Men in Black III
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Similarly to The Amazing Spider-man’s release earlier this year, I had to do my best to temper expectations into a level becoming of pure, nigh-impossible objectivity. The original Men in Black, a fun if campy comedy sci-fi flick, won my heart at 8 years old and remains a classic of the nineties to me, despite its flaws, and despite its inadequate first sequel. So, I had to watch this one with the notion firmly in mind that a decade has passed since the last installment, and things may not have aged well, and I’m not just talking about actors. Happily, though, I can report that while this one doesn’t quite live up to the first one, the series has redeemed itself since the second installment and while it’s got its problems, it’s a harmless little summer treat. The film wisely acknowledges the aforementioned passage of time, with both Agents K and J (Tommy Lee Jones and Will Smith, respectively) growing a little weary of the alien policing business. Things suddenly go south for the pair when Boris the Animal, a criminal incarcerated in a moon prison since Agent K captured him in 1969, goes back in time to alter the events of his defeat and bring on a full-scale Earth invasion. With time running out (no pun intended), J has to follow the alien assassin back in time to save the Earth from its fate. The plot is goofy and with obvious holes, just as the last two were, and at this point it’s just something to expect. In many ways the time travel narrative is familiar and slightly unoriginal, although it can be somewhat forgiven because the film uses this device to strengthen the unorthodox bromance of Jones and Smith’s characters, a subplot that works effectively without becoming overly mushy. The characters are just as entertaining as ever, with the banter between J and K the highlight of exposition. Much of the film’s humor relies heavily on Will Smith’s physical comedy and mumbling antics, and it works to a certain degree, although there’s nothing there audiences haven’t seen before. The two characters that surprisingly steal the show this time are the 1969 version of Agent K played by Josh Brolin, whose perfect Tommy Lee Jones cadence and mannerisms will convince you all the way, and a fifth dimensional being named Griffin played by Michael Stuhlbarg, whose wacky slapstick jokes pop out of nowhere but mesh well with whatever’s going on. The movie is obviously aimed squarely at kids, and undoubtedly they’ll have a great time, although there are certainly a few jokes that only adults will chuckle at. In the end, the stale plot devices and frequently worn out gags don’t help the film live up to the highly enjoyable original, but some committed performances, creative CGI effects, and understated moments of warmth go a long way. If you were like me and have fond childhood memories of the first MiB, don’t waste another minute.
Skyfall
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With James Bond turning a ripe old 50 this year, MGM has pulled out all the stops for Daniel Craig’s third turn as the legendary double-oh agent, and the result is a resounding success with only minor setbacks. The tale sees a nearly middle-aged Bond, somewhat outmatched by the march of time and the growth of technology in the secret agent business, facing a very personal threat from a cyber-terrorist hell-bent on making MI6 director M pay for a past sin. The plot is marvelously paced, with a taut combination of action and exposition so that the audience is neither disconnected nor bored at any time. It’s in stark contrast to 2008’s Quantum of Solace, which suffered greatly from shoddy narrative logistics. Daniel Craig is finally given a chance to shine as the suave agent of yore. He’s bold and believable as a killer but also electrifying in conversation. Wisely, the script finally gives him room to breathe life into both sides of the persona, rather than the one-note Bourne-esque Bond we saw in the previous flick. Judi Dench as M gives her best performance of the series, and as this is her final Bond film, the character is given a beautiful send-off with some of the movie’s sharpest witticisms but also some of the most tender and heartfelt moments. There are too many others to mention, but of particular interest are Ralph Fiennes as Mallory, and Javier Bardem as the wildly colorful and entertaining Raoul Silva, whose performance teeters precariously on the line of becoming distractingly offbeat, but nevertheless manages to stay the course and provide a looming threat for MI6. Much like 2006’s Casino Royale, the action is far more engaging this time around, as it goes much more for carefully constructed moments of intensity rather than the noisy slam-bang sequences of the previous film. This is aided by some gorgeous cinematography that distinguishes itself with sharp color and lighting effects that never get in the way of character work. Unfortunately, the film is brought down a bit by a couple noticeable shortcomings. The first act, in particular, puts far too much energy into convincing the audience that Bond is a little rusty and isn’t quite what he used to be. It’s obviously meant to aid in an overarching theme of “old dog, new tricks” that plays heavily off the 50th anniversary of the series, but it could’ve been handled much more subtly. Additionally, the buildup to the climactic showdown very clearly was intended to inject nostalgia for Bond’s past into the conclusion of the flick, an effect that ultimately works but feels cheapened by a lack of logic. Nevertheless, this is a truly terrific action/spy movie, and one of my favorites in general with 2012 drawing quickly to a close. If you were turned off by Quantum, don’t pass this one up, because its moments of real humor, glorious act set pieces, and most importantly, raw human performances make it more than worth the purchase price.
