The Wolverine

When you go through the Marvel filmography there aren’t any instances of the comic heavyweight being able to duplicate the dark complexity of Christopher Nolan’s Dark Knight Trilogy. Seeing as The Avenger grossed exactly $1 gazillion, they’re okay with that. But as a fan, I’d like to see that realism among the Marvel icons. The Wolverine is the best example of this storytelling we’ve seen so far. Taking place after X-Men: The Last Stand, Hugh Jackman’s Logan is attempting to cope with the loss of Jean Grey while dealing with the constant struggle of his immortality. When a man Logan saved during World War II sends for him, he gets in the middle of a power struggle that forces him to become the Wolverine again.

After fans weren’t happy with X-Men Origins: Wolverine and the parade of characters on display, which fans had asked for by the way, this film is intentionally reserved in many aspects. Heavy on dialogue and emotion, this is Wolverine’s movie without anyone else butting in. There’s no Sabretooth, Gambit, Storm or Rogue to fill screen time and no big cameo distractions to take the audience’s attention off of Wolverine (until the credits). There is a bit of canonical confusion regarding what Wolverine should remember. If you recall, he suffered from total amnesia in his previous solo film, so WWII would be long forgotten. But he did remember some stuff in X2, so this may be like that. Who knows? It’s a confusing topic and it seems the writers didn’t want to think about it either.

Jackman has become synonymous with this character after playing Wolverine in a lead role five times to great success. He even beefed up more this time. It is a bit disappointing when the over-the-top action moments sneak into the film though. A fight on top of a bullet train is absolutely ridiculous (but kind of cool) and the villain billed as the main antagonist, The Silver Samurai, comes across as a Transformer with a sword in the few scenes he appears in. The decision to tone down the presence of a main villain works well. It breaks the monotony that comic book movies often have with straightforward scripts. Grounding a character as huge as Wolverine is a great step in the sustainability of the X-Men franchise and comic book genre. I hope Jackman never grows tired of playing Wolverine because, he’s getting very close to icon status.

Each film earns either zero, a half or a full arrow in five categories. The categories are Acting, Writing/Directing, Emotion, Innovation and Overall Impression. The arrows are added up to equal the full score.

Red 2

I was a bit surprised when I heard they were making Red 2. I enjoyed the first one, but I didn’t know enough other people did to warrant a sequel. But here we are with Bruce Willis returning as Frank Moses, a retired federal agent. This time he must get his friends back together to find a hidden nuclear weapon that puts the whole world at risk. Rooted in comedy with action secondary, the film relies heavily on its actors to power the story. But when you have Willis, John Malkovich and Helen Mirren in your cast, you can put that kind of pressure on the actors.

While Willis is best known for his gruff Die Hard performances, he does very well with the more charming Frank. Now dating Mary-Louise Parker’s character from the first film, Willis presents Frank’s toughness and his more domestic side while leading the comedy in the film. The plot is a pretty straight forward spy story with impending doom at every turn. Byung hun-Lee of GI Joe fame plays a contract killer with a vendetta against Frank, so he gets some of the biggest action with the largest weapons and choreographed fights.

In addition to Lee, there aren’t many fresh elements to draw in viewers or set it apart from the first Red. But it is entertaining from beginning to end. The over-the-top Malkovich has a strong chemistry with Willis, and a quick pace keeps things exciting. The twists and turns are in line with the scale of the film. If things got too serious we’d lose touch with what Red, which happens to stand for “retired extremely dangerous,” is, a goofy action movie. It’s not the best comedy or action film of the summer, but it’s still satisfying.

Each film earns either zero, a half or a full arrow in five categories. The categories are Acting, Writing/Directing, Emotion, Innovation and Overall Impression. The arrows are added up to equal the full score.

Only God Forgives

When Drive came out in 2011, the trailers made it look like a Ryan Gosling led Fast and the Furious type thriller. That is not what it was. So audiences were left either enjoying the soft-spoken crime drama or wanting a refund. No one was going to make that mistake again when Gosling and director Nicola Winding Refn reteamed for Only God Forgives. Gosling plays an American drug smuggler in Bangkok who attempts to avenge his brother’s death, but gets caught up with a badass cop (Vithaya Pansringarm) bent on justice.

The film fits the same quiet and violent feel of Drive with Gosling hardly speaking throughout the entire film. The actor, who is better known for his rom-com charm, has a number of these dark indies on his filmography building credibility next to his dreamy status. With that being said, Only God Forgives is not his best work. The mystery surrounding his character comes across as simplicity. The character, Julian, who is supposedly this troubled soul, just seems dim. Pansringarm, on the other hand, gives a strong performance and carries the film and the complexities that are meant to play out. Kristin Scott Thomas, who plays Julian’s mother, also stands out.

