Category: Reviews

  • X-Men: Apocalypse is good. It’s fun to watch. But it isn’t brilliant.

    X-Men: Apocalypse is good. It’s fun to watch. But it isn’t brilliant.

    James McAvoy in ‘X-Men: Apocalypse’

    “This is the way the world ends.  Not with a bang but a whimper.” – T.S. Eliot

    Let’s begin with this disclaimer.  It isn’t June yet and thus far in 2016 we’ve seen three other “superhero” blockbusters.  Deadpool, Batman versus Superman:  Dawn of Justice and Captain America: Civil War all hit the multiplexes and did well.  So maybe we are suffering from superhero fatigue of a sort and not giving the latest X-Men film a fair shake.  Or maybe the expectations were too high.  It should also be noted that this is the 9th film in the mutant movie franchise since X-Men came out in the year 2000.

    Jennifer Lawrence and Oscar Isaac in 'X-Men: Apocalypse'
    Jennifer Lawrence and Oscar Isaac in ‘X-Men: Apocalypse’

    The origin of “En Sabah Nur/Apocalypse” (Oscar Issac), the world’s first mutant is explored briefly at the film’s outset.  We learn that he has the ability to transfer his consciousness into the body of others.  Better still, he acquires whatever mutant powers that his victim possesses as the transference is complete.  But just as he moves into his latest body, he is trapped beneath tons of rubble for thousands of years.

    Fast forward to the year 1983.  Apocalypse awakens.  The U.S. remembers the tenth anniversary of how “Mystique” (Jennifer Lawrence) stopped “Magneto” (Michael Fassbender) from killing the president.  Magneto remains the world’s most wanted man but he is in hiding in Poland.  Apocalypse has always surrounded himself with four followers and Magneto comes to his attention.  As does “Angel” (Ben Hardy), “Storm” (Alexandra Shipp) and “Psylocke” (Olivia Munn).  Apocalypse enhances the powers of his followers and plans to lay waste to civilization and rule the world and the few who survive.

    Michael Fassbender as "Magneto" in 'X-Men: Apocalypse'
    Michael Fassbender as “Magneto” in ‘X-Men: Apocalypse’

    When news of Magneto’s murder of the policemen who killed his wife and daughter reaches Mystique, she goes to “Professor Xavier” (James McAvoy) at his school for the gifted to enlist his help in finding Magneto to stop him.  But in using Cerebro to search for Magneto, Professor Xavier finds Apocalypse who is able to connect through Cerebro and the Professor with every mind on Earth.  To break the connection, “Havoc” (Lucas Till) has to destroy Cerebro.  This causes an explosion but the arrival of “Quicksilver” (Evan Peters) who uses his incredible speed to save almost everyone from the blast.  However Apocalypse and his four followers spirit Professor Xavier away with them.

    Just before all this happens, Havok’s brother “Scott” (Tye Sheridan) comes to the school and makes friends with “Jean Grey” (Sophie Turner) and “Kurt” (Kodi Smit-McPhee) and the trio is away from the campus when the explosion takes place.  As a result they aren’t captured like the rest of the staff and students are by “Major Stryker” (Josh Helman).   The Major orders his men to take Quicksilver, Mystique, “Beast” (Nicholas Hoult) and CIA Agent “Moira McTaggart” (Rose Byrne) to the military facility at Alkali Lake.  Jean’s powers enable her and her companions to stow away on the chopper with the captives.

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    Sophie Turner, Kodi Smit-McPhee and Tye Sheridan in ‘X-Men: Apocalypse’

    Confused yet?  All that’s left for the “good” mutants to do is escape Alkali Lake and stop Magneto from causing cataclysmic destruction on a planetary scale; while Apocalypse intends to transfer his consciousness into Professor Xavier’s body in order to control every mutant on the planet.

    The story is complex and a bit convoluted but it works.  The effects, as they are anytime Bryan Singer sits in the director’s chair, are spectacular.  Buy a big tub of popcorn and enjoy the dazzling display and derring-do on the big screen.

