Category: Action

THE BOURNE LEGACY – The Review

The success of the original BOURNE trilogy meant the inevitable continuation of the franchise. This, despite what had seemed an end to the source material and Matt Damon’s exiting the franchise, would probe not enough to stop the Hollywood sequel machine. The directorial outcome from Doug Liman on THE BOURNE IDENTITY (2002) wound up with mixed reactions, primarily over the stylistically blurred and chaotic action sequences. This approach, however softened, was carried out through the following two sequels by director Paul Greengrass, both of which received relatively more favorable reactions.

THE BOURNE SUPREMACY (2004) and THE BOURNE ULTIMATUM (2007) round out the original trilogy of films, all of which star Matt Damon as the title character of Jason Bourne, a highly trained off-the-books operative, lost and searching to regain the truth of his own identity. Aside from the fast pacing and exhilarating action, the appeal of the original trilogy lies within the mystery, the journey we take with Jason Bourne as he seeks the truth of himself. As Bourne does not know where his journey will take him, nor does the audience know and must learn as we search and survive with the character.

This is the primary downfall of THE BOURNE LEGACY… there is no mystery. There is nothing to keep the audience guessing. THE BOURNE LEGACY is 2 hours and 15 minutes of chasing and talking. This is not to suggest it’s done poorly, but merely that what is done is light on plot and intrigue. Written and directed by Tony Gilroy, who also co-wrote all three of the original BOURNE screenplays, is no rookie to the story or the source material, but this fourth installment fails drastically to live up to its predecessors. With this said, I did not find myself bored or frustrated, but rather just terribly disappointed.

THE BOURNE LEGACY is essentially a race against time. Jeremy Renner plays another physically and mentally enhanced operative named Aaron Cross. Renner (THE HURT LOCKER) is most recently and widely recognized as Hawkeye from THE AVENGERS (2012). This fourth film takes place immediately following the events of THE BOURNE ULTIMATUM, in fact, the first act of THE BOURNE LEGACY actually overlaps with the third act of THE BOURNE ULTIMATUM. There is a brief tie-in of the Jason Bourne character, but we do not see a return of Matt Damon, except for his mug shot. Unlike the Jason Bourne character, Aaron Cross is fully aware of who he is and what he can do, but the procedure is significantly different. This plays into one half of the straight-forward plot that drives the movie forward.

In the original trilogy, Jason Bourne is said to have gone rogue as he hops from country to country, tracking down those in the program with answers as he survives one assassination attempt after another, led by the head honcho who wants him to disappear. In THE BOURNE LEGACY, this obstacle is revealed as Eric Byer, a retired colonel now responsible for keeping the Treadstone, Blackbriar and any other secretive black ops programs from going “sideways” and causing a catastrophic media storm. Byer, played by Edward Norton, is a world-class asshole with a one-track mind… to eliminate Jason Bourne, and now Aaron Cross. Norton is fabulous at portraying a head strong prick, as he proves again here.

Aaron Cross is on a mission of survival, not only from his would-be assassins, but to keep himself properly drugged on the program medicine, or “chems,” that keep him enhanced. As a necessity of this endeavor, Cross tracks down and drags Dr. Marta Shearing along for the ride. Shearing, played by Rachel Weisz, is a scientist in the top secret program and Cross hopes she can lead him to acquiring more of the all-important drugs. Weisz gives a commendable performance as an understandably neurotic and frantically frightened citizen, giving the film an extra little dimensional slice to make up slightly for the lacking plot. Jeremy Renner also hands in a quality performance, convincing us once again he at least looks like a total bad ass on screen.

THE BOURNE LEGACY is not a failure. That would be too harsh and inappropriate for a film that delivers well enough as a typical summer blockbuster action film. Unfortunately, this fourth installment gives us nothing new and lacks all of the elements that kept us on our seats in the first three films. If you choose to go see this film, you will likely be entertained by it’s popcorn movie value, but I would recommend not comparing it to the other films. Consider THE BOURNE LEGACY as you would any of Jason Statham’s TRANSPORTER films and you’ve got roughly the same entertainment value, but this film truly does nothing for the “legacy” of Jason Bourne.

Overall Rating: 3 out of 5 stars

TOTAL RECALL ( 2012 ) – The Review

Well Mr. Farrell, is this going to be an annual Summertime event ? I’m talking about his starring in big budget remakes. And not of films from Hollywood’s Golden Age. These are from the last 30 years or so ( I saw them in theatres in the original release, so thanks for making me feel even older Mr. F! ). Last year he was in the remake of 1985’s FRIGHT NIGHT taking on Chris Sarandon’s suburban vamp Jerry Brewster ( I prefer the original for Roddy McDowell and the lack of murky, dim 3D ). This time he’s got much bigger shoes to fill. Farrell’s got the Arnold Schwarzenegger role in the remake of TOTAL RECALL. The first version came out in 1990 inbetween the Austrian Oak’s comedies KINDERGARTEN COP and TWINS, well before he returned as our favorite cinema cyborg. This was also director Paul Verhoeven’s follow-up to ROBOCOP ( which is about to be rebooted soon ). Now Len Wiseman ( perhaps best known for starting the UNDERWORLD series ) is behind the reins. Can he replace our memories of a butt-kickin’ Sharon Stone and those misshapen Mars mutants with this new SF head trip?

It’s pretty much the same set-up as before. Doug Quaid ( Farrell ) is a working drone living in the “Colony”. Seems that in the far off future the only parts of Earth that are still inhabitable are England ( now the United Federation of Britain where all the swells reside in luxury ) and an island across the globe ( probably Australia ) called ” The Colony”. It’s not so nice. You could say that it’s Gotham City to UFB’s Metropolis ( for you comics fans ). Every morning Doug leaves his gorgeous wife Lori ( Kate Beckinsale ) and joins pal Harry ( Bookem Woodbine ) in a massive commuter tube ( called ” the Drop”, or ” the Fall”, or something ominous like that ) that shoots them through the Earth’s core to UFB where they work at a factory producing robots ( or “Synthoids ” ) used as military back-up. Seems a revolutionary group lead by Matthias ( Bill Nighy ), which is trying to liberate the colonists, is causing UFB leader Cohaagen ( Bryan Cranston ) no end of headaches. Speaking of the old noggin, Doug’s not been sleeping well because of some dreams where he’s fighting UFB forces alongside gorgeous warrior Melina ( Jessica Biel ). These visions along with some job fatigue inspire Doug to walk into the local “Rekall” shop ( despite Harry’s warnings ). ” Rekall ” plants new memories into your brain via a high-tech brain-chair. But something goes haywire and a switch is tripped inside Doug. Seems that everything he knows is a lie! ( Cue David Byrne, ” This is not my beautiful wife..” ). Can he get to the bottom of things and learn the truth about his past? And how does he fit into the big global battles? Just who is he and what side is he on?

