Sleight of Film

Today’s quick review: Predator. Dutch (Arnold Schwarzenegger) leads a team of commandos into the jungle on a dangerous mission to rescue the victims of a helicopter crash. The mission runs into unexpected complications, but eventually the team wraps up its mission and heads to its extraction point. Before they can be picked up, however, they encounter an unexpected foe: an invisible stalker who is using alien technology to pick them off one by one. Their mission turns into a primal struggle for survival as the team looks for a way to fight an enemy that could be anywhere at any time.

Predator is a tight sci-fi survival film that makes use of the best aspects of the serious action movies of the 80s. Arnold Schwarzenegger makes for a capable protagonist, with guts and resourcefulness to spare. His compatriots are no slouches either, although the pressure of the situation tests even their steely resolve. While the team has its internal drama, much of it is shelved in favor of survival when the Predator appears, paving the way for a film of gunfire, traps, and desperate gambits with just enough character drama to make the stakes clear.

Predator is a classic that any fans of the action or sci-fi genres should watch. The film delivers on an interesting premise and wastes little time on fluff. The plot is typical for a survival film, with the main characters getting picked off or surviving according their luck and skill, but the quality of premise and execution set it apart. The Predator itself has an interesting design, and while the special effects are dated, they still manage to be effective. The film does have plenty of blood and a few moments of anticipation, so those looking for a light action film should look elsewhere. Predator is a film that does one thing and does it well. Watch it when you are in the mood for a tense action flick.

7.8 out of 10 on IMDB. I give it a 7.5 for a strong, straightforward premise and tight execution.

Today’s quick review: V for Vendetta. Decades in the future, England is ruled by the draconian police state of the Norsefire Party. Opposing the regime is V (Hugo Weaving), a theatrical terrorist in a Guy Fawkes mask who has a penchant for verbosity, explosives, fine art, and the letter “V”. One night, he saves Evey (Natalie Portman) from a cruel fate at the hands of the police. Over the following months, he takes her into his confidence, and she becomes one of the only people to understand his motives. But with the whole government after him, it is only a time before V’s revolution comes to a head.

V for Vendetta is a film adaptation of the graphic novel by Alan Moore. Hugo Weaving stars as V, the man in the mask. His refined tones and theatrical mannerisms are a strong fit to the peculiar character. Natalie plays opposite him as Evey, who is gradually drawn from her sheltered life by V. The film has a healthy amount of action, though it is limited to V’s explosives and his prowess with a knife against rooms full of enemies. His schemes are entertaining, although they stop one step short of elaborate. The film is technically dystopian science fiction, and though its glimpse of the future is more political than scientific, it fits nicely with its dystopian sci-fi brethren Equilibrium and Aeon Flux.

Despite a strong premise, V for Vendetta falls flat. V’s opponents are cardboard cutouts that rob the moral conflict of much of its nuance. The plot comes across as linear, just a string of ever-greater acts of terrorism leading up to the finale. The combat is adequate but could have been given a bit more flair to go with V’s dramatic character. Evey’s arc is not entirely convincing, and the lack of meaningful supporting cast stunts the characters and the plot. The mystery surrounding V’s identity is handled well, but the rest of the movie does not provide enough reason to care.

Fans of dystopian sci-fi with a bit of action should give V for Vendetta a watch. It is a decent film with good ideas and a few iconic moments. But the film is notable more for its main character than its plot or execution. While it makes for a good popcorn film when you are in the mood for an action movie that is a little on the dark side, skipping it would be no real loss. However, your valuation of its strengths and weaknesses will vary, so give it a watch if you have any interest in the premise.

8.2 out of 10 on IMDB. I give it a 7.0 for decent execution with some missed potential.

Today’s quick review: Fight Club. An insomniac white collar worker (Edward Norton) struggles to cope with his meaningless life until he meets Tyler Durden (Brad Pitt), a charismatic, iconoclastic soap salesman. Tyler’s hypothesis is that many of life’s problems come from living in a world without violence, a world of consumerism and emasculation. Their solution is Fight Club, an underground fighting ring that gives its participants a new outlook on life. But as the Club begins to grow in size and intensity, it morphs into a movement driven by Tyler’s anarchistic view of the world. And caught up in it all is Marla Singer (Helena Bonham Carter), Tyler’s crude, damaged girlfriend.

