Sleight of Film

“So begins the end.” —Steppenwolf

Today’s quick review: Zack Snyder’s Justice League. Obeying Superman’s (Henry Cavill) dying wish, Batman (Ben Affleck) sets out to recruit a team of heroes (Gal Gadot, Ezra Miller, Ray Fisher, and Jason Momoa) to protect the Earth from the alien conqueror known as Darkseid. Meanwhile, Darkseid’s general Steppenwolf (Ciaran Hinds) hunts for the three Mother Boxes hidden on Earth so he can unleash their power and claim the planet for his master.

Zack Snyder’s Justice League is a superhero action movie based on the DC comics. Director Zack Snyder’s take on Justice League features major changes from Joss Whedon’s verson of the film, including an extended run time, various continuity changes, and a more dramatic presentation style. The film’s large-scale action, well-picked cast, and expansive story make it a treat for the right viewer but an exhausting watch for the wrong one.

The main drawback of Zack Snyder’s Justice League is that it requires a significant amount of buy-in from the audience. The run time is nearly double the Whedon version, with slower scenes, more character work, and stronger connective tissue. The tone is heavy throughout, showing desperate situations and a fair amount of violence. And while the action is impressive, it visual palette and heavy use of CGI will not suit everyone’s tastes.

The reward for the audience’s investment is a superhero epic on a scale rarely seen. Zack Snyder’s Justice League not only continues the story begun in Man of Steel and Batman v. Superman but also provides partial origins for the Flash (Ezra Miller), Cyborg (Ray Fisher), and Aquaman (Jason Momoa). The film tours every corner of the DC Universe, from Themyscira to Atlantis, expanding the lore of the universe and laying the groundwork for Darkseid.

Zack Snyder’s Justice League also builds to some truly remarkable action scenes. The fights are spread out compared to most superhero movies, with lots of prep work and exposition, but they are polished, artful, and narratively important. The scope of the action matches the top tier of superhero films in terms of flashiness and destruction, while the action scenes are an excellent showcase of the characters’ powers and fighting styles.

As far as its story goes, Zack Snyder’s Justice League weave together a variety of interesting plot threads. The backbone of the story is a generic alien invasion plot, with a menacing supervillain collecting powerful artifacts to conquer the Earth. Where the film gets its personality is its subplots, which flesh out the members of the League and plant the seeds of stories yet to come. The end result is a hefty, multifaceted story.

Zack Snyder’s Justice League also compares favorably to the Whedon version of the film, at least in terms of story, character, and consistency. The Snyder version drops most of the humor in favor of a more serious tone that suffers from fewer abrupt shifts. The expanded plot helps shore up holes in the Whedon version of the story and gives each character a chance to breathe. However, the price is slower pacing and less of a self-contained story.

How much you get out of Zack Snyder’s Justice League will depend heavily on taste. Fans of his previous work with the DC Universe will find it to be a fitting progression of the story that shows off new ideas, introduces new characters, and delivers action on a large scale. Critics of his work will find its slow pacing and heavy tone to be a lot to ask. Superhero fans should dive right in; less invested viewers should approach with caution.

For a shorter, lighter take on the same plot, try the Joss Whedon version of Justice League. For a superhero team-up with a more colorful tone and a cleaner plot, try The Avengers. For a similarly climactic superhero movie, try Avengers: Infinity War or Avengers: Endgame. For an even darker movie about a conflict with Darkseid, try Justice League Dark: Apokolips War.

[8.7 out of 10 on IMDB](https://www.imdb.com/title/tt12361974/). I give it an 8.0 to 8.5 for impressive action and a story that covers a lot of ground.

Today’s quick review: Hard Surfaces. Adrian Jacobs (Shawn Pyfrom), a photographer who takes pictures of drug addicts, has to rethink his lifestyle when his estranged sister dies, leaving him custody of her daughter Maddy (Hannah Victoria Stock). Adrian tries to provide a good home for Maddy but runs into trouble managing his own drug use and keeping the nature of his work a secret from Sophie Moreno (Sophie Kargman), Maddy’s social worker.

Hard Surfaces is a drama about drug addiction and fatherhood. Adrian’s adoption of Maddy changes both of their lives, pushing Adrian towards a crisis as he tries to reconcile his abuse of cocaine and prescription drugs with his desire to care for his newfound daughter. Hard Surfaces does not hold any real surprises, but it executes its premise with skill. Solid acting and a fulfilling story make it a worthwhile pick for those interested.

