Mini-Review: "Mad Max: Fury Road"

So, before I start the actual review, I have to rant a bit. I am an AMC Theater regular. I cross state lines to see a movie at the closest AMC. The actual nearest cinema used to be a United Artists theatre, renovated about 10 years ago to include stadium seating in its relatively small auditoriums. The last movie I saw there (which was the first in a long time) was Lemony Snicket... More recently, it was acquired by Regal and re-renovated to include assigned seating in exceptionally plush recliners! Because J was at my house, and neither of two closest AMCs were showing Mad Max: Fury Road in 2D, we ended up in the Regal and J couldn't help but give in to the plush, falling asleep twice. But... I blame the seat, not the movie.

Anyway...

Original creator/writer/director George Miller (Gremlins; Babe) is back with the latest in the continuing adventures of a character he created nearly 40 years ago. Tom Hardy (The Dark Knight Rises) takes over for Mel Gibson in the title role, joined by Academy Award winner Charlize Theron and X-Men's Nicholas Hoult (Warm Bodies) in what is basically a 2 hour car chase through the Australian (South African) desert. Captured by the sadistic Immortan Joe, AKA 'Daddy' (Hugh Keays-Byrne - of the original film), Max is branded and tattooed an 'O+  Universal Donor' and soon finds himself caged as a living "blood bag" for a cancer-ridden 'War Boy' named Nux (Hoult). When Daddy's best war-machine driver Imperator Furiosa (Theron) goes rogue, Nux sets out in pursuit to win Daddy's favor, strapping Max to the front of his car. Furiosa is also soon in pursuit by The People Eater and The Bullet Farmer, impeding the deal she'd made to ensure safe passage for her cargo, Daddy's concubines (one of whom is very pregnant). As with Miller's previous films in the series, Max's will to survive is paramount, though his compassion and his need to do the right thing overrides his personal well being and he ends up helping Furiosa to defeat to tyrant (Not-Such-A-Spolier-Alert).

Of course, the story (as in all the Mad Max films) is really secondary to the action and stunts, and Fury Road delivers plenty of that! J and I particularly liked the guys on the poles who were able to reach in and snatch people out their vehicles. The performances are fine all around, though Hardy's Max sounds an awful lot like his Bane, particularly near the end. Theron continues to build her repertoire of tough bitches and Hoult is obviously having fun as the lost soul redeemed by love. The effects are superlative (I believed Theron was an amputee) and the visuals quite often amazing. Sadly, while Fury Road is most certainly a Mad Max movie worthy of the franchise, it can't compare to the franchise's decidedly best entry, The Road Warrior. Still, it was great, loud, mindless fun and the chance to hold hands in the dark with a certain special someone (even if those evil seats made him fall asleep twice)!  

Fans of the franchise won't be disappointed, though after all these years, I had hoped Miller might have something new to say about the character. *** (Three Out of Four Stars). Mad Max: Fury Road is rated "R" by the MPAA for "intense sequences of violence throughout, and for disturbing images."

More, anon.
Prospero

Retro Review - "Hercules"

"Joey, do you like movies about gladiators?" ~ Captain Oveur (Peter Graves) in Airplane!

I really have to hand it to Dwayne Johnson. The Samoan superstar who started out as a professional "wrestler" has become a household name (though I promise more people refer to him as "The Rock" than Dwayne) through a very successful and eclectic film career. He has done well in both action and family films and has a stellar reputation as a genuinely nice person and a very professional performer. And while he may be very unlikely to win an Oscar, genre awards are certainly within his reach. Last summer, Johnson hit theatres in terrible action director Brett Ratmner's Hercules (the second of 2 Hercules movies last year; the other starred the Aryanesque Kellen Lutz and was directed by rival terrible action director Renny Harlin). Based on a graphic novel by Steve Moore, this version is a rationalist's delight with a dash of 'magic' which results in a very mixed bag of a movie and happily surprising, not at all what J and I were expecting when we sat down to watch it Friday night.

Johnson's Hercules is a the leader of a band of mercenaries, all devoted to him and to promoting the legend of his own creation. When hired by the beautiful Ergenia (Rebecca Ferghuson), daughter of Lord Cotys (John Hurt) to unite Thrace and free the land from a monstrous army of 'demons' and 'centaurs' led by the vicious Rhesus (Tobias Santelmann), the group sets out for a promised payout of twice Hercules' weight in gold, enough for all of them to retire and live out their lives in peace. Among team Herc are mystic warrior Amphiaraus (Ian McShane); Autolycus, King of Thieves (Rufus Sewell); Amazon warrior Atalanta (Ingrid Bolso Berdal); nephew and story-teller/barker Iolaus (cutie-pie Reece Ritchie) and silent berserker Tydeus (Aksel Hennie). Also on hand is Joseph Fienes in the small but pivotal role of King Eurystheus, for whom Hercules slew the 'Hydra.'  

Almost everything (except McShane's drug-induced predictions) is refreshingly given a very rational and sensible explanation (I'm not sure if I liked the 'Hydra,' the 'demons' or the 'centaurs' more). The fairly good CGI is equally used to create gigantic sets and armies as well as a few hallucinogenic creatures. There are several violent and bloody battles which (I reluctantly must admit) Ratner's team actually handles quite well, with none of the blurring and confusion generated  in so many similar battle/fight sequences. The massive Johnson* (who looks about as Greek as I do) holds his own in uncomplicated role, while McShane and Sewell are more than up to the task of pulling off some of the sillier bits. Unfortunately not even Fiennes' appearance (last seen in "American Horror Story: Asylum") can make up for some of truly ridiculous things in that keep this movie from being worthy of a higher rating. For example...

J and I continue to grow closer and literally had the following same comments/complaints at the same time:

"If this is Ancient Greece, why does everybody except Hercules have a British accent?" (somewhat excusable, I suppose, given the mostly British cast)**

"How does everyone know who he is without every having seen him before?"**

"She (Ingrid) needs to play Nicole Kidman's younger sister."**

"A training montage in 2014?"**

"Saw THAT coming fifteen minutes into the movie."**

Action/Fantasy fans should have a good time with their brains in 'park.' There are all sorts of different eye-candies to go around for everyone but if you're expecting the kind of cheesy beefcake provided by Steve Reeves in the 50's and 60's, this isn't what you're looking for.  Let me put it this way:  Looking for a new take on classical story that provides loads of action liberally peppered with humor and rationalism? Enjoy. Looking for the classical Greek myth? Don't watch this or Sam Raimi's 90's TV show of the same name. **1/2 (Two and a Half Stars). Hercules is rated PG-13 in the U.S. for "epic battle sequences, violence, suggestive comments, brief strong language and partial nudity." It is available on Showtime OnDemand.