Looper
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The folks over at Tristar and Alliance are in desperate need of a new trailer cutter. Just from watching a preview earlier this year I, like what I would suspect is a large population of filmgoers, sneered haughtily at a trailer that was both irritatingly ambiguous and awkwardly cliché. This, however, is one of those rare situations where you really can’t at least partially judge a film by its trailer, and I’m glad I gave it another shot, because this is quite frankly one of the best science fiction movies in recent memory. Set in the not-too distant future when humanity has pretty much consumed itself into a poverty-stricken corner (original already, aren’t we?), a young man named Joe Simmons acting as an assassin for the mob that sends criminals back in time to be snuffed out suddenly finds himself ordered to kill his own older self from the future. From there, it’s a high-stakes chase across a bleak landscape as both young and old Joes go on the run from the mob that ultimately leads to a plot far greater and direr than a simple organized crime grudge. The plot is gorgeously paced with compelling drama and tension peppered by brief action-oriented segments and darkly amusing sci-fi conventions. Obviously, this is movie number seven hundred billion and five to tackle time travel themes, but I’ve encountered few films that do it more skillfully than here. Explanations of necessary logical rules are weaved smoothly into dialogue and manage to seal up all plot holes without overdoing it. The time traveling material is used frequently but never becomes a MacGuffin, and is even used for an early torture sequence that will send legitimate chills down your spine in ways you’d never considered before, and that’s darn good filmmaking if I’ve ever seen it. As far as a cast, you couldn’t ask for better, especially considering the budget. The venerable and ever-likeable Joseph Gordon-Levitt plays young Joe, with none other than fan favorite Bruce Willis as his elder counterpart. Emily Blunt as a love interest and increasingly important figure in the grander scheme is both charmingly sexy and bitingly gruff, a divide she pulls off wonderfully. The only real gripe I can come up with for Looper is that its primary ending plot twist can be seen coming by any intelligent viewer at roughly halfway through, which does serve to steal a little of the thunder from endgame proceedings. Nevertheless, the damage done is almost entirely made up for by the already mentioned stellar performances and intricately detailed world. Don’t be like me and judge by the trailer. See it for yourself and be treated to one of the most fantastic sci-fi offerings available this year.
