Rating: The Good – 76 Genre: War, Drama Duration: 130 mins Director: Joseph Sargent Stars: Jason Clarke, Jake Gyllenhaal, Kiera Knightley
Movies recounting humankind’s gruelling attempts to overcome nature’s obstacles tend to be either underproduced and rather dull affairs or overproduced and predictably brainless action movies so it’s a welcome surprise when we come across one that so effectively balances the internal and external factors to the story as much as Baltasar Kormákur’s film does. Couched in a comfortable budget, Everest captures the visceral wonder of the experience but maintains the writing and acting as its prize assets. And with a cast of A-listers all willing to do their bit for far less billing than their status normally demands, it pays dividends. Jason Clark hits all the right notes as the expedition leader and Josh Brolin and John Hawkes add handsomely to the medley of emotional tribulation while Jake Gyllenhaal, Sam Worthington, Kiera Knightley, and Robin Wright help shape both the story’s physical and personal contexts so that theme and drama meet harmoniously in the middle. Not everyone will be happy with Kormákur’s aversion to set piece action but those with an appreciation for attritional authenticity should find his adventure rather compelling.
Rating: The Good – 69.5 Genre: Adventure, Action Duration: 124 mins Director: Colin Trevorrow Stars: Chris Pratt, Bryce Dallas Howard, Ty Simpkins
Just when you thought it was safe to buy the box set, Universal go ahead and repackage the merchandise in a whole new brand that promises bigger, better, and lots more teeth. The plot is basically a re-hash of Michael Chricton’s original story as Bryce Dallas Howard stars as the no-nonsense manager of the new park that, in an attempt to wow their jaded consumer base, is about to unveil a monstrous genetic splicing of every lethal dinosaur they could think of. Regular dinosaurs it seems are no longer any more exciting to Jurassic World’s fictitious fanbase as they are to this movie’s actual fanbase. Once again, it’s not long before everyone is running for their lives including Howard’s vacationing nephews and it’s up Chris Pratt’s Raptor Whisperer to save the day.
The visual effects reflect what you’d expect from a 21st Century upscaling of the franchise but without the tingling sensation that comes with having never seen such effects before – as was of course the case in Spielberg’s classic. The action sequences, though capably constructed, are similarly missing the metronomic mastery of the great director while the script, though rather funny at times (courtesy largely of Pratt’s leading man’s wit), cries out for the intellectual ribbing of Goldblum and Attenborough. The biggest disappointment however is in the big nasty that they unleash on us. With no reputation preceding it, it was left up to the writing and concept design guys to terrify us with some creature of barely conceivable malice but all we got was kind of a big Raptor. The “Spinosaurus” of Jurassic Park III was more formidable than this thing plus it kicked the T-Rex’s ass! Given the former’s absence from this film, we just don’t seem to be getting an upgrade in the teeth and claws department. Perhaps they should’ve made this an aquatic disaster movie so that the far more fearsome “Mososaurus” could be the central monster – of course, there’s probably going to be a sequel for every year the dinosaurs have been extinct so maybe they’re pacing themselves!
In the end, however, there’s more than enough adventure and monster mayhem to provide a satisfactory level of entertainment and even if it fails to live up to its promise of “bigger and better”, Jurassic World has all the box-office polish of the first two instalments. It also maintains the magic that the first movie had, finally fulfilling the dream of bringing a paying public together with awe-inspiring dinosaurs. Director Colin Trevorrow’s directing comes into its own during these moments as “Jurassic World: The Spectacle” gets juiced up with all the childlike wonder of Spielberg’s park. In this regard, one shouldn’t overlook Michael Giacchino’s score as it keeps up with and even builds on John Williams’ original in a rather pleasing manner. Good fun.