*He-he! I said "massive Johnson!" 

** Paraphrased/consolidated from similar comments/thoughts J and I shared about the movie.

More, anon.
Prospero 

 

Retro Review: "Big Hero 6"

So, J and I had a three lovely nights and 2 and a half days together this weekend. We shopped for and planted my flower garden, cooked and lazed and even gave one another hickeys (yes, "EW!"). We also watched Disney's take on Anime, Big Hero 6, a movie that hit theaters not long after he and I started dating and now available OnDemand.

Hiro (voiced by Ryan Potter) is a young genius bored by school and obsessed with battling robots until tricked by his brother Tadashi (Daniel Henney) into accompanying him to his "Nerd Lab" at a prestigious tech college where Professor Callaghan (James Cromwell) encourages Hiro to enter a contest for a full scholarship. Inspired by Tadashi's health care bot, "Baymax"  ("30 Rock" alum Scott Adsit) and his own Battle Bot, Hiro creates a set of thousands of microbots that can form any shape their controller can imagine. When Tadashi is killed in an explosion at the lab, Hiro gives up his dream of attending school, much to the dismay of his Aunt Cass (Maya Rudolph) and the displeasure of tech millionaire Alistair Krei (Alan Tudyk) who wants to buy Hiro's tech. Hiro soon discovers that his microbots have been stolen and are now being used for seemingly nefarious purposes. Aided by an up-graded version of Baymax and his brother's nerdy friends Fred (T.J. Miller); Go Go (Jamie Chung); Wasabi (Damon Wayons, Jr.) and Honey Lemon (Genesis Rodriguez), Hiro sets on a mission to not only retrieve his invention but to also stop the mysterious Kabuki-masked villain who is apparently using them for revenge.

Based on the graphic novel "Man of Action" by Duncan Rouleau and Steven T. Seagle and co-directed by Disney veterans Don Hall and Chris Williams, Big Hero 6 is a delightful take on both the Superhero and Robot Sci-Fi genres. Baymax (an auto-inflatable health care bot programmed to ensure the well-being of its patients), a delightful, childlike robot with much to learn about the world outside of boo-boos and fevers, is especially amusing when deflating or running low on battery power. Hiro (with his over-sized, Anime-style eyes) is a typical rebellious Disney teen who learns to take responsibility for himself only after a tragedy. Among the supporting characters, Fred (whose father turns out to be - SPOILER ALERT - none other than the one and only Stan Lee) and Callaghan are the standouts.

J and I both thoroughly enjoyed Big Hero 6 and are honestly looking forward to the further adventures of the Superhero team that comes into its own at the end. And certainly (like almost every animated Disney movie), terrific animation, clever jokes and sly references to other genre films outweigh the cliches and tropes associated with Anime; Superheros; Sci-Fi and Coming-of-Age stories. Sit back, park our brain and just enjoy this latest entry n the growing number of non-Pixar Disney CGA films. Big Hero 6 is loads of fun for fanboys and families. **** (Four Out of Four Stars) Big Hero 6 is rated PG in the U.S. for "action and peril, some rude humor, and thematic elements."

More, anon.

Prospero 

PS - Watch for the cleverly hidden Frozen Easter-egg early on at the police station... 

 

Review "The Avengers: Age of Ultron"

Holy cow! I'm actually blogging! In fact, I may blog several times this month as there are at least two other movies coming out and another currently playing on my Must See list and I am determined to see at least two. But that's another post.

So today marked several significant things for your Uncle P.  It was the first movie I've seen in a theater since Christmas; it was the first 'Tentpole' movie of the season; it was the next Marvel movie in an increasingly interconnected series unlike anything that's ever been attempted before and (most importantly) it was the first time that J and I went to the movies together. I love that while J doesn't quite share my enthusiasm for movies, he likes that I have that enthusiasm. The last movie he'd seen in a theater was a Harry Potter movie and he had never seen a 3D movie (poor, sheltered thing - LOL - I love you, Honey!) so it was more than just out first movie together for him, too (yes, we're saving our ticket stubs - we're mushy that way!).

Sorry... You want to know what I thought of the movie. Or, at least I hope you do. Any way...

When we last saw The Avengers as a team, they were eating schwarma after defeating Loki and the alien invaders, much to the chagrin of first-glimpsed villain, Thanos. The Avengers now operate as an independent team under the direction of Steve "Captain America" Rogers (Chris Evans) and we join them in the midst of an assault on a HYRDA compound in Eastern Europe to recover Loki's scepter. Once recovered, Tony "Iron Man" Stark (Robert Downey, Jr.) asks to study the sceptor for 3 days before Thor (Chris Hemsworth) returns it to Asgaard. When Stark's computer, Jarvis (Paul Bettany) studies the staff, it discovers the gem inside (one of the 'Infinity Stones' which have featured in several of the films) houses an artificial intelligence. Seeing this as an opportunity to create a sentry for humanity, Stark and and Bruce "Hulk" Banner (Mark Ruffalo) attempt to interface Jarvis and the AI to create what is intended to be a world-wide guardian named Ultron* (James Spader). Of course, as in any good Frankenstein story, a monster arises, instead.

Thankfully, Age of Ultron manages to just barely avoid the Marvel plot formulas that were becoming a little too familiar and this time around we get to learn more about the humans inside the Superheros, particularly Clint "Hawkeye" Barton (Jeremy Renner) and a seemingly impossible romance for Banner and Natasha "Black Widow" Romanov (Scarlett Johansson). There is plenty of the usual Marvel action and banter, with lots of tension-relieving jokes and one-liners in between the grand-scale destruction and over-the-top action sequences (a very funny scene about them all trying to lift Mjölnir turns into an important plot point later on). We are also introduced (I won't say how or when) to the character Vision (Bettany) and a pair of 'enhanced' twins (Aaron Taylor-Johnson as Quicksilver** and Elizabeth Olsen as Scarlet Witch). Add appearances from Marvel regulars Idris Elba; Hayley Atwell; Don Cheadle; Cobie Smulders; Anthony Mackie and Samuel L. Jackson and you have a very entertaining movie, indeed. But I must give a special nod to Spader's voice performance, which is dead-on. I knew but had forgotten that Spader was cast, and both J and I were going crazy trying to figure out whose voice it was, because his smarmy inflections and turns of phrase were so very familiar. When the credits rolled we both said "D'oh!"

