Sleight of Film

Today’s quick review: Singin’ in the Rain. Don Lockwood (Gene Kelly), a popular silent film star, has risen to the top with the help of his best friend Cosmo Brown (Donald O’Connor), his shrill costar Lina Lamont (Jean Hagen), and his newfound love Kathy Selden (Debbie Reynolds). But when the advent of the talkie threatens to torpedo his career, he and his friends must salvage his latest film to have any hope of succeeding in the next era of cinema.

Singin’ in the Rain is a cheerful musical about a silent film star at the dawn of sound in Hollywood. Singin’ in the Rain features a trio of talented leads, energetic dance numbers, and an upbeat soundtrack. The movie’s witty repartee and sense of irony give it some bite, while its charm and optimism keep the tone consistently light.

The lead trio of Gene Kelly, Debbie Reynolds, and Donald O’Connor are enough to take the movie far. Gene Kelly and Debbie Reynolds play off each other marvelously, trading barbs and taking turns deflating each other’s egos until they at last fall in love. Donald O’Connor throws himself into the role of Cosmo, Don’s impish and underappreciated best friend. The trio’s banter is backed by top-notch singing and dancing ability from all three.

The music ranges from adequate to excellent. Signin’ in the Rain, the film’s iconic title track, stands out as the best of the bunch, a gentle, catchy tune about being in love. Not all of the remaining numbers are so melodic, but they do offer a pleasant mix of exuberant singing and excuses to dance. Many of the songs are accompanied by tap dancing interludes that complement the music and show off the skills of the performers.

The plot is a mixed bag, with great concepts and mediocre execution. The first half of the film revolves around the turbulent romance of Don and Kathy. As that portion of the plot wraps up, Don’s current film is thrown into disarray by the arrival of motion pictures with sound. The boundary isolates much of the film’s best wit to the first half and much of its best music to the second, while a protracted musical number near the end of the film throws a wrench in its pacing.

Singin’ in the Rain is a must-see for fans of classic musicals. The film also has enough singing, dancing, and acting talent to please even partial fans of the genre, and its flaws are not fatal. Those who dislike the saccharine side of the musical genre should steer clear, as should those looking for a movie with a more elaborate plot.

8.3 out of 10 on IMDB. I give it a 7.5 for good dialogue, great dancing and singing, and a fun soundtrack.

Today’s quick review: Expelled from Paradise. After the ruin of the Earth, most of humanity uploaded their consciousnesses to Deva, a massive satellite that houses an extensive virtual reality network. When a hacker known as Frontier Setter breaks into Deva, system security officer Angela Balzac is granted a physical body and sent to the surface to investigate. Her partner for the mission is Dingo, an opportunistic but effective surface dweller who challenges her on the merits of virtual life.

Expelled from Paradise is an anime science fiction film with reasonably good production values, fast-paced action, and some interesting themes. The story takes place in a postapocalyptic future, where humanity has adapted to a digital existence that may have robbed it of something essential. Angela’s physical form, temporary for the mission, exposes her to a whole side of life she never suspected existed.

First and foremost, Expelled from Paradise is an anime. Angela’s character design and personality only make sense as part of the genre, from her impractical outfit to her love-hate relationship with Dingo. The movie has a distracting amount of fanservice, with gratuitous nudity and revealing outfits that serve no story purpose. Anime veterans will consider these elements par for the course, but they pose a significant barrier to entry for newbies to the genre.

The themes of Expelled from Paradise are surprisingly varied. The movie touches on everything from the nature of consciousness to the drawbacks of cloud computing, all worked in organically and backed by subtle, insightful writing. While none of these issues are explored in depth, Expelled from Paradise offers a science fiction grab bag that balances daring speculation with meaningful philosophical inquiry.

Expelled from Paradise has a limited amount of action, but the action it has is impressive. The handful of battles involve agile mechs with advanced targeting and flight capabilities, while the interevening time is spent constructively on the plot. Mechs are not the main focus of the movie, but they serve to round it out with some explosive action, as well as contributing to its broad take on the sci-fi genre.

Watch Expelled from Paradise if you are a fan of anime-style science fiction. Expelled from Paradise does not excel in any one area, but its interesting themes, well-constructed plot, and enjoyable combat make it a solid hit for the right audience. Viewers who are put off by skimpy clothing or other anime conventions should steer clear, as should anyone looking for a sci-fi film that goes for depth rather than breadth.

6.9 out of 10 on IMDB. I give it a 7.0 for quality science fiction wrapped in a polished anime shell.

