Category Archives: Movie Reviews

Movie Review: Gravity

The trailer for Gravity had me hooked. Sandra Bullock and George Clooney are doing a spacewalk on the ISS when some sort of debris storm destroys everything. We see both of them floating away, spinning, totally adrift in space. Gravity: the words crash down on the screen, plain white text on a black background.

My palms were sweaty after only twenty seconds. I mean, I don’t have much astronaut experience, no zero-g training or anything like that, but here’s something I’ve given considerable thought to. This whole concept taps into something universal, whether lost at sea or buried alive, what would it feel like knowing that certain death is all but imminent, but you still have to be awake and struggling for a while until whatever it is that’s keeping you alive stops working?

And that feeling, not being able to unclench my fists, squirming in my seat, the movie doesn’t waste any time taking you from a routine Hubble telescope repair job to, “Astronauts: This is Houston. Get out of there now!”

Unfortunately, the movie never unclenches to allow even a little bit of blood back in once in a while. After only a quarter of the way through, I was in physical discomfort, my body and soul overwhelmed by pins and needles. I guess there wouldn’t be a lot of time for pause or reflection if you really were running out of oxygen and spinning untethered away from your only means of escape, but man, it was really hard to sit still through all of that.

And it just keeps getting worse and worse and worse. In each moment, there’s really only one action to be taken care of at a time. Because everything’s taking place in the unforgiving void of outer space, each action is a zero-sum game, live or die. So it’s like ten excruciating minutes of getting a hold of a rope. Do it or die. Then it’s ten painful minutes of tying a knot. You better tie that knot, or you’ll die.

There’s a very clear goal, somehow not dying and finding your way back to Earth, but there’s no direct path to success. And so there’s really no pace, it’s just calm for about two seconds, and then everything gets ratcheted up to eleven, and that’s where it stays, the needle constantly threatening to bust through the red.

It was a little too much. Like, I’m sure the story would have been enough to evoke those grand ideas of life, the fear of death, what it means to be without hope, or eventually to be able to let go. But everything is spelled out. Let’s zoom in on this miniature statue of the Buddha to convey an image of serenity amongst chaos. Or the little dialogue that peppers the film will be random statements about life being a wild ride. George Clooney throughout the entire movie is half The Fonz (“Now that we’ve got some distance between us, you think I’m attractive, right?”) and half wise philosopher (“You need to let go!”)

Parts of it were cool. The concept is definitely scary, especially considering how this is all within the realm of like actual science. You know, I’m saying that from a non-scientist’s point of view. Maybe a real scientist would watch Gravity and be able to spot several gaping plot holes. But I was looking for them, and I couldn’t see anything. Russian lettering on the escape pod, check. Tears are cried outward and away from the face in the absence of gravity, check. Yep, everything made sense.

Except, and this was a pretty glaring error, at least I thought it was, but there are several scenes in which the astronauts either have to screw something in, or screw something out. Each time, I noticed that the screws and levers and knobs, everybody turned them left to tighten and right to loosen them up. Doesn’t this go against the whole “lefty loosey, righty tighty” rule? Or does this for some reason not apply in outer space? Was everything designed backward to prevent regular people from someday hijacking the equipment?

I don’t know. But other than that, it was a cool movie. A little two-dimensional, but cool. And short. I’m a lot more forgiving with movies that don’t knock my socks off if they’re under an hour and a half long. Whatever, I can allow myself to not be one hundred percent entertained for under an hour and a half. But that’s it. Any longer than that and I’m pissed, like, “Oh my God, this was so boring, and so long.” But not Gravity. It was short and sweet. Or short and just a tad sweet. Let’s go with short and OK.

Movie Review: Riddick

I remember seeing Pitch Black when I was a sophomore in high school. I had never heard of Vin Diesel before. In fact, I don’t even think I knew what the movie was about when I bought my ticket. But it was amazing, a sci-fi thriller, a prison transport ship goes down on an isolated planet overrun with alien monsters that rule the night.

Diesel starred as Richard Riddick, a convict with special eyes that could see in the dark. His exploits gave way to a sequel, or a prequel, The Chronicles of Riddick, I’m not sure about the specifics, because I never saw the film. But Riddick’s at it again this time in Riddick, which, without ever having seen part two, it feels like almost a direct sequel to Pitch Black.

There’s no f’n around. Right from the beginning we find what appears to be a corpse’s wrist sticking out of the ground. Diesel’s monotone voiceover explains that, “This isn’t the first time I’ve been counted out,” as the hand springs to life, strangling an alien vulture that got a little too bitey with Riddick’s fingers.

