ReelLifeReviews Reviews

It (I) (2017)

King done right

[9/10 · 14 September 2017]

I was having a difficult time tempering my hype level for this one. I was so looking forward to Ghost in the Shell and Valerian earlier this year, but I couldn't have been more disappointed with what I was given with those. With my luck so far, I thought I was in for strike three. It turns out I had nothing to be afraid of. Except for Pennywise, of course.

From the opening scene, the director makes it clear that the boundaries have been pushed all the way back, setting the tone that anything can happen from here on out. It goes beyond your typical jump scares. It's uncomfortable, creepy, and twisted.

Between those elements, however, is a surprising amount of humor. In the other versions, the character of Richie Tozier was annoying to the point of him almost ruining the scenes he was in. In this version he's played by Finn Wolfhard (probably the best name in Hollywood) and he's actually my favorite character. I don't think I've genuinely laughed out loud that many times in the theater this year. While other horror movies will have a tension-cutting quip or two, this movie has successfully comedic writing throughout.

While Richie was my favorite, all the kids are truly incredible. It's difficult enough to get an impressive performance out of one child actor, let alone seven, but director Andy Muschietti seemingly does the impossible. Not long into the film I strangely stopped seeing them as kids and just saw them as the people they were portraying.

There's no denying that there are the nostalgia factors of the book and the campy miniseries, but so much of what makes this movie great is what it does to set itself apart from all that. I never found myself thinking "Hey, that wasn't in the book!", but rather "Oh crap, I don't know what's about to happen here." I didn't expect to be kept on my toes with so much original content, and I certainly didn't expect that I'd be OK with that.

I was hoping for a lot out of this movie and it absolutely delivered. IT somehow manages to be the scariest and funniest movie I've seen this year. A contradiction I couldn't be more pleased about. 8.5/10

Rememory (2017)

Worth the asking price

[5/10 · 31 August 2017]

Rememory - A sci-fi thriller with borrowed plot points and an unsatisfying conclusion. It's definitely worth the price of admission, however, being that it's free on Google Play before it comes out in theaters.

The movie centers around an invention that allows people to view memories from any point in their life. It doesn't get bogged down in the science behind it, allowing the story to unfold. The problem is, it's not a very good story.

Although the memories of these characters are on full display, I never felt like I got to know any of them. The main character, played by Peter Dinklage, is a figurine maker, but is seemingly Sherlock Holmes as well. I don't know how much PTO comes with a job like that, but he spends all his time investigating a murder on his own volition. It never feels like he's truly given a challenge at any point, and the movie is too busy trying to throw you off the scent that it doesn't seem to care.

One thing that jumps out, however, is that the movie makes zero reference to the fact that Peter Dinklage is a little person. His stature is often the main focus of his character on Game of Thrones, but any actor could have gotten this role. Given what he lays out on screen here, the overall movie notwithstanding, it's clear why he earned the part.

Another positive performance is offered by the late Anton Yelchin. He plays a troubled young man on the brink of total mental collapse. He put all he had into his small role, showing that his untimely death robbed us of decades of potential in the world of cinema.

If you want to see a better execution of the technology featured in this movie, I would direct you to the BBC (now Netflix) anthology series, Black Mirror. Each episode is its own independent story, so you can jump in at any point. The one entitled 'The Entire History of You' delves deeper into the topic, and also happens to be my favorite of the entire series. Yes, Rememory is currently free, but you already have Netflix on every device you own. Queue it up. 5.25/10

Logan Lucky (2017)

Good, not great

[7/10 · 25 August 2017]

Logan Lucky - A southern version of Ocean's Eleven without the clever twists or overall intrigue. While it sticks to the typical heist film formula, the unique characters do differentiate it enough to make it memorable.

Daniel Craig looks like he's having a blast with his character. The tongue-in-cheek marketing touted "and introducing Daniel Craig as Joe Bang," and it really does feel like you're seeing the actor for the first time with how completely against type this role is for him.

The dynamic between Channing Tatum and his character's daughter is adorable to watch. Their banter felt natural and off the cuff, making me buy into that relationship right away. Hillary Swank is thrown into the movie in the last 20 minutes or so, along with her accompanying storyline. It felt far too late in the game to introduce those two elements, and I ended up not really caring about either.

Seth Macfarlane was utterly miscast in his role. He plays an English billionaire with a perm and a caterpillar mustache. While the other actors easily sell their off-kilter characters, Macfarlane seems to be in the middle of a dress rehearsal for a comedy sketch. He begs for laughs in his delivery, rather than delivering any laughs.

While this isn't the diamond in the rough I was hoping for, it does find small wins here and there to make it entertaining. It takes plenty of risk with the characters that were created, it just felt too safe in regards to plot. But for just $5 I got to see a reinvention of Daniel Craig, this year's best father/daughter relationship, and the signature styling of Director Steven Soderbergh. Not exactly highway robbery. 6.75/10

Wind River (2017)

Original thriller

[8/10 · 25 August 2017]

Wind River - Hawkeye and the Scarlet Witch try to solve a murder in Wyoming. That's really all I thought it was going in, but it's so much more than your average whodunit.

