“Fantastic Four” – Review

With the amount of stories and rumors surrounding the possibly troubling production of Josh Trank’s “Fantastic Four” reboot, it is hard to pick which sides of the story to believe. Is this the case of an incompetent director who arrived on set high as a kite? Or is this a case of the studio meddling with the vision of what this director wanted to create?

We can point our fingers as long as we want, but whoever it is to blame, that still doesn’t lessen the fact that this movie falls flat on its face. Despite a tolerable opening two acts that presents some interesting ideas that can bring these characters to the big screen in a creative way, the overall execution fails on so many levels.

Our cast full of talented performers do a serviceable job with the minimalistic material that they were given, but there is little chemistry to be seen. In fact, there’s more chemistry between the cast in their press interviews and also on Twitter.

But it is within the film’s so-called third act where yet again, an iconic villain is misrepresented, leading to a shoehorned climax that soon transitions to an unbelievably abrupt ending.

I can’t help but feel sorry for the cast and crew for the making of this film. We live in a comic book movie renaissance that was kicked off in the Summer of 2008 when films like “Iron Man” and “The Dark Knight” showcased for us what these films can truly be, and to see “Fantastic Four” fall to this low of a level especially considering the incredible talent behind this poses one of the most frustrating movie-going experiences in recent memory.

Final Grade: (3.5/10)

Cinderella (2015) – Review

Kingsman: The Secret Service – Review

Into the Woods – Review

The Theory of Everything – Review

The Judge – Review

Downey Jr. plays Hank – a hot-shot lawyer who travels back to his hometown after receiving a call that his mother passed away. There, he sees that his estranged father (played by Robert Duvall) has been accused of murder. Hank decides to take matters into his own hands while also reconnecting with his family.

David Dobkin is known mainly for directing comedies such as Wedding Crashers, Fred Claus, and The Change Up. Based off of the trailers and cast, The Judge seemed that it would be the type of drama that would hopefully compete during this Awards season. Unfortunately, this film ultimately settles itself asides a typical crowd-pleasing film that while mildly entertaining, feels tonally inconsistent and riddled with a few too many subplots.

Downey and Duvall are definitely the highlight of this film. Downey sets himself aside from his ever-so recognizable “Tony Stark-isms” and even reaches emotional heights that we haven’t seen him reach within his career. And the expectedly marvelous Duvall delivers a wonderful performance with plenty of honest and heartfelt layers to his character. Whenever these two are sharing the screen, it’s quite electric. We also have the supporting likes of Vincent D’Onofrio, Vera Farmiga, Billy Bob Thornton, and Dax Shepherd who all do a fine job in the roles they are given.

Sadly, although The Judge serves as a good showcase for wonderful acting particularly from the two leads, it loses much of its steam with its inconsistent tone. Knowing Dobkin has directed mainly comedies, it shouldn’t come to a surprise that there would be some humorous elements sprinkled within. Unfortunately, although there were definitely some genuinely funny moments, they don’t really seem to mesh well alongside the serious dramatic elements. Also, there are a few subplots within this script that are unnecessary and only add more beef to the runtime rather than to the character/story development.

To pinpoint from that, there’s a subplot involving the relationship between Downey and Vera Farmiga that starts out on an awkwardly comedic note that is genuinely funny but then divulges into an unnecessarily dramatic note that ends up becoming a plot element that is easily expendable.

Which is unfortunate because there are a couple of scenes in The Judge that are truly well-executed. Particularly a scene where Downey and Duvall find themselves in an incredibly uncomfortable, yet relatable situation that manages to blend humor and drama expertly. However I feel that this scene would be much more effective had it been in a more tonally consistent final product.

If anything else, I would recommend seeing The Judge solely for its remarkable performances, but I can’t give it the full recommendation I would like to due to its inconsistent tone and overlong runtime. I’d say wait for it when it comes out on DVD or Blu-Ray.

Overall, The Judge earns a 2.5/5

Boyhood – Review

“Growing old is mandatory. Growing up is optional.”

