The third installment of the rebooted “Star Trek” franchise takes the best elements of the 2009 film and leaves out the weakest elements of the 2013 sequel, “Into Darkness”. The series has hit its stride with “Star Trek Beyond”, this time directed by Justin Lin (“The Fast and Furious” series), and packs an entertaining punch while also keeping a comic tone intact.
The screenplay was co-written by Simon Pegg, who plays Montgomery Scott on board the Enterprise. His keen awareness of the importance of the chemistry between the characters is very evident, making this probably the most rewarding experience of the three films so far.
The film begins much like “Into Darkness” did, with Kirk doing everything he can to mess up what seems to be a simple mission. The creatures he speaks to look a bit like “Star Wars” prequel rejects, but turn out to be cute little miniature Jumanji hybrids. Though chuckle-inducing, I hope this doesn’t become the standard in subsequent scripts. In fact, the series should probably take a new direction after this one, so as not to become stale too quickly.
The main plot of the film involves a husky lizard-like villain named Krall, who is looking for a relic that Kirk had in his possession in his mission to appease the creatures in the beginning of the film. Apparently this artifact has a lot of unknown power, but Krall is after it. They first encounter him after agreeing to a rescue mission from a distressed former captain of her own ship, Kalara (Lydia Wilson), and seek to aid her while going into the Nebula. While there, they’re greeted by a slew of aggressive ships, and it’s fairly evident that it was a trap laid by Kalara. It’s not at first clear why, until she admits that her crew is at the mercy of Krall (Idris Elba). This is no consolation to Kirk, whose crew is now also taken captive.
Kirk, Chekov, Scotty, Bones and Spock have evaded capture, and are aided by a rogue female being, Jaylah (Sofia Boutella), who has been living in an abandoned Starfleet ship, the USS Franklin. At first confused why there would be an older Starfleet ship stuck in the rock of this planet, it becomes evident that Krall may have had a link to Starfleet Academy.
Meanwhile, Uhura and Sulu try to release the captives, as they themselves are prisoners as well. Uhura is the one who realizes Krall may not be as simple as a foul tempered, scaly antagonist. There seems to be something deeper within his anger and resentment toward their race.
As mentioned before, the film is directed by the man who gave us much of the “Fast and Furious” sequels, and this film has moments of being too fast and furious for its own good. But for the most part, it’s very well paced and the character interactions are a joy to watch. Bones and Spock have some great scenes together, and Scotty and Jaylah enjoy some nice chemistry as well. The film is probably the most action packed of the three, but it’s never uninteresting; and even at its most brazen and contemptuous of suspension of disbelief, it doesn’t go so far as to take you out of the moment. As unbelievable as some of the stunts are, you’re still rooting for these characters to be safe and return home in one piece.
The strength of the series has always been its cast–that goes back to the original cast of the 1960’s in the first series. It always felt like an ensemble, and this cast preserves that. These characters like each other, and we like them for it. It’s bittersweet to see Chekov one last time, as actor Anton Yelchin tragically died this summer. But he has a nice role in this film, and we will definitely miss him.
Also mentioned before, the series should probably start to take a new direction after this one. They’ve rebooted the cast, rehashed a villain, and now I think we’ve had our fill of revenge plots. Much like the first series of original films, which went in new directions, this series needs to find other stories to tell. They have the cast at their prime, now give them something different. This film is forgivable for its messy antics at times and even confusing narrative; if this is repeated in a fourth film, the series could start to lose itself, and that would be a shame.
For now, though, sit back and enjoy the ride. It’s entertainment at warp speed.
Back in the spring of 1996, I was a junior in high school, and I was intrigued by a very short but extremely effective movie trailer: July 2nd, they arrive. July 3rd, they attack. July 4th is…Independence Day. And a lot of things blowing up. It was as simple a concept as you could have, and yet it was all I needed to be absolutely stoked to see what “Independence Day” had to offer.
Back then, there was really no internet (although I was a frequent patron of America On-Line and its chat rooms), and even though you could watch entertainment access shows to get a glimpse into a movie you were into seeing, you mostly had to wait until it came out and see it for yourself before you really knew all about it. When I went with a group of friends on opening night, I didn’t even know who was in it.
That film experience to this day ranks as one of the best I had ever had. I wasn’t born yet for the first “Star Wars”, and I was very little for “Return of the Jedi” (which I still loved dearly, even at my young age). Throughout my childhood, I certainly had great movie experiences. But for some reason, “Independence Day” stuck with me. 1996 was a great year for geeks, during a period of time when geekdom wasn’t a thing. No one catered to us. We didn’t have numerous conventions that we could attend and make like-minded friends or have “nerdgasms”. But we did have “The X-Files”, which had just switched to mainstream Sunday nights and became popular, a “Dr. Who” TV movie (no matter how hard I try, Eric Roberts cannot be wiped from memory as the Master), and “Mystery Science Theater 3000” released a full length feature film in theaters.
So in the middle of the summer comes “Independence Day”, surely a retread of sci-fi yarns we’ve seen before. But the audience I saw it with lapped it up like popcorn butter, and all of us were cheering like crazy by the end. It was patriotic, bombastic, and a feel good action film. What more could you want? Well, it was fleeced by critics, and maybe your parents too–but it made a killing at the box office, and everyone I knew loved it. Myself, I saw it 3 times in the theater and even bought a tee shirt of it.
