Tag Archives: action

Immortals

Later, I saw the big 3D event movie of the season, which balanced its time between being in your face with 3D actiony combat (not ever over the top, though …well, I mean, the 3D wasn’t; the action very explicitly was, over and over again) and feeling very naturalistic, enough that I had to pause and think about whether there was a 3D image in front of me. Not unlike real life, you understand. So that’s probably good, right? Or I’m jaded, like I said earlier. Definitely one of those.

Immortals pits Theseus against rampaging conqueror Mickey Rourke, in the hopes that he can stop Mickey from unleashing the titans who would then destroy humanity and the gods alike. (They are grumpy for having been trapped all this time, you know?) Normally, the gods would just smack Mickey down like they used to do, but apparently somewhere along the way hubris became more socially acceptable or else the gods learned about the Prime Directive. So it’s up to Theseus and his plucky peasant know-how and his tragic, revenge-inducing backstory to save the day. Of course he’ll be assisted by a number of rapidly dying allies and Sexina the Oracle, because this is after all a Greek mythological quest movie, and that is how they roll. To preserve an air of mystery, I will not spoil the presence or absence of a minotaur somewhere along the way.

But seriously, everything is pretty (though perhaps a little monochromatic) and lushly over the top, like a peach that’s just gone overripe and this is more bad than good, except without the sexual connotations of that particular metaphor. If you like things that are Greek or things that make limbs roll or things that make heads explode, either watch this one, or travel 18 months along the timeline and watch the next / previous one, because really, this is the kind of movie that comes along once in a lifetime. If you are a betta.

30 Minutes or Less

It’s true, I finally started watching movies again. So, yay! If you find Jesse Eisenberg to be the premiere personable actor of his generation no matter how horrible of a human being he is portraying, or if you find Danny McBride to be a compelling poor- / gross-man’s Seth Rogen, or especially if you think Aziz Ansari’s voice makes his every line somewhere between two and three times as funny as it would have been in another actor’s mouth, and if you don’t mind your dark grey comedy having plot holes a pizza delivery guy could drive through, then you could do a whole lot worse at the dollar theater than 30 Minutes or Less.

Pretty dim praise, right? I laughed quite a lot, don’t get me wrong, but on top of the plot holes, which were pretty galling for reals, there just weren’t any likable characters. The heroes merely won the title of least hateful, and that’s kind of impressively sad. In a way, Danny McBride’s villain sidekick may have been morally better than any of the stars, and he was still quite certainly a villain.[1] But anyway, if you still think a couple bucks and the 90 minutes  are worth your time, I’ll tell you that this is a movie in which a couple of bad guys force a dead-end, largely friendless pizza deliveryman to rob a bank, by strapping a bomb to him. And while I bet there’s a potentially really solid drama somewhere in that plot, and that it is possibly named Dog Day Afternoon, this is definitely more the “hijinx ensue” version.

Enjoy. Or not. But Ansari really is kind of hilarious, so.

[1] Okay, the romantic interest had no problems, she just wasn’t enough of a character to get a handle on, aside from “I can see why Jesse wants to go to there”.

Killer Elite

Did you ever see that movie where the spy has a moment of clarity and retires before the job destroys his soul, but then someone (probably his girlfriend, but someone) gets kidnapped to use as leverage against him, so he’s sent off to do one last job, and it’s not a job he wants to do, but dammit, he’s a professional, and anyway, there’s someone counting on him to succeed. Killer Elite is that movie, except the spy is a British Jason Statham[1], there are more antagonists than just the kidnapper[2], and the someone is Robert De Niro instead of a girlfriend. So, you know, if you like that movie, this is a perfectly viable version of it.

[1] Odds are excellent that he is in fact British all the time, not only at this moment. Who can ever know for sure?
[2] Actually, this is a pretty meaningful distinction, and is the main thing that keeps the movie from being one you’ve seen multiple exact copies of before. So, yay that!

Drive (2011)

Drive is going to fill one and possibly two niches this year. It will be the best movie that many people never bother to see, and it will also be the best movie that many people saw accidentally, expecting it to be a cheap Transporter knock-off. In either case, it will almost certainly be underappreciated. There’s this guy, played by Ryan Gosling, who seems to be drifting through life at a huge remove from everyone else. While they are hiring him to be a getaway driver, or clumsily mentoring him[1], or paying him for movie stunts, he just seems to observe it all, sometimes with a slightly bemused smile, more often laconic and blank-faced. Which is a pity, because those rare smiles give a window into his inner life that implies more pure joy than most characters convey with reams of dialogue and spontaneous jigs.

