With Easter just finished, I thought I’d review Bill Maher’s droll attack on organized religion for the cats at Revolt Daily. Why? Just for kicks! Click the picture of Theme Park Jesus below!
Transcendence (2014)
A Wasted Opportunity
Freedman, Cillian Murphy, Kate Mara and a digitized Johnny Depp stand around a hall of tech things. Hooray. (image: http://www.kurzweilai.net/)
Thursday night was damp and drizzly, the afterthought of a grey, depressing day. When work ended, I had a hankering for a senseless action flick and drove off to the Alamo Drafthouse to see Raid 2. But life conspired against me. Dreadful traffic, a maze of Austin flyovers and a strict “no late entry” rule doomed my trip. Crestfallen, I looked up at the board, and despite a wash of bad reviews, decided to check out Johnny Depp’s latest sci-fi flick about the upload of a dying human’s brain into a massive supercomputer. Although I think the critics have been overly harsh, Transcendence is a poorly constructed mess with the best of intellectual intentions.
Depp plays Will Caster, the world’s leading mind in the field of artificial intelligence. With his wife Evelyn (Rebecca Hall) and partner in science Max (Paul Bettany) by his side, Will is poised for a major breakthrough. But all is not well in the world of high tech and virtual geniuses. An anti AI group called R.I.F.T., headed up by Avril Lavigne look-alike Bree (Kate Mara) coordinates an attack on laboratories across the world, culminating in a successful assassination attempt on Good Will Techie. Desperate to save her husband, Evelyn, to the protests of Max, uploads his consciousness into the monster mainframe with pleasing yet terrifying results.
Much like Nicholas Cage, Depp is at his best when unhinged and imaginative, at his worst when he tries to tone it down. The cinematic equivalent to intravenous anesthesia, Depp’s performance is as bland and soulless as the trumped up PC he eventually becomes. As a couple, Hall and Depp have zero chemistry, crucial for the main drive of the plot. The rest of the cast doesn’t do much better. Not even Morgan Freedman as another science guy / name on the marquee can save the robotic characters and scientific mumbo jumbo.
Like this stare? Prepare to see if for 120 minutes that’ll feel like three hours. (image: http://www.talkingwithtami.com)
The story itself has some interesting ideas but quickly goes off the rails thanks to terrible direction and an implausible script. The further thigns trudge along, the more confounding it gets, a direct effect of first time director Wall Pfister’s inexperience behind the camera. As a long time cinematographer, Pfister’s picture is pleasant to look at but full of terrible cinematic choices. The most jarring is an opening five minutes that completely dispels any tension from the rest of the movie. If you’ve seen the “give everything away” trailer, you can head for exits after Betanny’s somber voice over and “Five Years Earlier” captions.
But even poor direction could have been saved by good writing. Not so in this case, as the lumbering, heavy handed script ultimately pushes the feature into who-cares world. Every five minutes, logic leaps out the window as you scratch your head in confusion. In the spirit of “no spoilers”, I won’t go into specifics but watching Transcendence is like listening to the ramblings of a bad liar. Have you ever had a friend whose stories never add up? Welcome to the world of Transcendence. The story structure is solely constructed to get Depp’s cranium in the machine and jerk the plot along like a truck with no tires. In a word, the story is a mangled mess.
And it’s a shame because there are some solid concepts at the core. The themes of humanity, the ability to truly love something artificial and the conflict between science and morality are all fascinating. Unfortunately, there’s not enough time in a two hour movie to develop ideas, create believable characters and make a cohesive story. Better suited as a novel than a film, Transcendence is a perfect example of when good ideas go wrong. Poorly executed, sloppily directed and featuring Johnny Depp at his most frustratingly wooden, the debut film from Wally Pfister is another sci-fi adventure destined for the bargain bin. If only traffic had eased up and I would have made it to Raid 2. I’d probably be a much happier camper.
Score: 4 out of 10
Bad Words (2014)
Ahhh, my first bad review of the year. Sometimes it’s worth seeing dreck for the opportunity to pen something scathing. Click the image below to check it out on Pantheon Mag!
