Category Archives: Movie Reviews

Movie Review: Man of Steel

You’ve seen the trailers. Everybody knows the story. It’s Superman. What can you really say about a Superman movie? Americans are more familiar with Kal-El’s origins than they are with the Bible. There’s nothing to spoil here. There’s nothing to do except comment on what worked and, unfortunately, everything that didn’t.

The previous new Superman movie was so bad that I personally thought that the man in the red cape was going to be condemned to at least a twenty-year exile from the big screen. But no sooner did the tepid reviews of Superman Returns start trickling in than Hollywood announced plans for a reboot.

And then they teased it out like you can only tease out a big superhero movie. In any other genre, audiences won’t have the patience for these types of games. Like, a year before the release, they’ll show a glimpse of the costume’s shoulder pad. And then a month later a poster. This all culminated in the onslaught of trailers released in the past month or so.

Which, I’m sorry to say, kind of baited me in. The previews looked great. Everything felt cool and modern. I was actually sort of looking forward to a Superman movie, I couldn’t believe it. But then I saw it, and the cynical jaded part of my brain laughed at how gullible I’d been. Because a stunning three-minute trailer does not guarantee a whole two-plus-hour feature film.

It’s stupid to complain about the story, but I’ll do it anyway. How many times are we audiences expected to sit through another tried-and-true opening of Jor-El sending his infant son to escape from the dying planet Krypton? Russell Crowe gives a totally generic and bland performance as Superman’s biological dad. He tries warning the Kryptonian leaders about the planet’s imminent destruction. Nobody listens.

General Zod shows up. There’s a chase scene. There’s a flying bird thing that Jor-El rides around, and it’s almost exactly like the flight scenes from Avatar, only sepia-toned. General Zod gets banished to the Phantom Zone. Wow! So exciting. I really can’t imagine where they came up with such a novel idea for a Superman origin movie.

And then it’s just this weird out of order montage of Clark Kent growing up, learning about his powers, about himself. Even though Jor-El dies, he’s somehow still around the rest of the movie, talking to Superman in his weird Russell Crowe pseudo-English accent. General Zod has an American accent. I never understood why they don’t just streamline the accents at casting. It doesn’t matter, really, because everyone on Krypton speaks English I guess, that’s all that’s important.

You know what? I’m not even going to talk about the plot anymore. There are some cool scenes here and there, but ultimately it’s a boring, boring movie. It goes on forever. There are a lot of grandiose ideas and sweeping shots filled with a larger-than-life Superman-ish score. A lot of the more glaring plot holes are either casually written-off or more blatantly ignored. Like Kevin Costner talking about why the government didn’t show up to collect the spaceship. “I don’t know why they didn’t come. They just didn’t.” Or when a bearded Clark Kent shows up at Jor-El’s twenty-thousand year old spaceship and emerges in a Kryptonian Superman costume, totally clean-shaven.

And then it’s just punch, punch, fly, kick, hit, punch, heat-vision eyes, punch, shove, fly, swoop, kiss, punch, punch, punch, punch, fly, punch, fly for the rest of the movie.

And is it just me, or do the effects here feel kind of cheap? It’s like, maybe Avatar set the bar pretty high in terms of digital graphics, but every new CGI laden movie that comes out lately, it feels like the artists are just rushing through the film. Everything’s kind of blurry, just a little too intentionally soft around the edges. I keep seeing the preview for World War Z and it looks just the same, like a bad cartoon. Also, another note about cinematography here, they went for the whole shaky camera thing, which, I don’t know, I guess it was supposed to make me feel like I was chasing Superman or something? And what about those sun glare spots? That’s like the first thing that everybody makes fun of in modern movies. Why are they still doing it?

Whatever, I can make snarky comments about the production all I want. But I’m mostly kidding. This was a highly polished big budget Superman movie. It looked cool. It would have been good as a series of ten-minute installments. Really, the problem lies with the Superman story. We’re talking about a character that’s older than my dead grandfather here. His story is legend and as such it is immune to change.

