Sleight of Film

Today’s quick review: The Avengers. John Steed (Ralph Fiennes) and Emma Peel (Uma Thurman) are a pair of British secret agents tasked with investigating a series of meteorological anomalies plaguing the United Kingdom. Their investigation leads them to Sir August de Wynter (Sean Connery), a wealthy man who plans to hold London ransom with his weather machine.

The Avengers is a psychedelic spy film adapted from the 60s TV show of the same name. Featuring a thematic supervillain, a few surreal moments, and a great cast, The Avengers is a spy film that tries to put its own spin on the classic genre. Unfortunately, the execution leaves something to be desired, with a difficult plot, odd internal logic, and poor writing.

The premise of The Avengers is a conventional spy universe turned on its head. The framework is typical for the genre: British spies, diabolical supervillains, peril, and quips. But the trappings are subversive, from flying security drones to unexplained evil doppelgangers. This formula should produce a stylish take on the spy genre, but weak writing and tone issues let the movie down.

The film is too subversive for its own good. It occasionally throws logic out the window alongside convention. The Avengers also never quite decides whether it wants to be a parody of the genre or an unusual but serious entry into it. The film’s straight-faced tone keeps it from being an effective parody, while the film’s absurdity keeps it from being a serious spy film.

John Steed and Emma Peel both epitomize the unflappable spy archetype. Their relationship is a constant competition to stay as stoic as possible while coming up with the driest one-liner. Without a member of the duo to crack a smile once in a while, their exchanges hang in the air unresolved, sandbagging a number of fun jokes. Ralph Fiennes and Uma Thurman are both great fits for their characters, making their mishandling even more disappointing.

For his part, Sean Connery delivers a ridiculous, over-the-top performance as Lord de Wynter. The character is a Bond villain through and through, from his meaningful name to his megalomaniacal ambitions. Connery delivers weather-themed quips with all the gravity one could hope, and his performance is rendered all the more surreal by the eccentric conventions of The Avengers’ spy universe.

Watch The Avengers if you are looking for a peculiar take on the spy genre that lacks the quality to make use of its great cast and stylish premise. Skip it if you are looking for a better entry into the genre.

3.7 out of 10 on IMDB. I give it a 4.0 for quality and a 6.0 for perverse entertainment value.

Today’s quick review: Hitch. Albert (Kevin James), a dumpy financial advisor, seeks out the help of Hitch (Will Smith), New York’s famous Date Doctor, to win the heart of Allegra (Amber Valletta), a beautiful celebrity. Albert does what Hitch recommends but finds himself making more progress by being himself than by putting up a front. At the same time, Hitch finds himself falling for Sara (Eva Mendes), an industrious gossip columnist, and throwing his own advice out the window.

Hitch is a light romantic comedy that balances both aspects of the genre. Will Smith and Kevin James play well off each other. Will Smith takes a role that could come across as sleazy and makes him good-natured and human. Kevin James plays Albert as a lovable dork who needs a bit of help to come into his own. Their relationship quickly turns into a sort of friendship as the two get to know each other.

As is typical for the genre, the plot revolves around romance and misunderstanding. Both romantic subplots are sweet without being schmaltzy. Allegra is out of Albert’s league, and only a combination of Hitch’s advice and natural compatibility gives him a shot. For her part, Sara manages to get through the barriers Hitch puts up in his own love life, causing him to question his approach to love.

Watch Hitch if you are looking for a romantic comedy with a bit more comedy than romance. The crux of the story is still romance, but the film never gets too bogged down with drama or soul-baring. Skip it if you dislike even the lighter end of the genre.

6.6 out of 10 on IMDB. I give it a 7.0 for a nice tonal balance and good characters.

Today’s quick review: Captain America: The First Avenger. During World War II, Steve Rogers (Chris Evans), a patriotic young man with a sickly physique, is transformed into a superpowered soldier by a secret Army program. With the help of his childhood friend Bucky Barnes (Sebastian Stan) and a British officer named Peggy Carter (Hayley Atwell), he dons the mantle of Captain America and leads a series of combat missions against Hydra, the Nazis’ superscience division, and its leader, the Red Skull (Hugo Weaving).

Captain America: The First Avenger is a superhero war movie and the fourth entry in the Marvel Cinematic Universe. The film acts as an origin story for Captain America, chronicling his transformation from a weak but spirited young man into America’s most skilled soldier. The film has unusually clear-cut morality, even for the optimistic superhero genre, paving the way for a straightforward heroic adventure untroubled by angst.

The plot revolves around the Red Skull’s attempts to harness the power of the Tesseract, a destructive artifact that fuels Hydra’s advanced technologies. The war setting gives Captain America a unique flavor among the Marvel films and allows it to cover a longer span of time than a more limited story would. The action, driven by Steve’s enhanced strength, enhanced speed, and trademark shield, is a creative extension of wartime combat and hand-to-hand fighting.