Rating: The Good – 73.8 Genre: Science Fiction Duration: 132 mins Director: J.J. Abrams Stars: Chris Pine, Zachary Quinto, Benedict Cumberbatch,
The young crew of the USS Enterprise are back for their second outing in J.J. Abrams’ reimagined universe as they face Benedict Cumberbatch’s ruthless Khan, a genetically engineered superhuman recently awoken from a long cryo-sleep. Throw in a gung-ho Admiral in the form of the always great Peter Weller, some marvellous action scenarios, and the usual personality clashes between Chris Pine’s “Kirk” and Zachary Quinto’s “Spock” and the stage is set for one of the better movie instalments of the franchise. Abrams brought a lot back to the series in his 2009 “Star Trek” and, in most cases, he ups the ante here. A striking visual profile and immaculate visual effects provide the movie’s backbone while the cheeky script adds several layers of enjoyment throughout its long duration. The plot is rudimentary enough, the usual rehash of several past episodes, but Abrams’ trump card once again makes up for it. That card, of course, is this new series’ cast of actors which, as was the case in the 2009 movie, bring huge amounts of personality to their roles. And though the links with their characters’ previous incarnations are all maintained with tongue firmly planted in cheek, if truth be told, this new generation is far more talented than their older counterparts. This quality adds a sheen of professionalism to the new films that was often missing from the earlier movies. At the centre, Pine and Quinto are fantastic value as space’s endlessly quarreling “odd couple” and, while playing yet another “super-genius”, Cumberbatch makes for a memorable Khan. Sure, he doesn’t possess the cheesy greatness of Ricardo Montalban, but his more furious brand of egomania adds to the movie’s overall darker demeanor. Best of all, however, is that man Weller whose booming voice and gritty presence brings an added edge to the proceedings.
An elegantly directed sci-fi adventure considerably undermined by yet another painfully flat Nolan screenplay, Interstellar charts the epic attempts of a small group of scientists and astronauts to locate a planet capable of supporting the human race as its Earthly sustenance quickly dries up. Mathew McConaughey heads the cast as the mission’s pilot desperate to get back to the children he left behind before they age beyond the point where he can help them while Ann Hathaway’s stiffish scientist and a couple of nicely conceived robots keep him company on board the spacecraft. Back on Earth, Michael Caine is the brains behind the mission, Jessica Chastain is the grown up version of McConaughey’s equally clever daughter, and Casey Affleck is his son who, like the majority of remaining humans, is attempting to farm what’s left of their desertification-headed planet.
Regaining his 2008 Dark Knight directorial form, writer-director Christopher Nolan composes a quite beautiful and thrilling action thriller that achieves a perfect balance between mood and energy with no small help from Hans Zimmer’s sublime score. Making the deftest use of Hoyte Van Hoytema’s stark and striking cinematography, he avoids overplaying the CGI card keeping the story front and centre. The story isn’t bad either and, predictable as its key moments are, it serves Nolan’s grand ambitions for a Kubrickian like space epic. More the pity then that the screenplay does not. Bloated with expositional dialogue and artificial sentiment, it bungles its way towards a gargantuan mishandling of a straightforward (“save the world before it’s too late”) premise with the kind of overblown piece of psycho-physical drivel that plagued Inception. Co-penned with his more adept writer-brother (Jonathan sat Inception out), this script at least shows more restraint than that 2010 monument to tedium but not nearly enough to engender its protagonists nor their dilemmas with the depth and cadences that the premise deserved. The well conceived drama emerging from the astronauts ageing more slowly than their loved ones back home is an exception to this and proves to be the movie’s one successful appeal to the audience’s emotions.
Ultimately, the problem with Interstellar is yet again one of Nolan reaching beyond his capabilities by attempting to match the work of masters who simply operated at a level higher than his own (that’s not an insult Chris, most filmmakers toil in the shadows of Kubrick and Tarkovsky!). The innumerable references to 2001: A Space Odyssey eventually feel less like a homage and more like an attempt to disguise that failure, proving far more imitative than emulative. That said, the couple of HAL-inspired robots (the Bill Irwin-voiced “TARS” in particular) work fantastically within the confines of this story, coming alive in a whirl of mechanised motion during the best of the action sequences and adding most of the humour outside of them. And, thankfully, it’s these such lighter more grounded touches that sees Interstellar passing muster as a sci-fi thriller even while failing as an attempt at something more profound.
