Tag Archives: Science-fiction

“GUARDIANS OF THE GALAXY VOL. 2” Review (✫✫1/2)

SOURCE: Walt Disney Studios Motion Pictures

With a little “g”.

Guardians of the Galaxy is irrevocably stupid. Whether you’re a fan or not, this is generally considered consensus among viewers. This is a superhero movie filled with wise-cracking bounty hunters, green-skinned assassins, talking trees, raccoons, and even ducks. If you had told me about a movie like this 10 years ago, I would have laughed you off and said “Leave me alone, I’m trying to watch Spider-Man 3”.

And yet, Guardians of the Galaxy became an instant classic: a surprise hit nobody was expecting. That’s because writer-director James Gunn found an impeccable balance between action, humor, wit, drama, and in-cheek satire only the most passionate Marvel fans could catch. Guardians wasn’t just a great superhero movie: it was a great movie period. It’s energy, originality, and irresistible sense of style breathed life into its absurd premise, playing well on its strengths while downplaying its potential weaknesses.

Guardians of the Galaxy Vol. 2 has all of the elements of the first movie, just more haphazardly assembled. The action is still great, the cast remains phenomenal in their roles, and Gunn is equally skilled in throwing in some entertaining Easter Eggs every once in a while. But the tone is off. The jokes don’t land as much. The emotions don’t hit as hard. And no matter how you slice it, Vol. 2 is just a lesser version of Vol. 1. Disappointing, but not surprising.

In this sequel to the star-studded sci-fi blockbuster, Peter Quill, a.k.a. Star-Lord (Chris Pratt) discovers the identity of his father: a celestial that has lived for ages called Ego (Kurt Russel), an appropriate name considering his high-strung personality. After saving the guardians from an attack by the Sovereign, a gold-plated alien species that would make Ebenezer Scrooge drool in his seat, Ego reveals himself to Peter and invites him to his planet so that they could bond as father and son. Joined by Gamora (Zoe Saldana), Drax (Dave Bautista), Rocket (Bradley Cooper), Groot (Vin Diesel) and newcomers Yondu (Michael Rooker), Nebula (Karen Gillan) and Mantis (Pom Klementieff), the Guardians of the Galaxy set out to discover Peter’s true heritage and to see where his destiny may lie.

When Vol. 2 opens up on its first scene, I was immediately reminded of the fun, unorthodox energy sprouted from the first film. Pratt’s charismatic swagger, the catchy and toe-tapping 70’s music, the obnoxious and absurd action, even a miniature Groot was dancing to the tune of “Mr. Blue Sky” while the rest of the Guardians were busy fighting a giant space monster in the background. If this first scene was anything to go by, it was that Gunn still had his sense of style intact and he was ready to follow through with it to the end of Vol. 2.

He does in a way, but it isn’t without its inconsistencies. There is a lot to like here in Vol. 2, mostly having to do with the cast. Pratt and Cooper remain to be the best performers out of the other Guardians, and their spontaneous and quick-witted lines made me laugh and chuckle at their on-screen antics. Kurt Russel has a charismatic intensity that vibes very well with Pratt, and at comparing the two side-by-side, it’s easy to see how their characters are related. Gillan also gets more screen time as Nebula, and Gunn fleshes her out as a more well-rounded character complete with her own fears, apprehension, and regrets. Gunn has previously stated that Nebula is a strong enough character to warrant her own movie. After watching Vol. 2, I can totally see that happening and would be curious to see where exactly Gunn could take her.

These performances alongside the others make for a very strong ensemble, the likes of which hasn’t been seen since last year’s Captain America: Civil War. Yet the characters and their motivations struggle to mesh and at times lack sense altogether. Yondu, for instance, is painted here as an almost-fatherly figure to Peter, juxtaposed right alongside Ego in their differences for how they raised Peter. Yet in the first Guardians, Yondu is the complete antithesis of Peter, a ruthless criminal that was fully intent on killing Quill for betraying his ravagers. How does it make sense that Yondu was dead-set on killing Peter in the first movie, whereas here he’s flipped to being more protective and even concerned? One could argue it as a change of heart, but that doesn’t make any sense. Where did that change come from? What was the inciting incident? Why now after Peter betrayed Yondu not once, but twice?

There are other things that don’t work as well in the picture. The Sovereign are not very interesting villains and serve little purpose except to look shiny on the big screen. There’s a running gag with Rocket where he keeps winking out of the wrong eye while speaking sarcastically. I’m left wondering how a cybernetically enhanced raccoon could not know the difference between his left and right eye. And some of the dialogue was just too stupid to forgive. In the climax of the film, Peter yells to the movie’s villain “YOU SHOULDN’T HAVE KILLED __ AND CRUSHED MY WALKMAN!” I’m thinking the person or the Walkman, pick one and stick with it.

Overall, Guardians Vol. 2 is a decent addition to the Marvel universe, but not an outstanding one. It’s just sort of there to hold us by until we can get to Spider-Man: Homecoming later in the summer. Yet I remain sympathetic towards Gunn because he was betting against expectation for this installment. Nobody was expecting Vol. 1 to be as great as it was: it just came out and subverted the entire superhero genre in a fun and stylish way. Following up from the surprise that was, how can you fairly expect Vol. 2 to have the same impact? You can tell Gunn invested a lot of heart and humor into this story: he just invested it in some of the wrong areas. What can I say? Even the classics can let us down sometimes.

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“ROGUE ONE” Review (✫✫✫)

With a sequel titled ‘A New Hope.’

If anyone ever tells you that making a prequel is lazy filmmaking, show them Rogue One as evidence to the contrary. This is an exciting, riveting, action-packed Star Wars prequel, filled to the brim with nostalgia and passionate love for the originals. With a few quick rewrites and some tighter editing on the action, this could’ve turned from a good prequel to a great one. Maybe even comparable to the originals.

Taking place directly before the events of Star Wars: A New Hope, Rogue One follows the rag-tag team of rebels who discover the Death Star plans and are committed to bringing them to the rebel army, henceforth setting up the events for the original trilogy. These rebels include newcomer Jyn Erso (Felicity Jones), whose father had a direct hand in creating the Death Star, rebel Cassian (Diego Luna), defected empire pilot Bodhi (Riz Ahmed), heavy arms aficionado Baze (Jiang Wen), temple guardian Chirrut (Donnie Yen), and defected empire droid K-2SO (Alan Tudyk).

This team of misfits are expected to go up against the empire, Darth Vader himself, and commander Orson Krennic (Ben Mendelsohn) to steal the Death Star plans and send them on a rendezvous mission to the rebel army. So. You know. No pressure.

