Tag Archives: blockbusters

Mission: Impossible -Fallout

lead_720_405Aside from the awkward colon in the title, the most annoying thing about the Mission: Impossible series has always been Tom Cruise’s massive over-reliance on rubber masks (yes, even moreso than his ridiculous excessive arm-pumping while running). While Mission: Impossible – Fallout doesn’t totally avoid the rubber mask cliché, it tweaks it enough to feel fresh. And every once in a while, despite how familiar the M:I formula has become after six attempts, the movie will sneak one by you, winking as it does.

In Mission: Impossible – Fallout, Ethan Hunt (Tom Cruise) and his team (Ving Rhames and Simon Pegg) are tasked with saving the world (again) by recovering a bunch of stolen plutonium before a terrorist group can use it in nuclear weapons. The stakes are high so Ethan and his crew need to be at the top of their game, and doubly so when we’ve seen them in action so many times already.

M:I-F is up to the challenge in all respects. This is the best entry in the franchise so far. Not because it does anything surprising or anything we haven’t seen before, but because it delivers exactly what it promises and because it’s flawlessly executed, without a single misstep.

Action-packed and entertaining from start to finish, M:I-F is better than I expected, better than it has any right to be, and better than it ever needed to be.  This is 2018’s best summer blockbuster, hands down.

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Ready Player One

ready-player-oneThere are very few immutable truths in this world, but here’s one: if you don’t like Steven Spielberg’s movies, then you don’t like movies. The brilliance of Ready Player One (and it is brilliant) is that it’s a Spielberg movie through and through, only because its source material references Spielberg repeatedly, the result is something exponentially more Spielberg than you could ever have though possible.  Ready Player One is a true blockbuster and a worthy addition to Spielberg’s list of classics.

All the references contained here, not just to Spielberg’s past work but to every pop culture thing ever, are essential for this movie to work, and Spielberg clearly knows it. Moreover, he embraces it without reservation. After all, the book (which should be read immediately by anyone between ages 30 and 50 who grew up playing videogames) is the perfect vessel for 80s nostalgia. The movie clearly is trying to top the book’s reference count, and it may have succeeded (the totals are way too high to accurately count).

What is great about the book remains great in the movie. And yet, the movie and book tell significantly different stories, which is greater still because there are all sorts of some amazing surprises to be found in the film even if you’ve read the book repeatedly. At tonight’s SXSW world premiere, Spielberg introduced the film by stating he approached it as pure fan service and his mission was to give the people in the seats exactly what they wanted, and I can confirm he accomplished exactly that. Oh, yes, that’s right, WE GOT TO WATCH READY PLAYER ONE WITH STEVEN SPIELBERG. It was every bit as mindblowing as it sounds.

Also mindblowing: one particular sequence in the movie that pays homage to a classic film (incidentally, it’s not an homage to a Spielberg film; rather, it’s to a film directed by someone who influenced Spielberg – and it’s not something that was in the book).  I do not think I am exaggerating to say it is one of the finest sequences that Spielberg has given us, which obviously is a big deal because we are talking about STEVEN FUCKING SPIELBERG. You will know this sequence when you see it, and as soon as you do you will want to immediately see it again. And again. And again.

That amazing sequence is a standout but it’s not alone. There are several other incredible set pieces in Ready Player One, containing some of the best visual effects we’ve ever seen. Of course, the effects are only window dressing. What makes the scenes so great is Spielberg. As the camera swerves and dodges, and as avatars fight monsters, drive cars through obstacle courses, and traverse epic battlefields by leaps and bounds, the viewer is never lost for a second, because we are being guided through the chaos by a master. I loved this movie and I bet you will too. I’m just sorry to have to wait two weeks before I can watch it again.

 

Justice League

“What movie are you seeing?” the waiter asks.

“Justice League!” I answer with all the enthusiasm of someone who has been waiting for this night and all the sheepishness of someone who is fully aware that this movie is going to suck.

