Rocky Balboa is one of the all time great characters. ROCKY is one of the all time great movies. The franchise, like the character, has defied all the odds and stuck around for 40 years. There were ups and downs of course, but the sixth and intended last entry in 2006 proved that Stallone knew exactly how to retire the character. I find the first and sixth entries to be wonderful bookends to Rocky, and all would have been well if we never saw the character again.
But then director Ryan Coogler came up with CREED and proved that the champ still wasn't done.
Obviously, the movie is called CREED and not ROCKY, so Stallone takes a step back here. And that's OK, because Michael B. Jordan is great in the title role. His Adonis Creed is the result of an affair his father Apollo had just before his fight in ROCKY IV. His mother died while he was young and Apollo's widow tracked him down and took him in. Against her wishes he pursues boxing. His natural talent gets him quite far, but not far enough, and eventually he is drawn to Philadelphia in the hopes to get his father's greatest opponent to train him. Cue the montage.
Like I said, Jordan is great. Adonis is desperate to make his own way and thus fights under his mothers name, but he is also desperate to make a connection with his father. He immediately identifies Rocky as family, even calling him "Unc" (uncle) from their first meeting. Jordan sells all of this expertly, with anger, determination, and even excitement all screaming through his eyes. There is of course great physicality on display, but Jordan manages to say it all with very little.
The movie touches all the bases we expect it to with the training montages, the running through Philadelphia, and the edge of your seat fight sequences, but like the best of the franchise CREED shines when its characters are just sitting together and talking. Adonis gets a great love interest in Bianca, played by Tessa Thompson. Their first date is simply them talking over dinner, and director Coogler keeps it simple, allowing these two to get to know each other. They're two very likable characters, and while they don't quite live up to the pairing of Rocky and Adrian in the first film, they make for a great pair, pushing each other to be better. Great work from all involved.
But guys, Stallone is heartbreaking here. I honestly think this is his best performance. He has always had a bit of a droopy face, but age has exaggerated that droopiness, and with it comes an extra layer of sadness. Not only is Adrian gone, but so is Paulie. And his son, only seen in picture form, has moved to Vancouver. It doesn't help that the picture is of Stallone's real life son who passed away in 2012. UGH. But Stallone brings all of that baggage with him, and he finds a new reason to keep fighting. A new reason to give his all once again.
There is a lot of nostalgia at play in CREED, but none of it feels like fan service. It references the previous films but it doesn't rely on them. It's a natural extension. Everything that Rocky has been through these last 40 years is still there, and now he is able to put all of that knowledge and experience to use for the son of his greatest opponent. And I cried like a baby.
There are two main fight sequences in the movie, and the first is done in an incredible single take. The tension is high and Coogler puts you in the action and makes you feel every hit without sacrificing the geography of the scene.
But guys, the second and main fight. Guys. The Cold War isn't at stake here. No one has to avenge Mickey or Apollo. Adonis just has to prove himself, and the stakes couldn't be higher.
Some of the best moments of my movie-going career have been at the Alamo Drafthouse. The crowds there are exactly the kind of crowds you want to see a movie with. They cheer and laugh at all the right moments. The entire theater is united for two brief hours.
I did not see CREED at an Alamo Drafthouse.
But during that final fight, when Rocky's theme finally plays for the first and only time in the movie, the crowd gasped, and each and everyone of us in the theater instantly leaned forward, glued to the screen. This fight mattered. It meant everything. And it was glorious.
CREED is an amazing film. It confidently ranks among the best of the franchise and reminds us that life is the greatest fight of all. Cheesy? Yea, probably, but it's still fucking great.
Tuesday, November 24, 2015
Wednesday, October 7, 2015
The Sand
Well this opportunity fell in my lap. I was given the chance to review The Sand, a creature feature about a sand dwelling monster praying on a group of hungover college students who got more than they bargained for after a night of partying at the beach.
The film's press release describes itself as a loving homage to B-horror films like Tremors, and while I can't quite say that The Sand is anywhere near as funny or memorable as that great Bacon horror-comedy, the film still manages to do quite a bit with an equally silly premise and single location.
The movie starts off with a party fueled prologue that drops some very minor hints as to how the creature arrives on the beach, though it wisely avoids any real explanation, instead just taking its premise and running with it. The rest of the film follows a who's who of standard horror characters (The Blonde, The Jock, The Guy Best Friend, The Ex-Girlfriend) as they drop one by one trying to figure out how to get escape with their limbs and lives intact.
The Sand establishes its rules early on. If your skin touches the sand, the creature will slowly suck you in, tearing away skin and body parts along the way. As with any good monster movie, a lot of the fun comes with watching the characters try, and fail, to escape their horrible situation.