  • ‘Money Monster’ rates a strong buy

    ‘Money Monster’ rates a strong buy

    George Clooney in 'Money Monster'
    George Clooney in ‘Money Monster’

    “Greed is good” – Michael Douglas as Gordon Gekko in 1987’s Wall Street

    Money Monster from director Jodie Foster and starring George Clooney and Julia Roberts is another movie set in the world of Wall Street.  In the wake of 2014’s The Wolf of Wall Street and the outstanding 2015 film The Big Short, comparisons are inevitable.  But Money Monster is not a look at the how the market collapsed in 2008.

    “Lee Gates” (Clooney) is the host of the television program “Money Monster” and his over-the-top presentation has  earned him a legion of fans.  It is business as usual as the film opens with Lee sparring with his producer, “Patty Fenn” (Roberts) just before the show goes lives.  The usual routine is shattered when a deliveryman enters the closed set and fires a gun into the ceiling.  We learn later that he is “Kyle Budwell” (Jack O’Connell) and he forces Lee  to  don an explosive vest.  Kyle is holding a dead man switch in one hand and a gun in the other and his threat to start killing people keeps  the network from taking the live feed off the air.

    Kyle is angry because his life savings of $60,000 was lost in the $800 million dollar meltdown at IBIS Capital.  Renowned for making money all the time due to cutting edge trading algorithms, the loss is being attributed to a software glitch.  The CEO of IBIS, “Walt Camby” (Dominic West) was supposed to be on the show with Lee but he was a last minute no-show.  The Chief Communications Officer of IBIS “Diane Lester” (Caitriona Balfe) is the fill-in for Camby but her recitation of the talking points prepared to pitch softball questions to Camby infuriates Kyle even more.

    The police are eager to do anything they can to prevent Kyle from setting off the bomb and when they learn that the triggering device on the vest could possibly be shot without killing Lee, they begin planning on this as a last resort.  Meanwhile Lee, aided and abetted by Patty and Diane attempt to uncover the real cause of the $800 million disappearing.

    Money Monster is not the indictment of gratuitous greed among Wall Street types that other films like The Big Short and Inequality for All are.  This is a straightforward hostage drama where the motivation for the hostage taker is the avarice of specific individuals.  It can’t quite be called a dramedy although there are some moments that were clearly inserted for laughs.  This was done very effectively.  While the moments that George Clooney and Julia Roberts are in physical proximity on screen are few and far between, their ongoing dialogue makes their usual chemistry work quite well.

    As an actress, Jodie Foster is among the best as evidenced by her two Oscars for Best Actress in a Lead Role.  Her three prior big screen directorial efforts were not quite so stellar.  They weren’t bad but they weren’t brilliant either.  However this is probably her best effort behind the camera thus far.  She provides easily watchable images while keeping the tension just taut enough for a hostage drama.  It is worth checking out.

  • ‘Kill Zone 2’ is a sequel in name only but packs the punch of the original

    ‘Kill Zone 2’ is a sequel in name only but packs the punch of the original

    Tony Jaa and Jing Wu in ‘Kill Zone 2’

    In 2005 a throwback to the great Hong Kong action flicks came along from writer/director Wilson Yip titled SPL: Kill Zone.  It was reminiscent of the kind of action flicks we used to see from the Viceroy of Violence himself, John Woo.  Now over a decade later we get Kill Zone 2 (originally titled SPL 2: Time for Consequences).

    Usually sequels that take a long time to hit the screen aren’t up to the level of the original movie.  The recent Zoolander 2 and My Big Fat Greek Wedding 2 are an excellent example of this.  So was Godfather III, which isn’t a bad movie, but pales in comparison to its predecessors.  Other examples include Blues Brothers 2000, Force 10 from Navarone and perhaps the worst of the bunch, Dirty Dancing: Havana Nights.”

    Tony Jaa in 'Kill Zone 2'
    Tony Jaa in ‘Kill Zone 2’

    Muay Thai expert Tony Jaa (Ong-Bak and The Protector) is “Chatchai”, a guard in a Thai prison.  His precocious daughter “Sa” is suffering from leukemia.  Only a bone marrow transplant can save her life.  It turns out that there is a donor match in the bone marrow database but the cell phone of that person never answers.

