technicolor visuals, fast-paced car combat, and stylized direction by the Wachowskis, Speed Racer attempts to recreate the heart, excitement, and wonder of a kids’ cartoon with modern production values and filmmaking techniques. Unfortunately, Speed Racer trips over its own stylization and falls short of its goal, leaving it a movie with glimmers of potential and poor execution.

The racing is the film’s strongest point, a unique, physics-defying swirl of cars, colors, and gadgets. Omnidirectional steering, spring-powered jumps, and other cartoonish tricks replicate the feel of a child crashing toy cars together in a frenzy of imagination. The bright, artificial color scheme looks its best on the track, and the retro-futuristic cars and grandly proportioned tracks make good use of the film’s shiny CGI.

Speed Racer’s other major strength is its heart. Though tempered by subpar writing, poor delivery, and the various distractions the film has to offer, Speed Racer does have the makings of a strong emotional core. The tragic story of Speed’s older brother leads to the film’s few emotionally weighty scenes. Speed’s parents are torn between supporting their son and their fear of losing him, while Speed himself doubts what he should do.

These strengths are outweighed by the film’s weaknesses. Bad dialogue and a couple of goofy moments cut into the unbridled action of the races, while the emotional arc of the film is buried under Saturday morning sensibilities and weak acting. The heavy stylization gives the film an erratic feel that hurts its ability to tell a coherent story, from unnecessary reaction shots and poorly interleaved flashbacks to fantasy sequences that distract more than they entertain.

The characters deserve particular mention. The best performances in the film belong to John Goodman and Susan Sarandon, who play Speed’s parents reasonably well. Emile Hirsch makes for a decent if bland protagonist, but the Royalton is half the villain he could have been if Tim Curry had been playing the part. Spritle and Chim Chim, Speed’s younger brother and his pet chimpanzee, are more annoying than entertaining as comic relief.

Watch Speed Racer only if you are curious about its creative races and polished visual effects. The world is too cartoonish in the wrong ways to have much adult appeal, but the races, the spectacle, and a few choice moments in the story have the intended effect. Most viewers would be better off skipping it, but those with an eye for hidden gems will get some, but not all, of what they want out of it.

6.1 out of 10 on IMDB. I give it a 6.0 for fun action and visual spectacle held back by subpar writing, acting, and focus.

Today’s quick review: Immortal. In the year 2095, the Egyptian gods strip Horus (Thomas M. Pollard) of his immortality and allow him to live on Earth for one week before his execution. Horus chooses Nikopol (Thomas Kretschmann), a political dissident recently escaped from cryoprison, as his host and begins searching for Jill (Linda Hardy), an amnesiac with unique biology and a mysterious destiny.

Immortal is a science fiction film loosely based on the French graphic novels by Enki Bilal. The movie depicts a futuristic New York where genetic engineering has radically changed society, an Egyptian pyramid looms above the skyline, and an inexplicable rift has opened in Central Park. With artistic direction, a cryptic plot, and prevalent CGI, Immortal is a unique, experimental sci-fi film with a number of flaws.

The tone of Immortal resembles that of a Philip K. Dick story: a cold and unrecognizable future, an amnesiac protagonist, and themes of powerlessness and identity. The future has brought revolutionary advances in technology, quasi-dystopian societal upheaval, and a few changes that are not so easy to categorize. This sense of disconnection is reflected in the two protagonists: Nikopol, a possessed fugitive, and Jill, an outcast with no memory.

The setting of Immortal has the same far-flung speculation as The Fifth Element but without the comforting layer of campiness. Every nook and cranny of the film is packed with world-building, from the various applications of gene technology to hints at the world’s recent history. These details can be a lot to take in, but they give the firm impression that Immortal is set in a cohesive sci-fi world, one that can barely fit in a single movie.

While most of the concepts Immortal uses are not new to the sci-fi genre, they are confidently executed and treated as a crucial part of the setting, rather than mere filler. At the same time, Immortal is not afraid to take liberties with the genre, tossing in the Egyptian gods and a whole slew of otherworldly abilities. The resulting blend sets Immortal apart from more conventional films that phone in their world-building for the sake of expediency.

The plot of Immortal starts odd and gets odder. The movie follows several key plot threads, each with its own mysteries and learning curve. The threads involving Jill, Nikopol, and Horus form the main story, but parallel stories involving the supporting cast crisscross the main one in peculiar ways. The payoff to all this setup is dulled by the characters’ lack of agency and the unclear nature of the conflict.

The film’s visuals are a mixed bag. The environments are done in intricate, flavorful, and well-realized CGI, although they tend to be visually cluttered. The practical effects and costumes are all competent, grounding the setting well. But almost all of the supporting characters are portrayed by crude CGI models that have not aged well. The contrast between the live-action main cast and their misproportioned CGI counterparts remains jarring throughout the movie.

Watch Immortal if you are in the mood for an experimental, artistic entry into the science fiction genre. Between the bleak tone, the tangled plot, and the middling amount of action, Immortal does not scratch the usual sci-fi itch. Most viewers would be better off skipping it. But those few, dedicated science fiction fans looking for something off the beaten path should check it out.

6.0 out of 10 on IMDB. I give it a 6.5 for ambitious, artistic sci-fi with mixed execution.

Today’s quick review: Oldboy. One drunken night, Oh Dae-su (Min-sik Choi), a Korean businessman, is kidnapped off the street and locked in a small room with no explanation why. After 15 years of imprisonment, his faceless captors release him with only a scant few clues to go on. With the help of Mi-do (Hye-jeong Kang), a kindly sushi chef, Oh sets off on a bloody quest for answers and revenge.

Oldboy is a Korean revenge thriller with a dark story and excellent direction. With a compelling premise, artistic presentation, an odd but intereting soundtrack, and rock-solid progression, Oldboy makes for a weighty and engrossing watch. The quality can be seen from the earliest moments of the movie, subtle decisions in writing and presentation that turn what could have been a simple revenge flick into something more.

Unlike some thriller protagonists, Oh Dae-su is not a genius. His is resourceful enough to stay on the trail of his captors, but not enough to avoid the traps they set along the way. The balance between Oh and his enemies gives Oldboy a clever sort of tension where it is never clear whether Oh is making progress or falling victim to one more layer of control.

The human side of Oldboy has some nuance to it as well. Oh may be the protagonist, but he is no hero. His flaws range from ordinary weakness to erratic behavior to sadistic acts of violence, but he never loses the sympathy owed to a normal man treated unjustly. The movie sees him go from handsy drunk to desperate prisoner to vengeful warrior, yet he remains a complicated, human character throughout.

The tone of Oldboy has a similar nuance to it. The themes of the movie are very dark, ranging from isolation and madness to rape and torture. But the movie keeps up enough momentum to push through its most brutal parts. By the time the impact of a scene fully registers, the next scene is in full swing, with a new mystery, conflict, or peek at the seedy side of human nature to occupy the viewer’s attention.

Watch Oldboy when you are ready for a perverse, finely crafted thriller that lives up to its early promise. The level of violence makes it a nonstarter for any sensitive viewers, but the momentum of its plot keeps it from descending all the way into horror. The movie offers several well-shot fight scenes, but its focus is on tight, compelling mystery and character drama rather than action.

8.4 out of 10 on IMDB. I give it an 8.0 to 8.5 for excellent craftsmanship.