And that choke scene, as the lizard/bird thing squirmed and died in Riddick’s blood-caked hand, it was obvious that whoever financed this picture didn’t really care about springing for the premium package with the CGI studio. It’s kind of a thing throughout the film. For a movie that relies so heavily on computer generated effects, I’m surprised that the quality was so shoddy.

It’s a superficial complaint, but it’s the backdrop for most of the movie. At one point Riddick and some other guy are on space motorcycles riding through the desert, and I barely had to use any imagination to picture the green screen taking up a majority of the shot.

But I’m getting way ahead of myself. For a while, it’s just Riddick. He’s in bad shape, first unburying himself, then setting his own broken bones. There’s a pack of wild space dogs looking to turn him into a quick lunch, but not only does he successfully fight them off, he then adopts one of their pups and raises it to be his trusty sidekick.

After setting off a beacon at a mercenary supply station, he attracts the attention of two rival space gangs, each looking to cash in on the outstanding reward for Riddick’s head. These dopes are no match for Riddick, but as our protagonist lets everyone know, “It ain’t me you’ve got to worry about.”

No, just like in Pitch Black, this planet has its own alien monsters that only attack during specific conditions, in this case, rain. And guess what? There’s a storm coming. And that’s basically where we get left off at the end of the trailer. It’s a race to get off the planet.

For all of its cheesiness, its lame special effects and two-dimensional plot, I really enjoyed Riddick. The pacing of the action was pretty smooth, and they kept the story simple. They could have riddled the secondary characters with pointless subplots and bad dialogue, but for the most part, everything was strictly business.

I like movies like this, these epic space operas, because there really aren’t too many out there. There were occasional allusions to what must have gone down in the second movie, something about an intergalactic empire, betrayal, some villain with scars on his face whose presence was never explained at all. But that’s what made everything compelling, those little tastes that reminded me that this layover on a hostile planet was but a minor stop along an interstellar epic. This is the type of actual sci-fi that Stephen Colbert pokes fun at with his Tek Jansen cartoons.

I’ve got to say, I always underestimate Vin Diesel. Every time I go to see one of his movies, I walk in the theater expecting to be disappointed. But the Fast and Furious franchise, XXX, and now Riddick, I’m impressed. There’s an unpretentiousness about his acting and his movies. He knows what he’s supposed to give and he delivers.

Riddick will probably be on the SyFy channel in a couple of weeks, so I guess there’s no rush. Still, I really enjoyed it, I loved watching it on a big screen. I hope they keep making Riddick movies, forever, cruising through space, getting stranded on planets, battling mercenaries and leading empires. It’s all so f’n cool.

Movie Review: The World’s End

Ah yes, a British movie. I went to see The World’s End, and I couldn’t help but thinking about all of the movies I’ve seen that were made across the Atlantic: not too many. I’m sure they make lots of films over there, but the ones that make it to me, to a pretty average American moviegoer, I don’t know, it’s like The King’s Speech, Monty Python … do Hugh Grant movies count? They totally don’t count. Even in his most British pictures, he’s really just something on loan from the UK to Hollywood, like even though Love Actually took place across the pond, there were all sorts of American actors and tropes and …

And what am I talking about, Love Actually? I never saw Love Actually, I just remember overhearing someone else talk about it once. Someone really stupid. And I could just tell how inauthentic the whole thing was, you know, from this non-Englishman’s point of view.

The World’s End is billed as the third part in a trilogy of sorts, although besides the principle cast and writing team, there’s not really a coherent story linking all three parts. Shaun of the Dead imagined how Simon Pegg would confront the zombie apocalypse, Hot Fuzz had something to do with police officers (I never actually saw Hot Fuzz,) and The World’s End follows five high school friends who reunite twenty years later to finish a twelve-stop pub crawl they almost completed back when they were eighteen.

I realized pretty soon into the movie that I was laughing a lot more than I would be at this point during an American movie, during parts in any movie that I wouldn’t normally find laugh-out-loud funny. I attributed a lot of the giggles to the fact that everybody’s talking really fast, jokes weaved tightly into every sentence, with absolutely no stopping for even the briefest of pauses between syllables or breaths. It’s just non-stop dialogue and everybody’s speaking in an accent and, yeah, I guess that is pretty funny.

