60 posts categorized "Action/Adventure"

July 25, 2018

MISSION: IMPOSSIBLE — FALLOUT

Mission_impossible__falloutMI6 fulfills everything the Mission: Impossible franchise has to offer if not much more. Tom Cruise’s frequent directorial collaborator and “Fallout” co-screenwriter Christopher McQuarrie (“Jack Reacher,” “Edge of Tomorrow,” and “Mission: Impossible — Rogue Nation”) orchestrates the film’s overblown action with meticulous attention to detail, perhaps a little too much.

The car chase sequences, while impressive, don’t come near the unpredictable nature of the one William Friedkin filmed for “To Live and Die in L.A.” Still, there is plenty of splashy gravity defying spectacle to wash over you as you watch a movie that was clearly made with an IMAX screen in mind. The stunts are gut wrenching, and the helicopter stunts are out of this world.

You need every inch of that 80’ by 100’ IMAX screen to experience what the filmmakers have in mind, which is to blow yours. Another trip through the editing process would have helped tighten the pace but no one is coming out of this film not feeling like they didn’t get their money’s worth.

Fallout

The politics of the MacGuffin-laden plot are sufficiently bland so that no audience member feels left out or put upon regardless of their political leanings. Even anarchists should feel right at home with this film’s cartoonish narrative design since the villain here is a Ted Kaczynski knock off. Bad guy number one has a crew of “Apostles” helping him destroy world order. Don’t worry, there’s only one bloody scene in the whole movie, and the rest of the violence is strictly of the cartoon variety. Our height-challenged action man Ethan Hunt (Cruise) still receives his mission assignments in the same old-school method of a self-destructing reel-to-reel tape.

MI6

Considering the franchise landscape at hand, what surprises most are the casting choices that fail. Alec Baldwin’s IMF character Alan Hunley (Ethan’s boss) seems like he walked onto the wrong set on the day he needed to shoot the handful of scenes he’s in. However, Baldwin does deliver one primo piece of acting while performing one of dramaturgy’s most traditional tropes. No plot spoiler here; you’ll know it when you see it. Angela Bassett also falls flat, regardless of her ageless beauty, as CIA director Erica Sloan. Bassett’s tempo and tone don’t match with the movie as a whole.

Mission-impossible-fallout

What does work in the character department is the reliable chemistry between Ving Rhames, Simon Pegg, and Tom Cruise. Here is an onscreen friendship that feels like an old pair of slip-on house shoes. Michelle Monaghan is as perfect as it gets for onscreen romance. No shortage of mask disguises provides a series of nods to the original “Mission: Impossible” television show, while providing the movie with some nifty plot twists that register with an added amount of humor. And yes the super-action men's room fistfight is a hoot.

“Mission: Impossible” is the closest thing Hollywood has going next to a James Bond franchise, and going it is. Tom Cruise will soon be too old to play the part of a stunt-happy super spy. Get it while you can on the biggest IMAX screen you can find.  

Not rated. 147 mins. (A-) (Four stars — out of five / no halves)

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March 11, 2017

KONG: SKULL ISLAND

Kong-skull-island-posterWho is Kong this time? That’s the burning question any movie audience should be asking themselves when going into this woefully disappointing military adventure flick. In 2017, you might suppose that the biggest monkey on the planet would be anatomically correct; however, that is not the case. We are left to conclude that Kong might represent a transgendered ape co-opted by a foreign and domestic patriarchy to fit their narrative agenda. One thing is for certain; our gigantic ape protagonist isn’t sporting a package.

The by-committee (and focus grouped) script loses ground early on by not identifying the human protagonist that we should put our faith in for this two-hour endurance test. At first blush it seems that John Goodman’s super-invested scientist Bill Randa is the man for the job, but the screenwriters quickly shuffle Bill off to the side in favor of Tom Hiddleston’s oh-so-metrosexual James Conrad, a British ex-military mercenary tracker who probably counts calories. Conrad comes across as the kind of guy who wouldn’t know what to do with a boner if he ever got one. Equally absent of a libidinous center is Brie Larson’s “antiwar photographer” Mason Weaver. Even Kong can’t manage to muster any romantic interest in Mason when he holds her tiny body in his giant maw. Forget about Fey Wray or Jessica Lange (two O.G. actresses whose characters Kong took amorous interest in); the days of cross-species attraction are over. You can’t have a King Kong movie without a love story.

Kong Skull Island

The storyline goes half in the bag as a “Heart of Darkness” knock-off that might whet your appetite to check out Coppola’s “Apocalypse Now Redux” just to remind you what a great film is like. There are so many rock music montages in “Kong: Skull Island” that they feel like commercial breaks in the action. It’s fine to give Iggy and the Stooges props by playing “Down On The Street,” but it reeks of filmmakers trying way too hard to be hip.

This movie devolves into a slasher picture where you keep guessing about who will be knocked off next. We already know most of the U.S. soldiers sent along on the (circa 1973) mission are doomed. The filmmakers could have at least pulled out some real surprises in this area of character deletions. Instead, every plot point seems so rote you could script the story as you’re watching it. Sure, there’s some cool spectacle to be had, as when Kong battles a giant lizard creature, but there’s isn’t any meaningful social commentary for subtext.

“Kong: Skull Island” is a neutered adventure movie without any soul, or balls.   

Kongskullisland

Rated PG-13. 120 mins (C-) (One Star — out of five / no halves) 


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October 29, 2016

SULLY

Sully-poster-2For a near-disaster movie about a pilot who famously kept his commercial jetliner (with “155 souls on board”) above water, Clint Eastwood’s fact-based procedural feels like it was filmed underwater. This film’s dirge-like tempo and similarly muted emotional range of every single character puts a deadening filter between the story and this film’s audience.

It’s more like watching a funeral, than witnessing one of the most spectacular lifesaving events in recent memory. Perhaps most troubling is Eastwood’s (possibly subconscious) inclination toward celebrating white people for the sake of their whiteness. If historic Caucasian pap is your thing, then this movie is for you. You can count the number of people with brown skin in this film on one hand. More to that point, the film’s dramatic arc crescendos on Sully and his co-pilot Jeff Skiles (Aaron Eckhart) agreeing that they “did their job.” If you’re looking for a low thematic bar to hurdle, we’ve go a ringer here.      

Sully

Tom Hanks plays Capt. Chesley Sullenberger, the stoic pilot who crash-landed his US Airways plane on Manhattan's Hudson River after a bird strike took out both engines. Hanks’s performance might be true the human model he represents but we don’t get much, if any insight, into what makes Sully tick. He’s an underpaid career pilot whose vast experience, flying many thousands of hours, allowed him to make critical decisions in split seconds that saved the lives of everyone aboard his plane. We already knew that. This film doesn’t explain much that most of our collective American conscious doesn’t already know, other than how flight simulators work.

Sully-movie

“Sully” comes across as an exhausted victory lap for Clint Eastwood. Give the guy his due. That still doesn’t mean that he hasn’t made a disappointing movie.

Rated PG-13. 96 mins. (C-) (One Star — out of five / no halves)

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