Right off of the bat, I need to praise the film for its buildup. Since this is a prequel and we already know how the original Star Wars begins, we can safely assume that most of the characters don’t make it out alive by the end of the film. While Rogue One more or less follows the route that you expect it to take, what’s surprising is that we’re actively engaged and invested in the action while it’s happening on screen. That’s because these are fully fleshed out and realized characters, their personalities and motivations established early on and following through until the movie’s inevitable conclusion.

When you watched the original Star Wars movies, weren’t the characters the best part in every scene? Didn’t you fall in love with Luke’s sense of adventure, Han’s rebellious swagger, Obi-Wans quips of wisdom, Darth Vader’s foreboding presence, and C-3PO’s clunky awkwardness? Here we have a new lineup of characters to admire and appreciate, and while they may borrow some qualities from other characters, their appeal is their own and it stands strong alongside the rest of the Star Wars cast.

Jyn, for instance, is another strong heroine type, a go-getter kind of woman not unlike Rey from The Force Awakens. Chirrut is a character as quirky and wise as Yoda himself is, and even though he isn’t a jedi, his conversation regardless lends to the film’s more fun and thoughtful moments. My favorite character easily lies in the quippy and sardonic K-2SO, who can be seen as a more condescending version of C-3PO. His entire character can be summed up in one line that he utters: “I will fight with you. The captain said I had to.”

There are two things that stand out exceptionally in Rogue One: the visual effects, and the cameos. Any time my jaw dropped in the film, it was from one of those two things. We expect the visuals to be impressive in the action scenes alone, and rest assured, they don’t disappoint. The blaster fights, the AT-AT’s, and the space battles are as grand as they ever were, and they flash you back to the first time you saw the iconic Death Star battle in the original Star Wars movie.

But that’s not even the full display of this film’s visual effects. With certain cameos, CGI is layered over the actor’s faces to make older characters look younger. This has been done to many actors before, including Jeff Bridges in Tron: Legacy and Arnold Schwarzenegger in Terminator Salvation. Here though, the CGI is so detailed that it doesn’t even look like computer imagery. It looks like actors who are 60 years or older have suddenly reappeared as their younger selves, giving the same performance they gave 30 years ago. Try to imagine, for instance, if Han Solo were in this movie. We saw Harrison Ford’s 70-year old self in The Force Awakens last year. Imagine your surprise if he reappeared here 30 years younger, back to his original self at the start of the trilogy.

That is how impressive the visual effects are in this movie. If you don’t believe me, wait until this film’s last cameo near the end. Their appearance was so mind-blowing that I had to rub my eyes and be sure that I was seeing correctly. I was.

I like a lot of things about this movie. The characters, the action scenes, how the film intelligently relates itself to the original trilogy. There’s a lot to admire here both as a Star Wars fan and as a movie fan. In that regard, I was impressed.

There are, however, a few slip-ups that count against Rogue One’s achievement. For one thing, there’s the pacing. While Rogue One has a good buildup in its second and third acts, it takes too long to get there. The first act specifically drags on for too long and takes too much time to introduce these characters, feeling more like a setup than a story.

I understand that setup is needed to introduce these characters and understand their motivations for being there. Still, couldn’t you have cut corners in appropriate areas to make the story more concise? At the beginning of the film, only two of the Rogue One members are rebels. The rest are either recruited into the cause, or defect from the Empire into the rebellion. Wouldn’t it have been simpler if they all just started off as rebels, weary and exhausted from years of resisting the empire? It would have set the conflict up quicker, and we wouldn’t have to waste so much time on why each individual member joins the cause. The fact that most of the Rogue One members are new recruits slows the film down immensely, and the film never really picks up speed until much, much later than is necessary.

And the final battle sequence, while impressive, is also too long. Simply put, there’s too much going on in this scene. First, there’s Jyn and Cassian’s race against time to get the Death Star plans. Then there’s the beach battle on the ground against rebels and stormtroopers. Then there’s K-2SO’s firefight, then there’s Chirrut’s fight, then Baze’s fight, then Bodhi’s fight, then there’s what’s going on at rebel control, and blah blah blah blah blah. It’s too much. I understand there’s a lot building up to this point in the film, but you could have safely shaved off 15 minutes from this sequence and have a more exciting, and efficient, climax. This movie is two hours and 10 minutes long. With all of the added material in it, there’s no reason why it couldn’t be an hour and 50 minutes.

Still, Rogue One is a blast, and it adds plenty of mythology for the expanded universe and for the joy of any Star Wars fan out there. In the past, the word “prequel” made fans shudder at the thought of the earlier films, including The Phantom Menace and Attack of the Clones. I think Star Wars fans can breathe easier knowing that Rogue One is out there.

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“STAR WARS EPISODE I: THE PHANTOM MENACE” Review (✫)

Yousa in big doo-doo dis time.

Never again. Don’t ever let this happen to Star Wars ever again. When Star Wars Episode I: The Phantom Menace was announced, George Lucas’ fan base exploded with excitement, preparing themselves to witness the beginning of Anakin Skywalker’s story before he became Darth Vader. Oh, are they going to be disappointed. This movie is every bit as stupid as the title sounds and then some.

Dating back 32 years before the events of the original Star Wars, The Phantom Menace finds the elder Ben Kenobi as the young padawan understudy Obi Wan (Ewan McGregor), serving under his master Qui Gon Jinn (Liam Neeson). They are assigned by the jedi order to defend Queen Amidala of Naboo (Natalie Portman) from the vicious Trade Federation, a group of long-necked, bulgy-eyed aliens that are so bloated and ugly that a Jim Henson puppet would be mortified.

The Jedi meet an assortment of characters along their journey. A younger, more polished R2-D2 sits aboard a Naboo space ship. A C-3PO without any outer plating (or as he likes to call it, being “naked”) wobbles around in a tiny Tatooine hut. A clumsy, idiotic gungan named Jar Jar Binks (Ahmed Best) bumbles and falls everywhere like a ragdoll. And, of course, a young boy named Anakin Skywalker (Jake Lloyd) wanders around the dusty sands of Tatooine, illustrated here as a messiah-like figure to the force and the galaxy.

When I watched Star Wars many years ago as a small boy in Brownsville, TX, the thing I fell most in love with was its characters. The adventurous bounty hunters and princesses, the wise jedi, the noisy droids, the sinister sith, all of them enchanted me with their uniqueness and peculiarity. So many sci-fi epics rely too much on special effects to provide their spectacle. With Star Wars, the humans, aliens, and droids were the spectacle, and the groundbreaking visual effects complimented their presence without taking away focus from the story.

