Sleight of Film

“Even in death, there is no command but mine.” —Megatron

Today’s quick review: Transformers: Revenge of the Fallen. Now bound for college, Sam Witwicky (Shia LaBeouf) wants to put the war between the Autobots and the Decepticons behind him so he can focus on his classes, his social life, and his relationship with Mikaela (Megan Fox). But Sam gets dragged back into the fight when he touches a shard of the Allspark, imprinting his mind with an Energon source that could turn the tide of the war.

Transformers: Revenge of the Fallen is a sci-fi action adventure from director Michael Bay. The second movie in the Transformers franchise picks up two years after the first. Optimus Prime (Peter Cullen), Bumblebee, and the other Autobots once again enlist Sam Witwicky to save the world from Megatron (Hugo Weaving). Revenge of the Fallen delivers the same big-budget action and goofy humor as the first, but wrapped around an even more outlandish plot.

Revenge of the Fallen makes a few improvements over the original with its action and character designs. The sequel gets off to a faster start, with large-scale action from the very beginning. The Autobots and their human allies have a host of new Decepticons to fight, including some bold designs that go beyond the military vehicles of the last film. Even visual touches like more daytime scenes and a brighter color palette are welcome.

Revenge of the Fallen is on shakier ground with its story. It aims for the same mixture of sci-fi adventure and lowbrow comedy as the first film, with mixed success. On the one hand, the story is larger in scope and delves deeper into the lore of the Transformers universe. On the other hand, the plot feels slapdash, with loose logic and a tendency to make things up as it goes along. Overall, it makes for a fun but not especially artful adventure.

How much you get out of Transformers: Revenge of the Fallen will depend on what you are looking for. If you just want splashy action and don’t care too much about the plot, Revenge of the Fallen is a fun and imaginative popcorn watch. If you are looking for a cohesive movie that puts a lot of thought into its setting, you may want to approach with caution. Steer clear if you disliked the original.

6.0 out of 10 on IMDB. I give it a 7.0 for strong action hurt somewhat by its story and sense of humor.

“Autobots, roll out!” —Optimus Prime

Today’s quick review: Transformers. High-school junior Sam Witwicky (Shia LaBeouf) gets the chance to impress Mikaela (Megan Fox) when his parents let him buy a used Camaro for his first car. But the car turns out to be Bumblebee, a robotic alien who came to Earth to recover a powerful energy source called the Allspark. Now Sam must work with Bumblebee and the other Autobots to locate the Allspark before the Decepticons can claim it for themselves.

Transformers is a sci-fi action movie from director Michael Bay. Adapted from the Transformers toy line, the movie chronicles the battle between two factions of robotic aliens, the Autobots and the Decepticons, as they search for an artifact that could conquer the planet. True to Michael Bay’s other movies, Transformers features larger-than-life action and impressive special effects. However, its odd tone and haphazard plot hold it back.

Transformers’ greatest appeal is its action. The premise involves giant robots that can transform into everyday vehicles, and the action scenes make full use of this capability. The fights are flashy and destructive, with plenty of slow-motion and robotic violence. One slight drawback is that the action scenes tend to rely on the same tricks over and over again, but they make up for it with the variety of Transformer designs and settings.

Still, Transformers has a few issues that make it an uneven watch. The movie leans heavily on lowbrow comedy that ranges from amusing to awkward. The story is prone to long tangents that don’t actually advance the story, and the cast is larger than it needs to be given how little they accomplish. Visually, the complicated designs of the Transformers make the action hard to track, putting a damper on otherwise enjoyable fight scenes.

Transformers is a fun pick when you’re in the mood for some popcorn action. It makes a few missteps with its plot, its humor, and some of its visuals, but none of these are enough to ruin its entertaining premise and high-octane action. Anyone willing to roll with its eccentricities will find it to be a shallow but enjoyable watch. Those looking for a more coherent story or more artful visuals may want to approach with caution.

For an updated take on roughly the same premise, check out Bumblebee. For a sci-fi action movie featuring battles with giant robots, try Pacific Rim. For another all-out action movie from Michael Bay, try Armageddon.

7.0 out of 10 on IMDB. I give it the same for large-scale popcorn action and uneven execution.