Yes, we both very much enjoyed the movie, though I thought the 3D was completely unnecessary. It honestly did nothing to enhance the movie and at the end of the 141 minute run-time, my eyes were very tired and J had a headache (he said, "I don't ever need to see another 3D movie, Honey"). Truth be told, I liked the first Avengers movie much better. Writer/Director Joss Whedon obviously has a vision for the franchise and I expect the next film in the series (Infinity Wars) will be the Empire Strikes Back of the series.  *** 1/2 (Three and a Half Stars). 

The Avengers: Age of Ultron is rated PG-13 for "intense sequences of sci-fi action, violence and destruction, and for some suggestive comments." 

*In the original comics, Ultron was invented by Hank Pym, the original "Ant-Man." One of the trailers we saw before the movie was for Marvel's next 'Phase Two' movie Ant-Man starring Paul Rudd ("Oh, Paul!") and Michael Douglas as... Hank Pym!

**We previously saw a very different version of Quicksilver as played by Evan Peters in X-Men: Days of Future Past, apparently the result of multiple studios owning various rights to the character, though Taylor-Johnson's version remains truer to the comics.

Well, this was fun. I'm pretty sure you'll hear from me again this month!

More, anon.
Prospero

Why I Love Mid-Season TV

Miss me? I've been kind of busy nurturing a newish and amazing relationship while trying to direct a play that has had the dice stacked against it from the beginning (but which I am determined to bring into fruition if it kills me). But that's not what tonight's post is about.

Tonight, I want to talk about Television. Specifically Mid-Season Television. Mid-Season has traditionally been the time where the shows the networks weren't sure about were poised to take the place of the ones cancelled by the Holiday Hiatus. Lately, Mid-Season has become the place where the networks are more willing to gamble and experiment. Three very interesting new Mid-Season shows premiered this week and I have managed to catch - thanks to yesterday's snow day - two of them  ("American Crime" is still on my DVR, waiting to be watched).

First up was ABC's "Secrets and Lies," starring Ryan Philippe; Juliette Lewis; Kadee Strickland and Natalie Martinez and based on the Australian series of the same name. Philippe is house painter Ben Garner who, while out on an early morning run just before Christmas, discovers the body of a beloved 6 year old neighbor in the woods. His memory of events before his run are more than fogged from a night of heavy drinking (which followed an intense argument with his wife) and Ben is soon the focus of  what has become a murder investigation. Strickland (last seen on Shonda Rhimes' "The Practice") is Ben's wife Christy and Martinez ("Under the Dome" and "Eureka") is the boy's mother, Jess. Lewis (Cape Fear; Natural Born Killers) is the severe and intense Homicide Detective Andrea Cornell, determined to find justice for the young victim. The first two hours had as many plot twists and secret revelations as the season finale of last year's breakout, bat-shit insane drama "How to Get Away with Murder" combined with some powerhouse performances from the four leads and their supporting cast members. Directed by Timothy Busfield (who has a small role as a high-powered defense attorney), the two-hour pilot flew by, leaving this viewer exhausted by a roller-coaster of emotions. If you missed it, go OnDemand or to HULU or ABC.com and watch it, now! If you aren't as immediately caught up in it, I will email you a personal apology. Well-written and beautifully acted, "Secrets and Lies" is some terrific TV drama. **** (Four Out of Four Stars).

Next, I caught the extended premiere of the latest from "Heroes" creator Tim Kring, the USA network's apocalypse mini-series drama "Dig." Part police procedural and part supernatural thriller, "Dig" stars oddly attractive DILF Jason Isaacs (best known to American audiences as Lucious Malfoy in the Harry Potter movies) as FBI agent Peter Conelly on assignment in Jerusalem. His boss and occasional lover, Lynn (the questionably sane Anne Heche) is trying to help him get over the recent loss of his daughter. When a case involving a terror suspect and the murder of a young archaeologist (who reminds Ben of his daughter) intersect with an ancient prophesy about a red cow (yes, a red cow - it's in the Bible or something), the apocalypse is apparently nigh. Oh, and it has something to do with clones, maybe? It's deeply twisted, high-concept mythology and I adored it! The fact that my beloved Lauren Ambrose ("Six Feet Under;" Psycho Beach Party) is some sort of religious acolyte who seems opposed to what's going on and Angela Bettis (May; The Woman) is a murderous religious fanatic makes it so very much better. Fans of "Lost," "Fringe" and "Heroes" (Season 1, anyway) will probably love this show as much as I think I do. It is supposed to be a limited, 10 episode run. I hope they stay smart and keep it that way. It's nice to see an American series follow a European model, ala the original "The Returned." I hope the rest of the series is as insane and maddening and satisfying as the premiere. **** (Four Out of Four Stars)

I'm truly hoping that ABC's other much-hyped Mid-Season show "American Crime" is as good as both of these. I'll let you know.

More, anon.
Prospero

Review: "Into the Woods"

Adapting stage musicals into films is very tricky in the 21st Century. If one thing doesn't work, the whole thing falls apart. For every Chicago there's a Nine or Rock of Ages. Even Les Miserables, the biggest stage musical in the world, didn't really work on film; it's theatricality lost in closeup after closeup. And don't get me started about the last time someone adapted Sondheim for the screen. The less said about Tim Burton's grim and humorless version of Sweeney Todd, the better. So I went to see Into the Woods with a bit of a chip on my shoulder. Yes, director Rob Marshall made the amazing Chicago but he also made the very-less-than-amazing Nine. I was encouraged by the trailers and knew I had to see it (I adore the show). So tonight, I met a Facebook friend for first time IRL (Hey, Michele!) and went to the 7:15 at an AMC I usually avoid, because it was central to both of us.