Watch Captain America: The First Avenger if you are looking for a fun superhero movie with a war flavor, satisfying combat, and an undercurrent of idealism. Skip it if you dislike the superhero genre or you want a film with more internal conflict.

6.9 out of 10 on IMDB. I give it a 7.5 for Marvel’s typically solid execution.

Today’s quick review: Appleseed. Deunen Knute, a highly skilled soldier, is brought in from the ruins of the world to the utopia of Olympus, a floating city established in the wake of an inconclusive global war. There she is reunited with Briareos, a fellow soldier who was once her lover, now made a cyborg after sustaining heavy injuries on a mission. Her skills are needed to help Olympus’s ESWAT team deal with a plot to exterminate Olympus’s sizable population of Bioroids, synthetic beings engineered not to have the flaws of humanity.

Appleseed is a Japanese CGI science fiction movie based on the manga by Shirow Masamune. The art style is an odd blend of cell-shading for the characters and realistic rendering for props and backgrounds, preserving the cartoonish look of the manga while using detailed CGI to show off the setting’s beauty, scale, and technology. The graphics quality is quite high, and it holds up well in spite of the film’s age.

The story is firmly in the realm of science fiction, asking what would happen if mankind was able to construct a race without its failings. Could they coexist? Would humans step aside? Or would there be war? The questions the film asks are philosophically interesting, although the limited length of a feature film means that Appleseed cannot fully do them justice.

The adaptation from the comics is an interesting one, as it takes the series’ characters, themes, and setting and uses them to tell a simplified, cohesive tale. The resulting story is somewhat more conventional than the manga, but it retains the series’ strong ideas and has a similarly complex plot. The film as a whole does a good job of condensing a complicated setting, philosophical questions, nuanced characterization, plenty of action, and a full-fledged plot into its allotted one-and-a-half hours.

The action is fast-paced and satisfying, making full use of the setting’s futuristic technology. Police in robotic armor and powerful cyborgs face off using heavy ordnance and all the mobility available to them. The writing tackles complicated concepts as well as can be expected. The English voice acting leaves something to be desired, though; watch it in Japanese with English subtitles if you have the option.

Watch Appleseed if you are in the mood for pretty CGI, a sci-fi story, and some action. Appleseed is a movie with strong fundamentals that works well from the perspectives of speculative fiction, action, and visual spectacle. Skip it if you are looking for a film with a straightforward plot.

7.0 out of 10 on IMDB. I give it a 7.5 for a nice blend of setting, character, story, and action.

Today’s quick review: Patema Inverted. Age is an ordinary student in a world of draconian conformity. He becomes a fugitive from the authorities when he discovers Patema, a girl from an underground society with inverted gravity who got lost and fell to the surface. Pursued by men who want to capture Patema for study, the duo must find a way to return Patema to her home underground before she is caught.

Patema Inverted is a Japanese animated adventure with an unusual premise. Elements of the film should feel familiar to fans of Japanese animation: a misfit male lead trapped in an almost personally repressive society, a female lead whose adventurous spirit lands her in trouble, and a story that causes the two worlds to meet. But these familiar elements are woven around a novel premise to produce a film that stands well on its own.

Patema Inverted plays its premise to the hilt. The entire movie is a mind-bending physics puzzle as Age looks for ways to keep Patema from falling into the sky. While the gravity flip is the primary appeal of the film, the twists and turns of the plot keep things from becoming too static. The action, such as it is, can be quite clever, and the film feels like it makes the most of its clever premise.

For all its charm, Patema Inverted never comes together in a way that would make it a classic. The film, produced by Purple Cow Studio, never captures the sense of magic that Studio Ghibli imbues its films with. The characters are good but not great. The plot has a couple of nice surprises but lacks a cohesive trajectory for the audience to anticipate. The setting is a metaphor for conformity and closed-mindedness that, while not obnoxious, borders on heavy-handed.

Still, Patema Inverted is a fun and unusual film that is worth checking out. Fans of Studio Ghibli will be slightly disappointed in the quality, but should watch anyway for a film that offers a decent take on similar concepts. Watch it if you are curious what a fuller take on what Upside Down promised. Skip it if you dislike the genre or you suffer from vertigo.

7.4 out of 10 on IMDB. I give it a 7.0 to 7.5 for solid execution on a good premise.

Today’s quick review: Death Race 2. Carl Lucas (Luke Goss), a prisoner at the for-profit prison Terminal Island, puts his driving skills to the test when Weyland (Ving Rhames), the owner of the prison, launches Death Race, a televised blood sport where criminals race armed cars to try to win their freedom. But when a bounty is placed on his head by the mentor he went to jail to protect (Sean Bean), the race becomes that much more dangerous.