    Wu Jing (he played “Jack” in the original SPL: Kill Zone) is a Hong Kong cop named “Kit.”  At the behest of his uncle “Wah” (Simon Yam), Kit goes undercover as a drug addict for a long-term assignment to try to get to the head of a crime organization.  “Hung” (Louis Koo) is that crime lord and he has a problem of his own.  His heart is failing and the only possible transplant source is his brother.  He plans the kidnapping of his brother so that the transplant can take place at a Thai hospital.  Among his other businesses, Hung is involved in the sale of human organs for transplants and he employs the warden who runs the prison where Chatchai works.  Zhang Ji (he was one of the stunt doubles for Zhang Ziyi in Crouching Tiger, Hidden Dragon) is the warden “Ko.”  The kidnapping goes wrong and as one of the participants in it, Kit find his cover blown.  Hung arranges for him to become an inmate in the prison where Chatchai works.  While Wah is searching frantically for Kit, Chatchai is desperate to find the one person who can save his daughter, not knowing that person is actually Kit.

    Zhang Jin and Tony Jaa in 'Kill Zone 2'
    Zhang Jin and Tony Jaa in ‘Kill Zone 2’

    Wah locates Kit and tries to spirit his nephew out of the prison but they are both captured and wind up in the warehouse where human organs are harvested.  The climactic fight scene where Kit and Chatchai team up to face off with Ko is intense and worthy of the amount of time taken to watch it play out.

    Not every action movie has great action.  Most are good, some ordinary and some exceptional.  Kill Zone 2 is the latter, using guns, blades and fists in a very satisfying mixture.  This should be credited to the collaboration of director Soi Cheang and choreographer Li Ching Chi.  Few action movies have compelling backstories, the aforementioned Crouching Tiger, Hidden Dragon being one of those rare exceptions.  Add this movie to that list.

  • ‘Mother’s Day’ is a wonderful holiday but a lousy movie

    ‘Mother’s Day’ is a wonderful holiday but a lousy movie

    Julia Roberts and Jennifer Aniston in 'Mother's Day'
    Julia Roberts and Jennifer Aniston in ‘Mother’s Day’

    “Let me tell ’em it was growing pains – the wrong execution of the right idea.”  Wayne Tippet as “Sergeant Major Kevin Moreland” in the 1981 film Taps.

    Sergeant Major Moreland’s comment above might be the best explanation of what happened to Mother’s Day.  Director Garry Marshall has had a long, distinguished career in Hollywood.  As a writer, TV series creator and as a film director.  His filmography includes gems like Beaches, Pretty Woman and The Princess Diaries.  Then beginning in 2010 he released the first of what is now three ensemble cast films that take place around big holidays.  First was Valentine’s Day which wasn’t great but it was watchable.  That was followed a year later by New Year’s Eve which was not as good as Valentine’s Day.  Six years later we get Mother’s Day which has a great cast whose talents are obscured by a bad movie.  The movie begins a few days before the titular holiday and takes place in Atlanta.

    Jennifer Aniston is “Sandy” who is a divorcee with two young sons and life is good.  Well, up until her ex-husband “Henry” (Timothy Olyphant) surprises her with the fact that he eloped with a much younger woman named “Tina” (Shay Mitchell).  That’s just the first of several surprises that Henry has for Sandy.

    Sandy is in search of more work as a designer and she has a chance to present a potential stage design to “Miranda” (Julia Roberts) who is a successful author and seller of jewelry on the Home Shopping Network.  Miranda is dedicated to her career and seems to have no personal life outside of work.  Her manager, “Lance” (Hector Elizondo) seems to be her only connection to the outside world.  But there is a link from her to “Kristin” (Britt Robertson).

    Britt Robertson and Jack Whitehall in 'Mother's Day'
    Britt Robertson and Jack Whitehall in ‘Mother’s Day’

    Kristin has a boyfriend “Zack” (Jack Whitehall) and the two of them have a daughter.  Zack would give anything to have Kristin agree to marry him but she seems dead set against it.  Zack is an aspiring comedian who is hoping to win a big comedy contest as a local club.