The bright lights and dingy streets of Bangkok prove to be a compelling backdrop for the film. The setting plays out like a character as so much is explained through the surroundings. Sure, the long karaoke scenes are slow, but that’s another product of setting and they prove quite relevant thematically. The film does a lot right with a clean narrative and compelling story. This isn’t the kind of movie that leaves you with a smile on your face, but being advertised in an honest way has the movie giving you the twisted crime story you would expect.

Each film earns either zero, a half or a full arrow in five categories. The categories are Acting, Writing/Directing, Emotion, Innovation and Overall Impression. The arrows are added up to equal the full score.

Turbo

I’m all for animated movies, but this summer there are just way too many. The one that seems to have been lost in the shuffle is the Dreamworks effort, Turbo. Ryan Reynolds voices the title character, a snail with dreams of winning the Indianapolis 500. When he gains super speed after swimming in an engine full of nitrous oxide, that far-fetched dream becomes a possibility. Now an animated concept about a snail wanting to be fast sounds fun, but having that snail race against Indy cars at 250 mph is a bit crazy. But they had me playing along by the end.

The voice cast is one of the summer’s best with Reynolds leading Samuel L Jackson, Michael Pena, Paul Giamatti and many others. The story has three very distinct acts. First Turbo is living the dull life working on the tomato plants, he then ends up in the city and meets some new friends and then his time at the racetrack. Unfortunately, the first act is unnecessarily slow. The daily grind that is presented lacks any type of hook and has no comedy, emotion or anything else that would draw in an audience’s interest. But the rest of the film picks up to the standard we have come to expect from Dreamworks animation.

The plot spends a lot of time trying to convince us that the snail could in fact race in the Indy 500. It’s a big waste of time because obviously the fact that he’s a snail and not in a car means he couldn’t. That time should be spent developing some of the other characters through humor. For an animated comedy there is a distinct lack of jokes in a number of scenes. But however they do it, the audience is rooting for Turbo to win the race and it is an emotional finish as the snail perseveres toward his goal… which happens to be winning a race designed for cars… as a snail.

Each film earns either zero, a half or a full arrow in five categories. The categories are Acting, Writing/Directing, Emotion, Innovation and Overall Impression. The arrows are added up to equal the full score.

Pacific Rim

For me, Pacific Rim was one of the most anticipated movies of the summer along with the comic book titles. There was just so much building it up. Director Guillermo Del Toro left The Hobbit to work on it, the trailers promised exciting visuals and Idris Elba’s speech had me ready to cancel the apocalypse. With the movie finally hitting theaters, I must admit that it did liv eup to the hype. A concept full of original elements while still paying tribute to past films in the monster genre, Pacific Rim is quite an experience.

The story takes place in a future where giant monsters, or Kaiju, travel through an inter-dimensional portal in the ocean and attack Earth’s cities. In response, the humans construct massive robots, jaegers, piloted by two people to fight back. As the program suffers defeats, a retired pilot (Charlie Hunnam) and a rookie (Rinko Kikuchi) take control of one of the jagers. The plot develops well with strong character development among the two leads. We don’t see too much of that for the other players, but we need that time for massive alien and robot fighting. When the battles do go down, it’s an accomplishment in CGI. The film which understandably deals heavily with digital elements never comes off as phony. If they can convince an audience that a robot yielding a ship as a sword is walking through a city, I’d say it’s a success.

The biggest issue with the film is the predictability of the major plot points. The opening sequence has all the tell-tale signs of an ensuing tragedy that sure enough does occur. From there, a handful of sequences play out as you would think they do. Even so, every scene contains high drama whether it’s from a face to face argument or a jager/kaiju battle. The cast runs solid through and through. A few scenes even show great acting skill. The young Mako flashback comes to mind.Pacific Rim is the type of the movie that will inspire audiences by what can be done with a concept. All of Del Toro’s monster and horror movies come together in one of the most epic movies ever made. You read that right. This movie is a massive spectacle.

Grown Ups 2

The national consensus is that we’re all supposed to hate Adam Sandler movies and bash them for their weaknesses. Well since they’re unapologetic comedies that somehow continue to make money and make me laugh, I’ll pass on that unspoken agreement for now. Grown Ups 2 reteams Sandler and his buddies as they get into more hi-jinx. This time Sandler’s character has moved his family back to his hometown. To be honest there isn’t really a point to the story. It just exists. This isn’t the best way to follow up that defending Sandler opening I wrote. But the plot just motors along with no destination.

Most people didn’t seem to notice that Rob Schneider doesn’t reprise his role from the first movie, but all the others are back. Sandler, Kevin James, Chris Rock and David Spade play the film’s leads. I’d list out the wives, children and supporting characters too but that would be way too long. It’s basically an SNL reunion where they all bring some friends. With a PG-13 rating, the film gets away with being a family friendly comedy. More accurately the comedy is dumb and everyone knows that. The actors are in on the joke, which is a large reason why the fart jokes and insults come across as funny.