20 years later, we have a sequel. A long time coming, or far too late? Well, I never really thought the first one needed a sequel. It wrapped everything up and let us celebrate the victory against the aliens. It was satisfying. But after 20 years, you get nostalgic. And that’s what I wanted from the sequel. Just nostalgia. Doesn’t need to be great, doesn’t need to be better than the original or blow my mind. After all, the first movie was released during one of my most cynical periods of life–and yet I still loved it. So I couldn’t be that let down by this, right?
Well, let’s get into the plot first: 20 years after ID4, the earth, and America, is thriving again. It looks like we’re using the alien technology for vehicles and space related engineering, and we’ve picked up the pieces and are right back on track–and maybe in an even better position than we were. There are a few casualties: former president Whitmore (a disheveled Bill Pullman) looks to be suffering from an early onset of dementia. Captain Hiller (Will Smith) is dead, killed in a test exercise. And Dr. Okun (Brent Spiner) is in a coma–wait, wasn’t he dead? Yes, he was clearly killed by the alien who took over his brain back in the original film.
OK, so now he’s in a coma and actually survived. Then, he wakes up, and starts having visions again. Whitmore experiences the same thing, along with an African warlord (Deobia Oparei) who had close encounters of his own when the first alien attack happened.
Apparently, these aliens are coming back with a vengeance. But it looks at first as if they send a homing device to a space station. Two pilots, Jake Morrison (Liam Hemsworth) and Dylan Dubrow-Hiller (Jessie Usher) are stationed there and when the device is seemingly destroyed, it sets off the aliens to come back to earth. Unsure of what the significance of the device, Madam President Lanford (Sela Ward), asks David Levinson (Jeff Goldblum) who is now in charge of Area 51 to come back and help stop the incoming invasion. But Levinson wants to check out this device, which could be a key into why the aliens are attacking us again.
Meanwhile, the aliens do attack–sending a giant mothership crash landing into our planet along with a queen and many, many soldiers.
From there, the film is a real spectacle, with whizzing lasers and explosions. The plot itself gets a bit muddled, and there are so many characters to keep track of, we get lost in the shuffle, trying to remember whether we should care or not what happens to them.
David’s father Julius (Judd Hirsch) makes a triumphant return, now an “author” of a book called “How I Saved the World”. Judging by his book tour headlining at a nursing home, it doesn’t look to be that much of a best seller (so who published it?). His plot includes saving a group of kids and ending up on a school bus getting chased by the space invaders. I think this may be the first time I’ve seen Judd Hirsch in a car chase. Even though it’s a bus.
There are things to like in the film: the chemistry between Hemsworth and his buddy Charlie (Travis Tope, who grows on you) is cute, and better than the chemistry between Hemsworth and Usher, who should have been reminiscent of David/Steven from the first film. Unfortunately they don’t share enough screen time without those pesky aliens interrupting everything to enjoy each other’s company. That and there’s a dubious subplot involving Hemsworth’s character Jake accidentally almost killing the young Hiller–which could’ve been scrapped and probably made for a smoother transition into these characters liking each other. That would’ve helped the narrative a little. I did like seeing Goldblum and Hirsch reunited, and it’s always great to see Brent Spiner. Jake also has a love interest, Patricia, Whitmore’s daughter (Maika Monroe), who is also a pilot. Their story also leaves something to be desired.
Overall, the film is overstuffed and almost claustrophobic in how much it tries to pack into its two hour running time. If I were a 16 year old seeing this now, I’d probably be disappointed and deflated from sensory overload. Then again, that’s probably what a thirtysomething would’ve said about the first film, which I thoroughly enjoyed. Maybe it just depends on which part of your life cycle you end up on in whether you can enjoy a movie like this. Of course this is a sequel–but it’s not like the original film was all that original.
It is an experience. But it’s one that you already had 20 years ago, maybe better, and maybe you don’t need to try and recreate it. That’s probably what I would’ve told the filmmakers on this one.
If we ever had an astronaut on Mars, I’d want it to be Mark Watney. Actually, nevermind that. I’d want it to be Matt Damon. Like in many “lone survivor” films, an appealing lead is vital. And here, Matt Damon absolutely owns the film and makes a somewhat agreeable film into a piece of outstanding entertainment. Fleshing out the attractive cast is the always faithful Jeff Daniels, Chiwitel Ejiofor, Kate Mara, Jessica Chastain, Sean Bean, and…Kristen Wiig.
The story, based on a 2011 novel by Andy Weir, is about a group of astronauts on a planned mission to Mars that gets thwarted by a major martian storm, sending them back to their ship to leave the planet. During the storm, Watney (Damon) gets whacked with a piece of equipment that partly saves his life, and his crew has left him behind. Being a botanist, he finds that he can grow his own food with the crew’s excrement, and ration food long enough for a rescue mission–he hopes. Meanwhile, the news has leaked back to planet Earth that there was a problem with the mission and someone was left behind. That story doesn’t sound enticing, and the head of NASA (Daniels) begrudgingly concocts a plan to help Watney out. The crew on board their ship Hermes initially does not find out about Watney’s fate, as Daniels’ character Teddy Sanders believes that they will want to go back and rescue him–putting all of their lives in potential danger.
So you have three subplots going on: Watney’s survival on Mars, NASA’s attempts at rescue and sending him supplies, and the Hermes crew once they do inevitably find out about Watney still being alive. Commander Lewis (Chastain) feels the most guilt about leaving him behind, being former military, but also knows the risks involved in rescuing him. The rest of the crew, including fellow astronaut Rick Martinez (played well by the always reliable Michael Pena), want to go after him and get him back.
