Sleight of Film

Today’s quick review: The Congress. Looking back on a career of missed opportunities, actress Robin Wright (Robin Wright) lets her agent Al (Harvey Keitel) talk her into selling her digitized likeness to Miramount Studios to use however they wish. Years later, Robin travels to an exotic hotel to renegotiate her contract with studio executive Jeff Green (Danny Huston), only to find herself trapped in a chemically induced hallucination.

The Congress is a surreal science fiction drama loosely based on a novel by Stanislaw Lem. Robin Wright stars as a fictionalized version of herself who decides to sell her identity for one last shot at stardom. The Congress touches on far-reaching themes that include family and show business, escapism, technological advancement, and questions of identity and self. The result is an imaginative film with powerful ideas and an esoteric plot.

The most striking feature of The Congress is its mixture of live action and animation. Much of the movie is set in a future where advanced chemicals have turned reality into a subjective, cartoonish dreamscape. The Congress makes the most of this premise, flooding the screen with classic-style cartoon characters and psychedelic imagery that give it a unique visual style. However, the surreal nature of the visuals is bound to be hit-or-miss.

The Congress’ story is a mixture of grounded personal drama and far-flung speculation. The early parts of the film deal with the uncomfortable reality of Robin’s life. Her advancing age and her own choices have brought her career to an end, leaving her only one option: to cash in on Miramount’s plans for the future. The remainder of the film is much more abstract, spinning this personal thread into a bizarre trip through the future.

How much you get out of The Congress will come down to taste. The movie’s far-fetched premise, strange plot, and numerous dream sequences make it a challenging watch. It has neither the coherence nor the emotional resonance of more conventional films, and nearly all of its payoff comes from the ideas it presents to the viewer. Fans of puzzling, abstract sci-fi will find it to be a rare treat, but most other viewers will find it unsatisfying.

For another fictionalized look at the life of an actor, try Being John Malkovich or JCVD. For a more cheerful blend of cartoon and reality, try Who Framed Roger Rabbit?. For an animated sci-fi movie about a surreal dreamscape with a richer plot, check out Paprika. For a similarly abstract fantasy, try Mr. Nobody or The Fountain. For another surreal journey through an animated world, try Yellow Submarine or Mirrormask.

6.5 out of 10 on IMDB. I give it a 6.5 to 7.0 for bold ideas woven into an inaccessible story.

“I’m a pimp, and pimps don’t commit suicide.” —Boxer Santaros

Today’s quick review: Southland Tales. In 2005, a nuclear attack on the United States sent the country down a path of war, political turmoil, and state surveillance. Now, in the lead-up to the 2008 election, Boxer Santaros (Dwayne Johnson), an actor with political connections, finds himself at the center of a blackmail plot that could swing the election. But even more troubling are signs that his latest, apocalyptic screenplay could be prophetic.

Southland Tales is a science fiction thriller that blends elements of dark comedy, mystery, and political satire. The movie features a sprawling plot that involves a presidential election, an ex-porn star’s new career, a suspicious new source of renewable energy, a violent revolutionary group, and a veteran coming to terms with his past. However, the story proves to be more than it can handle, resulting in a jumbled movie with only niche appeal.

Southland Tales runs on a mixture of social commentary and surreal science fiction. The setting is a political playground, a dystopian take on America that lets the movie explore a grab bag of themes and hypotheticals. It is populated with caricatures of politicians, activists, and celebrities, all of them contributing in their own way to the coming destruction. At its best, this gives the movie a colorful, larger-than-life quality to it.

The story is a loosely connected mystery about Boxer Santaros, an actor who went missing in the desert and returned with amnesia. In way over his head, Boxer tries to piece together what happened to him, all while falling deeper into an amateurish political conspiracy. Southland Tales starts disjointed and only gets more surreal as the movie progresses. While it eventually delivers some answers, they are dwarfed by the number of questions it raises.

Ultimately, Southland Tales is too ambitious for its own good. The political satire robs the characters of the normalcy and nuance the audience needs to connect with them, resulting in a movie that’s hard to invest in at an emotional level. The story is a cacophony of different ideas that all compete for the audience’s attention, making it hard to follow at best and incomprehensible at worst. Nothing about it makes for an easy or coherent watch.