The characters were the best thing to come out of the original Star Wars trilogy. They’re the worst thing here. Oh my God, are they the worst thing. These characters are so bland, dull, and uninteresting that they could have all been replaced by droids and we wouldn’t have noticed the difference.

Take Liam Neeson as one victim, err, example. Here we have a fine actor, demonstrating his finesse in performances for movies including Darkman, Michael Collins, and Schindler’s List, the last of which earned him an Oscar nomination. In all of those movies, he has demonstrated an ability to express fear, anger, disappointment, courage, heroism, and earnest in both big, showy scenes and small, personal ones. Yet here, his ability as an actor is almost completely erased, being asked to throw on robes and swing around a lightsaber in the place of a performance. We have nothing from his character to make us remember or even care about him. He has one, cold-hard emotion throughout the film, and that emotion is serious. There is nothing else about him to make him either fun or fascinating, not in comparison with the charisma and calmness we got from Alec Guinness in the original series.

But Neeson is not the worst part of the movie. Indeed, he is only one victim among an entire assembly line of failures. Portman is plastic and looks like she doesn’t know why she’s on the set. McGregor is functional, but doesn’t demonstrate much purpose beyond linking this movie together with the original. I’ll cut Jake Lloyd some slack since he’s only a child actor at 10 years old, but I will say he did nothing to service his role and make me believe he’s supposed to become the most feared force in the galaxy. That’s not as much his fault as it is others though. I’ll come back around to that in a bit.

The biggest catastrophe in this movie is Jar Jar Binks, and he’s so damaging to the picture that I have to dedicate two paragraphs to his stupidity. He’s supposed to serve as the comedic relief, but believe me when I say there’s nothing comedic about this cretin. He bumbles and trips everywhere like a drunken idiot, speaking in nonsensical English so distorted that it would make Yoda want to take grammar lessons. “Ooey mooey”, “mesa” and “yousa” are not beyond his flawed vocabulary, and his voice is so whiny and high-pitched that it makes me want to strangle him by his flappy ears.

Compare Jar Jar to 3PO, a successful attempt at comedic relief in the series. 3PO is funny because he tries to be serious and fails. Jar Jar tries to be funny and comes off as annoying. If 3PO tripped and fell on himself as often as Jar Jar did, he would dent up his entire body plating and probably damage his processing core. Maybe that’s what happened to Jar Jar: he fell on his head so many times that he forgot how to use it.

Despite my hatred of all of these characters, I don’t blame the actors for their representation. I blame writer-director-creator George Lucas, who arguably had the most involvement in this film as opposed to the previous ones. How could he have misfired with this film so badly? 20 years ago, he gave cinema some of its most cherished characters, and now, he’s given cinema some of its most hated. With the imagination and the ambition he’s committed to the sci-fi genre for years now, I cannot explain how badly he’s written and directed this cast except for sheer lapse of judgement. There’s no other reason to explain how dull and uninteresting these characters are, or how moronic and insipid Jar Jar is.

What of the visual effects? The cinematography? The editing? The score? Read my previous reviews. You know what I think of them. A potentially good movie can be produced poorly, but likewise, a bad movie can also be produced wonderfully. Star Wars Episode I: The Phantom Menace is some of the best-looking garbage you’ll ever see. To quote one of Jar Jar’s companions in the movie: “Yousa in big doo-doo dis time.” In English, that means you’re in deep… well, you know.

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“SUICIDE SQUAD” Review (✫✫✫)

Worst. Heroes. Ever.

If you do not like superhero movies, do not watch Suicide Squad. I’m warning you now. It’s a haphazard, off-the-wall, ridiculous superhero/villain exercise that is psychotic and gleeful in every way imaginable. I highly doubt that your chess club or church study group would enjoy seeing this movie. To enjoy it is possible, but it has to be from a fan of the material.

I myself am a fan superhero movies, but only when they are confident and competent with their vision and purpose. DC’s earlier Man of Steel was one of those movies, and while many spoke out against the controversial changes to the character, the movie at least understood those changes and how importantly they played into the greater mythos of Superman. The more recent Batman V. Superman: Dawn of Justice, comparatively, was neither confident or competent, hopping around everywhere, having no clear focus or clarity, and was more interested in setting up its future installments rather than developing its current story or characters. If you are looking for the potential of superhero movies, you need look no further than DC’s own successes and failures. 

And yet, Suicide Squad doesn’t fall anywhere between being masterful or disastrous. It finds solid middle ground between action and absurdity as its villains fight, shoot, punch, breathe, feel, emote, joke, and laugh maniacally at each other’s antics. The movie fulfills every insane requirement that you expect it to have and then some.

Following up after the events of Batman V. Superman, Suicide Squad shows government official Amanda Waller (Viola Davis) playing a dangerous gamble with national security. After seeing the world’s most important hero bite the dust, Waller wants to assemble a task force to protect the world from supernatural threats. This team would consist of imprisoned supervillains Waller would have under her control. If they succeed in doing what she says, they get time off from their prison sentences. If they rebel, a microchip in their neck explodes, killing them in a heartbeat.

These villains are no joke. Floyd Lawton, a.k.a. Deadshot (Will Smith) is a master assassin who hits his target with every pull of the trigger. Harley Quinn (Margot Robbie) is a mad woman who is insanely in love with her fellow baddie the Joker (Jared Leto), whom she affectionately refers to as “Puddin'”. There’s the heathen thief Digger Harkins, a.k.a. Captain Boomerang (Jai Courtney), the reptilian-looking beast Waylon Jones, a.k.a. Killer Croc (Adewale Akinnuoye-Agbaje), and the repenting Chato Santana, a.k.a. El Diablo (Jay Hernandez), who can emit flames from his body. These villains-turned-sorta-heroes are forced together to do greater good, whether they like it or not.

Suicide Squad reminded me of another superhero film I watched earlier this year, one that also had a simple, straightforward plot, was unorthodox in nature, and featured a character that frequently crossed the line. I’m referring to Deadpool, which like Suicide Squad, took joy in its characters and frequently mocked genre cliches in its fellow superhero movies. They’re not quote-unquote “good guys”, and that allows them to break the mold of the typical action movie. It lets them be much more loose and flexible in their morality, and by that definition, it also lets them be more fun.

The differences with Deadpool and Suicide Squad, of course, lie with its parodist style. Deadpool called out superhero conventions with the middle finger and a dirty mouth. Suicide Squad inhabits these conventions while at the same time not playing to their nature. You can argue back and forth which is the better film, but there is one thing you cannot argue: the divisive nature of its fans.