-Chili Davis

 

Fairly recently, I concluded my K-12 educational career. My senior year had been quite the impactful experience to say the least, sprinkled with memories that still endure with me and will probably continue to do so for a long time. Whether it was that state championship-winning performance with my marching band, finalizing my College plans, taking center-stage on the dance floor on prom night (albeit dancing poorly), or to have the privilege of delivering a speech for my graduating class, it blows my mind to even think that all of these experiences have already occurred. 

When me and my two fellow class speakers stood up on stage during graduation night, I quickly reflected over the past 12 years – from the days of sitting criss-cross applesauce listening to my Kindergarten teacher read Robert Munsch’s Love You Forever, to now representing the Class of 2014, the mere feeling of all that time now gone had overwhelmed me. Now that I am nearing the end of Summer and the start of College looming closer, I remember my past expectations before I entered Intermediate school, expecting the next six years to be something much bigger than it actually turned out to be.

Now if I were to go to the 11 year-old Noah and tell him what was in store, he would seem pretty disappointed that he would not be getting the definitive Intermediate-to-High School experience that he expected from watching too many TV shows. But once 11 year-old Noah actually experienced the next six years and finally reflects back, he realizes that even though it was different than expected, the actual experience was more gratifying than what he could have imagined.

And by some miracle, Richard Linklater’s Boyhood happened to release during the most fitting time that I not only as a film-lover, but an individual needed to see it. Similar to what my 11 year-old self expected for his adolescent life, I was given a film that turned out to be surprisingly different than what I expected. I went in hoping for this epic, sweeping coming-of-age drama that would leave me in shambles once the credits started to roll. Instead, I was given a film much smaller in scale, and yet, a euphoric cinematic experience that is unprecedented in the history of American cinema.

As awe-inspiring as it is to know of how this film took 12 years to make and to see our characters grow up right before our very eyes, Boyhood manages to go beyond that technical feat and allows the audience to see through the window of the lives of Mason and his family. Through every scene that progresses in different points of time, Linklater beautifully paints a portrait of life that explores why through all the numerous milestones in our lives, they leave such an impact on us. How really, we don’t really “seize the moment”, but rather “the moment seizes us.” 

Clocking in at about 165 minutes, Boyhood justifies that runtime thanks to Linklater’s unprecedented direction, realistic and intimate performances by Patricia Arquette, Ethan Hawke, Ellar Coltrane, and Lorelei Linklater, and the wondrously profound messages about the moments we cherish in life. And fittingly enough, the brisk pacing mirrors the feelings we endure when we realize that life does indeed move pretty fast. As someone who is just getting ready for the next chapter in his life, I can say without hesitation that Linklater has given us not only one of the best films in recent years, but a true cinematic landmark that is destined to stand the test of time. It is a film that everyone needs to see. A film that anyone and ESPECIALLY recent High School graduates can relate to. And for those reasons and more, Boyhood is just a masterpiece.

Rating: 5/5

Why “Edge of Tomorrow” is what the Summer movie season needed.

When one looks at the usual slate of Summer blockbusters, it is realized that we have definitely been living in the age where sequels and reboots have taken over the market. We’ve reached a point where besides the independent circuit, there are little to no original films in the mainstream industry released during this time of year.

Thus, moviegoers have been given “Edge of Tomorrow,” based on the Manga “All You Need is Kill.” Director Doug Liman (“The Bourne Identity”) takes us to a near future where mankind is at war with this unbeatable alien race. Major William Cage (Tom Cruise) is an officer who despite having no combat experience is sent into what eventually becomes a suicide mission. Cage soon realizes that he has been infected with an alien gene that forces him to relive the same day over and over again, in the hopes to win this battle against this alien race.

I was never really excited for this film to be honest. The marketing made this film seem like another “Oblivion” – a film that was dull and uninspired. Also, “Edge of Tomorrow” isn’t anything entirely original, as we have seen plenty of its plot elements in other films before like “Groundhog Day” or “Source Code.” But I am ecstatic to say that Liman has crafted the type of Summer blockbuster that I have been waiting for quite some time for: an enthralling piece of sci-fi entertainment. Sure, “Edge of Tomorrow” may borrow from other well-known films, but it is through its remarkable execution that keeps these ideas fresh and of course, entertaining.