Hard Surfaces has strong fundamentals. The characters are deep enough to carry the story, with Adrian in particular showing the internal conflicts and range of emotions he needs to tie the movie together. The supporting cast does their jobs well, especially Adrian’s girlfriend Liz (Julia Voth) and best friend Steve (Chase Fein). The script is not as deep or as moving as some films, but it keeps the audience’s interest throughout.

Hard Surfaces has a few minor flaws. There are some aspects of the story that feel contrived, although not in a way that distracts from the main plot. Adrian’s relationship with Maddy is not as fleshed out as it could be, although the story does both of them justice individually. And while Adrian’s development over the course of the movie is rock-solid, it’s missing the artistry and thematic depth seen in the best dramas.

Give Hard Surfaces a shot when you’re in the mood for a straightforward but satisfying story about a man trying to better himself for his daughter. Hard Surfaces does not dig as deep as some dramas, nor does it leave as lasting an impression. But it does tell an interesting story with a fair amount of skill, giving it a niche as both a father-daughter movie and a more accessible take on drug addiction.

For a much more harrowing story about drug addiction, try Requiem for a Dream. For a crime drama about a hitman whose life is changed by finding a surrogate daughter, try The Professional.

[7.1 out of 10 on IMDB](https://www.imdb.com/title/tt4698940/). I give it a 6.5 to 7.0 for capably handled drama.

Today’s quick review: Shadows & Lies. When the plane he was supposed to be on crashes, a man reinvents himself as William Vincent (James Franco), a video editor living on his own in New York. William’s habit of pickpocketing earns him a job working for a crime boss (Josh Lucas) and his right-hand man Victor (Martin Donovan). But William courts danger when he gets involved with Ann (Julianne Nicholson), a woman who owes money to the boss.

Shadows & Lies is a minimalistic crime drama about a detached man who falls in love with the wrong woman. The movie aims to be a contemplative portrait of William, whose general apathy and occasional bouts of casual cruelty set him apart from the people around him. Shadows & Lies emphasizes William’s character with slow pacing and an artful presentation style. However, flat characters and unclear storytelling undermine the movie’s vision.

Shadows & Lies makes a series of mistakes that build on one another. The plot is slow and uneventful, taking nearly an hour before the first important developments occur. The scenes are filled with evasive dialogue that conveys very little about the story or the characters. The slow opening means that there is nothing to establish William’s character. As a result, the heavy emphasis that the movie places on him feels entirely unjustified.

Shadows & Lies has hints of a grander artistic vision. The moody atmosphere, the retrospective analysis of William’s life, and his odd interactions with other people all suggest a deeper story than the one that actually appears onscreen. As it stands, Shadows & Lies does a poor job of realizing its ideas. The combination of a passive protagonist and a story where not much happens is enough to make the movie a miss for most viewers.

For a minimalistic crime drama with a similar setup and a more interesting plot, try Following. For a darker and more compelling movie about the mind of a loner, try Taxi Driver, Nightcrawler, or Drive.

[4.3 out of 10 on IMDB](https://www.imdb.com/title/tt1453403/). I give it a 4.0 for deeply flawed storytelling.

Today’s quick review: Down the Shore. Bailey Euler (James Gandolfini) is the manager of a run-down amusement park on the Jersey Shore. His life changes when Jacques (Edoardo Costa), his French brother-in-law, delivers the news that Bailey’s sister has died of cancer. As Bailey struggles to cope with his loss, his childhood friends Mary (Famke Janssen) and Wiley (Joe Pope) go through the last stage of their failing marriage.

Down the Shore is a drama about three friends trying to make the most of the hand life dealt them. Although they still have each other, Bailey, Mary, and Wiley are still haunted by their past and what might have been. With the help of Jacques, they begin to work through their problems and move on with their lives. Down the Shore aims to be a moving, personal story with a touch of mystery, but it falls far short of its goal.

Down the Shore does a poor job of foregrounding its most interesting events. Nearly everything of note in Bailey, Wiley, and Mary’s lives happened when they were teenagers. With no flashbacks to bring those events to life, the audience is left to imagine them based on the characters’ dialogue. To make matters worse, the movie plays coy with what happened back then, dropping vague hints about secrets the three major characters all already know.

The result is a drama that is hard to invest in. Nearly two-thirds of the movie deals with the quiet desperation of the characters’ daily lives, very gradually building to the reason behind their pain. The payoff, when it comes, is a minor confrontation that is not worth the wait. Down the Shore earns some points for its realistic characters and the makings of a nice mystery, but it fails to weave these elements into a compelling whole.

