Sleight of Film

Today’s quick review: K-PAX.  Kevin Spacey stars as Prot, a man who appears one day in Grand Central Station, claiming to be an alien from the planet K-PAX.  After a run-in with the police, he is taken to a psychiatric hospital.  There Dr. Powell (Jeff Bridges), a psychiatrist at the hospital, attempts to cure his delusion, only to learn that Prot’s extraordinary claim may have basis in reality.  Despite the somewhat far-fetched premise, K-PAX is a closely personal emotional drama.  Prot brings hope to the patients of the hospital, while Dr. Powell’s interactions with him develop from professional interest to curiosity to deep personal friendship.  But Prot is harboring secrets, and Dr. Powell’s investigation only deepens the mystery.  K-PAX is a subdued, focused, and deftly handled movie.  While uplifting in places, it journeys through the full spectrum of human emotion, from joy and wonder to sorrow and grief, and can be quite heavy at times.  Spacey and Bridges both deliver excellent performances.  The mystery at the heart of the movie is played very well: K-PAX manages to be quality science fiction even when it’s unclear whether it technically qualifies.  Give it a watch if you’re in the mood for a personal drama with a unique premise, strong acting, and a worthwhile mystery.  7.4 out of 10 on IMDB.

Today’s quick review: Ultraviolet. In the future, a draconian government fights with a vampire mob family for control of a boy who could end the vampires once and for all. Violet (Milla Jovovich), a vampire with a conscience, finds herself caught in the middle and must use her enhanced combat abilities to fight her way out. Ultraviolet can best be described as a mid-2000s sci-fi action flick. Just about every aspect of the movie follows directly from this premise. The plot should seem familiar, as it is cobbled together from bits and pieces of other 2000s sci-fi action flicks. The dystopian government and rebellion are lifted from Equilibrium and Aeon Flux, while the trendy sci-fi vampires and the genetic messiah are taken from Underworld. The setting is the bare minimum needed to support the plot: a shiny city lovingly rendered in mid-2000s CGI.

The main draw of Ultraviolet is its action, and while its action does not excel, it does manage to satisfy and even innovate in a few places. Violet’s “hyperdimensional pockets” let her pull weapons and ammo out of thin air, a fun nod to video game inventory systems. The combat is a mixture of swords, guns, and kicks, with plenty of government troops and lesser vampires for Violet to tear her way through. Although it’s nothing to write home about, the action is enough to justify the movie’s existence and make Ultraviolet a serviceable popcorn film. Watch it if you’re in the mood for fun sci-fi action with little plot and dated graphics. Skip it if you’re looking for a deeper or more polished movie in the genre. 4.4 out of 10 on IMDB.

Today’s quick review: The Rescuers Down Under. Cody, a boy living in the Australian outback, finds and befriends a golden eagle, only to be kidnapped by McLeach (George C. Scott), a wicked poacher who wants to know the location of the eagle’s nest. His plight makes it to the ears of the Rescue Aid Society, an international organization of mice based out of New York, who dispatch two of their best agents, Bernard (Bob Newhart) and Bianca (Eva Gabor), to help the boy. Flying out to Australia aboard an albatross (John Candy), Bernard and Bianca face the dangers of the outback and the difficult task of finding the boy in the enormous wilderness.

The Rescuers Down Under is one of Disney’s hidden gems. The sequel to The Rescuers, The Rescuers Down Under shows a marked improvement in production quality in everything from its art to its sound mixing. Though not a musical, it has a gorgeous soundtrack that has stuck with me since childhood. The animation has all the charm and attention to detail that you would expect in a Disney film, but it is dwarfed by the quality of the backgrounds. The painted vistas of the Australian outback, seen in several long shots, are something not seen in any other Disney film. The rest of the art descends gracefully down to the cartoonish style of the main characters, making stops along the way for the graceful, realistic eagle and some of the other non-anthropomorphic wildlife. Though not a musical, the film has an exquisite soundtrack that has stuck with me since childhood. The writing is charming and entertaining but not as strong as Disney’s best. The script, however, is read by a stellar set of voice actors, giving the film life and personality. The world also has an excellent sense of scope, from the elaborate hidden world of the mice, where single-pea soup is served in thimbles, to the vast and sprawling wilds of Australia. While it lacks the musical numbers and intricate script of some of Disney’s more iconic works, the Rescuers Down Under is an enjoyable slice of childhood. Watch it if you’re looking for a Disney fix but feel like you’ve already seen it all. 6.9 out of 10 on IMDB.