“I didn’t even know that was out yet. Are you a fan of Marvel?”.

“DC,” I quickly correct him.I remind myself not to be offended, that it’s an easy mistake for anyone with a life to make.

“Whatever,” he replies.

That’s the thing though. It’s not whatever. For many comic fans, the rivalry between the two publishers is as bitter as that between Star Trek and Star Wars. And I’m a DC guy. It’s not that I can’t admit when Marvel does something right. I can admit that their movies- especially within their respective shared universes- have generally been much better than DC’s. It’s just that Iron Man, Thor, Captain America, and Spider-Man will never mean as much to me as Superman, batman, Wonder Woman, Flash, Cyborg, or even Aquaman.

I’m such a DC guy that I could even find something to love in the colossal messes that were Batman v Superman and Suicide Squad. I have rooted for this universe since it began with Man of Steel and celebrated when they finally did something amazing with Wonder Woman. But there’s something about Justice League that’s hard for even me to defend.

Maybe I’m just getting tired of making excuses for mediocre movies. Or myabe it was just different sitting next to Jay. I couldn’t help putting myself in her shoes and worrying about how painful this must be for her. Because a fan can find lots love if they’re feeling generous but those who haven’t read the comics are sure to have a harder time. Those who are unfamiliar with the Flash, Aquaman, and Cyborg are counting on this movie to give them a reason to care about them  and it’s here where Justice League fails the most.

Ben Affleck continues to be a much better Batman than I ever would have expected him to be and he’s in most of the film’s best scenes. Wonder Woman continues to feel like a fully realized character mostly thanks to Gal Gadot’s performance and all the good work that she and Patty Jenkins did in her much better stand-alone film. The new characters are a little more awkward. Ezra Miller’s charm goes a long way in making Barry Allen?The Flash likeable (although, for the record, TV’s Flash is better) but his backstory feels vague and rushed and we don’t know nearly enough about who he even is or what makes him special. Aquaman and Cyborg get barely any introduction at all. They’re just there.

The good news is that Justice League is shorter and more focused than Batman v Superman and Suicide Squad were and is almost never boring. The bad news is that it’s not nearly as exciting as it should be, especially considering what a dream come true this big-screen live action team up really is for me and so many others. There’s just not nearly enough attention paid to what makes these characters great and what’s worse is that there is even less attention paid to their relationships with each other. The Zack Snyder era of DC movies has not ended on a high note.

Transformers: The Last Knight

I wrote a whole other review of this horrible, awful, infuriating movie and then accidentally deleted it.  Honestly, my review was unremarkable for the most part so it’s not a huge loss.  This movie makes no sense, it’s the fifth movie in a tired franchise that was only ever enjoyable if you, like me, liked seeing robots decapitate other robots in slow motion (and which stopped being awesome four movies ago), and it’s got Mark Wahlberg doing his usual “acting” by which I mean that he talks really fast in a whiny voice when he is under pressure and otherwise just stands around flexing his biceps and looking confused.  In short, it is the why-critics-say-transformers-the-last-knight-is-2017s-most-toxic-movie (1)worst Transformers movie yet, and the next one will probably be even worse.

But there was one part of my review worth saving, and it’s this: Mark Wahlberg was clearly born to be in Michael Bay movies.  It is the perfect match of all perfect matches.  These two eventually found each other, but there are so many Wahlberg-less Michael Bay movies, and isn’t that a shame?

So…what if Michael Bay made special editions of his back catalogue, George Lucas style, and digitally inserted Wahlberg into all his “classics” as a way to link all his movies together?