The biggest achievement in Grown Ups 2 is how the large ensemble cast are all adequately represented. Even though Sandler and James are significantly bigger stars than the other players, they aren’t the only characters to develop. Say what you will, but Sandler is well known for giving parts to his friends and arcs for Nick Swardson, Shaq, Tim Meadows and countless others are more than cameos. The chemistry among friends shows and that’s why the film is successful. It’s not redefining the wheel, but it’s a fun summer comedy.

Each film earns either zero, a half or a full arrow in five categories. The categories are Acting, Writing/Directing, Emotion, Innovation and Overall Impression. The arrows are added up to equal the full score.

The Way, Way Back

Indie movies and the summer don’t always go together. Especially win the movie is the latest effort from Oscar winners Nat Faxon and Jim Rash, who won acclaim with 2011’s The Descendants. But The Way, Way Back is a summer movie in theme so here it is. Liam James plays Duncan, a quiet kid, who has all but given up on his summer when he’s dragged to his mom’s boyfriend’s beach house. With his mom (Toni Collette) and her boyfriend (Steve Carell) focused on making the best of their time there and ignoring Duncan, he comes across a water park and a new friend (Sam Rockwell) he didn’t expect.

One of the big talking points surrounding the movie is about the loveable Carell playing a not so nice guy. He does well in making sure the character stays authentic and isn’t a caricature of reality. In fact, the entire movie does this. The conversations Duncan has are so painfully real, the audience can’t help but relate. He isn’t some muscle-bound actor that the directors throw some glasses on to convey awkwardness. Everything from Duncan’s slight hunch, to his awkward timing in conversations is spot on. I’ve seen my fair share of movies and I can’t recall another with dialogue this real.

The story doesn’t break new ground with theme or topic. The social outcast is befriended by the cute girl next door (AnnaSophia Robb) and finds solace among a group of misfits. These misfits happen to be the workers at an outdated waterpark, which plays out as the backdrop to the funniest and most meaningful moments in the film. Rockwell gives another great performance with a layered character that could very easily have fallen flat. It’s rare a movie that comes out in the summer competes for the big nominations in award season, but The Way, Way Back should probably break that trend.

Each film earns either zero, a half or a full arrow in five categories. The categories are Acting, Writing/Directing, Emotion, Innovation and Overall Impression. The arrows are added up to equal the full score.

Despicable Me 2

If there were any franchise that could hold its own against the Pixar prequel Monsters University it would be Gru and his minions in Despicable Me 2. The sequel has the former villain, voiced by Steve Carell, teaming up with the Anti-Villain League’s Lucy Wild (Kristin Wiig) to find and stop a global threat. In the meantime he must balance taking care of his three adopted daughters and fending off the neighborhood moms bent on finding him a date. It actually doesn’t seem that hard since he has an army of little yellow minions who do everything from babysitting to mechanical work.

The overall plot is a bit predictable as Gru’s life has become mundane since he quit being a super villain. But there is a level of humor that occurs throughout with how he has kept his evil touches even though he has reformed his personality. His evil lab is now producing jelly, his gadgets serve secondary purposes during a princess birthday party and his evil mansion still sticks out in an average neighborhood. It works for both children and adults watching. The movie is funny.

In the first film I wasn’t completely sold on the minions as a comedic plot device. But their expanded role in this second film and the fact that some have been given individual distinctions as supporting characters has raised their stock. This is most certainly because of the upcoming minion spin-off film, but even so, they’re funny and one of the more successful aspects of the film. Despicable Me 2 replaces the freshness of the original film with more predictable, cookie cutter animated elements. I get the sense that Universal and Illumination Entertainment could probably bust out a new Despicable Me film every year with how this film ends. To be honest though, at this point I don’t really see that as a bad thing.

Each film earns either zero, a half or a full arrow in five categories. The categories are Acting, Writing/Directing, Emotion, Innovation and Overall Impression. The arrows are added up to equal the full score.

The Heat

The Heat has Sandra Bullock starring with Bridesmaids standout Melissa McCarthy and director Paul Feig involved. The women play law enforcement officials in the middle of a big case. McCarthy plays a tough Boston cop, who isn’t too pleased when a federal agent, Bullock, comes into her territory. The Bridesmaids connection is important to mention because the story goes for the same comedy with a heart approach. Unfortunately, someone seems to have forgotten the rest of the jokes.