Down the Shore may be worth a watch for fans of James Gandolfini or Famke Janssen, as well as fans of the down-to-earth side of teh drama genre. The movie does a fair job of capturing the low-stakes struggles of its characters’ lives, and it tinkers with some interesting ideas about abuse and the scars it leaves. But ultimately, Down the Shore has very little to capture the audience’s interest or reward the audience’s investment.

For an imaginative comedy about a man’s attempts to escape his mundane life, try Lars and the Real Girl or The Secret Life of Walter Mitty. For a comedic drama about everyday life, try Sunshine Cleaning. For a darker thriller about the scars from three friends’ childhood, try Mystic River.

[5.9 out of 10 on IMDB](https://www.imdb.com/title/tt1155060/). I give it a 5.5 for personal drama that never really gets going.

Today’s quick review: Powder Blue. Jack Doheny (Ray Liotta), a cancer-ridden ex-convict, strikes up a paternal relationship with Rose-Johnny (Jessica Biel), a stripper working to support her terminally ill son. Meanwhile, Charlie Bishop (Forest Whitaker), a man reeling from the death of his wife, searches for a stranger who will help him commit suicide, and Qwerty Doolittle (Eddie Redmayne) struggles to keep his father’s funeral home afloat.

Powder Blue is a drama about the personal struggles of four strangers. In the weeks leading up to Christmas, Jack, Rose-Johnny, Charlie, and Qwerty are pushed to their limits as their lives continue to unravel and their last-ditch efforts to fix things come up short. Powder Blue aims to be a gritty and poignant drama about loss and desperation. However, flawed storytelling keeps the movie from making full use of its talented cast.

Powder Blue has issues with its characters and its story. The characters are meant to be people who have fallen through the cracks: lonely, desperate, and fundamentally decent. But even though the challenges they face are real, the way they behave is exaggerated and artificial. The movie’s attempts at personal drama are hindered by the characters’ skewed priorities, flaws that are never addressed, and arcs that ultimately feel incomplete.

Powder Blue also has a habit of misplaying its most dramatic moments. Scenes that are supposed to be emotionally powerful instead come across as forced and even comical, making it difficult to invest too deeply in the story. Powder Blue circles around pathos but never quite finds it. The same goes for the movie’s indirect storytelling. Early scenes that are meant to pique the audience’s interest come and go without asking any important questions.

The end result is a movie with all the ingredients of an effective drama but none of the finesse. Fans of the genre who have a taste for personal crises and the quiet disappointments of life will still find Powder Blue interesting. Its subject matter comes close to what it needs to be, and the cast handles their role well. But ultimately, Powder Blue is neither emotionally satisfying nor thematically meaningful, making it a dubious pick.

For a more artful portrayal of similar life crises, check out 21 Grams. For a more intricate drama about the intersecting lives of strangers, try Crash. For a dramatic comedy with similar themes and more heart, try Tokyo Godfathers. For a more focused and emotionally impactful movie about similar struggles, try Dallas Buyers Club.

[6.3 out of 10 on IMDB](https://www.imdb.com/title/tt1032819/). I give it a 5.0 for shaky storytelling and drama that misses the mark.

Today’s quick review: 21 Grams. Jack Jordan (Benicio del Toro), an ex-convict and family man, tries to piece his life back together with the help of his wife Marianne (Melissa Leo) and his church. Paul Rivers (Sean Penn) clings to his fraying marriage to Mary (Charlotte Gainsbourg) as he awaits a heart transplant that could save his life. Cristina Peck (Naomi Watts) turns to drugs to help her cope with a crippling loss.

21 Grams is a crime drama about an accident that ties together the lives of three struggling families. 21 Grams is a mystery that unfolds in non-chronological order. The film drip-feeds the audience scenes from before and after the accident, slowly laying out the pieces of a compelling and deeply personal puzzle. The result is a polished and well-scoped story about grief, love, forgiveness, and the consequences of even minor choices.

21 Grams draws its strength from the depth of its characters and the way its scenes interconnect. The film has a way of making even ordinary events engaging. Even its most mundane scenes pull triple duty, developing the characters, seeding questions for later, and drawing the audience deeper into the film. Deft writing and thematic connections tie the film together even more, and the whole thing is grounded in a spate of strong performances.

