The Reel World

Brad Anderson is a television actor who has puttered around that industry going back to David Simon's Homicide: Life On The Streets and The Wire. This is pretty much his first feature film opportunity in the director's chair, and Beirut certainly shows that he has a lot of talent... as a television director. No question the chops are there, but the framing and pacing of Beirut suffers from a kind of small thinking that fails to keep one's attention for very long. He hasn't learned how to take advantage of large set pieces and exotic locations to expand the experience for his audience. Some will believe I'm talking about action or the kind of cheap thrills that sell tickets, but that's not exactly my point. There's enough action here, and the thoughtful script by writer Tony Gilroy is actually clever and engaging. It's even a little old-school, and I like that kind of thing. But Brad Anderson just doesn't know exactly what to do with it, and it suffers at his inexperienced hands.

It's 1972 Mason Skiles (Hamm) is a skilled diplomat stationed in Beirut where he must juggle the concerns of the warring PLO and Israel along with his obligations to America and the restless population. It's a job he does well, and he's managed to balance the necessary agendas with some success. He's celebrating with a party at his home when gunmen crash the party and kill his wife. They also kidnap a local boy whom he was trying to help, who ends up being the sibling to the terrorist who orchestrated the attack. The loss sends Skiles into a downward spiral of alcohol and depression.

Bold and incredibly compelling, the movie Chappaquiddick is a “tell all” with a lot of authority.  Much like last year’s The Post, it tells its story pulling no punches, playing out the characters and holding nothing back.  Although I’m familiar with the incident, many of the facts were clouded, squashed, or lost due to current events at the time.  If you liked The Post, then here’s a film that will enlighten you and make you cringe. In 1969 about one year after the assassination of Robert F. Kennedy while he was touring for votes to be nominated for President, his brother Ted Kennedy (Jason Clarke) was already thinking about his chance at the highest position in America. On the fateful night of July 18, however, things ran amok, taking him out of any chance for the Presidency. 

It was late in the evening on Martha’s Vineyard, Chappaquiddick Island, Massachusetts, and a party was going strong in a cottage following the yearly sailing regatta. At the cottage were Senator Ted Kennedy, attorney Paul Markham (Jim Gaffigan), Ted’s cousin Joe Gargan (Ed Helms), Ray Larosa (Damien Di Paola) and six ladies in their late 20’s who served as the “boiler room” campaigners for Robert F. Kennedy.  They included Susan Tannenbaum (Katie Henoch), Esther Newberg, Rosemary Keough (Gillian Mariner Gordon), Mary Jo Kopechne (Kate Mara), sisters Maryellen (Angela Hope Smith) and Nance Lyons (Lexie Roth).

You might call me jaded, but I am pretty disappointed by the state of horror movies. It's not just the last few years. The truth is I haven't seen 10 really good horror movies in over a decade. Now that I've had a chance to see A Quiet Place, that number isn't going up. A Quiet Place is not a really good horror movie. It ends up making a lot of the same mistakes that filmmakers think define a horror film in the modern age. It relies too heavily on jump scares and characters who do some of the most idiotic things, thus placing them in a somewhat self-created dangerous situation. But I will make the argument that A Quiet Place is still a pretty good horror film because of a rather clever and unique concept and a filming process that allows us care for these characters more than the usual horror film red shirt fodder that too often leaves me rooting for the monster in a Darwin-like weed-out-the-gene-pool kind of way.

The film takes place in a near-future that newspapers place at about 2020. It's now day 86.  We are now in the familiar post-apocalyptic world of deserted streets and a family of characters scrounging through the derelict buildings for scraps on which to survive. The difference here is that this family, a husband and wife with three young kids, are going out of their way to remain as completely silent as possible. They communicate strictly through sign language and walk on bare feet to avoid the sounds of footsteps. Each move is carefully calculated to avoid even the careless sound of placing a pill container on a counter. Silence is golden, and before the title card is revealed, we discover the reason for all of this care. The Earth has been invaded by creatures that are blind but with heightened hearing ability. They hunt strictly by sound and move at lightning speed toward any sound and attack with razor-like appendages. These attacks are over in a second, and the viewer is left with graphic evidence that in this future world, silence isn't golden, it's survival.

Like so many others, when I read the book Ready Player One by Ernest Cline I simply fell in love with the nostalgic ride through the 80’s, all thanks to the virtual reality world called The Oasis.  From start to finish it was a book filled with pop culture references that would make film and video game geeks squeal with delight, and it was no surprise that the book was a hit and would be turned into a film.  There were only two names I could think of that could ever come close to making this film a reality: Robert Zemeckis and Steven Spielberg.  With Spielberg involved, he was the only person I could imagine that had the clout to get all the licensing rights needed to pull this adaption, but still the biggest question I had was does Spielberg still have it in him? I’m not questioning the man’s talent, but instead it’s the magic and wonder he would bring to his films, from Close Encounters of the Third Kind, ET, to Jurassic Park, where he could get us to believe the fantastic and impossible was real while we sat in a dark auditorium watching his film.

The Oasis is an open virtual realty world like nothing we have ever seen before, but with the way our technology is developing, it is quickly becoming a possibility for things to come.  There are worlds and planets within The Oasis where you can be in constant battles to win coins, or go to exotic places for a vacation.  It’s a world where you can be whatever you want and experience just about anything you want.  Basically think about Westworld but on steroids.  The creator of this world is Halliday (Mark Rylance), who before dying announced to all of The Oasis that he created an Easter Egg hidden somewhere in The Oasis, and whoever was to find it would gain sole control of The Oasis and all of Halliday’s fortune.

