Tag Archives: Psychological

Oct 22 2015
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“STEVE JOBS” Review (✫✫✫)

Creator. Entrepreneur. Father.

Steve Jobs is defined by three years of his life: 1984, 1988 and 1998.

The movie, Steve Jobs, covers these years of his life. So will this review.

1984

Steve Jobs (Michael Fassbender) is on edge. The Macintosh is malfunctioning. He is told by his technicians that the computer won’t say “Hello” to him. It’s 40 minutes before the product launches. His ex-girlfriend is waiting in the other room with her daughter, who Jobs insists isn’t his, wondering why they are both living on welfare while he is making millions. He paces back and forth in between his professional and personal problems. He tells his technician to fix it and walks off stage.

Fassbender is mesmerizing as Jobs. He’s ecstatic, energetic, passionate. He’s tense, egotistical, confrontational. He’s at peace when thinking about how many people’s lives this new computer will impact. He’s angry at people who come up to him, trying to stop him from completing his mission. His expression shows that they’ll fail. He’s too determined to let his ambitions die.

The filming in this sequence is enclosed, personal. It uses tracking shots to follow Jobs as he paces back and forth, looking at TIME Magazines, drinking his sparkling water, his mind racing with everything that needs to get done. The reel itself has a texture to it that I couldn’t quite point out until it hit me: this sequence is shot on celluloid film, reminiscent of the decade that it’s reflecting. A great choice of stylistic direction from Danny Boyle (Slumdog Millionaire, 127 Hours), but just like the time period we’re in, we know that it won’t last long.

Jobs handles his personal issues. The technical issues are resolved. He steps out onto the stage and introduces the Apple Macintosh.

1988

The Macintosh underperformed in sales. Jobs is let go by Apple, the company that he helped start. He feels betrayed by his closest friends, alone in his struggle for significance.

He meets a few of his former colleagues who want to wish him well. Steve Wozniak (Seth Rogen) starts acting friendly to him, but then confronts him on not giving him enough credit on the launch of the Macintosh. He asks him what he does.

“I play the orchestra, and you’re a good musician,” Jobs says. “You sit right there and you’re the best in your row.”

The scene switches to another where Jobs is confronting a former confidant. The editing is off, choppy. It’s cross-cutting between this scene and a flashback so rapidly it’s hard to keep track of the two conversations. I don’t know what Boyle was trying to do here. Maybe he thought he was adding tension to the scene. I thought he was adding confusion.

Jobs visits his daughter in the next room, who is skipping class to come and see him. She’s in middle school. He tells her she needs to go to school before she rushes up to him and hugs his legs.

“I want to live with you, daddy,” she whispers to him.

She and her mother leave. Jobs is shaken. He steps out onto the stage.

1998

This is it: the launch that has come to define both Apple and Jobs for years to come. This is the most important act of the film, and the one I will talk less about for the sake of spoilers.

Jobs looks different. He looks older. His hair is whiter. He’s sporting the iconic glasses and turtleneck that most people recognize Jobs in. Fassbender is no longer just acting like Steve Jobs. He has become Steve Jobs.

The framing of shots is similar to the beginning. It tracks Jobs while he walks from one place to another. He’s more sure of himself in relationship to Apple, less sure of himself in relationship to his daughter. Boyle captures the panic on his face, the fear recognizing his failings as a person and as a father.

It’s nearing the end of the film, and I realize the thing that I love most about the movie is its screenplay. Screenwriter Aaron Sorkin captures both the genius and fragility of Jobs, the sharpness in his words and the intimacy of his emotions. This is a good change of pace for Sorkin. From a filmography of lightning-quick, witty characters and dialogue from A Few Good Men to The Social Network, this is his most emotive work yet. It makes you feel more than it makes you think.

I exit the theater. I call my dad on my iPhone and tell him I love him. Steve Jobs too realizes that the greatest thing he ever made wasn’t an Apple product. It was his daughter.

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Oct 19 2015
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“SICARIO” Review (✫✫✫✫)

Your time has come, hombre.

A bleak, haunting scent looms over the frames of Sicario: like decaying bodies that have laid in a drug dealer’s basement for a few days. It’s permanent and disturbing, and remains with you long after you’ve left the theater. In the opening slide, it is explained to us that Sicario is Spanish for hitman. I don’t know what disturbs me more in the movie: who the Sicario is, or who are the people that he’s hunting.

As the movie begins, we watch as a SWAT team is gearing up to raid a house in Chandler, Arizona. The neighborhood is relatively quiet. It’s serene. Calm. Normal. You would never have expected that the cartel was living in the midst of this slight, unsuspecting town.

FBI agent Kate Mercer (Emily Blunt) is one of the members on this team. After breaking into the house and engaging in a brief firefight, Mercer discovers the horrible fate of what the tenants did to a group of people they were holding hostage. As the team investigates the property, they go into the backyard and are killed after a bomb blows up from inside the shed. We don’t know how experienced an officer Mercer is, but after the raid, she’s obviously shaken and disturbed by what she saw. This mission has served as sort of a wake up call for her.

Despite her emotions, her superiors were so impressed by her performance that they recommend her for a special op with Matt Graver (Josh Brolin), a CIA officer tasked with finding Manuel Diaz (Bernardo P. Saracino), the cartel boss responsible for the drug plant in Arizona. Matt is offering Kate a chance to get back at the man who killed many of her men. Eager for a chance at payback, she accepts the offer.

When the film begins, I thought the movie was aiming to be a pro-imigration film, pausing and drawing out focus on the many darker sides of illegal immigration near the beginning of the film. This was interesting, I thought, because its rare for liberal Hollywood to go against the grain. As the film went on, however, I realized that the movie doesn’t have a stance on illegal immigration. It shows both sides of the issue, and how each side of the system is manipulating the other in this never-ending cycle of deceit and violence.