21 Grams tells a complex story in a fascinating way. Viewers who are looking for something more upbeat, less challenging, or simply more grandiose may find that the film does not suit their tastes. But viewers who are open to something mature, introspective, and dramatically weighty will find 21 Grams to be well worth puzzling over. How much you get out of its story will come down to taste, but it is well worth a watch for those interested.

For a moving romantic drama drama that explores similar themes, try 7 Pounds. For another experiment in nonlinear storytelling, try Cloud Atlas or Memento. For a similar drama about intertwining personal stories, try Crash.

[7.6 out of 10 on IMDB](https://www.imdb.com/title/tt0315733/). I give it a 7.0 to 7.5 for potent drama.

“Grow up, Ben. You don’t change the world. It changes you.” —Chon

Today’s quick review: Savages. Chon (Taylor Kitsch) and Ben (Aaron Johnson) are the young owners of an independent marijuana empire based out of Laguna Beach, California. When Elena (Salma Hayek), the head of the Baja cartel, makes a move to take over their business, Chon and Ben attempt to flee the country. But their plans are cut short when Elena’s enforcer Lado (Benicio del Toro) kidnaps their girlfriend Ophelia (Blake Lively).

Savages is a crime drama directed by Oliver Stone. The movie follows a pair of drug entrepreneurs as they try to survive their encounter with a vicious Mexican cartel. Savages features a multifaceted plot that’s full of scheming, risky choices, and betrayal. Interesting twists, bursts of brutal violence, and a few stylistic flourishes give the movie an identity of its own, but it lacks the enduring quality of some of its competition.

Savages has a couple of minor issues that keep it from reaching its full potential. Chon, Ben, and Ophelia work well enough as main characters, but they are not deep enough characters to earn the audience’s sympathy. Although less violent than Elena, they have few positive qualities of their own. Meanwhile, the plot balances a large cast with conflicting motives, but it builds to a mediocre finale that doesn’t leave a lasting impression.

Savages fits in comfortably with other mature crime dramas that deal with cartel violence. Its plot and craftsmanship are enough to make it a fine pick for fans of the genre, but it’s missing the superlative quality needed to stand out. The result is an interesting movie with plenty of tension, chaos, and violence, but one that’s easy to miss. Sensitive viewers should steer clear.

For a more sadistic, stylized crime drama from the same director, try Natural Born Killers. For a more dramatically potent crime drama about a drug cartel starring Benicio del Toro, try Sicario. For another brutally violent drama about the drug trade, try The Counselor. For a biographical crime drama about a drug entrepreneur, try Blow. For a more dynamic crime drama starring Benicio del Toro, try The Way of the Gun.

[6.5 out of 10 on IMDB](https://www.imdb.com/title/tt1615065/). I give it the same for a solid plot with shaky payoff.

Today’s quick review: Sentinelle. After a traumatic tour of duty in the Middle East, Klara (Olga Kurylenko) transfers home to Nice, where she joins the soldiers patrolling the city to keep the peace. Still working through the lingering issues from her deployment, Klara is pushed to the brink when her sister Tania (Marilyn Lima) is raped and beaten into a coma by Leonid Kadnikov (Michel Nabokoff), a Russian tech magnate whom the police cannot touch.

Sentinelle is a French action movie about a traumatized soldier who breaks the law to avenge her sister. Sentinelle takes a more realistic approach than other action movies, showing how Klara’s experiences changed the way she looks at civilian life and the drug addiction she develops trying to cope. However, in spite of a promising setup, Sentinelle lacks the vision and craftsmanship needed to tell its story the way it wants to be told.

Sentinelle suffers from a few key issues. Klara has the makings of a sympathetic protagonist, but she rarely interacts with other characters, giving her no real opportunity to grow. The movie also skips key parts of her character arc, leaving her drug addiction and her few relationships unresolved. The action scenes are passable, but Sentinelle does a poor job motivating them, having Klara dive straight in without going through the proper setup.

The result is a movie that feels half-baked. As a personal drama about trauma and addiction, Sentinelle only scratches the surface, with none of the subtle character work needed to make its premise stick. As an action movie about justice and revenge, Sentinelle goes through the motions but never figures out how to leave its own mark on the revenge genre. Action fans may get some modest value out of the movie, but most should skip it.

For a more powerful look at the psychological scars left by war, try The Hurt Locker. For a more compelling action thriller in the same vein, try Taken or Death Wish.

[4.7 out of 10 on IMDB](https://www.imdb.com/title/tt11734264/). I give it a 5.5 for a decent setup hampered by weak storytelling.