Lincoln
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Biographical filmmakers, take note: this is how to tell the story of a life. With fantastic direction, a well-paced narrative, compelling characters, and some of the best performances I’ve seen this year, moviegoers in the pre-holiday blockbuster rush have been given a beautiful treat that far surpasses any other biographical pieces I’ve viewed in a long while. Set in the twilight hours of the American Civil War, the film documents Lincoln’s plight to get the Emancipation Proclamation passed in the House of Representatives while dealing with family problems involving his questionably sane wife and rebellious son. The film perfectly straddles the line between intense political thriller and intimate drama. Daniel Day-Lewis has generated much hype for his portrayal of the eponymous president, and it’s well-deserved. He’ll make you truly believe you’re looking at Abraham Lincoln as he exudes power and confidence as a world leader while also giving a heart-wrenching look at the man’s personal struggle and mighty heart. Tommy Lee Jones as Thaddeus Stevens receives a great deal of screen time as well, and ably steals most of the scenes he appears in with a thundering performance of intelligence balanced by barely quelled rage. The performances are of a caliber you don’t often see in films today, with fantastic work across the board; there are far too many to mention by name, but suffice it to say even side characters with but a few lines of dialogue are often filled by A-listers. Through prior films, books, and museums, the life of President Abraham Lincoln has been documented from every angle, which makes it all the more surprising and admirable that this adaption manages to find a way to make the old tales of the man behind the legend feel unique again. I was particularly impressed with the film’s ending sequence that deals with the president’s untimely demise, which uses a style of storytelling that places much more emphasis on human drama than mere political tragedy, a method that hit much closer to home for me and made me dangerously close to tearing up. I would be remiss to call the film perfect; some of the lengthier dialogue scenes taking place in Congress tend to drag on a bit longer than is necessary, and you’ll find yourself pining for the more expertly paced dramatic scenes from Lincoln himself. Nevertheless, the film is, dare I say, perhaps the only masterpiece of 2012 I’ve seen, and that’s reason enough to celebrate it wholeheartedly, and with Oscar season approaching in a couple short months, I’d say we have a solid contender right here for several of them.
The Amazing Spider-Man
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I’ll admit I had my reservations about this before seeing a single frame of it. Rebooting a beloved franchise a mere 5 years after the last of the trilogy released feels like making a joke about the deceased before the corpse is even cold. Nevertheless, as some excuse for a film reviewer, I’ve done my best to watch with an ironically objective subjectivity, and retrospectively, I can say it’s pretty good. In many ways, the plot feels like a retread of the 2002 film, with the first half giving an origin story to a tale that most potential viewers already know backwards and forwards. To its credit, it’s well-executed, with a greater emphasis on emotional relationships than high-octane stunts. The acting is commendable, with special mention going to Martin Sheen for his beautiful portrayal of Uncle Ben. Andrew Garfield stands out as the webhead, and the writers wisely give him a noticeably different vibe than Tobey Maguire’s take; he’s a good soul with a rebellious punk side, and the dichotomy suits the character well in his transformation from uncaring antisocialite to responsible lifesaver. Ultimately, it comes down to personal preference, but I found myself longing for the sweeter, more relatable Peter Parker that Maguire gave us. The romance is definitely played up much more with mixed results. Emma Stone is great as Gwen Stacy and her smart-as-a-whip personality makes her much more than damsel in distress; however, the extensive time the movie has the pair staring meaningfully into each other’s eyes begins to grate the nerves and made me feel like I was watching Twilight with infinitely better acting (zing). I found myself enjoying Rhys Ifans as Curt Connors much more than expected, but as I predicted, his turn as Lizard makes for enjoyable fight scenes but simply lacks the human factor and realistic motivation that villains of the prior films had. A soundtrack that plays more on intimate moments rather than explosive beats (think The Dark Knight Rises on that second one) is both welcome and endearing enough that I wanted to hear it as a standalone piece after the viewing. The action, although in acceptably shorter supply than others of the film’s ilk, is entertaining and places intelligent emphasis on Peter’s self-discovery of his incredible abilities. The effects are adequate but at times are embarrassingly chintzy looking and may make you wonder where that huge budget was going. All in all, the film is serviceable and at times even passes up the prior films, but mostly feels like an unnecessary recounting, and even has the nerve to end on a cliché cliffhanger for the inevitable sequel. Putting its flaws aside, though, this is a solid motion picture with some impressive acting, engaging action, and brilliant music, and maybe that’s enough for the time being.
