Sleight of Film

Today’s quick review: Little Nemo: Adventures in Slumberland. One night while trying to sleep, Little Nemo (Gabriel Damon) is summoned to Slumberland by King Morpheus (Bernard Erhard) to play with his daughter, Princess Camille (Laura Mooney). But Nemo accidentally puts all of Slumberland in danger when the roguish Flip (Mickey Rooney) convinces him to open a forbidden door and release the imprisoned Nightmare King (Bill Martin).

Little Nemo: Adventures in Slumberland is an animated fantasy adventure based on the classic comic strip by Winsor McCay. Little Nemo follows a little boy as his vivid dreams take him to a fantastic world beyond the clouds. The movie features an inventive art style, lovingly crafted animation, and a breezy tone. However, its surreal setting, thin story, and overly childish characters give it less staying power than other family adventures.

Little Nemo is a flight of fancy from start to finish. The premise is an excuse to explore the imaginative world of dreams, a playhouse for Nemo and his friends. Castles and courts, ruined cities, lavish gardens, and gloomy dungeons are just a few of the places that Nemo visits on his journey. Each new scene brings with it lavish backgrounds and kinetic animations, a cavalcade of evocative visuals that perfectly captures the spirit of a child’s dream.

Little Nemo embraces this concept a little too readily, though. The dream logic of the plot leads to disjointed scenes, uncertain stakes, and situations that are one-dimensional. Nemo’s quest to save Slumberland doesn’t have the depth of other fantasy adventures. Although the story hits the beats it needs to, it is lacking in build-up and cohesion. The characters are similarly shallow, capable of fun antics but not much emotional breadth or growth.

Little Nemo: Adventures in Slumberland is a gorgeous movie whose story does not take full advantage of its creative setting. The care put into its world and animation will make it an enjoyable watch for any fan of the genre, but it remains outclassed by fantasy adventures with richer stories to tell. Those hoping for something a little more well-rounded or mature may want to give it a pass.

For an animated fantasy adventure in the same vein, try Peter Pan, Spirited Away, The Cat Returns, or Inside Out. For a classic live-action movie with much of the same appeal, try The Wizard of Oz.

7.2 out of 10 on IMDB. I give it a 7.0 for impressive visuals coupled with a thin story.

Today’s quick review: Constantine: City of Demons. John Constantine (Matt Ryan), a magic practitioner with a checkered past, agrees to help his friend Chas Chandler (Damian O’Hare) recover his daughter’s missing soul. Tracking her soul to Los Angeles, Constantine and Chandler find it in the hands of Beroul (Jim Meskimen), a loathsome demon who offers Chandler his daughter back in exchange for Constantine’s help conquering the city.

Constantine: City of Demons is an animated horror movie based on the DC Comics characters. City of Demons steps into a hidden world of magic and demons, where a sarcastic detective named John Constantine fights on behalf of humanity. The movie combines a noir-style mystery with overt fantasy horror and a dash of action. City of Demons’ rich world and solid animation give it a good foundation to work with, but its story suffers from some notable issues.

Constantine: City of Demons strikes a skewed balance with its tone. The movie is packed with disturbing imagery and extraneous gore that go beyond what is needed to establish Beroul as a loathsome, inhuman villain. The extra serving of horror will be a strong turnoff for sensitive viewers, while even for horror fans, the imagery is more repulsive than darkly engrossing. Some viewers won’t mind, but some will find the horror elements to be excessive.

Constantine: City of Demons also makes some missteps with its story and characters. John Constantine gets a few good moments where he uses his wits to defeat enemies that are much more powerful than him, but he spends the ealy part of the story in a passive role. In terms of Constantine’s personality, his cynicism works well enough in a vacuum. But because the supporting cast is just as bitter and sarcastic, it’s hard for him to stand out.

Constantine: City of Demons does have a few things going for it, including a clever protagonist, a fully developed urban fantasy world, and a couple of decent action scenes. These will be enough to win over some viewers, especially those who enjoy movies with an unflinchingly dark tone. But the horror imposes a steep barrier to entry, while the character dynamics keep the story from clicking the way it should. Most viewers should approach with caution.

For a more accessible, live-action take on the character, try the movie Constantine starring Keanu Reeves. For another animated movie about DC’s occult characters, try Justice League Dark. For action horror with a similar attitude, check out any of the Hellboy adaptations.