So does this version work better in the era of CGI effects? Well, Farrell is more believable as a working stiff than Ah-nold. And Mr. F handles the action stuff very well. But, for wont of a better word, the 1990 model is a whole lot more fun. I mean gooey-cheesy fun! There are a few nods to the original, but I miss those over-the-top make-up effects from Rob Bottin and company. And the new version is repetitious almost to the point of boredom. It’s chase, leap, shoot, chase, exposition…., shoot, chase, explosion, leap, plot…., chase, etc. The film plays out more like a video game with dull dialogue between levels. And all the running and chasing. Makes you realize why Chuck Jones’s Road Runner cartoons are so great! They’re only seven minutes, not stretched-out over two hours! I wish I could at least praise the art direction, but the ” Colony ” is pure BLADE RUNNER meets Venice ( with the crowded neon-lit streets and constant rain ) and AFB is THE FIFTH ELEMENT with the massive, stacked skyscrapers and magnetic hover-cars ( a nod to STAR WARS EP. II there ). As for the actors, Beckinsale looks to be relishing a rare bad-girl role ( greatly expanded from Stone’s role in 1990 ). She’s a sexy future version of the unstoppable Bond hench…er…person. At least she’s having some fun!  Biel and Nighy are woefully underused as the rebels while Cranston is playing a more vicious balck-hatted villain version of the oily politico we saw a few weeks ago in ROCK OF AGES. The whole flick is exhausting and overdone. Not that the original is full of subtlety. After viewing this you may wish that you got your ” a** to Mars”, or to your local video store to see the original. I bet that talking chest-head thingy looks mighty fine on Blu!

Overall Rating: 2 Out of 5 Stars

THE DARK KNIGHT RISES – The Review

Whenever a fan-favorite franchise as popular, and with such history is undertaken by Hollywood, the primary question is always “Will it succeed, or will it get butchered?” The Batman property first took theatrical form in the capable, yet recently more volatile hands of Tim Burton, who delivered us two very stylized but still enjoyable versions of the Batman lore. I’ll refrain from commenting on the 3rd and 4th entries into the Batman filmography, which then brings us to the relatively young, but extraordinarily talented — perhaps even genius — vision of director Christopher Nolan. Now seven feature films into the DC Comics based franchise, the question must still remain on the fans’ tongues… “Does it work?”

In short, the answer is an emphatic, ecstatic yes, Yes, YES! Christopher Nolan has for some time now led us to believe this third installment of his Batman interpretation will be his last. Following BATMAN BEGINS and THE DARK KNIGHT, THE DARK KNIGHT RISES serves as a superbly well-rounded grand finale to the trilogy. Co-written with his brother Jonathan Nolan and the writer who really gets around, David S. Goyer, THE DARK KNIGHT RISES is highly effective at utilizing every last second of the 164 minute running time. The film picks up some time after the previous film. Harvey Dent is dead, but his legacy lives on through the Blackgate Prison, housing some 1000 of Gotham’s most dangerous and violent criminals, essentially rendering Gotham City nearly crime free. As we discover what the post-Joker Gotham City has become, we also discover that Batman has seemingly retired as Bruce Wayne is now a reclusive hermit with health problems.

On the surface, one would think Gotham City is turning around and all is safe, but we know better than this, do we not? Commissioner Jim Gordon (Gary Oldman) is the only man in Gotham still uneasy about the fate of his city, as the mayor and the rest of the police force have bought into the new peace, mocking Gordon in his skepticism. However, there is one cop who shares Gordon’s uneasiness and his name is John Blake (Joseph Gordon-Levitt). Gordon’s paranoia is not without reason, as THE DARK KNIGHT RISES is a slow burn mystery as the master plan in progress by this film’s villain gradually develops and unfolds like a fiendishly intricate piece of paper origami with a deadly surprise waiting at the center.

Enter Bane, to whom we are introduced at a very early stage in THE DARK KNIGHT RISES. We witness the transport of a mysterious criminal/terrorist by the CIA, a large man bound and blinded with a black hood loaded onto a plane. From the very beginning, something feels unavoidably tragic about this transaction. This scene spares no time in showcasing Bane (Tom Hardy) as a powerful, strong and intelligent enemy. Bane is a hulking, bald man who wears an ominous mask housing what appears to be a breathing apparatus of some sort. For those who are not familiar with the storyline from the comic books, this plays a significant role in the film, one which I will not spoil. You’re welcome.

Tom Hardy (WARRIOR) truly captures the essence of Bane, the comic book villain that has become known as Batman’s greatest foe, even over his age-old arch-nemesis The Joker. What truly stands out about Hardy, aside from the shear bulk he developed for the role, is that he portrays the character so well with a performance that is solely physical in nature. As Bane must wear the mask at all times, Hardy is unable to use his voice, and is limited with his facial gestures, forcing him to convey every nuance and emotion through his body. It’s quite remarkable to watch, but I feel a second viewing is necessary to truly appreciate this, as the film is so fully engrossing that it’s quite difficult to focus on any one single element during the initial viewing.

Months ago, a talking point hit the Internet about Bane’s voice. The issue revolved around the audience’s ability to easily understand Bane’s dialogue given that Hardy was forced to speak through the mask apparatus the entire film. This was arguably an issue, and in the end, the film does prove to have employed ADR — Automated Dialogue Replacement, or looping — which allows the filmmaker to go back after filming has completed and replace the existing dialogue with that of a different or better quality. This was a smart decision, as many viewers would have likely found themselves distracted by a struggle to hear the character and understand the story. On the other hand, I do have one… let’s call this a curious observation, as it’s not really a complain, but, I found that Bane sounds surprisingly like Sean Connery. There is no evidence that he provided the new dialogue, but it sure sounds similar and I found myself minimally distracted, but curiously entertained by this notion.

There are those who had their doubts about Anne Hathaway being cast in THE DARK KNIGHT RISES, but I was not amongst their ranks. I’ve held an appreciation bordering on respect for her talent for some time, so finding her cast as Selena Kyle — known in the DC Comics Universe as Catwoman — has my interest peaked. As it turns out, Hathaway (LOVE & OTHER DRUGS) delivers a low-key performance with the appropriate sarcastic humor and sharp wit without over-reaching in her role. With the help of a very well written character, Hathaway captures the physicality, sexiness and personality of Selena Kyle with astonishing accuracy, ranking her above Michelle Pfeiffer, in my book.

THE DARK KNIGHT RISES does an exceptional job at staying relatively true to the source material, an area in which I could spend endless and lengthy words, going into great detail elaborating and analyzing, but that wouldn’t do you — the reader — any justice whatsoever. IF you’re a reader of the comic books, little of the story itself will be of much surprise, but the film itself will be a highly rewarding experience to accompany your existing knowledge. For those unfamiliar with the comic books, SEE THE MOVIE FIRST! Why? This film is so well done, and serves as such a solid introduction, it will be best to delve into the comic books after seeing the film to fill in all the details and texture of the monumental Batman story arc.

Director Christopher Nolan continues to prove he is a force to be aware of in Hollywood, rapidly becoming the most powerful filmmaker in Tinsletown. To our great benefit, he has developed a strong, ongoing relationship with cinematographer Wally Pfister and composer Hans Zimmer. Thank God, because this has led to a trilogy of films that look and sound absolutely breathtaking. Batman demands the criminal’s attention, so it’s fitting that this trio of creative artists render the Batman lore as equally demanding of the viewer’s attention. Christian Bale continues to deliver as Bruce Wayne/Batman, still growling at the bad guys, but slightly less so as to water down the excess and becoming less of a distraction.