Today’s quick review: Prospect. Far in the future, prospectors scour the Rim for aurelac, a valuable substance that grows in the body of an underground organism. Hoping to strike it rich, Damon (Jay Duplass) and his daughter Cee (Sophie Thatcher) travel to a remote moon, where an enormous deposit of aurelac awaits them. But their expedition gets thrown off track after a violent encounter with Ezra (Pedro Pascal), a crafty bandit.

Prospect is a science fiction Western about a prospector, his daughter, and their ill-fated journey to make the score of a lifetime. Damon and Cee must brave the hostile forests of an alien moon, harvest the aurelac, and make it back to their ship before they are stranded forever. Prospect combines the beats of a frontier story with a richly detailed science fiction world. The movie’s attention to detail will make it a hidden gem for fans of the genre.

Prospect does an excellent job of building up its setting. The props and sets are a perfect fit for a frontier planet where life is rough and a single air filter could be the difference between life and death. Prospect’s world feels lived in in a way that few other science fiction movies can match. Every piece of technology has a clear purpose, and just watching the characters interact with it is enough to piece together the way it works.

Prospect goes the extra mile with its world-building as well. Although the story only takes place on a single moon, the characters talk about other places like they’ve actually been there. The dialogue features slang and technical terms that help sell the setting without being hard to understand. The movie even shows snippets of an alien language and accompanying music, again hitting the sweet spot between exotic and familiar.

The one area where Prospect falls short of its potential is its story. Prospect has the perfect setup for a father-daughter story, but it never places much emphasis on its emotional arc. Damon, Cee, and Ezra are clearly defined characters and a great fit for the story, but they don’t grow the way they need to. Paradoxically, the same self-reliance that makes the characters so effective in-story undercuts their emotional appeal for the audience.

Prospect is a solid pick for fans of bread-and-butter science fiction. The setting alone makes it well worth a watch, and while its story is not as resonant as it could have been, it’s still a captivating tale of resourcefulness and survival. Prospect does not offer the flashy thrills or special effects of other sci-fi movies, but it achieves a much subtler form of success: a vision of the future that actually feels real.

Anyone interested in grounded sci-fi settings and tales of survival in space should check out Interstellar or The Martian. Science fiction fans looking for another movie that makes good use of a limited budget should try Moon or I Am Mother. For a non-science fiction story about the hunt for riches, try The Treasure of the Sierra Madre. For a Western with similar character dynamics and better execution, check out 3:10 to Yuma.

6.2 out of 10 on IMDB. I give it a 7.0 for a decent story set in an excellent world.

Today’s quick review: After Earth. Over a millennium after humanity was forced to abandon Earth, the United Ranger Corps protects the resettled humans from the Ursa, alien hunters that can sense fear. Cypher Raige (Will Smith), a legendary Ranger, is traveling with his son Kitai (Jaden Smith), a Ranger cadet, when their ship crashes on the now-inhospitable Earth. Guided by his father, Kitai must brave the wilderness to go call for help.

After Earth is a science fiction movie from director M. Night Shyamalan. The movie explores the relationship between a stern father and his sensitive son as they try to survive on the wild, dangerous Earth of the distant future. After Earth has a powerful story at its core but has a hard time expressing it. What should be a moving father-son journey in a futuristic setting instead is a mishmash of interesting ideas that never quite click.

After Earth places too much emphasis on novelty and not enough on cohesion. The set and prop design are packed with subtle choices that set the movie apart from other science fiction. The characters’ unfamiliar names and accents emphasize the far-future setting. Creative camera work, an alien hunter on the loose, and a mysterious backstory give the film a sense of intrigue. But taken together, these are too much for the viewer to easily track.

Underneath all the trappings, After Earth is a movie about two things: the relationship between Kitai and his father, and Kitai’s journey to a rescue beacon to get them both off Earth. Both sides of the story are adequate, but neither one is particularly impressive. The personal side of the story is a little clunky; Cypher only warms up to his son in fits and starts. The journey to the beacon is a solid survival tale with no real surprises.

After Earth has the makings of a strong science fiction film, but it lacks a clear vision. Its world-building and storytelling crowd each other out, and as a result, its best ideas are underdeveloped. After Earth will hold modest appeal for fans of the genre, those who can appreciate the details of its setting and who are interested in the story for its own sake. But those looking for a polished science fiction adventure may want to look elsewhere.