Yet for all of its faults, Southland Tales will hold a certain appeal to fans of surreal science fiction and vocal political commentary. Tucked away in its script are a number of clever ideas that never get their chance to shine, and a subset of viewers will enjoy trying to puzzle together the meaning in the chaos. Those curious may want to give it a try, but general audiences should steer clear.

For a more outrageous political satire about the War on Terror, try War, Inc. For a sci-fi tinged political thriller with a much more grounded plot, try The Adjustment Bureau. For a sci-fi conspiracy thriller with more action, try Total Recall or Minority Report. For a noir-style investigation with a similarly abstract through-line, check out The Big Bang. For a surreal puzzle in the same vein, try Revolver, The Nines, Cloud Atlas, or Mr. Nobody.

5.4 out of 10 on IMDB. I give it a 6.0 to 6.5 for an ambitious story with only niche appeal.

“You can’t fall in love with a dream.” —Douglas

Today’s quick review: The Thirteenth Floor. Douglas Hall (Craig Bierko) is a programmer who has spent the last six years building something incredible: a fully functional simulation of 1930s Los Angeles. But when the head of the project, Hannon Fuller (Armin Mueller-Stahl), is found dead, Douglas finds himself at the center of a bizarre murder investigation. To find the answers he seeks, he will need the help of Fuller’s daughter Jane (Gretchen Mol).

The Thirteenth Floor is a science fiction mystery that speculates about the nature of reality and consciousness. The movie is speculative fiction at its purest: a story with one conceit—a simulated world, complete with its own people—that leads to plenty of interesting ramifications. The Thirteenth Floor is a straightforward mystery that fits together well, with strong leads for Douglas to investigate and a satisfying resolution.

Still, The Thirteenth Floor has a few clear limitations. The story moves slowly, taking care to establish the characters and the simulated world before throwing anything too shocking at the viewer. This cautiousness extends to other aspects of the film, including a relatively linear plot and a narrowly scoped climax that doesn’t go for heavy drama or action. The result is a modest but well-constructed mystery that toys with interesting ideas.

The Thirteenth Floor is a solid pick for fans of speculative fiction. It is more subdued than other sci-fi thrillers, without much emphasis on action, but it tells its story well. Those looking for a cerebral mystery with a sci-fi twist should give it a shot. Those looking for something more visually spectacular or emotionally wrenching may want to give it a pass.

For a visually and tonally darker movie that explores a similar mystery, try Dark City. For a more ambitious and action-packed examination of the nature of reality, try Inception or The Matrix. For another type of speculation on the nature of consciousness, try A.I. Artificial Intelligence.

7.1 out of 10 on IMDB. I give it a 6.5 for an interesting concept with mixed execution.

Today’s quick review: Bird Box. Society crumbles with the appearance of mysterious entities that drive the people who see them to commit suicide. Malorie (Sandra Bullock), a pregnant woman, finds shelter with Tom (Trevante Rhodes), Douglas (John Malkovich), and a small group of survivors. Five years later, Malorie, now on her own, takes two children (Vivien Lyra Blair and Julian Edwards) on a perilous journey to safety.

Bird Box is a survival thriller with horror elements. Sandra Bullock stars as Malorie, a cynical woman who must learn to survive in a world where one wrong glance can mean death. Bird Box uses its premise to good effect; the need for a blindfold makes every trip outside into a suspenseful ordeal, while the pressures of survival give the movie its share of character drama. The result is a tense watch with a unique enough premise to set it apart.

However, Bird Box does have a problem with suspension of disbelief. The film generally does a good job of selling the audience on its premise, and the tension is high throughout. But the abstract nature of the threat makes it easy to stop taking it seriously, a problem that’s compounded by the bizarre image of characters stumbling around in blindfolds. Bird Box compensates for these lapses quickly, but critical viewers won’t find the movie convincing.