Rating: The Good – 66.7 Genre: Action, Adventure Duration: 113 mins Director: Jan de Bont Stars: Helen Hunt, Bill Paxton, Cary Elwes
Jan de Bont’s second directorial effort after the smash hit Speed upped the ante on the action by following a bunch of storm-chasing scientists through tornado country as they attempt to figure out the secrets of the twister. Helen Hunt and Bill Paxton lead the ragtag pack of adrenaline junkies as the estranged married couple competing with a highly financed rival scientist (a slithery Cary Elwes) who stole their methodology. The action is everything you’d expect from the man who shot Die Hard and The Hunt for Red October and the relatively early CGI effects still hold up to this day. The tornado sequences themselves range between formidable and unlikely as writer Michael Crichton takes his usual liberties in adapting science for the screen. Hunt and Paxton are more than comfortable with each other and add an understated charm to the movie while a young Philip Seymour Hoffman puts in a memorable shift as the “crazy guy”. There’s plenty of humour courtesy of his and everyone else’s antics and a neatly developed assortment of characters (an often ignored strength of Crichton’s screenplays) ensure it blends seamlessly with the plot’s progression. Incidentally, Twister was the first movie released in DVD format and so it not only scores as an enjoyable action adventure but it also holds a position of some significance among the geekiest of movie fans.
Rating: The Good – 74.9 Genre: Action, Comedy Duration: 126 mins Director: Martin Brest Stars: Robert De Niro, Charles Grodin, Yaphet Kotto
About as much fun as you can have watching one guy drag another cross country, Midnight Run is a minor triumph on the résumé of Robert De Niro who stars as a bounty hunter attempting to bring in Charles Grodin’s crooked accountant while being pursued by the mob, the FBI, and a competing bounty hunter. The movie is chockfull of motley characters played with an abundance of personality (not to mention a generous comedic license), from Yaphet Kotto’s testy FBI agent, John Ashton’s indefatigable pain-in-the-ass bounty hunter, to Dennis Farina’s hilariously baleful mob boss who spends most of the movie threatening his hapless goons with various forms of highly imaginative corporal punishment. De Niro embraces the easy comedy of George Gallo’s classy screenplay and drives the movie with an acerbic moxie but, despite a well balanced chemistry, Grodin (along with Farina) steals the show with his usual combination of dry warmth and laconic delivery. Martin Brest directs it all with an understated panache adding little touches here and there that contribute richly to the overarching sense of fun – such as Robert Miranda’s big lug of a henchman mock boxing with Richard Foronjy as the latter pleads with Farina over the phone for forgiveness. Everything skips along to Danny Elfman’s mirthful score in an unapologetically lighthearted style but there’s enough drama wrapped up within Gallo’s neat plot to justify Midnight Run’s status as one of the 1980’s best comedy thrillers.
Rating: The Bad – 25 Genre: Action, Fantasy Duration: 143 mins Director: Zack Snyder Stars: Henry Cavill, Amy Adams, Russell Crowe, Kevin Costner
Zach Snyder’s groaningly familiar Superman reboot in which the kid from Krypton finds himself all grown up on Earth and battling his space daddy’s enemy, General Zod. Along the way he….argghhhhhhhh, seriously, why bother? One could simply label this “thing” as nauseating drivel but so obvious is such a comment that there’s a frustrating feeling of redundancy to such critique. Instead, maybe it’s time we realised that these movies are not well…movies. They are a peculiar product in the guise of a movie but not meant to be critiqued on those terms. Not at all! Artistically speaking, superhero movies have been a fatuous affair for a while now but since their recent explosion in popularity it has become ever clearer that they are no longer even aiming to tell stories. Rudimentary plots, water thin characterisation, stiff dialogue all point towards a concerted lack of interest and investment in the writing of these films. In the mind of the studio execs, they appear to be nothing more than modules for delivering cost effective CGI action to young boys. Kind of like a very long CGI cartoon with big name actors prancing around in front of a green screen. Man of Steel is perhaps the most comprehensive illustration of this. A hectic rush to get a cliched backstory out of the way and then a breathless lunge into a series of mindless CGI battles unfettered by plot and linked together by their mere contiguity. And on the other side of the battle, not one of the main characters comes out any different than they went in. The main players simply dust themselves off and wait for the next adventure which instead of being an “episode”, will be packaged as a “sequel”. There’s no attempt to tell a story here. Lip service is paid to its signature premise in a manner that amounts to the central character’s brief and oh so tiresome consideration of his responsibility as a hero. But once that’s out of the way, it’s time for a long winded antiseptic showdown to unfold – one that will no doubt involve a lot of throwing of one’s enemy across streets, into buildings, on top of cars, across streets, on top of cars, into buildings, across streets……….