Meanwhile, innocents are getting dragged into this never-ending conflict like ants to an extermination. In one of the most pivotal scenes of the film, a kid is playing football in Mexico until he, along with his classmates and their parents, hear screams and gunshots a few blocks away from them. It’s something most of us can’t even imagine in rural America. It’s something children face every day in modern Mexico.

This is the greatest strength of the film, in that it functions in realism, not politics. It’s not interested in taking sides on the issue, because how would that lend to the story? What we have here is a morally-charged drama about characters trying to do the right thing in a world where “the right thing” doesn’t exist. Kate believes a line exists to maintain integrity and order. Matt believes a line exists for integrity and order, and can be manipulated to maintain that idea as such.

There’s one character I haven’t mentioned yet, and his name is Alejandro (Benicio Del Toro). He doesn’t believe a line even exists. Whatever ideas of order and chaos other people have doesn’t matter to him. In his eyes, they’re all one and the same.

Del Toro’s character fascinates me. In many ways, he is the heart of the film. He’s elusive. Mysterious. Unforgiving. Empathetic. Dangerous. He’s helping Matt and Kate, but we sense he’s not here for their end purposes as much as he is for his own. He’s manipulative, yet sympathetic, extending kindness to Kate as if she’s just a little kid suddenly thrown into a grown-up’s world. The third act of the film focuses more on him than it does Kate, and it should. What we’re seeing here is not a progression of character, but a progression of events. The climax itself provides one of the most exciting and unnerving thrills I’ve seen this year: yes, even more so than The Martian and Mad Max. That’s because the stakes are set up masterfully well, and by the end of the film, we understand the characters and the quiet motives that compel them.

This is a nearly perfect film in which all of the elements form together into an excellent scope of filmmaking. The actors are brilliant and could catch your attention just by reading their lines. Director Dennis Villeneuve evokes a sense of hopelessness and desperation from its setting. The cinematography by Roger Deakins captures this aesthetic perfectly and with great focus to detail, while the editor Joe Walker knows how to cut in between angles and shots to help construct coherent ideas in the viewer’s minds. In short, my only complaint is that the film is violent and disturbing. But then again, it’s supposed to be violent and disturbing. What service would that do the viewer if you hid from them the truth?

In one of my favorite scenes from the film, Alejandro tells Kate that there is no book for her to go by anymore. That it’s only a world full of wolves now. I believe him when he says that, and I think Kate ends up believing him as well. The question, then, is this: who are the sheep, and who are the wolves?

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Oct 14 2015
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“THE MARTIAN” Review (✫✫✫)

Again with this, Matt?

Hollywood has spent too much money trying to bring Matt Damon home. I’m sorry, but someone had to say it. Our first venture to bring him home was in Steven Spielberg’s Saving Private Ryan. Then, we brought him home from Syriana. His most recent attempt was in last year’s Christopher Nolan epic Interstellar. And now we have The Martian.

Don’t worry, it’s a good movie. The story is thorough, the visual effects are convincing, and Damon does a great job evoking tension and sympathy from his viewers. I swear to God though, if he gets himself trapped on another distant planet or war zone anytime soon, I’m leaving his ass behind and joining a traveling circus with Jimmy Kimmel.

Based on the novel of the same name, The Martian tells the story of the Ares III crew, an astronaut team sent to scout and research the planet Mars. While there, the team gets hit by an intense sand storm and is forced to initiate an emergency evacuation from the planet. While making their escape, however, one of their teammates, Mark Watney (Matt Damon), is struck by debris and separated from his team. Believing he was killed, his teammates board the ship and launch away from the planet.

The Ares III team forgot to account for one thing, however. Mark Watney is played by Matt Damon, so of course he’s going to survive. He didn’t last through war zones, conspiracy theories, and elaborate heists just to let one planet do him in.

Now alone on a planet that is incapable of sustaining life, Mark Watney needs to figure out how to survive and eventually escape from the planet Mars.

This film is directed by Ridley Scott. You can see that as either a good or bad thing depending on what part of his filmography you’re looking at. It’s true, he’s known for science-fiction classics including Alien and Blade Runner, as well as the Academy Award-winning Gladiator. But in recent years, he’s also been responsible for a number of duds. For example, has anyone seen, and liked, Robin Hood, The Counselor, and Exodus: Gods and Kings?

Well, don’t worry dear reader: Scott is back in his prime, and he orchestrates his environments beautifully here. However, I don’t think it’s necessarily just because of him. This world was crafted from the mind of author Andy Weir, who before writing The Martian was a software engineer for Sandia National Laboratories, AOL Inc. and Blizzard Entertainment. When he originally published The Martian on his website, he conducted extensive research on Mars’ geography, astrodynamics, and botany to make the book as scientifically accurate as possible.

By the time Ridley Scott and writer Drew Godard read the book, they didn’t have to adapt it so much as reproduce it.

The thing I love most about The Martian is the research that went into it. When it starts, you think this is going to be another survival story in space, not too dissimilar to Gravity or Apollo 13. The surprising thing, though, is that The Martian isn’t so much thrilling as it is fascinating.

Picture being stuck on a planet with no water, no oxygen, and no food. Seems hopeless, right? And indeed it is, but Watney was trained for environments like this. He adapts. He learns to deal with what he is given. So how does he react to having no water, oxygen, or food? He creates his own water by super-heating Mars’ humidity, he tears apart NASA machinery to stockpile on oxygen resources, and he learns to artificially grow his own potato garden by planting them in (don’t vomit) his own feces.

These are just a few of the problems Watney faces in the film. How does he create transportation? How is he going to communicate with NASA? What does he do if a sandstorm blows open a hole in his space station? What if his crops suddenly die out? What if he runs out of oxygen? What then?

This is how the film builds tension: by throwing impossible survival situations at our poor hero and watching as he dissects for a solution. Does his methods get outlandish? Of course they do, but they are reasonably outlandish, and that’s because of the reality Weir grounded Watney in while writing his novel.