The Bourne Legacy
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Is nothing sacred anymore, Hollywood? Don’t answer; the question was rhetorical. Instead, let’s take a good look at the follow-up to the conclusion of the beloved Bourne trilogy. Despite the tale receiving a satisfying and conclusive finish with The Bourne Ultimatum (even the title knew the story was over, what does that say?), the filmmakers seemed determined to squeeze just a bit more nourishing money out of the cinematic teat of this poor franchise’s metaphorical udder. What we get here is a spin-off that follows an entirely different character named Aaron Cross having to deal with the ripples created by Jason Bourne’s destructive actions. In a twist rather convenient for further sequels, it is revealed that Blackbriar, the government organization of super-assassins that Jason Bourne spent Ultimatum taking down, was never the only killer-breeding program. Cross, a member of Operation Outcome, relies on a medications to heighten his physical and mental capabilities to handle assignments; when the program is shut down, however, as a result of Bourne bringing down Blackbriar, Cross finds himself having to dodge the bullets of assassins and headaches from withdrawal of the pills. What follows is an overlong tale that does just enough right to make it all the more painful when the picture as a whole comes off as average at best. However, with the talented Jeremy Renner in the starring role and some palpable chemistry with his leading lady Rachel Weisz as an Outcome scientist, the stellar acting is easily the film’s best selling point, and actually matches the caliber of the performances in the main trilogy. Renner’s character stands in stark contrast to Damon’s Bourne: he’s much more flawed and vulnerable, and begins to show his emotional cracks and charismatic resolve as the flick progresses. Edward Norton, although criminally underutilized, comes off as a cold and slimy antagonist for Cross. Unfortunately, the plotline isn’t handled quite as well as the casting. What should’ve been a simple spin-off plotline is given an almost unforgiveable amount of needless confusion thanks to some bloated scenes of lengthy dialogue and casually tossed around technical terms that distract from the excitement of it all. The action is in short supply (appropriately so, as the previous three flicks made it work well with sparse blows and bullets), but it sorely lacks the heart-pounding punch of the Damon films. Instead, it tries to go for some overblown sequences of explosions and silly stunts, completely distracting from the realism and rawness that made the Damon trilogy so compelling. The direction of veteran screen playwright Tony Gilroy, a position previously helmed by Paul Greengrass, feels very far removed from the shaky handheld camera style of yesterdecade, and at times, provides some thrilling moments that will give you goose bumps, such as an impressively done single-shot moment of Cross scaling a building in one smooth motion before dispatching a foe. All in all, though, despite solid acting and arguably more cohesive direction, The Bourne Legacy is something of a disappointment, even with appropriately lowered expectations. Perhaps with the inevitable sequel(s), the studio will pull its act back together.
The Dark Knight Rises
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With tension raised and hype flying higher than the Batwing for Christopher Nolan’s third and final installment in the superior Dark Knight trilogy, it’s time to see if it was all worth it. The answer? A wildly resounding “mostly.” The film picks up eight years after the conclusion of the previous flick, with Bruce Wayne having given up the cowl and cape and gone into hiding. However, he is ultimately forced back into the fray when a maniacal terrorist named Bane threatens to burn Gotham City to the ground. The pacing functions well enough and manages to keep up the suspense admirably, but simply isn’t as perfectly fluid as The Dark Knight and suffers from rushing through its variety of plot points in order to tie up the many, many loose ends it still has to take care of before the tale runs its course. You can imagine it like Spider-man 3, if Spider-man 3 were better; there’s so much “stuff” to pack in here, it can feel downright overwhelming at times. Christian Bale as Batman gives his best performance of the series. Tom Hardy as Bane, who inevitably (and unfairly) will be compared to Heath Ledger’s legendary turn as Joker in the previous film, is