NASA’s Mars mission director, Vincent Kapoor (Ejiofor), also wants him to be rescued. Ditto for the flight director played by Sean Bean. The outside influences try to force Sanders’ hand, but he stays on course with the plan to send a probe full of supplies to last Watney another few years before another manned space mission can be executed.
Meanwhile, Watney plods along. At first he cannot communicate with NASA, but then finds a way through an old device that was part of a 1996 mission. He has a few missteps, and he has a few catastrophes. It feels at times like “Cast Away” or “Moon”, “Gravity”, or “Silent Running” (which bears some similarities). But one thing that those films share that is missing in this script, by Drew Goddard, is a little more depth in Watney’s character. While Damon is outstanding, he is…who he is. I’d have liked to see some scenes of him feeling his loss, his isolation, like Hanks in “Cast Away”. He does have a will to live, which is a big theme in the film. It could be the most inspirational movie to be released that wasn’t based on a true story–that feels like one. Up until maybe the last 15 minutes, the film feels like it’s depicting something that really happened. There’s a lot of cheeky dialog, modern mannerisms and throwaway lines (that’s Goddard’s style, after all). But my favorite thing are the 2 references to old Infocom games: “Zork 2”, and “Leather Goddesses of Phobos”, which provide Watney with his only source of entertainment. That is, of course, besides Commander Lewis’ extensive disco collection, much to the chagrin of Watney.
The film is breathtaking, directed by the always reliable Ridley Scott–who is a visual master. It has a lot of tension, even though most of it is predictable. Again, the mark of a great filmmaker. Nothing ever feels out of place, and you do get caught up in the story, pulling for Watney and enjoying his wit as well as his perseverance. Some of it gets a little cutesy, but it’s forgivable. “The Martian” delivers what it promises. Its tagline is “Bring him home”. And this film certainly does.
“A straight line. You keep moving forward and never look back.” That’s a line frequently used in the 5th film of the “Terminator” franchise–a franchise that probably didn’t need more than 2 movies (the first two, which were the best). But, here we are, far removed from the era of Cameron’s masterpieces. The ironic thing about that line, though, is that “Terminator: Genisys” hardly moves in a straight line. It’s about as all over the place as you can get. There is so much time travel in this film, it almost borders parody. I thought of “Back to the Future Part II”, in which multiple timelines are crossed and crossed again–but the film always made sense and cleaned up its mess.
Here, director Alan Taylor leaves it to us to clean up the mess. And about halfway through, you are basically the 8 year old kid who decides to go play with his friends and ducks out of the bedroom window, climbing down the tree touching the window. It’s not worth trying to figure out. The question is: do you sit back and enjoy the ride? Or do you pick apart the flaws in the time travel?
The story is basically a sequel, a prequel, and a reboot, all in one. It starts with the war against the Terminators, when John Connor (nicely played by Jason Clarke) sends Kyle Reese (Jai Courtney) back to 1984 to protect Sarah Connor (Emilia Clarke), and mate with her to produce…him. He has to do this because Skynet has invented a way to send Terminators back in time, so that humanity has no chance of ever posing a threat to their domination. But when Reese is sent back, there is a bit of a breach in the nexus while he is being transferred. When he gets to 1984, he finds that Sarah not only knows about Terminators sent to kill her, but she’s already befriended one that was sent to protect her. She calls him “Pops” and he fights a fresh T-800, and has to fight another T-1000. Arnold Schwarzenegger proudly returns as the monotone voiced Terminator, and he fights his younger self in a pretty entertaining early battle scene. While this probably should have been more like the concluding climactic fight, it still works as a shot in the arm to get things going.
The T-1000 is a bit out of place in this film, as its technical effects just don’t seem all that impressive anymore. After all, we’ve seen this in the first two “Terminator” sequels, and I felt that it exhausted its welcome there. Here, it seems just thrown in. But I will always have a hard time arguing against seeing a Lee Byung-hun. Pops takes him down fairly early, indicating that they know the T-1000 is just chump change at this point.
But from there, the story gets more complicated. The issue mainly surrounds John Connor, which is typical in a “Terminator” film. But the time travel element gets extremely liberal in its narrative usage, and your head will probably spin when all of it is thrown at you.
My advice is, don’t worry about it. You aren’t going to need to know the “why” in this film. All you need to do is accept it based on the fact that, well, time travel doesn’t really exist anyway. All the questions you have are too logical for such a thing, and if you start thinking too much about it, you are going to miss a pretty well paced and entertaining action film. And that’s all this is. And it’s basically saved by Arnold’s winning performance. I didn’t care much for Courtney as Kyle Reese, nor Emilia Clarke as Sarah Connor. Not because they weren’t played by the original actors (I liked Anton Yelchin as a young Reese in “Salvation” anyway), but because I feel like they were the wrong actors to play the parts. Both are capable actors, both I’ve liked in other things. But here, they just don’t look right to me. But Arnold does, and he really gives an A grade performance that makes this film watchable. I will admit, as decent it is as an action film on its own, there are many flaws in it that I forgave once I saw that forced smile by Arnold. I also liked J.K. Simmons, as usual, turning in an amusing supporting role.
This is not a great film by any means, and I didn’t enjoy the resurrection of the franchise quite as much as I did “Jurassic World” with the “Jurassic Park” franchise. But it did deliver a good enough payload for me to recommend it–mainly because of Schwarzenegger’s trademark charisma and appeal, and because the action sequences size up to the rest of the franchise as well.