Let me start by saying that if nothing else (and there is plenty else), Into the Woods is a truly gorgeous movie to look at. It's almost like the first time you're old enough to realize that The Wizard of Oz goes from sepia to full color. Even though the majority of the action takes place at night, it's just stunning to look at. Director Rob Marshall assembled an amazing artistic team which includes his go-to cinematographer Dion Beebe who works wonders and costumer Coleen Atwood whose gorgeous pieces are truly magical. James Lapine's screenplay (based on his original libretto) does a nice job paring the show down to just over 2 hours without losing any of its emotional impact though the very amusing character of the Narrator is reduced to a few minutes of voice-over. If you aren't familiar, Into the Woods is about what happens after 'Happily Ever After' and combines the stories Jack & the Beanstalk; Cinderella; Rapunzel and Little Red Riding Hood by introducing us to a childless Baker and his Wife. When a witch bursts in and offers them a way to lift the curse that has kept them childless, everyone is off and running.

For the most part, the casting is perfect. Anna Kendrick uses her fine voice at its best as Cinderella and though new to American audiences, adorable Brit James Cordon is terrific as The Baker.* Daniel Huttlestone's Jack sounds exactly like his Gavroche and Lilla Crawford, making her feature debut, is perfect for this version of Red. The most surprising voice belongs to Chris Pine as Cinderella's Prince, whose sweet tenor in the duet "Agony" with Billy Magnussen as Rapunzel's Prince is lovely in a brilliantly staged scene amidst a rocky waterfall. There are also some really terrific supporting performances by Tracey Ullman as Jack's Mother; Christine Baranski as Stepmother; Lucy Punch and Tammy Blanchard as the step-sisters and screen legend Frances de la Tour as The Giant. Happily, Johnny Depp has only one number and few minutes of screen time as the Wolf. The man should never be allowed to sing on screen again. The truly overt sexual overtones of "Hello, Little Girl" were watered down, I imagine because of Crawford's age - Red is usually played by an adult and the Wolf's choreography, makeup and costuming are more suggestive on stage - though the lyrics weren't changed.

But I quibble, because all of them are simply outshone by Emily Blunt as The Baker's Wife and Meryl Streep as the Witch. In the original Broadway production, these roles were played by Theatre Legends Joanna Gleason and Bernadette Peters. They were iconic, indeed signature, performances. Happily, Blunt is more than up to the task as the story's most sympathetic character, with a sweet singing voice and total commitment to the role. Streep, of course, is always amazing and she takes the part and makes it her own. Her rendition of "Stay with Me" actually made me cry.

If you don't know the show, Rob Marshall's excellent adaptation is a good place to start. If you know and love the show as I do, then I think you'll be very pleased by it. Finally, film justice for Stephen Sondheim! A perfect Holiday Movie for Families and Musical Theatre Geeks alike! **** (Four Out Four Stars). Into the Woods is rated PG for "thematic elements, fantasy action and peril, and some suggestive material."

*Corden will soon be taking over for the departing Craig Ferguson on the "The Late, Late Show." 

More, anon.
Prospero

Mini Reviews - "X-Men: Days of Future Past;" "Horns;" "Magic in the Moonlight."

One of the many benefits of traveling for my day job is the opportunity to catch up on films I missed in theaters at no additional expense to me. This past weekend's jaunt to San Francisco was no exception and I was able to see two newish movies while flying and a current release in my hotel room. 

First up, Alexandre Aja's take on Joe Hill's second novel, Horns. I read 'Horns' over a few nights while staying at my sister's a few years ago, and while I liked it a lot, I thought his first novel, 'Heart-Shaped Box' was better. (Hill, if you don't know, is the son of prolific genre novelist Stephen King, writing under his mother's maiden name). Ig Parrtish (Daniel Radcliffe) is accused of murdering his long-time love Merrin (Juno Temple). When he suddenly sprouts what appear to be demonic horns on his forehead, Ig finds those he encounters incapable of telling him anything but the worst secrets about themselves. Determined to find Merrin's true killer, Ig tears through his Pacific Northwest hometown, exposing the worst among it's residents, including his own family. Aja (High Tension; The Hills Have Eyes) displays his distinctive look in full, giving Horns a very in-your-face style. Radcliffe is impressive in the role, though some may find Harry Potter swearing and having sex a little off-putting. Supporting performances from James Remar; Kathleen Quinlan; Heather Grahame and David Morse are excellent, across the board, though Temple seemed a little flat in a role which consisted entirely of flashbacks. While some critics truly disliked Horns, I thought it a fairly faithful adaptation with some interesting FX and an hilarious comment on the secrets we all try to keep from one another. *** (Three Out of Four Stars). Horns is rated 'R' for "sexual content, some graphic nudity, disturbing violence including a sexual assault, language and drug use." 

Next was director Bryan Singer's newest entry in the franchise he created, X-Men: Days of Future Past. While I've always had issues with time-travel story lines, Singer manages to almost seamlessly combine the casts of both timelines in the series in a story revolving around a group of genetically-altered robots used to root out and destroy mutants. With a plot too convoluted to go into in a mini-review and Hugh Jackman's obviously aging Wolverine as a character who doesn't age, Days of Future Past somehow works, despite minimal appearances from the franchise's most famous members. "American Horror Story" cutie Evan Peters and "Game of  Thrones" alum Peter Dinklage join the growing number of terrific actors to appear in the franchise. Great FX and some complex performances from James McAvoy; Michael Fassbender and Jennifer Lawrence help make Days... one of the better entries in the franchise. *** 1/2 (Three and a Half Stars Out of Four). Rated 'PG-13' for "sequences of intense sci-fi violence and action, some suggestive material, nudity and language."

Finally, comes prolific director Woody Allen's latest period piece, Magic in the Moonlight. Set mostly in the south of France in 1928, Magic... is the story of a magician and psychic debunker (Colin Firth) who is pressed by a friend and fellow magician (Simon McBurney) to reveal the fakery of an American medium (Emma Stone). What follows is a rather dull and predictable story in which Firth's character is fooled by and eventually falls in love with Stone's. Allen's oft-studied themes of religion and atheism are at the core, but it's nothing we haven't seen from him before. Supporting performances from Hamish Linklater; Marcia Gay Harden and Jackie Weaver and some lovely period costumes and set-pieces make the movie a bit more palatable, but I haven't seen an Allen film I've loved in a long time. There is really nothing new or interesting about Magic in the Moonlight and I think it may finally signal the call for the once-hilariously brilliant filmmaker to retire.  ** (Two Out of Four Stars) Magic in the Moonlight is rated PG-13 for " a brief suggestive comment, and smoking throughout."

More, anon.
Prospero 

Retro Review: "The World's End"

Edgar Wright and Simon Pegg round out their "Cornetto* Trilogy" (Shaun of the Dead and Hot Fuzz are the first two) with their take on Apocalyptic Sci-Fi, The World's End.