Fight Club is a psychological drama that doubles as a scathing commentary on modern life. Edward Norton stars as a man whose insomnia and lack of purpose are causing him to detach from the world. He attempts to paper over the void in his life through consumerism and support groups, but it is only through raw aggression that he finds meaning. Brad Pitt plays Tyler Durden, the only person he truly connects with and the inspiration for his newfound confidence. The dynamic between the two actors gives the film much of its kick, with Brad Pitt taking on the role of cocky best friend to Edward Norton’s nervous, overly cautious slave to society. Helena Bonham Carter rounds out the main cast as Marla, a wonderfully perverse acquaintance of Norton’s who takes an interest in Pitt.

Fight Club has a unique tone that combines a pessimistic outlook on modern living with black humor and mind games. Edward Norton serves as protagonist and narrator. His insomnia is reflected in abrupt time jumps, omitted information, and subtle background details that speak to his mental state. Brad Pitt takes a crack at narration once or twice, and the ease with which the characters slip across the Fourth Wall and back gives the film an engrossing, surreal quality to it. The writing is superb, if somewhat crass. Its imagery is vivid, its pacing is snappy, and it offsets its bleak outlook with gallows humor. Though its philosophy is destructive, Fight Club is the best exemplar of a certain type of nihilism that has ever been put to film. That alone makes it a classic.

Fight Club is a must-watch for its overall quality, its unusual storytelling, and its cultural notoriety. Sensitive audiences should stay away from its frank depiction of the seamier sides of life. While its humor and stylized storytelling keep it from getting too bleak, neither its philosophy nor its content are for the easily disturbed. Those who will benefit most from the film are young men, as it perfectly captures the aggression of youth. While its world is not one the viewer will want to stay in, Fight Club manages to weave quality writing, unconventional storytelling, and philosophy together into one compelling package.

8.8 out of 10 on IMDB. I give it an 8.5 for being an engrossing watch and a unique film.

Today’s quick review: Kung Pow: Enter the Fist. The Chosen One (Steve Oedekerk) has spent his life wandering the countryside, honing his martial arts skills. He seems to be the subject of a vague prophecy, and he is pursued by a nameless organization for unknown reasons. Finally his journeying comes to an end when he encounters the evil Betty, the invincible martial artist who killed The Chosen One’s family years ago. With the help of a clueless girlfriend, a peculiar mentor, a cryptic ninja, and an incompetent rival, The Chosen One must put a stop to Betty’s schemes and get revenge for the murder of his family.

Kung Pow!: Enter the Fist is a ridiculous and unique martial arts comedy. The plot is utter nonsense, full of meaningless foreshadowing and dangling plot threads. The martial arts are more silly than compelling, a flurry of hit-or-miss gags replacing normal fight choreography. The acting is hard to talk about with a straight face due to the characters’ preposterous voices and bizarre dialogue. Half the film’s footage is taken from an older martial arts film, digitally edited to include the new actors’ faces. Every line in the film is dubbed, down to the dog’s barking, serving the triple purpose of providing consistency with the dubbed older footage, parodying the often-poor dubs of the martial arts genre, and offering the opportunity for a number of gags involving bad lip-syncing. Many of the voices are provided by Steve Oedekerk, the film’s director, writer, and star, a fact that explains the characters’ unusual voices.

Toss in a couple of gratuitous CGI shots, overly literal narration, and a couple of bad plot twists, and you have one of the strangest comedies around. The humor is low-brow and often misses its mark completely, but the sheer volume of ridiculousness will eventually cause the viewer to crack up. Those who only like intelligent comedies, who want their movies to make sense, or who find any of these creative decisions disturbing should stay far away. Those with a silly, almost childish sense of humor, who don’t mind a bit of randomness, and who are willing to be entertained should definitely give Kung Pow: Enter the Fist a watch. Kung Pow is a hilarious, endlessly quotable mess of a movie that is well worth seeing.

6.2 out of 10 on IMDB. I give it a 5.0 for production quality and a 7.5 for hilarity.

Today’s quick review: Die Hard. John McClane (Bruce Willis) is a New York cop with a knack for being in the wrong place at the wrong time. His trip to visit his wife (Bonnie Bedelia) in Los Angeles for an office Christmas party is interrupted when terrorists led by Hans Gruber (Alan Rickman) take over the building. The police respond, but they are powerless against the threat of dead hostages. Only McClane can stop the terrorists. His only ally is a patrolman who has never fired his gun (Reginald VelJohnson), the only cop to believe that McClane should fight back rather than play it safe.