Now, writers Alex Greenfield and Ben Powell have made the welcome decision to actually make the characters smart and think out their actions, a rarity in the horror genre. Each time someone suggests an idea of what to do or how to escape, at least one other person offers a reason of why it works or why it doesn't, and it actually makes sense. It adds quite a bit of suspense and surprise to the proceedings, making trying to figure who dies next all the more complicated.
The cast is lively and game, and director Isaac Gabaeff helps the film fly by with its quick pace. The low budget is well hidden for the most part, with most of the big effects being saved for the finale. Some of the bloodier parts rely more on digital effects than I usually prefer, but the kills are slow and nasty as they should be in a film like this, which helps make up the difference.
Overall, The Sand is a quick and fun little monster flick that wears its B-horror movie roots on its sleeve. So if watching attractive twenty-somethings die one by one, check it out on VOD and DVD October 13.
The film's press release describes itself as a loving homage to B-horror films like Tremors, and while I can't quite say that The Sand is anywhere near as funny or memorable as that great Bacon horror-comedy, the film still manages to do quite a bit with an equally silly premise and single location.
The movie starts off with a party fueled prologue that drops some very minor hints as to how the creature arrives on the beach, though it wisely avoids any real explanation, instead just taking its premise and running with it. The rest of the film follows a who's who of standard horror characters (The Blonde, The Jock, The Guy Best Friend, The Ex-Girlfriend) as they drop one by one trying to figure out how to get escape with their limbs and lives intact.
The Sand establishes its rules early on. If your skin touches the sand, the creature will slowly suck you in, tearing away skin and body parts along the way. As with any good monster movie, a lot of the fun comes with watching the characters try, and fail, to escape their horrible situation.
Now, writers Alex Greenfield and Ben Powell have made the welcome decision to actually make the characters smart and think out their actions, a rarity in the horror genre. Each time someone suggests an idea of what to do or how to escape, at least one other person offers a reason of why it works or why it doesn't, and it actually makes sense. It adds quite a bit of suspense and surprise to the proceedings, making trying to figure who dies next all the more complicated.
The cast is lively and game, and director Isaac Gabaeff helps the film fly by with its quick pace. The low budget is well hidden for the most part, with most of the big effects being saved for the finale. Some of the bloodier parts rely more on digital effects than I usually prefer, but the kills are slow and nasty as they should be in a film like this, which helps make up the difference.
Overall, The Sand is a quick and fun little monster flick that wears its B-horror movie roots on its sleeve. So if watching attractive twenty-somethings die one by one, check it out on VOD and DVD October 13.
Saturday, February 21, 2015
Top Ten of 2014
Hey dudes. Last year was a pretty damn good time at the movies. So good that I still haven't had the chance to see all the ones I wanted to. Shit like Top Five, Whiplash, Foxcatcher, INHERENT VICE, and A Most Violent Year. There are others of course, and I'll get to them soon enough.
But for now I'd like to talk about some movies that I did see. First, I'm just gonna list off some movies that I really liked but don't feel like explaining why. So here that goes. The Hunger Games: Mockingjay-Part 1, The Lego Movie, X-Men: Days of Future Past, 22 Jump Street, Interstellar, Neighbors, The Interview, The One I Love, Noah, Lucy, Godzilla, Wild, Boyhood, Begin Again. Sabotage, Obvious Child, Nymphomaniac volumes I & II, Joe, The Guest, Enemy, Blue Ruin, A Most Wanted Man, Only Lovers Left Alive, Cold in July, Under The Skin. Shit man, I'm sure there are numerous films I'm forgetting, but these are the ones I remembered seeing and really liking while scouring Box Office Mojo.
And then were some films that I absolutely fucking loved that have just missed my top ten. Let's take a moment now and remember those that came THIS close to being honored.
Selma- Oof, what a movie. I realize the Oscars don't really mean much, but come on dudes. How could you screw this one up? Featuring a monumental performance from David Oyelowo as Martin Luther King, Jr, Selma is the movie Lee Daniels' The Butler wanted to be. A true movie of the moment, Selma features incredible control from director Ava DuVerrnay. Oh, and that script. The filmmakers did not have the rights to any of Dr. Kings speeches, and were forced to completely make up the ones featured in the film. Holy shit they do a great job. Not only do they capture the voice and power of King, but they write the best monologues of the year, period.
Edge of Tomorrow- My love of Tom Cruise should be new to none of you. Edge of Tomorrow only strengthens that love. Smart, funny and exciting, this movie was easily one of the best that came out in the summer months. Fucking watch it already.
Ok, the moment you (as in YOU, the one person who is reading this (me)) have all been waiting for, my favorite movies from 2014.