Today’s quick review: Jupiter Ascending. Jupiter Jones (Mila Kunis), a jaded young woman who works as a maid, discovers that she is the heir to part of a vast interstellar empire. To keep her from claiming her inheritance, the siblings of the Abrasax family send their emissaries to Earth to kill her. But Jupiter is rescued by Caine Wise (Channing Tatum), a genetically engineered hunter, who introduces her to a universe she never imagined.

Jupiter Ascending is a science fiction movie written and directed by the Wachowskis. Jupiter Ascending offers impressive visual effects, an epic science fiction backdrop, and a budding romance, but fails to live up to its potential. The movie is hampered by weak writing, bland characters, and an uninspired plot set in a well-concepted but poorly realized sci-fi universe. High production values and creative sci-fi are the movie’s saving graces, but these are not enough to make up for its poor fundamentals and lack of heart.

The cast gives Jupiter Ascending a shaky foundation to work with. Mila Kunis plays Jupiter Jones, an emotionless, sarcastic protagonist whose few decisions tend to be mistakes. Channing Tatum plays opposite her as Caine Wise, whose troubled history and air of danger place him firmly in the category of bad boy love interest. Theirs is a dull romance; while the solemn Caine can be written off as the strong, silent type, Jupiter’s detachment robs their relationship of any chemistry.

The supporting cast fares little better. Sean Bean does a credible enough job as Stinger, Caine’s former comrade-in-arms. But the Abraxas siblings, Balem, Titus, and Kalique, range from passable to downright bad, with plot-critical exposition delivered at a whisper and pseudo-British accents sapping their remaining credibility. Even Juipter’s family, who are meant to ground the movie, fail to be likable or memorable.

The plot fits right into the teen sci-fi genre. An ordinary girl finds out she is a space princess, unleashing all manner of chaos and introducing her to a dangerous but eligible protector. Enough of the plot is repetitive, predictable, or misjudged that even the better scenes are buried in mediocrity. With a tighter progression and a more interesting arc, the plot could have been interesting, but its current form is lacking.

The writing is similarly weak. Jupiter shows very little development for most of the movie, and the attempts to pad her backstory are ultimately inconsequential. The film takes a running start at its plot, skipping early exposition to drop the viewer straight into the confusing world of stellar politics. The dialogue passes muster, but a couple of lines standout as cringeworthy, the handful of jokes fall flat, and the characters are not as endearing as they could have been.

The action is actually one of the movie’s strong points, with fast pacing, expensive CGI, and an array of creative sci-fi elements to play with. Between gravity skates, energy shields, ultra-maneuverable spacecraft, and a smattering of blasters, Jupiter Ascending never wants for action. The presentation, however, leaves something to be desired: the movie never savors its action scenes, opting instead to keep the spotlight on the weaker plot.

The travesty is that Jupiter Ascending actually has a thematically rich science fiction backdrop. The interstellar empire dominated by the Abrasax siblings has a suitably epic scope. Planets are bought and sold throughout millennia-long lifespans, while gene splicing, faster-than-light travel, and a variety of miraculous technologies offer plenty of sci-fi fodder. The disappointing characters and plot that come out of this setting do not do it justice.

Jupiter Ascending is a missed opportunity. With its polished visuals, ambitious setting, and flair for action, Jupiter Ascending could have been a stylish sci-fi epic with plenty to offer. But its weak characters, plot, and writing keep it from living up to its potential, leaving it a mishmash of elements missing something essential at its core.

Watch Jupiter Ascending only if you are willing to look past its storytelling mistakes for the sake of spectacle. Its flaws detract enough from the experience that most viewers are better off looking elsewhere.

5.4 out of 10 on IMDB. I give it a 5.5 for bad execution redeemed only by a few neat concepts and luxurious visual effects.

Today’s quick review: Robin Hood: Men in Tights. Robin Hood (Cary Elwes) returns from the Crusades only to find his ancestral estate confiscated and his homeland in the grip of Prince John (Richard Lewis), the usurper to the throne, and his lackey, the dastardly Sheriff of Rottingham (Roger Rees). Together with his friend Ahchoo (Dave Chappelle) and his blind servant Blinkin (Mark Blankfield), Robin Hood sets out to overthrown the prince’s tyrannical rule and win the heart of Maid Marian (Amy Yasbeck).