Viewers prepare yourselves. Get ready to rumble and relish in Batman’s action-packed swan song, or is it? I’ll say no more, but I will merely point out that this film has plenty of surprises, suspense, incredibly choreographed fights between Batman and Bane, and even some bad-ass, long-legged butt-kicking by Anne Hathaway. As usual, there are plenty of cool toys featured in the film, a couple of distinctly hilarious tongue-in-cheek moments, one of which is a humorous epiphany delivered by Batman himself. THE DARK KNIGHT RISES also delivers on the heart strings, featuring one specifically tear-inducing moment between Alfred (Michael Caine) and Bruce Wayne. Marion Cotillard rounds out the cast, playing fellow philanthropist Miranda Tate, along with return performances from Morgan Freeman as Lucius Fox and a cameo appearance from a previously featured villain.

While THE DARK KNIGHT RISES serves as the perfect finale for an incredible three chapter story, it also raises many questions for the audience, especially fans, while not leaving any significant loose ends. If your cinematic experience with THE DARK KNIGHT RISES is anything like mine, you’ll leave the theater energized, excited and fulfilled, while also desperately desiring more from the new master of “the caped crusader.” Personally, I feel privileged to have been exposed to Batman in such light, but also feel like the cinematic legacy of The Dark Knight has only just begun to tap it’s true potential.

Overall Rating: 4.5 out of 5 stars

THE AMAZING SPIDER-MAN – The Review

Here’s a big Summer release that’s generated a surprising amount of controversy. Usually the hot button films are released in the Fall or Winter to grab some buzz and capture a couple Oscar noms. But this popcorn flick has ignited heated debates among movie and comic book fans. The main question instigating message board dust-ups: Is it too soon to reboot the Spider-Man movie franchise? Well, it was eight years between BATMAN & ROBIN and BATMAN BEGINS. Four years passed between Brosnan’s last Bond, DIE ANOTHER DAY, and Craig’s first 007, CASINO ROYALE. Some fans think five years is way to soon for Spidey, but that’s the amount of time from Eric Bana as THE HULK to Edward Norton as THE INCREDIBLE HULK ( which is the version of the green guy that’s stealing scenes in MARVEL’S THE AVENGERS ). Director of the Spider-Man trilogy, Sam Raimi, took a pass on doing a fourth ( he, like most fans, found SPIDER-MAN 3 more than a bit lacking , so he didn’t want to rush a script ). With Raimi out, stars Tobey Maguire and Kirsten Dunst took a pass. So for Sony Pictures it was ” Spider-Man Begin Again” ( almost the title of this new film ). Now the debate is moot. Director Marc Webb’s ( no kiddin’ with the last name! He also made 500 DAYS OF SUMMER ) THE AMAZING SPIDER-MAN swings into theatres just in time for the big July Fourth holiday. Yup, the flick’s a done deal. The only thing to discuss now is this particular film’s merits. Does it stand ( or wall-crawl ) on its own?

Right off the bat ( no, his flick comes out July 20! ) we see Peter Parker in a new light. Actually he’s a young lad of eight when the film starts and he’s whisked away by his parents, Richard and Mary ( Campbell Scott and Embeth Davidtz ) to the home of his Uncle Ben ( Martin Sheen ) and Aunt May ( Sally Field ). Cut to Midtown high schooler Peter ( Andrew Garfield ), a science prodigy raised by Ben and May. Cleaning out the basement, he finds Richard’s old briefcase. Seems that Dad worked as a research scientist at the megalithic Oscorp company alongside Dr. Curt Conners ( Rhys Ifans ). Pete bluffs himself into an intern group at he company, but he’s almost given away by the group’s intern tour guide, Midtown’s other whiz-kid Gwen Stacy ( Emma Stone ). He wanders away from the group, speaks with Conners, and suffers an injury in one of the research rooms. Said injury has a profound effect on Peter who discovers that he has amazing powers. When tragedy strikes he uses these enhanced abilities ( along with a home-made suit and mask to hide his identity ) to fight evil as Spider-Man. Visiting the home of Conners, Peter innocently helps him unlock the key to accessing animal DNA ( the doc hopes to regenerate his lost arm like a reptile ). When the Oscorp higher-ups threaten to try his formula at a veteran’s hospital ( they’ve gotta’ make sure it works before the serum is given to their dying boss, the mysterious Norman Osborn ), Conners decides to be the test subject. Meanwhile major stuff’s happening to Pete aside from his crime-fighting gig. He begins a tentative romance with Gwen that’s complicated when he learns that her father is a police captain ( Denis Leary ) determined to arrest a certain wall-crawling vigilante. Soon all their lives converge when NYC is threatened with annihilation.

Another bit of controversy swirling about the film is the origin story and, yes, as I hinted previously, we get the origin story once more. Sure it’s been 10 years since the first Raimi film told it masterfully, but I believe it was needed for the start of this new franchise ( we’ll have to see if audiences respond positively to this flick, or it’ll be rebooted once more ), and it’s not a note for note rehash. Comic book purists may cry foul at the liberties taken with that classic tale from Amazing Fantasy #15, but it makes harder connections to the events portrayed in this new film. Peter’s destiny has a tighter link to his parents and to the shady deals at Oscorp. Hopefully this chain of events will provide an interesting conspiracy in follow-ups. This also keys into the darker aspect of the new film. Spidey is almost always operating during the night hours ( like that guy from Gotham City ). Danger lurks at every shadow, not only from criminals but from the law. While in the original trilogy the police gave the web-head a wink and a pass, here all officers are determined to bring him down by any means. This Big Apple isn’t the bright shiny place we’ve seen our hero bouncing from place to place before.

Another big beef is the film’s villain. Frankly I was pleased that the producers went with a single bad guy, even though Spidey has perhaps the best rouges gallery in comicdom ( sure the Joker’s the greatest comic book criminal ever, but after Catwoman, Clayface,  and Two-Face the other Gothamites are kinda’ silly ). This was one of the main problems with the dismal SPIDER-NAN 3 which paired the Sandman and Venom ( this may harken back to the paired bad guys in BATMAN RETURNS ). Several comic fans don’t like the look of the Lizard. They may be more accustomed to the large snout that artist Todd MacFarlane drew, but this design is closer to that original Steve Ditko look. Also the film version is bulked up…considerably, almost to the point of being a scaly Hulk. Several times he grabs Spidey and flings him about like a rag doll. The Lizard’s a formidable foe, but the human element is what makes him tick. Like screen villains the Green Goblin and Dr. Octopus, Conners wishes to benefit humanity, and he’s got a personal connection to Peter ( the connection to the Sandman seemed incredibly forced in 3 ). After their first couple of encounters Peter and Connors respect each other, so Peter struggles to stop the monster without killing the man inside. Ifans does a great variation of the classic Jekyll and Hyde character as a decent man forced to make a very bad decision. Although his face is surrounded by CGI scales ( I’ll bet a motion-capture suit was used ), Ifans brings a great deal of humanity to this ‘ beastie’.

