Sleight of Film

Today’s quick review: Final Fantasy VII: Advent Children. Two years after a man named Sephiroth almost destroyed the world, Cloud Strife, the leader of the adventuring party who saved the world, has isolated himself from his friends due to his geostigma, a disease caused by the calamity. When a trio of powerful men appear with the aim of completing Sephiroth’s work, Cloud must face his fears and reunite with his friends to save the world again.

Final Fantasy VII: Advent Children is a science fiction fantasy movie with intense action sequences, sophisticated CGI visuals, and a gorgeous soundtrack. The sequel to the video game Final Fantasy VII, Advent Children picks up two years after the end of the game with a story designed to explore the aftermath of Sephiroth’s attempts to destroy the world. As such, the plot feels tacked on and unnecessary compared to the longer, more fully resolved conflicts of the original game.

What Advent Children contributes to the series is a visual feast that brings to life the world and characters of Final Fantasy VII as never before. The world features a creative blend of sci-fi and fantasy elements, where swords, magic, and monsters coexist with guns, motorcycles, and cell phones. While the setting takes back seat to the characters, action, and plot, the world feels rich and expansive, even as a backdrop.

The graphics are detailed CGI that still looks amazing over a decade after the film’s release. The gorgeous set pieces include a ruined church, a forest of glowing trees, and an abandoned highway. The characters are a satisfying blend of realism and video game design. Advent Children does not skimp on rendering, even in crowded city shots, and the attention to detail is the equal of any live-action movie.

Advent Children boasts intense, gravity-defying action that gives the film appeal even for those who are not fans of the game. The film’s many fight scenes are seamless blurs of unfettered action that show just how exciting superpowered combat can be. Realism takes a back seat to spectacle: nearly every character has superhuman strength and speed, while the laws of physics contort themselves to accommodate the incredible jumps, dodges, and impacts that fill the movie.

Fans of the original game should check out Advent Children as the high-resolution, action-packed realization of the game’s story and setting. Though the shifts in characterization and the epilogue feel to the plot may leave a peculiar taste in fans’ mouths, the production quality and creative action are more than enough to justify the watch.

Fans of sci-fi action should check out Advent Children as well simply for the spectacle. The plot will be difficult to follow without familiarity with the game, so a bit of background reading is recommended for maximum enjoyment. But simply taking the events of the movie at face value is enough to make Advent Children an enjoyable watch for anyone interested in physics-defying action and stunning visuals.

7.4 out of 10 on IMDB. I give it a 7.5 for astounding visuals and high-octane fight scenes held back by a confusing, tacked-on plot.

Today’s quick review: High Anxiety. Dr. Richard Thorndyke (Mel Brooks), a renowned psychiatrist, takes a position as the director of a prestigious mental hospital whose previous director died under suspicious circumstances. As Thorndyke settles into his new job, he risks upsetting the status quo at the institution and incurring the wrath of Nurse Diesel (Cloris Leachman) and Dr. Montague (Harvey Korman), two shady figues linked to the strange events at the hospital.

High Anxiety is a parody of Alfred Hitchchock’s films from Mel Brooks. The plot mimics a psychological thriller quite credibly: an ordinary main character finds himself in a subtly unnerving situation and must get to the bottom of it before he winds up dead. But unlike Hitchcock’s films, High Anxiety is pure comedy, with no real tension and enough humor to offset what little builds up.

The comedy amuses, but it never quite clicks the way Mel Brooks’ best work does. The film’s best sequences are its elaborate parodies of Hitchcock scenes, some of which require quite elaborate setup. The rest of the humor works well enough, even without familiarity with Hitchcock’s movies, but lacks any standout moments.

Watch High Anxiety if you are looking for a bit of Hitchcock-flavored comedy. The thriller skeleton gives the plot a little more credibility than most comedies, but the scene-to-scene comedy saps most of its dramatic potential. Those who come in expecting anything resembling a real thriller will be disappointed, but those looking for a light diversion will appreciate the decision to leave out the suspense.

6.7 out of 10 on IMDB. I give it a 6.5 to 7.0 for an unusually cohesive plot and decent humor, but missing the spark of Brooks at his best.

Today’s quick review: White Christmas. Bob Wallace (Bing Crosby) and Phil Davis (Danny Kaye), a pair of successful Broadway producers, set aside their vacation plans to join the Haynes sisters, Betty (Rosemary Clooney) and Judy (Vera-Ellen), for Christmas in Vermont. The ski lodge is owned by their old commanding officer, General Waverly (Dean Jagger), but the unseasonably warm weather has left it almost empty. While Bob puts together a show to draw in customers, Phil and Judy conspire to set him up with Betty.