For richer science fiction set in a post-Earth future, try Harlock: Space Pirate or Titan A.E. For science fiction with a similar aesthetic, try Oblivion or Edge of Tomorrow. For science fiction drama about the relationship between a man and his child, check out Interstellar or Ad Astra. For a darker survival thriller about an alien hunter, try Pitch Black, Predator, or A Quiet Place.

4.8 out of 10 on IMDB. I give it a 6.0 for a promising setup with jumbled execution.

“Come on. Have some breakfast, then you can run away.” —Bella

Today’s quick review: Hunt for the Wilderpeople. Ricky Baker (Julian Dennison), a troublesome foster child, finally finds a loving home when he is adopted by Bella Faulkner (Rima Te Wiata), a kind woman who lives on a farm with her gruff husband Hector (Sam Neill). Everything is going well until Bella dies unexpectedly, leaving Ricky and Hector on their own. Unwilling to return to Child Services, Ricky escapes into the wilderness with Hector.

Hunt for the Wilderpeople is a comedy adventure written and directed by Taika Waititi. The movie follows a reclusive man and his foster child on a trip through the New Zealand bush. Along the way, Ricky learns to survive in the wild, grows closer to Hector, and evades a manhunt led by Child Services worker Paula Hall (Rachel House). The result is an endearing comedy with warm characters, a simple but heartfelt story, and a charming script.

Hunt for the Wilderpeople’s greatest strength is its characters. Ricky is a troublemaker with delusions of being a gangster, but his loyalty and inquisitiveness make him a joy to spend time with. Hector is a gruff loner who only takes care of Ricky out of necessity, at least at first. Over the course of their adventures, they develop a rapport that forms the heart of the film. It is a simple setup, but an utterly effective one.

Hunt for the Wilderpeople is an excellent pick when you’re in the mood for a feel-good watch. The characters are easy to like, the jokes are quirky without feeling artificial, and the story has a distinct flavor of its own. Hunt for the Wilderpeople is not as overtly comedic as some movies nor as emotional as others, but it strikes a nearly perfect balance between the two, making it a light and rewarding watch.

For a similarly quirky comedy about the hunt for a runaway boy, try Moonrise Kingdom. For an animated adventure about a grumpy old man and the boy he learns to care for, try up. For another understated comedy about a man and his surrogate child, try Paper Moon. For a superhero comedy about a foster child finding a family of his own, try Shazam!.

7.9 out of 10 on IMDB. I give it a 7.5 for endearing characters, a well-crafted story, and fun comedy.

Today’s quick review: The Lobster. In a bleak future, single people are given 45 days to find a new partner or else they are transformed into animals. After his wife leaves him, David (Colin Farrell) is sent to a hotel for singles, where he undergoes the rigors of the matchmaking process. His attempts at finding a compatible partner are unsuccessful until he leaves the hotel and finally meets a woman he has something in common with (Rachel Weisz).

The Lobster is a dystopian sci-fi movie with elements of horror, dark comedy, and romance. The movie is set in a world where, for unexplained reasons, being part of a couple is mandatory and being single is effectively a death sentence. This bizarre premise sets the stage for an inversion of a typical romance. Rather than let their emotions guide them, David and the other occupants of the hotel use superficial characteristics to pick their partners.

The Lobster makes for a strange and unsettling watch. The characters are not like regular people, exhibiting a limited range of emotions and resorting to violence whenever it benefits them. Their conversations are dry and factual, their personalities are close to uniform, and their struggles seem to exist on a different moral axis than real life. The result is a tense, distorted experience that offers plenty of questions and few answers.

The value in The Lobster comes from a few specific sources. One is its odd world and dry presentation style. Viewers who are drawn to the unusual and inexplicable will find that it’s an interesting movie to puzzle over, as will anyone who is fascinated by social situations that tip over into horror. The other major appeal is the movie’s commentary on romance and courtship, mainly in the form of satire that takes them to ludicrous extremes.

Unfortunately, The Lobster is not very accessible. The same qualities that make it stand out also deny it anything resembling a traditional emotional arc. The flashes of violence and other mature content will turn off some viewers, while the movie’s slow, almost painful setup will repel others. The right viewer will find The Lobster to be a thought-provoking watch, but many will find it flatly unappealing.