7.5 out of 10 on IMDB. I give it a 6.0 to 6.5 for a decent setup held back by poor taste and a few story issues.

Today’s quick review: Wonder Woman: Bloodlines. Diana (Rosario Dawson), an Amazon princess, leaves the hidden island of Themyscira to defend the world as Wonder Woman. Steve Trevor (Jeffrey Donovan), her government liaison, and Julia Kapatelis (Nia Vardalos), a prominent archaeologist, serve as Diana’s guides to the modern world. But over time, the friendship between Julia and Diana alienates Julia’s daughter Vanessa (Maria Avgeropoulos).

Wonder Woman: Bloodlines is an animated superhero movie based on the DC Comics character. Wonder Woman faces off against a cavalcade of villains as she tries to save Vanessa, a young woman whose jealousy of Diana has sent her down a dangerous path. The movie pits Diana against classic foes like Cheetah, Gargantua, and Doctor Poison. The action picks up steam as the movie goes on, culminating in a titanic final battle with some creative touches.

Where Bloodlines runs into trouble is with its storytelling. The movie takes a long time to get going, first working through Diana’s origins and then taking its time introducing the human cast before it finally gets around to the main plotline. The supervillain side of the plot is half-baked, with poor motivation and a weak payoff, while the personal story between Diana and Vanessa suffers from incomplete character development and baseless conflict.

Wonder Woman: Bloodlines makes for a serviceable pick for fans of the superhero genre, but its shaky story means that it’s outclassed by some of DC’s other animated offerings. Fans of the character who are just looking for some fun action will get exactly what they want. More critical viewers who want a more substantial story will want to look elsewhere.

For a more robust take on the character, try the live-action version of Wonder Woman starring Gal Gadot. For another iteration on Wonder Woman’s origin story, try the animated movie of the same name. Fans of DC’s animated movies should check out Justice League: War or Death of Superman for a more polished movie in a similar vein.

5.9 out of 10 on IMDB. I give it a 6.5 for good action held back by a shaky story.

Today’s quick review: Red Sparrow. After an accident ends her ballet career, Dominika Egorova (Jennifer Lawrence) accepts her uncle Vanya’s (Matthias Schoenaerts) offer to work for Russian intelligence in exchange for her mother’s medical care. Following a brutal training period, Dominika is sent to Budapest for her first assignment: to seduce CIA agent Nate Nash (Joel Edgerton) and get him to give up the name of a highly-placed American mole.

Red Sparrow is a gritty spy thriller about a Russian ballerina who transforms herself into a deadly intelligence agent. Bit by bit, Dominika has to give up her humanity to survive in a profession where even the tiniest bit of compassion could prove fatal. Red Sparrow does a good job of expanding on this core theme. The hunt for Nash’s mole tests Dominika in every conceivable way, resulting in a harrowing spy thriller with an unpredictable plot.

Red Sparrow is not a movie for the faint of heart. Tonally, the movie is quite bleak. Dominika is immediately dropped into a no-win situation, and it only gets worse from there. Red Sparrow does not shy away from the trials Dominika must endure, showing disturbing sex scenes and explicit torture. Even without its mature content, Red Sparrow is set in a cutthroat world that has none of the adventure or glamor typically found in the spy genre.

The audience’s reward for enduring this cruelty is a well-crafted story that saves its best twist for last. Red Sparrow always has an immediate threat for Dominika to deal with, whether it’s the rigors of her training or betrayal by her peers. The constant shifts in the status quo keep the tension high as the movie maneuvers for its finale. Still, Red Sparrow can be too ambiguous for its own good; it is hard to tell what Dominika’s actual goals are.

Red Sparrow is a solid pick for anyone with the stomach for it. The stakes are high, the ending is intellectually satisfying, and Dominika’s character shows resilience and ingenuity. But the sheer volume of heavy subject matter makes the movie a hard one to get through, while the lack of true catharsis keeps its weightier scenes from every fully digesting. Those looking for something dark and cerebral may want to try it, but should approach with caution.

For a moodier story about the training of a female spy, check out La Femme Nikita. For a more action-packed spy movie involving a double agent, try Atomic Blonde, Anna, or Salt. For a slightly more sanitized spy thriller in a similar vein, try Tinker Tailor Soldier Spy. For a psychological horror movie about the fraying mind of a ballerina, try Black Swan.