Any marks this one gets, is for spelling “Man of Steel” correctly in the opening credits.
Rating: The Good – 71.1 Genre: War Duration: 117 mins Director: Mark Robson Stars: Frank Sinatra, Trevor Howard, Raffaella Carrà
“Padre, you’re priceless.” Frank Sinatra and Trevor Howard pair up for this jaunty WWII actioner as senior Allied officers imprisoned in an Italian POW camp on the eve of the country’s liberation from Nazi rule. One being an improvisational US Air Corps Colonel, the other being a stoic by-the-book British Major, the two inevitably butt heads in how exactly they’re going to safeguard the entire prison camp across Italy after their camp wardens flee. It never really got the credit it deserves but Von Ryan’s Express is loaded to the hilt with fine action set pieces and defined by a cast with personality to burn. From the earlier scenes of the soldiers toiling in the prison camps to the frantic rail pursuit of the last two acts, the movie swings easily between explosions and wisecracks. That said, there are more pensive moments to be had here and there and a few dark tracks are crossed along the way. Sinatra is in cruise control but he seems to be enjoying every bit of it while Howard hams it up for all he’s worth. It’s not the most delicate turn from the great English actor but, like the movie itself, it’s bags of fun.
Rating: The Good – 76.9 Genre: Drama, Science Fiction Duration: 94 mins Director: Gareth Edwards Stars: Scoot McNairy, Whitney Able, Mario Zuniga
Writer director Gareth Edwards announced himself as a filmmaker of note with this subjective approach to the monster movie, which became the basis for his less successful attempt at Godzilla (2014). Whereas most movies of this type sacrifice the personal drama at the expense of big budget monster carnage, his laudable independent feature takes entirely the opposite approach by making a highly personal drama about two lost souls who are thrown together in a near future Mexico which has been overrun with giant creatures from outer space (don’t worry, it works!). Scoot McNairy is a photographer who shoots the disaster left in the path of the creatures and Whitney Able is the daughter of his rich boss who, for her own reasons, has been hiding away in Mexico. However, at her father’s request, she must now return to the US under the care of his initially begrudging employee. But as the airports and ports close due to the encroaching monsters, the pair end up having to make their way through the infected zone and over the border.
The monsters are kept very much on the periphery of the drama and there are no action set pieces in the traditional sense as Edwards chooses instead to use the unusual context to contrast and therefore accentuate the authenticity of the relationship that develops between the two characters. And in truth, he brings us remarkably close to them and keeps us intimately engaged with their struggle. Real life couple, McNairy and Able share a palpable chemistry but are excellent in all other respects too and, of course, this was crucial because we are only too happy to leave the monsters in the background and focus on the couple as they work out their own problems amidst their burgeoning friendship. The movie glides forward thanks to smoothness of their acting, Edwards equally intimate photography (he was DP too), and Jon Hopkins serenely cool score. The threat of the monsters helps ratchet the tension when needed but if the movie has a failing, its that the danger never really materialises in the manner most will be waiting for. This would be fine if Monsters was a straight up romantic drama but the presence of monsters in the first place makes certain promises that will let many a moviegoer down. For the rest of us, there’s more than enough to justify Edwards’ fascinating project and ensure it becomes a cult favourite in the future.