10. Guardians of the Galaxy- This movie rules. Chris Pratt rules. Zoe Saldana rules. Dave Bautista rules. Bradley Cooper rules. Vin Diesel is God. Easily one of my favorite theatrical experiences last year. Actually, this was probably the best audience I experienced in all my years in North Carolina. Everyone in the crowd was with this flick from the very beginning. That's what I really love about Guardians of the Galaxy. The movie as a whole is infectious. In Marvel I trust.
9. The Raid 2- I'll get this out of the way right off the bat, I love the first movie more. BUT, The Raid 2 is without a doubt an action masterpiece. I appreciate that the two films really mesh well together, especially as a double feature. The first is a breathless piece of action film making that never wastes a moment, and the second one slows it down, allowing you to catch your breath a bit. That is, until it decides to unleash some jaw dropping action in your lap. And yes, that final knife fight is as good as everyone says.
8. Dawn of the Planet of the Apes- I actually thought this was gonna be a bit higher on the list, but then all the other movies ended up being really good, so whatever. Anyway, this flick actually hit me pretty hard. It's a return to the roots of the original films, in that it actually attempts to play with ideas in a way that only good science fiction can do. I don't think this movie is as good as the originals are, but it comes damn close. Ugh, and that tank sequence. So good. ALSO, just give Andy Serkis all of it. Everything. The man is so god damned good that he deserves it all.
7. Nightcrawler- If Jake Gyllenhaal ever wins an Oscar, it's because he wasn't nominated for this movie. That's not entirely accurate of course, but you know, it is. Moving right along, Gyllenhaal's portrayal of Lou Bloom is an all-timer, a true cinematic creep. "What if my problem wasn't that I don't understand people but that I don't like them?" One of the coldest, scariest lines in a movie all year, and Gyllenhaal crushes it. Much credit is also due to director/writer Dan Gilroy for crafting such a cold and darkly funny movie.
6. Locke- "Traffic is fine." I uttered that line to myself in my absolute perfect Tom Hardy voice more than any line from a movie this year. Thankfully, Hardy continues giving incredible vocal performances, giving myself ample opportunities to perfect my already perfect Tom Hardy impression. Taking place entirely in the titular characters' car for 90 minutes as he talks to numerous people on the phone, the film avoids any gimmicky traits and instead becomes a fascinating study of a genuinely good and deeply flawed human being. I joke about Hardy's varying accents from film to film, but the fact is the guy is an incredible actor, and Locke is the best example of that yet. Quick sidenote, I just watched The Drop before writing this article, which also features Hardy and another great accent. It's entirely possible that if I had seen the film earlier or waited longer to write this and let it simmer in my brain that the movie could sneak up on this list. Either way, watch both movies and marvel at how good Hardy is.
5. John Wick- I love this movie. It's just so confident and fun, showing us a world of hit men that's only hinted at and leaves you wanting more. The action is straight forward and easy to follow, and of course awesome. John Wick shoots so many people in the face. No really, if he has the option to shoot someone in the face, he takes it pretty much every chance has. Honestly, John Wick is as good as it is because the film makers took the time to create a sympathetic hero, design exciting action sequences, and then followed through. Here's hoping that the sequel is just as good if not better.
4. Snowpiercer- Another great science fiction flick, I tried to write up a piece about it after my initial viewing and just could not get out what I wanted to say. Not really sure why. The film is so weird and totally OK with it. Filled with a great cast and fucking incredible production design, Snowpiercer is just a delight.
3. The Grand Budapest Hotel- Full disclosure, I really didn't care much for this one upon first viewing. Maybe it was the hype train, my mood or whatever, but this was a real miss for me. I love Wes Anderson of course. His last film, Moonrise Kingdom was one of my favorites of 2012, and I love just about every one of his other films. So I knew I had to give this one another shot. I don't know exactly what changed for me on that second viewing, but everything clicked. From the wonderfully funny and melancholy performance by Ralph Fiennes (the one true Oscar snub of 2014), to the amazing production design (a theme?) and whimsical nature that Anderson has adopted as of late. Simply put, The Grand Budapest Hotel hit me like a bag of bricks. So sad, yet so funny. So bright, yet so dark. So much is going on in this movie, and all of it so, so good that there really isn't enough space anywhere to truly talk about it.
2. Gone Girl- Oh man, this movie. So cold, so ice cold. Every time I watch Gone Girl I feel like I'm being cleansed, like every bad movie I watched before hand is being washed away. David Fincher makes is look effortless, because duh. The score slowly and quietly begins to haunt its way into you, and the screenplay is so funny and has such a twisted take on marriage, media, and people in general that I can't help but love it. Seriously though, this movie is funny. The blackest of black comedy, yes, but after multiple viewings there is no way that Fincher and screenwriter Flynn didn't intend for this to be a comedy. Affleck's awkward and ill-timed rendition of the Law & Order theme makes me laugh just thinking about it. So bleak, so mean, and so fucking good.