As it turns out Mary Kate & Ashley's lil' sister can act. I've only seen her in supporting roles, and while she hasn't been bad, I didn't really see 'leading lady' potential there. Here she takes full advantage of the opportunities she's given with this role, putting to bed any notion that she isn't ready for top billing.

Jeremy Renner is strong as well, actually delivering what I consider to be his best performance since The Town in 2010. He comes off like he's already lived two lifetimes, neither of which were easy. Stoic and stolid, but still vulnerable and empathetic, he pulled me in right away.

The movie goes along at a calm and steady pace, but all at once it shifts to an uncomfortable and intense climax. Having that stark contrast in the final scenes, and forgoing the gradual increase in urgency, was an impressive choice by this first-time director.

There is a scene where a character is giving an emotional backstory, but I couldn't concentrate on what they were saying due to the way it was shot. The character is indoors, standing still, but you'd think they were on the deck of a ship with how the camera was moving. It felt like the guy behind the lens was doing the sign of the cross with the camera the entire time, trying to exercise some unseen demons. Unfortunately it took away from an otherwise powerful moment.

My only other complaint, and don't quote me on this, but I think they used digital snow in one of the early scenes. It just looks overly affected, and doesn't seem to accumulate on anyone or anything. Again, I could be wrong, but it felt markedly different than the snowfall in other scenes.

It's a smaller film, but I'm hoping those Sundance leaves on the poster can push it into the awards conversation. It feels like a movie that will either get completely passed over, or rake in the nominations. And while you can guess I won't be calling for Best Cinematography or Best Visual Effects, I'd be hard pressed to bet against it in any other category. 8.5/10

Annabelle: Creation (2017)

Strong young cast

[7/10 · 25 August 2017]

Annabelle: Creation - I never saw the first Annabelle movie, but from what I've heard, I didn't miss much. This one, however, felt right at home in the world of The Conjuring.

There is a definite creep factor to this film. While the Child's Play movies had a terrorizing murderer for a doll, what you have in Annabelle is something far more sinister and evil. There are of course the obligatory jump scares, but the mood that is prevalent throughout the latter half of the film is what sets it apart from the pretenders.

The movie has two young leads, the strongest of the two being Talitha Bateman, who plays Janice. She's given a range of emotional beats to hit and physical elements to sell, and she nails them all. Her talent shows beyond her years.

The group dynamic of the girls is fleshed out far better in this movie than in The Beguiled from back in June. There is still one girl that serves no purpose, only delivering two lines, but it's none the less a major improvement.

The story arc of the mother, however, never resonated with me. It feels like an afterthought that was thrown in to pad the overall runtime. The only thing she brings is exposition, not really having an impact on furthering the story itself.

Due to Get Out and It Comes at Night not technically being horror, and Rings being the 2nd worst movie of the year so far, Annabelle: Creation wears this year's crown for scary movies, at least for now. We'll have Jigsaw, Flatliners, and Happy Death Day up to bat soon enough. But c'mon, you and I both know that Pennywise will float right to the top of that list come September. Until then, Annabelle has a story to tell. 7.25/10

The Hitman's Bodyguard (2017)

Forgettable

[4/10 · 10 August 2017]

The Hit-man's Bodyguard - Short on laughs and long on runtime. How a concept like this could be stretched into 2 full hours is a feat unto itself.

There are some actors in Hollywood that are basically infallible. The likes of Daniel Day Lewis, Phillip Seymour Hoffman (RIP), Tom Hanks, and Gary Oldman come to mind when I think of consistent, quality performances. Unfortunately for Gary, his streak has come to a crashing end. I don't know why he would sign on to a movie like this in the first place, but more than that, I don't know why the director, producer, studio, or even Gary Oldman himself would hang his hat on what ended up in the final cut.

As we've come to expect, Ryan Reynolds and Samuel L. Jackson play themselves in the movie, not really bringing any character into their roles. They're funny guys, to be sure, but they just don't hit the mark for me in this one. People were definitely laughing in the theater, but it just gets too slapstick for me at times.

The fight scenes themselves, however, are intricate and well- choreographed. They aren't at the level of John Wick 2, but they easily surpass the fights from the recently released Atomic Blonde. There are a couple good car chases as well, with one being to the tune of Black Betty, which probably stands as the best car chase backdrop; perfectly chaotic and fun.

This movie of course doesn't take itself too seriously, but I at least wanted to laugh and enjoy the story. I didn't end up doing much of either. It's another film that when you see it in Target in November you'll say "Oh ya, that was a thing that happened." Not exactly a quote you'd want on the cover. 4/10.

A Ghost Story (2017)

A unique approach to love and loss

[8/10 · 9 August 2017]

A Ghost Story - Minimalist storytelling with a haunting score. It's not a movie you and your buddies catch on a whim. This is one you prepare to see.

The film is presented in an almost square 4:3 aspect ratio, making it feel like you're watching this couple's home movies, and experiencing their memories right alongside them. It was a little odd seeing it in the trailers, and I wondered if they would really do it for the feature itself, but I honestly couldn't picture seeing this any other way.