Scott’s visual prowess lends well to the film’s scientific applications. In terms of scale, this film operates on a smaller budget than his other recent films (Robin Hood and Exodus: Gods and Kings’ budgets were $200 million and $145 million, respectively. The Martian’s was $108 million). Yet, in comparison, I’m inclined to say this is his most visually authentic film yet. The reason is because of Scott’s use of practical effects. For science-fiction films, it’s so easy to place your character in front of a blue screen and plaster generic Mars footage in the background. That wasn’t good enough for Scott. For the background alone, he went and filmed the production in the Wadi Rum Valley in Jordan, which has the appropriate sandy landscapes and shade of red that is accurate to the geography of Mars. He constructed 20 sets for the many areas Watney traverses. His production crew grew legitimate potato crops so they could capture the process of photosynthesis on film. For any other director, they would have settled for the easy way out, plastering CGI around your actor and having them react to what isn’t there. That wouldn’t do The Martian justice. Scott knew that and created the best visuals possible for a movie that deserved it.

I have one gripe with the film, and that is its climax, which ironically is supposed to be the high point of the film. I can’t say exactly what happens with the end, but I will say it went on for too long. By the time we arrive at the climax, we know what’s going to happen to Watney. What kind of a movie would this be if it ended any other way than what we were expecting? The thing is that Scott treats us as if we’re too oblivious to it, and he draws it out to a ridiculous length in an attempt to further thrill his audience. It doesn’t work. By the time the ending rolled around, I was looking at my watch, wondering how much longer this scene was going to drag out. Climaxes aren’t supposed to do that. They’re supposed to keep you further engaged with the film: not waiting, impatiently wondering when its going to end.

So does Mark Watney survive? You tell me. He is played by Matt Damon.

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Aug 26 2015
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“MISSION IMPOSSIBLE: ROGUE NATION” Review (✫✫1/2)

More like a city, or a gated community.

I’m really starting to get sick of these action movies. I know, I know, how do I get sick of action? Well, have you ever seen a television episode over, and over, and over again to the point where it frustrated you just to look at it? That’s where I’m at with these action movies that are getting recycled summer after summer after summer.

I was really hoping Mission Impossible: Rogue Nation wasn’t going to be another recycled action pic. Truthfully, I wasn’t expecting it. The film is at a 93% from critics on RottenTomatoes, while users rate it at a 91%. Metacritic users rate it an 8 out of 10. Cinemascore polls it at an A-. Everyone around me seems to be fervently enjoying the action romp that is Mission Impossible. Everyone, that is, except me.

So what happened? Simply put, I think audiences were expecting something different from me. I’ve seen four of these movies now before watching Mission Impossible: Rogue Nation, and with each one, I got something different. The first Mission Impossible pitted a younger Ethan Hunt against two opposing spy agencies, along with the gravity of seeing his entire team get killed on a deadly mission. The third Mission Impossible found Hunt breaking out of retirement to rescue his wife, who was held captive at the hands of a cruel terrorist threat. The fourth Mission Impossible found Ethan dealing with his wife’s death after the events of MI3. We won’t count Mission Impossible II, because that’s not a real Mission Impossible movie.

With Mission Impossible: Rogue Nation, Ethan Hunt (once again, portrayed by Tom Cruise) is pitted against both his own government and yet another secret spy agency named the Syndicate, comprised of insurgent IMF agents labeled as either missing or dead. That’s it. He has no personal investment in the story, no driving emotional force that focuses on him and him only. At one point in the movie, one of his closest friends gets kidnapped by the syndicate and he starts freaking out about it. Right. How many times did someone get kidnapped in your other movies, Ethan?

His supporting characters includes most of his crew from the fourth Mission Impossible. Ving Rhames is back as Vincent, returning once again to help Ethan Hunt since their first mission in the original Mission Impossible. The comedic relief Benji is once again portrayed by self-employed funny man Simon Pegg. Jeremy Renner returns as William Brandt, acting as Ethan’s voice of reason against all of his crazy ideas of stunts. Considering Cruise does all of his own stunts, I think Renner needs to be his voice of reason off-screen as well.

The first thing you need to know about Mission Impossible: Rogue Nation is that the visuals do not disappoint. The one thing every movie in the series is most known for is its spectacle, and Rogue Nation keeps the tradition going strong. In one fight scene early in the film, Ethan was fighting a swarm of syndicate agents while handcuffed at both his wrists and ankles. In another, he’s quietly struggling against a sniper on top of a German opera production while the performance is still going on. My favorite is probably when he has to hold his breath under water for six minutes in what is essentially an underwater hard drive as he switches out two data disks. It’s important to note, Cruise actually trained with a diving specialist in order to hold his breath under water for three minutes. The sequence we see in the film was actually shot in one take with no edits.

The stunts we see in the film are impressive to say the least. The danger with a fifth entry, however, is that I’ve been impressed four times already. Whatever stunts are to come, I’m already expecting. And since I’ve seen these crazy stunts in four movies now, the effect is dulled before I even see it.

For instance, the big stunt people were excited for in this movie specifically was a sequence where Cruise is holding on outside of an airplane while it is taking off. Impressive as it was, it was the very first scene in the movie. Since I’ve already seen the trailer, I know Cruise survives this sequence, otherwise why would we even have a movie? How am I supposed to feel tension and excitement in a scene where I already know what’s going to happen?

The cast is appropriate, but ineffective. They serve the same roles they’ve done from other movies and that’s about it. How is Tom Cruise as Ethan Hunt? The same he’s been for four movies now. How is Jeremy Renner? About as good as he was in Ghost Protocol, except now he’s less interesting because he doesn’t have the investment and guilt he had in Ghost Protocol. Pegg is the same. Rhames is the same. The only characters that are different are the new characters, which includes its baddie played by Sean Harris and its discount Bond girl played by Rebecca Ferguson. Again, what do these characters have to offer that we haven’t seen before? The late Phillip Seymour-Hoffman did a better job manipulating and pushing Ethan past his limits in the J.J. Abrams-directed Mission Impossible III than Harris did in this movie. And Ferguson? Did she not see Emmanuelle Béart in her brilliantly deceptive performance in the original Mission Impossible?