1. Captain America: The Winder Soldier- There wasn't a movie I revisited more than Captain America: The Winter Soldier in 2014. Not only is the movie incredible by itself, it's also a huge step forward for Marvel as a studio. They go out of their way to present the stakes here, effectively destroying the cinematic universe as we've come to know it. Now of course, I can't merit this film on the effect it has on other movies, but it makes life easy when the flick is just so damn good. The action is well put together by the Russo brothers, giving everyone a moment to shine. But more importantly, they give the man out of time such a great story that helps make him so, so relevant in today's world. Chris Evans owns this character just as much as Robert Downey, Jr owns Iron Man at this point, and his unwavering belief in what is right is perfectly sold by Evans. And again, the stakes in this movie are sky high, and the movie SELLS it! If shit goes wrong here, it really goes wrong everywhere. And that's what makes Captain America: The Winter Soldier so exciting. It matters what these characters do, it matters that they succeed. I cannot wait to see what these next few flicks in the Marvel Cinematic Universe have in store, because they will be directly influenced by this movie.
So there it is, the list that no one wanted.
Will I be on here more this year? I hope so. I still like movies, as the title of this blog implies, so hopefully I can find some time in my (not) busy schedule to ramble about my incredible opinions.
Until then, so long dudes.
But for now I'd like to talk about some movies that I did see. First, I'm just gonna list off some movies that I really liked but don't feel like explaining why. So here that goes. The Hunger Games: Mockingjay-Part 1, The Lego Movie, X-Men: Days of Future Past, 22 Jump Street, Interstellar, Neighbors, The Interview, The One I Love, Noah, Lucy, Godzilla, Wild, Boyhood, Begin Again. Sabotage, Obvious Child, Nymphomaniac volumes I & II, Joe, The Guest, Enemy, Blue Ruin, A Most Wanted Man, Only Lovers Left Alive, Cold in July, Under The Skin. Shit man, I'm sure there are numerous films I'm forgetting, but these are the ones I remembered seeing and really liking while scouring Box Office Mojo.
And then were some films that I absolutely fucking loved that have just missed my top ten. Let's take a moment now and remember those that came THIS close to being honored.
Selma- Oof, what a movie. I realize the Oscars don't really mean much, but come on dudes. How could you screw this one up? Featuring a monumental performance from David Oyelowo as Martin Luther King, Jr, Selma is the movie Lee Daniels' The Butler wanted to be. A true movie of the moment, Selma features incredible control from director Ava DuVerrnay. Oh, and that script. The filmmakers did not have the rights to any of Dr. Kings speeches, and were forced to completely make up the ones featured in the film. Holy shit they do a great job. Not only do they capture the voice and power of King, but they write the best monologues of the year, period.
Edge of Tomorrow- My love of Tom Cruise should be new to none of you. Edge of Tomorrow only strengthens that love. Smart, funny and exciting, this movie was easily one of the best that came out in the summer months. Fucking watch it already.
Ok, the moment you (as in YOU, the one person who is reading this (me)) have all been waiting for, my favorite movies from 2014.
10. Guardians of the Galaxy- This movie rules. Chris Pratt rules. Zoe Saldana rules. Dave Bautista rules. Bradley Cooper rules. Vin Diesel is God. Easily one of my favorite theatrical experiences last year. Actually, this was probably the best audience I experienced in all my years in North Carolina. Everyone in the crowd was with this flick from the very beginning. That's what I really love about Guardians of the Galaxy. The movie as a whole is infectious. In Marvel I trust.
9. The Raid 2- I'll get this out of the way right off the bat, I love the first movie more. BUT, The Raid 2 is without a doubt an action masterpiece. I appreciate that the two films really mesh well together, especially as a double feature. The first is a breathless piece of action film making that never wastes a moment, and the second one slows it down, allowing you to catch your breath a bit. That is, until it decides to unleash some jaw dropping action in your lap. And yes, that final knife fight is as good as everyone says.
8. Dawn of the Planet of the Apes- I actually thought this was gonna be a bit higher on the list, but then all the other movies ended up being really good, so whatever. Anyway, this flick actually hit me pretty hard. It's a return to the roots of the original films, in that it actually attempts to play with ideas in a way that only good science fiction can do. I don't think this movie is as good as the originals are, but it comes damn close. Ugh, and that tank sequence. So good. ALSO, just give Andy Serkis all of it. Everything. The man is so god damned good that he deserves it all.