We've had some excellent scores and soundtracks so far this year, as it seems I bring that topic up quite often. Up until now, however, I've only had one choice for best original song, that being 'For Evermore' from the live-action Beauty and the Beast. I'll have to do more research, but if it's eligible, 'I Get Overwhelmed' by Dark Rooms is now the one I'm rooting for. It's beautiful in its own right, but it's used just perfectly in helping to enhance the story. Please have a listen.

This might have the fewest lines of any movie I've seen so far this year. In the heart of the film, however, there is a monologue given by a side character played by no one in particular. He touches on the importance, and the insignificance, of personal legacy. It's a dichotomy that is perfectly captured.

In the first act of the film there are multiple lingering shots. It gets to the point where it's just awkward how the scene isn't progressing. The ultimate example is a scene of Rooney Mara eating a pie for over 5 minutes. Yes there's emotion there, but surely there's a more concise way to portray that. The runtime is already a slim 90 minutes, but it could have been trimmed down even more.

A24, the young production company behind this film, has been absolutely killing it. In their 5 year tenure they've put out wholly unique stories the likes of Tusk, Ex Machina, Room, The Witch, The Lobster, Swiss Army Man, It Comes at Night, and 2016's Moonlight, which nabbed Best Picture. These run the gamut of genres, making them all the more impressive. You could of course try to sell me on an interesting storyline, a talented cast, or a marquee director, but if you just told me there was a new A24 film set to release? 'Nuff said. 8/10.

Atomic Blonde (2017)

Fun music, flat plot

[6/10 · 9 August 2017]

Atomic Blonde - Music and mood get as much out of this recycled spy story as possible, but it never gets north of average.

I've mentioned scores and soundtracks in so many of my reviews lately that I was going to try to back away from the topic for a while. And then Atomic Blonde plays some of my favorite 80's tunes throughout. What's a boy to do? It felt like I was watching a music video the whole time. By that I mean I was tapping my toes, but not really connecting with the story.

If I thought Emma Watson looked bored in The Circle earlier this year, Charlize Theron was absolutely catatonic in this one. Maybe she was just trying to focus on her English accent, something I've never bought from her in any of her films.

All too often she is attacked by two guys at once, but one of them is essentially just waiting his turn to get beaten up, not actually engaging. They also attempt to do the stitched editing a la Birdman during these scenes, but fail miserably. The cuts are so noticeable that I'm left wondering why they were even trying to disguise them. Would it really detract from the scene to cut away to a different angle or take? One attempt is a transition from an exterior shot to an interior, but someone forgot to tell the hairdresser. Much like plot holes in other movies, you're just creating your own inconsistencies. Stop outsmarting yourself!

James McAvoy of course kills it in his seedy supporting role, but I'm impressed yet again by Sofia Boutella. While she wasn't given a lot to do as the titular character in The Mummy, she still brought what she could to that role. She's given much more to work with in this movie, and ends up out-performing the lead. I hope her opportunities keep coming.

A little Jane Bond, a little Joan Wick, but there's nothing really original here. Once again it's the overall vibe and the performances by the supporting cast that make the final score higher than it would have been otherwise. At least I'll have a new soundtrack for Spotify. 6/10.

Dunkirk (2017)

A summer contender

[8/10 · 26 July 2017]

Dunkirk - Stunning visuals and thundering sound bring you up close to this unheralded event in world history. But a scattered timeline and lack of character development still keep you at arm's length.

This was a story my American ears hadn't heard before. I thought not having Old Glory planted on beaches or painted on hulls would maybe not get me as invested. After all, each war film I'd seen prior to this had that key element of American pride that goes right to my heart. This film, however, offered the opportunity to bring out that same level of pride in the company we keep as a nation.

These Allies are deftly portrayed by both A-listers and new-comers. Tom Hardy and Cillian Murphy re-team with Nolan, bringing a presence that we now just take for granted, even in their smaller roles. Christopher Nolan is a master of visual storytelling. This comes in especially handy since what little dialogue is given is often difficult to discern. I had to just take the context of the situation to fill in what I thought they were saying.

I also have to say I didn't much care for the timeline that was used to tell the story. It's presented up front that the three different groups of characters we follow are being shown from different times, but the payoff is minimal. With a runtime of only 1:45, the film could easily afford 30 minutes added at the outset to get you familiar with each crew, and then allow the story to play out in real time from there. So while I prefer my movies to be more character driven, the focus is clear: this was about the mission, not the man.

Will the academy remember a PG-13 war movie that came out in the summer when putting together their Best Picture list? While not as big of a longshot as Best Original Screenplay for June's 'It Comes at Night', Best Director for Jordan Peele for February's 'Get Out', or Best Actor for James McAvoy in January's 'Split', it still does make me wonder. If all Dunkirk sees are nods for sound editing and sound mixing, which it absolutely deserves, it will be a true oversight. From where I'm standing you can forget November. 2017's Oscar season started at New Year's. 8.25/10.

