Sleight of Film

“The fate of the free world’s in the hands of a bunch of hustlers and thieves.” —Darius Stone

Today’s quick review: xXx: State of the Union. After an attack on his life forces him into hiding, NSA agent Augustus Gibbons (Samuel L. Jackson) turns to Darius Stone (Ice Cube), a former Navy Seal now serving time in prison, to take on the mantle of xXx, the latest in a series of deep cover agents recruited from outside the Agency. Together they uncover a planned coup by Secretary of State George Deckert (Willem Dafoe), the man who had Darius imprisoned.

xXx: State of the Union is an action movie and a loose sequel to the original xXx. State of the Union takes the premise and supporting characters of the first film but swaps out Vin Diesel for Ice Cube. Without Xander Cage, the extreme sports motif gets dropped in favor of more attitude, broadly put. Darius Stone combines a criminal attitude with military training for a character that fits much more naturally into the action genre than an athlete turned spy.

The swap helps with the movie’s pacing as well. With the xXx program already established, State of the Union is free to drop right into the main plot. The military focus makes the action in State of the Union feel more cohesive, but at the cost of some of the original’s more inventive stunts. What is left are the bread-and-butter action scenes, with guns, cars, explosions, and close combat, delivered in sufficient quantity and spread evenly throughout the movie.

Though a more consistent movie than its predecessor, xXx: State of the Union shares some of its flaws. The plot has good pacing and the right progression but treads very familiar ground for action movies. The characters are passable but not especially memorable, and neither Samuel L. Jackson nor Willem Dafoe are at their best. Likewise, the dialogue passes muster, but the lines are not as sharp as other entries into the genre.

Watch xXx: State of the Union if you are in the mood for a popcorn action flick with no strings attached. While not a standout in the genre, xXx: State of the Union makes for a fun watch with few iconic moments but few glaring errors. Skip it if you want a deeper action movie or one that takes more chances.

4.3 out of 10 on IMDB. I give it a 6.5 to 7.0 for enjoyable if conventional action.

“Our last moments on Earth, and this is what you have to say to me?” —Polly Perkins

Today’s quick review: Sky Captain and the World of Tomorrow. When a squadron of titanic robots attacks New York City, ace pilot Joe Sullivan (Jude Law), alias Sky Captain, takes to the air. Polly Perkins (Gwyneth Paltrow), a hardheaded reporter, has the clues he needs to figure out where they came from. Together they set off on a globe-spanning adventure to track down the robots’ master, the mysterious Doctor Totenkopf, before he can bring his plan to fruition.

Sky Captain and the World of Tomorrow is a stylized adventure film set a fictionalized version of the early 20th century. Filled with robots, ray guns, dogfights, and all manner of adventure, Sky Captain and the World of Tomorrow recreates the pulp era of science fiction using modern filmmaking and special effects. The movie thrives on this nostalgia, tapping into the sense of freewheeling wonder that dominated early boys’ adventures.

Unfortunately, Sky Captain is only partially successful in this worthy endeavor. The visual style is faithful to a fault, replicating the look of the era using muted golden tones, art deco skylines, and soft camera lenses. The technology mixes post-World War I planes, airships, and electronics with science fictional extrapolations pulled from the pages of a comic book. The plot touches on a shocking number of pulp adventure moments given the time available.

These successes are offset by several debilitating failures. The film’s heavy stylization comes with enough visual clutter to make it difficult to watch. The limited color palette, hodgepodge of light sources, and constant use of greenscreen only add to the mess. The characters are deliberately shallow, the plot is linear, and the movie handicaps itself by avoiding many of the tricks modern action movies use to build excitement.

The result is an experimental film that gambles hard on its style. At its best, Sky Captain and the World of Tomorrow recaptures the sense of adventure that should always be at the heart of science fiction. At its worst, it borrows from a defunct genre without making the concessions necessary to adapt to a new medium. Where Sky Captain falls on this spectrum depends on your tastes and your mood.

Watch Sky Captain and the World of Tomorrow for a stylized, daring adventure film that does not quite achieve its goals. Skip it if you are looking for a more conventional watch. See Captain America: The First Avenger or The Adventures of Tintin for more successful adaptations of early 20th-century science fiction and adventure, respectively.

6.1 out of 10 on IMDB. I give it a 6.0 to 6.5 for an ambitious premise with flawed execution.