Oh, to say this movie got mixed feedback is a strong understatement. Suicide Squad is currently at 26 percent on Rotten Tomatoes, 40 out of 100 on Metacritic. “A clotted and delirious film” is what Peter Bradshaw wrote for The Guardian. “Clumsy and disrupted” is what Ignatiy Vishnevetsky wrote for The A.V. Club. Perhaps the worst criticism comes from Kyle Smith from The New York Post: “What promised to be a Super Bowl of villainy turned out more like toddler playtime.”

I get that these movies aren’t necessarily geared towards critics, but at the same time, I also understand who these movies are trying to appeal to. Critics don’t bring box office numbers. Fans do. And they don’t care about a film’s direction, artistry, uniqueness, genre conventions, cliches, or anything else that critics are normally concerned about. They care about how fun it is and how faithful the movie interprets their favorite comic book characters.

With that criteria in mind, Suicide Squad is all sorts of fun and faithful, with the chemistry of its actors colliding into each other like the most dysfunctional supervillains you’ve never seen. The best thing about this movie is easily its cast, who inhabit their roles so fluidly that you take their villainy at face value without judgement or questioning. Margot Robbie in particular stands out as Harley Quinn, who has an enthusiastic wackiness and infectious personality to her that you can’t help but fall in love with. She’s a fun yet tragic character, the squad member who easily has the most life to her twisted laugh and dark humor. Robbie does a lot more than merely portray Harley Quinn: she is Harley Quinn, just as much as Hugh Jackman is Wolverine, Ryan Reynolds is Deadpool, dare I say it, as Heath Ledger is the Joker.

But she’s not the only one that impressed me so much. The entire cast have their moments, and whether it was major or minor scenes, they inhabited the nuances of their characters with skill and brilliance. Smith, who normally gets stuck in a routine of portraying the stock action hero, switches it up a little bit here by bringing his “Fresh Prince of Bel-Air” personality to lighten the movie’s mood, and the tone is surprisingly fitting. Jai Courtney, who to date has never impressed me from A Good Day To Die Hard to I, Frankenstein, fully embodies his role as this dirty, loud-mouthed, unappealing mass of redneck. Even Karen Fukuhara, who makes her debut as sword-wielding warrior Katana, provides a performance so versatile that she could be powerful and intimidating in some scenes, yet fragile and intimate in much smaller moments. This was a great debut for her talents, and I eagerly wait to see what her next role is after this.

Sadly, my least favorite character is the one that I was most eager to see: Jared Leto’s Joker, who plays a smaller role in the movie than people may expect. The problem is not Leto’s performance, who throws every bit of his energy and effort into this role. It’s how the character is written. If you take away the green hair, the makeup, the tattoos, and the grilled teeth, what you would have left is not the Joker. You would have a stock movie gangster that is obsessed with guns, knives, torture, slick cars, and violence, with no demeanor of his resembling that of a clown or a twisted comedian. The Joker we have in this movie is not the anarchist you’ve come to know him for. He’s a mob boss, and that is an absolute waste on the character’s potential. The Joker is a much more interesting villain than that, and Leto deserves so much better than just portraying Scarface with makeup on. If this Joker is going to reappear in future DC installments, they will need to rewrite the character in order to make him more accurate to his origins.

I can easily name a few other flaws from the movie. A few character’s motivations make no sense. The editing in the first act was choppy and erratic. And the action, while fun and stylish, was at times long and overbearing. None of this changes the odd-baldish chemistry the actors share, the unique spin the movie itself has on the superhero genre, the compelling dichotomy between the characters, or the fact that this is one of the most exciting movies I’ve had the pleasure to sit through this summer. Many more critics will no doubt discount this movie as supervillain trash, but this movie was not made for them. This movie was made for me. And I will say without batting an eye that Suicide Squad is sickeningly entertaining.

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“STAR TREK BEYOND” Review (✫✫1/2)

A little short of beyond, actually. 

A wash of sadness came over me as I sat down to watch Star Trek Beyond. This was the last time I was going to see Anton Yelchin and Leonard Nimoy on the big screen, who both tragically passed away earlier this year due to unfortunate circumstance. With both becoming Star Trek staples of their own generations, I knew Star Trek would never be the same with the both of them gone. My sadness grew as I kept watching Star Trek Beyond and realized their final appearances were wasted on a mediocre movie. Surely they deserved a better final outing than this.

The third film in the newly rebooted Star Trek universe, Beyond follows the U.S.S. Enterprise as it traverses on its five-year voyage through space. The crew, while going through amazing and exhilarating adventures, grow restless of their time in space. Captain James Kirk (Chris Pine) isn’t sure if he wants to be a captain anymore. Spock (Zachary Quinto) isn’t sure if he still wants to be in Starfleet. Uhura (Zoe Saldana) doesn’t know if she wants to keep seeing Spock. Bones (Karl Urban) is still a sarcastic sourpuss.

One day, while investigating a distress call, the Enterprise is attacked by a swarm of vicious new aliens. Crash-landing on a strange planet, the Enterprise crew needs to navigate their way back to each other to team up against this mysterious new threat.

The first of the Star Trek reboots not to be directed by J.J. Abrams, Star Trek Beyond is instead steered by Justin Lin, who is most known for the more recent Fast & Furious movies. Watching this movie, and more specifically the action sequences, you kind of get the sense that Lin is pulling inspiration from those movies and shooting it into the veins of Star Trek’s science-fiction. The result is one that strangely works, a Star Trek movie that is an entertaining and unconventional spin on the action genre. In one of my favorite scenes from the movie, Kirk is fighting the villain in a field where gravity is pulling from three different directions. Seeing them fighting, flying, flipping around, with only a few glass frames to support their footing was one of the more exciting sequences not just from this film, but from the previous two as well.

All the same, some sequences were just too silly to fully accept and be entertained by. In one instance, Kirk is driving towards an enemy base using a motorcycle he lifted from a carrier. I’m not bothered by the fact that he’s using a motorcycle. I’m bothered that when he’s using it, dust isn’t coming out from behind the motorcycle, or that it isn’t even shaking from the rocky terrain he’s driving on. The CGI looks so ridiculous in this scene that it feels like he’s riding on a hovercraft than on a rugged vehicle.

In another scene, the Enterprise crew kills an entire armada of aliens by… playing the Beastie Boys? I’m not making this up. They literally pushed play on a stereo and blew up thousands of aliens. If that just sounds ridiculous, imagine what it looks like seeing it on screen.