I caught myself saying one thing over and over again during the film: “I’ve seen this before.” For a movie series that’s lasted past five films, that’s not a good thing. Funny, this movie is written and directed by Christopher McQuarrie, who is responsible for writing The Usual Suspects and Edge of Tomorrow and directing Jack Reacher, all films with their own unique interest and personality. Now he has made Mission Impossible: Rogue Nation, and like Ethan’s assigned missions, his movie blew up in my face after it gave me what it was supposed to.

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Aug 25 2015
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“MISSION IMPOSSIBLE: GHOST PROTOCOL” Review (✫✫✫1/2)

Pray for Tom Cruise’s sanity.

There is something seriously wrong with Tom Cruise if he is not pissing his pants while scaling up the world’s tallest building in Dubai. In Mission Impossible: Ghost Protocol, he shows he’s more daring by stumping a feat that he matched in MI2 where he free-climbed up a canyon wearing nothing but a safety harness. This time, he’s climbing up the Burj Khalifa building in Dubai, which happens to be the world’s tallest building at a whopping 829 meters. That’s the equivalent of three Eiffel towers.

What is wrong with him?

This feat, among others, demonstrates that Mission Impossible: Ghost Protocol is by far one of the most visually spectacular of all the Mission Impossible movies. It’s also one of the more entertaining ones as well. Like the other Mission Impossible movies, there is never a dull moment, and never a thrill wasted. There is appeal in every scene of every shot, whether it is a ridiculous chase/action sequence, a precise line of exposition, a humorous exchange of dialogue between characters, or Cruise pulling off yet another stupidly insane stunt that would probably kill anyone else. Mission Impossible: Ghost Protocol is the definition of great moviemaking.

Mission Impossible: Ghost Protocol takes place a few years after the events of the third Mission Impossible. Ethan Hunt (Tom Cruise), who was previously happily married to his wife, Julie (Michelle Monoghan), is now incarcerated and in a federal prison in Moscow, Russia. What he’s doing there, we have no idea. Not until later in the movie.

He is broken out of prison with the help of two IMF agents: agents Carter (Paula Patton) and Benji (Simon Pegg), who you would remember as the dorky, but funny, computer geek we saw in Mission Impossible III. They are ordered to break Hunt out of prison for one reason: assistance on an upcoming mission where they have to break into the Kremlin to discover the identity of “Cobalt”, a global criminal who intends to start an international nuclear war in order to issue a new era of peace. His idea is similar to Ozymandias’ in the 2009 film Watchmen: before humanity can be saved, there first needs to be something to save them from. That is, at least, what “Cobalt” believes.

Here is a film where the visual spectacle and design of the film overwhelms the story that is being told. In the two previous Mission Impossible movies, that was a weakness. Here though, I applaud it for its ambition in visual spectacle and for its audacity to impress the audience in sheer spirit and style alone. Besides the climbing of the Burf Khalifa sequence, I can name many other sequences that really impressed me, such as the prison break scene in Moscow, the breaking into the Kremlin, a chase scene between Ethan and “Cobalt” in Dubai, and a final spectacular fight sequence that takes place in a car lot in India. I was so impressed by all of these sequences that I went back to the theater to watch it again just for those scenes alone.

Don’t think for a second, however, that just because the story is secondary to the action, it doesn’t mean it cannot hold up on its own. One thing I was initially worried about with this movie was how it would handle being a sequel to Mission Impossible III, which I thought was a fine way to end the franchise on a happy note. How they tie that movie into this one is brilliant, and there are many moments where we can pick up what happened to Ethan and Julie in between the events of MI3 and Ghost Protocol. This is where the film’s emotional appeal comes from. Ethan is trying to recover from what happened with him and Julie in the past, and as husbands and lovers, we can sympathize with Ethan and his problems. It isn’t tear-wrenching, but it doesn’t need to be. It gets a response from its viewers, and it doesn’t need an explosion and a falling building to get it. As a movie that is action-focused, it impresses me that the movie focuses on all the areas that it needs to: not just the ones that will bring it the biggest bucks.

Cruise, of course, is as slick, cool, and crazy as he always is, and comes back to this movie with the same charm and charisma that made him an icon in the original “Mission Impossible” movies. Paula Patton, who is most known in supporting roles like “Déjà Vu”, “Precious” and recently “Jumping The Broom” plays here yet another supporting role who is just as effective in other movies as she is here. She is smart, ambitious, and incredibly passionate, who puts in everything she can into every shot. And, if I may say so, she looks damn good while doing it.

Two actors who I felt had great presence in the film: Benji, played by Simon Pegg, and a new character named Brandt, played by Jeremy Renner from The Hurt Locker. I loved both of them in this movie. If Cruise and Patton provided the action-packed, exciting moments in the movie, these two provided the comedic relief. I can remember countless lines of dialogue from them both that made me and everyone else in the theater laugh. One especially funny scene was basically a re-enactment of the iconic dangling scene from the first Mission Impossible movie. Was it exciting, suspenseful, and nerve-wracking? Yes, but Benj’s oblivious comments combined with Brandt’s agitated responses culminated for a very funny moment that started off very unnerving and heart-pounding. Few films have the capacity to be able to switch from one tone to another; this film does it with surprising efficiency.

Perhaps the most surprising thing about this film is that this is the director’s first live-action film. Director Brad Bird is famous for animated critical successes such as The Iron Giant, The Incredibles, and Ratatouille, but no live-action films prior to Mission Impossible. How was he able to make this and make it look so amazing? Mission Impossible: Ghost Protocol is visually spectacular, sharply humorous, and relentlessly spirited and invigorating. It may not be the best Mission Impossible, but it is definitely the best sequel.