No one’s walking in a straight line, but certainly no one’s looking back here, either. For a franchise that should have stopped with “Terminator 2”, you could probably just skip 3 and 4, watch this, and be satisfied enough with a trilogy–even though the first two are in a very different, and superior league.
I was not a big fan of “Rise of the Planet of the Apes”; however, I was not averse to the series being rebooted. I was hoping for something a little more brazen and daring, maybe. Like the original Rod Serling-penned film was. I know that Hollywood isn’t what it used to be and it’s harder for mainstream films to have a “message” that isn’t politically correct or sometimes downright cloying; but the “Apes” series was about change, and progression. It was a social commentary about race relations and bigotry–something that still and always will permeate society. “Rise” seemed to fall short on that, and the storyline just felt predictable and easy. That said, I did appreciate Andy Serkis’ performance as Caesar. He seems to be right at home as a CGI enhanced character.
Here he returns as Caesar, but things have changed dramatically for planet earth. The virus hinted at in “Rise” has now wiped out a good portion of the human population, and apes are unaffected. They are, however, pretty smart and have evolved (oops, careful) into a healthy society. Caesar is their leader, with his old friend and wingman, Koba (Toby Kebbell) at his side. He also has a son named Blue Eyes (Nick Thurston) and a newborn with his wife Cornelia (Judy Greer), who is suffering from an illness after the second son is born. The apes seem to be living happy as a tribe, until they are met with a group of humans, led by Malcolm (Jason Clarke). Koba hates all humans, but Caesar isn’t so quick to dismiss them all. He knows there is good in them, he just has a hard time trusting them. When it’s discovered that the humans need to access a dam to give power to their dwellings outside the forest, Caesar has to make a choice to trust them. The dam happens to be in their jurisdiction. The humans are desperate, with only enough fuel at their compound to last another week. The leader, Drefyus (Gary Oldman), doesn’t really have an opinion on the apes, he just considers them animals. But Malcolm has seen their intelligence and isn’t intimidated as much as he is fascinated. He and Caesar strike a bond, with Caesar most likely remembering his younger years as a subject with Will (James Franco, making a cameo appearance in an old video that Caesar stumbles upon when he is in his old abandoned home). Caesar lets the humans do their “human work”–then, Koba reminds him, in a well done scene, that he, too, has had “human work”. He points to his scars, and simply says, “Human work”. The apes can talk, but primitively. They can complete sentences, but they cannot yet talk as well as, say, Dr. Zaius.
The strongest performances come from Serkis and Clarke as Caesar and Malcolm. Director Matt Reeves is wise to allow the film to breathe once in a while and give some time to flesh out the characters. Malcolm has a son, but lost his wife to the virus. His love interest, played well by Keri Russel, lost a child as well, and tries to form a bond with Malcolm’s son, named Alexander. Alexander begins a bit of a friendship with the Orangutan, Maurice (Karin Konoval). But it’s Caesar’s friendship with Malcolm that pushes this story along–although I will also mention that the story of Caesar and his son Blue Eyes is strong as well. Caesar finds that he can trust Malcolm, but not everyone. A member of his crew, Carver, hates the apes and plays one of the unfortunately strawman villains that is simply in there to stir things up. Koba, who is a stronger villain, somewhat dwindles into a stereotypical antagonist by the end as well but he does have some strong earlier scenes. I think the best scene with Koba involves him infiltrating the humans’ military compound where two moronic guys are testing guns. He acts like a dumb circus ape (a bonobo to be exact), and gets the guys to lower their defenses when he suddenly grabs their gun and “accidentally” kills one. The other one, terrified and astounded at the same time, suffers the same fate except Koba shows that he knows exactly what he’s doing this time.
The climactic battle between humans and apes is an exciting one, and impressive for it being almost entirely CG. Nothing looks phony or out of whack (although I wouldn’t recommend wasting the extra money to see it in 3-D, it does absolutely nothing). In the end, both Caesar and Malcolm know that no matter how much they want peace, it’s always the violence that wins out. Finally, we get a bit of that old “Apes” film feel when we know we’re just all doomed. The end certainly sets up another sequel, and I won’t give away how it all unfolds. But it is very strong, and very convincing, something that I just felt was lacking in “Rise”. This is a very well done sequel, and should be considered among the “better than the original” sequels like “The Godfather II”, “Empire Strikes Back”, and “Terminator 2: Judgment Day”. It moves at a good pace for a film that’s over two hours, and the performances are all very well done.
If there was a necessary injection to give life into the franchise, this one delivers and is just what it needed, even after a soft origin film.
I had initial reservations about this remake–first, because I’m tired of remakes. Second, because what exactly was lacking in the 1987 film? It never really left you wanting more as far as themes and characters go–and even if you did, you had 2 sequels to…well, enjoy may be a strong word.
In the past few years, though, there were talks about a reboot. Names got thrown around like Darren Aronofsky and David Self. But it was like one of those things you just wanted to pretend wasn’t happening. It seemed to be more of a realistic thing coming to fruition when the “Total Recall” remake was released. And then we knew it was only a matter of time.
So, now, in 2014, ready or not, we have “RoboCop” the remake, directed by Jose Padilha (director of the “Elite Squad” films). I didn’t have high hopes going into the film; but from the opening sequence to the final frame, I have to say this is a remake that does what few remakes do–have its own story and idea.