7. Nightcrawler- If Jake Gyllenhaal ever wins an Oscar, it's because he wasn't nominated for this movie. That's not entirely accurate of course, but you know, it is. Moving right along, Gyllenhaal's portrayal of Lou Bloom is an all-timer, a true cinematic creep. "What if my problem wasn't that I don't understand people but that I don't like them?" One of the coldest, scariest lines in a movie all year, and Gyllenhaal crushes it. Much credit is also due to director/writer Dan Gilroy for crafting such a cold and darkly funny movie.
6. Locke- "Traffic is fine." I uttered that line to myself in my absolute perfect Tom Hardy voice more than any line from a movie this year. Thankfully, Hardy continues giving incredible vocal performances, giving myself ample opportunities to perfect my already perfect Tom Hardy impression. Taking place entirely in the titular characters' car for 90 minutes as he talks to numerous people on the phone, the film avoids any gimmicky traits and instead becomes a fascinating study of a genuinely good and deeply flawed human being. I joke about Hardy's varying accents from film to film, but the fact is the guy is an incredible actor, and Locke is the best example of that yet. Quick sidenote, I just watched The Drop before writing this article, which also features Hardy and another great accent. It's entirely possible that if I had seen the film earlier or waited longer to write this and let it simmer in my brain that the movie could sneak up on this list. Either way, watch both movies and marvel at how good Hardy is.
5. John Wick- I love this movie. It's just so confident and fun, showing us a world of hit men that's only hinted at and leaves you wanting more. The action is straight forward and easy to follow, and of course awesome. John Wick shoots so many people in the face. No really, if he has the option to shoot someone in the face, he takes it pretty much every chance has. Honestly, John Wick is as good as it is because the film makers took the time to create a sympathetic hero, design exciting action sequences, and then followed through. Here's hoping that the sequel is just as good if not better.
4. Snowpiercer- Another great science fiction flick, I tried to write up a piece about it after my initial viewing and just could not get out what I wanted to say. Not really sure why. The film is so weird and totally OK with it. Filled with a great cast and fucking incredible production design, Snowpiercer is just a delight.
3. The Grand Budapest Hotel- Full disclosure, I really didn't care much for this one upon first viewing. Maybe it was the hype train, my mood or whatever, but this was a real miss for me. I love Wes Anderson of course. His last film, Moonrise Kingdom was one of my favorites of 2012, and I love just about every one of his other films. So I knew I had to give this one another shot. I don't know exactly what changed for me on that second viewing, but everything clicked. From the wonderfully funny and melancholy performance by Ralph Fiennes (the one true Oscar snub of 2014), to the amazing production design (a theme?) and whimsical nature that Anderson has adopted as of late. Simply put, The Grand Budapest Hotel hit me like a bag of bricks. So sad, yet so funny. So bright, yet so dark. So much is going on in this movie, and all of it so, so good that there really isn't enough space anywhere to truly talk about it.
2. Gone Girl- Oh man, this movie. So cold, so ice cold. Every time I watch Gone Girl I feel like I'm being cleansed, like every bad movie I watched before hand is being washed away. David Fincher makes is look effortless, because duh. The score slowly and quietly begins to haunt its way into you, and the screenplay is so funny and has such a twisted take on marriage, media, and people in general that I can't help but love it. Seriously though, this movie is funny. The blackest of black comedy, yes, but after multiple viewings there is no way that Fincher and screenwriter Flynn didn't intend for this to be a comedy. Affleck's awkward and ill-timed rendition of the Law & Order theme makes me laugh just thinking about it. So bleak, so mean, and so fucking good.
1. Captain America: The Winder Soldier- There wasn't a movie I revisited more than Captain America: The Winter Soldier in 2014. Not only is the movie incredible by itself, it's also a huge step forward for Marvel as a studio. They go out of their way to present the stakes here, effectively destroying the cinematic universe as we've come to know it. Now of course, I can't merit this film on the effect it has on other movies, but it makes life easy when the flick is just so damn good. The action is well put together by the Russo brothers, giving everyone a moment to shine. But more importantly, they give the man out of time such a great story that helps make him so, so relevant in today's world. Chris Evans owns this character just as much as Robert Downey, Jr owns Iron Man at this point, and his unwavering belief in what is right is perfectly sold by Evans. And again, the stakes in this movie are sky high, and the movie SELLS it! If shit goes wrong here, it really goes wrong everywhere. And that's what makes Captain America: The Winter Soldier so exciting. It matters what these characters do, it matters that they succeed. I cannot wait to see what these next few flicks in the Marvel Cinematic Universe have in store, because they will be directly influenced by this movie.
So there it is, the list that no one wanted.