    Meanwhile “Jesse” (Kate Hudson) and her sister “Gabi” (Sarah Chalke) are living next door to each other and keeping their romantic lives secret from their parents “Flo” (Margo Martindale) and “Earl” (Robert Pine).  Jesse has been estranged from her mother for years and Gabi decides just before Mother’s Day is the right moment to try to heal that rift.

    There is another story arc involving a father and his two daughters where he is mourning the loss of his wife, a U.S. Marine lost in a combat zone but the above is more detail that necessary to articulate the fact that there is just too much going on here.  There are moments of laughter, only a few of which are slapstick.  But the intersecting story arcs seem far too contrived.  Julia Roberts gives the best performance, showing the emotional range that earned her a Best Actress Oscar years ago.  There is no question that this movie is a tribute to mothers everywhere.  Other than that, there is little to recommend in a movie that put a gigantic C in the word Cloying.

  • ‘The Boss’ is…not so boss but it is damn funny

    ‘The Boss’ is…not so boss but it is damn funny

    Melissa McCarthy in 'The Boss'
    Melissa McCarthy in ‘The Boss’

    Melissa McCarthy is funny in anything and everything.  And in her latest comedy The Boss she gets a lot of laughs.  If the sole measure of a film comedy is generating laughs by that standard it succeeds.  The problem is, there is more than can be done with a major comedy acting talent.

    McCarthy’s “Michelle Darnell” grows up an orphan who bounces from one foster family to another.  Rising above and giving the shaft to anyone and everyone she encounters along the way, she becomes the 47th wealthiest woman in the U.S.  But like another famous female CEO, she gets nailed for insider trading and winds up serving time at “Club Fed.”

    When she is released she find almost everything she owns has been seized.  She learns that what’s left of her possessions in the hands of her assistant, “Claire Rawlings” (Kristen Bell).  Turns out that there is not that much and when it is clear that Michelle has nowhere to go, Claire’s daughter “Rachel” (Ella Anderson) insists that they let Michelle stay with them.  While Claire knows instinctive that this is not a good idea, she reluctantly agrees.

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    Melissa McCarthy and Ella Anderson in ‘The Boss’

    After the typical sinking to rock bottom sequence, as shown in one of the film’s trailer, we see Michelle forced to take Rachel to her Dandelions meeting.  Like the Girl Scouts the Dandelions are modeled on, they sell cookies.  Michelle has a brainstorm.  She has become addicted to Claire’s homemade brownies and deduces they would be a smash hit if sold by a group of girls.  This is the genesis of her creation, the Daisies, better known as Darnell’s Darlings.

    The brownies are amazingly successful and soon Claire has quit the job she hated.  Michelle goes to her mentor, “Ida Marquette” (Kathy Bates) to invest in the brownie company.  In spite of the fact that Ida was just another person that Michelle shafted on her way up, Ida agrees.

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    Peter Dinklage in ‘The Boss’

    Things go awry when “Renault” (Peter Dinklage) decides he wants to take the company over.  He’s been seeking revenge on Michelle for something that happened when the two were young and working in the same firm.  Michelle betrays Claire and sells out to Renault after she sees Renault and Claire talking.  This leads to the improbable third act where Claire, Michelle and “Mike” (Tyler Labine) attempt to steal the contract from Renault’s office.  Mike is Claire’s new boyfriend in the required romance expected in this type of comedy.

    As a film designed to generate laughs, director Ben Falcone succeeds.  What’s missing is something to care about.  Anyone who didn’t know that the horrible person would be redeemed before the end of the film is there solely for the laughs and that’s just fine.  However to elevate a comedy above the ordinary it needs more than just laughs, unless it’s just after raunchy or cheap laughs without regard to coherent plot.  This is where ‘The Boss’ is not quite so boss.

  • ‘Captain America: Civil War’ is Marvel at its best

    ‘Captain America: Civil War’ is Marvel at its best

    Iron Man (Robert Downey Jr.) tends to War Machine (Don Cheadle) in 'Captain America: Civil War'
    Iron Man (Robert Downey Jr.) tends to War Machine (Don Cheadle) in ‘Captain America: Civil War’

    It doesn’t get much better than this for superhero-themed movies.