Valerian and the City of a Thousand Planets (2017)

Style without substance

[2/10 · 26 July 2017]

Valerian and the City of a Thousand Planets - I now have three questions for the world: Who really killed Kennedy, who kidnapped the Lindbergh baby, and who greenlit this film? In the dead of night, writer/director Luc Besson broke into STX Entertainment headquarters, and stole $209M to finance an adaptation of a French comic book <--- - I'm more apt to believe this than a check being slid across a table after this thing was pitched. Somebody please start a Go Fund Me for the studio.

I knew when I saw the first trailer that this wouldn't be a financial success, but I still rooted for it heavily. The Fifth Element was such a fun, original sci-fi movie that I had complete faith that he could bring something incredible to the screen with today's technology. It's without a doubt the most gorgeous thing I've seen displayed this year, but it might as well have been a screen saver for the depth of story it possesses.

City of a Thousand Distractions, a Thousand Sidetracks, a Thousand Digressions, take your pick. I would have thought the thing was entirely improvised had it not been so heavily CGI dependent. And for all I know they just built the effects around the haphazard direction these actors were gong in. I would be hard pressed to provide you with a more circuitous route from opening to close in a movie in recent memory. It is the true definition of aimless.

In a movie with Clive Owen, Ethan Hawke, Dane DeHaan, and Cara Delevingne, the best actor in the movie is...Rihanna? She was the one part of the trailer that had me rolling my eyes, but she seemed to be the only one that actually cared about her character. I'm not talking about her *ahem* skills she shows off when she's introduced, but really her portrayal of a vulnerable, but talented artist. Would it be rude of me to ask how Cara Delevingne continues to get work? I don't really have anything else to add when it comes to her performance, I'm just wondering.

In another blow to original sci-fi fare, Valerian makes it that much harder for the next promising idea to find it's way to the silver screen. A massive mistake by the studio. A new worst of 2017. A beautiful disaster. 2/10.

War for the Planet of the Apes (2017)

An accomplished trilogy

[8/10 · 16 July 2017]

War for the Planet of the Apes - When is the Academy going to wake up and nominate Andy Serkis? Not recognizing his achievements in motion capture has them looking like the knuckle-draggers.

At the very least the rumor is that this movie was shot with motion capture, but I'm not too sure. I'm more inclined to believe that they found a bunch of apes that spoke English, and decided to cast them in the movie. We didn't quite reach the uncanny valley with Tarkin in Rogue One, but it sure seems like we've reached the animal equivalent with every ape in this film.

Playing one of these (apparently) CGI apes is Steve Zahn, someone I hadn't seen in a movie in years. And while I guess I still haven't technically seen him, he makes his presence felt. He's introduced a little deep into the story, but brings a welcome dose of levity from thereon out. Looking back to both Rise and Dawn, there really weren't any comedic characters, or all that many moments come to think of it. Again, Andy Serkis is incredible with everything he brings to Caesar, but Zahn finds a way to steal the show.

Earlier in the year I mentioned how John Wick 2 had surprised me with how much I enjoyed its score. Well, I was equally as surprised with how much I didn't care for this one. It felt very heavy-handed, trying to be more grandiose than what the scenes seemed to call for. Other times it came off extremely cheesy, utilizing metallic wind chimes for tender moments, and tubas for bumbling ones. As it turns out, it's Michael Giacchino, the composer for the aforementioned Rogue One. I thought I didn't quite appreciate the score as much for that film because it wasn't John Williams, but it would seem I'm just not a fan of his in general.

One of the main successes of the previous two films was that you could sympathize with both sides. They each had their flaws, but you could also see the good in them. In War, it leans solely to one faction, leaving the other side as just a group of mustache twirling villains. Adopting this structure and abandoning the former was an odd turn for the franchise to take.

Rest assured, the positives easily outweigh the negatives here. Prior to viewing I was touting the possibility of this being one of the best trilogies ever. It seems like a lofty goal, but other trilogies, with the exception of Star Wars and Lord of the Rings, dropped the ball with their third installment- The Dark Knight, Back to the Future, The Matrix, and on and on. Star Wars will always be the best trilogy in the galaxy, but as far as the others are concerned, hail Caesar.

The Beguiled (2017)

Who was asking for this?

[4/10 · 30 June 2017]

The Beguiled (2017) - Not since Bambi have I seen so many twitterpated characters. But at least in that movie I actually cared about what happened to them.

The trailers had me thinking there was going to be a Misery slant to the film, with Nicole Kidman playing a civil war version of Annie Wilkes, but that was completely misrepresented. It is a plodding story that lacks intrigue and and any realistic character motivations. You'd honestly think these women had never seen a man before with how taken they are by him. Since the basis of the story is this already-flimsy premise, it has no hope of building from there.

The ensemble does a serviceable job with their performances, but they didn't get me interested in them individually. The size of the cast, while already relatively small, should have been pared down even further. Three of the students are all but interchangeable, so merging them into a single character would have allowed me to get more invested in the group overall.