6.6 out of 10 on IMDB. I give it a 7.0 for a dark but well-crafted story.

Today’s quick review: Hitman. Agent 47 (Timothy Olyphant) was trained from childhood to be the perfect killer. Now he is a ghost, moving from country to country as he assassinates targets and eludes Interpol agent Mike Whittier (Dougray Scott). But when 47’s latest job turns out to be a setup, he must outwit the Russian FSB and killers from his own organization in order to stay alive and protect Nika Boronina (Olga Kurylenko), the victim of a cover-up.

Hitman is an action movie based on the video game of the same name. The movie has a simple premise that serves it well: a contract killer is betrayed by one of his clienfs, dropping him into a frantic fight for his life. Timothy Olyphant is the centerpiece of the film as Agent 47, whose distinctive look and icy personality are the main things that set Hitman apart. The end result is a serviceable action flick with flashes of style but little innovation.

Hitman gets the basics of the action genre right. The action sequences feature a good balance of planning and improvisation from Agent 47. The greatest draw of the movie is seeing how he deals with each new threat that comes his way. His toolkit includes disguises, misdirection, and raw firepower, with enough variety to keep the audience engaged. And while none of the stunts are truly groundbreaking, their craftsmanship makes the fights fun to watch.

Hitman’s main failing is that it lacks depth. The story is a generic tale of betrayal with no unexpected twists and no deeper meaning. The movie does get some nice moments out of Agent 47’s interactions with Nika and Mike, playing with the idea of 47 developing a conscience, but it never goes very far in this direction. And while the setting has a touch of mystery and a bit of style to it, it’s not as vivid or as memorable as other action movies.

Hitman is a fine pick for action fans in the mood for something light and satisfying. Hitman does not reach very far with its characters or its story, but solid stunts and a serviceable plot give it everything it needs to entertain. Steer clear if you’re looking for sharp writing or a more elaborate plot.

For a more stylish and action-packed movie about a hidden world of assassins, check out John Wick. For an action movie done in a similar style, try The Transporter, The Punisher, or The Mechanic. For a more grounded action thriller about a highly trained assassin, check out The Bourne Identity.

6.3 out of 10 on IMDB. I give it a 6.5 for good action but nothing more.

Today’s quick review: Bangkok Dangerous. Kong (Pawalit Mongkolpisit), a deaf hitman living in Bangkok, works with Joe (Pisek Intrakanchit), his friend and mentor. Kong’s life gains new meaning when he falls in love with Fon (Premsinee Ratanasopha), a kind-hearted pharmacist. But everything begins to unravel when a lowlife assaults Joes’s ex-girlfriend Aom (Patharawarin Timkul), drawing both Kong and Joe into a ruinous hunt for revenge.

Bangkok Dangerous is a Thai crime drama about the life of a young hitman. The movie follows Kong on the job, where his skill earns him steady work, and in his personal life, where Joe and Aom are his only friends until he meets Fon. Bangkok Dangerous takes an organic approach to its story, spending time with Kong and the others until events upset the balance of his life. The result is a movie that’s sprinkled with good moments but lacks a strong hook.

Bangkok Dangerous is most notable for its stylization. The movie experiments with its camerawork and its visuals, using devices like close shots and skewed color palettes to establish the tone. These bits of stylization are pervasive. While not every experiment is successful, the stylization gives the movie a rough, busy quality that sets it apart from anything else.

The story is a mixed bag. Kong makes for an interesting character due to his deafness, his loyalty to his friends, and his doubts about his profession. Most of the movie’s emotional payoff comes from the handful of moments where Kong reaches a turning point. But the plot as a whole is loose and slow to get moving. The script also leaves too much unsaid, forcing the audience to piece together facts that easily could have been conveyed through dialogue.

Bangkok Dangerous makes for a rough but rewarding crime drama with its own distinct style. The visuals, characters, and emotional beats all make Bangkok Dangerous worth a watch for anyone who is curious. At the same time, the unfocused plot, downbeat tone, and confusing presentation style will deter more casual viewers. Give it a shot if you’re willing to take the movie on its own terms. Skip it if you’re looking for straightforward action.

For an alternate take on the same premise, try the remake starring Nicolas Cage. For a French drama about the melancholy life of an assassin, check out La Femme Nikita. For a darker and more stylized crime movie set in Bangkok, check out Only God Forgives. For a stylized movie about a silent criminal, check out Drive.