    Marvel rolls out the first of its two films this year, delivering a one-two punch with the third film in the Captain America series. And it delivers one epic beat down, as heroes battle one another in a world where government control splits the Avengers into pieces.

    A lifelong fan of Captain America, I really didn’t think his film adaptation would work out.

    The first film, which was good, didn’t fully knock it out of the park. That all changed with Winter Soldier.

    The Russo Brothers brought a new, complex dimension not only to the character but to the Marvel universe. Civil War is a direct follow-up to that sequel, and delivers a more solid story.

    Spider-Man (Tom Holland) in 'Captain America: Civil War'-Man
    Spider-Man (Tom Holland) in ‘Captain America: Civil War’-Man

    After an operation in Africa goes wrong, leaving several civilians dead, the governments of the world unite to demand a United Nations panel take control of superheroes on Earth. Although the film doesn’t really specify just how many people join this cabal, it focuses specifically on Tony Stark and Steve Rogers, two friends who are divided over the issue of government oversight.

    Stark believes its important, while Rogers fears it will only hinder their efforts. On top of that, Cap’s old friend, Bucky (aka the Winter Soldier), is suspected of a terrorist attack. Captain America aims to bring him in alive, while the authorities aim to take him out.

    As Cap and Iron Man’s rift grows bigger and more violent, a secret plot is discovered that suggest the Winter Soldier was framed.

    Rogers sets out to prove Bucky innocent, while Stark works to stop them. He forms a team, which includes Spider-Man and Vision. Rogers gathers together his own ground, which includes Ant Man and Hawkeye.

    I don’t really want to get into too many details. There are a lot of them, and I don’t like spoilers.

    Civil War directly tackles an interesting point. How do governments and superheroes co-exist? It’s an interesting question, and a reasonable one. And that’s what makes this film so well crafted.

    The film plays out this debate, but never takes its eye off what matters: the characters. Captain America and Iron Man are at odds for very real, logical reasons that are very true to who they are. Their motives are clearly defined, understandable, and not so clear cut. While the audience may disagree with Cap or Iron Man, it’s not to easy to disregard their reasons.

    What makes Civil War work so well is its treatment of the characters. Yes, its a Captain America movie, but everyone here has a purpose in the story. They all have their moments. The Russo Brothers handle the ensemble with a skilled touch. From Vicim and Scarlet Witch, to Falcon and War Machine. Each person matters, each character has a place. They deftly weave in a large assortment of characters with a story that gave each of them room to play and grow.

    Black Panther (Chadwick Boseman) in 'Captain America: Civil War'
    Black Panther (Chadwick Boseman) in ‘Captain America: Civil War’

    There are three moments people are likely to focus on as their talking points when it ends, if the audience I saw the film with are any indication. The first two are the introductions of Black Panther and the Marvel universe’s Spider-Man.

    Tom Holland debuts as the Web Slinger, and he does it with charm. He’s the character we’ve come to love, but brings a freshness that was a relief. Spider-Man is a tough nut for Marvel to crack. It’s been invented and reinvented in the last decade, with mixed results. To reimagine a character like that yet again will not be easy. But, if his appearance here is any indication, they may be on the right track.

    Black Panther also shines. I can’t think of anyone walking away from this not excited for the his standalone film. Chadwick Boseman was great as Jackie Robinson in 42, but he really delivers in Civil War. The only bad part is that we have to wait until 2018 for his movie.

    The other takeaway is the epic fight between all the characters that takes place more than midway through the film. It’s thoroughly entertaining. Each one gets a moment to shine. Its a dazzling display.

    At the same time, it goes on perhaps a little too long. It also lacks real consequence. It’s not that the battle doesn’t matter, but its clear that each super hero isn’t really trying to hurt the other. Iron Man, War Machine, Black Panther, Black Widow. They are all battling, but none of them actually want to win. There’s a very real reason for them to be fighting, and it makes sense, but because they’re all also trying to be so nice about it there’s no real threat.

    Of course, that doesn’t mean it ends nicely. It’s just that the overall sequence lacks gravitas.