There are films I”d love to see be remade–such as “The Stuff”, which is a timeless plot about consumerism and certainly has plenty of relevance nowadays, and the original film was actually kind of weak. “RoboCop” was certainly not one of them. But this film takes the idea of a cop KIA turned into cyborg and does something a little different. For one thing, this time, Alex Murphy (Joel Kinnaman) is not killed. He is set up after a sting goes wrong with a criminal syndicate, and a bomb is planted in his car. He is horribly burned and loses most of his body parts–but his brain is very much intact. His wife has to make the decision to keep him alive.
Meanwhile, OmniCorp is a very successful robotics corporation run by Raymond Sellars (Michael Keaton) who is not allowed to produce robots for the United States, but has a highly lauded campaign going on in the Middle East with robot soldiers that are cleaning up the streets much like police officers would. Detroit is a city that’s still riddled with crime; and, according to Pat Novak (Samuel L. Jackson), host of the show “The Novak Element” (serving as the bookends of the film), we need these machines just as badly. But, there is a bill in Congress known as the Dreyfus Act which denies the use of robots as enforcers, because they don’t have morals or a sense of right and wrong. They’re too clinical. Sellars tries to convince the Senate that the Dreyfus Act should be repealed, but he isn’t getting any support. He believes it’s due to the fact that Americans need a “face”. So, “put a man in a machine”, and suddenly there will be support.
Murphy is one of the candidates for the program. Chief Scientist, Dr. Dennett Norton (Gary Oldman, borrowing his Commissioner Gordon accent and persona) is hired to create what’s going to be known as RoboCop. He designs a mechanical body for Murphy, covering most of his eroded body. Murphy is at first horrified by his appearance and wants to shut down the program and be put down; but the whole operation came about because his wife authorized it, and she wants to see him again. This, along with wanting to be with his family again, prompts Murphy to continue with the program.
Then, RoboCop is completed and becomes a powerful tool of the police, cleaning up crime easily. But there’s a problem–he has a conscious, and he’s still haunted by his attempted murder and wants to find the men who did it. He has a new set of tasks, however, and isn’t authorized to continue his search. Unfortunately for Murphy, he is mostly machine and can be controlled. Norton is ordered to shut down his emotional system in order for him to perform his duties clinically, as a machine would. But this alienates his old partner (Michael K. Williams) and his family which is tearing them apart.
Norton then finds himself with his own moral dilemma, and decides RoboCop should retain his emotions and memories. What RoboCop uncovers after changing his prime directive back to locating his attempted killers drives the climax of the film, and it’s a satisfying one. There’s a character, Rick Mattox (Jackie Earle Haley) that comes into play as a somewhat shady guy and has a lot to do with RoboCop’s programming and de-programming. It’s a bit of a predictable angle, but Haley adds a nice touch to the character where in some situations he’s borderline likable; and other times, you love seeing him get his. And speaking of performances, Kinnaman’s is very strong as Murphy/RoboCop. He isn’t your typical cardboard cut out hero. There is a lot of pain behind the visor, and we see that come through.
But what really makes the film separate from the original is that it constantly asks questions about compromising our emotions in favor of efficiency. Are we losing our touch with humanity? Do we want to? As amusing as the Novak Element is, it stands as a symbol and a commentary on where the world seems to be right now. We have all of this access to social media and everyone has a voice–but does anyone really know what to say? Or are we content with drones carrying out our dirty work?
The film could have developed these questions further–but it only has so much time and has to sew up its plot in two hours. What I’d like to see is a TV spin off that allows the characters to grow along with the themes the movie introduces us to.
Overall, though, the film works enough and is entertaining. The second half of act two drags a little bit, just because so much is going on and it starts to break down in its direction on where it’s going–but it certainly finds itself enough in the end. There are a few nods to the original; I definitely missed the amusing satirical ads such as “Nuke ’em!” and the interview with Keva Rosenberg. Other than that, though, I actually started to forget about the original while watching this film–and that hasn’t happened to me in regards to a remake in a long time.
We live in a very interesting time when it comes to social interactions and relationships. With the advent of social networking through this Technological Age, it seems as though we can be impersonal and personal at the same time without it being a dichotomy or contradiction. In Spike Jonze’s “Her”, we are taken through a very personal journey for the characters that is as real for them as it can be for the viewers watching. It doesn’t try to stand alone as a statement of what technology is doing to us as people, however, nor does it make some kind of general social statement about humanity devolving in any kind of way.
It tells the story of a seemingly lonely guy named Theodore Twombly (Joaquin Phoenix) who may seem detached but is able to successfully write love letters for clients at one of the most curious companies ever. It may be arbitrary but it certainly serves as a good purpose for the theme of the film. In some cases he’s known his clients so long he can actually come up with thoughts of theirs that they may not have even told him to put down in writing. He’s lauded for his efforts by a co-worker, Paul (Chris Pratt), and he seems to be happy with the job. But he has an emptiness in his life that we learn comes from the impending divorce from his wife, Catherine (Rooney Mara), whom he’s known since childhood. Fragments of their relationship are spliced throughout the film, giving us a glimpse into their happiness, and demise. We’re not exactly sure what broke down between them, but it becomes more apparent as we get to know Theodore more. He is immersed in technology. He’s one of those guys who will always have the latest tech gadget–but instead of being introverted about technology, he seems to use it for social reasons. He logs into a one-night stand hotline to have phone sex with strangers (sort of like Chat Roulette) and has a rather amusing if over the top encounter with a random girl (voiced by Kristin Wiig). He is turned onto a new kind of AI operating system that grows in intellect the more you use it, and Theodore decides to invest in one, choosing a female voice that names herself Samantha (Scarlett Johansson).