Today’s quick review: Real Steel. In the near future, Charlie Kenton (Hugh Jackman), a down-on-his-luck robot boxing operator, discovers that he has a preteen son (Dakota Goyo) that he never wanted. Finding a common interest in robot boxing, the two work together to restore Charlie’s flagging career. Real Steel succeeds on several levels. Hugh Jackman delivers a strong performance as a disinterested father just enough redeeming qualities to make the character likable. Dakota Goyo plays off him well, with the right balance of innocence and jadedness, and their emotional arc is the backbone of the movie. The boxing itself is fast-paced and visceral. The punches are weighty, and the robots feel more than capable of taking and delivering superhuman beatings. The fight locations greatly emphasize the sense of excitement that comes with the matches. From the former lion habitat at an abandoned zoo to a towering atrium lined with spectator-filled balconies, the arenas in Real Steel give the impression that robot boxing is an irrepressible force that crops up wherever there is a place to fight. The story is fairly typical as both a boxing story and a father-son story, but the combination of the two, along with the sci-fi elements and the movie’s capable direction, is more than satisfactory. Overall, Real Steel delivers exactly what it promises: plenty of robot action wrapped around a strong emotional core. Every aspect of it is well-executed, and I strongly recommend giving it a watch. 7.1 out of 10 on IMDB.

Today’s quick review: Romancing the Stone.  A shut-in romance author (Kathleen Turner) is dragged into a world of adventure when her sister is kidnapped.  While traveling to Colombia to deliver the ransom, she finds herself lost in the jungle with only a chance acquaintance (Michael Douglas) to help her.  As the two try to get back to civilization and deliver the ransom, they wind up involved with the search for hidden treasure and the criminals who are after it.  Romancing the Stone is a pleasant blend of romantic comedy and light adventure.  The characters are enjoyable, the premise is just absurd enough to be fun, and the parallels between the author’s life and her romance novels are amusing to watch develop.  The movie dabbles in both of its genres, so don’t expect it to veer too far in either direction.  The romance is gradual, and while it forms the core emotional arc of the film, it is mostly played for comedy.  There is a decent amount of action, but nothing particularly mind-blowing or violent.  Dan DeVito also does a good job as the more sympathetic of the two kidnappers and offers a glimpse into just how badly their own schemes go awry.  Overall, Romancing the Stone is a pleasant watch for a rainy day when you are looking for something light, or when you are looking for a compromise movie to appease a significant other (“Look, honey, it has romance/treasure in it!”).  6.9 out of 10 on IMDB.

Today’s quick review: Bunraku. A drifter (Josh Hartnett) rolls into town looking for Nicola the Woodcutter (Ron Perlman), a ruthless crime boss, but instead finds a samurai (Gackt) with a similar mission. To reach Nicola, they must first fight his Top 10 Killers. They are aided in their quest by a wise and opportunistic bartender (Woody Harrelson) who has a history with Nicola. Bunraku is a stylized and highly creative film. From its colorful and moody lighting to its just-so narration, it delivers a peek into a world unlike that found in any other movie.

The movie features a mishmash of genres—Western, samurai, and noir, to name a few—united by an overarching sense of style. The overall impression is that of a stage play gone horribly right. The limitations of the stage are dropped into the movie in clever and satisfying ways: walls fading out to show what other characters are doing, minimalistic sets with dramatic lighting, and even a multi-floor action scene shot entirely from the side in a cutaway building.

A recurring motif in Bunraku is the addition of a twist to an otherwise generic character or scenario. For instance, Josh Hartnett is an archetypical Western drifter (albeit a somewhat unsuccessful one) complete with hat, gambling, and anonymity. Gackt plays the Eastern equivalent, a samurai searching for a family heirloom whose exploits put his uncle’s restaurant in jeopardy. The twist is in the blending of the two characters: neither can succeed on his own, and only with the help of each other and the guidance of the Bartender do they stand a chance against Nicola.

The use of familiar story elements proves to be something of a double-edged sword for Bunraku. While they provide grounding in an otherwise unfamiliar setting, they also cheapen the story and leave the audience wondering whether extending the movie’s originality a little further would have been so bad.