When Pacific Rim first came out, I had a blast with the film.  It was the ultimate giant-monster-versus-giant-robot film that my inner ten-year-old has wanted to see for so long.  Sure, the film had some dialog issues, but the world that Guillermo del Toro created with the film was so over-the-top and beautiful that the bad dialog was easy to forget.  It knew what it was, brainless eye candy, and it delivered in a big way. Now we have the sequel coming out; del Toro is no longer at the helm, and in his place we have Steven S. DeKnight whose previous directorial efforts have been episodes from Daredevil and Dollhouse.  Does the sequel hold up?  Well, to put it bluntly, not even close.

John Boyega has been an actor I’ve appreciated since I first saw him in Attack the Block. Seriously, if you haven’t seen Attack the Block yet, stop wasting time and see this immediately. While I’ve enjoyed seeing him in the new Star Wars films, I just feel he’s an actor who hasn’t gotten the appreciation he deserves, and for a while when I saw he was going to be in Pacific Rim: Uprising I had hopes that this could be the film that put him over the top.  He comes into Uprising playing Jake, the son of the famed hero of the jaeger/kaiju Stacker Pentecost who was played by Idris Elba.  He wants nothing to do with that legacy and instead has become a thief in the world that is still in ruins from the kaiju attacks that occurred ten years prior.  It’s while he is trying to steal tech from an old jaeger that he runs into Amara (Cailee Spaeny), who is stealing jaeger tech of her own so she can finish building one herself. The two, though, are eventually caught, and instead of serving jail time the powers that be decide to send them to Top Gun…I mean jaeger training.  How this makes any sense is a stretch at best, but this is a movie about monsters the size of skyscrapers, so logic I suppose should really be left at the ticket counter.

For some reason, adapting videogames into good films has been the nut Hollywood just can’t seem to crack. The Resident Evil series has been successful, but I wouldn’t say it really holds up to the game. Personally, Silent Hill has been the only adaption I’ve really enjoyed, and that film has divided fans as well. As for the Tomb Raider franchise that kicked off in 2001, sure it had some fun sequences. And with Angelina Jolie becoming a hot commodity at the time, it’s not too much of a surprise that it did well at the box office. Now 17 years later, the time has come for Tomb Raider to get a makeover and work its way through the reboot machine. This is a reboot, though, I don’t mind; after all, the videogame gave its featured character a makeover and decided to tell the story of a much younger Lara Croft. As for the film, how did it do as it followed the game's footsteps by casting a younger actress to fill the role?

Tomb Raider is kind of a big deal for Warner Bros. Sure, they kicked in a lot of money for this film but, more importantly, this was obviously a potential tentpole franchise that they hoped to squeeze several sequels out of. Because of the franchise potential, it is no surprise that they would cast a younger talent for the role of Lara Croft, and for me Alicia Vikander is great choice. For those unfamiliar with Vikander, I simply can’t recommend Ex Machina enough. Is she Angelina Jolie? No, but that’s okay; times have changed and, instead of sexualizing the role, we get a more grounded and relatable take on the character.

“We can't take any credit for our talents. It's how we use them that counts.”

Much has been made about the fact that Ava DuVernay's A Wrinkle in Time is the most expensive movie ever directed by a woman of color, carrying a reported $103 million price tag. The good news is the filmmaker has absolutely infused her own personality and perspective into this live-action Disney spectacle. (No small feat, by the way.) The bad news is that DuVernay has taken those considerable resources and made a wildly uneven movie that, at various points, somehow manages to look both way more expensive and way cheaper than its budget would suggest.

“Don’t give them all of you Dominika. Hold something back. That is how you will survive.”

There appears to be nothing Jennifer Lawrence can’t do: she is an Oscar winner, the face of a successful movie franchise, and now she is a Russian spy that specializes in seduction techniques. Now in the looks department, there are scores of men that would gladly hand over their social security number for the opportunity to be seduced by J Law, so her casting was a no brainer. But she went much deeper than that, showing an unparalleled intellect and natural aptitude for the world of espionage.

"Welcome to game night".

Everybody loves playing games. OK, most people like playing games. Friends have been getting together for game nights since there have been games. From the couples’ bridge days of the 1950's to poker night with the guys, most of us have gotten together to play some kind of a game with friends. The thing about games is that they're frivolous. Playing games with some buddies is a good excuse to kill a few hours, maybe have a few drinks. You're not solving the world's problems, and it's usually just a simple night of entertainment. The same can be said for New Line Cinema's Game Night starring Jason Bateman, Rachel McAdams, and Kyle Chandler. It's not an important film, and it isn't going to go down in the books as a timeless classic. It's a chance to get together with a few of our own friends and spend about 100 minutes or so having a few laughs and taking a break from all of those problems we're not solving. It wouldn't hurt to pick up an extra large tub of popcorn. Yeah, it'll kill you, but then you won't have so many of those problems, right?

Going into Annihilation a couple days ago I had only seen the trailer once but was excited for it based on the strength of Alex Gardner’s first directorial effort Ex Machina. The film is based on a series of books that I had never read, and from what I understand the film takes many liberties with the storyline and characters. As his sophomore effort behind the camera, there were high expectations for what Garland would do, and the result I believe is one of the most divisive films I’ve seen in a while. This is the kind of film that gets me excited for the future of cinema, not just because I loved the film, but I love the conversation it can provoke with other filmgoers.

The film has a non-linear narrative; really, this is my only complaint, since it opens virtually where our story is nearing its end. While I usually don’t have a problem with this kind of storytelling, I’m annoyed by it this time around, because all the suspense around the survival of our lead is stripped away. The film still manages to squeeze in some head-spinning surprises at the end, so I can easily put my one measly complaint aside.