For an even more unsettling thriller that uses a surreal setup to explore the darker parts of humanity, try Enemy. For an uncomfortable thriller that has more overt comedy and a more shocking payoff, check out Parasite. For a science fiction movie about a cold future, try Gattaca, Equals, The Giver, or Equilibrium. For more dark, violent social commentary, try High-Rise. For movies with similar quirks and more charm, try the work of Wes Anderson.

7.2 out of 10 on IMDB. I give it a 6.0 to 6.5 for dry execution of an odd premise; your score will vary.

Today’s quick review: Ruby Sparks. Calvin Weir-Fields (Paul Dano), a popular writer struggling with his second book, finally finds his muse when he invents Ruby Sparks (Zoe Kazan), the quirky girl of his dreams. As Calvin writes page after page about her, he falls head-over-heels in love. But his novel takes a strange turn when Ruby comes to life, leaving him with a perfect relationship that he knows can’t be real.

Ruby Sparks is a romantic fantasy comedy about a writer who falls in love with his creation. Paul Dano stars as Calvin, a talented writer having a hard time managing his career, his nonexistent social life, and the aftereffects of a messy breakup. Given a shot at the relationship he always wanted, he learns that real life is more complicated than he thought. This setup allows Ruby Sparks to explore a variety of themes touching on love and writing.

Ruby Sparks covers some interesting ground. The movie is, in part, a dissection of Calvin and his flaws, from the pressures on him as a writer to his controlling tendencies in relationships. Ruby’s unexpected appearance brings out the best and worst in him. On the one hand, Calvin finds confidence and happiness with a woman who loves him for who he is. On the other hand, he comes to realize that Ruby is missing the complexity of a real person.

However, one part of Ruby Sparks’ premise holds it back. Because Ruby is so malleable, she has a hard time developing a character of her own. Her relationship with Calvin oscillates bewteen idyllic bliss and artificial strife as Calvin tries to figure out what he wants. This is an important part of the plot, but it undercuts the kind of growth that romances thrive on. The result is an odd love story that’s more intellectual than emotional.

Ruby Sparks is an offbeat comedy that will appeal to fans of modern romance and the creative process. It does not hold the same appeal as most romantic comedies, with subdued humor and a peculiar emotional arc, but its clever musings on love and happiness make it a worthwhile pick for the right viewer. Those curious should give it a try.

For a more dramatic comedy about a fictional character made real, try Stranger Than Fiction. For an even stranger story about a struggling writer, try Adaptation or Barton Fink. For a romantic comedy in the same vein, try 500 Days of Summer or Eternal Sunshine of the Spotless Mind. For one about a man with a fictitious girlfriend, try Lars and the Real Girl.

7.2 out of 10 on IMDB. I give it a 6.5 to 7.0 for a creative premise with decent payoff.

Today’s quick review: Lars and the Real Girl. Lars (Ryan Gosling), a kind but reclusive man, shocks his brother Gus (Paul Schneider) and sister-in-law Karin (Emily Mortimer) when he brings home a new girlfriend: Bianca, a life-sized doll that Lars believes is real. Left with no choice but to go along with Lars’ delusion, Gus and Karin make a place in their lives for Bianca and help Lars work through the issues causing his strange behavior.

Lars and the Real Girl is a romantic comedy about an isolated man who connects to others through his fake girlfriend. Bianca not only gives Lars the loving relationship he needs, but she also gives him a way to practice being social in a way that he can’t in his day-to-day life. The movie maintains a careful balance between the light social humor surrounding Bianca and some deeper psychological themes, making for a strangely wholesome watch.

The heart of Lars and the Real Girl is the way Lars’ friends and family react to his condition. The community rallies around him, making Bianca welcome and showing tremendous compassion for Lars in his time of need. This dynamic paves the way for a few heartwarming moments as the pieces of Lars’ life click into place. The film does not go for heavy drama or overt humor, but it has a knack for delivering simple and unexpected moments of humanity.

Lars and the Real Girl will not appeal to everyone. Its quirky premise takes some getting used to, its humor is understated, and its best moments are buried late in the story. But the movie manages to thread the needle, telling a charming story without being too heavy-handed. Viewers who are willing to take a gamble on an unconventional story will be rewarded with an uplifting watch with plenty of heart.

For a classic comedy about a kind man and his imaginary friend, check out Harvey. For a science fiction romance about an isolated man trying to connect, try Her. For a quirkier comedy about an earnest man who shares his delusion with the world, try Brigsby Bear.