extremely menacing, having both depth and a well-developed character origin. Anne Hathaway as Catwoman gives an admirable effort and ultimately pulls off the role, although I still found it difficult at times to buy her as the slinky burglar as a result of the heavy type casting she’s endured in earlier years. The tone of the film is somber and brooding, and while it may feel like something of a downer to people who enjoyed the dark humor of The Dark Knight, it’s befitting of the overarching theme of the movie: a brutal rise from the ashes and back into the light. This is easily the grittiest of the three films, with more at stake than ever for the main characters, and it feels suitably epic. The action is thrilling though in shorter supply than the previous flick, and there are no set pieces quite like the mid-movie Batpod chase sequence in The Dark Knight to really knock the socks off of viewers. Nevertheless, it all still clicks, containing quite a few more classic nods to the comic version characters than the previous films that should make fanboys squeal with delight. My final major gripe that must be made is at the ending. Enjoyably, it’s the sort of conclusion that will leave you pondering its true significance for hours, suggesting a real sense of cohesiveness and circle of life to the trilogy. While this works, the film, already with a run time exceeding two and a half hours, frantically tries to tie up its final threads in far too short a time period, and it left me feeling a little cheated for these characters we’ve grown so fond of over three movies. In the end, I regrettably must point out that this is the weakest of the trilogy; however, considering what trilogy this is, that shouldn’t necessarily be so bad, because this is still a superb film. While not without its shortcomings, it’s a worthy send-off for one of the greatest superhero film series ever put on a screen.
Haywire
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In the wake of the completion of the Bourne trilogy in 2007, many an action/spy thriller filmmaker has tried and failed to recreate the success of that stand-up franchise, palette swapping character archetypes, set pieces, and technical plot devices in an attempt to spice up the formula. In the opening months of 2012, we got Haywire, a comparatively low budget stab at the genre. Sporting an all-star cast, competent physical stunts, and an impressive adherence to realism, the flick does a surprising amount well considering its humble budget, but simultaneously is its own undoing. The narrative follows government super-assassin Mallory Kane as she goes on a one-woman war against her employers when they betray her in the middle of a job. The tale suffers from that ho-hum sameness of many of its action-thriller ilk, yet needlessly confuses the viewer with a stilted plot structure that fails to find stable footing until the third act, leaping randomly between scenes in order to give Mallory an altogether unasked for backstory. The climax, in particular, delivers far too much explanation to the film’s uninteresting mysteries and sort of fizzles out with a disappointing closure. The acting is serviceable, but ultimately underutilizes its impressive line-up of A-listers, from Antonio Banderas to Michael Douglas. Mallory herself, played by former MMA superstar Gina Carano, shows a lack of experience with some dry and at times unrealistic line deliveries, but somewhat makes up for it with her smooth technical skill in the fight scenes. The action is enjoyable and somehow manages to feel fresh, with an emphasis on MMA-style brawls where Mallory gets to wipe the floor with some unsuspecting baddies, intermixed with some sparse gunfights. Unfortunately, much of the suspense is lost by an inexplicable lack of any music or tension-building sound effects during the action sequences. It’s one of those things in movies you don’t truly appreciate until it’s missing and the scenes are proceeding with an awkward, half-finished feel like they are here. With such a low budget, the lack of pulse-pounding set pieces is understandable, but the major problem with Haywire is that it simply fails to excite in any meaningful way. Many of the elements function adequately, such as the aforementioned talented cast with the exception of Carano, original action scenes, and passable plotline. In the end, Haywire is neither good nor bad; it’s just bland. If discovered by potential viewers on sale, it’s not a waste of time, but more discerning film fans may want to tread carefully here.