It really can't be overstated how much this movie spins its wheels. Over an hour is focused on waiting for a leg to heal and watching characters from age 8 to 48 throw themselves at the injured party. We are then served a thrown together final act that is void of reason.

I had high hopes for this film, but ultimately came away disappointed. Farrell and Dunst, combined with the overall esthetic, brought the score higher than it would have been otherwise, but when you're that far down, really the only way to go is up. 4/10.

Baby Driver (2017)

Bad title, great film

[8/10 · 28 June 2017]

Baby Driver - While it sounds like a follow up to The Boss Baby or Baby's Day Out, it's far from it. This is a fast-paced, engaging gangster flick with music and moves to spare.

The title character, played by Ansel Elgort, is the protagonist, but also the resident DJ for your movie going experience. Songs are synced up with the action perfectly, making it all the more immersive. Having the songs be something the character was experiencing as well was a unique way to provide the soundtrack.

Paired with the music are the crazy car chase/get away scenes. While there are quite a few of these, they never get stale. Each has it's own song and unique flare, so it's a new experience each time.

There are no weak links with the actors either. It's hard to pick favorites out of such a strong crew, but Jamie Foxx and John Hamm really pull it out here. Each of their characters have more than a few screws loose, perhaps allowing them to bring something more to the table than the other members of the cast.

Edgar Wright wrote and directed all of the characters exceptionally well. I cared about what each of them were saying with every line. Too often in other films there are scenes of sloppy exposition or flat dialogue to progress the story. Here, there is no filler to be found.

The movie of course doesn't do itself any favors with a name like Baby Driver. The target audience likely will skim past it on the marquee, while a family that missed the most recent showing of Cars 3 might be in for a rude awakening four minutes in. While it definitely has the worst title of 2017 so far, it also has the distinction of being one of the funnest experiences of the year as well. If you get the chance, it's a ride worth taking. 8.5/10

Transformers: The Last Knight (2017)

One of the worst of the year

[3/10 · 22 June 2017]

Transformers: The Last Knight - While I may go in to some movies expecting them to be bad, I never go in hoping that they will be. I go to the theater to be entertained, to live vicariously, and to enjoy the visual art of storytelling. Heaven help me if I could do any of those here.

To say that this movie is disjointed would be quite the understatement. There are multiple story lines happening throughout, but it never feels like they really intertwine. Characters will disappear for scenes at a time and then, inexplicably, be in another scene with no explanation of where they've been, let alone how they got there.

It's a movie about robot cars, so I understand that the cinematic bar isn't exactly high. But even in something as ridiculous as this franchise, you should be made to suspend your disbelief only so far. My favorite franchise is about a bunch of space wizards with telekinesis for crying out loud, but not even Luke Skywalker could pull off the things that a middle-aged inventor from Texas is somehow able do in this movie.

And did Anthony Hopkins lose a bet? How did they drag him into this? If the producers thought bringing him on board would add some class, they were mistaken. His character is extremely undefined, sometimes being the voice of reason, other times being overly juvenile. As for the actor himself, he just seemed bored.

There are very few times when this hobby of mine feels more like work. I definitely felt like I was clocked in for this one, but Paramount got my paycheck. 3/10.

47 Meters Down (2017)

Poor writing, but great thrills

[6/10 · 16 June 2017]

47 Meters Down - Weak writing takes away from an otherwise suspenseful trip back in the water. When the best parts of a movie are when the characters stop talking, it's probably not a good thing.

Since this is a shark movie, I'm contractually obligated to mention Jaws in this review. Suffice it to say, this falls well short of that mark. It does, however, surpass last summer's offering of The Shallows; a movie that ended up being a disappointment for me. While I want the movie to stand on its own, it's difficult not to have some level of comparison.

In this film the characters are put in much more dynamic situations. The director finds multiple ways to bring tension to the forefront rather than just being one-note. There are quite a few legitimate scares in it as well. Even though some moments are telegraphed, they still managed to get me. And while there isn't a strong back story, you do get more time with the characters before they're tossed into the fray.

What can't be praised are the lines these characters throw around. We're constantly being told what they are feeling, rather than being shown. "I'm frightened," "I'm embarrassed," "I'm sad." The dialogue is just flat an uninteresting. And the exposition that is presented is often completely contradicted. It always baffles me when movies create their own inconsistencies this way.

If you can get past the script, it's at least worth seeing for the imaginative ways its shot and for how well the moments of peril are presented. It won't end up on my Best of 2017 list, but it's worth a bucket of popcorn. 6.25/10

All Eyez on Me (2017)

Disconnected storytelling

[5/10 · 16 June 2017]

All Eyez on Me - Excellent casting and strong performances unfortunately couldn't make up for the screenplay and editing choices.

The trailers for this film were put together well, but they also made me a little nervous. They didn't really show the performance of Demetrius Shipp Jr., who plays Tupac. I was worried that he was cast solely for his resemblance and that the movie would have to work around him. I was off on that assumption all the way because he brought Tupac to life. The strongest performance, however, was given by Danai Gurira, who plays his troubled mother. She just had an incredible presence whenever she was on screen.