White Christmas is a Christmas musical with a talented cast, smart dialogue, and a wonderful soundtrack. Bing Crosby and Danny Kaye play two Army buddies who form a musical act after the war and eventually parlay their success into a Broadway career. The two hit it off with Betty and Judy, a sister act with a job coming up in Vermont, so Phil and Judy seize the opportunity to play matchmaker.

The musical talent in the film is top notch. The songs are written by Irving Berlin, and the song list contains a pleasant mix of Christmas songs and Broadway numbers. There are two or three standout hits, including the title track, and even the least memorable songs are vibrant and cleanly executed. Danny Kaye and Vera-Ellen have several chances to show off their spectacular dancing, while Bing Crosby and Rosemary Clooney lend their melodious voices to Berlin’s beautiful lyrics.

The story is a light tale of loyalty, romance, and misunderstanding. There are two main plot threads: the show for General Waverly and the budding romance between Bob and Betty. The former is a sentimental tribute to a respected man, showing the ups and downs of returning to civilian life for the soldiers in World War II. The latter is a romantic comedy in the classical mold, with the growing affection between Bob and Betty helped and sometimes hindered by the cajoling of their partners.

The character dynamics are the glue that holds the movie together. Bing Crosby and Danny Kaye make quite a pair, with natural chemistry, sharp banter, and impeccable timing. Rosemary Clooney and Vera-Ellen play opposite them as a pair of devoted sisters with opposite approaches to life. The vivacious Judy quickly finds a fellow conspirator in Phil, while the steady Betty finds a mature companion in Bob.

Watch White Christmas if you are in the mood for a pleasant holiday classic with excellent music and acting. The comedy is subtle but clever, the songs have a nice variety to them, and the plot is insubstantial but sweet. Skip it if you are looking for more overt comedy or a more substantive plot, or if you dislike older musicals.

7.6 out of 10 on IMDB. I give it a 9.0 for high quality and being a personal favorite.

Today’s quick review: A Christmas Story. Ralphie Parker (Jean Shepherd) reminisces on a Christmas from his childhood in the 1940s. As a nine-year-old boy (Peter Billingsley), he has his heart set on a Red Ryder BB gun that the adults in his life consider too dangerous for him. With Christmas drawing near, Ralphie tries every trick in the book to get his flustered mother (Melinda Dillon) and foul-mouthed father (Darren McGavin) to buy him the gun for Christmas.

A Christmas Story is a Christmas comedy filled with all the mischief and innocence of youth. Jean Shepherd narrates as an adult Ralphie, using his warm voice and evocative turns of phrase to show life through the eyes of a boy. His rosy-tinted nostalgia is tinged with sharp irony where his family life diverges from the ideal. But in spite of a few rough spots, his memories of childhood are joyful, and the story’s irony is comical rather than bitter.

Watch A Christmas Story if you are in the mood for an honest, nostalgic, and funny look at Christmas through the eyes of a child. The film is filled with iconic moments, and it handles its tone and humor with considerable skill. Some swearing makes it inappropriate for young children, but otherwise A Christmas Story is a great family film and a holiday classic.

8.0 out of 10 on IMDB. I give it a 7.5 to 8.0 for spot-on tone and iconic moments.

Today’s quick review: Silent Movie. Hollywood director Mel Funn (Mel Brooks), attempting to rebound from a slump in his career, pitches his new movie idea to the chief of Big Picture Studios (Sid Caesar): the first silent movie in 40 years. The chief, in desperate need of a hit, agrees on one condition: the film must be filled with stars. Together with his friends Marty Eggs (Marty Feldman) and Dom Bell (Dom DeLuise), Funn sets about recruiting the celebrities needed to make the film a hit.

Silent Movie is a comedy from Mel Brooks done in the style of an old silent film. The only sounds in the film are its soundtrack and a few comical sound effects. The humor focuses on slapstick, including Mel Brooks’ takes on several classic slapstick routines. The visual humor is supplemented with jokes about the medium and a few of Mel Brooks’ more typical jokes that do not need proper dialogue.

The plot and script are deliberately light, reminiscent of early 20th-century comedies. Funn, Eggs, and Bell roam around Hollywood in search of celebrities to recruit for their movie, including Burt Reynolds, James Caan, and Liza Minnelli. These comedy sequences form the bread and butter of the movie, but they have very little plot importance; the loss of any of these scenes would not hurt the story substantially.