Think about it!  It would be the greatest shared universe of all time.  We could have Bad Boys fighting bad robots under the supervision of Wahlberg and his good friend Joe Pantoliano, the space shuttle in Armageddon could be a robot who owes a favour to Wahlberg and who figures out a way to save Bruce Willis as payback, and Wahlberg could help bring Sean Connery and his estranged daughter Claire Forlani together while at the same time helping Nicholas Cage foil Ed Harris’ plot to steal that face-meltingly-deadly VX gas, this time without losing Michael Biehn’s whole SEAL team.  And then Wahlberg could assemble a team of one million Ewan MacGregor clones along with the time travelling pilot duo of Ben Affleck and Josh Hartnett to destroy the Transformers once and for all, saving us all from ever having to see Transformers 6: Shia’s Revenge.

This needs to happen.

 

Kingsman: The Golden Circle

kingsman2You know when a movie has a really cool part that blows your mind and then you know the sequel will try to recreate that part a hundred times over? Then, when you see the sequel do exactly that, it’s still pretty good even if it’s not quite as good as the first time? Remember when I said almost exactly the same thing about the latest addition to the Fast and the Furious franchise, earlier this year? Well, call this the sequel to that review. For a moment I thought about reusing that same review but I didn’t, because clearly I have more respect for my audience than do those Hollywood big shots who keep green-lighting all these sequels.

Getting back to the subject that I’m supposed to be writing something original about, it is somewhat alarming that the level of ridiculousness that took the Furious series eight movies to reach only took the Kingsman franchise two films to equal.  Kingsman gained so much ground so quickly because it is over the top every chance it gets, right from the start, with one slow motion action sequence after another, all set to some purposely eclectic song choice.

But in all its efforts the Kingsman sequel never comes close to the fever dream that was the church sequence in Kingsman the first, which was the part that totally blew my mind. I realize it would have been cleverer if I had found a way to tie the head explosions at the end to the mind blowing language, but honestly nothing beats the church scene for me.

Even though it doesn’t achieve the same peak level as the first film, Kingsman: The Golden Circle is an enjoyable movie that comes out a little ahead of Furious 8 in the stupid yet enjoyable unnecessary sequel category (which I am quite sure will be an Oscar category starting this February).  Kingsman gains the edge over Furious in this important head-to-head showdown by being consistently funny between action scenes, a result of both its gleeful over-the-topness and the wacky tone it carries over from its predecessor.

Be warned that the film occasionally veers into sheer creepiness (um, a mucus membrane tracking device???). Also, be warned that you will be creeped out much more often than once if you are in any way adverse to people being ground into hamburger (literally) or chopped in half by electric lassos (which is also a thing that actually happens in this film for what I am guessing is the first time ever).

The occasional incident(s) of creepiness are easily forgiven, by me at least, because Kingsman: The Golden Circle is frenetic, confident, and surprisingly touching at times.  The highlights for me were Mark Strong covering John Denver and Elton John finally letting loose on stage after years of self-inflicted repression. Those scenes were more than well worth the price of admission by themselves.

I give Kingsman: The Golden Circle seven country roads (taking you home) out of ten.

 

Dunkirk

We shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields and in the streets, we shall fight in the hills; we shall never surrender, and even if, which I do not for a moment believe, this island or a large part of it were subjugated and starving, then our Empire beyond the seas, armed and guarded by the British fleet, would carry on the struggle, until, in God’s good time, the New World, with all its power and might, steps forth to the rescue and the liberation of the old.

-Winston Churchill, June 1940

Has anyone ever been better than Winston Churchill at giving motivational speeches?  He had a way of rising to the occasion and here, the stakes had never been higher.   This speech was given immediately after the British and their Allies had been run out of France by the invading Germans.  Victory over the Nazis was not on the horizokinopoisk.run and must have seemed impossible at the time.  That’s more or less what Churchill said, after all: he is not describing a plan to win.  He is describing a last-ditch effort to survive when the Nazis try to conquer Britain after they finish in France, and a cry for help to the New World to save the day in that bleak scenario (Canada was, of course, already part of the Allied forces at the time, but the U.S. would not be until Pearl Harbor).