    The film does have a few drawbacks. It a little slow at times. There’s also some points which probably could have used a little more clear explanation. But these are mostly minor.

    Civil War is the superhero film fans of superhero movies love.

  • ‘Batman vs Superman: Dawn of Justice’ is strong on visuals, weak on story

    ‘Batman vs Superman: Dawn of Justice’ is strong on visuals, weak on story

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    Henry Cavalli as “Superman” about to testify before the U. S. Senate in ‘Batman vs Superman: Dawn of Justice’

    “Master Wayne, since the age of seven you’ve been into the art of deception like Mozart to the harpsichord, but you’ve never been too hot at lying to me.” – Jeremy Irons as Alfred Pennyworth

    It’s been almost three full years since the Superman film franchise was relaunched and what a relaunch it was.  Man of Steel was an outstanding film.  One would think that after an extra year for the filmmakers to have “…time to fully realize their vision, given the complex nature of the story” the sequel would be up to the level of Man of Steel.  That did not come to pass.  Batman vs Superman: Dawn of Justice is a good movie.  It just doesn’t come anywhere near the bar set by Man of Steel.

    We’re given the 94th (give or take) rehash of how young “Bruce Wayne” (Ben Affleck) came to be Batman.  Necessary?  Probably not but certainly understandable on the part of director Zach Snyder and writers Chris Terrio and David S. Goyer.  Less than two years after the near destruction of Metropolis during the battle between “Superman” (Henry Cavill) and “General Zod” (Michael Shannon, back only as a corpse), Superman’s benevolence comes into question.  Partially due to how many died when he rescues “Lois Lane” (Amy Adams) from a dictator, and partly because a junior U. S. Senator from Kentucky (Holly Hunter) uses the fallout from the incident to call Superman a potential threat.

    With Bruce Wayne/Batman also concerned that even the slightest chance of Superman decided to reign destruction on life on Earth a justifiable reason to kill the Man of Steel and “Lex Luthor” (Jesse Eisenberg) turning his attentions to Superman, trouble is on the horizon.

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    Ben Affleck as “Batman” in ‘Batman vs Superman: Dawn of Justice’

    The first negative that must be pointed out about Batman vs Superman: Dawn of Justice is the same criticism that was proper to apply to the film that launched it.  It’s too long.  Then there’s the issue of Jesse Eisenberg.  It isn’t that he is a bad actor, because he’s a brilliant one.  It isn’t that he gives a poor performance, because he does not.  The problem is he’s horribly miscast as Lex Luthor.  Traditionally Lex Luthor is older than Superman.  Gene Hackman and Kevin Spacey were terrific in this role in their turns in it.  Making Luthor a younger genius just did not work out.  Also, IMHO, once an actor has played one major “superhero” as Ben Affleck did in the titular role of 2003’s Daredevil, it is probably not smart to cast that performer as another major superhero.

    There is much to like about Batman vs Superman: Dawn of Justice.  Amy Adams and Henry Cavill are once again well-matched and deliver strong performances.  Holly Hunter makes a perfect politician.  Casting Gal Gadot as “Wonderwoman/Diana Prince” was something I felt was a mistake; but it didn’t turn out that way.  The special effects and general visual feel of the film were very enjoyable.  Jeremy Irons, who would be excellent portraying a tomato, made a great Alfred.

  • ‘How to Be Single’ is a primer on the good and the bad of rom-coms

    ‘How to Be Single’ is a primer on the good and the bad of rom-coms

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    Dakota Johnson and Rebel Wilson in ‘How to Be Single’

    “I thought it would be funny” – Rebel Wilson as “Robin”

    Based on the debut novel from Liz Tuccillo, How to Be Single is a rom-com that has some very strong moments.  Some very weak moments.  And sadly, the weak outweigh the strong.  That doesn’t mean it was bad, because there are a lot of laughs to be had.  It is just sad that what could have been real cutting edge exposure of some of the negatives of the formulaic elements of the genre failed in that respect.