The cast is fine in their roles and the movie retains its sense of visual style from the previous two movies. The problems come in with this movie’s scripting, which compared to Abrams’ earlier entries, is just a half-hearted effort at making a relevant Star Trek movie. I’m not a simpleton. I wasn’t expecting this to outdo the impact of the first Star Trek, and it didn’t. That one is in a class of its own, standing out both as a reboot and as its own exciting story.

What I do expect a movie to have is intelligence, or maybe more importantly, integrity. For years, Star Trek has pushed science-fiction writing to the limits in what it could achieve narratively. It asked questions, probed situations, presented problems, and provided answers for our Enterprise crew and their many quests across the galaxy. To its fans, Star Trek is more than science-fiction. It is science-philosophy.

You will find no thought-provoking ideas in Star Trek Beyond, and that’s fine. These movies are not automatically required to be outstanding. Even so, can you at least pretend to have some excitement at directing a Star Trek movie? There is not a cell of this movie that you can’t find in its previous movies. Even the villain is so insipid that he made Jesse Eisenberg look more interesting in Batman V. Superman: Dawn of Justice. What excuse does this movie have to be so stock?

Heath Ledger got The Dark Knight. Paul Walker got Furious 7. Yelcin and Nimoy, unfortunately, have to settle with Star Trek Beyond, a recycled action movie that fails to even be consistent. If we didn’t deserve a better movie, then at the very least, they did.

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“GHOSTBUSTERS (2016)” Review (✫✫)


Who’re you gonna call? Not these ladies.

The best thing about this new Ghostbusters is the music, with its catchy, funky beats taking you back to the nostalgia and joy of the original 1976 film. The rest of the movie was neither nostalgic or joyful, not even with the cameos. If the fun, wacky, off-beat energies of the ghosts accurately reflect the value of the original Ghostbusters, then let the ghost traps reflect the value of its reboot: soul-sucking.

Yes, this is a reboot. What’s more, its a reboot that recasts the entire team in the opposite sex. Instead of Bill Murray, we have Kristen Wiig. Instead of Harold Ramis, we have Melissa McCarthy. Instead of Dan Aykroyd, we have Kate McKinnon. Instead of Ernie Hudson, we have Leslie Jones. And instead of Sigourney Weaver, we have Chris Hemsworth as the office secretary, who is so clumsy and brainless that you almost completely forget he is both Thor and Captain Kirk.

Side-rant: why do these Ghostbusters even need a secretary? Their business is so slow that they could easily get one of themselves to take calls and requests. Hemsworth’s character can’t even operate a phone properly. There is absolutely no reason why he belongs in this movie, except maybe to contrast genders of the original cast. If that is the only reason, then that is a stupid reason to have a meaningless character in the script. There are, however, much bigger problems to address than just a character’s write-in.

The most crucial element of this movie is unfortunately its most weakest one: it’s not funny. The actors have no chemistry with each other. Their personalities are either flat, dull, or over-the-top, never once culminating to be either believable or appealing. The lines, situations, and setups they go through are about as funny as Saturday morning slapstick. Nothing comedic ever lands in this movie, and everything is about as funny as Wiig and McCarthy’s social awkwardness will allow.

But this isn’t a surprise to anyone, right? Ever since the trailer dropped a few months ago, fans have spewed hatred for a reboot that was as unnecessary as it was unfunny. It went on to become the most disliked trailer of all time on YouTube, and it isn’t hard to see why. With cliche lines as bad as “That’s gonna leave a mark” or “It’s up to us!”, you wonder if much effort was even needed to write this haphazard of a movie.

Granted, the movie isn’t as bad as the trailer makes it look, but it almost doesn’t matter. You never get another first impression, and unfortunately, this movie failed on its first, second, and third impressions.

Compare this to the original lineup, who mostly relied on clever, on-the-spot dialogue for their comedic delivery. Now THOSE guys had personality. Those guys clashed with each other, threw fits of disagreement, hilariously struggled against paranormal entities, and spat witty remarks at each other. They were electric with enthusiasm, and this carried over into their comedy and made it all the more funnier. These ladies, in comparison, are phoning it in, and for a Ghostbusters reboot, they did the one thing I never thought they would do: they bored me.

And before you comment about my negativity, know that I’m not making these criticisms because these new Ghostbusters are all women. I like the fact that they recast the Ghostbusters as females. I would like it even more if they were any good in their roles. Comedies live and die by the chemistry of their actors, and in this case, Bill Murray’s attitude, Harold Ramis’ nerdiness, and Aykroyd’s cowardice is replaced with Wiig’s whiny voice, McCarthy’s plainess, and McKinnon’s over-the-top, unbelievable amount of crazy. None of these ladies really ever take presence on screen and make us feel like these are characters we can laugh at and relate to, something the original Ghostbutsters did excellently.

I liked two actors from this movie, and they’re the ones that have earned this review’s two stars: Leslie Jones and Chris Hemsworth. Yes, I know both of their roles are obviously stereotyped. They at least have the courage to be enthusiastic about their roles, and they were the ones that gave me the few laughs this movie had to offer. Jones is sassy and has attitude in the right ways, unlike the cartoon character cut-out that McKinnon plays. Jones is actually reacting to these ghosts and the paranomal in a way that you would expect a New York MTA to react: to go bannanas and run screaming, yelling, and flail her arms wildly in every which way she can. She had the best lines and moments in the movie, and she was easily my favorite Ghostbuster.

Hemsworth, clumsy and idiotic as he is, was also cute and charming as this innocent little idiot, doing an effective job in the movie as both a supporting character and as a villain. No, I’m not elaborating on that sentence any further. In Ghostbusters, Hemsworth achieved a difficult task: he made me completely forget that he’s the hammer-wielding superhero Thor, and for two hours, made me earnestly believe that he was this whole-hearted fool who couldn’t even put glasses on properly. Again, are these the best characters we could have had in a movie like this? No, but its what we have to work with.

I can appreciate the enthusiasm. I can appreciate the desire to be progressive, and I can appreciate that the cast at least seemed to be enjoying themselves. But they’re not the ones watching the movie here. We are. And when Melissa McCarthy has the gall to say in one scene “We’re the Ghostbusters!”, I’m very tempted to grab a copy of the original movie, jump onto the movie screen, and say to them “No, you’re not.”

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“X-MEN: APOCALYPSE” Review (✫✫1/2)

En Sabah No.

The biggest problem X-Men: Apocalypse faces is one it isn’t even responsible for. X-Men: Days of Future Past was and will always be one of the most definitive superhero experiences at the movies. Asking for follow-up to that is unreasonable, let alone damn near impossible, and to its credit, X-Men Apocalypse tries. It tries too hard, but at least it tries.