Give Bird Box a shot when you’re in the mood for a tense thriller with a unique premise. Bird Box doesn’t have the horror, drama, or thrills of the beset the genre has to offer, but it does manage to tell an interesting story with lots of tension throughout. Those willing to accept what the movie has to offer will find it to be a worthwhile watch. Those looking for full-blown horror will want to look elsewhere.

For a harder-hitting movie with a similar premise, try A Quiet Place. For a more dramatically moving tale of survival, try Children of Men or The Road. For one with less dramatic heft, try The Happening.

6.6 out of 10 on IMDB. I give it a 6.5 to 7.0 for solid craftsmanship.

Today’s quick review: Legion. As the Apocalypse draws near, the archangel Michael (Paul Bettany) disobeys God and descends to Earth to give humanity one last chance. Traveling to a truckstop in the Mojave Desert, he helps a motley group of survivors protect Charlie (Adrianne Palicki), a pregnant waitress whose unborn child holds the key to humanity’s survival, from the archangel Gabriel (Kevin Durand) and a legion of possessed humans.

Legion is an action horror movie about a lone angel trying to fend off the end of the world. The movie uses a dark twist on Christian theology as fuel, casting angels in the role of the monsters and a band of strangers led by Michael as the reluctant heroes. Legion offers a mixture of gun-toting action and effects-driven horror. At its best, the movie is a desperate fight for survival against a fearsome supernatural threat.

However, Legion has trouble following through on any of its ideas. It has a few superficial scares, but none of them leave a lasting impact. Each threat the survivors face feels isolated from the others, a series of escalating supernatural encounters that have very little to do with each other. The role of Charlie’s baby is left frustratingly vague, while the lack of story development keeps the movie from exploring any of its characters’ arcs.

Overall, Legion will appeal to fans of schlocky horror movies and no one else. Modest scares, a smattering of action, and a serviceable plot make it a fine popcorn watch for viewers with low expectations. But anyone looking for masterful horror, thrilling action, or a fulfilling story should look elsewhere. For action horror with more attitude, try Constantine or Hellboy. For a dark thriller about an isolated group of strangers, try Identity.

5.2 out of 10 on IMDB. I give it a 6.0 for passable action and a thin but functional story.

Today’s quick review: Gabriel. Gabriel (Andy Whitfield), the last of the archangels, descends into Purgatory to free it from the Fallen, seven fallen angels who have laid claim to the souls trapped there. Burdened by the darkness of the city and the limitations of his mortal form, Gabriel begins to hunt down the Fallen one by one. But to reclaim the city, he must find a way to defeat Sammael (Dwaine Stevenson), the powerful leader of the Fallen.

Gabriel is a dark fantasy movie with noir influences. Set in a bleak cityscape, Gabriel aims to be a gritty, modern take on the battle between good and evil. To its credit, the movie has all the ingredients it needs to make this happen: an oppressive atmosphere, a determined hero, and a situation where his faith could turn the tide of a losing battle. Unfortunately, the movie’s execution leaves much to be desired, rending it an unsatisfying watch.

Gabriel runs into a few issues that keep it from ever gaining traction. Cheap special effects and poor fight choreography rob the action scenes of their impact. The story has a few interesting conflicts as Gabriel finds out what happened to his brethren, but there isn’t enough depth or character development to make them work. Finally, overactive direction and flaky acting undermine the sense of atmosphere the movie tries to build up.

Gabriel is a movie with a lot of missed potential. Fans of urban fantasy and the dark, action-oriented side of the genre will appreciate what the movie is trying to do. Its ideas are not groundbreaking, but they could have formed the basis for an enjoyable popcorn flick. But as it stands, Gabriel does not have the skill or the budget it needs to bring its vision to life. Those interested in the premise would be better off looking elsewhere.

For a dark fantasy movie with a similar cosmology and more distinctive characters, try Ghost Rider or Constantine. For a dark sci-fi action movie in a similar vein, check out the Blade or Underworld series. For a surreal science fiction movie with a brooding atmosphere and a better sense of mystery, try Dark City.

5.6 out of 10 on IMDB. I give it a 5.5 for a decent premise with lackluster execution.