Underworld: Awakening
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With a metaphorical tear in my eye, we arrive at the concluding review of Underworld-a-palooza with the fourth outing for the franchise. Returning to present day, Awakening is a sequel to 2006’s Evolution, bringing back series centerpiece Kate Beckinsale in all her black leather glory. The plot picks up sometime after the conclusion of the second flick, where humanity has discovered the existence of vampires and werewolves, and declared war on both species, intending to wipe them out. Selene and her mutant boyfriend Michael are captured and put on ice for twelve years by scientists trying to uncover the secret of immortality, until a lab breakout allows Selene to escape. Packing heat and freshly sharpened fangs, Selene is on the hunt for answers on a mysterious hybrid girl and ultimately for a secret group of powerful lycans in hiding. Despite returning to the timeline of the original two films, Awakening smartly dispenses with the backstory in quick “previously on” segment that leaves the storyline free to breathe. This is both a blessing and a curse; while the plot is much easier to follow, I found myself missing the well-thought out mythology of its deeper brethren. Franchise newbies portrayed by the likes of Michael Ealy and Theo James, among others, are flat and forgettable. Kate Beckinsale as Selene herself seems to be phoning it in a little here, although chances are, if you’ve made it four movies into this franchise, this isn’t going to bother you much. As with the new cast comes a redone style. You’ll see more life-like shades of color than the previous films’ drained Gothic tones, which ultimately is a toss-up between what you feel like the series could handle in terms of backdrop. The action is even more ramped up here, with more blood and more broken bones than ever before, and it manages to feel sickly entertaining thanks to some smart camerawork and superbly paced fight sequences. Quint, a super-Lycan who looks more like the Incredible Hulk with fur, injects a surprising shot of awesome right when things start to feel stale. At eighty-eight minutes, it feels like corners were being cut ravenously on an already somewhat bare-bones package, and for once, I must say I would’ve felt more satisfied with a few smoother transitions and scene padding being tacked on to what’s already here. In the end, this is the weakest of the franchise with downgraded acting capabilities and a disappointing lack of mystical mythos, but if you enjoyed the previous entries for the simple pleasure of watching vampire and werewolves claw each other’s noses off, you’ll be more than satisfied with this fun film.
Underworld: Rise of the Lycans
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Unfortunately, despite my secret love affair with the Underworld franchise, I must make an example out of it in the case of its third installment, Rise of the Lycans, for the sake of like-minded prequel haters out there. Any event of the past, however mysterious, loses a lot of the curious magic that makes it so intriguing in the context of the present when it is blatantly shown in a play-by-play. It’s true in real life, and it’s true in the movies even more so. Rise of the Lycans is one of many heralds of this truth, cobbling together many of the flashbacks from the previous two series flicks and adding in the connective tissue in between to make something vaguely plot-shaped. It’s functional, certainly, but the question is, did we really want to see this? The plot should basically already be known to anyone who saw the first two, because this is a telling of how the vampire vs. werewolf war began centuries ago. The elite vampire race has enslaved the monstrous lycans, seeing them as a lower form of species, but everything changes when Lucian, a lycan who can transform back into a human, is born and falls for Sonja, the daughter of ruthless vampire clan leader Viktor, while leading an uprising against the blood-thirsty oppressors. The plot is much easier to follow, lacking the convoluted tangles that got many a viewer dazed and confused during the first two, but at the same time, as this is a tale that’s already been pre-determined by its predecessors, all sense of suspense and danger is lost. Sure, the effects have improved, and the trade-off of swords and crossbows from guns and grenades in the 2003 and 2006 flicks lends the action scenes an air of originality to the series, but you’ll never be on the edge of your seat, and as a result, won’t ever really connect with the characters. The actors try damn hard to make you, though, particularly Michael Sheen as Lucian and Bill Nighy as the villainous Viktor, both turning in the same enthusiastic and arresting performances from the original film. Rhona Mitra as Lucian’s lover Sonja is obviously meant to be an archetype fill-in for Selene, but she doesn’t quite meet the mark in her flat performance, which is a little sad when you think about it considering Kate Beckinsale’s normally cold, unfeeling equilibrium. Overall, while the acting is technically the best of the series, as the film wisely focuses on its Thespian MVPs, and the action is paced a little better with some dramatic ho-hum, you’ll feel robbed of what little investment you had in the series. Die-hard fans should still check it out, though.