Her relationship with Theodore starts off more like Siri for iPhone but quickly develops into a more familiar one, and then a romantic one. Theodore is instantly hooked, but has some distractions…such as a first date with a girl his friend has set him up with (played a little too convincingly by Olivia Wilde). His friend Amy (Amy Adams) is in a relationship herself, married to a somewhat inauspicious guy, Charles (Matt Letscher) who is never afraid to criticize her even when she’s showing a film she made to Theodore. The date starts off well but goes awry and Theodore confides in Samantha, drawing them closer together.
This is where the film really becomes absorbing. Once they fully accept being in a relationship together, all of the parallels of what a relationship is are explored. He calls her his “girlfriend”, even to his soon to be ex-wife, who mocks his relationship and tells him he can only have a meaningful relationship with “his laptop”.
But things aren’t so rosy for Theodore and Samantha. There are jealousies, accusations, things that happen in a normal relationship, that begin to challenge their situation. It’s all very natural–but it’s all very synthetic at the same time. In a way, Theodore is Samantha, programmed to be a way that cannot change. But can he accept himself being alone, and not being lonely?
This sort of plot is not exactly wholly original. We’ve seen stories of Artificial Intelligence being used as characters in relationships. Spielberg’s “AI” and Andrew Niccol’s “S1m0ne” come to mind. But I like that Spike Jonze makes this a very intimate, personal story. One that you become so wrapped up in because you start to put yourself in Theodore’s place. And Johansson’s performance is so instantly appealing, you start to fall for her as well. Every jolt of something unpleasant between them is felt, and when you feel something is slipping away, you get that same feeling you would if you were going through the same thing with your significant other.
Even though it sounds a bit heavy, it’s emotional impact is embraceable, rather than something that weighs it down. It gives the film so much more depth by exploring the ups and downs of a serious relationship. In a way, it’s more powerful than some films about two actual human beings in a relationship. Never seeing Samantha allows our imaginations to conjure up what she’d look like, what her expressions were, and I didn’t necessarily actually picture Johansson a lot of times. There are some laugh out loud moments, too, such as when Theodore is stuck at a certain point in a video game he’s playing. The character he interacts with (voiced by Jonze) is very funny, if a bit obnoxious and rude.
The film is very satisfying, and I think it could pass as a date movie. Not a first date movie, though. That may be a little much…and a bit too revealing. It’s like going to a palm reading for couples on your first date. You want to have a little mystery.
But even watching alone, it can be greatly appreciated. The performances are very strong, and credible, and the journey is one that’s very sweet and endearing throughout. Try not to hit on any computers on your next visit to Fry’s, though. May be a little awkward.
So here we go again. Or do we? Well, Katniss and Peeta are heroes and are back in their District, living in better conditions but the District is still impoverished. The rest of the Districts don’t know that they believe Katiss and Peeta are really in love; but most importantly, President Snow (reprised by Donald Sutherland) doesn’t believe it. He knows they faked it to win, and got one over on him. He can’t handle it, so he tries to play a game of his own, to try and out them publicly while the new Gamesmaker, Plutarch (Philip Seymour Hoffman) comes up with a way to get Katniss to expose herself as a fraud and stifle some sparks of a new Revolution.
Katniss is still in love with her longtime friend, Gale (Liam Hemsworth), but does have some feelings for Peeta. They’re just not strong enough to be considered “true love”. As she and Peeta go on tour through the Districts, they’re given scripts to read to each one; and are basically paraded around to show that the Hunger Games were worth all the death, I guess. I still can’t really figure out the purpose of what the “Hunger Games” is about. I mean, the overall message to the audience. But by now, I don’t think it matters that much. This movie, once it gets going, really is more about the action and adventure…and love. It’s not really about having a message.
And, like the first one, that’s all fine well and good. Meaning, I still enjoyed it. I think Jennifer Lawrence is even stronger in this film, showing a more emotionally fragile Katniss who has to be stronger than she was in the first Hunger Games. Hutcherson is still likable as Peeta, and we’re introduced to some new characters too: Finnick (Sam Claflin), Beetee (Jeffrey Wright), Wiress (Amanda Plummer), and Mags (Lynn Cohen), who cannot speak. Her partner in her district is Finnick, who seems cocky and arrogant but does have a soft heart underneath. Beetee and Wiress are sort of nerds who are more tech savvy. And then there’s Johanna (brutally played by Jena Malone) who…really isn’t necessary at all. All of these characters were former winners of Hunger Games as well. Because of the plan to stifle talks of a new Revolution, Snow believes it’s time to make a distraction with a new Hunger Games. So it’s kind of like, Hunger Games: All Stars. Mark Burnett would be so proud. Oh, Woody Harrelson is back as well as Haymitch. Only he’s even less useful in this…but he still is always drinking. Have to love that. What else is there to do in a dystopian future?
The Hunger Games begin again and it becomes very familiar territory…although I did like the poison fog. It’s quite disgusting what happens to your skin if it engulfs you. But just when it starts getting too familiar, the game is changed. Literally. And what it sets up is a delicious looking conclusion…which we’ll have to experience in two parts, like “Harry Potter”.