Today’s quick review: Merantau. Yuda (Iko Uwais), a young man from a rural Indonesian village, leaves home on a coming-of-age journey and travels to Jakarta, where he hopes to teach the martial art of silat. But his plans are derailed when he steps in to protect Astri (Sisca Jessica) from her pimp Johni (Alex Abbad). Now Yuda must fight through Johni’s men to keep him from selling Astri to Ratger (Mads Koudal), a ruthless human trafficker.

Merantau is an Indonesian crime drama and martial arts action movie. Iko Uwais stars as a faithful son who ventures out into the world, only to find it a much crueler place than he realized. This simple premise is the basis for a well-crafted story with plenty of action, an earnest hero, and a meaningful dramatic arc. Merantau does not reinvent the martial arts genre, but it does provide a polished take on some familiar story beats.

Merantau’s greatest strength is its stunt work. Yuda is a competent fighter who has the skills to go up against Johni’s men, but he often finds himself outnumbered and overwhelmed. The stunts are put together well, but they are not as brutally shocking as later films with Iwo Ukais and director Gareth Evans. Instead, Yuda is a restrained fighter who seeks to disable rather than kill, and most of the fights feel like out-of-control street brawls.

Merantau is a solid pick for anyone in the mood for a grounded martial arts movie with a fair amount of drama. Merantau does not have the expertise or the novely to leave a strong mark on the genre, but it manages to tell a satisfying story filled with tense fight scenes. Give it a shot if you are looking for a martial arts movie with strong fundamentals. Skip it if you are looking for a lighter story with more exaggerated stunts.

For a much more violent martial arts movie with the same director and most of the same cast, try The Raid: Redemption. For a darker crime drama with a more elaborate story and more violence, try The Raid 2. For a Thai martial arts film about a young man from a rural village who travels to the city to right an injustice, try Ong-Bak: The Thai Warrior or The Protector.

6.7 out of 10 on IMDB. I give it a 7.0 for a simple but satisfying story and solid stunt work.

Today’s quick reivew: The Raid 2. Rama (Iko Uwais), an honest cop, spends two years undercover in prison to gain the trust of Uco (Arifin Putra), the ambitious son of the city’s most powerful crime boss (Tio Pakusadewo). Earning a place as Uco’s right-hand man, Rama is in the perfect position to gather evidence against the city’s corrupt cops. But his investigation goes south when Uco makes a risky power play against his father.

The Raid 2 is an Indonesian crime drama and martial arts action movie that picks up in the aftermath of The Raid. In spite of Rama’s best efforts, he does not have enough evidence to root out the corruption in the police, forcing him to go on a dangerous undercover assignment for Lieutenant Bunawar (Cok Simbara). The Raid 2 combines brutal and sharply choreographed violence with a sprawling crime story, making for a dark but satisfying watch.

Like its predecessor, The Raid 2 is most notable for its action. The fight scenes are gory affairs full of knife wounds, broken bones, and gruesome deaths. The combat is carried by sharp stunt work from Iko Uwais and a new cast of killers, while creativity in the choice of setting, weapons, and number of combatants keeps the action feeling fresh throughout. For those who enjoy violent action, The Raid 2 will be a treat.

The Raid 2 tries something different with its story, with mixed success. Where the original movie was a minimalistic action flick full of non-stop fighting, The Raid 2 takes its time and tells a more expansive story. The conflict between Uco, his father, and the city’s other criminal factions makes for a fascinating plot. The downside is that the movie feels less focused than the original, with slower pacing and less for Rama to do.

The Raid 2 is an impressive film that combines top-notch action with a well-crafted story. Fans of the original may find the sequel to be a little slow for their tastes, spreading a similar amount of action over a much longer run time. But those who are willing to invest in the story will find it to be a rewarding watch, filled with tense conflicts and creative stunts. Steer clear if you don’t have the stomach for gore.

For a more focused take on the same style of action, try The Raid. For a less action-focused crime drama about an undercover cop, try Infernal Affairs, The Departed, or Donnie Brasco. For a violent action movie set in a more stylized criminal underworld, try John Wick and its sequels. For a more subdued gang war with some of the same elements, check out Miller’s Crossing.