So what do we have? Just this never-ending intro, an infinite origin story. Superman is all beginning, no end, not even a middle anywhere in sight. To make Superman relevant, to keep the character interesting, someone’s eventually going to have to do something wildly different. But in a good way, not in the blue electric Superman from the 90s. Otherwise he’s destined to a fate of obscurity. Maybe not immediately, maybe not this generation, but eventually there’s going to be another Superman origin movie released, and all the kids are going to look at this giant S and think, this is boring. Man of Steel was boring.

Movie Review: The Internship

What happens when you make a photocopy of a photocopy of a photocopy? You get something that resembles the original, kind of, but there’s a definite degradation of quality. You look at your end result, say to yourself, well, everything is where it should be, but it just doesn’t look right. That about sums up The Internship, the wacky summer comedy movie starring two of America’s favorite funny actors, Vince Vaughn and Owen Wilson.

We’ve all seen the trailers, there’s nothing that I could possibly spoil for you, even if I wrote out the entire plot of the movie. It’s derivative comedy at its most basic. It’s two guys that don’t know anything about computers that wind up at Google as interns, competing for a handful of full-time jobs.

Get it? Because they’re old. Right? They’re so old. That’s the joke. They keep telling us over and over. “But you guys are so old!” And so Vince Vaughn has a flip phone. And they don’t know how to use computers. It’s like, come on, even my grandfather knows how to use a computer. This trope might have been slightly more believable maybe ten years ago, but by now it’s growing ever more unlikely that there exist a couple of forty year olds living in California that are really this inept in modern technology.

The movie actually starts out funny enough. There are a couple of ridiculous back-and-forths that evoke those old feelings of seeing these two guys in a movie and not automatically assuming that it’s going to suck. But they play their trump card way too early, a signature over-the-top cameo by Will Ferrell, and after that’s come and gone, the movie limps toward the finish line, realizes that it’s way too far away, and decides, whatever, they’ve already paid for the tickets, let’s just call it a day.

These sort-of comedy movies always follow such a formulaic approach to story telling. Characters find themselves in unlikely scenarios, they decide to give it their all, after one or two comical false starts, they rally together, work really hard, and start turning some heads. Of course there’s a bad guy, and of course he winds up getting under the good guys’ skin. There’s self-doubt. Vince Vaughn winds up quitting. But of course he comes back. And of course they rally again just in time.

It was the same in Dodge Ball. It was the same in Old School. It was the same in Wedding Crashers. It’s just over and over and over and over again. Throw in some really cheesy romance. Sprinkle in a scene where everybody goes out to a strip club. I’m sitting there in the theater, not really laughing at all, and I’m just thinking, this is so boring. I can’t believe I’m sitting in this seat being spoon fed the same completely unimaginative garbage summer after summer. Who’s making the money at the end of this gravy train?

To make things even lamer, it’s all a big Google commercial. They talk about Gmail and there’s the Android logo everywhere. Nobody has an iPhone. There’s an almost imperceptible walk-on role by one of the two Google cofounders. When they’re not making funny faces or acting out premature ejaculation jokes, they’re having serious conversations about Google connecting people to people, people to information, making the world a better place.

What else? I’m seriously out of stuff to say about this movie. It was so boring. I can’t believe I actually spent money to go see it. This is something that normally I’d only ever watch if I were on a really long vacation with my entire extended family, and during one of those weird in-between points, when everybody’s asleep or waiting for dinner, and we’re all just kind of hanging around the one TV wherever we’re at, and TBS is playing a “very funny!” movie, and we’re all like, The Internship, huh, we all forgot that this movie ever even came out. And we watch it, it’s terrible, but nobody makes a move to turn it off, and everybody’s a little bit more tired having had to sit through such unfunny two hours of their life.

Man, I’m so tired. I hate having to so thoroughly bash something. But what a joke. An unfunny joke. There’s nothing else to say. I’m really sad and tired now.