Overall, this is a good continuation of the story. I don’t know that I’d call it a true sequel because it’s just another part of a clothesline story that’s inevitably going to conclude itself in the fourth film. It’s like calling “The Two Towers” a sequel. Just doesn’t sound right. Hey maybe if “The Lord of the Rings” was made now, there would be a “Return of the King Part 1” and “Part 2” as well. Can you imagine how long that would be? Probably as long as it was anyway…
“Catching Fire” is fun, and now that we’ve gotten it out of the way that it’s not anything more than that…I suppose it’s time to start just enjoying it.
Edgar Wright made quite a splash on the horror comedy scene with 2004’s “Shaun of the Dead”, one of the freshest films of the decade and one of my favorite horror comedies of all time–and one of the best zombie films of all time. He followed it up with the darker but still fun and entertaining “Hot Fuzz” in 2007. Now comes the third in what he calls the “Three Flavours Cornetto Trilogy”, “The World’s End”. The plot is quite simple: a bunch of boyhood friends gather together after over 20 years of being apart to try and conquer The Golden Mile, a 12 tavern pub crawl in one night. The man behind the plan is Gary King (Simon Pegg, always appealing, if a little over the top this time), and he is stuck in the past as he wants to recapture the glory days of youth and finish the pub crawl that they could not finish when they were teenagers.
His group of friends, however, have grown up and gone their separate ways. His closest friend, Andy (Nick Frost), has quit drinking and become a business man. His other friends, Pete (Eddie Marsan), Oliver (Martin Freeman), and Steven (Paddy Considine), have also matured into adults. Not all successful, but certainly past being pub crawlers. As for Gary, he hasn’t grown at all. Still has the same car from that night, and the same cassette tape that was playing when they drove there.
The pubs all belong to a town called Newton Haven, where they grew up. They haven’t been back since, nor have they cared to. In some ways, all of their skeletons were left there and they were more than happy to leave them–especially for Andy, who had a falling out with Gary one night that Gary thinks Andy should just get over.
Gary finds all of his buds and is able to convince them to come with him based on telling them a sob story about his Mum dying, and their fascination with him being able to persuade Andy to come along piques their interest. Once together, it’s off to the pubs. But something is different. Each pub is identical, sterile, and the people are different. They’re colder, and quiet. The ones that should remember Gary and the gang don’t seem to recognize them at all.
In the bathroom, Gary finds out what is going on just as the rest of his friends grow restless with the evening. Oliver had invited his sister, Sam (Rosamund Pike), who Steven has had a crush on all these years, and Gary has tried to put moves on her as well. She leaves, disenchanting the others. Andy, who has been drinking water instead of beer, decides it’s time to go. But when they try to collect Gary, they are swarmed with kids resembling androids complete with blue blood and T-1000-like mobility. They’re convinced they’re surrounded by robots, but there’s actually a bigger plot going on. It’s an invasion. Flooding us with technology and brainwashing us with pseudo-pacification, the gang tries to escape being assimilated.
But Gary still wants to get to the World’s End, the last pub of the crawl. Through the chase sequences, we learn more about their relationships with each other and why there was a falling out. It’s almost like “The Big Chill” meets “Invasion of the Body Snatchers”. But Wright doesn’t completely rip off either film. He also merely touches on an apocalyptic story about the downfall of human civilization as we become more and more reliant on technology. It would have been a nice thing for him to really satirize, as it seemed to be leaning in that direction.
It’s still good fun, though; and if you’re a fan of either or both “Shaun of the Dead” and “Hot Fuzz”, this won’t let you down. The performances are strong, the action sequences are exciting, and most of the film moves at a good pace. The only time the film lags is near the end. It’s almost as if Wright didn’t have a real tight grasp on how he wanted to end this one, so it is a bit anticlimactic. While some of this is used for comic effect, it almost starts a whole new story with only about 10 minutes to go in the film. The film’s last scene feels like it could be the first scene of the next film, should he want to make a sequel. Although, since this was part of a “trilogy”, I guess Wright would have to bend the rules.
This is an enjoyable film, but I think it’s the weakest of the three. It’s certainly ambitious and it has some great moments. There are some very funny scenes, and the characters are very likeable, especially Sam and Pete. But there’s something more that could’ve been done with the plot, I think, that would have put it even above “Shaun” and really made a criticism about modern life. Instead it’s nothing more than a heady pint. While that can be satisfying, it still leaves something to desire. Especially if it’s an India Pale Ale.
Guillermo Del Toro always fascinates me as a filmmaker because he’s one of the most joyful visual expressionists I’ve seen in my lifetime. He seems to have a knack for creating interesting looking creatures and putting them in colorful and sometimes dangerous worlds, and it’s always intriguing. He had wanted to film an adaptation of the classic H. P. Lovecraft short story “At The Mountains of Madness”, possibly one of Lovecraft’s most beloved stories. Unfortunately, I don’t know that the film will ever be made, which is a shame, because it’s one of my favorites. Though we get tastes of it in movies like John Carpenter’s “The Thing”, I don’t know we’ll ever really get the actual story in motion picture format. With Del Toro at leas you know it’d be visually stunning.
Instead, Del Toro teamed up with screenwriter Travis Beacham, writer of the 2006 remake of “Clash of the Titans”, and made what’s called a “kaiju” film–a movie about giant monsters–and I think some of the creatures were meant to be “similar” to Lovecraft’s Cthuhlu mythos universe. Well, I’m probably reaching, because what they came up with to fight these Kaijus are giant robots. I don’t think Lovecraft really wrote about those.