While the performances were all well executed, there seemed to be a lack of progression with each character. It got to the point where the majority of them actually regressed. While it is in the realm of a bio pic, you'd still like to see some growth.

The movie is 2 hours and 20 minutes long, which seemed too inflated for this type of story. They went with the format of an interview with flashbacks to various years in his life. About half way through the film the interview aspect is abandoned and you're able to simply watch as the story plays out. Removing the interview aspect entirely would have allowed the story to progress naturally, and also result in a more realistic run time.

The subject matter is incredibly interesting, but it was just mishandled here. What had all the makings to be great, ends up being middle of the road- something Tupac never was. 5.5/10.

The Mummy (2017)

Not the best launching point

[6/10 · 9 June 2017]

The Mummy (2017) - The launching point for Universal's 'Dark Universe' is, at best, an average action flick. Cheesy one-liners and pure convenience mar what could have been a successful introduction to this new franchise.

I thought the studio's idea to bring back the classic monster movies was a little out there. But when they started getting A-list talent involved, it got me really interested. Tom Cruise in The Mummy, Russell Crowe as Jekyll & Hyde, Javier Bardem as Frankenstein's monster, and Johnny Depp as The Invisible Man? How do you not buy in to something like that? I can only hope those other movies can learn from this one.

As is often the downfall of potentially good films, this one suffers from being indecisive when it comes to tone. The main culprit is Tom Cruise's sidekick, played by Jake Johnson. While serious events are happening around every other character, he for some reason thinks he's in a late 90's comedy. His lines, and his character overall, are a big distraction. In a movie that has magic, mummies, and monsters, this guy's character was the most unbelievable element of the whole thing.

Sofia Boutella, however, was quite strong as the titular character. I hadn't gotten a whole lot out of her from the previews, but she was by far the standout. The lore that they introduced with her character was a driving force for the film and she played it perfectly. The writers did a solid job of making her sympathetic while also straight up evil.

On the surface, The Mummy is essentially an Egyptian episode of The Walking Dead. Yes it's entertaining, but we're ultimately just spinning our wheels. I only wish the movie had fully committed to the handful of darker moments that were peppered in. There's a great horror movie under there somewhere- the editor just couldn't find it.

It Comes at Night (2017)

A genre all its own

[8/10 · 9 June 2017]

It Comes at Night - I could call it uncomfortable, claustrophobic, creepy, or disturbing. Any one of these would do, but I'll go with excellent.

How would one categorize this film? Labeling it as Horror sets an incorrect expectation, but there are definitely scary moments. Going with Thriller wouldn't match the pacing, but my heart was beating faster in this movie than in any other in quite some time. Would Mystery or Suspense be the most appropriate? You're not really wondering what will happen next, but rather hoping that what you think will happen, won't. Maybe this is an introduction to the Apprehension genre.

I loved how this movie was shot. Rather than big sweeping establishing shots or use of vivid color, the focus is right on the characters. The frame is often filled with a character's face; the movie not allowing you to back away from what they're experiencing. You're a fly on the wall that just can't get away.

Joel Edgerton is the driving force of the story. He plays a father that puts aside his own morals and humanity in order to keep his family safe. Almost all of his actions seem cold and unforgivable if looked at individually. How they are done in context of the film, however, make you wonder what else he really could have done.

I could see some people calling this movie slow. I would submit that it is patient. The pacing is perfect for the subject matter and there is no break in tone with this film. From opening to close there is a feeling of unease. I could also see people say there are too many loose ends. I would say this adds to the despair. Not every point is clear, not every piece introduced gets a pretty little bow. You'll wonder why these things happened. And you'll wonder how you could have fared any better. 8.25/10.

Wonder Woman (2017)

Best of the new DC by far

[9/10 · 2 June 2017]

Wonder Woman - Saying that this is the best of the new DC films isn't exactly glowing praise. Saying that it now currently holds my highest score of the year, however, would definitely qualify.

The dramatic and comedic tones were perfectly balanced. Such a glaring omission from the previous DC offerings was any real feeling of levity. Here, jokes were well timed and delivered even better. Gal Gadot and Chris Pine's chemistry was automatic, making these back-and-forths all the more believable. And Lucy Davis steals the show as Pine's secretary.

There is something to be said for the theme song of this movie. Do me a favor and try to hum the theme to the Avengers. How about Captain America? The most recent Spiderman, maybe? I might not be able to pick any of those out of a lineup. Wonder Woman's theme is visceral and will be immediately recognizable after you've heard it. It's featured in key moments of the film, adding to the weight of the already powerful action.

Similar to most of the Marvel films, this one has a weak villain. A German officer is presented as the antagonist, but I felt more like it was just war in general that they were fighting against. I definitely liked the payoff, but he was underwhelming as an adversary.

The only other negative I can think of is that there are some moments of wonky special effects. It took me back to The Matrix Reloaded where Neo is just a computer animated cartoon knocking around a dozen Agent Smiths with a stick. The effects seemed jarringly dated at times.