The humor is very dark. Simon Pegg’s main character Gary King hasn’t developed at all since the early 1990s montage that opens the film. By the time we meet our protagonist in the present day, twenty years of partying have taken their toll. The whole intro, the extended speech explaining the almost-made-it night of twenty years ago, it winds up being told by King in the middle of a twelve-step meeting, and even the other participants seem disturbed by the enthusiasm in which he recounts the best day of his life.

King rallies his old friends and convinces them to have a proper night. Twelve bars, twelve beers, all culminating at The World’s End, a fitting name for the final tavern. As the Five Musketeers head out to their old home town, in King’s high school car, with the same exact cassette mix tape never having been removed from the tape deck, the gang starts to question the psychic hold their friend seems to manage over everyone else.

Just as the adults step in to make some belated adult decisions, it turns out that the town has been taken over by robots. And even though that’s pretty much the whole plot of the movie, once things get rolling, a lot of the genuine character-driven plot evaporates. I get it, I guess, that this kind of a spoof on a disaster movie is a way to confront existential problems, addiction, middle-age, conformity, feelings of isolation, but I just couldn’t help but feel that the group dynamic was building toward something. And then the robot thing happens and that’s basically the rest of the movie.

All the way until the really bizarre ending, something that, after having seen Monty Python, I’m just going to go ahead and make the sweeping generalization that all British movies have to have crazy endings. Except for The King’s Speech. Did I mention that I saw The King’s Speech already? Well, I saw it. Although, I guess it’s not all that normal of a movie, right? A king? With a stutter? And the doctor is some crazy guy from Australia? That didn’t really happen, did it?

Movie Review: Kick-Ass 2

Life isn’t a comic book. That’s the story behind Kick-Ass 2, the sequel to a movie based on a comic book about people who dress up as superheroes, but not like in comic books, because this takes place in real life, with real people, who get in costumes and fight crime. It’s a not-a-comic comic book movie.

I’m making fun, but it’s a novel premise. What if you or I decided to create a superhero alter ego and took to the streets to fight the good fight? The first Kick-Ass, and the comic book that it was based off of, answered that question in the character of Dave Lizewski, a high school nerd who dons a scuba suit and calls himself Kick-Ass.

Kick-Ass gets his ass kicked, but a cell phone video of his existence goes viral and spawns a whole trend of regular people playing dress up. Unfortunately, Nicholas Cage and his preteen daughter actually are superheroes, waging a very real battle against New York’s criminal underworld. Kick-Ass gets involved, Nicholas Cage dies, and that’s where we left off at the end of the first film.

Kick-Ass 2 is basically more of the same, but because the concept is still somewhat original, the movie is entertaining. We have the preteen daughter, Hit Girl, struggling to fit in as a high school freshman. McLovin is back as the would-be heir to his deceased dad’s criminal empire. He’s looking to show the world he’s not a joke while at the same time exacting revenge on our protagonist. And then there’s Kick-Ass, trying to take his heroics to the next level, getting in shape, learning how to fight, and finding some like-minded partners to form a real-world Justice League.

So while the plot of Kick-Ass 2 isn’t really that different from the first, the team dynamic introduces an expanded group of characters. Jim Carrey plays an ex-mafia turned Captain America wannabe, Captain Stars and Stripes, or Colonel Stars and Stripes, something like that. His performance was good enough to make me forget that it was Jim Carrey under the mask. That is, until he made a wacky Jim Carrey face, and then I was like, yup, classic Jim Carrey, always making crazy faces.

Speaking of out of the woodwork, John Leguizamo has a role as McLovin’s bodyguard. That’s all there’s to say about that, really. The whole time he was on screen I just kept thinking to myself, man, that’s John Leguizamo. He looks old. Much older than he did when he played Luigi in Super Mario Brothers. And I don’t want to knock him, like I’m glad he’s doing movies and stuff, but he didn’t add anything to the film or the story. They could have probably gotten away with a few carefully placed John Leguizamo posters on the wall.

Oh yeah, and it’s a pretty violent movie, very graphic. I kept trying to justify the violence by telling myself, well, the real world is a violent place. This is probably a pretty good depiction of what would happen if a guy in a costume got beat up on the streets by four robbers. But it was just too much sometimes, running lawnmowers used as projectile weapons, multiple close-ups of broken arms and necks. Crack!

In trying to be real, or in trying to imagine how this story could take place in real life, the movie went beyond anything I’ve seen in this world. Like a barbecue propane tank being ignited and thrown through the windshield of a cop car. I’m sure that it could happen, but it doesn’t really strike me as anything I’d label realistic.