This is a very odd film. It’s saturated with a backstory that’s crammed into the first act as if we’re just supposed to be able to inhale decades of destruction and feel like the earth has been under attack and in a state of peril and understand where the technology came from to create mega robots. On top of that, we are supposed to care about characters we barely know and have complex backgrounds that aren’t given many payoffs or consequences. For instance, the main protagonist, a young strapping Jaeger pilot named Raleigh Becket (Charlie Hunnam) who loses his brother in a battle with one of the Kaijus. Jaegers, by the way, are the name given to the giant robots. Apparently two pilots must lock in to be able to absorb the power that Jaegers have in order to operate. There’s basically a “mind meld”, which means the two pilots must have things in common physically and emotionally and can lean on each other. In an ill fated battle, Raleigh loses his brother and is sent out of the program, doing construction work which looks pretty dangerous, but not very fulfilling.
Enter Marshall Stacker Pentecost (Idris Elba), five years later, tracking down his maverick pilot for another showdown with the Kaijus, who are continuing to destroy the earth and all our cities and ports. Apparently they come from under the sea, rather than outer space, but are considered “aliens” I think. If you’re following all of this, by the way, that’s good. Try and keep up. There’s more.
He is eventually partnered with a novice pilot but accomplished student, Mako (Rinko Kikuchi), who has a sketchy past that still haunts her but she is considered a perfect match for Raleigh, much to the chagrin to Pentecost. I’ll spare you the subplot that the United Nations decide to temporarily shut down the Jaeger project in favor of some sort of defense wall because it is imminently destroyed and serves as nothing more than a waste of about 10 minutes of screen time. The point is, Mako and Raleigh are meant to be Jaeger pilots.
But there’s a problem. She can’t let go of her haunting past, and that creates a rift in what’s called the “drift”, where the two minds meld before the Jaeger is fully operational. Pilots have to control their memories and feed them into their co-pilot in a way that isn’t aggressive or detrimental. They need to understand themselves in order to share them. So basically, if you ever happen to find yourself in a Jaeger mecha robot program, and your co-pilot is Amanda Bynes, you may as well jump out of the cockpit as soon as possible, and take your chances with gravity.
On top of all this, there’s another maverick cocky pilot (but he’s no Iceman) named Chuck (Robert Kazinsky) who doesn’t like Raleigh and thinks he’s bad news. But Chuck’s father Herc (Max Martini) has respect for Raleigh and knows the pain of losing his brother, even if Raleigh really doesn’t show it that much…because Charlie Hunnam isn’t that great of an actor. Sorry, Charlie. Loved you in “Undeclared” though.
Speaking of Charlie’s, there’s a miscalculated “humorous” subplot for comic relief I suppose with two nutjob scientists that come into play, trying to understand the Kaijus. One of them, Dr. Gottlieb (Burn Gorman), wants to find new ways to destroy the Kaijus. The other, Dr. Newton Geiszler (Charlie Day), who resembles Louis Tully, wants to study the Kaijus and understand them. He also comes up with the idea of mind melding with part of a brain they captured from one of the Kaijus. Of course Gottlieb and everybody else thinks that Newton is crazy, and he turns into Vinz Clortho and sends the giant Slore against them to kill them all.
Just kidding. However, I realize these two scientists are supposed to be funny; but the comedy kind of clangs instead of amuses. Charlie Day literally looks like he came in from “It’s Always Sunny in Philadelphia” solely to crash the set. The only part of the comic sequences that work are with Ron Perlman who plays a black market Kaiju enthusiast, Hannibal Chau. Perlman is always good, even though his character is an unnecessary semi-villain.
Are you still with me? OK, so what Newton finds out is that the Kaijus are only sending their “soldier ants” and are actually preparing an even larger scale monster war, something beyond their “Categories” (Category 5 is the highest on their scale). He does this by mind melding with the brain of the Kaiju, of course, as he wanted to, and of course he’s right and knows how to destroy the Kaijus.
So let’s go back to Raleigh and Mako, who are given an old clunky Jaeger that runs on its own power, which comes in handy when they start facing some more technologically advanced Kaijus, and we find out that Mako’s backstory involves watching her family be destroyed by a Kaiju. But there’s a connection she has with one of the main characters that turns out to be one of the strongest and most emotional parts of the movie, and it works very well.
It took me a while to decide whether I liked this film, because as you can see, there’s a lot I have problems with. It’s very ambitious, it’s so chock full of backstory and exposition that sometimes it hulks around like a Jaeger itself. The battle scenes are tough to describe. In some ways it’s like watching an arcade video fighting game in slow motion. There are some dazzling effects, however, when these battles wind up destroying major (hopefully evacuated) cities.
Apart from some of the hackneyed “science” and major plot holes, I think I liked the main characters enough, and the relationships they develop, that it carried the film for me overall. You can lose all the other stuff and the film would be much shorter and probably more enjoyable. I think that Mako may have actually been a better central character, or Pentecost. Both actors respectively are incredibly strong and give top notch performances.
On balance, I did enjoy the film enough. But I really think that this being simply a movie does the story a disservice. While I’m sure there will be Mangas or comics that will go more into the backstory, I think this would’ve made a very entertaining Saturday morning cartoon series. It reminded me of shows like “Voltron” and “Transformers”, and even “G.I. Joe”.
I’d recommend seeing this film on the biggest possible screen to really get the idea of the scope of the battle sequences. Something like IMAX would be a great experience. I’m not sure whether the whole film will entertain you, but you will at least get your money’s worth of destruction. And for a summer popcorn movie, I guess that’s all you really need. Del Toro can do better, but this works enough for me.