Desperate to reconnect to his youthful adventures, Gary (Pegg) talks four old mates into recreating and actually finishing the "Golden Mile" pub-crawl they attempted 23 years ago. 12 pubs in one night, ending at The World's End. But when they return to the town they grew up in, something is... off. None of the regular pub owners seem to recognize them and it looks as if they keep passing the same people on the street over and over again. Joined by pals Peter (Eddie Marsan); Steven (Paddy Considine); Oliver (Martin Freeman); Andy (Nick Frost) and eventually Oliver's sister Sam (Rosamund Pike), Gary is determined to relive the best night of his life, despite the decidedly weird goings on in their home town. And as difficult as dredging up the past may be for all of them, what's happening in their small village is much worse.

Pegg's and Wright's script spends the first act on somewhat slow but amusing (and important) exposition before it's gets to the meat of the story, (SPOILER ALERT) which ultimately involves an alien plot to pacify the citizens of Earth so they might join an inter-galactic coalition of some kind. The performances across the board are excellent (who knew Frost could move like that?) and the FX are terrific. There are plenty of laugh-out-loud moments and even more moments of quiet humor. Pierce Brosnan (Goldeneye) and "The Strain" alum David Bradley both lend their talents in supporting roles and the ubiquitous Bill Nighy is on hand for some very funny voice-over work at the end.

While certainly better than Hot Fuzz, The World's End still can't hold a candle to the brilliantly funny first film, Shaun of the Dead, though it echoes many of the same themes and locales while completing the triumvirate of Horror, Action and Sci-Fi in a mostly satisfying way (and including a rather hilarious fence joke which appears in all three films).

*** (Three Out of Four Stars). The World's End is rated 'R' for "for pervasive language including sexual references." 

*BTW - Cornetto is a British Ice Cream cone brand, featured in all three movies.











And here are the trailers for the first two films in the trilogy:





I hope to watch all three in a row, some day...

More, anon.
Prospero

Retro Review: "John Carpenter's 'The Ward'"

Genre great John Carpenter made his mark with the original Halloween and has since made some of the most memorable genre films of all time, including Christine; They Live; his amazing remake of The Thing and the very campy Big Trouble in Little China, among others. This 2010 effort from the now 68 year old director, unfortunately can't hold a candle his previous work.

Amber Heard plays Kristin, a teen girl found standing outside a farmhouse to which she set fire, and with no memory of anything before that. She is taken to a special ward of the local mental hospital where Dr. Stringer ("Fringe" and "Sherlock Holmes" villain Jared Harris) is testing a new kind of therapy on a group of similarly-aged teen girls, each with their own disassociative disorders.  Kristin moves into the room formerly occupied by Tammy, who in a prologue appears to have been murdered by some malevolent entity.

What follows is probably the most un-Carpenter-like Carpenter film ever made. Filled with cliches and genre tropes, this 1966-set 'ghost' movie ends up being little more than a pseudo-psychological thriller ala Identity and Shutter Island, though both of those movies are superior in almost every way. There are some terrific performances by the young cast, which includes Mamie Gummer; Danielle Panabaker; Laura-Leigh and Lyndsey Fonseca, all of whom have appeared on plenty of prime-time dramas and assorted smaller films, and all of whom manage to create interesting - if not exactly original - characters. The script by Michael & Shawn Rasmussen is both clunky and derivative, and I am surprised Carpenter agreed to do it. Proof that even if you've got it, you don't get to keep it.

Want to have a John Carpenter Halloween movie festival? Watch the 5 films mentioned in the first paragraph of this review and avoid this stinker like Vampires. *(One Out of Four Stars). The Ward  is rated 'R' for "violence and disturbing images." It is currently playing on Cinemax and Cinemax OnDemand, should you wish to waste 89 minutes.

More, anon.
Prospero

Retro Review: "Captain America: The Winter Soldier"

So this last weekend of September (and the first of Autumn) was a very mixed bag, though most of it good. I had intended on writing this review last night while the movie was still fresh in my mind, but the randomness of the Universe stepped in and made my Saturday night into something other than I had planned (I fell asleep and missed a party, but went out later and met a hot, funny and sweet man I hope to see again - yes, we exchanged numbers; I may be crazy, but I'm not stupid).  I worked one of my two mandatory Saturday mornings (7:00 - 12:30) and then went grocery shopping. I knew I had a party to attend, but after the groceries were put away, I had time to kill so I rented Captain America: The Winter Soldier OnDemand. Warning: This movie came out in the spring. There will be lots of SPOILERS!

Captain America: The First Avenger was one of my favorite movies the summer it was released, and I was very happy to find... well, soon. This time out, Cap is once again up against Hydra, who have wormed their unctuous tentacles into the very heart of S.H.I.E.L.D., led by the duplicitous Alexander Pierce (screen legend Robert Redford playing against type and obviously having the time of his life). When S.H.I.E.L.D. director Nick Fury (Samuel L. Jackson) is 'killed' by a legendary assassin known as 'The Winter Soldier' (Sebastian Stan), it's up to Steve Rogers to get to the bottom of the conspiracy. Despite being told by Fury to "Trust no one.," Rogers does trust Agent Natasha 'Black Widow' Romanov (Scarlett Johansson, finally getting a chance to do some character development, especially with her relationship with Cap) and new Avenger Sam 'Falcon' Wilson (The Hurt Locker's Anthony Mackie) who is introduced in an hilarious opening sequence where Steve keeps passing him in a jog around the Washington Memorial Reflecting Pool ("On your left!")

Directors Anthony and Joe Russo (my beloved "Community") have proven they have the chops to make a coherent action film with action sequences which a) make sense and b) can be followed without straining one's eyes. This is exactly what an Superhero action movie is supposed to be, folks! Performances across the board are up to Marvel's usual standards. Of course, while the astonishingly beautiful Chris Evans was born to play Steve 'Captain America' Rogers, he was nearly shirtless enough for countless women and gay men (though that grey jogging T is pretty amazing!). The scene with the now dying Peggy Carter (a heavily made-up Hayley Atwell) was particularly well done. There is also a very Sky Captain-ish appearance by the the fabulous Toby Jones as the computerized mind of mad scientist and Red Skull's right-hand-man, Arnim Zola.