Die Hard is a classic action movie with a number of memorable moments. Bruce Willis stars as John McClane, an everyman cop who mixes human fallibility with action hero competence. For all his justified grousing about the situations he finds himself in, McClane is ultimately brave and self-sacrificing, making him a likable and sympathetic hero. Alan Rickman delivers a strong performance as Hans Gruber, a charismatic terrorist who is smarter than he seems. The wits of both hero and villain are a natural source of surprises, keeping the plot fresh even well into the hostage standoff.

While McClane does go in guns blazing on occasion, much of his role in Die Hard revolves around stealth. He is alone against a highly-trained team of terrorists, with only the weapons he can steal. Every move he makes must be thought out, and mistakes can be disastrous. Not all of his opposition comes from within. The police on the outside want him to hunker down and leave the rescuing to them, while the press is making itself a nuisance. These annoying “allies” reinforce John’s status as a decent man who takes action alone when others are too afraid to. These qualities make him one of the better action heroes around.

Watch Die Hard if you are a fan of action movies. While there is nothing profound about the movie, it is executed very well and is considered one of the classics. Those who dislike the genre may not get much out of it, but Die Hard is a good choice for anyone with even a passing interesting action movies the way they should be done.

8.2 out of 10 on IMDB. I give it an 8.0 for solid execution, a great protagonist, and memorable moments.

Today’s quick review: Galaxy Quest. Eighteen years after the show ended, the crew of sci-fi sensation Galaxy Quest are reduced to making convention appearances and repeating their lines for overeager nerds. Jason Nesmith (Tim Allen), the self-centered commander of the crew, laps up the attention, but his co-stars (Alan Rickman, Sigourney Weaver, Tony Shalhoub, and Daryl Mitchell) are less enthused. But they are shocked when they are contacted by a real race of aliens, the Thermians, who have modeled their lives after episodes of Galaxy Quest. Now the Thermians want their greatest heroes to save them from an alien conqueror. Together with a nameless extra (Sam Rockwell), the crew venture into space to become the heroes they only pretended to be on TV.

Galaxy Quest is a loving parody of Star Trek that adds a meta spin to the classic sci-fi show. Mirroring the real-life broadcast, cancellation, cult following, and eventual revival of Star Trek, Galaxy Quest is a comedy about science fiction actors forced into the roles of their characters. The Thermians have no concept of fiction; to them Galaxy Quest was a historical broadcast. Their hopes rest on the Galaxy Quest crew. What begins as a lark for the crew soon turns into a life-or-death struggle where they find themselves mirroring their fictional counterparts just to survive.

The movie uses the divide between the characters and the actors to poke fun at the genre and its fans. The nonsensical aspects of the show’s writing are put on display when the setting becomes real. The actors struggle with the fact that they are entirely unqualified to pilot a starship. Even the show’s fans are shown as kindly yet a bit too invested.

For all the shots it takes, Galaxy Quest does show a heartfelt love for the genre. The silly bits of sci-fi are woven back into an enjoyable adventure that checks almost all of the Star Trek boxes. The characters are not all that deep, but they bounce off each other well and they all know how to panic enjoyably. Furthermore, they are all forced to grow by the situations they find themselves in. The lessons of Star Trek and similar shows are reaffirmed as the actors come to appreciate them.

As a sci-fi movie, Galaxy Quest is nothing too special. The plot, setting, and special effects are designed to mimic classic Star Trek, limiting the film’s ability to stand on its own. Likewise, as a comedy, the film is worth a few laughs but little more. But taken as a whole, Galaxy Quest is a charming, affectionate parody that occupies a nice niche of its own. Fans of sci-fi in general and Star Trek in particular should give it a watch. No intimate knowledge of Star Trek is necessary, but the ability to laugh at and laugh with the sci-fi genre is a must.

7.3 out of 10 on IMDB. I give it a 7.0 to 7.5 for making good use of its premise.

Today’s quick review: The Endless Summer. Teenage surfers Michael Hynson and Robert August leave winter in California on a globe-spanning trip to chase the summer waves of the Southern Hemisphere. Their trip takes them down the west coast of Africa, around the tip of South Africa, and to Australia before returning to Hawaii and its perpetual summer weather. Along the way, they make friends with the locals, test the waves, and surf on beaches that have never been surfed before.

The Endless Summer is a surf documentary that samples surfing locations all around the world. Michael Hynson and Robert August set out on their ambitious trip with two surf boards, plenty of wax, and a suitcase full of trunks. Their exploits are narrated by filmmaker Bruce Brown, whose friendly explanations and knack for hyperbole make for pleasant viewing. The Endless Summer serves as an excellent introduction to surfing, with beginner-friendly explanations of the lingo and what conditions are ideal. Even to an outsider, the fun of surfing carries through. Footage from the boys’ trip is interspersed with clips of other surfers from Hawaii and California to provide a nice range of waves and styles. The documentary is rounded out by footage of the boys’ travels as they fly, drive, and hitchhike their way to beaches around the world.