Movie Review: Now You See Me

Iron Man Three, Star Trek, Fast 6, for a while I thought that the summer blockbuster season wasn’t ever going to skip a beat. But then I checked out my options for this week and was reminded that, yeah, if I’m planning on seeing a new release every weekend, I guess I’m going to have an occasional lineup of slim pickings.

And so I almost resigned myself to buying a ticket for Will Smith’s After Earth. I really, really didn’t want to see After Earth. I’ve seen the same way-too-long preview several times, and nothing about it looks interesting. The ship crash-lands. It’s the future. It’s Earth. Will Smith’s in it. Man, remember when Will Smith used to make only good movies? I’m glad I wasn’t writing movie reviews when Men In Black 3 premiered.

But just before I made my post-apocalyptic purchase, Yoda’s voice came alive in my head, “No. There is another.” And sure enough, there was another new release this week, a movie called Now You See Me. Huh. I’d never even heard of this movie. I was about to do a quick Google search to find out the general plot, something that could give me a clue as to what I might be in for, but I decided, fuck it, let’s go in blind.

Now You See Me starts off fast. It’s about four magicians who team up to rob banks, giving the money to the public in a Robin Hood display of vigilante economics. And for the first hour or so, it’s a pretty cool movie. The FBI gets involved and it turns into an old-school New York City heist movie, crazy crime-genre background music and all, something reminiscent of the original The Taking of Pelham 1-2-3.

But shit keeps escalating. Chase scenes give way to fight scenes that give way to car crashes. Instead of even beginning to hint at like a general direction in which the movie might be headed, they just keep on piling on random clues, mysterious characters, a few dead-end leads and even a flimsy romance subplot. After a little while you’re like, what? How? Who is this guy again? Wait, why are they robbing the banks?

And after that first enjoyable hour, the movie spirals out of control. The whole time I was thinking to myself, man, these writers had better have come up with something genius to get to some sort of a resolution, to even begin to answer all of these questions. And yeah, I guess it’s theoretically possible. There are movies out there that weave insane plots together in acts of superhuman storytelling.

But I kept thinking about how it’s so weird that a major movie studio could release a big summer film and not have any marketing campaign at all. Why hadn’t I seen this movie coming? Why weren’t there any previews during any of the other movies I’ve been watching every single week for the past three months?

While I don’t want to be a cynic, while I wanted to hold out hope that maybe they’d be able to yet turn this into a great movie, a moment of realism set in as I deduced that the only reason nobody’s heard about this movie is because maybe it really wouldn’t get any better. Maybe the writers wrote themselves into a corner and couldn’t figure a way out. But you know how big Hollywood is, they already signed Mark Ruffalo, Woody Harrelson. Shooting was to begin in three weeks. If one group of writers couldn’t figure it out, they’d just fire them, get a new group in. Whatever, just write something, just wrap it up boys, we’ve got to get this film debuted by the end of May.

The ending of this movie is just an insult to intelligent life anywhere in the cosmos. I’d equate the making of this movie to the running of a marathon, one in which after twenty-five miles of agony, with only one mile left in sight, everybody just stopped. They just said, eh, whatever, who cares. I’m tired. I don’t feel like running anymore.

And then not only did they stop running, they didn’t even bother walking the rest of the way. They couldn’t manage even a limp to the finish line. In fact, they cheated, they took a cab to the end. Their score was totally disqualified. And then once they got there, they started punching random people in the face, stealing all of the other runners’ medals, knocking over tables of Gatorade for no good reason.

It’s like, what the hell guys, you’re only going to make half of a decent movie? Why bother? Is Morgan Freeman this desperate for work? Is Mark Ruffalo still trying to convince the world he’s a real actor after that ghost movie he made with Reese Witherspoon?

I really am sorry, because I don’t want to be so negative, but Now You See Me is a joke. A stupid, not-funny, fifteen-dollar-a-ticket joke. If you’re on an airplane flying across the country, and the in-flight entertainment system has this movie available to stream, do yourself a favor, just take a nap instead, or just sit up straight and stare at the back of the seat in front of you for two hours or so. Yeah, it might be a little boring, but at least it won’t be as incredibly disappointing.