Captain America: The Winter Soldier is probably one of the best of the Marvel films and certainly one of my favorites. If I had to quibble at all, it's that it seems to follow the Marvel formula: Complicated plot followed by massive third act destruction. It may be time to mix it up a bit, guys. Still, it's a solid and beautifully made action movie with loads of all sorts of eye-candy for everyone! One last spoiler: Did you really think Cap and his team wouldn't prevail? **** (Four Out of Four Stars). Rated PG-13 "for intense sequences of violence, gunplay and action throughout."

More, anon.
Prospero

Kaiju New and Old, Among Other Nonsense

One of the many things I do love 

about the Day Job is that we follow an academic schedule. If schools are closed for a holiday, we usually are, as well. This Labor Day weekend will mark the start of Hell Week for Uncle P's return to the stage for the first time since my mother passed away, "Bluebird" which also marks my debut with the Langhorne Players. I am appearing as two very different characters in Simon Stephens' fascinating 1998 play about a night in the life of a London mini-cab driver and how his various fares relate to and inform his own story. I love both characters and love that I get to do two different accents in the same show. K came over tonight to help with lines (she is half--jokingly referred to among our circle of friends as the "Line Nazi"). I came in two weeks late and while I find both characters so compelling, memorization and short rehearsal periods only work well with shows I've done before or know really well. Thank goodness she came and helped. I feel so much better about opening in less than 6 days!

But that's not really what this post is about and I apologize for rambling (sort of).

Because I really want to talk about finally seeing Guillermo del Toro's Kaiju V. Giant Robots movie, Pacific Rim. I must say, I think del Toro was given short-shrift hen it came to reviews of yet another visually stunning movie from the genius who has given us Pan's Labyrinth The Devil's Backbone  and the Hellboy movies. And while del Toro always tries to make his films be about more than amazing visuals, when it comes to the Kaiju genre, there really isn't a lot of room for compelling characters, though co-writers del Toro and Travis Beacham (Clash of the Titans) do their best. The very fine Charlie Hunnam ("The Sons of Anarchy") leads a cast which includes Idris Elba (using his own accent, which only makes him sexier); Charlie Day ("It's Always Sunny in Philadephia"); "Torchwood" alum Burn Gorman and del Toro (and genre) favorite Ron Perlman in a very funny cameo as a dealer of exotic Kaiju parts. Amongst the explosions and destruction, there are plenty of moments that illicit the requisite relief laughter and moments of heroic sacrifice. You really can't ask for more from a Kaiju movie, and those who love the genre will totally get it.. *** (Three out of Four Stars)

Growing up in the 60's and 70's, there was plenty of Kaiju (though I didn't learn that word until much later) on TV. Toho Studio's "Godzilla" movies and their many spin-offs were regular Saturday afternoon fare on UHF channels (if you know what UHF was, you're probably as ancient as Uncle P) and after-school programming always included Tsuburaya Productions' TV show, "Ultraman." A benevolent alien pursues a monster to Earth, accidentally colliding with Science Patrol Officer Hiyata. Fusing with Hiyata, Ultraman is evoked using the Beta Capsule (which resembled a red, glowing vibrator, if memory serves) and Hiyata is transformed into a gigantic, Kaiju-killing machine:

For del Toro, Kaiju is obviously an extension of his desire to adapt H.P. Lovecraft's "At the Mountains of Madness." I do hope a studio finally realizes that it would have to be a hard R, and would still make tons of money. Have they forgotten The Exorcist and The Silence of the Lambs? Both iconic films and iconic Horror,

More, anon.
Prospero

Mini Retro Review: "Oculus"

Now on DVD and OnDemand, last year's forgotten little Horror Movie That Almost, Oculus (Latin for 'eye') has a lot going for it, despite a plot that needs more attention paid to it than Inception. 

Kaylie (Karen Gillan - Amy on "Dr. Who") and Tim (Maleficent's Brenton Thwaites) are brother and sister who ten years ago, survived a supernatural event which killed their parents, involving an apparently haunted antique mirror. Dad (Dazed and Confused's Rory Cochrane) and Mom (Katee Sackhoff, best known for "Battlestar Galactica") are slowly driven to violent insanity by the mirror which thrives on the souls of its owners. Think "The Shining" if the Overlook was a mirror. Told simultaneously in and while jumping back & forth between the past and present, Oculus is chock full of both creepy scares and gross-out gore (Uncle P will NEVER bite into an apple again). Determined to prove the mirror is to blame, Kaylie brings it and Tim back to their childhood home, along with a plethora of tech (no idea how she afforded all that) to document what she says is proof the mirror is to blame. Tim, having spent ten years in a mental institution, being told what he saw wasn't real, wants nothing to do with his sister's obsession but gets drawn in, nonetheless. The cast is fine (kudos especially to Annalise Basso and Garrett Ryan, who play young Kaylie and Tim, respectively). I'm surprised this twist on an old trope wasn't embraced by the genre community.

Mike Flanagan's direction is perfect for the genre, though his script gets a bid muddied in Act 3. The special effects are on point and there are some genuinely creepy moments. *** (Three Out of Four Stars). Oculus is rated 'R' by the MPAA for: "terror, violence, some disturbing images and brief language."

More, anon.
Prospero 

Review: "Guardians of the Galaxy"

It what will undoubtedly be the weekend's #1 movie (and possibly the summer's - even the 2:30 2D matinee I saw was packed), Chris Pratt becomes a bona-fide movie star;  Bradley Cooper's and Vin Diesel's voices get the most laughs and Marvel has yet another critical and popular hit franchise on it's hands. Is it the 'Best Marvel Movie Yet!'? You can decide for yourself. I'm not going there.

Pratt is Peter Quill, an Earthling abducted by space pirates in 1988, after the death of his mother. In the slightly heavy-handed and deliberately complicated plot, an unlikely band of heroes is brought together to fight against an evil force that wants to destroy the planet (sound familiar?). This time the weapon is powerful stone forged during the Big Bang and the villain, Ronan the Accuser (my beloved Pie Maker, Lee Pace) has some unclear grudge against the prosperous and peaceful people ruled by a severe-looking Glen Close in some wigs that would make Effie Trinket giggle. 