Will I be on here more this year? I hope so. I still like movies, as the title of this blog implies, so hopefully I can find some time in my (not) busy schedule to ramble about my incredible opinions.
Until then, so long dudes.
Saturday, November 15, 2014
Cage Rage
Nicolas Cage is a goddamn hero. The man has made so many good movies. Wild at Heart, Leaving Las Vegas, Raising Arizona, Con Air, The Rock, Face/Off, Bad Lieutenant: Port of Call New Orleans, just to name a few. But in the past few years, he has become a bit of a laughing stock. The internet certainly hasn't helped (or has it?), nor have direct to video offerings like Stolen, The Frozen Ground, or Seeking Justice.
But then I saw Joe, David Gordon Green's drama about a guy named Joe that hates cops, people who shoot him, and homeless dads that beat their hard working sons. The film itself is fantastic, but the fucking incredible performance by Cage is what sends this already great film over the top. His character is one filled with regret, constantly having to keep his rage at bay. Even with small bursts of violence, Cage is actually quite nuanced in the film, filled with bits of odd humor and great humility that only someone like Cage can deliver.
I've met numerous people in the past few years who've never known Cage to be anything other than a joke. Granted, these people are children compared to my old age, but they've only known him as the man who saved the Declaration of Independence, or this. Or, as I mentioned earlier, as the star of numerous recent films that look and feel as if they were made 15 years ago. So I can't blame them, really. And to be fair, I also enjoy watching Cage in a film called Rage as much as the next guy. Shit, The Wicker Man is one of the all time great "How does this exist?" films, top to bottom.
But when Cage goes and delivers one of his best performances and reminds people that he really is the shit, I expect people to take notice. Yet Joe came and went. Honestly, I get it. It's a small independently made film, and was never going to get a huge release. And Green, when not working with the likes of Seth Rogen or Danny McBride, tends to make realistic and unsettling films that rarely reach mainstream audiences. But damnit, the film was great, and was even met with high praise (!) from the film community.
So what the fuck? Even with all the shit that has made up his career the last 15 years or so, Cage seems to come back every few years with a genuinely great performance. For every Windtalkers, there's an Adaptation. Bangkok Dangerous sucks, you say? How about Matchstick Men? "But Jordan, Captain Corelli's Mandolin was terrible!" "Fuck you, Lord of War is great!" Ok fine, those are all at least 10 years old. Well, he was amazing and hilarious in Kick-Ass, and his reprisal of Ghost Rider in Ghost Rider: Spirit of Vengeance was the kind of lunacy that us true Cage fans know and love.
Why then is this beloved icon sitting in Hollywood's shitter? And before you say " Well he did it to himself, not paying taxes blah blah blah." Fuck that. Hollywood loves a comeback, and Cage's performance in Joe is just that, even though he never actually stopped being great.
Look, I guess all I'm saying is, please don't forget about the Cage. Don't forget how good he can be. How funny he can be. How fucking insane he can be. The man is a legend, and he deserves to be treated as such.
But then I saw Joe, David Gordon Green's drama about a guy named Joe that hates cops, people who shoot him, and homeless dads that beat their hard working sons. The film itself is fantastic, but the fucking incredible performance by Cage is what sends this already great film over the top. His character is one filled with regret, constantly having to keep his rage at bay. Even with small bursts of violence, Cage is actually quite nuanced in the film, filled with bits of odd humor and great humility that only someone like Cage can deliver.
I've met numerous people in the past few years who've never known Cage to be anything other than a joke. Granted, these people are children compared to my old age, but they've only known him as the man who saved the Declaration of Independence, or this. Or, as I mentioned earlier, as the star of numerous recent films that look and feel as if they were made 15 years ago. So I can't blame them, really. And to be fair, I also enjoy watching Cage in a film called Rage as much as the next guy. Shit, The Wicker Man is one of the all time great "How does this exist?" films, top to bottom.
But when Cage goes and delivers one of his best performances and reminds people that he really is the shit, I expect people to take notice. Yet Joe came and went. Honestly, I get it. It's a small independently made film, and was never going to get a huge release. And Green, when not working with the likes of Seth Rogen or Danny McBride, tends to make realistic and unsettling films that rarely reach mainstream audiences. But damnit, the film was great, and was even met with high praise (!) from the film community.
So what the fuck? Even with all the shit that has made up his career the last 15 years or so, Cage seems to come back every few years with a genuinely great performance. For every Windtalkers, there's an Adaptation. Bangkok Dangerous sucks, you say? How about Matchstick Men? "But Jordan, Captain Corelli's Mandolin was terrible!" "Fuck you, Lord of War is great!" Ok fine, those are all at least 10 years old. Well, he was amazing and hilarious in Kick-Ass, and his reprisal of Ghost Rider in Ghost Rider: Spirit of Vengeance was the kind of lunacy that us true Cage fans know and love.