As such, Silent Movie is a comedy with a pleasant flavor and very little substance, more a series of connected shorts than a cohesive whole. Watch it if you are in the mood for a breezy, experimental comedy with a healthy dose of slapstick. But Silent Movie offers little to those who are not fans of its particular brand of comedy; skip it unless the concept of a loving tribute to the silent films of old appeals to you.

6.7 out of 10 on IMDB. I give it a 6.5 to 7.0 for amusing comedy and a creative premise that somewhat constrains its story potential.

Today’s quick review: To Catch a Thief. When jewels along the French Riviera begin to disappear, suspicion falls on John Robie (Cary Grant), a retired cat burglar. To prove his innocence, John must catch the real burglar in the act by staking out his potential targets. One such target is Jessie Stevens (Jessie Royce Landis), whose headstrong daughter Francie (Grace Kelly) proves to be a handful for John.

To Catch a Thief is a crime drama from Alfred Hitchcock. Unlike most Hitchcock films, To Catch a Thief has no psychological horror and only a modest amount of suspense. The film is a straightforward crime film with skillful acting, an interesting plot, and well-written dialogue. The presence of John’s old crew, an insurance agent from Lloyds of London, and the overeager police gives the linear plot a bit of complexity.

Cary Grant plays the confident, canny John Robie, out to prove his innocence in spite of appearances. To do so, he must charm Jessie Stevens, an easy task, and her daughter Francie, a more difficult one. Their relationship is romantically antagonistic, with Francie trying to poke holes in John’s cover as an American lumber tycoon and John trying to maintain his disguise long enough to scope out the real thief.

Watch To Catch a Thief if you are in the mood for a cerebral, well-executed crime film. While the plot has one or two rough spots and suffers from the lack of an identifiable villain, To Catch a Thief is a polished, satisfying movie worth acquainting yourself with. Skip it if you are looking for a crime film with a bit more action.

7.5 out of 10 on IMDB. I give it the same for quality of acting and storytelling.

Today’s quick review: Phenomenon. After a close encounter, George (John Travolta), a simple country mechanic, develops incredible intelligence and extraordinary abilities. He uses his newfound intelligence to woo his crush Lace (Kyra Sedgwick) and help his friends Nate (Forest Whitaker) and Doc Brunder (Robert Duvall). But the town’s admiration quickly turns into fear, and with his abilities developing further and further, George must find a way to regain control of his rapidly evolving life.

Phenomenon is a science fiction drama about a man who develops inexplicable abilities. Despite the science fiction premise, the focus of the film is on George and his relationships. George is a kind-hearted man of middling intelligence who becomes a genius overnight as a result of his strange experience. The change breeds as much awe as mistrust, and George has trouble adapting to the new facts of his life.

As a personal drama wrapped around a sci-fi premise, Phenomenon depends heavily on John Travolta and Kyra Sedgwick to carry the movie. John Travolta does a decent job as George, but his performance never quite tips over from kind but dopey man to active protagonist. For her part, Kyra Sedgewick plays a cold Lace with little chemistry with George. The outline of a nice relationship arc is there, but the substance of it never clicks into place.

Watch Phenomenon if you are looking for a lighter, more sentimental take on themes better explored in K-PAX and Limitless. The film delivers a few good sentimental moments but has weak characters and little overt plot. Phenomenon has enough going on that it is bound to catch a few viewers the right way, but most should skip it in favor of either harder sci-fi or more skillful romance.

6.4 out of 10 on IMDB. I give it a 6.5 for spots of quality amidst generally lackluster execution.

Today’s quick review: Grosse Pointe Blank. Martin Blank (John Cusack), a professional hitman, returns to his hometown of Grosse Pointe, a Detroit suburb, for his tenth high school reunion. While there, he tries to patch things up with Debi Newberry (Minnie Driver), his ex-girlfriend, and catch up with his old classmates. But Grocer (Dan Aykroyd), a rival hitman, follows him to Detroit with a plan to have him eliminated.

Grosse Pointe Blank is a crime comedy with great characters and an all-star 80s soundtrack. John Cusack leads as Martin Blank, a hitman beginning to have doubts about his career. Martin is awkward at times, coming across as more menacing than he means to, but his wit and scraps of conscience make him a sympathetic protagonist. His hasty disappearance ten years ago and his unusual profession place him in an awkward position at his reunion, particularly with Debi, whom he stood up on prom night.