7.3 out of 10 on IMDB. I give it a 7.0 for heartfelt charm.

“The past is just a story we tell ourselves.” —Samantha

Today’s quick review: Her. Theodore Twombly (Joaquin Phoenix), a lonely man going through a messy divorce, gets a new lease on life when he meets Samantha (Scarlett Johansson), an artificially intelligent operating system with her own personality. As the two get to know each other, they gradually fall in love and begin dating. But as their relationship evolves, Theodore must decide whether what they have is real or simply a delusion.

Her is a science fiction romance that explores the shifting nature of relationships in an increasingly technological world. The invention of advanced AI makes a whole new kind of relationship possible, one that’s either a new form of fulfillment for those who need it most or an escapist trap built on fantasy. Her crafts its world with care, using Theodore and Samantha to reflect on deeper questions about love, happiness, and the role of technology.

Her goes to great lengths to set its tone. Everything from the color palette to the soundtrack to Theodore’s mannerisms has a soft, pensive feel to it, setting the stage for an introspective story that leans heavily on emotion. Joaquin Phoenix and Scarlett Johansson deliver convincing performances, and the script gives them ample opportunity to play off one another. The result is a deeply personal story about a man’s search for fulfillment.

At the same time, Her can be a hard movie to get into. Its sentimental tone will feel overbearing for some viewers, while Theodore’s relationship with Samantha can easily come across as pathetic to someone who doesn’t buy into the film’s thesis. Her relies on a very particular kind of suspension of disbelief, a willingness to invest in Theodore’s personal struggles and accept the conclusions he comes to about love and life.

Her is a carefully crafted film with considerable upside potential. The right viewer will find it to be an insightful and poignant watch whose main value comes from its honest portrayal of a budding relationship, with all its ups and downs. The wrong viewer will find it to be passive and misguided. Either way, Her accomplishes what it sets out to do, making it a worthwhile pick for those willing to buy into its premise.

For a romantic comedy with a similarly modern perspective on relationships, try 500 Days of Summer, Eternal Sunshine of the Spotless Mind, or High Fidelity. For a more fanciful movie that gets inside the head of a lonely man, try Stranger Than Fiction or The Secret Life of Walter Mitty. For a darker sci-fi movie that touches on similar themes, check out Blade Runner 2049.

8.0 out of 10 on IMDB. I give it a 7.0 to 7.5 for emotionally potent sci-fi speculation; your score will vary heavily.

“Our ability to manufacture fraud now exceeds our ability to detect it.” —Viktor

Today’s quick review: S1m0ne. Viktor Taransky (Al Pacino), a washed-up director, gets the chance to salvage his career when he inherits Simone (Rachel Roberts), a virtual actress capable of fooling even the most critical observer. Simone becomes an overnight sensation and makes Viktor one of the most sought-after directors in the business. But as Simone’s career takes on a life of its own, Viktor grows jealous of his creation’s success.

S1m0ne is a science fiction comedy about a virtual actress who takes the world by storm. Al Pacino stars as Viktor Taransky, a director who bends over backward to keep the truth behind his artificial star a secret. S1m0ne opts for a light tone and safe humor, earning its laughs from the lengths Viktor goes to to make Simone a reality. Even though S1m0ne sticks to a formula, its clean execution and insightful writing make it a hidden gem.

S1m0ne has aged surprisingly well. The movie never loses itself in social commentary, but its observations on fame, technology, and the media are even more relevant now than when it was released, and the script is peppered with moments that cut to the core of these issues. Importantly, S1m0ne knows how to keep things light. It takes shots at everything from the movie industry and the artificial nature of celebrity, but it never comes off as bitter.

S1m0ne is a strangely insightful comedy that never loses sight of what it is. It is outclassed by other comedies in terms of raw humor, and there are other science fiction movies that offer a deeper treatment of its themes. But anyone willing to take a gamble on something light will find it to be a pleasant watch with a handful of thought-provoking ideas.

For another comedy about a well-meaning fraud, check out School of Rock or Mrs. Doubtfire. For a more dramatic musing on people’s attachment to artificial creations, try Blade Runner 2049 or Ex Machina.

6.1 out of 10 on IMDB. I give it a 7.0 for light comedy and trenchant commentary.