Why then is this beloved icon sitting in Hollywood's shitter? And before you say " Well he did it to himself, not paying taxes blah blah blah." Fuck that. Hollywood loves a comeback, and Cage's performance in Joe is just that, even though he never actually stopped being great.
Look, I guess all I'm saying is, please don't forget about the Cage. Don't forget how good he can be. How funny he can be. How fucking insane he can be. The man is a legend, and he deserves to be treated as such.
Sunday, October 26, 2014
John Wick
Well guys, I love this movie. I love it so much. Even with a fair amount of hype and expectations, John Wick turned out to be every bit as enjoyable and exciting as I wanted it to be thanks to some great casting, confident world building, and amazingly staged action.
As a whole, John Wick is a pretty simple movie with a straightforward revenge plot. Wick, once a very successful hit man, is grieving the loss of his wife when he finds out she arranged for a puppy to be delivered on the night of her funeral so that he can still have something to love. Not two days later though, the scummy son of the local crime lord, who has no idea who Wick is mind you, sneaks into Wick's home, beats him to hell, steals his car and then goes and kills his god damned dog.
Mother fucker.
Shit gets real from there, with Wick going on quite the rampage shooting as many people in the face as possible.
Again, this is all pretty straightforward, and some could even argue standard, for an action movie (if shooting people in the face isn't standard for an action movie by now, it certainly should be). But directors David Leitch, Chad Stahelski and writer Derek Kolstad have fun playing with the little details of the movie.
As Wick walks back into his old life, we are given little bits of information here and there as to how this particular world of hit men works, but for the most part it's presented as is. A "take it or leave it" kind of attitude, and I love it.
For example, as Wick digs up his old stash of weapons, included are numerous gold coins. Wick uses them to get into "The Continental", the local hotel that caters specifically to hit men. It's clear that these coins aren't just used for currency, but more of a symbol or gesture, for what exactly we're never told. The movie is filled with little nuggets like this, a history only hinted at if you will, and it makes for a lot of fun.
The cast of this movie is also quite ridiculous. John Leguizamo and Ian McShane pop up for maybe 2 minutes each, but their respective scenes are made that much better simply because it's John Leguizamo and Ian McShane. In fact, the more I think about Leguizamo's scene the more I love it. He shows up early, right after Wick has been robbed. He runs some kind of car stealing racket, and that scum of a son shows up on his door step with Wick's car. Instantly he can tell just how bad shit is going to get, and Leguizamo sells it perfectly.
Then you have Willem Dafoe being awesome as Willem Dafoe does. Lance Reddick and Clarke Peters ( Lt. Daniels and Det. Lester Freamon, you know, from THE WIRE) pop up briefly and it's amazing just because. Alfie Allen, of Game of Thrones fame, stars as the scummy son and he plays scummy really well. From the first moment you see him you kind of just want to see him be shot in the face. SPOILER- you get to see him shot in the face.
I'm gonna take a moment now and brag about Adrienne Palicki. Personally, I know and love her from the Friday Night Lights television show. She was great in it (despite a horrible 2nd season plotline) but outside of that she hasn't really had the best of luck. In John Wick though, she makes the most of her bit part, including a show stopping fight between her and our titular hero. It shows just how great of a screen presence she can be, as well as how great of an action performer she is.
This is the directing debut for Leitch and Stahelski, but if you look at their IMDB pages here and here, it will come as no surprise that the action on display in John Wick is as good as it is. Easy to follow and filled with many, many gunshots to the face. Even in the darkest of settings, the rookie directors make sure you can tell exactly what is happening, not to mention the fact that the action itself is damn exciting.
And of course, this brings us to Keanu. I've always loved Keanu, and always will. I honestly don't think he receives enough credit. Sure, he's not the most versatile, but paired with the right director, the right script, he can be quite effective. As he's aged ( has he?) he seems to have a self awareness now, and he's been making choices that really play to his strengths, and the action genre is most definitely one of his strengths. In short, Keanu kicks fucking ass in this movie. The directors give us numerous shots of Reeves doing his own stunts, both in fight scenes and car chases, and he's a natural. I completely believe that he could destroy me (as I believe most people could), and even better is that Reeves seems to be having just as much fun doing this stuff as the audience is watching him.
Dudes, I really, really love this movie. It's fun, brutal and it features an adorable puppy (that dies *aww* and then gets REVENGED!). Watch John Wick. Watch it, and love it.
Monday, September 29, 2014
The Equalizer
The Equalizer, starring Denzel Washington, is an adaptation of the 1980s television show in which a retired intelligence officer offers his services to people who feel the odds are stacked against them.