    “Alice” (Dakota Johnson) has been with her boyfriend “Josh” (Nicholas Braun) throughout her time in college and then she insisted they take a “break” when she goes off to New York City to take a job as a paralegal.  She winds up working at a desk next to “Robin” (Rebel Wilson) who considers herself to be *the* expert in how to be a single woman in the big city.  It is an interesting pairing.

    “Lucy” (Brie Larson) moves into an apartment where the free wi-fi is just out of reach.  So she goes to the source of that wi-fi, Tom’s Bar, across the street.  “Tom” (Anders Holm) has also made being single a science and he’s taken aback a bit by Lucy’s search for Mr. Right through every dating site on the internet.  He’s only interested in Miss Right for the Night.

    “Meg” (Leslie Mann) is Alice’s sister, a busy OB/Gyn in the city who provides Alice with a temporary home.  She has been completely career focused for a long time, then suddenly decides she wants to conceive her own child using a sperm donor.

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    Leslie Mann in ‘How to Be Single’

    While the film is focused on the subject of how to be a single woman, you can’t deal with that issue without having some men.  After Alice tries to get back with Josh and finds out he is seeing someone else, she winds up meeting “David” (Damon Wayans, Jr.).  That goes well for a while but ends badly.  Lucy has her own string of really awful dates and then meets “Paul” (Colin Joust) with whom she enjoys a wonderful relationship.  Until he dumps her.  She has a major meltdown and winds up being comforted by “George” (Jason Mantzoukas).  Meg meets “Ken” (Jake Lacy), a younger guy.  Tom comes to the conclusion that Lucy is the one for him, but she’s with George.  Then Robin does something unthinkable to Alice at Alice’s birthday party.  Completely confused yet?

    There are moments in this movie that offer true insight into the reality of being single.  There are also moments where this film could be labeled “How Not to Make a Rom-Com.”  The problem being that the latter moments far outweigh the former moments.  In previous movies Rebel Wilson straddles the line between funny and annoying quite well but not here.  Perhaps the fact her character was constructed being completely devoid of a single redeeming feature is part of the problem.  The other lead women are just fine in what are roles that limit their abilities.  The men are mere objects, there to provide context for the romances of the ladies.

  • ‘Deadpool’ breaks the 4th wall in a wonderful way

    ‘Deadpool’ breaks the 4th wall in a wonderful way

    Morena Baccarin and Ryan Reynolds in ‘Deadpool’

    “I wanted to make room for antiheroes” – William Gibson, author of “Neuromancer”

    The titular character in Deadpool is super but not by birth.  Anyone familiar with his origins in the Marvel comic book universe knows he is not a hero in the true meaning of the term.  He is an anti-hero who lives by his own unique standards of right and wrong.

    The movie open with “Deadpool” (Ryan Reynolds, playing the character he first portrayed in 2009’s X-Men Origins: Wolverine)

    “Wade Wilson” before the events that made him into Deadpool.  Wilson is a former Special Forces soldier who is now working as a mercenary.  He meets “Vanessa” (Morena Baccarin) who works as an escort and they fall in love.  He proposes marriage, she accepts and then they learn he is going to die of cancer that has spread throughout his body.  Since he can’t bear the thought of Vanessa watching him die a quick but very painful death, he just up and leaves.

    Ryan Reynolds, Gina Carano and Ed Skrein in ‘Deadpool’

    He finds himself being offered a chance at a cure by the “Recruiter” (Jed Rees) and figuring he has nothing to lose, he goes for it.  “Ajax” (Ed Skrein) injects something into Wade and only then does he discover that the way to make this cure work is to bring him within an inch of dying over and over until the effects of what they’ve injected him with begins working.

    The good news is that he is cured and his body will heal from any injury at an astonishing rate, making him effectively immortal.  The bad news is that the process has rendered him so ugly that even a pork chop hung around his neck wouldn’t entice a hungry dog to play with him.  He manages to escape from the clutches of Ajax and “Angel Dust” (Gina Carano).  Since he believes Ajax has a way to restore his normal appearance he plans to track him down and force him to hand it over.  Only then will he be able to reclaim the love of his life.