It’s like, in trying to point out or make fun of the ridiculousness of comic books, Kick-Ass 2 winds up shoving our faces in it. And then after the message has been rammed down our throats, the principle characters wind up just as guilty as everything they claim to rebuke. For example, one of the super-group members is gay. He doesn’t wear a mask because it reminds him of the closet. Similarly, Hit Girl early in the film chastised some street punks for throwing around the homophobic f-bomb. That sounds pretty progressive, right? Cut to somewhere toward the end, she’s fighting a group of thugs at high-speed traffic, calling them “cocksuckers” before casually throwing them out of a moving vehicle. What’s the message, that some slurs are more acceptable than others? Or that only the good guys are allowed to throw around epithets?

Like I said, it’s an entertaining movie, sure, but I’m not sure it was really a good movie. I wasn’t bored, but it would be hard to get lost in a daydream in a movie stuffed with so much visual, violent stimuli. I remember liking the comics when I read Mark Millar’s series years ago, but I don’t know, something about that story was easy to read and something about this film made it difficult for me not to look away. It’s a comic book made through a real life filter, thrown back through the comic book filter, and then adapted for a movie. I guess it’s not that far from what you’d expect.

Movie Review: Elysium

It’s the end of the twenty-first century. All of the big problems that kind of threaten us in a vague maybe-ish someday way today have blossomed into a full-scale dusty global cloud of sepia toned urban smog. There’s overpopulation, pollution, and poverty on a mass scale. It’s an authoritarian state, everything enforced by robot police officers. You can’t even talk sarcastically to the droids or they’ll beat you up and maybe send you to jail.

But if you’re rich, everything’s fine. You live on Elysium, this giant Halo-like space colony orbiting the earth. Not only is the scenery lush and green, the citizens well-dressed and manicured, but health care has reached its apex: the elites lay down on these medical beds where everything from cancer to radiation poisoning can be almost instantly cured.

Elysium, to me, is the reason why we elect Democrats to office. All of the current social and political debates of today are embellished, exaggerated to such effect that the world in which this film takes place is at times totally alien, yet sometimes hauntingly a reflection of the present day. The disdain that the upper class exudes toward everyone else boils the blood, “Don’t breathe on me,” a corporate executive interrupts an underling for talking to his superior without covering his mouth.

The rich relax in the skies with their “I’ve got mine” security separated comfortably by the planet’s own atmosphere. Everyone else on the ground is a means to an end, to higher profits and revenues. I think about all of the fast-food workers holding these one-day strikes for a livable wage and I see the factory workers in Elysium get bossed around, threatened with their jobs, exploited for as much work with as little compensation. Profit, profit, profit.

Everyone’s desperate to get to Elysium, to use the medical beds, to escape what the previous generations – our generation – have left of the earth. We hear the words “illegals” a lot, “security,” “liberty,” it’s all of the same issues that we debate about now, how much to give to what people, do people truly deserve anything in this life?

Matt Damon’s character, Max, grew up in Los Angeles, and due not so much to character defects than the simple fact that the circumstances of his life suck, he’s in and out of jail, getting beat up by robot cops for no reason, working on the line at a factory that manufactures the same robot cops that then patrol the streets looking to beat him up again.

When he’s involved in an accident at work leaving him with just five days to live, his yearning turns to desperation as he agrees to wear a surgically attached robot exoskeleton with orders to fight his way to survival. Fortune winds up turning a simple heist into a political battle for control of Elysium, and Max finds himself being hunted down by Kruger, Sharlto Copley, the same South African guy from District 9 (also written and directed by Neill Blomkamp.) He’s traded in his bureaucratic government shirt and tie for a beard, cloak, and a giant sword. Kruger is a highlight of the film. I don’t know if it was his relentless cannot-be-stopped character or his creepy almost unintelligible accent, but his very presence on the screen made my skin tingle with static-like charge.

Elysium is over the top, but it’s everything that true sci-fi aspires to be. Like Alien, like his previous District 9, Blomkamp has taken all of the negative aspects of modern society and imagined them to run their course for about two hundred more years totally uninhibited. The result is everything that us liberals are afraid of: corporate supremacy, misery, dystopia, the haves and the have-nots on an extreme scale. It made me think about justice, about distribution, about the fact that we currently have the means to feed the world’s population, but we lack the political will to spread the wealth. How is this all going to sort itself out? In which direction are we headed as a species? I certainly hope that our future resembles nothing like the world of Elysium.