Movie Review: Fast & Furious 6

I was a junior in high school when I went to see The Fast and the Furious in theaters. It’s been a while, but I remember something about an undercover cop joining an underground street racing gang in Los Angeles. People raced for each other’s cars. Honda Civics could drive right under the beds of sixteen-wheelers. And every vehicle came equipped with Nos, some sort of a magic gas that gave an extra speed boost, essential to coming from behind to win a drag race.

Fast forward ten years to Fast & Furious 6. Most of the original cast is still here, Vin Diesel, the other guy, the girl (although she has amnesia, which we’re reminded of every ten minutes or so.) The Rock’s part of the crew now. So is Ludacris. I don’t know, maybe I missed something during parts two through five. Aside from the familiar faces and the close-up shots of people shifting gears, I really don’t get how things could have connected from point A to point wherever we are now.

But it totally doesn’t matter. Fast 6 is a standalone movie. You don’t need to know anything about the franchise, I don’t even think you need to speak English. You just sit back and you watch cars go fast, you watch things blow up, you watch crazy fight scenes.

The plot has about as much to do with actual storytelling as iceberg lettuce has to do with being a vegetable. It’s green, yeah, and I guess it came from the ground, but it has zero in the way of nutritional value, it’s just a means to devour as much salad dressing as you want. The story has something to do with Vin Diesel’s racing gang trying to take down a criminal racing gang. The evil gang is trying to steal some sort of a military computer chip. They never really hone in on the specifics, but it’s a really valuable and powerful computer chip.

It just reminds me how far we’ve come from the first movie. I clearly remember a scene in part one where Vin Diesel and the other guy are standing around an old PC, bewildered as some hacker nerd guy explains that, “You can find anything on the net.” They’ve since caught up with the technology. Ludacris is constantly surrounded by at least a dozen computer screens. The bad guys have guns that fire computer chips onto cars, “chip-guns” I think they’re called. Again, I’m not certain about the specifics, but they can somehow disable any car’s computers.

Fast 6 is an action movie that has a very loose affiliation with cars and racing. The bad guy has a car. There are a lot of chase scenes. They do manage to squeeze in one underground drag race, but they never explain stuff like, where’s the course? How do the drivers know where they’re going as they swerve into oncoming traffic and try to lose the cops? Why can’t the racers ever figure out that whoever uses their Nos first always winds up losing?

But like I said, all of this stuff is unimportant. Pass me the salad dressing. I want to see more explosions. I want to see The Rock jump from one car to another. Anytime he tells someone else to, “Take the wheel!” it’s a sure sign that he’s seconds away from dramatically exiting the vehicle. As I’m sure you’ve seen from every preview and commercial, there’s a tank. It flattens every car that it comes into contact with. Except for the car being driven by a member of the good crew. This car gets slowly eaten, giving the good guys a fighting chance at survival.

Why is everybody so concerned with keeping this computer chip out of the hands of the bad guys? “It’s about family,” Vin Diesel tells us, I think. It’s hard to understand him, because he’s always talking in this barely audible baritone whisper. The director must have told him to take a handful of Nyquil before every shoot, because it’s all Diesel can do to spit his words out.

“It’s about having a code,” the bad guy tells us, over and over and over again. “My brother once told me that it’s essential for every man to have a code.” And he’s not talking in the abstract at all. He’s serious about his codes. “Mine is precision,” whatever that means.

But seriously, it doesn’t matter. This movie is absolutely bat-shit crazy, and it’s totally on purpose. It would have been terrible had anybody taken anything going on in this film seriously. I was dizzy, because the cameras are constantly circling around everything, swooping around the action scenes, swirling around people standing still talking to each other. Watching Fast 6 is like riding the Gravitron at a local carnival. What’s the point? Who thought of this shit? I liked it, I think, even though I’m kind of nauseous, and the whole place was way too crowded. Can I ride it again?