Ifans is not the lone stand-out in this terrific supporting cast. Leary treads a fine line between being a committed law-enforcement officer and a sentimental father. His comic timing is put to great use in the Captain’s run-in with Pete ( particularly at a tense family dinner ). This blustery demeanor provides many welcome laughs and makes the character’s change of heart more poignant. Speaking of heart, Sheen and Fields have tons to spare as Peter’s adoptive parents. They’re a bit younger than Robertson and Harris from the Raimi films ( this helps with the opening sequence ), but have just as much warmth as the previous actors. Sheen even gives Pete a big ole’ dose of tough love that’s tempered with his considerable screen charm. Fields’s role is not as showy, but she really conveys the caring mother role when stunned by all the cuts and bruises adorning Pete’s face when he returns home after his night patrols. Now this is a couple that would raise a hero, super-powers or not.

Speaking of heroes, the movie soars or plummets based on the fella’ in the title role. And his love interest, to a great extent. Garfield’s Parker is very different from the previous screen incarnation. Before the bite, this Pete’s a bit of a rebel ( skateboarding in the school hallways! ) and pro-active. He even steps in to stop a bully ( and gets his skinny posterior handed to him ). This is a darker, conflicted Parker ( we can still see that sad-eyed child watching his folks dash into that rainy night ). After getting on the radar with terrific work in THE SOCIAL NETWORK, this is the film that will establish Garfield as a great movie star. While Maguire was a terrific nerdy Peter Parker from those early comics, Garfield is that wiseacre with a mask ( quick with a quip and an uppercut ) that we’ve loved all these years. And when he’s on the ground, there’s a very special lady ( played by a very special actress ) that makes his spirit soar. Stone can now add super-hero action flick to the list of film genres that she’s conquered. Her Gwen is smart ( pretty much Pete’s intellectual equal ), fiesty, funny, and so adorable in those outfits inspired by John Romita’s comic art designs. While Dunst’s Mary Jane wasn’t much interested in the pre-powers Pete, Gwen falls for that photo-takin’, science geek almost immediately ( or at least soon after that bullying incident ). Bryce Dallas Howard was brought into that murky SPIDER-MAN 3 as a younger threat to MJ, but in the comics Gwen was Pete’s first, pure true love. Garfield and Stone truly sizzle on screen ( Stone really inspires her co-stars to bring their A game), so it’s no big shock that they’re dating off set. The gamble to put the director of  500 DAYS OF SUMMER really paid off. Turns out Webb can do the big action stuff, but he truly excels at presenting the exhilaration of first love. The battles are great ( still can’t top the fights with Doc Ock in SPIDER-MAN 2 though ), but the romance is what makes this a superior Summer cinema spectacle ( pardon the Stan Lee-isms! )

So, is it worth seeing in 3D? Well it was shot in the format, so the swinging stuff works well along with the over-the-skyscapers shots. A big complaint from the first Spidey flick was that he bounced around like a video game character. Instead of relying too much on CGI, Webb tried to work more with stunt people to do the web-swinging live whenever possible. I’ve only a few problems with this re-telling. It seems the writers really went out of their way to present scenes where Spidey takes his mask off ( this was a sore point in Raimi’s trio ). I know it helps the audience connect with the actor ( his expressions aren’t hidden ), but it’s strange to see the character so often exposed. This does work well for a scene when a child his rescued by our hero. Now, about that outfit, the film-makers have taken that great Ditko design ( which Raimi adhered to pretty closely ) and made it way-too busy and intricate. Guess I’m too much of a purist, but I hate seeing blue on the fingers of the gloves! AArgrrr ( as they say in the funny books )! Do like how the mechanical wrist web-shooters ( no organic spinnerets! ) work with the suit. Oh, and the film could use a good 5 minute trim ( but wait for the mid-end credit bonus scene ). Aww, no more nit-pickin’! Like last Summer’s X MEN : FIRST CLASS, THE AMAZING SPIDER-MAN takes a comic book property that we all thought had exhausted its movie possibilities and returned it to cinematic glory. It doesn’t surpass MARVEL’S THE AVENGERS for super-hero movie spectacle, but it’s miles above SPIDER-MAN 3. THE AMAZING SPIDER-MAN proves that  there’s still plenty of life ( and love ) left in that 50-year-old web-slingin’ wise guy. Really amazing, indeed!

Overall Rating: 4 Out of 5 Stars

ABRAHAM LINCOLN : VAMPIRE HUNTER – The Review

In 2009 Seth Grahame-Smith had an idea for a literary and pop culture mash-up. Kind of like a prose version of the classic Reese’s Peanut Butter Cup commercials ( ” You got chocolate in my peanut butter! ” You got peanut butter in my chocolate!” ). The result was the best seller ” Pride and Prejudice and Zombies” ( ” You got flesh-eaters in my Jane Austen!” ). Soon other authors followed with ” Sense and Sensibility and Sea Monsters “. But Grahame-Smith, for his next novel,  embarked on another concoction: horror icons and historical figures. It would be revealed that a beloved former president shared more than a first name with Dr.Van Helsing, the nemesis of Count Dracula. Like the good doctor ( and cheerleader Buffy Summers ), honest Abe Lincoln was a vampire hunter. Soon fantasy film maven Tim Burton’s production company snapped up the movie rights and now ABRAHAM LINCOLN : VAMPIRE HUNTER has arrived in theatres everywhere. Will movie audiences embrace this genre mash-up as much as bibliophiles have?

In the film’s opening moments, we see President Lincoln  putting pen to paper in his secret journal. He recounts his days as a poor son of a farmer who witnesses his mother’s demise at the hands of vampire Jack Barts ( Marton Csokas ). Many years later teenage Abe ( Benjamin Walker )  is nearly killed tracking down Barts. Luckily the lad is rescued by Henry Sturgess ( Dominic Cooper ), who tells of a vast vampire network headed by the mysterious Adam ( Rufus Sewell ) . The two strike a deal. Henry will train Abe to destroy vamps, if Abe only eliminates the monsters that Henry singles out via letters to Abe once he re-locates in that hub of the evil  undead, Springfield, Illinois. Arriving there, Abe gets a job at the general store of Joshua Speed ( Jimmi Simpson ), re-unites with a childhood friend the free-born son of slaves Will Johnson ( Anthony Mackie ), and meets future wife Mary Todd ( Mary Elizabeth Winstead ). Soon the missives from Henry are delivered and Abe must tear himself away from the law books and shopkeeping to rid the town of the vampire scourge. Word reaches Adam who must stop the rail-splitter from not only destroying his undead brethren, but from achieving political office and ending slavery ( seems they’re a steady source of blood ). As the country heads into the Civil War, Abe must take up his old skills in order to prevent Adam and his vampire forces from make the Confederacy victorious.

