Director Mark Webb is in fine command of the energy, acting, humor, gravitas, story and effects for the entertaining summer comic book movie The Amazing Spider-Man 2 (B). Andrew Garfield and Emma Stone lend their considerable charms to the leading roles in a sequel that is part romance as the central duo tries to balance a flirty relationship and the distraction of constant superheroics, part mystery as Peter Parker delves deeper into the events surrounding his parents’ disappearance and part action movie as Jamie Foxx becomes Electro with a plot that threatens to seap great power (and responsibility) from the island of Manhattan. Although Webb could be accused of cramming a bit much into this installment, the actors give heart and earnestness to their performances, and it all seems well grounded in NYC and among real people trying to grow up and wrestle with the consequences of genetic experiments gone awry. Some final act surprises lay the sacs for some sinister villainy to come. This new Spidey series swings along dandily; it shoots and scores.
All posts by Stephen Michael Brown
“LEGO Movie” a Tiny Triumph
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.”
“Jodorowsky’s Dune” a Thrilling Documentary of the Movie That Never Was
For any creative person who has felt for a moment that they have impulses their contemporaries just don’t understand, there’s a spectacular new movie for you. Frank Pavich’s documentary Jodorowsky’s Dune (A) chronicles the extraordinary tale of a cult filmmaker (Alejandro Jodorowsky) who decides to follow up his underground sensations El Topo and Holy Mountain with an ambitious adaptation of Frank Herbert’s sci-fi bestseller in the mid-1970’s, and his vision is in nearly every way clearly before its time. Like a filmmaking Dorothy Gale, he rounds up talent ranging from Salvador Dali to H.R. Giger to David Carradine, Mick Jagger and Pink Floyd for a consciousness-awakening opus that was alas never to manifest. Through the ebullient storytelling of the dreamer at the heart of the story and his collaborators’ marvelous artwork brought to life, this film gives a sample of the visionary work that could have been. In chronicling the director’s failure, the movie shows the power of unlocking doors to the imagination, being true to your spirit and heeding the inner voices of creation. There have been movies made about the struggle of making movies that did and didn’t happen (Francis Ford Coppola and Terry Gilliam have been subjects), but this one was one of the best representations of conjuring the spirit of creativity and collaboration. It made me wish Jodorowsky’s outer space saga had been made, but the telling of this story – and its unintended effects on the template for the past 40 years of the global blockbuster action film – will bring the spice of life to anybody who savors wonder, surprise and inspiration at the movies.
“Dom Hemingway” an Unusual New Role for Jude Law
It’s always a thrill to watch a starmaking performance, to witness an actor inhabit a role with singular ferocity. All the more astonishing is when this revelation happens to be an actor who has been in the spotlight for two decades and hasn’t really given a flicker of this genius before. And so it is with the formerly fey Jude Law who becomes the husky, hulky, wily and menacing ex-con safecracker central character of writer/director Richard Shepard’s Dom Hemingway (B). This rowdy British import has more bark than bite as Law’s character spews his witty cock-of-the-walk braggadocio and occasionally reveals he has a tender side too. The strongest plot line transports Law and sidekick (Richard E. Grant) to France where a debonair Demián Bichir and mysterious Mădălina Diana Ghenea treat them to 007-style intrigue. Later subplots fare a little less successfully, and there could be better character development in a couple of critical story points, but it wraps up well. The bawdy and imaginative script – including funny title cards – keeps things brisk and surprising. And you simply won’t be able to watch Law the same way again after watching him portray this corker of a criminal in reform.
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.
“About Time” (2013) is Quirky Time Travel Romcom
Writer/director Richard Curtis, famous for Love Actually, is a master of capturing great emotional details but getting lost in the big picture, so it’s no surprise that his romantic time travel dramedy About Time (B-) is a lovable mess. Despite massive tonal shifts and meandering to subplots that distract from the central plot, it is cute and thoughtful nonetheless. Domhnall Gleeson smartly plays the reluctant hero who finds out as a young man from his father (a tender and restrained Bill Nighy) that the men in their family can travel in time and alter their fates. Enter Rachel McAdams, the woman with whom Gleeson wants to get everything right; and enter entanglements and plot holes aplenty as this British Groundhog Day weaves its magic spell. The premise is far-fetched and occasionally a little creepy; and yet still the charming performers keep pace with crackling dialogue and poignant moments. The wish fulfillment angle doesn’t jive completely since there’s really no reason the protagonist needs sci-fi tricks to get the girl. But ultimately the witty banter and generally winning ensemble make it a quite watchable affair.
“Ender’s Game” is Minor Outer Space Drama
For most of its duration, Gavin Hood’s outer space saga Ender’s Game (C-) is like supervising a bunch of kids at a Laser Tag park; it’s a whole lot more fun for the little ones. In a future when children such as the protagonist played by stoic Asa Butterfield are subjected to war game simulations as a test for battles against alien races, Harrison Ford and Viola Davis are talent scouts for a major war on the horizon. Lots of seen-that-before basic training activity ensues but with kids and with subpar effects within uninspired sets that look like discarded EPCOT pavilions. There were honestly some better flight effects in Hocus Pocus. This battle hymn of the pre-pubescent only gets good in the last 15 minutes or so when some moral weight is added to the proceedings. None of the actors gets to shine, and there are loose plotlines aplenty in what feels like the latest franchise that’s likely not spawning a sequel since Remo Williams: The Adventure Begins or Catwoman.