Tag Archives: Outer Space

“Guardians of the Galaxy Vol. 3” Shows There’s Some Gusto Left in This Universe

Guardians of the Galaxy Vol. 3. © 2023 MARVEL now in theatres.

Writer/director James Gunn completes his trilogy of space-age strays, agile action, wily wisecracks and nifty needle drops with a wondrous and emotionally resonant finale in Guardians of the Galaxy Vol. 3 (A-). Chris Pratt plumbs deeper emotions fighting the loss of his great romance in this go-round as the ensemble endeavors to save their injured and intubated collaborator Rocket Raccoon by infiltrating a series of treacherous lairs. This leaves a game Dave Bautista, Karen Gillian and Pom Klementieff to carry much of the franchise’s incredible comedy, and they get some wonderful zingers. The film is grimmer and more violent than past outings as it tells Rocket’s onerous origin story and terror at the hands of a truly diabolical villain memorably played by Chukwudi Iwuji. The world building and creature effects are first-rate, and the movie builds to a resonant final act. This epic rescues Marvel from its doldrums, but given its auteur has left to shepherd the DC universe, more greatness lies in store for the latter.

“Guardians of the Galaxy Vol. 2” Continues Unexpected Superhero Story

Told in multicolor hues that would make a frappuccino unicorn whinny and packed to the gills with gee-whiz gadgetry, action and laughter, James Gunn’s Guardians of the Galaxy Vol. 2 (B+) is most successful when it examines the unconventional family dynamics of Marvel’s outer space superheroes. With baby on board (Groot, that is, and his highjinks are precious), the Guardians’ shipmates encounter Peter’s father and Gamora’s sister, among assorted new characters, and must reflect on their place in the universe. Chris Pratt, Zoe Saldana and Dave Bautista display natural chemistry and charm. It’s like a Corleone saga with blasters and dick jokes. The new planets and plot lines are full of intrigue, and the dialogue is witty and wise. It’s an early summer movie that delivers the goods.


Cringe Premise Weighs Down “Passengers”

Passengers_2016_film_posterThere are few phenomena more fascinating in Hollywood than a sophomore slump. And for Norwegian director Morten Tyldum, who was Oscar nominated for his first English language feature (the brilliant biopic The Imitation Game), the fact that his follow-up flail is Passengers (D) must be some cosmic poetic justice of miscalculation. In terms of extremes, there’s rarely been as handsome a physical production – all art deco parlors, digital automats and infinity swimming pools overlooking a galaxy – so sullied by such a misbegotten story. (Note: I’m not sure if something is a spoiler if it’s laid out in a movie’s first twenty minutes, but this film is different than advertised; so read on at your peril). The tale of a lonely mechanic (Chris Pratt) accidentally awakened from hypersleep and adrift as the only man left in a spacecraft on a near century-long voyage who wakes up a sleeping beauty (Jennifer Lawrence) to keep him company knowing full well that reanimating her is sentencing her to death has to be the worst Meet Cute in the history of cinematic love stories. Pratt employs his goofball everyman humor in an attempt to wrestle likability from an impossibly written character. His unfortunate portrayal is akin to Bill Cosby making his Pudding Pop funny-face while readying a shiny platter of roofies. Lawrence fares only slightly better as an author who gets more than she bargained for; after Joy last year, we’ve come to expect this prized actress to cook up a holiday turkey. Unsure of whether it’s an Adam and Eve story with the betrayal placed before the couple could even discuss it or Titanic with rohypnol instead of the blue jewel, Tyldum’s “very special episode” riff on sci-fi is a colossal catastrophe of an idea. The two to three times when the movie’s tone careens into romantic montage or adventurous befuddlement are rare respites in a tale not unlike Dr. Lecter’s drug-hazed final act of seduction in Hannibal. Careers will survive this, and the two principal matinee idols are gorgeously filmed, but Passengers isn’t what space pioneers meant when they promised to boldly go where no one has gone before.



“Star Wars: The Force Awakens” Offers a Fresh Start

Over the years as latter films in the Star Wars pantheon have produced diminishing returns, there’s been a bit of a grading curve – “pretty good acting … for someone in a Star Wars film,” “fairly cool action scene … in an otherwise lackluster prequel” and the like. So it’s good news indeed that J.J. Abrams’ Star Wars: Episode VII – The Force Awakens (A-) earns its accolades outright in terms of solid acting, layered characters, genuine high stakes, some earned comic relief and relentless action. The film achieves most of its delirious highs in the first hour as it splendidly introduces four fantastic new characters (Daisy Ridley as fierce scavenger warrior heroine Rey, John Boyega as naive reformed Stormtrooper Finn, Oscar Isaac as cocksure pilot Poe and the precious spherical astromech droid BB-8). There’s considerable descent into incomprehension (alas Abrams gets rather Lost) during the final acts with strange pop psychology that only works in spurts and some tedious retreads of some action moments already depicted in six previous films. Adam Driver’s Kylo Ren makes for a so-so villain, albeit with an awesome lightsaber, and his CGI mentor is a bit of a misfire. Harrison Ford is a highlight reprising his role as everyone’s favorite rakish scoundrel Han Solo, this time showing more of his soft side along with his trademark quips. The art direction and physical production are gloriously rendered and are such a welcome return to form: sequences in the desert are lush and the first glimpse of evil TIE Fighters sleek indeed. The film works best when it functions as an archaeological dig into the myths and iconography of the original trilogy; in fact, much of the most spectacular parts of the quest – rescuing antiquities, piecing together lost maps, being chased in the desert and around sinister corners and plumbing the well of characters’ souls – resemble an Indiana Jones installment. The fresh storyline of new characters is actually the film’s novelty since Carrie Fisher and Mark Hamill are shamelessly underused. But it’s hard to begrudge a big studio enterprise that is this packed with thrills and adventure, good characters and surprises. It largely hits the mark and sets the stage for some great new revelations.Save

“Jupiter Ascending” a Bore to the Planet Core

imageThe Wachowskis’ Jupiter Ascending (D+) commits the biggest sin in the movie universe: it was a bore to the planet core. Cribbing elements from Dune, Flash Gordon and others in the space opera milieu, this talky tale of an Earthling (Mila Kunis) who gets engulfed in a galactic struggle with a campy villain (Eddie Redmayne) and wrapped up in a forbidden romance with a wolf-eared servant on flying sneakers (Channing Tatum) is lumbering and uninspired.