Sounds a bit silly? Well a lot of it does play like a stretched-out late night comedy skit minus much of the humor. No winking at the camera here, which helps the shock aspect of the first few vamp attacks. The bloodsuckers are all teeth when in feeding mode and adhere to several of the classical rules. Sunshine is not too much of a problem ( none of them pretty sparkly vamps, though ), thanks to special sunglasses and heavy-duty sunblock salve. They’re fast, strong, and can become invisible ( no evidence of animal transformation ). Director Timur Bekmambetov, in his first big English feature since 2008’s WANTED, tries to inject some energy into the quiet conversations and true incidents, but really seems to be chomping at the bit to tear into the big action set pieces. Abe and the baddies leap, spin, and kick ala’ the Matrix  and other ‘ wire-fu’ flicks. A battle during a horse stampede quickly becomes a CGI cartoon, as does a gravity defying ( or ignoring ) fight atop a crashing locomotive. The main characters are mere bouncing video game stars by the film’s long-in-coming finale. Walker, looking like a baby-faced Liam Neeson, never is allowed past history icon status. He’s just a fellow who wears tall hats and uses his axe very well ( the film skirts into ‘ steam punk’ territory with some of the weaponry and gadgets ). Cooper is merely the tough mentor ( think a playboy Ben Kenobi ), who’s hiding a big secret. Sewel is good as a dead-eyed, snarling mastermind with his emotions always in check. Mackie’s mostly Watson to Walker’s Holmes and never really gets a chance to shine. And there’s little passion between Walker and Winstead during the courtship of Abe and Mary. She’s regulated to the background until an embarrassing scene where she pounds on Abe’s chest after a tragedy occurs. Historical figures are name checked ( ” I’m Stephen Douglas! ” Thank you. Miss Tubman” ) as are Civil War battles and events ( Fort Sumter! Gettysburg! ), but the scenes seem to be pulled out of a middle school social studies book. What could have been a funny, spooky romp of a popcorn fantasy flick is instead an overwrought, clunky, noisy endurance test for the audience.

Overall Rating: 2.5 Out of 5 Stars

 

 

MEN IN BLACK 3 – The Review

Can it really be ten years since the Men in Black stormed the cineplex? Yup, it’s a darn shame they couldn’t use their neuralizers ( or as J first called them, “flashy things ” ) to erase our memories of that dismal 2002 sequel MEN IN BLACK 2. Hopefully the film makers have used the time to determine what went wrong and how to make a third film that can recapture the fun of the first. Speaking of time, we’ve not seen Will Smith in a film since 2008’s SEVEN POUNDS. Can he re-establish the Summer as ” Big Willie Time”? To find out let’s get that dark suit out of the closet, grab a pair of shades ( and 3D glasses), and take one strange trip in MEN IN BLACK 3.

As this installment begins, we’re witness to the break out of an alien criminal named Boris ” The Animal ‘ ( Jemaine Clement )  from a max, I mean really max, security facility. Cut to old partners Agents J ( Smith ) and K ( Tommy Lee Jones ) investigating a crashed spacecraft on the streets of New York City. Later on, the always stoic K delivers a eulogy for their departed boss Z at MIB HQ as we’re introduced to their new supervisor Agent O ( Emma Thompson ). That evening our heroes raid an Asian restaurant where K makes a discovery that sends him into a melancholy funk. The tight-lipped vet refuses to share this link to the past with his partner, so J hits the research files back at the base. Later that night J and K share an odd phone conversation. The next morning J heads to his partner’s apartment and is shocked to discover a family living there with no knowledge of K. And what’s with J’s craving for chocolate milk? Returning to HQ, his fellow agents are confused by his inquiries about K, because, as O informs him, K was killed on a mission over forty years ago! Oh, and Earth’s being invaded by spaceships from a distant world. Aha! Boris made the leap back in time and eliminated K via a secret device! J’s got no choice but to use said device and travel to 1969 in order to save K ( and the world ). Back in that groovy year J and a much younger K ( Josh Brolin ) embark on mission that will take them to Coney Island, Shea Stadium. Andy Warhol’s Factory, and , eventually,  the launch of Apollo 11 at  Florida’s Cape Canaveral in order to stop Boris’s fiendish plot.

First off, this is a huge improvement over the second film, but that may be damning with faint praise. Director Barry Sonnenfeld keeps things moving quickly in the first act and makes great use of 3D ( the prison break is a fantastic sequence ). Besides Mr. S several other members of the old team are back. Danny Elfman provides some great new riffs to his original pounding score. It’s wonderful seeing the skilled artistry of make-up effects master Rick Baker once again. In the modern bookend scenes most of the creatures are rendered using some pretty great CGI ( including that gang of wise-cracking, antennae-wiggling bugs ). Once we’re in the sixties, the aliens are similar to the pop-culture BEMs ( Bug  Eyed Monsters ) seen in TV shows like ” The Outer Limits” and ” Lost in Space “. Perhaps another Oscar nom for Mr. B ? Kudos also to the art directors for giving the past scenes a candy-colored glow. There are lots of great looking period fashions and classic vehicles. Of course the agents back then had their own cool futuristic gizmos, but here they too have a clunky, retro vibe. As for the actors, Smith carries the film on his broad shoulders and considerable screen charms. He convincingly stumbles and stammers as he is the ” fish out of water ” in this weird time. Carrying him through is his affection for his co-worker. Speaking of which Jones is his old, reliable cranky self as the veteran agent. The curmudgeon does show his feelings a bit as he begins to re-live his past regrets. The best surprise in the film is the inspired casting and performance of Brolin as the 1969 model  K. He’s a smoother, squinting version of Jones ( he’s got that Southern drawl down pat! ), who’s not quite the old ” stone face “. He even smiles at J a couple of times. Thompson’s a great addition as the button-down all business O, who’s very fluent in Venusian! The lovely Alice Eve plays her 60’s self in a couple of too brief scenes. Speaking of brief, Bill Hader of TV’s ” Saturday Night Live ” scores big laughs as an agent deep, deep under cover. Clement is both scary and funny as both versions of Boris ( augmented with some seriously gross CGI effects ). The only problem with the film is a somewhat soft second act involving an alien named Griffin played by Michael Stuhlbarg from A SERIOUS MAN. He can see several alternate futures at once, but can’t really interfere or prevent events. He reminded me of a shorter, schlubby version of “The Watcher” character from Marvel Comics. His ramblings become muddled and confusing after a few screen moments ( wonder if the role was written with Sonnenfeld’s RV star Robin Williams in mind ). But , despite this detour, the new adventure is a worthy follow-up to the 1997 original and with sprightly work by Brolin, MEN IN BLACK 3 is a fun, pleasant ride through the galaxy and the decades. Now allow me to direct your attention to this small silver device….

Overall rating: 3.5 Out of 5 Stars

BATTLESHIP – The Review

Hasbro may have naming and branding rights to the film, but don’t let the “source material” fool you. BATTLESHIP is an action-packed, fun-filled piece of pure popcorn entertainment that deserves a spot amongst the best of it’s kind. The board game-inspired film is directed by Peter Berg (THE KINGDOM, VERY BAD THINGS) who has given the film it’s greatest strength… a knowledgeable and talented commander at the helm of this summertime blockbuster.

Taylor Kitsch (JOHN CARTER, FRIDAY NIGHT LIGHTS) stars as Lt. Alex Hopper, a smart yet unfocused and discipline-challenged Navy officer. Alex has no direction in life and nothing but trouble in his future, so his big brother Commander Stone Hopper, played by Alexander Skarsgard (STRAW DOGS, TRUE BLOOD) recruits Alex by way of an ultimatum in an attempt to help turn his life around. Brooklyn Decker (JUST GO WITH IT) plays Alex’s girlfriend Sam, who also happens to be the daughter of Admiral Shane, played by Liam Neeson (THE GREY, TAKEN).