6.6 out of 10 on IMDB. I give it a 6.5 for a decent story with a fair amount of style.

Today’s quick review: The Tourist. Elise Clifton-Ward (Angelina Jolie) receives an invitation from Alexander Pearce, an elusive thief and her former lover, to meet him in Venice. To throw Inspector Acheson (Paul Bettany) of Interpol off the trail, Elise picks a stranger to use as a decoy: Frank Tupelo (Johnny Depp), a mild-mannered teacher. But the ruse backfires when crime boss Reginald Shaw (Steven Berkoff) learns “Pearce” has been spotted.

The Tourist is a crime adventure about an American tourist who gets mistaken for a wanted criminal. Frank Tupelo is swept up in the hunt for Alexander Pearce, whose recent plastic surgery means he could look like anyone. Along the way, Frank finds himself falling for Elise and her world of wealth and danger, while Elise begins to see something irresistible in him. The Tourist is a fun movie that features an intriguing plot but suffers from a few flaws.

The Tourist’s best feature is its story. The movie likes to keep the audience and the characters guessing, setting up a free-for-all between Interpol, Elise, Shaw, and Pearce, with Frank stuck somewhere in the middle. The gambits and counter-gambits make the film engaging and unpredictable. Meanwhile, Angelina Jolie captures the elegant allure of high-class crime, while Johnny Depp does a convincing job as an ordinary man who’s in over his head.

Even so, The Tourist is missing a few qualities that it needs to truly succeed. Johnny Depp cuts a fairly neutral figure as Frank, going along with the events around him without showing much personality. His romance with Elise does not have the spark it should have, and the script as a whole does not have the comedic bent that would make it shine. The movie also suffers from the simple issue that it is hard to invest in Pearce when he stays hidden.

The Tourist makes for a fine popcorn watch that has some good ideas and mixed follow-through. The setup is interesting, the plot is entertaining, and the movie packs a few nice surprises. But in spite of The Tourist’s potential, the characters do not have the impact they should have, and the writing is missing some needed charm. Give it a shot if you don’t mind a bit of missed potential. Skip it if you’re looking for something outstanding.

For a classic crime movie with a similar setup, check out Charade. For an action-packed romp starring Angelina Jolie, try Mr. and Mrs. Smith. For a grittier crime drama about a case of mistaken identity, try A History of Violence.

6.0 out of 10 on IMDB. I give it a 6.5 for a fun setup held back by a few flaws.

Today’s quick review: Live by Night. Joe Coughlin (Ben Affleck), a criminal in 1920s Boston, makes a costly mistake when he crosses Albert White (Robert Glenister), the head of the Irish mob. Beaten and left for the police, Coughlin gets his revenge by going to work for Maso Pescatore (Remo Girone), White’s Italian rival. Pescatore sends Coughlin to manage his bootlegging operation in Tampa, a daunting task that will push Coughlin to his limits.

Live by Night is a Prohibition-era crime drama written and directed by Ben Affleck. The movie follows Joe Coughlin, a self-proclaimed outlaw, as he is forced to work for the rulers of the Boston underworld rather than live the life of freedom he craves. Live by Night has an unusually mature story for a crime drama, with multifaceted characters and an interesting plot. Even so, it’s missing the flashy moments and emotional resonance of other crime films.

Live by Night covers a lot of ground with its story. Coughlin’s journey takes him from small-time robber to rum baron, with plenty of shrewd moves and setbacks along the way. The story touches on deeper topics such as Coughlin’s pangs of conscience, American cultural battles over drinking and gambling, and the racial tensions of the 1920s and 1930s. Live by Night is in many ways a typical gangster movie, but its story gives it an identity of its own.

Still, Live by Night lacks the raw power seen in the best movies in the genre. Coughlin makes for a likable protagonist due to both his strength and his softer side, but he’s missing the pathos of other movie criminals. He’s neither a tragic figure nor a triumphant one, just a man with a level head, his own priorities, and a dubious line of work. Likewise, the movie as a whole has solid craftsmanship, but it never goes above and beyond.