Nolan’s “Interstellar” is Riveting

imageChristopher Nolan’s ambition exceeds his reach in the often glorious and dizzyingly satisfying outer space adventure Interstellar (B+). Matthew McConaughey valiantly anchors the film as a widowed father and retired pilot living on a midwest farm who gets activated into a journey to find an inhabitable planet for the future of the human race. The stakes couldn’t be higher, setting the stage for epic human emotion and a plot that operates on a dual time continuum of earth and a place beyond the stars, not all that unlike the director’s Inception in which the latter realm was the dreamscape. Michael Caine, Wes Bentley, John Lithgow and David Gyasi are among a very effective ensemble bringing credibility to an often arcane and sometimes pondrous story. In contrast, Anne Hathaway and Jessica Chastain inhabit somewhat problematic characters with odd intentions and impenetrable subplots, respectively. The film’s first and second act are near perfection both visually and thematically, and the final act just can’t sustain the sense of wonder. Still, the early earthbound segments have the heft of Steinbeck by way of Spielberg, and the bulk of the outer space sequences glisten with the majesty of Herbert by way of Kubrick. The film’s heady mix of science and mental puzzles is infinitely resonant and adds up to a near-masterpiece. But as the space dust settles, there are inconsistencies, unexplained motivations and other overlong passages that reflect missed opportunities. Overall, an intriguing premise, fine acting, an engaging story and incredible technology effects put this film in hyperdrive against any others in its category and make for a splendid voyage of mind-boggling proportions.

“Guardians of the Galaxy” (2014) a Delightful Cosmic Surprise

imageBeaming onto a screen near you is a vaudeville starship troupe milking about five jokes for all they’re worth in James Gunn’s aimless but often joyful space opera comic book adaptation, Guardians of the Galaxy (B). A smuggler out of the Han Solo playbook, Chris Pratt continues his awesome year with crowd-pleasing snark on a mission to keep a mysterious orb out of the clutches of baddies. His companions including an endearing tree-man and a wise-cracking raccoon (voiced by Vin Diesel and Bradley Cooper) who each get some great laughs in mischief-making derring-do. The intergalactic plot? Kinda lost in space. The film deserves kudos in the Marvel canon as a lively lark even if it uses up its clever action conceits in the first hour. The planetary effects are as triumphant as the tone ribald. Motown tracks and monster ballads also add some lift. It’s much more style than substance but filled with the tart nihilism of a cherry bomb that detonates when you least expect it. Side note: On the schawarma scale of consequence, the very brief epilogue will ruffle some feathers.

“Ender’s Game” is Minor Outer Space Drama

imageFor 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.

Technically, “Gravity” is Great

gravityA technical tour de force and a wonder to behold, Alfonso Cuarón’s Gravity (B) is nonetheless weighed down by an oppressive storyline, stock characters and a script marred with a touch of self-importance. Both Sandra Bullock and George Clooney are bit characters eclipsed by incredible outer space floating effects. It’s highly recommended as a showcase for 3D and efficient as a thriller with some nail-biting moments, but it’s also far-fetched and ultimately orbits a black hole of melodrama. Clooney basically plays Buzz Lightyear. Bullock’s CGI face and tears seem like they’re emoting pretty well, but in space, no one can see you act. Gravity barely gave its characters the acumen to operate an Easy Bake Oven, while a simultaneous release Captain Phillips depicted complete technical mastery amidst the maritime brinkmanship.

“Star Trek Into Darkness” Not as Good as Predecessor

J.J. Abrams’ Star Trek Into Darkness (B-) missed its mark in building upon the high standard set by its predecessor. Still, it starts off very exciting and has very nice stunts and effects along the way. Benedict Cumberbatch doesn’t get much to do in a throwaway role, but Chris Pine shines once again in the lead. There are just lots of missed opportunities given some homages made to the original series that don’t pay off with as rich an emotional effect as expected.

“Star Trek” 2009 Reboot is a Pleasurable Enterprise

J.J. Abrams’ Star Trek (A-) is a spectacular reboot of the classic franchise with Chris Pine and Zachary Quinto stepping in nicely as Kirk and Spock, respectively. We step back to Starfleet Academy and origin stories and now have a parallel path wormhole device so that new installments can exist in their own universe. On top of the thrilling warp speed action, there was massively funny humor, especially as the chief protagonists both romance Uhura (Zoe Saldona).

“Avatar” (2009) Presents Immersive Effects for Flimsy Story

avatar_movie_poster_01 Suppose you created a gorgeous CGI world with breathtaking 3-D vistas and amazingly life-like aliens, and then you drop in a formulaic story, wooden actors and snooze-worthy dialogue? You get James Cameron’s Avatar (C), and I want my three hours back. Actually much of the action is rousing and many of the creative sci-fi effects engrossing, but the epic polish largely conceals that the emperor of the world is sporting a threadbare ensemble.