With the back story planted in the backs of our minds, the core of BATTLESHIP begins as humanity is caught off guard when a message sent into deep space is answered by a visit from an alien race far from being your childhood E.T. It becomes quickly apparent that these invaders are far more advanced in every way than we mere, puny humans, but like so many times before in the motion pictures, we humans strike back and fight to survive, proving we can overcome any obstacle thrown at us, regardless of how overwhelming the opposing force may be.

BATTLESHIP does not set itself up as a film with some stellar, intricately designed plot. It truly does wear it’s heart on its sleeve, stating with bold bravado that it intends to satisfy your primal desire for action, big guns and explosions… lots and lots of explosions. The difference being that BATTLEFIELD does this with such technical confidence combined with a script written specifically to show off how cool the film will look and feel. Despite a cast filled with several stars, the real star of the film is the visceral, bone-rattling experience of the characters they play.

In so many ways a happy melding of INDEPENDENCE DAY (1996) and PEARL HARBOR (2001), Peter Berg’s BATTLEFIELD overcomes my initial skepticism and surpasses my expectations of another Michael Bay style showcase of explosions with weak writing and exaggerated plots. Sure, it may sound like I’m splitting hairs, but Berg manages to bring together the massive special effects, the non-stop action, the patriotism, the kinetic visual style, the somewhat hokey love story, and the thin plot in a way that encourages pleasurable suspension of disbelief.

BATTLESHIP features strangely simple lizard-like humanoid aliens in Halo-esque armor. The only design element of the aliens I found slightly off-putting are the weird quadruple-thumb claw-like hands. These seem a flawed choice for a race of being so technically advanced, more interested in orchestrating a full-scale invasion than with taking an immediately aggressive approach. Initially, this has the human military confused as they struggle to understand and defeat the aliens’ superior weapons and defensive technology. Cut off from the rest of the Naval fleet by a giant force field dome, Alex Hopper and his Destroyer crew must find a way not only to survive, but to save humanity.

The alien ships are vaguely Transformer-like, but its more accurate to think of them along the lines of the classic ’80s cartoon M.A.S.K, whereas the alien ships reconfigure themselves into a sort of “battle mode” when the need arises. The alien arsenal is different enough to satisfy the science-fiction fans without being absurdly over-the-top and unrealistic. On the other hand, the over-sized fireball-fueled circular saws of death that the aliens unleash on Hong Kong were pushing the boundaries of being absurd, but with an audience now well-accustomed to TRANSFORMERS films, I doubt it will be an issue.

Did I mention there are a lot of explosions? Good. The audience is likely to cheer loudest during the all-out battle scenes, as they did when I saw the film and with good reason. BATTLEFIELD draws on that video game culture of craving glorified violence and I couldn’t have been more happy to comply. Overall, the acting was average, but this isn’t the kind of film you see hoping for an Oscar-worthy performance. Liam Neeson is a great actor, but he and Alexander Skarsgard as well have far less screen time than Taylor Kitsch, accompanied by his crew including Petty Officer Raikes, played by hip hop star Rihanna, making her acting debut. Surprisingly, she does all right as the Vasquez-like [ALIENS] woman who controls the “big guns” of Hopper’s Destroyer ship.

BATTLESHIP is more than just a board game turned into a movie, which I’m sure is what most people think it will be. With that said, its still a film that’s all show and little substance in as satisfying a way as that can be. The ultimate question on so many of your minds is most likely “how can they make the Battleship game into a movie?” Here’s my answer to you… they have not turned the board game into a movie, but rather made a cool movie that shares the name of the game. Without giving anything away, there is one scene — a very crucial scene — whereas the board game’s general method of play is cleverly and indirectly referenced. Audiences should be able to pick up on this scene — for those who have played the game — smile at the reference and then continue to enjoy the film unencumbered by any actors yelling the line “You sunk my battleship!”

Overall Ratting: 3.5 out of 5 stars

Tribeca 2012 Review: DEADFALL

DEADFALL is bound to get comparisons to FARGO. With a few minor script tweaks and slightly different accents, this could have been passed off as a direct to DVD sequel. It is not that there are any similar characters or storylines but more so in the look and feel of the film. Had this been FARGO 2, I’d call it a worthy successor although I’m sure others will want my head on a platter (or my body in a woodchipper) for saying that. Prior to seeing the film, I heard some strongly negative feedback and was even told to avoid it completely by someone who attended an earlier press screening. Since then I’ve noticed a slew of negative reviews calling it an absolute mess and much worse. Honestly, I don’t know why everyone is ranking on this film so much because I loved the hell out of it.

DEADFALL opens with a car crash. Addison (Eric Bana) and his sister Liza (Olivia Wilde) make it out alive but their driver is not so lucky. Addison kills the first cop on the scene while Liza stuffs a bag full of the scattered money they just stole from a casino. They decide to split up as they each attempt to make it across the border. Addison ends up killing his way through the woods and Liza uses her looks to secure a ride with Jay (Charlie Hunnum) to his family’s cabin near the border. It is Thanksgiving and he is going to see his mom (Sissy Spacek) and dad (Kris Kristofferson) despite their strained relationship. Problem is Jay just got out of prison and may have accidentally killed a former business partner who refused to give him the money he owes. Addison faces some obstacle himself with the police after him investigating the murder of the trooper he killed. Despite the wishes of her father / police chief  (Treat Williams), among the search party is the very capable Hanna (Kate Mara) who just so happens to be old friends with Jay and his family.

Believe it or not, there are even more side stories and important characters that I’ve chosen to excise for time. Yes, the film is convoluted. Yes, it has moments of needless complications and mass coincidence. Yes, it can be a bit campy and has heavy-handed moments that feel a bit forced. Yes, the fairly incestuous relationship between Addison and Liza is a bit weird. Yes, the insanely sexist attitudes within Hana’s police department feel horribly outdated. Yes, I’m starting to see why some people didn’t like this film after typing all that.

But none of that really matters because DEADFALL is damn fun. And the single biggest aspect that will suck you in and keep you watching no matter how ridiculous things get is Eric Bana. If this film came out before KNOCKED UP, this would be the movie they were all toasting to in the nightclub. Eric Bana’s performance is brilliantly twisted and wildly unhinged without ever going too far over the top. Addison is a badass who does some truly awful things with a wink and a smile. The film has plenty of other great things going for it like some wonderful visuals, thrilling action set pieces, the beautiful Kate Mara, and unnecessary Olivia Wilde nudity. But the only real reason you need is ERIC F***ING BANA!