Today’s quick review: La La Land. Mia (Emma Stone), an aspiring actress in a slump, finds a kindred spirit in Sebastian (Ryan Gosling), a jazz pianist with dreams of opening a nightclub. As their antagonism gives way to romance, the couple must decide whether their dreams are worth following and what they are willing to sacrifice to make them come true.

La La Land is a romantic musical about a pair of artists in Los Angeles who are struggling to follow their dreams. La La Land is an ode to the musicals of yesteryear, with an upbeat jazz soundtrack, stylish costumes, and frequent bursts of tap dancing. The cinematography lends itself well to the energetic tone, with long, sweeping camera shots and subtle musical refrains to keep the scenes moving at a healthy clip.

Mia and Sebastian are the heart of the movie, and their relationship is interesting enough to drive the character-centric plot. Mia is a smart woman who followed her dreams to Hollywood, only to come up short in audition after audition. Sebastian is a pianist whose passion for jazz keeps him from holding down a steady job. What they have in common is their nostalgia for bygone eras: Mia for the Golden Age of Hollywood, and Sebastian for the jazz greats of old.

Emma Stone and Ryan Gosling make an effective lead couple. Emma Stone’s Mia strikes a delicate balance, coming off as witty but not acerbic, feminine but not moonstruck. Ryan Gosling’s Sebastian makes a rude first impression, but his bluntness gives way to sincerity as his passion for jazz shines through. Their scenes together run the gamut from funny to sweet to romantic, walking a tasteful line between affection and schmaltz.

The main draw of La La Land is its catchy swing soundtrack. The song list couples up-tempo dance numbers with a few slower, more wistful songs, giving the sound a nice emotional range while keeping the tone consistent. The quality of music remains high throughout, with one or two standouts backed by a solid stable of supporting songs. The songs shift naturally between the background and the foreground, subtly tying the ordinary scenes to the musical numbers.

La La Land backs its impressive soundtrack with equally impressive dancing. The dances vary from tap to ballroom and back, but even the most sentimental songs retain a sense of forward motion. Emma Stone and Ryan Gosling are talented dancers, and if they fail to upstage the Hollywood greats, they do manage to hold their own. The other dancers give the dances a sense of scale when needed, but fade gracefully into the background when the spotlight is on the stars.

At first the modern setting dates the film badly: Priuses, cell phones, and pop culture references form an odd dissonance with tap dancing and swing music. But soon the film establishes itself and the details of setting are swept away in favor of romance and song. Once it gets rolling, La La Land does an excellent job of balancing the style, energy, and optimism of classic musicals with modern pacing, characters, and production values.

Watch La La Land if you are in the mood for a pleasant musical that merges classical style with modern storytelling. While not yet a classic itself, La La Land revives some of the best aspects of the musical genre. Those who dislike musicals may still get something out of its strong writing and characters, but most viewers who dislike the genre are better off skipping it altogether.

8.6 out of 10 on IMDB. I give it an 8.0 for an excellent soundtrack, a worthwhile romance, and polished execution; your score will be higher or lower depending on your taste in musicals.

Today’s quick review: L.A. Confidential. Sergeant Ed Exley (Guy Pearce) is an up-and-coming police officer with a nose for politics. Officer Bud White (Russell Crowe) is a hotheaded but effective cop with a good heart. Sergeant Jack Vincennes (Kevin Spacey) is a minor celebrity more concerned with his reputation than his police career. The three men find themselves drawn into a sprawling web of crime and deception that will put their loyalties to the test.

L.A. Confidential is a crime drama set in 1950s Los Angeles. The movie weaves an intricate tale around its three protagonists. A coffee shop massacre kicks off a winding investigation that Ed and Bud approach in opposite ways. Meanwhile, Jack’s high-publicity drug busts turn up questions with no answers. As the three officers pursue their own goals, their paths intersect in unexpected ways, hinting at the existence of a larger mystery.

One of L.A. Confidential’s greatest strengths is its cast. Guy Pearce, Russell Crowe, and Kevin Spacey star as three police officers with very different approaches to their professions. Ed Exley, the son of a cop, wants to live up to his father’s legacy. His by-the-book approach to police work rubs his fellow officers the wrong way, but his ability to play politics ensures him a bright future on the force.

