Posts Tagged Reviews
Leaving something on the cutting room floor. The phrase has been around since the beginning of cinema, when editors would literally cut strips of film from the reel to leave lying on the floor until it was time to sweep up for the night. There are many things that would warrant a piece of dialogue or a scene be cut from a film, including shortening the length or removing unnecessary or repetitive sequences. For anyone who’s watched deleted scenes of their favorite movies, for the most part the choices the director, producer or studio make are for the better. But there are some things that are cut out that actually would have improved the film, and answered questions left, well, on the cutting room floor. Read Full Review
When Goldie Hawn first broke onto the scene in Rowan & Martin’s Laugh-In, she was a highly energetic performer who didn’t mind taking comedic risks. Yet compared to the majority of comedy we see today, her sensibilities were pretty conservative in their opulence. However you perceive her style, what made Hawn so funny was her maturity in how she delivered and reacted to whatever situation she might find herself in. Even if the ideas and characters around her were heightened, she was smart enough to know when to pull back on the comedy to keep it from becoming absurd.
Fast forward thirty years, where that line has moved so dramatically, comedy has become more about who can be the loudest, crudest or most abusive, pushing the limits for the sake of pushing the limits while stepping on eggshells to keep from offending any one person’s sensibilities. Amy Schumer fits comfortably in this new excessive style, specializing in laid-back crudeness that tries to be shocking but comes off as desperate. I’ll admit, Schumer is as smart a comedian as Hawn — she understands herself and her audience, expressing a subtle, knowing debasement of the world and her inconsequential place within it. This style worked well in Trainwreck, but was much more grounded in a genuine reality than Snatched, where these differing styles keep the film from finding a reliable foundation to build anything substantial. Read Full Review
For a science fiction space adventure with both a talking raccoon and a talking tree (or in this case, a talking root), it may be hard to believe it when I say I felt Guardians of the Galaxy Vol. 2 at times felt a bit too cartoony. Let me explain. Rocket Raccoon (voiced by Bradley Cooper) and Groot (Vin Diesel) aside, the original Guardians of the Galaxy was still grounded in the same Marvel realism that had been set up by all the previous films in the franchise, although with a subtle wink and vibe that differentiated it from the pack. Even if the stakes were a little over-exaggerated, it still felt as if they were part of the universe occupied by the likes of Captain America, Iron Man and Thor.
Guardians Vol. 2, however, chips away slightly at that aesthetic. Peter Quill, aka Starlord (Chris Pratt), Gamora (Zoe Saldana) and the rest of the ragtag team of misfits still bring the same acerbic wit and charm that we all fell in love with three years ago, and I can’t wait to see Rocket and Tony Stark bromancing it up with some sarcastic banter over a new technological marvel that will save the galaxy. But director James Gunn tends to take some of the silliness a little too far at times during this second outing, pushing the tone a bit too far into far-fetched goofiness and pulling you out of the movie, if only for a few brief moments. Read Full Review
What is your privacy worth to you? Would you be willing to give up your every moment of privacy if it meant nurturing world peace? Every minute of your day (except for a few minutes when using the facilities) would be recorded and stored and accessible to anyone. Not one moment, not one sentence, not one email or text or comment would be out of reach of a world ready to cannibalize and scrutinize every happy thought, every consumption of food, every last dark secret.