Jerry Cavallaro – @GetStuck – JerryCavallaro.com

MARVEL’S THE AVENGERS – The Review

” I’d like to speak with you about the Avengers Initiative “. Can it really be four years ago that SHIELD director Nicholas Fury ( Samuel L Jackson ) spoke those fateful words to a surprised Tony Stark ( Robert Downey, Jr. ) at the end ( the very tail end, after the final credits ) of IRON MAN ? Marvel fans around the globe were ecstatic. The fabled comic book company was now in the film business ( other characters were licensed to other studios )  and Jon Favreau’s rollicking action hit was the first in their partnership with Paramount. With this bit of dialogue, were they announcing their intentions to team up some of their greatest heroes in one massive movie event? Fans were teased again later that Summer when Stark strode into the bar where General ” Thunderbolt ” Ross was drowning his sorrows at the end of THE INCREDIBLE HULK. Expectations rose two years later with IRON MAN 2 which ended with SHIELD agents in the desert surrounding a huge hammer protruding from the earth. The next Summer saw more Marvel superstars headline their own feature films: THOR and two months later, CAPTAIN AMERICA : THE FIRST AVENGER. The principals are all introduced, and now, finally, it’s time for Earth’s mightiest heroes to gather with a hearty ” Avengers assemble! ” Hold on to your popcorn!

Before we settled into our cushy theatre seats let’s take a look back at the comic book roots of this team. Legend has it that, in the early 1960’s,  Atlas ( Marvel’s precursor ) publisher Martin Goodman was on the golf green with the head of his publishing competitor National Periodicals ( now DC Comics ). Martin supposedly overheard the man bragging about the big sales on his new book ” The Justice League of America”, about the adventures of a team of their biggest heroes including The Flash and Green Lantern. He made a mental note and instructed his comics editor Stan Lee to come up with a group of super-heroes. Ah, but it was not the start of the Avengers yet! Stan came up with the Fantastic Four along with artist extraordinaire Jack Kirby and so began Marvel Comics. Over the next few years several more characters were added to Marvel’s roster and Stan was finally ready to do his take on the Justice League. In the first issue of the Avengers back in 1963, Iron Man, the Hulk, Thor, Ant Man, and the Wasp joined forces to stop a plot by Thor’s treacherous sibling Loki. Gathering at Tony Stark’s NYC mansion, the group announced their ‘tentative” partnership ( that Hulk was a wild card! ). Sure enough, two issues later, ole’ Greenskin has joined forces with Prince Namor, the Sub-Mariner to take on his former team mates. Traveling back home via submarine after the battle, the heroes spot a frozen figure of a man floating at sea in the landmark fourth issue adventure ”  Captain America Joins the Avengers “. Cap became an important Avenger and with issue 16 he was the group’s leader. In ” The Old Order Changeth”, Stan had decided to replace the other members because it was too difficult to co-ordinate their solo stories with the group’s exploits ( Cap’s solo stories in Tales of Suspense were set in World War II ). Bucking tradition, the new Avengers were former villains : Quicksilver and the Scarlet Witch from the X-Men stories along with Iron Man nemesis Hawkeye. Since then heroes have joined and taken leave as the book continues to be one of Marvel’s best sellers. So much so, that when the company decided to create the Ultimate line with younger versions of their established titles, The Avengers were revamped for this alternative universe. Here the team was formed by the head of the secret hi-tech spy agency SHIELD, Nick Fury to battle an alien invasion.

For the new film, elements of both versions of the team are combined. Several theatres are holding Marvel marathons prior to the premiere in order to get fans up to speed. Without revealing too much I’ll try to do the same without 12 hours straight at the multiplex. as the epic begins, Thor’s evil half-brother Loki ( Tom Hiddleston ), who survived the collapse of the Rainbow Bridge at the conclusion of THOR, is conspiring with the inhabitants of a dark, desolate planet ( and, as the film makers have strongly stated previously, these are not the Kree and Skrull races from the Marvel Comics universe ). Loki believes he’s found a way to transport to Earth and open a portal for the aliens’ invading army. Back on planet Earth, Nicholas Fury, aided by Agents Maria Hill ( Cobie Smulders ) ,vet of three Marvel movies Phil Coulson ( Clark Gregg ), and Clint Barton AKA Hawkeye ( Jeremy Renner, who had a brief cameo in THOR ), is overseeing research headed by Professor Selvig ( Stellan Skarsgard, also from THOR ) on the mysterious white-glowering cube called the Tesseract ( a powerful Asgardian power source retrieved from the ocean’s floor by Tony Stark’s father in CAPTAIN AMERICA : THE FIRST AVENGER ). Chaos erupts at the SHIELD facility as the cube opens a window that unleashes Loki. As the demigod escapes with the cube, the professor, and several entranced agents, Fury decides to enact the Avengers Initiative. Assembling the team is not an easy task. Coulson calls on Tony Stark as he’s setting up house with Pepper Potts ( Gwyneth Paltrow ) at the brand spanking new NYC headquarters of Stark Industries. Natasha Romanoff AKA the Black Widow ( Scarlett Johannson ) is pulled off her current mission in order to track down and retrieve Dr. Bruce Banner ( Mark Ruffalo ). Seems the Tesseract gives off a Gamma radiation signature and , uh…SHIELD may have need for Banner’s furious green alter-ego. Fury himself reaches out to Steve Rogers AKA Captain America, who’s not been eager to enter the modern world after nearly 70 years in icy suspended animation. Together the heroes, soon joined by the mighty Thor ( Chris Hemsworth ), have to overcome their differences ( and strong personalities ) and work as a team in order to track down the cube and prevent Loki and his alien forces from enslaving humanity. No time for a group orientation reception with these super-folks!

For a film so stock full of big characters ( and some who’ve starred in solo flicks ), it’s astounding that the actors still get individual moments to shine. The biggest gun ( with two features under his metal belt ) is Downey who’s still full of surprises as Stark. Of course we get the snarky attitude and tossed-off one-liners ( he’s got great nick names for his team mates ), but we get some more of his romantic side that we saw in the first Iron Man flick. He’s got a terrific rapport with Paltrow ( almost like a Tracy and Hepburn or Loy and Powell from the Thin Man movie series). Their playful banter is always a welcome bonus in this action extravaganzas; We also see Stark’s bravery and determination when they suffer a personal loss. Hemsworth acts the role of the thunder-god with great energy and bravado. He’s happy to get to know these Earth dwellers once more. Evans as Cap is not the morose warrior still battling WWII that the comics portrayed in many of those early stories. Cap embraces these new wonders and quickly takes command on the battlefield just as he did int he 1940’s. He even gets to crack a few jokes! New to the role of Bruce Banner after Eric Bana in Ang Leee’s HULK ( not officially part of the Marvel movie-verse ) and Ed Norton in THE INCREDIBLE HULK , Ruffalo combines elements of the two actors along with Bill Bixby’s David Banner from the TV series. He’s strong, quiet, sensitive, and intelligent while keeping a tight lid on his emotions. I like that the Hulk is a separate person in his mind ( ” the other guy ‘ ). As for that guy, the effects people have done a terrific job on him. He’s a good cross of the Bana ” Shrek on steroids ” and the ” vein-y”, tiny- torsoed Norton Hulk. When ole’ ” Jade-Jaws ” finally enters the film at midway point, he almost steals every scene.  Back at HQ, the team’s guided by Jackson’s Fury. He’s a strong fighter with a lot of weight on his shoulders. Not only must he unite the team and kept track of Loki, he must answer to his mysterious bosses ( the real powers behind SHIELD ). The wiley Fury’s not above massaging the truth in order to placate his superiors and inspire his forces. As for his main agents, Gregg is once again a delight as the efficient Coulson. In a very funny bit of business, he’s almost sidetracked by his ” man-crush ” on Rogers ( he’s got a mint set of Captain America trading cards! ). Renner’s Hawkeye is more of an enigma. He’s SHIELD’s expert sniper and exhibits that loner mentality as he observes the cube experiments from a distance, hidden in the shadows. Until he joins the Avengers, the only other agent he connects with is the Black Widow. Johansson was first introduced in the role in IRON MAN 2 and this is her best screen work in quite a while. Thanks to the film’s talented screenwriter/ director we get some insight as to how she got her deadly code name. She’s no damsel in distress, but an expert interrogator along with her considerable fighting skills. Skills needed in bringing down Loki. Hiddleston expands on the deceitful, cunning villain from THOR. He relishes the idea of being worshipped by conquered earth people and will not hesitate snuffing out dessenters. Loki’s unabashedly, gleefully evil. As far as comic book movie bad guys he doesn’t reach the stellar heights of Heath Ledger’s amazing Joker, but he’s a more than worthy adversary for this movie ” dream team “.