The Endless Summer is a relaxing, entertaining documentary that is well worth the hour-and-a-half it takes to watch. It provides plenty of surfing, companionable narration, and a fun glimpse at the world through the eyes of a couple of California boys. Those who already enjoy surfing will get a lot out of the movie, while those who are less familiar with the sport will begin to get a feel for it by the end. While it’s only worth going out of your way for if you’re a surf fan, The Endless Summer is the perfect movie to watch when you want to unwind in front of a quick tour of the world’s beaches.

7.8 out of 10 on IMDB. I give it a 7.0 to 7.5 for quality footage and narration; your score may be higher if you are into surfing.

Today’s quick review: Upside Down. Up Above and Down Below are two adjacent worlds affected oppositely by gravity. Each world seems upside down to the other, and social and legal barriers make it difficult to cross over even when it is physically possible. When Adam (Jim Sturgess), a kind-hearted boy from Down Below, strikes up a relationship with Eden (Kirsten Dunst), a girl from Up Above, it ends in Adam’s arrest and a head injury for Eden, leading to amnesia. Years later, Adam sees Eden on TV and seeks out a job at Transworld, the world-crossing megacorporation where she works. But physics, Transworld’s security measures, and Eden’s amnesia conspire to keep him from her, requiring all of Adam’s ingenuity and determination to overcome.

Upside Down is a sci-fi romance set on two worlds with opposite gravities. The movie has a strong science fiction premise, but its main focus is on its love story. The reversed gravity is a key part of the setting and the plot, but details that don’t advance the romance are shoved into the background. Thus Upside Down hand-waves important points that would be at the center of a sci-fi movie in favor of Adam’s struggles to reach his true love. Jim Sturgess and Kirsten Dunst do have good chemistry together, but the nature of the plot keeps them apart most of the time. The few times they are together are squandered on bliss rather than character development, depriving the relationship of much of its depth.

The extent to which you enjoy Upside Down will be the extent to which you enjoy Adam. His narration, his starry-eyed yearning for Eden, and his attempts to use his meager resources to find a solution are at the forefront of the movie. Jim Sturgess gives a decent performance, but his character cannot carry the movie on his own. A more meaningful supporting cast would have put Adam’s natural friendliness and dogged tenacity in perspective while making the plot less linear. The one supporting character of note, one of Adam’s coworkers (Timothy Spall), supports this hypothesis: with just a few minutes on screen, he has several good moments that could have been expanded on.

Visually, Upside Down is spectacular but somewhat confusing. The inverted gravities and dual skylines are clear enough, but busy digital landscapes, heavy blue filters, and intense sunlight make for a gorgeous yet disorienting visual backdrop. The gravity reversal effects are used just enough to drive the plot, with a few flashes of inspiration but not the hardcore abuse of the premise one might expect. There is little action to speak of, just peril at appropriate moments. The soundtrack is a hidden gem, subtle, airy, and perfect for the setting.

Upside Down is a skippable film with a few interesting aspects. Fans of science fiction will be disappointed by the romance-heavy plot and the decision not to explore the premise in greater depth. Passing details exploiting the rules of the universe show that the creators gave the matter some thought, but a few tweaks would have made the science fiction much more satisfying. Fans of romance can probably find richer love stories with similar themes without having to suspend their disbelief. Watch Upside Down if you are still curious enough about the premise to overlook the subpar execution. Skip it if you are looking for sci-fi or romance separately. For an animated take on the same premise, check out Patema Inverted, where the worlds are odder but the fundamentals are more sound.

6.4 out of 10 on IMDB. I give it a 6.0 to 6.5 for worthwhile pieces that do not quite come together.

Today’s quick review: Dredd. In the future, the entire northeastern part of the United States has been merged into one massive city. Crime runs rampant, and the only force for law and order is the Hall of Justice and its Judges, cops who enforce Mega City One’s penal code with brutal efficiency. Judge Dredd (Karl Urban) is one of the best. When Anderson (Olivia Thirlby), a new recruit with psychic powers, is brought onto the force, Dredd is assigned to conduct her in-field assessment. The two investigate a triple homicide in one of Mega City One’s towering apartment blocks. But when their investigation gets too close to Ma Ma (Lena Headey), the local drug kingpin, she locks down the building and sends her gang to eliminate the Judges. Dredd and Anderson must fight their way through 200 floors of armed enemies to dispense justice, if they can stay alive.