If you’re thinking we’re already there, you wouldn’t be completely wrong. With our current vitriolic political spectrum and the reliance of so many on social media to feel needed and important, lies and secrets are exploited to the nth degree, using every word, no matter how innocent, into a systematic war of opposing viewpoints. But The Circle, the new film based on Dave Eggers’s novel of the same the name, would have you believe that war and hostility could come to an end simply when everyone in the world becomes entirely transparent. Read Full Review
It’s been 12 years since Samara last haunted cinemas, and it doesn’t seem much has changed. Those who watch Samara’s mysteriously creepy video are sentenced to death in seven days, electronics distort images of those who have been marked, everyone still waits until the very last minute to attempt to show a copy to someone, and communication is still nonexistent. That last example is the most frustrating. It’s a tactic a lot of writers (myself included) use in order to add suspense to a narrative, usually so that they can drive home an effective twist. After all, characters will only act on the information they’re provided, so when someone needs to go in a certain direction, omission (or the falsifying) of information leads them to where the writer needs to take them. However, director F. Javier Gutiérrez uses this tactic so blatantly in Rings, the third chapter in the remake of Japan’s Ringu, that the “twist” ending becomes nothing more than a manufactured attempt to prompt another sequel. Read Full Review
With so many distractions vying for a person’s attention, including a bevy of social media platforms, a mess of gaming apps for smart phones, and an overload of binge-worthy television, movie studios have had to alter how they advertise their films. From teaser trailers to teasers for teaser trailers, studios have tried everything this side of making an actual great film to vie for your attention. In so doing, they have opted to throw anything and everything into their trailers regardless of whether it spoils a twist that would have been better had viewers been able to live that moment while watching the actual film. (I mean, how would people have felt had Twentieth Century Fox revealed that Darth Vader was Luke’s father in the trailer for The Empire Strikes Back?) A recent film that did it right was Split — entice, excite and save the big surprise for the actual movie. A Dog’s Purpose, on the other hand, is an example of what not to do, which is reveal every major plot point in the trailer and leave nothing for the audience to discover. Read Full Review
M. Night Shyamalan came onto the scene in 1999 with The Sixth Sense, an explosive film that blew the minds of most movie goers with one of the most shocking, clever twists in movie history. This quickly made his name synonymous with the big twist, setting a bar so high for himself, it was going to be near impossible to vault it. And though his next two films, Unbreakable and Signs, both delivered in one way or another, the quality of each consecutive film continued to drop until he hit an all-time low with the unwatchable mess, The Last Airbender. It’s no wonder he dropped out of sight for three years before returning with After Earth, a movie that refrained from promoting Shyamalan’s name in any of its marketing. Two years later, he took the reigns of his career by teaming up with Jason Blum and Blumhouse Productions to formally reinvent of his brand. And if 2015’s The Visit was a return to form for Shyamalan, Split, his new psychological thriller, is the stamp that should reignite audience adoration for such a fascinating filmmaker. Read Full Review
I’m a sci-fi geek. I can admit that. For as long as I can remember, I’ve always loved the idea of aliens and other worlds, futuristic technology and time travel. I believe it’s because they tend to explore the human condition while having the liberty to traverse strange new worlds and are provided the freedom to turn everything upside down on a whim without being branded impossible. That’s because science fiction is inherently unrealistic — until it isn’t. The best sci-fi writers have a tendency to predict the future, the best of which have already innovated new technology before its time. Others have seen the future, or created technology and got it wrong, but that doesn’t mean it isn’t any less worthwhile. It’s a way to study the what-if of human nature, to explore the tendencies of mankind and provide a unique opinion on what might happen if we continue down the road we all travel at any given point in time. And for me, it’s one of the greatest roads a man can travel to free his imagination. Read Full Review
Movies may not change, but tastes in movies do. Sometimes you’ll love a movie when you first see it, only to be disappointed with it years later. Other times, you may find a movie doesn’t whet your whistle when you first see it, but your tune changes for the better when you stumble upon it on TV. One major example of the latter is Drop Dead Fred, a movie I loathed when I first saw it, but thanks to a little sister who couldn’t get enough of it, the more I watched it, the more it latched onto my marrow and bled my resistance like a tick, until I couldn’t get enough of its wild breed of insanity.
A more recent example — and less dramatic — is the 2007 buddy road trip movie, Wild Hogs. On first viewing, I thought the humor felt a little worn and the characters were just going through the motions. There was nothing inherently bad about the film, but nothing stood out enough to really grab my attention either. Fast forward a few years and while catching a scene or two here and there on cable, the film has grown on me. The jokes seem to land better with repeat viewings and the bonds between characters is much deeper than I remember when I originally saw it.
For whatever the reason, I can see this same scenario happening with the new kids film, Monster Trucks. On the outset, the movie is unable to find any time to build a strong foundation in plot or character, and plays it as safe as it can when it comes to the world it creates. At the same time, the movie is enjoyably meaningless, a combination that could lead to me warming up to it should I ever catch it again on the boob tube.