Robin Hood: Men in Tights is a Robin Hood parody from Mel Brooks. Men in Tights skewers every part of the classic tale, from Robin’s comical escape from a Jerusalem prison to his overblown duel with Little John. The movie focuses on comedy more than storytelling, but it retains enough of the original story to keep the humor grounded. Its talented writing and great performances make the movie a well-executed, enjoyable comedy.

The humor in Men in Tights is on the silly side, even for Mel Brooks. The gags include slapstick, wordplay, and anachronisms, with a steady stream of cheap jokes and lowbrow humor to keep the laughs coming. The tone of the humor is surprisngly consistent given the movie’s hodgepodge of jokes. The movie maintains a healthy balance between its source material and the modern humor layered onto it, keeping the viewer’s expectations stable.

The characters are all caricatures and have been cast to suit. Cary Elwes plays the dashing hero Robin Hood, whose smug grin exemplifies the tone of the movie. Richard Lewis plays Prince John with an almost casual villainy, perfectly content to wallow in luxury until Robin comes along. They are joined by a talented cast who are given free rein with an ensemble of shallow but hilarious supporting characters.

Watch Robin Hood: Men in Tights if you are in the mood for a well-executed and unrepentantly silly comedy. While not a standout in its genre, Men in Tights is nonetheless a solid parody that fans of Blazing Saddles and History of the World: Part I will enjoy. Skip Men in Tights if you are looking for a subtle or dignified comedy.

6.7 out of 10 on IMDB. I give it a 7.0 to 7.5 for silly humor and suitably ridiculous performances all around.

Today’s quick review: Ponyo. One day, Sosuke (Frankie Jonas), a five-year-old boy, rescues an enchanted goldfish that washes up on the shore near his house. He names her Ponyo (Noah Cyrus), and they soon strike up a fast friendship. But Ponyo’s father (Liam Neeson), a powerful wizard who lives underwater, does not want to lose her to the surface world, and he tries to take her back before she becomes attached.

Ponyo is an animated family adventure film from director Hayao Miyazaki and Studio Ghibli. Loosely adapted from The Little Mermaid, Ponyo tells the story of a little goldfish who wishes to become a human. The movie occupies the same niche as Studio Ghibli classic My Neighbor Totoro: a cute, low-conflict story aimed at young children. While not as memorable as Totoro, Ponyo offers beautiful animation and a charming plot.

Ponyo has an unusual aesthetic that separates it from other Studio Ghibli films. The care and attention to detail are still there, but Ponyo opts for simpler designs that give the characters a younger feel than normal. The art also blurs the line between literal and figurative in places, such as enormous fish crashing like waves onto the shore. The modified art style, the focus on sea life, and the peculiar rules for magic all give Ponyo a surreal quality to it that feels distinct from Miyazaki’s other work.

Watch Ponyo if you are in the mood for a light diversion and you enjoy beautiful animation. One part Little Nemo, one part Finding Nemo, Ponyo is an odd but enjoyable young children’s adventure. While not at the top of the list for Studio Ghibli, Ponyo is a worthy addition to their collection that fans of their lighter work are sure to enjoy. Skip it if you are looking for a film with a dramatic plot or you are attached to Studio Ghibli’s usual art style.

7.7 out of 10 on IMDB. I give it a 7.0 to 7.5 for loving animation and a cute story.

Today’s quick review: Jackie Chan’s First Strike. Jackie (Jackie Chan), a Hong Kong police officer on loan to the CIA, goes to the Ukraine to investigate the sale of a nuclear weapon by Tsui (Jackson Lou), an international arms dealer. When the deal goes south, Jackie follows Tsui to Sydney, where he becomes embroiled in the arms dealer’s troubled family history.

Jackie Chan’s First Strike is an action adventure movie starring Jackie Chan. Like many of his movies, First Strike mostly serves as a vehicle for Jackie Chan’s signature style of martial arts comedy. The stunts are as impressive as ever, and First Strike offers a whole new set of props and locations for Jackie to play with. Jackie uses snowboards, stilts, and sharks to dazzle his enemies, doing it all with his characteristic flair for comedy.

First Strike’s greatest weakness is its plot. The story is never adequately explained, and Jackie pinballs from situation to situation with little explanation or motivation. In particular, the movie never justifies why Jackie is kept on the case after his initial assignment is over. The pieces of the puzzle are all there for a devoted fan, but the poor writing and limited characterization undermine what was already a generic story concept.

Watch Jackie Chan’s First Strike if you are in the mood for a light and inventive martial arts film. The stunts alone are enough to make the movie an enjoyable watch, and while the plot is a letdown, it does manage to keep the story moving. Skip it if you are looking for a movie with good writing to go with its action or if you dislike Jackie Chan.