Give Live by Night a shot when you’re in the mood for a well-constructed crime drama with a good mixture of plot and moral depth. Live by Night misses an opportunity by not aiming higher with its story, characters, and presentation style, but a host of smaller touches—including a unique setting and a nuanced main character—make it a worthwhile watch nonetheless. Skip it if you’re looking for raw action or a more emotionally laden drama.

For a Prohibition-era crime drama with similar depth, try Miller’s Crossing or Road to Perdition. For a crime drama with a broader scope, try Gangs of New York or Once Upon a Time in America. For a similar style of crime drama set in 1920s Barcelona, try Gun City.

6.4 out of 10 on IMDB. I give it a 7.0 for a thoughtful story and good craftsmanship.

Today’s quick review: The Accountant. Christian Wolff (Ben Affleck), an unassuming accountant with high-functioning autism, leads a double life as a money man for drug cartels, arms dealers, and other high-powered clients. His latest job puts him on the trail of $60 million embezzled from a tech company. But the investigation turns deadly when Wolff gets too close to the culprit, who hires a ruthless hitman (Jon Bernthal) to get rid of him.

The Accountant is an action movie about a quiet man keeping dangerous secrets. Ben Affleck stars as Christian Wolff, whose reserved exterior hides a keen mind, a mysterious past, and a knack for violence. The Accountant uncovers Wolff’s secrets bit by bit, weaving together his current job, flashbacks to his childhood, and an ongoing Treasury investigation. The result is an action movie with an intricate plot and an unusually developed protagonist.

The Accountant features an excellent blend of story and action. The main plot is a solidly constructed mystery, but the real appeal comes from what the audience learns about Wolff himself. His background includes a mixture of real-world autistic traits and a unique childhood worthy of any action hero. A side effect of this is that he is excellent in a fight, allowing the movie to also pack in a surprising amount of tightly choreographed fight scenes.

The Accountant is a solid pick for nearly any fan of the action genre. The movie’s engaging plot, unique protagonist, and sharp action make it well worth a look for anyone interested. The Accountant is not as flashy as some other entries into the genre, but its strong foundation will give it broad appeal. Those looking for a lighter romp may want to look elsewhere.

For an action movie about a helpful stranger that has a similar appeal, check out Jack Reacher. For more action in a similar vein, check out Shooter, John Wick, or Lucky Number Slevin. For a more grounded drama about a brilliant mathematician caught in the middle of a conspiracy, check out A Beautiful Mind.

7.3 out of 10 on IMDB. I give it a 7.0 for a satisfying blend of action and plot.

Today’s quick review: The Art of War. Neil Shaw (Wesley Snipes) is a covert operative for the United Nations. Under the command of Eleanor Hooks (Anne Archer), he uses theft and blackmail to grease the wheels of the peace process. But when Shaw is framed for the murder of the Chinese ambassador, he becomes the target of a city-wide manhunt. The only person he can turn to is Julia Fang (Marie Matiko), a UN translator caught up in the chaos.

The Art of War is an action thriller about a secret operative who goes rogue in order to prove his innocence. The Art of War takes a typical setup for an action flick and follows through on it well. The plot is a sprawling conspiracy with high stakes and twists that are easy to predict but nonetheless satisfying. Shaw is a slight twist on the typical hero: resourceful enough to get out of trouble, but fallible and often behind the curve.

The Art of War’s action follows a similar pattern. The movie packs in chases, gunfights, and hand-to-hand combat wherever it gets the opportunity, but none of the stunts are as memorable as the best the genre has to offer. The Art of War also gets caught between the two extremes of the action genre. The high stakes and violence push it in the direction of being a gritty thriller, but the presentation style would have been a better fit for a comedy.

The Art of War is a fine pick for anyone looking for a popcorn watch with plenty of action. The Art of War is not as impressive as some of its rivals, and its generic plot and relatively ordinary stunts keep it from leaving a lasting mark. But even so, the movie executes the formula well enough to entertain fans of the genre. Give it a shot if you’re looking for something simple and enjoyable. Skip it if you’re hoping to be impressed.

Check out The Replacement Killers or xXx for an action movie with a similar flavor. For an action comedy about diplomacy between the United States and China, check out Rush Hour or Lethal Weapon 4. For another thriller centered around an assassination attempt at the United Nations, check out The Interpreter. For a more grounded movie about a man framed for an assassination, try Shooter.

5.7 out of 10 on IMDB. I give it a 6.5 for fun, serviceable action without too many surprises.