Wrestler-turned-actor Dave Bautista is actually hilarious as a voile-skinned Drax, an out-for-revenge literalist who doesn't understand jokes or irony.  Zoe Saldana (who is fast becoming a Sci-Fi regular) isn't given much of a character to play, though I hope she'll get the chance to develop one in the inevitable sequels. A bulked-up Pace, hidden under weird makeup and an even-weirder headdress, hams it up as the bad guy like Pacino on steroids. And the few lines Close has, are barked out like she just wanted to pick up her check and to go home. But this is Pratt's movie all the way and his goofy charm and egotistical swagger as "Star Lord" are reminiscent of so many great Sci-Fi movie heroes - almost like a hot guy playing Peter Griffin playing Han Solo in the "Family Guy" Star Wars parodies.

Director James Gunn (Slither - one of my faves!) keeps the action moving while managing to keep the many homages and nods from becoming cliches. There are lots of great 70's tunes and 80's references (the 'outlaw' John Stamos, for one) and plenty of cool Sci-Fi gadgets and space ships. "The Walking Dead" alum Michael Rooker; Djimon Hounsou; John C. Reilly; and Benicio Del Toro (looking particularly silly) are also on hand with voice cameos from Nathan Fillion and Rob Zombie.

All in all, Guardians of the Galaxy is fun and faced-paced and loud and bright and so very, very colorful. My eyes were exhausted in 2D. I can't imagine it in 3. In all honestly, it is visually stunning and Gunn's palette works beautifully for a comic book movie with no actual super-heroes. Well, except maybe for Groot.* And while hardly perfect, it is undoubtedly the most fun I've had at the movies all year. **** (Four Out of Four Stars). Guardians of the Galaxy is rated PG13 for "intense sequences of sci-fi violence and action, and for some language." Make sure you stay for the after-credits Easter Egg, which is hilarious and had to be explained to every teenager attending with their parents. It was hilarious hearing them all. Oh - and Stan Lee's cameo is particularly hilarious.

*If someone doesn't market a desk-top Dancing Groot toy, I will be very unhappy. Because I must have one.

More, anon.
Prospero

TV Review "The Strain"

Director Guillermo del Toro and writer Chuck Hogan came up with their own twist on vampire mythology in their trilogy of novels "The Strain," "The Fall" and "The Night Eternal." The first novel pays homage to Bram Stoker's "Dracula," substituting a plane for ship Demeter, but later delves into epidemiology; the logistics of plague and the spread of disease using one of horror's oldest tropes, the vampire. The cable channel FX has developed the trilogy into a TV series, with Del Toro and Hogan at them helm, assuring audiences that the series will be at least as good as (if not better) than their novels.

Hottie Cory Stoll ("House of Cards;" The Normal Heart) is CDC doctor Ephraim Goodweather, who is brought in when a plane from Austria arrives at JFK "dead." All equipment is off, all the lights are out and all but one window shade is closed. Of the 210 people aboard, only four are alive, though by the end of the first episode, it is clear that none of them are 'dead.' Eph is also in the midst of a custody case over his young son, Zach, which serves as both a distraction from his work and a stress-factor in life. Meanwhile, aged pawn-shop owner Abraham Setrakian (Harry Potter's Argus Filch, AKA, David Bradley) knows that an old enemy has come to America and is determined to stop him, at any cost,

Drawing on classical vampire mythology. "The Strain" adds virology to the mix, adding an intriguing (and often disgusting) element to the genre. Del Toro has directed the first three episodes and written (along with Hogan and others) the first 7, staying close (so far) to novels' plot, while adding and/or subtracting for TV audiences. The cast, which includes Sean Astin; Kevin Durand ("Lost's" Keamy) and several other TV vets, seems well up to the task at hand. And the effects are downright disturbing. Blood-sucking worms and supernormally fast & strong creatures are abundant, while subtler motifs ("Papa. I am so cold") abound. Two episodes in and I am totally hooked. Hopefully, the series will not totally rely on all three of the novels, the second and third of which left much to be desired. So far, though, the series is excellent! ***1/2 (Three and a Half Stars Out of Four).

Happy watching!

More, anon,
Prospero

Review: "Dawn of the Planet of the Apes"

I really liked Rupert Wyatt's 2011 re-boot Rise of the Planet of the Apes and was very much looking forward to its sequel Dawn of te Planet of the Apes. 

It's 10 years after the events of Rise and the so-called Simian Flu (a result of the virus used to introduce the drug that made the apes smart) has wiped out most of the human population.  The apes, living in a wooden village in the Redwoods, haven't seen one in the last two years and their leader, Caesar (Andy Serkis) assumes they are all dead. After his son, Blue Eyes (adorable Nick Thurston) is attacked by a bear while the tribe is hunting deer, Caesar warns him to think before acting. Soon, Blue Eyes and his young friend Ash come upon Carver (Kirk Acevedo of "Fringe") who shoots Ash and brings the entire village down on them. It turns out that Carver is part of a team sent to restart a hydroelectric dam in the mountains to restore power to San Francisco, which only has a few weeks of fuel left before the few residents are plunged back into post-apocalyptic chaos. Jason Clarke (Zero Dark Thirty; The Great Gatsby) is Malcolm, who decides to appeal to the apes' intelligence and ask for permission to repair the generator. Along with his wife Ellie (Keri Russell) and son Alexander (Let Me In's Kodi Smit-McPhee) and several others, they make their way and plead their case to Caesar, who agrees to let them try, provided they give up their weapons. Caesar's right-hand Koba (Toby Kebbell) and father to Ash, doesn't trust the humans and after finding Carver hid a gun among his things, heads into San Fran with a team, where they discover the humans' huge weapons cache. Koba advocates attack, though Caesar doesn't want a war, just to be left alone. Gary Oldman is along as the human group's leader who turns out to be a bit over-zealous.

Matt Reeves (Let Me In) directs the effects-laden movie well, enough I suppose. And the cast is outstanding, particularly Sirkus and the rest of the 'apes' who give astonishing motion-capture performances (Sirkus seems to be a pioneer in the field, despite earlier attempts from actors like Tom Hanks and Jim Carrey in films that fail to make their human characters anything but dead-eyed and creepy). The real stars of the film are the effects and the cinematography. We opted for the 2D version and it was still spectacular to look at. Shot on location in the Redwood Forest, there is never any doubt that the apes swinging through the trees are actually doing just that (imagine the opposite of the terrible monkey sequence in Indian Jones and the Kingdom of the Crystal Skull). 