As sold through the trailers, “Edge of Tomorrow” promises an action-packed sci-fi special effects extravaganza. And as someone who wasn’t impressed by the marketing, I was blown away by the scope and unnerving entertainment value that was projected. The visuals throughout the film are outstanding and even feature some really inventive creature designs that are more interesting than the designs found in the MUTO creatures in Gareth Edwards’ “Godzilla.”  But it isn’t just because the action sequences were so well executed but rather that the story and characters wrapped around them are done so well. Inherently, the idea of reliving the same day over and over again can get pretty repetitive and quite ridiculous. And thankfully, the film is completely aware of that factor  and even uses that element to great comedic effect. It plays on the frustrations one goes through when playing a video game, in which every time you die, you get sent back to the first level. And when you would expect the film  to get old real quick with its repetition, it intelligently swerves around those cracks through its inventive structure and terrific editing.

And say what you want about Tom Cruise in his personal life, but you cannot deny the commitment he gives to his roles, particularly his action roles. And “Edge of Tomorrow” is no exception. Also equally solid is Emily Blunt, in a particularly strong female role that serves as Cruise’s counterpart throughout the film. Both Cruise and Blunt share terrific chemistry and their characters’ motives are truly felt especially as the film reaches its third act.

“Edge of Tomorrow” is the film that this Summer blockbuster season needed the most. In a time where saturation of sequels and reboots just continues, it is quite a relief to see an original non-sequel/reboot (albeit a book adaptation) that is simply put, a completely entertaining popcorn fare. In fact, it’s more than just that – it’s clever and surprisingly intelligent but not to a point where it becomes too confusing to follow. I implore you, go see this movie because I fear it won’t get the attendance and box office figures it deserves. If you are someone like me who has been looking for a non-sequel/reboot in a Summer where there is almost nothing but sequels and reboots, then “Edge of Tomorrow” is for you.

“Edge of Tomorrow” earns a 4.5/5

 

Captain America: The Winter Soldier – Review

Phase 2 for the Marvel Cinematic Universe (MCU) has been quite interesting to say the least. First off, we had the very entertaining – yet really polarizing Iron Man 3, and secondly, we had the good but still underwhelming Thor: The Dark World. And while I still reap quite a bit of enjoyment watching these characters in their solo adventures, I feel that there is this feeling of fatigue of these solo films knowing that we have already seen these characters assemble together in one of the most enthralling Summer blockbusters of all-time, and although they are still interesting characters on their own, there’s a sense of desire to see them assemble again. Granted, following up The Avengers is a tough battle to climb, but that shouldn’t stop these films from adding more layers and pushing the superhero film genre.

And it is for that reason to why Captain America: The Winter Soldier is not only the best film of Phase 2 of the MCU, it may be the best film overall – with the exception to The Avengers. This film is the first sequel of these standalone films that exceeds its predecessor on virtually every aspect. Captain America: The First Avenger was an enjoyable war film injected with the signature Marvel blood. It served as a well-done origin story to Cap and definitely set up The Avengers well. However, The Winter Soldier just takes the best elements of its predecessor and takes them all to just another level of pure blockbuster excellence.

Anthony and Joe Russo take over Joe Johnston’s directing chair and passionately created a great adaptation of the character of Steve Rogers. When I first heard that these two were set to direct this film, I was thinking that this was an odd choice knowing these two mainly from having writing contributions two of my favorite sitcoms, Arrested Development and Community. But from watching this film, I no longer doubt their sensibilities behind the camera, knowing that these two not only know how to create a brilliant final product, but are also able to show love and respect to the fans – much like what Community has also done for appeasing its fans (there’s also a great nod to Community fans in this film).

Chris Evans has always been excellent as our titular character, giving amazing sensibilities in his sequences that demand his physical prowess, and more importantly his lovable attitude. He perfectly embodies Steve Rogers’ patriotism and well-being to a tee. Scarlett Johansson as Natasha Romanoff/Black Widow is also terrific in her most complex role as this character. In this film more than any other, she proves to all the naysayers why she is a vital member of The Avengers and truly takes this role as her own. The back-and-forth between these two characters showcases some of the best chemistry that we have seen in the MCU. Also, Samuel L. Jackson is finally given more to do as Nick Fury as he plays quite an integral role to the film’s story. Also, numerous newcomers from Anthony Mackie as Sam Wilson/Falcon and Hollywood icon Robert Redford both give excellence in their roles throughout the film.