Taking place ten years after the events of Days of Future Past, Apocalypse shows an ancient threat that reawakens deep within the pyramids of Egypt. The first known mutant to ever historically exist, En Sabah Nur (Oscar Isaac) awakens to a world ran amuck in chaos and disorder. Political corruption. Poverty. War. Violence. En Sabah Nur sees all that’s wrong with the world and decides that, in order to save it, it must be destroyed and rebuilt.

Back in Westchester, at Xavier’s School for Gifted Youngsters, Jean Grey (Sophie Turner) awakens from a horrible nightmare. Witnessing horrible visions of the end of the world, Jean is convinced that these visions are real and that they will come to pass. Her professor Charles Xavier (James McAvoy) thinks these are just dreams. Yet, as one thing happens after another, he begins to think there is something devestating going on that even the X-Men might not be able to stop.

The third movie for the newly rebooted X-Men universe, X-Men: Apocalypse boasts a lot of the strengths that its predecessors have. For one thing, the performances are superb, and the actors exemplify their characters down to the molecule. McAvoy is earnest and well-intentioned as Xavier, while Jennifer Lawrence is motivated and sharp-shooting as Mystique. The actor I noticed most, however, was Michael Fassbender, once again adopting the role of Magneto. Every time I watch him, I am reminded of this character’s tragic history and how other people’s cruelty has driven him towards violence and extremism. Without giving too much away, there is one moment where Magneto sustain a crippling loss that comes to define his character the most throughout the picture. These moments remind us that Magneto is not a villain, but rather a tragic hero who fell through grace, and Fassbender is brilliant in capturing both the character’s regret, penance, and guilt throughout the movie.

The action is also incredibly polished, especially for an X-Men film. En Sabah Nur himself is the most omnipotent, wiping enemies away with a dash of his hand or the white glow of his eyes. Havok (Lucas Till) reappears alongside his brother Cyclops (Tye Sheridan) for the first time, and their red energies run amuck obliterating anything in their path. The most fun X-Man to make a return, however, is Evan Peters as the speedster mutant Peter Maximoff. You remember his signature scene at the Pentagon in X-Men: Days of Future Past. His scene in this movie blows that one out of the water. I won’t give much away, but saving over 30 people at superspeed is much more impressive than taking out six security guards in a kitchen. This sequence was funny, exciting, and most importantly, entertaining. His scenes were easily my favorite from the film.

The action and the characters culminate together fluidly, similar to the other X-Men films. The differences lie in its story, or more specifically, in its lack of focus. There are about five different stories packed into one in X-Men: Apocalypse, and most of them are unnecessary. You have so many unraveled narratives trying to weave together into one that quickly falls apart once the plot starts picking up speed. 

Take, for instance, the plight of Magneto. His story is pure tragedy. His hearbreak, his pain, his loss, it echoes of Magneto’s earlier history and builds into a climactic moment between himself and his transgressors. The scene should have been a moment of suspense and satisfaction, but then all of a sudden, En Sabah Nur appears on the scene and completely disjoints the narrative.

The whole film is like that, building up to big moments and then suddenly switching to other ones. There’s Xavier’s arc, then there’s Mystique’s, then Magneto’s, then Jean’s, and then Cyclops’. The most dissapointing to me is Peter. His story has to deal with his true parentage, but it never even leads anywhere. Screenwriter Simon Kinberg and director Bryan Singer build all of this effort up for nothing. No conclusion. No resolution. No payoff. That’s because they don’t have a focus, and the picture ends up losing our interest, despite all of its spectacular action.

X2 and X-Men: Days of Future Past remain to be the best entries of the franchise, while X-Men Origins: Wolverine is the unoquivocal worst. This movie falls in the middle ground. Like its predecessors, X-Men: Apocalypse has great action pieces and performances, but it collapses under the weight of its narrative while simultaneously lacking in depth and development. As Jean Grey observes after seeing Return of the Jedi, “At least we can all agree that the third one is always the worst.” You read my mind, sister.

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“CAPTAIN AMERICA: CIVIL WAR” Review (✫✫✫✫)

A war of humans, not heroes. 

I’m going to make a bold claim here. Captain America: Civil War is the best MCU movie to be made to date.

I know, I know, I’m probably a little overzealous when I say that. Except that I’m not. I’m fully aware of what its competition is. There are two other Marvel movies that I can compare Captain America: Civil War with. Those two are Iron Man and The Avengers. All three of them are exciting, suspenseful, nail-biting, eye-widening entertainment that are just as fun and memorable as they are emotional and meaningful. They’re not just great superhero dramas. They’re great human dramas.

But Captain America: Civil War is especially unique to even these entries. How? The biggest reason is because it isn’t formulaic. In Iron Man and The Avengers, we had our heroes, our villains, and they went at each other like rock-em sock-em robots. Granted, there’s deeper insight and perspective than just the two-dimensional hero/villain foreplay, but you can’t deny the framework that’s there. There’s a clear cut good guy and bad guy, as there is in most superhero movies.

But that black-and-white sense of morality isn’t well defined in Captain America: Civil War. In fact, there isn’t really an established sense of right and wrong in the picture, just characters whose ideals and values clash violently with each other. You can argue that there is a quote-unquote “villain” in the movie, but he’s more of a viewer than an active participant to the conflict involved. If we have to go by titles in this movie, what we have then is hero against hero, Avenger against Avenger, and friend against friend. The ensuing action is nothing else but thrilling, thought-provoking, mind-blowing, and heartbreaking.

In this sequel to both Captain America: The Winter Soldier and Avengers: Age of Ultron, Steve Rogers, a.k.a. Captain America (Chris Evans) leads a new team of Avengers, consisting of Black Widow (Scarlett Johannson), War Machine (Don Cheadle), Falcon (Anthony Mackie), Vision (Paul Bettany) and Scarlet Witch (Elizabeth Olsen). After an international event involving the Avengers ends in high casualties, General Thaddeus Ross (William Hurt) and Tony Stark, a.k.a. Iron Man (Robert Downey Jr.) step in to introduce the Sokovia Accords, which states that the Avengers would no longer be a private organization, but instead will be employed and assigned missions by a United Nations panel.

There are two perspectives to the Accords. On one hand, the Accords would give a new level of accountability to the Avengers. They would be restricted in where they could go and what they could do, and the public casualties in turn could be lessened. Plus, the Avengers would now get paid for all of their superheroing. On the other hand, this could put a level of control and interference on the Avengers that would prevent them from doing the most good. Plus, being assigned to report to a panel leaves them vulnerable for manipulation, forcing them to do things that they wouldn’t otherwise.