But when an accident of geography entangles him in the lives of his pretty, world-saddened neighbor, her son, and her imprisoned husband, well… I don’t want to say much, since you already know that he’ll be in for the drive of his life, or else what a terrible name for a movie. I guess it’s like this. If that sounds like a set-up for the client-of-the-week section of an episode of Burn Notice, it should. But the fallout is a lot less like Michael Westen’s always slick solutions and a lot more like the 1970s era cinema that inspired Quentin Tarantino. But, okay, do you know what Drive is the most like? I hesitate to say this, because it will so easily be construed as less than high praise, but, it reminds me of nothing so much as what someone could have easily written as the plot progression of a mission arc in a modern Grand Theft Auto game. Mostly imprintable anti-hero? Check. Conflicts with cops and other criminals alike as events spiral out of control? Check. Sympathetic characters humanizing the proceedings? Most definitely.

I’m not surprised by the Fresh Air reviewer who said it was the darling of Cannes this year. Movies like this just don’t get made anymore, and lucky us that someone failed to realize it.

[1] Enough good can probably not be said about Bryan Cranston, so I will not try harder than I just have.

Rise of the Planet of the Apes

I caught a movie last night with an outsider / coming of age theme. The young, unusually intelligent student (played by Andy Serkis) is befriended and mentored by surrogate father figure James Franco, but despite all of their efforts, the student’s outsider status reigns supreme as he is gradually shuffled through a system that understands him no better than the inhabitants of the various locations into which he is placed by it. Can he find a way to make himself understood and grab onto happiness somewhere in the world? Can Franco make the student understand his own connection, his own love, and can that connection be enough?

Oh, also they tacked on a science fiction framework around that basic storyline, based as a prequel to a classic movie with Charlton Heston that you may have heard of[1], and also some really significant special effects and a pretty cool actiony climax. So that part was alright too.

[1] Hint: it’s not “people”.

Captain America: The First Avenger

[1] You know what made this movie better than it had any right to be? It was the Captain America they wrote into it. I know that sounds painfully trite, but stay with me for a second here. I’ve read the ultra-patriotic Captain America of the 1950s[2], the reflective, uncertain, self-consciously apolitical Captain of the 1970s, and the hyper-capable, overly superior (in thought, word, and deed) Ultimate Captain of this past decade. There are things to like and dislike about each of them, but none of them made it into the movie. This guy, from his abortive attempts to enlist during World War II as an asthmatic, archetypal 98-pound weakling through his confrontation with the chillingly and somehow never cartoonishly villainous Red Skull, and at every moment in between, is just an all around average joe who happens to be the nicest guy you’d ever want to meet. That he’s brave, intelligent, and acquires super-powers is almost beside the point. The heroism, explosions, and cool stunts were certainly worthwhile too, don’t get me wrong. But mainly, it’s how damn likable Steve Rogers is that carried me through the movie. Everyone has shades of grey these days, and they should, because that’s the real world. But it’s refreshing to know that sometimes the good guy really can just be, y’know, the best guy.

It’s not fair to compare him with the Captain America who was frozen in the Arctic Circle for a variable number of decades since World War II and wakes up with his whole life left behind him in the blink of an eye. Of course that guy is going to have a harder time of it than the one who asked for a chance to fight and was given everything. But it really is going to be hard to go back to angsty and/or superior Cap after liking this one so very, very much.

[1] Just to get it out of the way, my intent was not to see the movie in 3D, but events conspired against me. It’s, y’know, fine?
[2] This is true from a certain point of view, at least.

Transformers: Dark of the Moon

Giant robots? Explosions? Random people yelling “Optimus!” at regular intervals? Yep, it’s a valid live-action Transformers movie. I don’t want to say a lot about it, partly because we both know there’s not a lot to say, and partly because it doesn’t seem right to accidentally give away what threadbare moments of plot exist. But I was definitely impressed by the extent as well as the quality of the extended cast, I dug the new girlfriend (though I wish she’d had more to do besides look pretty and be in danger, but, y’know, Michael Bay), and I was pleasantly surprised by the lack of racist, moronic robots as “comedy relief”.