Rating: The Ugly – 60 Genre: Action, Fantasy Duration: 110 mins Director: Timur Bekmambetov Stars: Angelina Jolie, James McAvoy, Morgan Freeman
It might seem redundant to state that a movie about a secret cult of weavers turned assassins is at best a guilty pleasure but so derivative is this one that it really does need saying. With its comic book premise that itself was cobbled together from dozens of better sources and with a sprinkle of madcap mayhem, James McAvoy stars as a painfully ordinary nobody who, after Angelina Jolie shows up to repeatedly beat the crap out of him, discovers his birthright is to be a super-assassin and avenge his similarly employed father. Absurdly obscure superpowers considered and colourless bad guy aside, this one kind of skirts along of the far boundaries of tolerance thanks to the rollercoaster of fun it serves up. So detached is it from making sense that you’ll gladly just give in and absorb the bullet-bending, car-flipping carnage and chuckle at the few decent jokes they manage to cram in between. McAvoy’s boyish charm helps a lot and when Jolie isn’t doing her smug “I-know-something-that-you-don’t” face, she cuts another fine action heroine. Together, they are fine but don’t expect the chemistry of Ford and Fisher. Noteworthy in his presence is Morgan Freeman who pops up in a (not atypically) curious cameo too but to little effect because Wanted is McAvoy and Jolie’s bag.
Rating: The Good – 73.4 Genre: Science Fiction, Fantasy Duration: 121 mins Director: James Gunn Stars: Chris Pratt, Vin Diesel, Bradley Cooper, Benicio Del Toro
Yet another comic book blockbuster from the Marvel stable of sci-fi fantasy. Chris Pratt, Zoe Saldana, Dave Bautista, and the voices of Bradley Cooper and Vin Diesel are the eponymous heroes whose self-interests bring them together against a common foe who, like every other super villain these days, will settle for nothing else but the destruction of the galaxy. What saves this film from the black hole pull of a mind-numbingly familiar genre is the fresh sense of fun James Gunn brings to the script and its direction. The characters are drawn and played out with a care-free irreverence that drives the movie as a whole. There are no erroneously earnest pauses in tone to allow for some heavy handed emotional button pushing – well, none that aren’t cleverly rescued in time. Guardians of the Galaxy is a joke and everyone’s happy to play it that way. It all lays the groundwork for some genuinely side splitting humour, most of which, involves Cooper’s talking and brilliantly mental space rodent.
Though Pratt is a wonderfully unassuming lead with lots of self-deprecating charisma and Bradley is in rich vocal form, most of the credit must still go to Gunn. Making a funny movie doesn’t just require you to write funny but to direct funny and armed with his anthology of vintage pop tracks and a very wry sense of editing, he rocket propels the humour in his script. Okay, so a few of the jokes are taken a step too far but most are delivered with polish. And when we’re not laughing, the simply astounding visual effects ensure that we have something impressive to look at too and, while it never escapes the CGI look, the movie remains an immaculate piece of visual artistry. On this canvas, Gunn (particularly early on) crafts some dazzling action sequences and the ceaselessly fantastic gadgetry and conveyor belt of amazing aliens adds handsomely to their enjoyment.
Where the movie inevitably falls flat however, is in the wearingly repetitive plot that seems no different to that which the likes of Thor, The Avengers, or any number of the endless comic book adaptations (that we’ve been utterly plagued with these last five years) have offered up. Plots that seem to serve no other purpose than to provide a platform for endless battles and flashy explosions. For all the good this movie does with its character construction and comedic dialogue and for all the ingenuity of Gunn’s action, the brain eventually just switches off during these protracted sequences because the premise is too flimsy to support them. It’s part of Hollywood’s magic formula so it won’t soon change but anyone who doesn’t have the hormonal constitution of a 14 year old boy, is liable to find this movie’s visual narrative veering towards 3rd act tedium. Thankfully, Guardians of the Galaxy wraps up at just under two hours and while still perhaps 15-20 minutes too long, it’s a damn sight shorter than most other modern comic adaptations. Alongside its richer character and dialogue base, that saving grace, gives Gunn’s movie a significant edge on the generic horde of superhero vehicles.
Rating: The Ugly – 60.4 Genre: Disaster Duration: 130 mins Director: Wolfgang Peterson Stars: George Clooney, Mark Wahlberg, Diane Lane
The Perfect Storm is a dramatised account of “The Storm of the Century” that hit the north eastern sea-board of the US in the early 90’s. The movie focuses on a swordboat crew led by salty captain George Clooney, whose attempt to traverse the oceanic monster leads to disastrous consequences. The dialogue is cheesball city but the sea-based action sequences particularly once the storm gets going are a sight to behold.