Iron Man leads the side that’s for the Accords: Cap leads the side that’s against it. But regardless of both sides, there’s another player in the field whose looking to manipulate both sides to his advantage. And neither side realizes it until its too late.

The second Marvel movie to be directed by brothers Anthony and Joe Russo and the fourth to be written by Christopher Markus and Stephen McFeely, Captain America: Civil War is a superhero movie ripe with context, a movie that asks uncomfortable questions that we would much rather remain unanswered. Just like how The Winter Soldier related its plot to today’s world of government control, survaillance, and corruption, Civil War also relates to real-world issues that appeals just as much to reality as they do to fantasy.

Take, for instance, the introduction of the Sokovia Accords. These documents, much like the connection between S.H.I.E.L.D. and H.Y.D.R.A. in The Winter Soldier, presents the theme of government interference and how those implications affect our world. Yes, the Accords would impose an element of control and responsibility over the heroes, but at what cost? This is a situation where civil liberties are being traded for security, and the question is raised on whether its a good trade or not. Juxtaposing this idea of control in between our heroes raises very important questions: questions that are startlingly resemblant of our world abundant with government surveillance and manipulation.

But the movie doesn’t suffer under its philosophical weight. This is still one of those fast-paced, funny, exciting Marvel movies that you’ve come to love. It’s just now a fast-paced, funny, exciting action movie that has deeper insight and drama than the previous entries did. The issues involved draw us deeper into the film’s conflict and to each of the outcomes that these characters face.

There are two of these characters that I haven’t mentioned yet. One of them is the rebooted Peter Parker/ Spider-Man, who is played here by Tom Holland as opposed to the recently discontinued Andrew Garfield. Holland’s appearance in the film is brief yet significant, and while he doesn’t serve a role as important as the others, his charisma, immaturity, and innocent charm makes him for a very entertaining and memorable character, one who sticks out in my mind just as much as Captain America and Iron Man. To be rebooted in just two years time is definitely too soon, and part of me wonders how well Garfield would have done if he had been given the same opportunities as Holland was. That doesn’t take away from the fact that Holland still wins us over and sticks out in our minds just as strongly as Garfield and Toby Maguire does. He makes me very excited to see what’s in store for him for his eventual return in Spider-Man: Homecoming.

The other character is T’Challa, a.k.a. the Black Panther (Chadwick Boseman). If there is a neutral side in this conflict, it is in T’Challa, although at one point he does fight on Iron Man’s team. He’s so great because unlike Iron Man or Cap, his perspective is the most human out of the other players. He is the citizen Cap and Iron Man are fighting to protect. He is the one that faces the most casualty out of any of the other players. This natural perspective into the film is so important, because it demonstrates an investment that isn’t coming from another superhero: it’s coming from the victim of both sides of the conflict. That pain and confusion is so important to understand Captain America: Civil War not just as a Marvel movie, but as a complex drama on its own two legs.

The performances, the action, the visual effects, and the direction all accumulate masterfully, and the Russo brothers demonstrate a better understanding of their characters than they did in Captain America: The Winter Soldier. What we have left, then, is an unchallenged masterpiece, a moral dilemma packaged as a superhero blockbuster that excites us just as much as it challenges us. Iron Man and The Avengers both challenged themselves morally and ethically, but not so much to the point where it’s entire plot was founded around it. There was still a right or wrong in those movies. There isn’t in Captain America: Civil War, and that makes it just as compelling as it is entertaining. The one downside to this film’s success: now the Russo brothers have to follow this up with Avengers: Infinity War. I don’t know how they’re going to do it. I would personally guess that they can’t do it. But I’ve been wrong before.

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“CAPTAIN AMERICA: THE WINTER SOLDIER” Review (✫✫✫)


Patriotism replaced with fast-paced spy action and conspiracy.

In his review for the Toronto Sun, writer Jim Slotek says that “Captain America: The Winter Soldier is actually a Jason Bourne film masquerading as a superhero movie.” Right there is your first problem. Captain America is not Jason Bourne. He does not need to be Jason Bourne. Captain America is Captain America. He has his own arc, history, complexions, motivations, and conflicts that make him a fascinating character in his own right. He is as noble as he is heroic, and in just the two appearances he’s had in the MCU so far, he’s already cemented himself as an icon and staple in this expanding universe.

Tonally, there’s a severe shift in between The First Avenger and The Winter Soldier. Captain America: The First Avenger was exciting, old-fashioned, comic-book fun, and had the look, feel, and nostalgia of those 1940’s pulp magazines. The Winter Soldier, in comparison, feels like a dark, gritty espionage thriller, and our hero wears a red, white, and blue costume instead of the atypical black motorcycle jacket and jeans. This time around, Steve Rogers, a.k.a. Captain America (Chris Evans) isn’t fighting Nazi-clad super soldiers or aliens from outer space. This time, Cap is after the Winter Soldier, a expert assassin who has a metal arm and has been operating for decades under the world’s nose. When one of Cap’s closest friends gets caught in the crossfire, Cap goes on the hunt for the Winter Soldier, along with an underlying conspiracy that he’s quickly unraveling.

The script is easily the best thing about Captain America: The Winter Soldier. Screenwriters Marcus Freely and Warren McAllen, who also penned the first Captain America movie as well as Thor: The Dark World, have made an incredibly thoughtful and politically-driven film, a story that, if put into book format, would arguably be more compelling than the movie is. Without giving too much away, Cap gets stuck into a position that pits him both against his own country and against his enemies, making him question himself and the ideals that he’s been fighting for all along. Is America the same country he knew during World War II? Is there any more life, liberty, and the pursuit of happiness in the American dream? Is the American dream even alive any more? All of these questions are what drives the story and its characters forward, and sets up a very hard-hitting, close-to-home conflict with our favorite Captain. This is a movie that has severe repercussions towards the future of the MCU, and the twists are so hard-hitting that they surprised me, even with the ones that I was expecting.

The plot is sound and strong for the purposes of the film. But the problem doesn’t exist in the screenplay, it exists in how it’s handled. Directors Anthony and Joe Russo, whose last film credit before this was 2006’s You, Me and Dupree, didn’t see a superhero story in Captain America: The Winter Soldier. They saw a political thriller, and they decided to live up to that in every way that they could.