Grand Theft Auto V – PS3 (2013)
The silly geese at AVS Forum inexplicably didn’t have a review of the largest and best GTA game to date. I went ahead and took care of that for them. Click the image below to check it out / give me a few extra hits!
Los Santos from a helicopter on a smoggy day. (image: The in game camera phone, uploaded to socialclub.rockstargames.com)
Noah (2014)
The latest film from direction Darren Aronofsky is a big budget spectacle of Biblical proportions. But is it any good? Click the image of a screaming Russel Crowe to find out!
Captain America: The Winter Soldier (2014)
A Marked Improvement
Samuel L. Jackson gives Robert Redford a look at his good eye in the sequel to Captain America. (image: http://www.screencrush.com)
In the pantheon of comic book superheroes, Captain America falls somewhere between Superman and Batman in terms of character intrigue. He’s nowhere near as interesting as the Dark Knight but he’s not as thin as Clark Kent’s alter ego. That’s not to say the adventures aren’t entertaining, but it’s difficult to get invested in a hero whose only weakness is some magical element.
Captain America is a mixture of the two extremes. A regular guy with chemically enhanced abilities, he has the power of a classic superhero but if you put a gun to his head and pulled the trigger, he would fall down. The main issue is his character never changes. In Captain America: The First Avenger, the bulky soldier is set up for the dozens of eventual series sequels, but he didn’t arc. He started as an honest, good hearted All American and ended up the same way, albeit with more muscles and big honkin’ shield. The film was good but arguably the weakest link in a gargantuan chain.
With the sequel, Captain America: The Winter Soldier, the issue is sidestepped by a solid script, more lively direction and the realization that the titular hero isn’t strong enough to pull a movie along. He’s at his best when reacting to things falling apart. Easily superior to the original, Captain America: The Winter Soldier is a fun, boisterous and surprisingly interesting sequel that improves on everything from the original in substantial ways.
Taking place two years after the events of First Avenger, Steve Rogers (Chris Evans) finds himself slowly acclimating to modern life. After a mission with Black Widow (Scarlett Johansson) reveals some shady dealings within the S.H.I.E.L.D. organization, Rogers finds himself caught in the middle of a paranoid government and his desire for truth, justice and the American way.
Unlike last year’s disastrous Man of Steel, the stakes are more relatable and the central theme of safety at the price of freedom is current and relevant. Instead of spending an entire film setting up a one noted character, Winter Soldier puts the good captain in a windstorm of high flying action and political intrigue. This time around, Cap is less a pivot and more the eye of a swilling hurricane. Allowing him to be a participant rather than a centerpiece gives his strengths of loyalty, bravery and honesty to be better presented. Reprising the role, Chris Evans is again perfect for the part with all the boyish resilience one would expect. There’s more for him to react to than the hammered in love story of First Avenger and he handles it with quiet dignity.
Ho hum. Just another day at the office. (image: http://www.turbo-exp.net)
Supporting the script, the direction of first timers Anthony and Joe Russo is livelier and more Avengers-esqe than the previous iteration. While I enjoyed the sepia toned look of the first film, Winter Soldier has more life to it, complete with Joss Whedon style quips and spot on humor. The tone matches that of the The Avengers and helps connect this side story with the series centerpiece. The action is also nicely choreographed and while some of the details are missed with the manic editing found in modern action, it’s still fun to watch the team lay waste to carbon copy baddies.
It also helps Captain America has a much better villain to combat. While there’s a nebulous evil force that looms over the action, the direct battles happen against Winter Solder, a bad ass human / machine hybrid with a taste for wonton destruction. Serving as Captain’s first serious adversary, the battles are quick yet exciting. For the first time, our hero is in serious danger and the threat of harm makes him instantly more relatable. The villain also provides a great plot reveal that gives the story more emotional punch.
This time around, Cap isn’t the only hero fighting the hordes of evil. At his side is series stalwart Black Widow and newcomer Falcon (Anthony Mackie). Although the Falcon character provides a new dimension to the action, Mackie really shines when outside his super suit. With a more relaxed attitude and humorous style, Mackie is an exceptional “best buddy” and counterpoint to the good ol’ American boy stiffness of Steve Rogers. Johansson once again serves up high flying kicks as Black Widow, but her character remains as bland as ever, despite some attempts to get her more involved.