Dredd is a violent sci-fi action movie with a simple premise and top-notch execution. Karl Urban aces Judge Dredd’s stoic expressions and laconic speech. Dredd is the law incarnate, never flinching, never hesitating, and never failing to dispense the brutal justice of Mega City One. Olivia Thirlby plays opposite him as the psychic Anderson. Anderson has the mettle of a Judge combined with a compassionate streak that could make or break her career. The movie takes these two simple characters and pits them against a series of challenges that not only drive the plot, but earn the audience’s respect.

Where other action movies try to show a little vulnerability in their heroes, Dredd’s mask never slips. Dredd and Anderson are resourceful, tenacious, and ultimately a force for good in a violent world. No one incident is all that impressive, but taken together they paint a very interesting portrait of the movie’s heroes. The depravity of the criminals, the infinitesimal hints of compassion from Dredd, and the tempering of Anderson all serve to steadily build the impression that the Judges have proven themselves. Were Dredd a little less terse, were Anderson a little softer, the effect would not have worked, but as it is, the Judges are an impressive variant on the usual action movie heroes.

Dredd is not for the faint of heart. Death is cheap in Mega City One, and the movie shows this state of affairs in all its gory detail. The action scenes are an excuse to break out the heavy ordnance, with machine guns, incendiary rounds, and tear gas all adding punch to the combat. The drug Slo-Mo provides a bit of stylistic flair by slowing the perception of time for a few of Dredd’s targets. Bullets tear through bodies in color-enhanced slow motion while ethereal music plays in the soundtrack. While the combat is tense, creative, and satisfyingly violent, it is limited by the setting. Guns and explosives are the name of the game rather than chases, stunts, or hand-to-hand combat. Dredd does its guns well, but for the most part it only does guns.

Watch Dredd if you are desensitized to violence and looking for a solid, well-executed action flick. Dredd promises little beyond a peek into the world of Mega City One, but that peek is vivid and satisfying. There are no subtle plot points, sympathetic villains, or layered meanings, just hard protagonists and plenty of violence. Those that enjoy violent action movies should give Dredd a watch, as it is one of the better entries in the genre in recent years. Those who are at all squeamish around blood should skip it, as should those looking for a meaningful watch.

7.1 out of 10 on IMDB. I give it an 8.0 for great execution, plenty of action, and impressive protagonists.

Today’s quick review: Ferris Bueller’s Day Off. Ferris Bueller (Matthew Broderick) is a bright but inattentive high school senior. When the spring weather proves too nice to waste on school, he fakes an illness to take the day off. With his best friend Cameron (Alan Ruck) and his girlfriend Sloane (Mia Sara) at his side, he sets out to pack as much fun into his day of freedom as possible. But not everyone is understanding of Ferris’s “illness”. His sister Jeanie (Jennifer Grey) is fed up with all the stunts her brother gets away with, while Principal Rooney (Jeffrey Jones) is convinced that Ferris is playing hooky. If he wants to seize the day, Ferris must first avoid getting caught.

Ferris Bueller’s Day Off is a charming comedy about playing hooky when you can. Matthew Broderick nails the role of Ferris. His lies have a mischievous, innocent quality to them that make him hard to dislike, even when he is lying about a death in the family or changing his grades on the school computer. Alan Ruck plays Cameron, Ferris’s opposite number, a cautious, nervous boy who goes along with Ferris’s schemes against his better judgment. Much of the charm of the movie comes from their interplay, with Ferris trying to get Cameron to come out of his shell and Cameron acting as a voice of reason. Mia Sara rounds out the trio as Sloane, Ferris’s fun-loving girlfriend, accomplice, and audience.

Ferris Bueller’s Day Off is a light, joyful watch that is worth catching whenever you have the chance. Though not particularly deep, it does have a pair of nice messages about stopping to smell the roses and standing up for yourself. The film sports a number of iconic moments, from the misguided “Save Ferris” campaign to the Chicago parade Ferris runs into. All of the tension and much of the comedy come from Jeanie and Principal Rooney, whose dual attempts to bust Ferris meet with a number of setbacks. Those who are looking for a nice comedy should look no farther: Ferris Bueller’s Day Off is a pleasant, iconic movie with general appeal.

7.9 out of 10 on IMDB. I give it an 8.0 for light comedy and iconic moments.