Bud White and Jack Vincennes do not share his idealism. Bud does whatever he has to, legal or not, to deliver justice, while Jack spends his time catering to the press. The movie is not afraid to play the three men off each other. Their conflicts give the movie its nuanced moral character: with three dissenting protagonists, the right course of action is never very clear, a theme echoed in their crisscrossing subplots.

The lead trio are backed by a capable supporting cast. James Cromwell plays Dudley Smith, a police who holds the key to Ed’s career. Kim Basinger plays Lynn Bracken, a prostitute caught up in Bud’s investigation. Danny DeVito plays Sid Hudgens, a tabloid writer who collaborates with Jack. With solid performances all around, the cast complements L.A. Confidential’s artful writing and sense of intrigue.

Watch L.A. Confidential if you are in the mood for a gritty, well-written, and well-acted mystery. Featuring a complicated plot that takes full advantage of its three separate protagonists, L.A. Confidential is one of the better crime dramas around. Skip it if you are looking for action or an easy plot to follow.

8.3 out of 10 on IMDB. I give it an 8.0 for high-quality acting and writing.

Today’s quick review: Astro Boy. When his son Toby (Freddie Highmore) is killed in a lab accident, Doctor Tenma (Nicolas Cage), Metro City’s most brilliant roboticist, creates a robotic double with the memories and personality of the boy. But Tenma finds that he cannot replace his son and rejects his creation. Taking the name Astro, the young robot ventures out into the ruined wastes in search of a place to call home.

Astro Boy is an animated family adventure film based on the classic manga and cartoon character. Astro Boy presents a world where humanity lives in a floating city, robots are ubiquitous, and ethical questions are brushed aside by luxury. The movie features a reasonable plot for a kids’ film, cartoonish CGI graphics, and several familiar voices, including Charlize Theron, Bill Nighy, and Nathan Lane.

The crux of Astro Boy is whether Astro is human. He has the heart and mind of Toby, but is made of metal and silicon. In a world where machines are cast aside on a daily basis, the distinction is an important one. While Astro Boy does not mine this concept as deeply as more mature science fiction, the question receives a satisfactory treatment and offers the movie a bit of heart.

Hand in hand with this theme comes the universe’s treatment of robots. For thinking, feeling, and fully voiced creations, robots are routinely dehumanized and discarded, an odd dissonance that the film never resolves. The paradox is deliberate and ties into Astro’s questionable humanity, but the movie tries to play it both ways, with robot destruction as comic relief and robot humanization as a core plot point. The resulting muddy tone would hamstring a more serious movie; for Astro Boy it is more of a peculiarity.

The film’s overall quality is moderate. The CGI has a soft, rounded look to it, with simple coloring and exaggerated designs reminiscent of a comic, not bad but quickly outclassed by advances in technology. The voice acting draws on an interesting cast but offers nothing too special in the way of performances. There are a couple of good jokes, but most of the humor is feeble. The high-flying action is plentiful but lacks impact.

Most viewers would not get much from Astro Boy. For a similar movie with better characters, humor, and animation quality, check out Big Hero Six. For those of less discerning taste, Astro Boy makes for a pleasant background watch or palate cleanser.

6.3 out of 10 on IMDB. I give it a 6.0 to 6.5 for being a decent family film missing the spark needed to make it shine.

Today’s quick review: Wanted. Wesley Gibson (James McAvoy), an unmotivated accountant who suffers from panic attacks, gets torn from his miserable life when he is targeted by Cross (Thomas Kretschmann), a traitor to an ancient order of assassins known as the Fraternity. Fox (Angelina Jolie), a steely assassin, saves Wesley’s life and takes him to Sloan (Morgan Freeman), the leader of the Fraternity, who shows Wesley how to use powers he never even dreamed of.

Wanted is a stylized action movie based on the comic book by Mark Millar. The movie weds the attitude of Fight Club to the combat of The Matrix. While it falls short of either film, it brims with flashy action that makes it worth a look. The tone fits right in with the other two films, preaching a message of confidence and nonconformity justified by a hidden world of brutal violence.

Where Wanted excels is its action. The movie’s many stunts are fueled by a simple premise: Wesley is one of a handful of people with the unusual biochemistry required to pull off incredible feats of marksmanship, agility, and physical strength. Wanted uses this premise to good effect, with frantic chase scenes, improbable driving, and firefights unlike anything else in cinema, all backed by polished CGI, inventive camera work, and proper use of slow motion.