Tripp (Lucas Till) is a seemingly lonely high school senior with a penchant for both destroying and fixing cars. His father (Frank Whaley) left him and his mom (Amy Ryan) for some unknown reason and his mom’s boyfriend, Rick (Barry Pepper), the sheriff in their quaint middle-America town, constantly butt heads with him — again, for no apparent reason. The one friend he has, Sam (Tucker Albrizzi) is only a friend when Tripp needs help with something, because I don’t see the two (one a hunky brooder, the other a lackey nerd) forming any type of friendship based on the end of the film… not the best example for impressionable kids. Then there’s the love interest, Meredith (Jane Levy), another relationship that’s sort of a non-starter, as it begins with hardly any build-up whatsoever. It’s just kind of there and never really evolves.
His life gets turned upside-down when an oil company (which has basically paid off the town in order to drill on the land by Reece Tenneson, your typical ruthless oil baron oddly played by the Grinder… I mean, Rob Lowe) hits a pocket of water that unleashes a trio of creatures from within the depths of the earth’s crust. Two of them are captured right away by Reece and his scientific companion, Jim Dowd (Thomas Lennon), who quickly discovers how intelligent they are and how they communicate with one another.
The third somehow hides inside of a truck that’s destroyed during the melee and is towed to the local junk yard where Tripp works. When the pair discover one another, both are reasonably frightened at first, but quickly bond when they discover that neither is out to harm the other. All the creature (which Tripp names Creech) wants is food (in this case, gallons of oil) and all Tripp wants is a friend — wait. That’s wrong. All Tripp wants is a truck that will carry him out of town once school is over, which means, much like Sam, the creature is used by Tripp to get what he wants.
One of the major issues I have with the film — and this is an issue that a lot of kids films have — is that there are no repercussions for the protagonists. When Reece sics his corporate goons onto the world to find Creech so that they can kill the whole lot and keep from having the oil field shut down, Tripp tweaks out an old truck he’s been working on so that Creech can become the engine. At one point, he feeds Creech gasoline from a gas station, which, with all of its additives, causes him to get high. In the course of his acid trip, he crushes various cars in a used car lot as if he was a monster truck in a sports arena. The scene is meant to be funny, but plays like a cartoon.
Creech is also setup to be an extremely smart character, but at times it feels as if he’s a little too smart. Director Chris Wedge doesn’t spend enough time with Tripp and Creech at the beginning to warrant the friendship they build to the point where the two basically understand the other without being able to speak. It could be because of some type of psychic connection the two have, or maybe it’s just a convenient way for the director to make a lot of the movie work. The point is, it goes to show the lack of character development that kept me from feeling any sense of justice when the good guys triumph and the bad guys find their comeuppance. One set of characters in particular, the requisite bully that doesn’t do anything to warrant that title except have an extravagant truck and his girlfriend who may or may not have a crush on Tripp, are treated like nothing but glorified extras who the director uses to elicit manufactured drama (and laughs).
With all of that said, the special effects are serviceable, the action sequences well done, and Creech is a likeable little alien slug who deserves more than this selfish kid that doesn’t think much about anyone but himself. I’m not sure Tripp has learned any lessons from his adventures with Creech by the end, and believing that the relationship with the too-nice Meredith is going to be anything but a failure is foolish. But there’s something about the film that lingers… something that sparks an interest and makes me feel as if I’m wrong about the film. Who knows; maybe some day I’ll see Monster Trucks again and find it far better than I remember when I first watched it. But until then, all I can say is the movie isn’t great, nor is it bad. It’s simply a harmless piece of family entertainment.
My Grade: B
Next week, new movies include xXx: The Return of Xander Cage, Split and The Resurrection of Gavin Stone. If you would like to see a review for one of these, or any other film out next week, please respond in the comments below.
For various reasons, my goal for 2016 was to attend less movies, hopefully avoiding the bad in favor of the good. And though I did skip some movies that in years past I probably would have gone to because they were there, the inevitable stinker still crept into my viewing addiction. And at 107 movies, I only saw 3 less than I did in 2015 (though those three would probably have ended up on my worst list). So much for that resolution. But, with 58 movies graded at an A- or above, this year’s crop still managed to be on the higher end in one way or another. So, what were some of the most awe-inspiring (and some of the stinkers) from the past year? Let’s find out.