The characters and writing of Grosse Pointe Blank combine for a very amusing film. John Cusack has great chemistry with each of his supporting actors, including his assistant Marcella (Joan Cusack), his reluctant psychiatrist Dr. Oatman (Alan Arkin), and his old best friend Paul (Jeremy Piven). John Cusack and Minnie Driver play off each other marvelously, bonding over their shared sense of humor, high school memories, and 80s disaffection.

Watch Grosse Pointe Blank if you are looking for a well-written comedy brought to life by a wonderful cast. The characters are colorful, the dialogue is packed with witticisms, and the film shows glimpses of a light but fully realized world of assassins. Skip it if you dislike 80s nostalgia.

7.4 out of 10 on IMDB. I give it a 7.5 to 8.0 for great characters and humor.

Today’s quick review: Margin Call. On the verge of the 2008 financial crisis, Wall Street analyst Peter Sullivan (Zachary Quinto) makes a shocking discovery: his firm is massively overleveraged, and even a small dip in the market will cost the company more than it is worth. As the news travels up the corporate ladder, Will Emerson (Paul Bettany), Sam Rogers (Kevin Spacey), and Jared Cohen (Simon Baker) are left with a difficult decision: whether to unload their worthless assets on an unsuspecting market or to bankrupt the firm by keeping them.

Margin Call is a financial drama that depicts the early hours of the 2008 financial crisis. The film focuses on the actions of a single firm as it discovers and reacts to the pending collapse of the housing bubble. As the first to discover the bubble, they are faced with a moral conundrum. To survive the coming devaluation, the firm will have to sell its now-worthless assets to anyone who will buy them, ruining its reputation in the process and triggering the bubble’s inevitable collapse.

Margin Call matches this focused, personal look at the financial crisis with a talented ensemble cast. Zachary Quinto, Paul Bettany, and Kevin Spacey kick off the plot as the lower levels of management, while Simon Baker, Demi Moore, and Jeremy Irons join the cast as the problem escalates. No one character is fleshed out in all that much depth, but their interactions reveal plenty and do an excellent job of exploring the problem from all angles.

Watch Margin Call if you are in the mood for a minimalistic drama with a strong cast and good writing. Stylistically, it is at the opposite end of the spectrum from The Big Short: where The Big Short is an edgy, documentary-style look at the years leading up to the crisis, Margin Call is a sober drama taking place over a matter of hours. Skip Margin Call if you are looking for a more expansive look at the financial crisis or a more personal drama.

7.1 out of 10 on IMDB. I give it a 7.0 for good acting and a focused plot.

Today’s quick review: Who Am I?. Morgan (Ron Smerczak), a corrupt CIA official, sends a team of special agents to South Africa to steal experimental technology worth a fortune then has the team eliminated. The only survivor (Jackie Chan) suffers a head injury and is left with no recollection of who he is. With the help of Yuki (Mirai Yamamoto), an offroad racer, and Christine (Michelle Ferre), an intrepid journalist, he must follow the clues to discover his identity before Morgan can silence him for good.

Who Am I? is a Hong Kong martial arts comedy from Jackie Chan. As is typical for his movies, Jackie Chan’s character is a kind-hearted, resourceful martial artist swept up in a larger plot. He must use his wits, his friends, and every improvised weapon he can get his hands on to survive against the waves of thugs who wish to kill him.

Who Am I? offers novel, fast-paced action in a standard action movie framework. Jackie Chan supplements his impressive martial arts abilities with a sense of creativity and fun. Fight scenes and chases are not just about skill or speed but about using props and the surrounding environment to gain an advantage. Jackie is a long-suffering action hero, and his efforts are just as likely to leave him in an uncomfortable position as to put him ahead.

Who Am I? has a tidy story with a good premise. The plot is not particularly memorable, but it progresses nicely and offers plenty of opportunities for action. The humor revolves around Jackie’s poor luck in and out of battle and often contrasts his comedic niceness with the seriousness of his enemies. The result is an action adventure with a light sense of humor and exceptional stunts.

Watch Who Am I? if you are looking for lots of action without much gore or drama. The film is standard Jackie Chan fare, but none the worse for it. Chan fans will enjoy Who Am I? as one of his better Hong Kong films with a new set of stunts to marvel at. Skip Who Am I? if you are looking for a more serious thriller or something with a stronger plot.

6.8 out of 10 on IMDB. I give it a 7.0 for great stunts, charm, and a decent plot.