Today’s quick review: Ava. After a botched job, Ava Faulkner (Jessica Chastain), a contract assassin with a lot of emotional baggage, returns home to Boston to patch things up with her family (Geena Davis, Jess Weixler, and Common). Ava’s mentor Duke (John Malkovich) tries to convince his superiors that her erratic behavior is nothing to worry about. But Ava’s life is jeopardized when Simon (Colin Farrell) decides to eliminate her on his own.

Ava is an action movie about an assassin wrestling with alcoholism, the morality of her job, and her dysfunctional relationship with her family. The movie balances between Ava trying to pick up the pieces of her old life and her dealing with the fallout of her latest failed assignment. Ava delivers some decent action and dabbles in some interesting themes. However, it misplays its characters and its story, leaving it a mediocre pick.

Ava has two main shortcomings. The first is the personal side of its story. The movie has the right ingredients for drama—family drama, Ava’s troubled past, and linger doubts about her career—but it fails to use them the right way. Ava makes for an indifferent protagonist, saddled with flaws but not given a clear way to overcome them. Her family are abrasive and judgmental, and the script never sets up a good opportunity for reconciliation.

The other shortcoming of the movie is its plot logic. The rough sketch of the plot works well, pitting Ava against the organization she once served blindly, but none of the details line up correctly. Supposedly savvy characters make inexcusable tactical decisions, conflicts arise with no clear motivation, and the exact nature of Ava’s employer is never made clear. The result is a plot with a poor sense of progression and a weak payoff.

Ava works well enough as an action movie. Its stunts are not outstanding, but they serve their purpose. The main characters’ flaws are not handled as deftly as they could have been, but they give the movie a personal side. And while the overall plot has some holes, it’s enough to hold the movie together. Action fans interested in a story about a troubled assassin will get something out of Ava. Exacting viewers should look elsewhere.

For a better-constructed action movie with a similar premise, try Haywire or Anna. For a more personal story about a female assassin, try La Femme Nikita or Red Sparrow. For a more iconic action movie about a killer trying to leave the life behind him, try John Wick or The Bourne Identity. For a better use of Jessica Chastain, check out Molly’s Game or Zero Dark Thirty.

[5.4 out of 10 on IMDB](https://www.imdb.com/title/tt8784956/). I give it a 6.0 to 6.5 for serviceable action and a story that doesn’t quite work.

Today’s quick review: Peppermint. Five years ago, Riley North (Jennifer Garner) lost everything when Diego Garcia (Juan Pablo Raba), the leader of a Los Angeles gang, had her husband (Jeff Hephner) and daughter (Cailey Fleming) gunned down. After years spent training around the world, Riley returns to Los Angeles seeking revenge. As Riley kills her way to Garcia, Detective Stan Carmichael (John Gallagher, Jr.) races to track her down.

Peppermint is an action movie about a woman out for revenge on the criminals that killed her family. Peppermint fits comfortably in with other revenge flicks. Using ruthless tactics and heavy weaponry, Riley hunts her targets and tries to stay one step ahead of the police. The movie has satisfying action that combines sharp gunplay with desperate hand-to-hand combat. The result is a straightforward but enjoyable pick for fans of the genre.

Peppermint has one quirk that distinguishes it from other revenge movies. Instead of following Riley as she meticulously works her way to Garcia, the movie only shows key parts of her rampage and has the police discuss the rest. The upshot of this approach is that the movie is able to focus on the most impactful scenes and let the audience fill in the gaps. The downside is that there’s less opportunity for the audience to invest in Riley’s plan.

Give Peppermint a shot when you’re in the mood for an action movie with clear motivations and clean execution. Riley’s skill at hunting Garcia’s men gives the movie a solid base to work with, and the movie’s plot progression keeps it interesting from beginning to end. Peppermint does not have quite the same polish as some of its competition in terms of its character work and story, but it is a robust movie that gets the job done.

For a more personal tale of grief and vigilante justice, try The Brave One. For a less compelling action movie about a mother’s revenge, try Maria. For another action movie about an ordinary person taking the law into his own hand, try Death Wish, The Punisher, or Acts of Vengeance. For a quirkier take on vigilantism, try The Boondock Saints. For an even darker action movie about cartel violence, try Rambo: Lost Blood or Sicario.

[6.5 out of 10 on IMDB](https://www.imdb.com/title/tt6850820/). I give it a 6.5 to 7.0 for crisp action and a capable plot.