Being the little brother to the Marvel monoliths is a tough task. Iron Man gets all the praise, Thor has the cult following and The Avengers loom ominous over all. It’s a hard niche to fill, especially when your central character has nowhere to grow, but Captain America: The Winter Soldier expands on the hero’s strengths with a story full of twists and turns, impressive action set pieces and a lighter, more relatable tone. Steve Rogers and the rest of the Captain family may never be kings of the Marvel schoolyard but they’ve avoided being shunned outcasts with a fine second effort. A solid and satisfying start to the summer blockbuster season.
Score: 8.5 out of 10
The Grand Budapest Hotel (2014)
The King of Quirk strikes again with his latest exercise in stylish, strange filmmaking. Does it stack up to 2012’s fantastic Moonrise Kingdom? Click the image below to find out!
Melancholia (2011)
Powerfully Depressing
The planet Melancholia looms ominous in Lars Von Trier’s most accessible film to date. (image: http://www.fxguide.com)
Lars Von Trier is not my friend. He may be an exceptional filmmaker with an incredible eye, but I’d be cautious about sitting across from him at lunch. Wouldn’t pick him for my kickball team. He’s not getting an invite to my birthday party, as he’d probably freak out the other guests. The controversial director of Dogville, Antichrist and Manderlay, Trier is a borderline genius, creating beautiful works of obtuse madness. As a film fan, I want to like him so I can sit at the cool kids table, but it all seems so pretentious, the cinematic equivalent to the raving madman on the subway. He’s probably right about the nature of US politics but I can’t get past his inane babbling.
But sometimes, the worlds of high art and wonderful story combine in an unexpected, exceptional way. Such is the case of Melancholia, a strikingly sublime story about depression, family pressures and the eventual end of all things.
The film opens with a series of barely moving images set against a sweeping score. Tone is established immediately and with each captivating portrait, the film’s plot is thematically laid out. Afterwards, we meet Justine (Kirsten Dunst) at her wedding. At the outset, we learn she suffers from intense clinical depression. She dips away from the party to sulk in a bathtub, turns aside the affection of her new husband (Alexander Skarsgard) and mopes about, much to the chagrin of her sister Claire (Charlotte Gainsbourg) and brother in law John (Kiefer Sutherland). All of this is designed to provide a back drop for Justine’s affliction and while it’s a shame all the family setup is tossed out once the wedding ends, it still works on thematic level.
And besides, who needs the entire cast when the five main characters work so well: Justine, Claire, John, their young son Leo and a giant planet threatening to collide with Earth. The looming landmass is strangely named Melancholia and amateur stargazer John assures everybody it’s going to pass them by. Here, the film switches from Justine’s suffocating depression to Claire’s role as her caregiver and the strain it takes on the family. This relationship is the meatiest aspect of the movie and the most honest. Those who care for the mentally ill often develop issues of their own and this is painfully reproduced in the middle scenes. It also helps the final four actors are all exceptional. Charlotte Gainsbourg is particularly great as the family matriarch trying to keep everything together despite her own fears. The acting is dense, emotive and, with the exception of a few awkward moments, spot on.
Kirsten Dunst awkwardly stares at her fingertips in Melancholia. (image: http://www.couchbaron.com)
Trier has never been one to approach his work rationally, but Melancholia finds him at his most focused, supporting a number of themes with strong, solid storytelling. His use of symbols, such as Leo’s crude tool to see if the planet is getting closer, makes total sense both in plot context and the deeper subject matter. It’s dense but fulfilling, a blend of artistic achievement and genuine character building. Of course, Trier’s eye tends to wander but when it does, it indulges in beautiful imagery such as Dunst “planet bathing” at a riverbed and stunning shots of the approaching planet.
In the final third, everything comes together in a predictable but glorious way. Relationships are resolved, loose ends are tied (as much as can be expected) and the movie concludes in sweeping fashion. These are exceptionally rare considering the director’s pervious work. Melancholia isn’t just the most complete and satisfying film of Trier’s career. It’s a shining example of the power of artistic focus. Lars Von Trier’s opus to crippling sadness is marvelously acted and nuanced while featuring the stunning imagery that’s been his hallmark for almost two decades. He might not be meeting my parents at the birthday party, but we may become pals after all.