But where this film truly shines is the way this film not only transcends the superhero genre, but also how it brings Steve Rogers to his most vulnerable state he has been in. First off, this film isn’t your typical superhero film. In fact, it’s very much an espionage/political thriller that happens to have enough action to satiate your appetite. And thankfully, these non-conventional aspects are just as entertaining, if not more so than the action sequences which are enthralling to see. But it is through The Winter Soldier’s story that truly elevates this film from a great comic book film to something quite special in this MCU. The character of The Winter Soldier poses a threat to Steve Rogers not only in the physical side of things, but more importantly through the personal side. Without giving much away, when the film explores the threat that the antagonist brings, it rings through our minds that this is truly the toughest situation that we see Cap face in these films. It’s personal, thought-provoking, and gives quite an emotional pull-off for the character that is the most satisfying we have seen him experience.

The Winter Soldier is the in my mind the best standalone film in the MCU, even beating out the original Iron Man. With terrific performances by its ensemble, impeccable direction by the Russo Bros, mind-boggling action setpieces, and an incredible watermark on Steve Rogers’ character, it is definitely one that all fans need to see.

And by the way, the two scenes during the credits will only make you even more excited for Avengers: Age of Ultron. 

Captain America: The Winter Soldier earns a 4.5/5

Noah – Movie Review

Darren Aronofsky’s Noah has had quite a lot going for it ever since its production began. Following his critically-lauded films, The Wrestler and Black Swan, Aronofsky was originally set to direct The Wolverine (which ultimately went under the helm of James Mangold), but instead departed that film and decided to pursue this passion project that he had been wanting to develop for years. Paramount came into play and gave $130 Million to this incredible auteur in cinema and now, we finally see his vision of the biblical tale on the big screen. However, this film has been enduring a wave a controversy for months ever since reports from three test screenings consisting of Catholic, Jewish, and general audiences have projected negative buzz, especially from the religious audiences. Worried from these reactions, Paramount went out of their ways to appease religious audiences by placing a disclaimer in all of the film’s promotional materials – without Aronofsky’s permission. Paramount and Aronofsky had been in heated situations together throughout the film’s marketing campaign and soon led to this compromise: Aronofsky’s original cut would be released instead of the alternate cuts that Paramount had screened.

And kudos to Paramount for not meddling with Aronofsky’s original vision, for that we are given quite a remarkable cinematic experience that is truly told in – well, biblical proportions. The film just exudes breathtaking visuals, whether it is through the exquisite cinematography, or the incredible use of set design, it squeezes a sense of meticulous passion within nearly every shot. And remarkably enough, even with a budget of $130 Million, Aronofsky’s signature trademark style is still in place. Sure, the film showcases his technical sensibilities seen in his acclaimed, yet smaller-scaled films like Pi and Requiem for a Dream, but above all, it is the film’s immersible craft that sucks you in even more so than his established filmography has already proven to do so.

Now, this is definitely going to be a film that many people of faith may not be pleased with. Artistic license has been taken in some aspects of the Genesis story, particularly in the Noah character himself, and there are aplenty of Aronofskian moments that may cause the more mainstream audiences to turn their heads. But all-in-all, I feel that the most important morals taken from this story are present through-in-through. And if you were to ask me, I view this film more as an interpretation of the story rather than a word-for-word adaptation. But I feel that one should be reminded that the story of Noah was definitely darker than the story we remembered from our Sunday School days. This is the Noah that immerses you into right in the story. It’s a provocative look into the evils of mankind described in Genesis.

Regardless of all the controversy surrounding this film, I feel that Noah is a film worth seeing on the big screen. It promises remarkable performances by its actors (Crowe, Connelly, Watson, and Winstone in particular), incredible visual storytelling and another haunting score by Clint Mansell. But above all, it’s the first blockbuster in the longest time that reaches deeper than just standard entertainment – it’s also one that purely demands discussions to be had after viewing it. Sure, it may not be 100% accurate, but I also don’t see it as one that preaches against faith. But I will say, that it is the most thought-provoking film of the year thus far.

Noah earns a 4/5.