Take, for instance, the choreography and the motion of the action in the film. It is straight up Jason Bourne. In Captain America: The First Avenger, the action was unique, creative, and dynamic, with Cap flipping around with his shield and beating up HYDRA soldiers in classic, swashbuckling fashion, making it fun and refreshing escapism from all of the action fanfares we’ve gotten throughout the years. Here, the action feels like a retread. We’ve seen this sort of lightning-quick, fast-paced fighting in virtually every action thriller, from James Bond all the way to Mission Impossible. Why should The Winter Soldier feel any more special?

The thing that makes Captain America unique, especially in The First Avenger, is his patriotic loyalty and his unwavering sense of justice. He looks out for the little guy. He cares about such things as self-respect and manners. He won’t throw a punch unless he has to. At heart, he is this small, skimpy, honest, good-hearted kid from Brooklyn, and this is the kid that Dr. Erskine saw in the first Captain America. Here, he’s in full hero mode as he kicks, punches, tackles, slams, and throws shields at all of the bad guys, and brings everything down all around him, including buildings, bridges, and S.H.I.E.L.D. helicarriers.

Tell me, where is the patriotism? Where is the nobility? Where is the sense of joy and adventure in this movie? In its two hour runtime, we don’t get a strong sense of these things that make Captain America who he is. What we get instead is quickly-edited action, punctuated in between moments of heavy exposition and backstory, which always feels like its building up to something big, but never really pays off.

I say this again: Captain America is not an action hero! He is not Jason Bourne, or Ethan Hunt, or James Bond, or John McClane. He is Steve Rogers, and he builds this identity of Captain America to protect those who can’t protect themselves. But The Winter Soldier does not focus on the theme of protection, unlike The First Avenger. Instead, it chooses to focus on distrust and political paranoia. In doing that, it takes away something very important from Captain America: his sense of character.

As it stands, Captain America: The Winter Soldier is a good movie and not a great one. It’s serviceable in what it needs to do, and not much else. Instead of likening to Cap’s sense of bravery and heroism, we instead look to his aggression and fighting. In doing that, we lose a part of him that we wish we had back. In this day and age, dry, drab, joyless action movies are Hollywood’s currency, and all of the world is buying. The deeper we sink into this culture of entertainment and violence, the more we need our favorite Captain to stand above it. 

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“IRON MAN 3” Review (✫✫✫1/2)


Tony Stark facing fire and PTSD.

Take a breath before you yell at me about my star rating, Marvelites. Yes, I know you’re upset. I know Iron Man 3 changed one of your favorite characters. I get it. I would be upset too, if that happened to one of my favorite comic book heroes. But you have to understand that this is a movie and not a comic book. It’s not trying to accomplish the same thing. It’s playing by different rules. And since it’s a different ballgame, we need to judge it fairly, on its own terms as a movie and not as a Marvel property.

If you’re able to do that, you will find that Iron Man 3 is quite excellent. It is a grand extravaganza of smart writing, great acting, witty comedy, and explosive action that’s all bow-tied together into one climactic and exciting superhero blockbuster. You couldn’t possibly get a better follow-up to The Avengers than this.

Set a few months after the events of The Avengers, Tony Stark, once portrayed by Robert Downey Jr., is struggling with post-traumatic anxiety attacks after fending off the alien invasion of New York with his other fellow heroes in The Avengers. While recovering, Tony is faced with a new threat: the Mandarin (Sir Ben Kingsley) the heinous terrorist leader of the Ten Rings army, who wages a one-man war against the United States of America. When one of Tony’s friends becomes injured in the crossfire, Tony vows to find the Mandarin, fight him, and bring him to justice for his malevolent crimes.

The first of the Iron Man trilogy not directed by filmmaker/actor Jon Favreau — who also portrays Tony’s driver Happy Hogan — Iron Man 3 is instead helmed by writer/director Shane Black, who is most known for directing Kiss Kiss, Bang Bang and writing the first two Lethal Weapon movies. Seeing him at work here is a blessing to the superhero industry. His wit, sarcasm, and charisma come off of the pages as fluently as Stark’s highly entertaining ego does. Black provides great dialogue for Tony, and often the delivery of the lines result in wild hilarity and laughter. Take, for example, one scene where a small, blond child with glasses comes up to Stark in a restaurant asking for his autograph.

“I liked you in A Christmas Story, by the way,” Stark quipped.

Blacks writing was the best thing that could have happened to Iron Man 3. The writing feels so fluid and natural that Stark might as well be writing the script for himself.

Speaking of Stark, it’s impressing at how well Robert Downey Jr. inhabits Tony Stark yet again. He always seems to just disappear into this role, and he always portrays Stark in a crass, crude, witty, yet concerned and somewhat heroic fashion. There is such fascination with his character that he keeps watchers interested even when there isn’t something blowing up on the screen. In this case even more so, since Tony is facing the added complexion of PTSD and panic attacks in the film. This humanized the character in a different way than the previous Iron Man movies did, as we see him less as this larger-than-life egotistical figure, but more as this shallow, frightened, and troubled young man. It brought to mind the experiences of war-torn veterans after coming home from a long battle. And yes, I know they’re different scenarios. They still invite the same reaction, which is sympathy.

And then there is the action. Boy, is there the action. Similarly to how The Avengers kept building its suspense by repeatedly raising the stakes of the threat, Iron Man 3 also builds excitement and anticipation through every explosion, every punch, every rocket, every bullet and every armor piece Stark puts on. In one of the most exciting moments of the picture, Tony assembles an armada of all of his robot suits, remotely-controlled by his A.I. companion. J.A.R.V.I.S. I thought two things when I saw this: 1) Why didn’t he bring these suits out during The Avengers? 2) Since J.A.R.V.I.S. can control his own suits, is there really a need for Tony to be Iron Man? I suspended both plot holes for the sake of enjoying the moment. Seeing robot suits and bad guys firing at each other in brilliant, mid-air acrobatic stunts was so much fun that it was easy to throw disbelief out the window. There are a few films that can do that, where they not only encourage you to suspend your criticisms, but they also succeed in doing that. Iron Man 3 succeeded in its task, and I found myself smiling a lot throughout the movie, even in the face of its flaws.

And then, of course, there’s the plot twist. How can I so easily accept it, whereas I know other comic book fans won’t be able to? I think it’s because Black saw a deeper story at play than the comic book’s mythos, and that is a story of conspiracy of deceit. Say it’s unfaithful. Say it’s inaccurate to the comics. You’re right in both statements. But you can’t deny that Iron Man 3 is a deftly intelligent story, a compelling drama, a quirky comedy, and an explosive action fest. Iron Man 3 is more than a great sequel. Iron Man 3 is great entertainment.

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