6.6 out of 10 on IMDB. I give it a 6.5 to 7.0 for great action coupled with a mediocre plot.

Today’s quick review: Sin City: A Dame to Kill For. During a visit to Basin City, Johnny (Joseph Gordon-Levitt), a suave gambler on a hot streak, runs afoul of the corrupt Senator Roark (Powers Boothe) in a game of poker. At the same bar, a stripper named Nancy (Jessica Alba) contemplates revenge against the Senator for his crimes against Hartigan (Bruce Willis), the cop who saved her life. Meanwhile, Dwight (Josh Brolin), a private investigator with violent impulses, recruits Marv (Mickey Rourke), a local tough, to help him save Ava (Eva Green), a manipulative woman from Dwight’s past.

Sin City: A Dame to Kill For is a stylized action noir adapted from the Sin City graphic novels by Frank Miller. A Dame to Kill For sheds light on the characters and stories of the original film through another trio of short stories set in the corrupt and violent Basin City. The relation to the original film is somewhat muddy, but Dwight’s story appears to be a prequel, Nancy’s is a sequel, and Johnny’s is a separate story altogether.

Sin City: A Dame to Kill For has nearly as spectacular a cast as the original. Bruce Willis, Jessica Alba, and Mickey Rourke return as Hartigan, Nancy, and Marv, respectively. Josh Brolin replaces Clive Owen as Dwight, while Joseph Gordon-Levitt joins the main cast as the gambler Johnny. Many of the supporting characters return as well, giving the film a sense of cohesion, while Ray Liotta, Christopher Lloyd, and Jeremy Piven appear in minor parts.

A Dame to Kill For retains the heavy stylization of the original, particularly its black-and-white color palette and gritty narration. But several subtle changes give the movie a very different feel, and fans of the original’s polished writing, bizarre world, and perfect tone will be somewhat disappointed. Instead, A Dame to Kill For offers faster pacing, more sex, and more violence, trading atmosphere for spectacle. The result is a solid, stylized action film that lacks the subtlety of the original.

The stories themselves are well-written and reasonably interesting, but not as compelling as the first movie’s. Johnny is a welcome addition to the cast, but his story is short and linear. Hartigan’s story from the original continues with Nancy in the lead, but the sequel feels unnecessary. Dwight’s story is the standout of the bunch, with a complex plot and several important connections to the status quo seen in Sin City. For his part, Marv bumps around between the stories without much purpose, there mostly for screentime rather than any reason of his own.

Watch Sin City: A Dame to Kill For if you enjoyed the first film and do not mind a slight dip in quality. Those who watched Sin City for its artistry will be disappointed by the lack of polish here; those who enjoyed its stylized voilence will have plenty to chew on. Skip A Dame to Kill For if you are sensitive to violence or you have yet to see the first.

6.5 out of 10 on IMDB. I give it a 7.0 for stylized action missing the polish of the original.

Today’s quick review: Sin City. Hartigan (Bruce Willis), an aging cop with a bad heart, fights the odds to protect a young girl from a politically connected rapist (Nick Stahl). Elsewhere in Basin City, Marv (Mickey Rourke), an inhumanly tough thug, hunts down the man (Elijah Wood) who killed his lover. And deeper in the city, Dwight (Clive Owen), a murderer with a chivalrous streak, attempts to dispose of a dirtbag (Benicio Del Toro) to prevent a turf war.

Sin City is a gory, stylish noir with horror elements. Based on the graphic novels by Frank Miller, Sin City features an all-star cast, polished presentation, and attentive writing and direction. The movie follows Hartigan, Marv, and Dwight on their respective journeys, three short stories that intersect in subtle ways. There is no overarching plot, but the corrupt, violent setting of Basin City provides the stories with a common backdrop.

Sin City is heavily stylized. The movie’s art style gives it a distinctive look: a black and white color scheme with splashes of red. The shots are set up like comic book panels, while the film’s exaggerated physics and extensive use of greenscreen give it an unreal quality. Sin City takes itself perfectly seriously, with dramatic presentation of even the most unrealistic scenes and gritty, noir voiceovers from the main characters.

The cast is bursting with familiar faces, all the way down to the smallest parts. Bruce Willis, Mickey Rourke, and Clive Owen star, with Jessica Alba, Rosario Dawson, Benicio Del Toro, and Elijah Wood as prominent supporting characters and Michael Clarke Duncan, Rutger Hauer, and Josh Hartnett in minor roles. The actors all match the grim tone well, with stern, unhinged, or downright unsettling performances depending on the character.