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Aug 24 2015
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“MISSION IMPOSSIBLE III” Review (✫✫✫)

Your mission, should you choose to accept it. 

Finally, we can forgive Tom Cruise for the disaster that was Mission Impossible II. This is the perfect example of a solid action movie, a film that has suspense, excitement, romance, and intrigue: a Hollywood blockbuster that has a nice balance of everything you can ask for. There is a moment in Mission Impossible III where we feel for Ethan Hunt not as another movie action hero, but as a human being, who has emotions and worries that any other normal human being would possess. The way Cruise portrays him in this movie is very realistic. Think about it: if you were out there, stealing nuclear devices, kidnapping black arms dealers, and saving the world every ten seconds, wouldn’t you be worried about your wife who knew nothing of your double life back at home?

Apparently now retired, we catch former IMF agent Ethan Hunt (Tom Cruise) as he is happily engaged to Julie (Michelle Monoghan) a nurse who is studying to be a doctor. For once, Ethan is experiencing a sense of normalcy. He’s experiencing what it is like to be a husband, and what it is like to love. No explosions, no excitement, and no lives at risk. Ethan, for once, is just a normal guy who is in love with a beautiful woman. He is experiencing happiness.

Happiness for Ethan, however, doesn’t last long, and he soon finds himself shoved right back into the profession he wants to retire from. When told by his superior, John (Billy Cudrup) that Ethan’s apprentice, Lindsey (Kerri Russell) was captured and tortured by criminals while spying on black arms dealer Owen Davian (Phillip Seymour Hoffman), Ethan feels that he has no choice but to go back into the field so he can save his friend from certain demise.

This film, like the other Mission Impossible movies, sports strong performances. The cast is just as strong as any other movie, and I think you can argue that they are the strongest in this one. Cruise, for instance, doesn’t play a paragon of an action hero. Here, he plays a human being, flesh and blood, emotion for emotion, merely molded to look like an action hero. Despite his skills and experience, he can’t be everywhere at once. He can’t be with his wife and take care of her and go off to save the world at the same time.

At some point, whether he’d like to or not, he has to leave one world in order to take care of the other.

I however, wouldn’t leave Julie alone with a creep like Davian for a second if I had known he would pay her a visit. This dude seriously scares me. Phillip Seymour Hoffman, who is a very skilled actor, is perhaps the subtlest in this movie, and plays a ruthless criminal who is just plain mean, evil, cruel, and antagonizing. I have met few antagonists who are as patronizing and as threatening as this guy is. Here is a guy that puts many other movie villains to shame, including those in the first Mission Impossible. Here is a guy who scares you just by staring bleakly into your eyes. He doesn’t need to speak to you: his eyes do all the talking, the eyes that say that he’s going to kill the person you love most, and he’s going to do it in front of you while you’re watching.

This film doesn’t go as deep into those politics of things as some may like it to, but I don’t think it is necessary. Mission Impossible III is fun. I say that as a simple statement, but there is nothing simple about this movie. This movie has earned the title of Mission Impossible from the stunts and visuals alone. I can easily name eight scenes on the top of my head that truly impressed me. Perhaps the most memorable moment for me was an assault between IMF agents and trained ex-military assassins on a bridge near New York. This scene was nerve-wracking, exciting, and worrisome for multiple reasons. Perhaps the biggest is because everything was happening all at once.

Cars were blowing up. Pieces of the bridge were falling apart. Innocent people were caught confused and afraid in the crossfire. Agents were getting shot. Assasins were breaking a prisoner out of an armed jeep. And here is Ethan, running around, avoiding gunfire and explosions, trying desperately to grasp the situation and take control of it. The reason this movie is so successful is because, like the other movies in this series, they push the limits of what they can achieve. There is not a single moment in this film where a thrill is wasted. It’s all there, and it is just as effective as it was in the first Mission Impossible.

The action overwhelms the plot a little bit in the third act of this movie, but other than that, the film is almost perfectly balanced. Director J.J. Abrams and screenwriters Roberto Orci and Alex Kurtzman have found a nice combination involving stellar action sequences, funny dialogue, memorable characters, and heartfelt emotion. Have I mentioned before how I hate emotionless action movies? I have no complaint with Mission Impossible III. Its heart is in the right place, and it knows its characters as well as its action. That’s a rare treatment for action movies. It’s a treatment that should be given to them more often.

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Aug 22 2015
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“MISSION IMPOSSIBLE II” Review (✫✫)

So ridiculous, it can only happen in a movie.

I wonder what it would be like to write action scenes in a screenplay. Not briefly, mind you, but over an extended period of time. We are so used to these action movies that contain nothing but wall-to-wall action, violence, exploding, shooting, stabbing, kicking, punching, and body-dropping all over the place. Few of those movies have worthwhile plot or dialogue to them, which are the main tools a screenwriter uses when writing their screenplay. I imagine writing an action movie for them would be a nightmare. There’s nothing interesting to write about except for who dies next.

I feel especially sorry, then, for screenwriter Robert Towne, who is normally known for his smart, driving plots found in movies like Chinatown, The Firm, indeed, even the first Mission Impossible, now stuck to writing about nothing but explosions, gunfire, broken bones, ribs, limbs, and jaws, with a little twinge of intrigue placed somewhere in this muck of explosions and action. Mission Impossible II is not the movie that the first Mission Impossible was. The first Mission Impossible had memorable characters, iconic situations, and an in-depth and mysterious plot that kept your interest for every second of that movie. Its sequel Mission Impossible II has nothing the first one had except for its action. The characters, while likable, are also disposable, and lack any emotional conviction to make me really care for anyone for a long period of time. The plot is utterly pointless. Like this movie, it exists only to provide reason for the action, rather than the other way around.