Unfortunately, Wanted does not live up to its spiritual predecessors in terms of writing, characters, or themes. The plot paints by the numbers, offering a few surprises but never quite setting itself apart. The main cast are not used to their full potential, and the supporting characters are paper-thin. The theme of nonconformity never becomes deep or philosophical, nor do the moral questions raised by the existence of the Fraternity.

Action fans are encouraged to give Wanted a shot. While the movie has the potential for greatness, its polish and creativity only extend to its action sequences, with little substance to back up the flash. Those who come in expecting the whole package will be disappointed, while those just looking for a popcorn action flick will have a fun time.

6.7 out of 10 on IMDB. I give it a 7.0 to 7.5 for elaborate, stylish action sequences with little depth.

“What hump?” —Igor

Today’s quick review: Young Frankenstein. Frederick Frankenstein (Gene Wilder), the grandson of the infamous Victor von Frankenstein, inherits his grandfather’s estate in Transylvania. With it comes a peculiar manservant named Igor (Marty Feldman), a buxom lab assistant named Inga (Teri Garr), and a legacy of morbid research. Though determined to live down his family name, Frederick finds himself drawn to his grandfather’s unfinished work: the reanimation of a human corpse (Peter Boyle).

Young Frankenstein is a parody of the Frankenstein movies from Mel Brooks. Featuring quotable jokes, a remarkable cast, and an unusually coherent story, Young Frankenstein manages to swap horror for comedy with no loss in quality. The movie has all the trappings of the original—black-and-white cinematography, a gothic horror setting, and even props from the first movie—giving it just the right ambience to be an effective spoof.

Young Frankenstein does an excellent job of balancing its story and its humor. The plot follows in the footsteps of the original Frankenstein, but with a reluctant protagonist, a comical cast, and an altogether lighter tone. The dramatic elements of the story make its humor all the more absurd while keeping just enough pathos to make the story resonate. The humor earns laughs without ever trampling the story, giving Young Frankenstein a strong and steady tone.

The movie’s style of humor should be familiar to Mel Brooks fans: eccentric characters, slapstick, wordplay, sight gags, and general silliness. While not quite as far-fetched as the ones in some of Brooks’ films, the jokes are some of Brooks’ most memorable and entertaining. Brought to life by a talented cast, the jokes are always funny and often hysterical.

The cast is one of the finest assembled for a comedy. Gene Wilder plays Frederick, an increasingly unstable scientist who retains his basic humanity. Teri Garr conveys both innocence and innuendo as Inga, while Madeline Kahn throws herself into the role of Elizabeth, Frederick’s irritating fiance. Peter Boyle plays a sympathetic Monster, at once a horrible creature and an innocent, long-suffering soul. To top it all off, Marty Feldman steals the show as Igor, Victor’s cheerful, mouthy assistant, in a performance like no other.

Watch Young Frankenstein if you are even a casual fan of comedy. Young Frankenstein is Mel Brooks’ finest work, an enduring comedy that works on all levels. Skip it only if you dislike comedy as a whole.

8.0 out of 10 on IMDB. I give it the same for enduring humor and great performances.

Today’s quick review: Jumper. When David Rice (Hayden Christensen), a high school outcast, develops the ability to teleport, he leaves home for a life of theft, travel, and luxury. But after eight years on his own, he encounters Roland (Samuel L. Jackson), the leader of a group dedicated to eradicating Jumpers like David. To defeat Roland, David must seek the help of Griffin (Jamie Bell), a fellow Jumper, while trying to keep Millie (Rachel Bilson), his high school crush, out of harm’s way.

Jumper is a science fiction movie with an interesting premise, satisfying action, and a lackluster plot. The basic concept fits right in with Chronicle, Push, or Next in introducing superpowers to an otherwise realistic setting. But teleportation in particular has the two properties most valuable to any science fiction movie: plenty of fodder for action scenes and the opportunity to speculate.

For all the merits of its premise, Jumper is a movie that only lives up to some of its potential. The teleportation aspect of the story is mined thoroughly, with all the fast-paced action and superpower abuse a fan could want. But the characters are given back stories that are not fully explored, and the universe could have felt a lot bigger with only a few minor additions.