The movie’s main weakness is that it comes across as a little flat in places. The writing doesn’t always hit the mark, and the fight scenes are choreographed more like dances than martial arts action. That said, the concept and style are nearly unique, and the execution is delightful in countless tiny ways. Overall, you should expect a heavily stylized movie with plenty of action, strong narration, subtle moments of comedy, and innovative presentation. Those who enjoyed the sylized aspects of Scott Pilgrim or Lucky Number Slevin should give Bunraku a watch, although the tone and genre are somewhat different. The story and characters are not particularly deep, but the setting and direction of Bunraku both ooze style that you won’t find anywhere else. 6.2 out of 10 on IMDB.

Today’s quick review: I’m Gonna Git You Sucka. When his brother dies, Jack Spade comes home from the Army only to find his old neighborhood overrun with crime. Jack seeks the help of retired hero John Slade to clean up the streets and take on Mr. Big, the criminal responsible for the death of Jack’s brother. I’m Gonna Git You Sucka is an unexpectedly hilarious comedy. Parodying the blaxploitation movies of the 70’s, the film brings together a large cast of old-school heroes, doting family members, and amusing cameos. Its sense of humor is very similar to Airplane! and related movies, and it pulls it off well: expect peculiar characters, sight gags, and general silliness. The film is also quite similar to cult comedy Black Dynamite, a modern take on the same concept, although I’m Gonna Git You Sucka relies more on jokes for humor and less on action movie excess. Give I’m Gonna Git You Sucka a shot if you enjoyed Airplane! or Black Dynamite and are looking for something more. 6.5 out of 10 on IMDB.

Today’s quick review: X-Men: Apocalypse. James McAvoy, Michael Fassbender, and Jennifer Lawrence star once again in the latest installment of the X-Men franchise, set ten years after the events of Days of Future Past. The intervening decade has seen major changes in the lives of the main cast: Professor X is once again the head of a thriving school for mutants, Magneto is leading a quiet civilian life in Poland with his newfound family, and Mystique is an unwilling role model for countless mutants across the globe. The three are drawn together once more by the awakening of Apocalypse, the world’s first and most powerful mutant and once the immortal ruler of Ancient Egypt. Upon seeing a modern world where the strong protect the weak, Apocalypse gathers his followers and prepares to cleanse the world of the weak, so that only the strongest survive.

In terms of overall quality, X-Men: Apocalypse is on par with the rest of the First Class trilogy. The core trio of Charles, Eric, and Raven is as strong as ever, and the newcomers give the universe a feeling of growth and progression. Where Days of Future Past had a complex plot centered around a few characters, Apocalypse goes simpler and broader. The plot has relatively few stages, a reasonable decision given the number of characters to cover and the straightforward nature of the threat. The early part of the movie is spent switching between various charactres until they begin to cross paths, at which point the story progresses rapidly into its endgame. The expanded cast and well-established returning characters move the focus from deep character development to character interaction and world-building, yielding a world that seems ripe with potential.

Apocalypse embraces its comic book roots more than past X-Men movies have. While perfectly compatible with its predecessors, Apocalypse ups the ante with characters, costumes, and powers that should make any X-Men fan happy. Storm sports a mohawk, Angel has steel wings, and a lot of the metal vibe of classic X-Men comics carries through. The result is an exciting movie with plenty of action, a vibrant cast, a promising world, and arguably the best entrance a character has made in the history of film. Go see it if you enjoyed First Class or Days of Future Past. 7.5 out of 10 on IMDB.

Today’s quick review: 16 Blocks.  A washed-up cop, Bruce Willis, comes off duty only to find that he has to transport a witness, Mos Def, 16 blocks to the courthouse to stand witness.  But after a failed attempt on the Def’s life by corrupt police officers, it becomes clear that he was never meant to make it to trial.  Willis must confront his own checkered past as he races to get Def across town in time to testify.  The movie is an excellent thriller with a strong emotional heart.  Neither Willis nor Def is particularly likeable at first—Def is overly talkative and possibly dishonest, while Willis is tired and jaded—but their shared peril reveals hidden depths to their characters.  16 Blocks is a cleanly-executed thriller with an excellent plot progression that’s centered around a pair of deep, well-acted characters.  Watch it when you’re in the mood for drama, tension, and a smattering of action.  6.6 out of 10 on IMDB.