Sadly, what Dawn... has in effects and performances, it sorely lacks in script. Borrowing from any number of better films including The Lion King (right down to the leader's nemesis having a prominent scar across the left side of his face), it seems cobbled together rather hastily and actually (to me, anyway) dragged at times (though Q didn't think so). Dale and I were mostly entertained while K (as usual) had issues with the noise levels and the themes of Man's (and Ape's) Inhumanity. Unfortunately, Dawn of the Planet of the Apes was not THE summer movie I hoped it would be, despite its rather amazing FX work. *** (Three Out of Four Stars). Dawn of the Planet of the Apes is rated PG13 for "intense sequences of sci-fi violence and action, and brief strong language."

Oh, well. There's still plenty I want to see this summer, including director Luc Besson's (The Professional; The Fifth Element) take on the Superhero movie, Lucy, which despite having a flawed concept, looks awfully fun!

More, anon.
Prospero

TV Review: "Extant"

I don't usually review new TV series until after at least two episodes, but I was so intrigued by the trailers for CBS's new Sci-Fi drama "Extant" and so taken by so much of it (some of it, not so much, but we'll get to to that in a bit). Spoilers ahead.

It's the not too distant future. Technology is obviously advanced and it seems the world is run by tablets. Halle Berry makes her small-screen debut as astronaut Molly Woods, who has just returned home after a 13 month solo mission aboard a space station. Solo? Isn't that a bit dangerous? What if something were to go wrong? Oh, well. Screw logic. Her gorgeous husband John ("E.R." alum Goran Visnjic) is happy to have her home, but their obviously not biological son Ethan is suspicious and knows something's off. Wait... what? Ethan is a robot? Okay, sure. Whatever. It had better be germane. On the same day John is presenting Ethan to a group of investors, Molly finds out that she's pregnant. (Dun-dun-DAH!!). And while John is earnest in what he wants to do, can he really be surprised that no one wants to invest in an artificial intelligence that doesn't follow Asimov's Rules (or at least have a kill switch). Weird things happen: Space exploration is now privately funded The International Space Exploration Agency is run by a nefarious Japanese investor who is obviously up to no good and Ethan throws a temper tantrum, after which he may or may not have killed a bird. So, let's take parts of The Astronaut's Wife; Rosemary's Baby; Alien; and A.I., mix 'em all up with a dash of Starman and a pinch of "The X-Files" and you have "Extant."

Not that it was terrible. There were some cinema-worthy effects in the pilot and some genuine performances from Berry and the supporting cast of TV regulars, including Camryn Manheim; Michael O'Neil ("Bates Motel"); Maury Sterling and Brad Byer. TV Sci-Fi is hit or miss, and this rather obvious-starting show had better have some tricks and amazing plot-twists up it's sleeve because despite the excellent cast, the pilot was so full of cliches, plot-holes and red-herrings I actually groaned more than once. I will give "Extant" a chance, but it had better find somewhere new to go, real fast. **(Two Out of Four Stars).

More, anon.

Prospero

Retro Review: "Frozen"

Okay - since it's been so long and everyone else in the world but M and I have already seen it, I will not be giving any spoiler warnings in this review. And you also need to know that Uncle P is a formerly voracious reader...

The weather this holiday weekend has been exceptionally spectacular in Bucks, and we have enjoyed a sunny, low humidity and comfortably temperate 3  days. Now that Dear D has installed the new bannister in Uncle P's house, more progress can be made towards what will undoubtedly be a post in the near future. I promise. 

Anyway, on Friday I watched TV and grilled some dogs. It was a holiday and I wasn't going to waste it on chores (though I did so a small load of laundry, to be ahead for  the rest of the weekend). Yesterday I dusted, cleaned Skye's cage; ran my amazing new Samsung vacuum and almost completed hanging shelves and a few art pieces (really, only minor adjustments are needed). I had also planned to take myself to see M's celebrity look-alike in "Deliver Us from Evil" sometime over the weekend. But the weather on Saturday, while breezy, just made me want to sit out side and finish the novel ("Dr. Sleep" by Stephen King - his brilliant 35-years-later sequel to "The Shining") I am almost embarrassed to admit took me 6 months to read. I used to read at least two or three novels a week.The first time I read "Carrie," I read it in a single afternoon.  Now I'm lucky if I read one or two a year. I blame the Internet. But none of that has anything to do with M calling me up to invite me to his house for dinner. Had I gone to the movies, I would have missed his call and eventually the chance to see Frozen with someone else who had never seen it.

So- Elsa and Anna are princesses in a mythical Nordic country and Elsa is born with magical powers over snow and ice. While playing, Elsa accidentally hurts Anna and their parents take Anna to the trolls, who magically erase all memories of Elsa's powers from her mind. To avoid further accidents, it is decided that Elsa must avoid Anna at all cost. Years later, as Elsa ascends the the thrown, Anna unwittingly releases the powers that Elsa has so long tried to hide, turning the country's citizens against her for sorcery. Very loosely based on Hans Christian Andersen's story "The Snow Queen," Frozen is almost disturbingly rife with Disney Princess tropes, despite every obvious effort to avoid them. That's not saying that Frozen is bad. Far from it. It was gorgeous on a 60" flat-screen TV. I can imagine how much more so on a giant movie screen. The digital imagery is nothing less than gorgeous. And I totally get why Jennifer Lee made the changes to Andersen's original (Hell - the Little Mermaid kills herself at the end of his version). I just wish she hadn't done so, so predictably. There is hardly a single surprise in the plot, but it's a flaw most critics seemed to have ignored.

Beside the often stunning artwork, the voice performances are rather amazing, with some very catchy tunes from Christophe Beck (who I must assume wrote the often clever lyrics, since IMDb doesn't credit anyone for them). While no one can belt out an "I'm Coming Out" show-stopper anthem like Idina Menzel does with the ubiquitous "Let It Go," this is Kristen Bell's, Josh Gad's and openly gay  Jonathan Groff's movie, all the way. They are all joined by some of my personal personal favorites, including Alan Tudyk (whom M identified before I could); Edie McClurg (a favorite of my sister's and mine since Letterman's daytime show) and "Futurama" star Maurice LaMarche, 

Yes, yes. I get why "Let It Go" has become a sort of gay-anthem. And now I understand why the so-called 'Christian Right' have reacted the same way they did to Harry Potter, but Frozen is undoubtedly the best CGI film out of Disney Studios to date, despite having a "let's-throw-everything-up-on-the-wall-and-see-what-stcks" screenplay. *** (Three out of Four Stars).

More, anon.
Prosepro