At the root of Jumper’s problems is its length: a scant hour and a half. The plot has a lot in common with other science fiction stories with young protagonists, but it lacks the window dressing to mask the formula. As such, Jumper gives the impression that it is missing an act. It covers its bases and wraps up, with little time spent on developing the characters or world.

How much you enjoy the film will depend on how willing you are to trade story for action. The plot and characters are adequate but not particularly compelling. The action is an inventive flurry of teleportation; while a little more variety would be welcome, it makes excellent use of its premise. But both story and action are outclassed by later entries in the superhero genre, making Jumper at best a snack for action sci-fi fans.

6.1 out of 10 on IMDB. I give it a 6.5 to 7.0 for an interesting premise and creative action sequences hampered by a short run time and mediocre plot.

Today’s quick review: Cool Hand Luke. Luke Jackson (Paul Newman), a veteran with a rebellious streak, is sentenced to two years in prison for an act of petty vandalism. His resilience eventually earns him the respect of Dragline (George Kennedy), the unofficial chief of the prison yard, and the rest of his fellow prisoners. But when Luke’s attitude begins to stir up trouble, the guards decide to break his spirit once and for all.

Cool Hand Luke is a prison drama that brims with human spirit. Paul Newman stars as Luke, a nuanced man with an easy smile and a firm backbone. Once a distinguished soldier, Luke now languishes in prison with little hope or sense of purpose. His sentiments are shared by the other prisoners, who spend their sweltering days working on a chain gang and their evenings gambling on what few diversions present themselves.

Luke’s opposite number is Dragline, the brash but loyal leader of the prisoners, ably played by George Kennedy. The two men represent complementary methods of dealing with adversity. Luke prefers to hang back and bide his time, but his pride draws him into fights he cannot win. Dragline copes by making himself the center of the prison community, bullying and rallying the men with the same overbearing attitude. The two men’s interactions drive much of the story.

Part of what makes Luke interesting is that he is not a larger-than-life hero. He develops a reputation among the prisoners for his fortitude and calm demeanor, but Luke himself is a man, not a legend. His patience has its limits, his decisions are self-destructive, and he chooses his battles without thinking. But for all his faults, his image is enough to offer the prisoners hope, however unrealistic.

Watch Cool Hand Luke if you are in the mood for a well-executed character drama that touches on themes of rebellion, desperation, and hope. The movie earns its points through multifaceted characterization and insightfully human moments, so expect more of a literary feel than the typical, plot-driven film. Those looking for an upbeat movie should look elsewhere, while those who want a fuller story arc should check out The Shawshank Redemption.

8.2 out of 10 on IMDB. I give it a 7.5 to 8.0 for excellent acting, competent execution, and an unusually realistic portrayal of the human spirit.

Today’s quick review: The Hustler. Eddie Felson (Paul Newman), a pool hustler, travels the country with Bert Gordon (George C. Scott), his partner in crime, making money off of suckers. But as Eddie tires of small targets, he sets his sights on Minnesota Fats (Jackie Gleason), a renowned pool player. The aftermath of their match sends Eddie into a downward spiral, with only Sarah Packard (Piper Laurie), an alcoholic with troubles of her own, to keep him afloat.

The Hustler is a drama with a heavy tone, deliberate pacing, and deeply flawed characters. Eddie is a perpetual loser, talented at pool but prone to self-sabotage. His obsession with beating Minnesota Fats puts a strain on his relationship with Bert, his best friend, partner, and mentor. As their partnership dissolves, Eddie finds solace in a new relationship with Sarah, a woman in as bad a place as he is.

The Hustler skirts a careful line between dry and dramatic. The plot unfolds slowly, with little in the way of flash or excitement. The tone never varies much: Eddie’s personal flaws take him down a dark path, in spite of his attempts to fight them. But the characters are engrossing, even in their misfortune, and at some point the focused acting and unflinching direction tip the movie over into a compelling drama with rock-solid foundations.

The Hustler can be a difficult watch: captivating but not entertaining, weighty but not cathartic. Most viewers would be better off looking for a drama with faster pacing or more variety. But patient viewers with a taste for good acting should give The Hustler a try for its excellent performances and slow build to a substantial dramatic payoff.

8.0 out of 10 on IMDB. I give it a 7.0 for its moderate enjoyability and a 7.5 for its high quality; your score will depend on your taste for drama.