Movie Review: Star Trek: Into Darkness

What can I say? Star Trek: Into Darkness is a great movie. Sure, I’m totally biased. I love the Star Trek franchise. One of my earliest memories is watching a Next Generation episode when I was four years old. I think I can safely say that I’ve seen every episode of every series in the canon. I’ve read countless lame Star Trek novels. If a madman pun a gun to my wife’s head and said, “Never watch Star Trek ever again, or your wife gets it,” well, sorry babe, but you having to exist with me unable to watch Star Trek, that’s not a life that you’re going to want to live. I’d be doing you a favor.

Having said all of that, I think that I’m even more qualified to judge this film, because my standards for Star Trek are so high. I used to watch brand new Star Trek, or some incarnation of it, every single week from when I was a little kid, with The Next Generation continuing into Deep Space Nine, to Voyager, and then finally to Enterprise. If the powers-that-be are going to make me wait three years for one two-and-a-half hour dose of Trek, it had better be fantastic.

And it is. It’s great. I don’t want to say anything about anything. Do what I did. Don’t read anything about the plot, nothing. If you see a commercial on TV, turn it off. If you’re out and the trailer starts playing on some screen in the background, close your eyes, put your fingers in your ears and start screaming, “I’m not listening! I’m not listening! Lalalalalalaaaa!” Just go see the movie and let the story carry you past light speed, all the way to warp nine point three.

I’m not even exaggerating. Sitting there in the theater watching everything play out, I felt like my circulatory system had been replaced with a series of warp coils, that instead of a heart everything was running on a dilithium-based matter-antimatter reaction. You know that feeling when you see something really cool or moving and you get goose bumps across your entire body? That’s what the whole film was for me. The previews ended, Into Darkness started rolling, and it was just all goose bumps, unrelenting, beginning to end. My skin actually kind of hurts still.

But it was worth it. In fact, I’d sacrifice far more than some mild dermal discomfort to enjoy such a work of brilliance. That’s cheesy, but what else can I call it? It was brilliant. The sound effects alone, how does something at once sound so modern while maintaining its distinctly retro theme? It’s the same with the scenery, the lighting, the tech. It’s how I imagine the future to look like, not like something cooked up from scratch, but a century or two of constant addition to our existing society.

And this movie isn’t just cool, it’s really cool, it’s poignant, it’s relevant. It tackles big issues, without an ounce of subtlety, of course, but that’s what Star Trek has always been about. It’s taking large societal problems and saying something about them with aliens and sci-fi. Like who can forget that original series episode where the two guys are half-black, half-white? It’s the 1960s, so here’s an alien racism themed story.

There’s nothing I can say negative about Into Darkness. My only observation would be that Zachary Quinto, in an effort to channel Mr. Spock, missed the mark slightly and wound up embodying Tuvok, the Vulcan chief of security on Voyager. Anybody with me on that one?

Also, again, go see the movie, but be prepared to sit in a theater full of guys and girls that, based on appearance alone, clearly love Star Trek. (Obviously I’m not talking about me. I was the exception. When I tell people I love Star Trek they’re like, no way Rob, how is that possible? You’re so cool!”)

Finally, and this has nothing to do with the movie, but I got really thirsty right before the previews started rolling, so I snuck out to the concession area to buy a drink. The line was long and the employees don’t get paid enough to do their job fast, so I had to watch the same disinterested routine over and over again.

“Medium soda please.”

“Would you like to buy a large soda for fifty cents extra?”

“No.”

“Six fifty.”

Hands over seven bucks.

“Would you like to donate one dollar to cancer?”

“No.”

Makes change.

“Would you like to donate these two quarters to cancer?”

“No.”

Every single customer, every single time. I have nothing against donating money, whatever. But seriously, why don’t you give a dollar to cancer, Regal Theaters? The movie was like fifteen bucks. You just charged me another seven for a bucket of sugar water. And you want my spare change? You want even more money? Stop harassing me! Call of your dogs! This is extortion!