Score 9 out of 10
Beer Wars (2009)
Beer! It’s whats for dinner.
What? I’m the only one?
Click the below image to to check out my review of Beer Wars, a documentary about the never ending struggle between independent craft brewers and the giant monoliths!
Click here to view my review of Beer Wars!
RoboCop (2014)
I’d Buy That For A Quarter!
Alex Murphy (Joel Kinnaman) is less than pleased after seeing the 2014 reboot of RoboCop (image: cinapse.co)
Let’s get right down to brass tacks. RoboCop, the 2014 remake, is not as terrible as you would expect.
Not exactly a ringing endorsement, but when you attempt to reboot a film that needs no rebooting, expectations are going to be understandably low. The original Paul Verhoeven classic is two shades away from perfect, boasting subtle themes of corporate corruption, sensationalist media and the nature of security with exceptional action and some good ol’ 80’s excess. It’s funny, satirical and completely entertaining. The unnecessary modernization is a bi-polar experience who tries its best to pay homage to the 1987 version with limited yet well intentioned results.
NOTE: I am going to write the majority of this review like I’ve never seen the original film. It’s often unfair to compare reboots to their predecessors, especially when the deck is stacked against them, so I’ll be critiquing the movie on its own merits…for the most part.
The story takes place in near future Detroit where technology company OmniCorp has deployed peace keeping robots in every corner of the globe with the exception of their native USA. The Americans have a law against un-manned law enforcement and in attempt to sway public opinion, CEO Raymond Sellers (Michael Keaton), decides to merge man and machine. Enter Alex Murphy (Joel Kinnaman) who, after a car bomb nearly kills him, is sent to OmniCorp scientist Dr. Dennett Norton (Gary Oldman) and re-built into a lean, mean, crime fighting machine.
RoboCop grabs his gun and takes aim…at irrelevance. (image: screenrant.com)
Bucking the meager expectations, the central theme supporting the story is surprisingly sound. The idea of human choice versus mechanized efficiency runs through the movie, providing a bit more bite than one would expect from a late February release. There is also a heightened focus on the struggles of Murphy’s family (Abbie Cornish, Jackie Earle Haley). While completely unnecessary, it’s a solid attempt at developing the RoboCop character beyond the metal and visor. Kinnaman, along with the rest of the cast, is serviceably average with the exception of Gary Oldman who swings from wonderfully over the top to genuinely affectionate as only he can.
Unfortunately, best intentions can only get you so far. Execution is key and director Jose Padilha is clearly out of his depth. With its PG-13 upbringing, RoboCop spends much of the run time battling robot drones without any sense of tension or urgency. The fight scenes are a confusing mess of visor vision and frenetic quick cuts, making action tracking next to impossible. While this may be a by-product of modern filmmaking, I suspect it was done to mask the horrendous CGI work. While the robo-drones look decent enough, there are some shockingly bad effects. One scene in particular, where we get to see Murphy “disassembled”, is one of the worst effect jobs I’ve seen in quite some time. Mix it all in with a third act that literally disintegrates in front of your eyes, and you have an unsatisfying hodgepodge of poorly constructed ideas.
Note: I am now going to toss out my previous rule and directly compare this movie to the original. Sorry. I can’t help it!
The new attempt at RoboCop tries its best but comes up painfully short. It’s not an unwatchable movie by any stretch. The family work has some life to it, the performances aren’t awful and the plot has some unexpected substance to it. But it all adds up to why bother when stacked up against the exceptional original. Despite the horribly paced action, miserably hammered in fan service and muddy, overdone plot, it never had a chance, even if it was competently done. If the film was titled “CyberCop” or “RoboDude”, it wouldn’t be any better but at least the shadow of a classic wouldn’t be weighing it down. Better than expected but still weak, RoboCop works as a Saturday afternoon distraction but unless you’re 12 and can’t handle the excessive R rated violence of the original, there’s no reason to see the reboot.
Ready for my Rotten Tomatoes quip? “I’d buy that for a dollar…at the bargain bin of my local Walmart!”
Score: 5 out of 10
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