MI2 follows agent Ethan Hunt’s (Tom Cruise) pursuit of an ex-IMF agent named Sean Ambrose (Dougray Scott), who is impersonating Hunt through the same face-masks from the first film. What is Ambrose after, and what does Hunt’s identity have to do with it? He is after a harmful chemical known as “Chimera”, a terrible virus that infects the host in a matter of hours, takes his cells, eats them, and kills the host as slowly and painfully as possible. The doctor who made this is named Vladmir Nekhorvich (Rade Serbegija), and he has been a close friend of Hunt’s for some unknown period of time now (Although he keeps calling him “Dimitri”, for some  reason).

This film is directed by John Woo, who is mostly known for his ridiculous, overly-long, overly-explosive action scenes in his movies. His action scenes are so ridiculous, that he makes Michael Bay shrivel up in his seat. This movie is no exception. Mission Impossible II is just as explosive, outlandish, insane, exhilarating and visually stellar as any other John Woo movie is, and that includes movies such as Broken Arrow and Face/Off.

On one hand, this is a good thing, considering Woo makes some incredible action sequences at some moments in this movie. I remember one scene where Tom is fighting off countless professional assassins in a chemical building while trying to destroy a sample of “Chimera” in the process. That gunfight was insane. Cruise was fighting off countless assassins with grenades, Uzi-Subs, and M-104’s, and what does Tom have to fight off against them? A pistol. It is these impossible odds that stacks up the action scenes to incredible heights, and makes for very entertaining, exciting moments in this movie.

Unfortunately, Woo focuses too much on the action. The difference between this film and his earlier film Face/Off is that Face/Off had a smart, original, and fascinating plot, while Mission Impossible II just copies elements from other action films. Stop me if you’ve seen any of this before: A) A Bond-type action hero that beats bad guys to a pulp and always gets the girl, all while looking incredibly sexy to the female audience with his long hair flowing freely in the wind, B) The hero falling madly in love with a woman who is just as sexy to the male population as the hero is to the female, C) The hero eventually having to rescue the damsel from distress, D) The sinister villain is introduced and narrates a plan so ridiculous, it can only happen in movies, E) An excruciating length of a 40 minute action sequence takes place, F) The villain dies at the end of the movie, and G) The hero and his lover kiss at the end of the movie and walk into the sunset in a “Happily Ever After” kind of concluding tone.

Could that entire paragraph be technically considered a spoiler? No, it can’t, because we’ve all seen that movie before. Is it really so surprising that the villain dies, and the woman is saved from danger at the end of the movie? Is it really so shocking? You might enjoy seeing the same thing over and over again, but I can’t stand it. I can’t stand movies that have a method to it. I can’t stand movies that follow formulas. Granted, I don’t want a movie where the villain lives and the hero dies with his love next to him, but geez, throw something unpredictable in there. Action without point is no action at all. It is just headaches.

That’s not to say that the strong points still don’t hold up to what we expect them to be. I already said the action is amazing, and it is. The music has definitely improved from the last movie, and Hans Zimmer inserts a nice rock twist to the famous theme that made the series iconic by right. Cruise especially shines in this movie just as much as he did in the first movie. In the first sequence he’s introduced in, Cruise makes an impossible rock climb over a canyon in nothing but a sleeveless shirt and a waist pouch with gripping dust in it. Remember something here: that’s not CGI, and that’s not a stunt double. Cruise is doing his own stunts, meaning he actually free-climbed up this deathly-high slab of rock. I think he secretly has a death wish for pulling off stunts as stupidly risky as this, but I hold my respect to him for having the audacity to even think about pulling off a stunt like that. It is moments like that that really impresses the audience, and what I think, makes Cruise a very credible and successful actor. He’s willing to pull off whatever he can in order to impress the audience.

But the strong points of this film pales to the weaknesses. Mission Impossible II is all style, and no substance. It has plenty of action, explosions, and body counts to overwhelm you with, but it lacks interest and consistency in between the action scenes with its stupid dialogue, and its plot that is as incredulous and predictable as any other action film can be. I’ve said before that I don’t mind action films as long as they are good ones. This is an ambitious one, but it’s too similar to other action movies to say it’s a “good” one. In the end, this movie to me is like a magician trying to con you at the circus. He shows off its tricks to you, but when he’s done, he turns and says to you “Sorry kid, no refunds”.

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Aug 22 2015
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Reviews

“MISSION IMPOSSIBLE” Review (✫✫✫✫)

Your mission: survive.

Now this is what an action blockbuster is supposed to be: smart, exciting escapism entertainment that makes its audience think rather than overloading them with special effects. Mission Impossible is pure fun, starting with its intelligent, masterful plot, and carrying itself through with state-of-the-art special effects, credible acting, and relatable characters that have a purpose in the conflicts they are going through. You don’t have that many movies where the characters are as fleshed out as the action is.

Mission Impossible follows the perspective of a young agent named Ethan Hunt (Tom Cruise) who works for a secret agency known as the IMF. His leader, James Phelps (Jon Voight), is given a mission to capture a fugitive who is after the “Noc List”, a file that categorizes every IMF agent working undercover in the field. If the Noc list ever got into criminal hands, many IMF agents’ lives would be in danger.

That’s where Phelps and his team come in: their mission is to capture this thief on-camera stealing the Noc list, follow him to a meeting with his buyer, and apprehend the both of them.

The mission goes desperately wrong. One by one, Ethan’s team is killed off, and Ethan is the only one to walk away. Now, IMF believes he is a traitor because the thief got away from Ethan Scott-free. Now alone with no backup and no resources, Ethan has to not only recover the Noc list, but also find out who is responsible for his team’s mission failure, as well as clear his name for the crimes he didn’t commit.