DC was in an absolute tailspin up to this point. The last three films received critic ratings of 55%, 27%, and 25%. This could have been the nail in the coffin. Instead, it was an absolute B12 shot to the brand and the studio itself. Box office hauls of future DC films will no doubt be bigger because of this movie. And to think I almost stayed away from this one based on Batman v Superman alone. Now, Wonder Woman is the only reason I'll keep DC in my lineup going forward. 8.75/10.

War Machine (2017)

Netflix brings it

[7/10 · 26 May 2017]

War Machine - A satirical but honest look at the treadmill of war.

First off, Brad Pitt is essentially a caricature in this movie. I kept going back and forth on whether he was brilliant or miserable in his performance. I found myself feeling the same way I did when seeing him in Allied late last year. There are scenes when he is absolutely dialed in to the role and what's going on around him. And there are a handful of scenes where you'd think someone is just reading him his lines off-screen. He's been frustratingly inconsistent these last two outings.

I had no trouble deciphering the performance level of the surrounding cast, as they all came to play. From the big names of Ben Kingsley and Tilda Swinton, to still familiar names of Anthony Michael Hall and Topher Grace, I was impressed. My favorite performance would have to go to one of the smaller roles played by Lakeith Stanfield. I'd seen him earlier this year in Get Out, but he had a better opportunity to shine here as an absolutely emotionally broken marine.

The first half of the film is very quirky and actually has some pretty funny lines. The second half all but abandons the comedic tone and shifts into a full fledged war drama. The end result is satisfying, but that contrast is pretty jarring. It would have been more successful to mix the paint a bit more or just choose one color.

Netflix pulled out the big guns putting up $60 million for the distribution rights to the film. Later this year they are also backing a loose follow up to 2009's Moon (please see this underrated film if you haven't already) and breaking the bank with a $100 Martin Scorsese film with Robert De Niro and Al Pacino in 2018. Netflix is quickly changing the game in the world of cinema. Don't be surprised to see the awards shows tweak their rules to allow for streaming content down the road.

So pop some popcorn and reserve your couch to see this film of grandiosity and failure. Not exactly your typical recipe to Netlix and Chill, but I'm not one to judge.

Alien: Covenant (2017)

A return to horror roots

[7/10 · 26 May 2017]

Alien: Covenant - More horror than sci-fi, this prequel/sequel adds major elements to the overall canon of the Alien series. After a slow start, the engaging performances and beautiful set design make this a worthy successor to Prometheus.

I have yet to see Michael Fassbender give a bad performance. He is given two roles in this movie and knocks them both out, showing distinct differences between the two. Billy Crudup also shines through with surprising success. I unfortunately can't say the same for Katherine Waterston, who plays the main character. Sigourney Weaver made the strong female an integral part of this series with Noomi Rapace doing an admiral job of carrying that banner in Prometheus. Waterston just seems out of place in her role.

I will say it takes a while for it to feel like an Alien movie. The first third feels like standard science fiction fare with only minor esthetic similarities to the originals. But, when it does start to present story beats of the franchise, it doesn't stop. A common complaint of Prometheus was that it didn't really add to or explain pieces of the originals. Covenant puts those complaints to bed, allowing you to see Alien in a whole new light.

While it wasn't as great as I was hoping, there's no denying the importance of this film to the franchise as a whole. Movies in a series can't just be made to fill in gaps to tell a larger story, however. Luckily Covenant brings plenty to the table that it stands on it's own as a success: great tension, high quality production design, and two Fassbenders. What more could you ask for?

King Arthur: Legend of the Sword (2017)

Worth the wait

[8/10 · 16 May 2017]

King Arthur: Legend of the Sword - An absolute bomb at the box office that will LOSE Warner Brothers over $100 MILLION. That is a flop of epic proportions. And you know what? I loved it.

This film had its release date pushed back three different times, making its debut almost a year after the initial target. A similar situation befell Jupiter Ascending, and I literally couldn't even finish that movie. Each one was marred by post-production issues and, as of this writing, they share the same Rotten Tomatoes score of 26% from critics.

Before I heard about the delays, I was initially doubtful about it due to the fact that Guy Richie was tabbed to direct. His style is so brash with the quick cuts and rapid-fire dialogue, it just didn't seem to fit the content. He definitely makes it clear who is at the helm in a few scenes, but for the most part he allows the story to speak for itself.

As for the words being spoken, the writing wasn't all that strong. I can't really quote any lines or recall any clever moments of dialogue. There are missed opportunities for levity that were either drawn out too long, or just poorly set up. It was a pretty vanilla script to be honest.

What's built around that script however is what makes this movie so enjoyable. In normal circumstances I would say that the visual effects were a bit lacking, but I found myself buying them because of the world that was established. It's very magic-centric, so elements didn't need to necessarily look 'real' since, well, they weren't. And how have I gone this long without talking about the music?? The soundtrack added an incredible amount to the overall product. I was tapping my toes throughout.

King Arthur surprised me in many different ways. I mentioned it when checking into the theater, but I thought this was going to be a lock to make my 'Worst Of' list. Now? Not a chance. 7.5/10

Guardians of the Galaxy Vol. 2 (2017)

A fair follow up

[7/10 · 5 May 2017]

Guardians of the Galaxy Volume 2 - Another larger than life offering from Marvel, but one that doesn't reach the heights of its predecessor.