The devastating outcome of the Battle of Dunkirk gave good reason for Churchill’s pessimism.  It is a fascinating historical event because it was a loss that could well have broken the Allies, but instead, it galvanized them, particularly in the way that the British survived: hundreds of civilian vessels sailed from Britain to France to help rescue over 300,000 Allied soldiers from the Nazis.

Time and time again, Christopher Nolan has proven himself to be as adept a director as Churchill was a speaker.  Tonally, Nolan’s Dunkirk captures what must have been the prevailing mood on the ground, at sea, and in the air as the Battle of Dunkirk was fought.  Nolan makes an inspired structural choice by intertwining three different stories over three different time periods, and as only Nolan can do, effectively explains a complex structure using only three small titlecards at the very beginning.  Dunkirk is reminiscent of The Prestige in that way – in both, Nolan always provides enough cues so the viewer knows exactly where a particular scene fits into the overall timeline and story, even as he tells the story in a complex, non-linear fashion.

With Dunkirk, Nolan has outdone himself.   Given how consistently great he has been throughout his career, it is incredible to think that he has gotten better, but that is clearly the case.  Dunkirk is absolutely masterful filmmaking from start to finish.  Above all else, Nolan’s film captures the essence of Dunkirk and gives us a true sense of the anguish of war, the desire to survive, and the fear of the unknown that soldiers must deal with constantly.  In particular, I am reminded of the scenes featuring Tom Hardy’s RAF pilot, all of which inserted me into the battle and truly made me feel how claustrophobic a Spitfire’s cramped cockpit would be, and how difficult it would be to spot, identify, and track an enemy fighter, let alone shoot it down.

For the viewer, this is a vital, visceral, and draining experience.  Dunkirk is a 106 minute movie that feels like it’s four hours long (which Nolan would take as a high praise, I think, if he ever read this review).  From start to finish, it is tense, it is devastating, it is awful and it is brilliant.  Dunkirk is filmmaking at its finest and a fitting tribute to one of the defining events of the 20th century.

 

 

Alien: Covenant

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You always know better than the idiots in horror movies. Don’t go to an uncharted planet streaming John Denver songs to the universe. Hell, don’t go into space period! When you get to the planet, don’t trust its lone inhabitant who lives in a graveyard and conducts science experiments in a drippy cave. Especially when the results of those science experiments look suspiciously like the creepy little things that just blew up your only ride off the planet. But if not for those dumb decisions, there wouldn’t be much of a movie here, and certainly not one about Aliens with a capital A.

As the SXSW Sneak Peek hinted, the idiots in Alien: Covenant are more tolerable than most, because every bad decision leads us to a place we want to go. Ridley Scott’s playful approach here elevates Alien: Covenant above every entry in this franchise since Aliens. The bad decisions aren’t infuriating, they’re chess moves, most of which lead to another piece getting ripped apart into gooey chunks by space monsters.

Everything in this movie services the Aliens, including the speedy pace at which they burst out of people (taking only as long as needed to cause maximum carnage). Alien: Covenant felt like a Star Wars prequel in that respect, as the technology (in this case, the creatures produced by those previously mentioned science experiments) behind the Aliens seems better in the “past” than in the “future”. I suppose that’s inevitable when prequels are made 30 years later, and I was a lot more forgiving of it here that I was with Star Wars. I think that’s because in Alien: Covenant, the changes from the original rules make the movie more entertaining, while the changes in Star Wars made the movies into a CGI tutorial mixed with a boring political drama.

Above all else, Alien: Covenant is fun, and that’s because Ridley Scott and his cast (led by stellar performances by Michael Fassbender (x2) and Katherine Waterston channeling Ripley and kicking Alien ass just like Sigourney Weaver did) deliver everything this franchise’s fans could possibly have asked for. No unnecessary exposition, no extraneous plot points, just Aliens mowing down idiot after idiot.

For that, Alien: Covenant gets a score of eight chest-bursting xenomorphs out of ten.