Here is a spy movie lived to its fullest. Going undercover in tuxedoes and bow ties while sipping martinis and champagne, these spies use their wits, not their weaponry, to outsmart their foes. And their weaponry itself… dear lord. They utilize such a wide array of complicated spy equipment that would floor anyone who would just take a glance at them. What we have here isn’t just guns, pistols, and radar jammers: we also have trip wires, laser security, balance beams, harnesses, suction gloves, and these latex masks that allow agents to copy the facial features of another person. There is a lot of spy tech and gear for the characters to play around with in this movie, and boy, do they play around with it.

With such tools at a spy’s disposal, you can only infer how good the action looks. They are as explosive and action-packed as a James Bond movie is, and as exciting and surreal as a Tom Clancy thriller. Here is a movie that holds nothing back. It lets loose freely in its field of CGI and special effects, and the result is the most spectacular because of it. I can recall a few moments in this film that can be called iconic by right. My favorite, interestingly enough, has to be one of the film’s most quiet moments: an espionage scene where Ethan is slipping into a room that has motion sensors, pressure sensors, audio sensors, laser sensors, really anything with the word “sensor” in it. This is the scene where the movie earns the right to call itself Mission Impossible, because that’s exactly what this mission is: impossible. Except for the fact that Ethan and his team pull it off.

But action without plot is like frosting without the cake. I’m a picky viewer. For me, there needs to be a reason, and a good reason, for all of the action and explosions to be taking place in the film. Mission Impossible is a different action movie because of this. Its plot is complex, deep, deceptive, weighty, and manipulative, a plot that twists and turns and scurries about in all directions all while maintaining its narrative and purpose in a consistent, healthy flow. I expect many viewers will be confused and irritated by how much writer Robert Towne is making them think. They need to step back and actually analyze the movie they’re watching for a change. Mission Impossible is well worth the analysis. This is a movie that doesn’t cheat, and it doesn’t rob you of anything from this experience.

There are few movies I have seen where the plot and the characters match the appeal already provided by the special effects and explosions on the screen. Here is a movie where the story exceeds the visual effects. Director Brian De Palma utilized this film’s premise to its fullest, and gave actual meaning behind the plot and the spectacular action sequences we see in this movie. Here is a film that is truly one of its kind. It is perhaps one of the best action films I have ever seen.

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Aug 18 2015
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Reviews

“FANTASTIC FOUR” Review (✫)

Not so fantastic.

That’s it. I give up. We will never have a good Fantastic Four movie in this lifetime that will do Marvel’s first superhero family justice. We have had four live-action bouts with the Fantastic Four now. The first one was never theatrically released. The next two installments was campy melodrama that should have premiered on SyFy. Now we have the newest reboot, and it’s safe to say this movie deserved the fate that the first movie suffered from.

The Fantastic Four team consists of Reed Richards (Miles Teller), Ben Grimm (Jamie Bell), Johnny Storm (Michael B. Jordan) and his adopted sister Sue (Kate Mara), with the third wheel being Latverian computer whiz Victor Von Doom (Toby Kebbell), who is an anti-social douchebag that is spoiled, rotten, selfish, privileged, and self-obsessed. King Joffrey from “Game of Thrones” is more well-mannered than this POS.

If you know anything ever about Marvel movies, you know the formula. Person X gets caught in an accident. Person X gains super powers. Person X struggles with said powers. Person X eventually learns to control them, fight the obviously-labeled baddie, and then commits himself to a life of fighting crime. The only difference between Fantastic Four and the other Marvel formula movies is that it’s more obvious with this film. And it’s persons instead of person.

In hindsight, Fantastic Four is not easy to adapt into film. For one thing, their powers are so complacent. A rubber man, an invisible woman, a human torch, and a rocky troll is not the ideal superhero team I would line up to see. The other problem, though, is their comic book origins. Compared to other heroes such as Spider-Man, Daredevil, Iron Man, and Captain America, the tone with the Fantastic Four comics is much more lighthearted and even comical. Be honest: can you even keep a straight face with a name as silly as “Fantastic Four”?

All the same though, the concept doesn’t matter as much as the payoff. This movie could have worked. The members of the Fantastic Four have vibrant personalities and character traits that make them both memorable and likable. That’s the reason why Marvel’s first family has survived all these years: it’s because they’re enduring. People relate to them, and despite their meta-human circumstances, their problems and emotions with each other are all human.

We didn’t relate to them as superheroes. We related to them as characters.

That’s a problem for this movie, though, because this movie neither has personality or character. Good lord, where do I begin? When the lineup for this movie’s cast was announced, I was skeptical at first, and I was right to be. Not only can none of the actors hold the screen presence on their own: their chemistry with each other was disastrously non-existent. The cast didn’t even seem to really care about their roles. Every half-hearted expression, every line of dialogue and every motion seems disinterested and bland. Nothing works when these actors are on the screen together.

Teller, for instance, is an atypical and complacent scientist character, a step down from his bravado performance full of passion and drive in last year’s Whiplash. Kebbell is just as forgettable as Teller is, except he’s more of an asshole about it. Mara is beautiful but witless, her character cluelessly wandering about as if she’s there just so the studio can say they’re gender diverse. Michael B. Jordan, who is a standout in movies like Chronicle and Fruitvale Station, appears here just so the studio can say they’re racial diverse.

Side-note: I’m all about racial diversity in movies, but if you’re going to cast two actors as siblings, at least have them be the same race. Saying Mara’s character is adopted doesn’t count as being diverse. It’s an obviously cheap effort to be labeled “racially diverse.” If you genuinely want to be racially diverse, recast everyone as African Americans. Don’t put in a half effort.