When the first installment came out in 2014, it was nothing short of a complete experiment by the studio. There was no popular hero or mainstream IP to tout, but rather a collection of no-name characters and an 80's soundtrack. This very well could have been the beginning of the end for Marvel. The result was a resounding success, becoming the 10th highest grossing superhero film of all time. How did they follow this up? With poop jokes.

I'm not saying the last one was an upper-echelon comedy, but this one is pretty much lowest common denominator when it comes to material. Along with the aforementioned topic, they throw in a handful of crotch jokes too so the 10 year olds could chuckle. Too often what could be heartfelt moments quickly get turned into jokes or are made light of right away so as not to pull in any emotion.

There are some fun action scenes, but how they're executed ultimately ends up hurting the movie in the long run. In the first 20 minutes the characters are seemingly unfazed by massive amounts of punishment, removing any sense of tension for what they might encounter in the remaining 2 hours.

There are of course plenty of positives in the movie. It takes the time to flesh out the majority of the characters, which is something that is skipped over all too often in large ensemble pieces. You really come to know and care about these characters. What started out as a disadvantage prior to the release of the first one, has far and away become its strength. And the opening credits with Baby Groot might be worth the price of admission alone.

There have been some great movies this year that were basically undone by poorly executed third acts (looking at you, A Cure For Wellness), but this one is not among them. While a good amount of the film was just OK for me, the summation brought my score up considerably. Underneath the surface level jokes and bright visuals, is a lot of heart and an important message. Not bad for a bunch of no-names.

The Circle (I) (2017)

Poor directing

[3/10 · 2 May 2017]

The Circle - A 2 hour movie that you'll swear took 4 hours of your night. This aimless smattering of scenes accidentally stumbles upon compelling subject matter once or twice, but regains it's focus to continue it's journey on the bridge to nowhere.

Emma Watson is the protagonist, or at the very least the person that takes us along on this chore of a story. With the driving force of the movie being full access and unfiltered knowledge of everyone, her character is incredibly detached from the audience. Motivations go completely out the window for her multiple times, leaving the audience scratching their heads. And I honestly have never seen an actor be so bored in a role they were playing. I'd say she mailed in her performance, but even that would require effort.

In a gesture of solidarity, her costars agreed to also sleepwalk through the film. Ellar Coltrane, who plays Mercer, is Watson's white knight by taking the burden of worst actor upon himself. Patton Oswalt, who is horribly miscast as the company's COO, seemed out of his element in each scene he was a part of. I can only assume he was the studio's 3rd or 4th choice for the role.

The small bright spots for me were Karen Gillan, who plays Watson's insider friend. Her initial introduction was a little jarring, but she was by far the strongest performer. Bill Paxton did well with what he was given, and it was just good to see him again, even if it was in something like this.

Telling you to skip this movie is unnecessary, but I would point you in the direction of the Netflix series Black Mirror. The episode 'Nosedive' is everything this movie wished it could be. I wish the producers would have watched that episode before making this film. Not so they could have made it better, but so they wouldn't have bothered. 3/10

Colossal (2016)

A solid original

[7/10 · 22 April 2017]

Colossal - Surrounded by endless sequels and pointless remakes, Colossal stands tall as a truly unique film. A slow start and some stark tonal shifts not withstanding, this was a pleasant surprise.

Anne Hathaway can be hit or miss for me, but she was excellent here. She plays a blackout-prone alcoholic that for some reason can conjure a giant monster that destroys parts of Korea. Remember when I said this was a unique film? She presents great range with her character, easily juggling between being quirky, powerful, funny, and completely vulnerable. Oscars might be pushing it, but I'd say she would be almost a lock for a Golden Globe for best actress in a comedy.

That's the other thing; this movie was almost entirely advertised as a comedy. There are definitely comedic elements throughout, but it marches headstrong through some pretty heavy territory. There were times where I felt downright uncomfortable with actions taken by certain characters.

Jason Sudeikis plays opposite of Anne Hathaway and really brings it with his performance. I haven't had a big sample size of his work, only catching him in bit parts or in a few sketches on SNL years ago, but I was impressed. His character arc seemed a little rushed, however. I didn't feel like he had a chance to portray a natural progression.

As stated previously, this movie takes a while to find its footing. The first 20 minutes or so is just one long introduction of Hathaway's character that seemed far too drawn out. There is a side character that is basically just a fly on the wall and makes zero impact to the story as a whole. They are put in situations where any rational human being would do, or at the very least say, something to help, but it's like they aren't even present. There were two major moments in the film that were almost illogical due to their inaction.

Stories like this deserve an audience. We clamor for originality at the theater, but when we're offered a title that isn't a popular IP or doesn't include a cinematic universe, the empty seats speak far louder. This isn't a perfect film, but it's definitely worth your time. Is it a little on the nose that it's a story about an alcoholic destroying the world around her? Sure. But it's all in the execution.