Sin City is not for the faint of heart. Packed to the gills with torture and senseless violence, Sin City explores the darkest parts of humanity through two protagonists who are only heroes compared to the demons they face and a good cop who can barely change anything. Sin City offers little catharsis or redemption, only violence and style. As such, Sin City can be a hard watch, even for seasoned viewers.

Sin City is a remarkable movie that lives up to its considerable potential. Fans of Quentin Tarantino will have plenty to chew on, as will those with a taste for gore and artistic presentation. Those who are even slightly sensitive to violence should steer clear, as should those who prefer a more cohesive plot, need a more uplifting tone, or are simply not in the right mood.

8.0 out of 10 on IMDB. I give it a 7.5 to 8.0 for dedicated execution of a unique vision; your score will be higher or lower depending on your appreciation for its exceedingly dark tone.

Today’s quick review: Beverly Hills Cop III. When his boss is murdered, Detroit cop Axel Foley (Eddie Murphy) follows the clues out to Wonder World, a Los Angeles amusement park hiding a massive criminal operation. With the help of Rosewood (Judge Reinhold), an old friend on the police force, Axel investigates Ellis De Wald (Timothy Carhart), the head of park security for Wonder World and the leader of its shady activities.

Beverly Hills Cop III is a crime comedy that sees the return of Axel Foley, a crafty Detroit police officer with unconventional methods. Beverly Hills Cop III is a departure from the previous two films in several ways. Taggart, the straight man of the previous films, has been replaced by Jon Flint (Hector Elizondo), a cop who treats Axel with undue familiarity. The cultural clash of Axel arriving in Beverly Hills is nowhere to be seen.

The tone as a whole is more serious, with a more dramatic hook, a higher body count, and steeper obstacles for Axel to overcome. The comedy focuses less on Axel and more on weak satire of everything from Disneyland to gun shows. The combination of high stakes and misplaced humor leads to a muddy tone that undermines its mediocre plot.

Watch Beverly Hills Cop III only if you enjoyed the previous two movies and want to see one last adventure with Axel and Rosewood. Its weaknesses are not fatal, but they are enough to make it noticeably worse than its predecessors. Skip it unless you have already seen the first and second movies and simply want a bit more in the same vein.

5.5 out of 10 on IMDB. I give it a 6.0 to 6.5 for modest entertainment value hampered by poor decision-making.

Today’s quick review: Beverly Hills Cop II. Axel Foley (Eddie Murphy), a brash cop from Detroit, returns to Beverly Hills when Andrew Bogomil (Ronny Cox), a police friend of his, is shot while working on a case. There he teams up with Taggart (John Ashton) and Rosewood (Judge Reinhold), two local cops, to resume Bogomil’s investigation into a series of daring crimes.

Beverly Hills Cop II is a crime comedy with a quick-thinking protagonist, a comic pair of sidekicks, and a reasonably interesting crime plot. Beverly Hills Cop II picks up two years after the first film. Axel has settled back into his role as the least-respected officer in the Detroit Police Department, while Bogomil, Taggart, and Rosewood are struggling under the thumb of a new police chief.

Beverly Hills Cop II hits many of the same beats as the first film. Axel disobeys orders to fly to Beverly Hills and investigate the shooting of a friend. Once there, he meets resistance from the local police department, lies his way into luxurious accommodations, and causes enough chaos to smoke out the culprit. The key change to the formula is that Axel is on friendlier terms with Taggart and Rosewood, who help him out with his dubiously legal investigation.

As such, Beverly Hills Cop II is a competent comedy that misses out on some of the charm of the original. The streamlined plot drops a few of the less prominent characters from the first film, in the process omitting some of Axel’s personal connection to Los Angeles. The tone also veers toward the wilder side: Taggart and Rosewood have come around to Axel’s style of investigation, removing one of the original film’s key tensions.

In exchange, Beverly Hills Cop II boasts more action and a more elaborate investigation, addressing the weaker side of the original. Watch Beverly Hills Cop II if you enjoyed the first film or you are simply looking for an entertaining take on the crime genre. Eddie Murphy is still great to watch in action, and if the sequel lacks the finesse of the first film, it is still a funny, enjoyable watch.

6.4 out of 10 on IMDB. I give it a 7.0 for a strong comedic lead and a decent cop plot.