But out of all of the actors, I feel the most bad for Jamie Bell. He’s not even on the screen for most of the film: he’s replaced with this ugly gargoyle reject that looks like a combination of John Cena with a pile of rocks. I’m not even kidding, he looks freggin’ horrendous. What were the visual effects artists thinking with this? I get that Ben Grimm is supposed to be this big, ugly figure, but not this ugly. Not the kind of ugly that makes your vomit turn inside out, then go back into your stomach. It offends me to think that Bell was basically thrown into the tracking suit and have his performance replaced by this ugly CGI creation. With the other cast members, they at least have the opportunity to give a convincing performance before they fail. Bell isn’t even given the opportunity to fail. His performance is canned the minute the visual effects artists placed a 3D model over him. You could have cast a stunt double in this same role and get the same result from it: a big, bulky figure that just stiffly sits and stands like he has to go to the bathroom really bad. I haven’t seen a CGI creation this putrid since the Teenage Mutant Ninja Turtles from last year.

The movie’s flimsy, indistinct plot is just as bad as anything else is. What is the plot of this movie? Four people get superpowers, mope about it for a few hours, then have their final battle 20 minutes before the movie ends. That’s it. There’s no character building here, no heart, no humor, no unique elements or surprises to this film that makes it stand out from the standard superhero fare. The Avengers was just as fun, if not more so, for its characterizations and dialogue as it was with its action. Guardians of the Galaxy was wacky, clever, in-cheek fun that had a blast roasting itself. Shoot, even the original Fantastic Four movies had more charisma than this. This movie was so downtrodden, so serious, and so stupidly depressing that I felt like I was watching gothic fan fiction of the Fantastic Four. If you thought Man of Steel was too dark for a superhero movie, you haven’t seen Fantastic Four.

This is a disinteresting, joyless, illogical, poorly acted, written, produced, and directed experience. The cast must have heard the film’s whimsical title and wondered if they were on the wrong set.

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Jul 27 2015
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Reviews

“PAPER TOWNS” Review (✫✫✫1/2)

Just a paper boy living in a paper town.

The frames we see in Paper Towns are the stuff of fantasies, the kind that we think about and dream of late at night in our bed while staring at the ceiling. It’s hard to look at this movie and not relate it to our own experiences in high school, in first love, in friendship, and in self-discovery. At one point, I was watching the movie and wondering if I was watching someone else’s story, or my own.

If we are watching someone else’s story, that someone is Quintin “Q” Jacobsen (Nat Wolff), a regular high school student with regular friends, regular parents, regular life, and regular post-graduation plans. Just about everything is regular to Q except for one thing: Margo Roth Spiegelman (Cara Delevingne), the girl on his block that he’s been in love with since they were kids.

Q and Margo are the epitome of opposites. Q is shy and introverted. Margo is confident and extroverted. Q likes to play it safe. Margo likes to take risks. Q likes to look ahead and plan for his next step. Margo thinks not knowing where you’ll end up is the most fun part of anything.

One day, Margo completely vanishes. Her parents, her friends, nobody knows where Margo may have gone. As time passes, however, Q discovers clues Margo left behind for him to discover. A piece of paper in his door. A page torn out of a map. Writing on an old gas station wall that reads “You will go to the paper towns, and you will never come back.” Now convinced that Margo wants him to find her, Q starts piecing all of the clues together to find out where she has gone to convince her to come home.

The second of John Green’s novels to be adapted to film (with the first being last year’s The Fault In Our Stars), Paper Towns is a truly unique and invigorating experience, refreshing in its comedy, in its drama, and in its truth. It reminds me so much of The Fault In Our Stars, and yet, it’s so different from it too.

I’ll start with the best thing from both movies: the characters. Green’s novels have such a unique way of making ordinary characters extraordinary, and that’s just as true with the movies as it is the books. Margo is a spur-of-the-moment, lively and rebellious teenager who serves as more or less an enigma of what adventures high school students fantasize about and aspire to. She’s almost too ecstatic to be believable as a character, and that’s exactly the point. As Q says it best in the movie, “It’s so silly, it can only be true.”

The moments where she takes Q on her midnight adventures are probably some of my favorite scenes in the movie. While Margo was pushing Q to get out of his comfort zone, I was reminded of a scene between the two leads from Martin Scorsese’s 2011 film Hugo.

Isabelle: We could get in trouble.

Hugo: That’s how you know it’s an adventure.

Every other supporting character is just as interesting and likeable as Margo is, however less mysterious. Q’s friends, Radar and Ben (Justice Smith and Austin Abrams), are the mischievous sort that talk about high school rumors and made up sex stories just like immature high school students do. Halston Sage portrays Margo’s best friend Lacey, and while she’s convincing and bubbly in the role, she’s a little too old to convincingly look like she’s still in high school. Most of the younger cast is ages 18 to 20. Sage is 22.

The one that most impresses me is Nat Wolff. Originally a supporting character in The Fault In Our Stars, here Wolff transitions front and center as the lead role in Paper Towns. His versatility as an actor is pitch-perfect here, portraying all of the joy, excitement, angst, ambition, and confusion a teenager has during his high school years. Actors in these roles tend to overplay them, either with an over exaggeration of joy or sadness. Not Wolff. Hearing him crack his voice or watching his eyes tear up gets more of a reaction out of me than the overabundance of tears and sobbing we get out of actors who overdo it in other movies. Wolff plays his role convincingly without overdoing it. He doesn’t miss a note.

Everything else in the movie is primed to near-perfection. The comedy is fresh and wholehearted without being on-the-nose or over-the-top. The drama is grounded and believable, and hits on issues that most teenagers experience on the verge of growing up and moving on to college. The only minor complaint I would have with the movie is that some of the plot elements seem so out there for teenagers under 18, but the movie addresses that near the end of the third act.

All in all, Paper Towns does what its supposed to and when its supposed to do it. It made me laugh abundantly and uncontrollably. It made me choke up and quiver. It made me intrigued and interested. And it made me eagerly happy and excited, not unlike the excitement these characters experience with each other throughout the film. I may have been too much of a romanticist while writing this review, but I’d like to think Green was one while he was writing the book. The movie delves into both the truths and fantasies of growing up. Just because not everything happened, doesn’t mean it’s any less real.

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