I can’t decide if it’s worth mentioning that the plot had a massive, glaring flaw or not. (‘Cause, again, Michael Bay. Right?) And despite how (glaring plot flaw aside) it was a largely good popcorn flick, I still don’t think I’ll ever get over the first impression I had, when I was watching an incredible sci-fi movie preview about how the moon landing was a cover-up for our exploration of a crashed alien spacecraft, and I really wanted to see what would happen next. And then what happened next was Transformers 3 instead of something new, gorgeous, and possibly amazing. Dark of the Moon was funny, cool, and chock full of exploding robots, and, okay, it was gorgeous; but it was by no means amazing, much less new.

Priest (2011)

Priest was an odd duck of a movie, because it didn’t really try to be anything. There’s this weird alternate reality, see, where humans and vampires have been openly at war for centuries, and despite that the vampires are far stronger and vastly numerous, somehow the sunlight advantage has allowed humans to progress scientifically and spiritually throughout the years, culminating in some kind of religio-genetic hybrid warriors with cross tattoos on their faces who took the war back to the vampires and pretty much won it.

Only now, maybe the war isn’t really over after all, and the church leadership is in denial and considers anyone who wants to investigate the opposing viewpoint to be anathema. So there’s you a great little theme about corrupt religious power, versus reason, versus true faith, probably versus other possibilities as well, only, yeah, once the premise was settled, they went nowhere with it beyond cartoonish antagonism. And there’s a thick, rich Vietnam metaphor in the priests, who everyone can recognize as having been part of this great war that was a stalemate at best, and they no longer have any place in society now that what they were created for is over, and one of them is beset on all sides, by the law, by his past, by threats to his family, and this is the most Rambo-like character I’ve ever seen, only…. again, they did nothing with him. He almost had a sympathetic superior, but not really. He kind of had people to go rescue to prove the war hadn’t ended, but the scope was too narrow.

So, instead of all this potentially rich territory, there was a lot of CGI kung fu, cool explosions, and implausible usage of motorcycles. Oh, and a giant pile of sequel-bait, except all the possibilities for conflict more compelling than “we’d better kill this next dozen vampires” was already ignored and discarded here in what I hope will not be described by future generations as the first movie.

Batoru Rowaiaru

There’s only one problem with Battle Royale. The premise doesn’t make even a lick of sense. The introductory text scroll lays it out like this: Japan is in economic turmoil, with record unemployment and an extremely bad delinquency problem among the youth, apparently because they see what they have to look forward to? So, the adults fearfully pass the BR law, which… here’s where it makes no sense. Apparently, once a year, a randomly selected ninth grade class is sent to an island, given bags full of equipment and random weaponry, and asked to kill each other over the next three days. If there is more than one survivor after 72 hours, everyone left will be killed. Pretty straightforward, right?

And the events portrayed in the final 80% of the movie are chock full of hard decisions and violence and teenage melodrama, in which anyone can die at any moment, just like you’d expect of a pack of inter-murderous ninth graders. So if you can get past the premise, there’s a great deal of that, and I approve! But still, I can’t figure out how it makes any sense. That is to say, how does the “law” help anyone? At one class per year, it’s not going to make a dent in any population concerns. And randomized with such a small incidence, it’s not like the kids have any fear-based incentives to change their ways; if anything, I’d expect them to get a lot more disaffected and violent than before. (Except this particular class didn’t seem to have any idea the annual event existed, which is its own kettle of worms, believe me.)

Still, to be clear, that didn’t stop me from enjoying the other 80%, it just drove me crazy at the start of the movie and again while considering my review. So, y’know, mixed bag.

Green Lantern

Going into Green Lantern, I knew very few things about the character. He does stuff in space, and he can do anything at all with his magic ring, unless what he is opposing is yellow, in which case he’s completely powerless. (DC, you know, about which I know little enough except for their very majorest characters.) My point is: yellow? Really? High budget effects or not, I wasn’t very hopeful. Yellow.

I’m not sure, but I think that may have been the movie’s saving grace. It had a lot of “gee, whiz” coolness going for it, don’t get me wrong, but the plot was really quite predictable, and the origin story fell flat for me when they spent half the movie establishing that Hal Jordan isn’t reliable and needs to grow up to realize his potential, and then had the turn-around occur on a dime for the flimsiest of reasons. So while I can’t say that it was one of the great comic book movies, it easily surpassed my tragically low expectations.

I mean, yellow!? I’m not saying yellow lameness was absent from the movie, but either they fixed whatever made it especially horrible in the comic, or else I’ve had a misguided notion of how things worked all these years. Either way, really. What’s important is nobody painted a baseball bat yellow to defeat the otherwise cosmically powerful good guy.