Death Race 2 is an action movie that serves as an origin story for Frankenstein, a driver from the first Death Race. The quality is about what you would expect for a direct-to-video prequel to a popcorn action film. The premise is a thin excuse to strap guns to cars, the plot is just enough to set up the action, and the acting is nothing special, although Ving Rhames, Sean Bean, and Danny Trejo provide a few familiar faces.

Fans of violent action in the mood for a bit of popcorn could do worse. Death Race 2 never quite reaches the energy of its predecessor, but it does offer plenty of action, tolerable writing, and a bit of mindless, brutal fun. Action fans should check out Death Race first for a better take on the same premise, but if you enjoyed the first film and don’t mind a dip in quality, check out the prequel.

5.6 out of 10 on IMDB. I give it a 6.5 for popcorn action, though your score will be lower if you dislike B movies.

Today’s quick review: 3 Days to Kill. Ethan (Kevin Costner) is a lifelong CIA agent with a troubled family life. When he is diagnosed with terminal cancer, he retires to Paris to spend his remaining days with his ex-wife (Connie Nielsen) and his estranged teenage daughter (Hailee Steinfeld). But when a mysterious woman named Vivi (Amber Heard) offers him an experimental cancer drug, he must perform one last mission to prolong his time with his family.

3 Days to Kill is a hybrid spy thriller, family drama, and comedy. Despite having a spy thriller’s premise, 3 Days to Kill spends most of its time on the relationship between Ethan and his daughter. The spy elements are worked in intermittently, a series of violent tasks Ethan must complete between attempts to repair his relationship with his daughter. The film is laced with humor, from Ethan’s unglamorous job as a spy to his attempts to elicit parenting advice from the people he kidnaps.

The fusion does not work well. As a spy thriller, 3 Days to Kill is hampered by a thin plot, a frumpy protagonist, and long breaks spent on the family side of the plot. As a family drama, it is a mediocre effort with awkward moments and an inconsistent tone. As a comedy, it is undermined by the serious nature of the plot, running smack into Ethan’s personal issues every time the tone begins to lighten.

3 Days to Kill attempts to do too much and winds up with a very inconsistent tone and mediocre execution. Dropping just one of the aspects of the film would have been enough to turn it into a decent watch: a fun spy comedy with a middle-aged, unsophisticated protagonist; a tense spy thriller about a dying spy’s final days; or a heartwarming family drama about a dying man’s attempts to win his daughter’s heart. But the combination of all three prevents the film form ever getting off the ground.

Watch 3 Days to Kill if you are in the mood for a middling spy film and you do not mind some tonal dissonance. The film shows some potential, but its inconsistency ensures that its potential is never realized. Skip it unless you are curious.

6.2 out of 10 on IMDB. I give it a 6.0 for a couple of good ideas that would be better on their own than they are together.

“I am the Law!” —Judge Dredd

Today’s quick review: Judge Dredd. Judge Dredd (Sylvester Stallone) is one of Mega City One’s most effective Judges, capable police officers with the authority to dispense justice on the spot. But Dredd finds himself on the wrong side of the system when he is framed for murder by Judge Rico (Armand Assante), a former Judge, an escaped convict, and Dredd’s former best friend. Dredd must venture outside the law to clear his name before Rico can throw Mega City One into chaos.

Judge Dredd is a sci-fi action film based on the titular comic book character. Despite a reasonable premise for a 90s action movie and interesting source material, Judge Dredd falls short of its potential. Dredd is not one of Stallone’s better performances, and misjudged writing and a poor supporting cast further hamstring the movie.

Judge Dredd occupies an odd niche where its obvious flaws are not what hurt it. The 90s sci-fi aesthetic is dated and cheesy but not inherently bad. Films like Demolition Man and The Fifth Element used similar designs to great effect, and the shots of Mega City One look good even by today’s standards. Likewise, the plot may seem cliched, but many great action films have been built from the same elements.

Where Judge Dredd suffers is its execution. Stallone should be a great choice for Dredd, but his delivery is too goofy for the serious parts of the role and too straight-laced for the funny parts. This miscalibration is exemplified by Dredd’s catchphrase, “I knew you’d say that!”, which he spouts half a dozen times without any impact.

The supporting cast has similar issues. Armand Assante delivers an erratic performance that was meant to evoke the unhinged antagonists of Blade Runner or Demolition Man but instead just comes across as bad acting. Rob Schneider never really clicks as Dredd’s reluctant sidekick Fergie, and his ineffectual animosity towards Dredd lingers too long. Diane Lane does a decent job as Judge Hershey, Dredd’s friend and colleague, but as an ordinary police officer in a world of extremes, she feels out of place.

