Chris Miller and Phil Lord’s The LEGO Movie (B) is a clever, comedic and crowd-pleasing animated romp that will appeal to both kids and adults. Chris Pratt is the heart of the film as the central character who must summon his spirit as a master builder in a conformist world. Filled with kaleidoscopic vistas, thrilling chases and surprising cameos, it was almost overstuffed at times. It was fun how it toggled from sleek sophisticated effects to clunky movements like it was filmed in someone’s basement or backyard. Nearly “everything is awesome.”
Category Archives: 2014
Johnny Depp Stars in Tepid Sci-Fi Thriller “Transcendence”
After the novelty wears off of actually seeing Johnny Depp not pancaked in makeup and sporting an outrageous accent, it is disappointing to see that he’s one of the weakest links in a series of bad choices in a sci-fi thriller being unceremoniously dumped in a spring release time slot. First-time director Wally Pfister proves not quite up for the job of helming the complex Transcendence (C-) as sequence after sequence unspool with lethargy, lack of inspiration and flat-out loopy logic. Depp’s scientist character battles his own God complex as he uses his artificial intelligence technology to extend his life. As his long-suffering wife, Rebecca Hall isn’t very good either and makes some exasperating unexplained choices. Paul Bettany gets perhaps the only lucid speech in the whole film as the protagonist who may be able to make sense of matters. Overall, it’s just a bit too drab and goofy given the heady themes it contemplates, and the proceedings aren’t helped by dated effects and a leading man who’s hard-wiring his performance in. There are so many other ways this exact same script could have been realized brilliantly by a different cast and crew. As it stands, it’s not romantic enough, exciting enough, eccentric enough or wondrous enough to transcend its likely word of mouth.
“Captain America: The Winter Soldier” a Winning Installment
Anthony and Joe Russo’s Captain America: The Winter Soldier (B+) wisely eschews CGI-heavy creature effects for French Connection-style shoot-em-up combat and cat-and-mouse brinkmanship. The formerly frozen super soldier played by Chris Evans owns his shield-wielding role this time around as a morally grounded hero amidst specters of villainy, greed and terrorism. Scarlett Johannson is a game sidekick with the film’s rare comic relief lines as Black Widow, and Anthony Mackie is a welcome addition as a friend from the VA hospital who joins the team’s mission and becomes the first African-American Marvel superhero, The Falcon. Robert Redford and Samuel L. Jackson also get some commanding moments as S.H.I.E.L.D. headquarters execs. Despite some overlong fight sequences, this sequel is uniformly solid and earns its distinctive badge of honor. After diminishing artistic returns with the latest Iron Man and Thor movies, this Captain continues the top-flight spectacle achieved with The Avengers.
“Noah” a Folly of Biblical Proportions
Among the things I wasn’t expecting to see in an adaptation of the story of Noah and the Ark: huge talking rock-people who help build the maritime vessel, magic crystals that foretell the future and, oh yeah, a shipboard pregnancy test. I’m generally willing to follow visionary director Darren Aronofsky as he tilts at windmills even when the breeze is swelling with CGI doves and the slings and arrows from the evil armored descendents of Cain. But unfortunately the epic Noah (D+) is a folly of Biblical proportions. Although his unconventional take on the tale allows viewers to ponder the weight of the mission at hand (everyone else on the planet must die so that earth’s goodness can be saved), the director simply gets in his own way with his gonzo choices. As the title character, Russell Crowe is single minded of purpose, which can drive his family – including ladies Jennifer Connelly and Emma Watson – a little crazy. The film’s tone shifts wildly from apocalyptic journey to domestic drama to pirate adventure. I suppose Waterworld seemed as good a blueprint as any for a big-budget adventure. There are lots of WTF (“what the flood?”) moments throughout, some simply surprising and a few of them actually tender and touching; but by the time all is said and done, everyone involved should feel adequately punished for the evil of man.
“The Grand Budapest Hotel” is Wes Anderson at His Best
An all-star polka-palooza of exquisite Euro-production design, droll dialogue and screwball pacing, Wes Anderson’s The Grand Budapest Hotel (B) is a glorified episodic buddy comedy with Ralph Fiennes and newcomer Tony Revolori bringing considerable wit and charm to their central duo of hotelier protagonists. There are roomfuls of incidental storylines from murders to jailbreaks (all meticulously crafted), star cameos (many that go nowhere) and plot points that aren’t all that revelatory. I wasn’t too sure of any theme except for the oft-repeated notion of the plot thickening. But chances are, if you’re an Anderson fan, this will be your cup of Darjeeling tea. Cozy up — your screening room is ready.
“Normal Heart” a Wake-Up Call to Activism
Director Ryan Murphy’s film adaptation of Larry Kramer’s AIDS activism ensemble drama The Normal Heart (B) tells a stirring chronicle of life in New York in the ’80s among gay men with the dreaded new virus sneaking up on the population with a slow burn akin to the zombies of modern myths. Mark Ruffalo has never been better as the lead agitator to the political powers that be; and Matt Bomer, Jim Parsons and Taylor Kitsch are excellent as the alternately spellbound and skeptical members of his inner circle. Julia Roberts is also effective as a driven doctor helping early casualties of the epidemic. Roberts’ inner Brokovich and Ruffalo’s inner Hulk bring the rage of the stage to the events that unfold. But the director of Eat, Pray, Love, not known for his sustained narrative cohesion, sometimes follows a formula of Meet, Yell, Scream and fizzles without resolution. When he gets it right, especially in the Ruffalo-Bomer romance and in framing a double tragedy, Murphy nails it. But there are other undernourished supporting characters and subplots that don’t propel the plot as effectively. Ultimately the film is a significant slice of history, told with care and resonance about a critical topic that still calls out for our attention. Thanks to commanding performances and an absorbing underdog story, there are great lessons to learn here.
“Lone Survivor” Re-Creates Military Raid
Some great counterprogramming for those who like matinee idol Mark Wahlberg in a role that doesn’t involve mind-numbing transforming robots is Lone Survivor (B), the true-life tale of a military raid in Afghanistan that takes some surprising, perilous and deadly turns for a group of heroes. Director Peter Berg is basically the anti-Michael Bay, serving up action undergirded with subtle characterization and vivid detail. Along with a sharp Wahlberg, there are other strong performances by Taylor Kitsch, Emile Hirsch and others in a film comprised largely of a re-creation of the stunning skirmish. The set-up for the mission and camaraderie of the characters creates a nice arch for the events to come; and even though the format doesn’t leave a lot of room to paint outside the lines, Berg applies a signature you-are-there vibe to the proceedings. It is high on action and suspense with an excellent epilogue reinforcing the themes of brotherhood and singularity of purpose.