    Brianna Hildebrand, Ryan Reynolds and “Colossus” (voice by Stefan Kapičić) in ‘Deadpool’

    Once he captures Ajax, two members of the X-Men, “Colossus” (Stefan Kapičić did the voice) and “Negasonic Teenage Warhead” (Brianna Hildebrand) arrive to stop Deadpool and in the confusion, Ajax makes his escape.  Once Ajax and Angel Dust learn about Vanessa, she is in danger and Deadpool must rescue her, aided by the X-Men.

    What makes Deadpool such an interesting character in both comic book form and on the big screen is that he doesn’t just briefly breach the fourth wall.  He does it regularly, although the filmmakers showed good sense by finding a balance between those breaches and “regular” movies.  Marvel founder Stan Lee makes his obligatory cameo appearance.

    While other actors might have been able to play Deadpool, none of them could have done it as well as Ryan Reynolds does.  There are echoes of his work in 2005’s Waiting in his delivery of the sarcastic words of the antihero he is playing a decade later.  See it more than once as you will certainly miss a few things the first time around.

  • Never mind Caesar, Hail the Coen Brothers!

    Never mind Caesar, Hail the Coen Brothers!

    Josh Brolin in 'Hail, Caesar!'
    Josh Brolin in ‘Hail, Caesar!’

    “Would that it were so simple” – Alden Ehrenreich as ‘Hobie Doyle’

    Hail, Caesar! is the latest in a long line of superior movies made by the Coen brothers.  Their formula of creating interesting stories and characters, assembling outstanding casts and creating completely engrossing results is on display here.

    This is George Clooney’s fourth collaboration with the Coen brothers.  Clooney plays “Baird Whitlock” one of the biggest stars of 1951 Hollywood.  He works at Capitol Pictures where “fixer” “Eddie Mannix” (Josh Brolin) is the guy who makes any problem disappear.  He works around the clock, leaving little time for his wife and kids.  He has an offer on the table for more money and shorter hours to run an aerospace company, and they want an answer.

    Then someone kidnaps Whitlock from the set where the titular “epic” production is about to shoot its big climax.  The kidnappers are demanding $100,000 in ransom.  Then there’s the mess that “DeeAnna Moran” (Scarlett Johansson) has made.  An Esther Williams-like star of swim films, she’s pregnant and in 1951, sweet innocent female stars can’t have kids out of wedlock.  Western film star “Hobie Doyle” (Alden Ehrenreich) has just been moved away from the oaters by Mannix’s unseen boss to star in a dramatic film being directed by “Lawrence Laurents” (Ralph Fiennes).   The fact Hobie can ride and rope with brilliance but can’t act his way out of a wet paper sack makes this another problem for Eddie.  Then there are the sisters Thacker.  “Thora and Thessaly Thacker” (Tilda Swinton) are both Hollywood gossip columnists and both are trying to get the lowdown on stories involving Baird Whitlock.  Of course there is a musical being produced starring “Burt Gurney” (Channing Tatum).

    Scarlett Johansson in 'Hail, Caesar!'
    Scarlett Johansson in ‘Hail, Caesar!’

    Eddie Mannix has some help in ‘fixing’ things for Capitol Pictures (yes, the same studio in Barton Fink).  His able assistant “Natalie” (Heather Goldenhersh) is always there keeping him on schedule and when he needs someone to do something involving difficult things, “Joseph Silverman” (Jonah Hill) is the person Eddie turns to.   Since it is a Coen brothers movie, Frances McDormand is there, and she’s a delight as a film editor.

    The plot lacks a laser-like focus but its meandering doesn’t really impact the humor and great dialogue to any serious degree.  It is definitely Josh Brolin’s movie and he owns every moment he is on-screen.  George Clooney’s role is small but as always the Coen brothers use his talents to their best advantage.  Alden Ehrenreich is lovable as the innocent young star of Westerns who turns out to be a bit more savvy than one might expect.  Fans of movie making will love the attention to historical accuracy on both the large and small scale.  The feel of the era is captured and not just in the costumes and argot either.

    Just so you know, there really was an Eddie Mannix and he really was a Hollywood fixer.  But for MGM, not the fictional Capitol Pictures and he was most well known for his work from the mid 1920s onward.