Judge Dredd is not a bad watch, but it has clear flaws that keep it from living up to its potential. Seek it out for a healthy dose of 90s silliness crossed with bad production decisions. Those who aren’t entertained by 90s action or sci-fi should stay well clear. Those who are fans should check out Demolition Man instead for a better-executed film in the same vein.

5.5 out of 10 on IMDB. I give it the same for the makings of a fun movie held back by poor execution.

“Why do we fall, Master Bruce?” —Alfred Pennyworth

Today’s quick review: Batman Begins. Discouraged by the crime and corruption in his native Gotham, Bruce Wayne (Christian Bale) ventures around the world in a journey of self-discovery. He finds the purpose and training he needs under Henri Ducard (Liam Neeson), a member of a shadowy order of assassins. Newly emboldened, Bruce returns to Gotham and dons the persona of Batman, a nocturnal vigilante who strikes fear in the hearts of criminals.

Batman Begins is a superhero movie from director Christopher Nolan and the first entry in the Dark Knight trilogy. Batman Begins offers a new take on the classic DC character, weaving Batman’s origin into a modern crime drama. The film is impressive from start to finish, with a well-constructed plot, a great cast, tense writing, and an outstanding soundtrack from Hans Zimmer.

Christian Bale stars as Bruce Wayne, the wealthy heir to Wayne Enterprises. The murder of his parents at the hands of a mugger sends him down a dark road, culminating in his lengthy sojourn from Gotham. The same passion drives him to don the mask of Batman in an effort to take the fight to the criminals who run Gotham. This incarnation of Bruce Wayne is surprisingly nuanced, and Bale plays all parts of the role well, from the troubled young man to the gravelly-voiced superhero to the spoiled playboy he pretends to be.

More importantly, Bale is backed by a phenomenal supporting cast. Katie Holmes plays opposite him as Rachel Dawes, a childhood friend turned city prosecutor. Michael Caine plays Alfred Pennyworth, Bruce’s butler and confidant. Gary Oldman plays Jim Gordon, one of Gotham’s few good cops. Morgan Freeman rounds out Bruce’s allies as Lucius Fox, a loyal employee of Wayne Enterprises who provides Bruce with crime-fighting gadgets.

The villains are no less distinguished. Cilian Murphy plays Jonathan Crane, a demented psychologist who dons the supervillain persona Scarecrow. Tom Wilkinson plays Carmine Falcone, an untouchable mob boss. Ken Watanabe plays Ra’s Al Ghul, Ducard’s ruthless mentor. The supporting cast delivers great performances all around, enriching the film’s plot and atmosphere immensely.

Watch Batman Begins if you are in the mood for a dark, tense superhero movie with excellent execution, memorable perfomances, and a well-handled dose of realism. With some allowances for the Batman’s gadgets, Batman Begins is as realistic as most crime dramas, offering an in for non-superhero fans without betraying the spirit of the character.

Batman Begins also holds up well against the spate of superhero movies it helped launch. Though not as flashy as some of its successors, Batman Begins has incredibly solid fundamentals that are easy to overlook on first watch. It is a must-see for fans of the genre and an excellent choice for anyone who appreciates crime dramas, tight writing, and action.

Skip it if you dislike even the more realistic side of the superhero genre or if you are looking for a lighter take on the character.

8.3 out of 10 on IMDB. I give it an 8.0 to 8.5 for having the complete package.

Today’s quick review: Primer. Aaron (Shane Carruth) and Abe (David Sullivan) are a pair of engineers who run a small hardware company out of their garage. They make the discovery of a lifetime when they design a peculiar machine that can send objects and people into the past. At first they use the machine to profit from the stock market, but as they realize the machine’s true potential, their activities take a darker turn.

Primer is a low-budget science fiction movie about time travel. Aaron and Abe are ordinary engineers, and their approach to problem-solving reflects this. Their attempts to test and apply the machine are logical and genre savvy, but the temptation to go beyond their agreed-upon rules leads them into muddy waters. As such, Primer is a rare film that explores the logistic side of time travel for its own sake.

Primer makes clever use of the film’s limited budget. No special effects are needed for the time travel, the cast is small, and much of the plot is conveyed through dialogue. At the same time, these constraints make the film confusing and hard to follow. On top of the complexities of time travel plot, Primer opts for an indirect storytelling style that buries key plot points in Aaron and Abe’s organic, messy dialogue.

Watch Primer if you are looking for a minimalistic time travel puzzle that gets to the heart of the genre. The presentation is imperfect, but the plot of the film is quite interesting, and trying to follow it is a fun challenge for the right type of viewer. Casual viewers will get little out of the film, as will those with no interest in science fiction.

7.0 out of 10 on IMDB. I give it a 6.5 to 7.0 for smart writing hampered by confusing presentation and niche appeal.