8.0 out of 10 on IMDB. I give it a 7.5 for excellent stunt work and a strong story.

Today’s quick review: The Raid: Redemption. Rama (Iko Uwais), a rookie cop with a pregnant wife, risks his life when he joins a raid on an apartment building ruled by Tama Riyadi (Ray Sahetapy), an untouchable drug lord. Sergeant Jaka (Joe Saslim) leads Rama and the other officers into the building in search of Tama. But the operation turns into a bloodbath when Tama’s men ambush them, forcing Rama to fight and kill in order to survive.

The Raid: Redemption is an Indonesian martial arts action thriller. The movie takes a simple premise and executes it with rare skill. Two dozen police officers square off against an entire building full of criminals in a fight to the death. The Raid features brutal action from start to finish. Every fight is fast-paced and desperate, with a variety of setups that include guns, knives, batons, and an impressive array of improvised weaponry.

The Raid goes far on the quality of its stunt work. Every stunt in the movie is sharply executed, and the athletic prowess on display from Iko Uwais, Doni Alamsyah, and Yayan Ruhiah is enough to carry the film by itself. The Raid supplements its action with tight direction that does an excellent job of managing tension, preparing the audience for the next bout of violence.

The result is a masterful action movie that delivers bloody violence in spades. The Raid: Redemption is a must-see for fans of the violent side of the action genre. It does not have much to offer in the way of story, but the skill and originality of its stunts make it a riveting watch for anyone who can stomach the gore. Those looking for anything other than violent action may want to skip it.

For a violent action movie with more character and style, try John Wick and its sequels. For a bloody science fiction movie with a highly similar premise, check out Dredd.

7.6 out of 10 on IMDB. I give it a 7.5 for phenomenal stunts and visceral direction.

Today’s quick review: Police Story: Lockdown. Captain Zhong Wen (Jackie Chan) is a veteran police officer who never had time for his daughter Miao (Jing Tian). His devotion is put to the test when her boyfriend Wu Jiang (Liu Ye) takes the two of them hostage along with a club full of civilians. Now Zhong must figure out Wu’s true motives and defuse the situation before anyone gets killed.

Police Story: Lockdown is a crime drama starring Jackie Chan as a cop caught in the middle of a hostage standoff. Much like New Police Story, Lockdown is a gritty reboot of the Police Story series that has little to do with any of its predecessors. The movie’s dark tone and limited action make it a far cry from Jackie Chan’s usual formula. Still, interesting character dynamics and a compelling mystery give the movie a good payoff.

Police Story: Lockdown makes a few decisions that can rub viewers the wrong way. The nightclub setting is disorienting at the best of times, and it’s made more so by the film’s busy camerawork, odd angles, and disorienting flashbacks. The action is more subdued than Jackie Chan’s earlier work, with less of a focus on stunts and more on Zhong Wen’s attempts to control the situation. And while the plot has substance, nearly all of it is back-loaded.

The reward for these stylistic choices is a story that goes to interesting places. Wu takes a long time to reveal his motives for taking Zhong and the others hostage, but when he does, it turns the rest of the film into a compelling mystery. Zhong’s commitment to saving everyone, even criminals, leads to tense situations throughout the movie. Lockdown’s story is far from masterful, but it does have more substance to it than it first appears.

Police Story: Lockdown is an unusual movie that will have a hard time finding the right audience. Fans of Jackie Chan may not like the darker tone and comparative lack of action, while fans of gritty crime dramas may lose interest before the best parts of the story come into play. Interested viewers who are willing to take a gamble should give it a shot. But those looking for either consistent drama or all-out action will want to skip it.

For a more tonally balanced entry into the same series, try Police Story or Police Story 2. For a more action-heavy entry into the series that also features some darker themes, try New Police Story. For an American action thriller about a cop caught up in a hostage standoff, try Die Hard.

6.1 out of 10 on IMDB. I give it a 6.0 to 6.5 for an interesting story hurt by odd stylistic choices and mediocre action.