When talking earlier about the Black Widow I alluded to the film’s talented co-screenwriter/ director. The greatest triumph of the film may be the emergence of a new, film power player: Joss Whedon. Of course we fans of the Whedonverse ( referring to his TV shows ” Buffy the Vampire Slayer “, its spinoff ” Angel “, ” Dollhouse”, ” Firefly” and the feature film sequel SERENITY, the internet sensation ” Dr. Horrible’s Sing-a-Long Blog “, many comic books and a co-writing credit on the recent CABIN IN THE WOODS ) have been singing his praises for years, since he was a major ” script doctor ” on films like TWISTER and an Oscar nominee for co-writer on the original TOY STORY. He’s done an amazing job juggling all these characters and never letting the big action set pieces overwhelm the actors. So, of course, Buffy’s Dad would help us really get inside the Widow’s head. As for those set pieces…they’re pretty fantastic. Unlike many big action-fests, you can always understand what’s going on.  The editing flows. This really helps when Cap’s taking on the alien army on ground level. Whedon also upholds a a great tradition from the comic source material that really spotlights the contrast between Marvel and DC comics. When two DC heroes meet it’s, ” What brings you to Central City, Green Lantern? ” ” Why, I’m trying to track down Sinestro, Flash! ” followed by a hearty handshake. Over at Marvel, it’s immediately throw-down time! With Whedon involved, it goes without saying that there’s lots of laughs  packed in with the mayhem.

The movie is being presented in 3D, but I don’t think it’s essential to view it in that format. It’s a good upconvert ( like the Cap solo movie ), but aside from some big gun barrels, Loki’s power staff ( get yer’ minds outta’ the gutter! ), and hovering spacecraft the extra D doesn’t add much to the big battles. The movie slows a bit when the principals bicker in a meeting room ( what is this? Super-reality TV ? ), but it soon picks up speed and never lets up till the end credits roll ( that’s a fast 140 minutes! ). Speaking of end credits, the Marvel movies have a tradition of taking on a final bonus scene after the final credit. This time they’ve placed it at the midway point ( as did last Summer’s THE GREEN LANTERN ). Your enjoyment of it may depend on how big a Marvel comics fan you are. But you should stay and see all the folks that worked on it! They did a spectacular job ( Kudos again on the Hulk. It’s the green giant we fans have been wanting to see in the movies )! The meeting of the Marvel movie universe and the Whedonverse has produced a superior screen entertainment that is a high water mark for future comics based films. Hey Nolan-Batman and rebooted Spidey! You’ve got a very tough act to follow! Avengers ( and movie-lovers ) assemble!!

UPDATE : I’ve gotten reports that there is a bonus scene after the final end credit ( in additon to the mid-credit scene I mentioned above ) !

Overall Rating : Five Star-spangled Shields, Five Uru Hammers, Five.. aww, Face Front, True Believers! 5 Out of 5 Stars

 

THE HUNTER ( 2011 ) – The Review

Sometimes the film going experience is greatly enhanced when you have little knowledge of the movie upon entering the theatre. Such was the case for the new film THE HUNTER. All I had seen was the poster which showed a grim, determined Willem Dafoe toting a high-powered rifle. Since he’s frequently been cast in villain roles ( he’s the Green Goblin for gosh sakes! ), I thought that perhaps he’s playing an assassin or hitman tracking his victim through the countryside. On the flip side, he may be a bounty hunter or lawman trying to bring in a fugitive from justice. Whichever it was, I was all set for a cat-and-mouse action thriller.

For the first few minutes it looks like we’re in for a classy hitman actioner ( like THE MECHANIC ). After we’re introduced to Martin David ( Dafoe ) soaking in the tub, listening to classical music in a swanky Paris hotel, the film cuts to the airport where he meets with a couple of well-dressed gentlemen. They discuss the transfer of currency to foreign bank accounts. Hmmmm, who’s the target? Martin is given a briefcase with small test tubes and lab sample plates. Uh? The wealthy employer has hired him, not to track down an enemy, but to find an animal thought to be extinct : the Tasmanian tiger. The tiger doesn’t need to be captured alive, the employer only wants blood, skin, and fur samples ( perhaps for cloning purposes? ). So Martin is literally a professional hunter. Arriving in Tasmania, he is greeted by another agent of his employer, Jack ( Sam Neill ), who helps guide Martin to the forested spot were the tiger was supposedly last sighted. Jack also has arranged a place for Martin to stay : the home of Lucy Armstrong ( Frances O’Connor ) and her two precocious, foul-mouthed, grade-school aged kids. Seems Mr. Armstrong disappeared in the forest while searching for the tiger. She’s literally checked out, spending her days heavily medicated drifting in and out of slumber and letting her kids fend for themselves. After tidying up his living quarters, Martin begins his task. The people of the town are leery of him. The loggers, who’ve been prevented from working, believe that he’s an undercover Greenpeace-type agent. But the other side distrusts him too. The local tree-hugging eco-warriors believe that he’s using traps to capture the tiger. No one seems to believe his cover story of being a research scientist collecting data for a new book. Can he stay several steps ahead of these warring factions and locate his elusive prey?

THE HUNTER is a great showcase for the talents of one of our most interesting actors. Here Dafoe gets to go beyond the sometimes one-note baddies in Hollywood blockbusters He begins the film as a cool professional who’s only looking to complete his job and collect his fee. But things change once he arrives in that wild land and meets this broken family. Martin starts to care about something beyond his mission, although Dafoe is terrific in the scenes showcasing his tracking and trapping skills. O’Connor is touching as the absentee single mother who finally wakes up and responds to the unusual foreign man in her life. O’Neill offers great support as her family friend who may have other motives. The search for a rare animal is a unique motive for all the principals ( it’s interesting that this weekend’s big family film THE PIRATES : BAND OF MISFITS also tackles the subject of beasties thought to be extinct ). The suspense builds slowly while not taking away from the unfolding relationship story. The cinematography of this still untamed country is breathtaking at times. Some of the accents are often too thick to decipher, but your ears should become accustomed quickly. Because of the gorgeous unexplored countryside, and the very talented cast, THE HUNTER is a film worth tracking down.

Overall Rating: 3.5 Stars Out of 5