The film focuses on establishing the odd couple dynamic between the two leading ladies. After all, it’s not every day you have an Oscar winner (Bullock) and an Emmy winner (McCarthy) guide your film. After a few years of similar characters, I’m about finished with the tired McCarthy arc that occurs in all of her films. She begins as a gross jerk and then by the end of the film, her disgusting aspects turn into quirks and we learn she was a jerk because of some deep unresolved issue. If that doesn’t sound familiar go watch Bridesmaids and Identity Thief. Bullock isn’t so bad, but her transformation from stuck up agent to reasonable human being is a slow process. It isn’t until the last act where the awkwardness actually produces laughs.

I shouldn’t be so tough on the film. The Heat is perfectly pleasant. There are funny moments, but overall it’s a diluted effort. The characters are developed well, even if the audience isn’t completely sold on why we should like them. The two hour run time shows that the overlying mystery is considered important, but it’s so predictable that 90 minutes would be more than enough time to set up the case and include all of the laughs. At two hours it moves slowly. I suppose I just expected more from the Oscar/Emmy winning leads.

Each film earns either zero, a half or a full arrow in five categories. The categories are Acting, Writing/Directing, Emotion, Innovation and Overall Impression. The arrows are added up to equal the full score.

The Lone Ranger

A few years ago, The Tourist taught us that Johnny Depp’s presence in a film isn’t necessarily a guarantee for financial success. The Lone Ranger is seconding such a notion. Why people aren’t watching it, I don’t know. But I can pinpoint some of the problems inside the movie itself. Based on the popular characters originally heard on the radio, Depp stars as Tonto, in a more central role than the character is used to. Armie Hammer plays the titular Ranger, who dons the mask and hat to catch a creepy villain (William Fichtner) responsible for the death of his brother.

The film showcases many of the aspects one would look for in a western made by Disney. There are a number of funny moments and the chemistry between Depp and Hammer is strong. They play the typical odd couple with just enough believability to be heroes. The final showdown, which takes place on a few different trains, has Disney and director Gore Verbinski’s names all over it. It’s the type of outlandish action that made Pirates of the Carribean so successful. But the film never decides which age bracket it should fall in, which causes some problems. The witty banter and horse jokes appeal to all ages, but the violent deaths that occur definitely do not. A heart is eaten out of a man’s chest, a rail car full of silver crushes another and tons of people get shot. It’s a similar problem to the recent Disney flop Jack the Giant Slayer.

The script is also too complex for an origin story. A lot of time passes before Hammer’s character becomes The Lone Ranger and Depp’s expanded role means double the work in training to explain why the characters are the way they are. But let’s be honest, bashing this movie is a popular summer trend this year. It’s a Disney movie and it is fun. Hammer is on the verge of becoming a full-fledged star and this performance brings him one step closer. As for Depp, his Tonto is in the same vein as Jack Sparrow and the Mad Hatter. In fact, he does better here than he did in Alice in Wonderland, but success is measured in dollar signs, so history won’t see it that way. The Lone Ranger gives modern western a good shot and it hits more than it misses.

Each film earns either zero, a half or a full arrow in five categories. The categories are Acting, Writing/Directing, Emotion, Innovation and Overall Impression. The arrows are added up to equal the full score.

This is the End

The big hook for This is the End surrounds the fact that all of the lead actors play themselves. Sure, they are somewhat false representations in order to have a varied cast. So they might as well have different names, but oh well. Written and directed by Seth Rogen and Evan Goldberg, the plot is centered on Rogen and Jay Baruchel who attend a party at James Franco’s house. While there, the apocalypse occurs and many of the partygoers are sucked into a sinkhole. The survivors try to stay alive while barricaded in Franco’s house.

The cast is made up of Rogen’s usual crew with Baruchel and Franco joined by Jonah Hill, Danny McBride and Craig Robinson. But they’re not it. Other smaller roles are played by Michael Cera, Emma Watson, Christopher Mintz-Plasse, Rihanna, etc. there are just too many to list. This rolodex full of celebrities is one of the big successes of the film. It’s as if this is the culmination of Rogen and Goldberg’s successful careers up to this point. It fits the tone of their past films with Rogen and Baruchel playing the BFFs who usually lead their scripts like “Superbad,” “Pineapple Express,” and others. Plus with familiar faces filling the entire lineup, it’s just fun.

The plot is simple with ad-libbed humor playing as pivotal a role as anything written in the script. But the movie actually deals with some more intricate themes below the surface. The concept of personalities changing with fame is featured prominently. While Christian concepts are readily mocked throughout, the cast must appeal to a “do unto others…” mentality to find redemption. This isn’t The Passion of the Christ but it’s actually more religiously based than you would expect. It is first and foremost a comedy and one of the funniest of the year. From Michael Cera’s over-the-top jerk to Channing Tatum’s startling cameo, The is the End has no trouble keeping you on your toes. Plus, can we talk about James Franco’s hilarious fake house?

Each film earns either zero, a half or a full arrow in five categories. The categories are Acting, Writing/Directing, Emotion, Innovation and Overall Impression. The arrows are added up to equal the full score.