I've never seen an episode of the TV show, but having seen the movie I can absolutely tell you it's not a very good (or at least faithful) adaptation. In fact, it's apparent the film makers only called this film The Equalizer for brand recognition, as the only trace of similarity the film shares with the show (aside from the lead characters name) comes at the tail end of the movie, and even then it feels like the filmmakers tacked it on at the last minute when they realized actual fans of the show might want to see a movie called The Equalizer have something in common with the television show on which it's based.
OK, the same argument could be said for the adaptation of The A-Team a few years ago. The film served as a set up for a franchise of course, and only during the end credits of the film was there a mention of the team being soldiers for hire. But, you know, at least the film tried to make the characters recognizable from the show, as well as embodying the same sense of fun and adventure that made the show so easy to watch. Honestly, I really enjoyed that movie and I thought it was a great set up for further adventures, but I digress.
I know it's weird to be so upset about a failed adaptation of a television program I never watched, but it really bothers me that since the filmmakers couldn't make a fun or entertaining movie with Denzel Washington kicking ass and taking names (which has been done several times before, to my great enjoyment) I at least figured they would make an effort to TRY an actual adaptation of the show. Instead, director Antoine Fuqua clumsily goes back and forth between TGIF sitcom sweetness to extreme, over the top violence, resulting in an awkward tone that never finds its groove.
Actually, Fuqua's previous film, Olympus Has Fallen had similar problems. The tone of that movie was a little more consistent, but it all felt a little forced, like Fuqua thought he was making more of a badass action film than he actually was. The violence in that film was extremely graphic as well, almost too much so like The Equalizer. Normally I'm all for over the top and gratuitous violence, but Fuqua seems to have no real understanding of how to use the violence for any kind of impact on the viewer. Usually such violence in film in used to elicit some kind of response from the audience, whether it's visceral or dramatic or entertaining or funny, it can be quite a tool for any gifted filmmaker.
But Fuqua seems to think that just by putting graphic violence onscreen that we will cheer it on. After all, Denzel is killing some really bad guys. But it all just comes off as ugly as opposed to fun.
As I mentioned earlier though, the films worst offense is probably the tone. As the film opens, Washington is helping a fellow employee at his Home Depot-like store to lose weight so he can qualify for a security job at said store. The interaction between the two characters and all the other employees is so sweet and silly and contrived that it feels like Family Matters with cursing. It gets even weirder during the films big climax when those characters meet up with the main villains, a group of Russian mobsters (!), and another sequence of out of place violence ensues.
Chloe Grace Moretz is all but wasted as the teenage hooker that serves as the catalyst for getting Washington out of retirement. I'm not sure if it's a script problem or simple miscasting, but Moretz never feels anything like an actual character and instead just comes off as a young actress made up to look rough. It doesn't help that she disappears for most of the movie only to turn up at the very end all cleaned up and talking up the fact that she now reads books.
I guess the sole good thing I have to say about The Equalizer is that Denzel Washington is fine. He certainly doesn't embarrass himself but it's a role he can do in his sleep at this point, though thankfully he doesn't seem to be doing so here. Actually, there is one sequence in the film where Washington walks away from an explosion without looking back that is so silly and oddly put together by Fuqua that it actually borders on self parody, so there's that.
Overall, The Equalizer a non adaptation of the TV show on which it is based, as well as a boring and tonally confused mess of an action movie.
I've never seen an episode of the TV show, but having seen the movie I can absolutely tell you it's not a very good (or at least faithful) adaptation. In fact, it's apparent the film makers only called this film The Equalizer for brand recognition, as the only trace of similarity the film shares with the show (aside from the lead characters name) comes at the tail end of the movie, and even then it feels like the filmmakers tacked it on at the last minute when they realized actual fans of the show might want to see a movie called The Equalizer have something in common with the television show on which it's based.
OK, the same argument could be said for the adaptation of The A-Team a few years ago. The film served as a set up for a franchise of course, and only during the end credits of the film was there a mention of the team being soldiers for hire. But, you know, at least the film tried to make the characters recognizable from the show, as well as embodying the same sense of fun and adventure that made the show so easy to watch. Honestly, I really enjoyed that movie and I thought it was a great set up for further adventures, but I digress.
I know it's weird to be so upset about a failed adaptation of a television program I never watched, but it really bothers me that since the filmmakers couldn't make a fun or entertaining movie with Denzel Washington kicking ass and taking names (which has been done several times before, to my great enjoyment) I at least figured they would make an effort to TRY an actual adaptation of the show. Instead, director Antoine Fuqua clumsily goes back and forth between TGIF sitcom sweetness to extreme, over the top violence, resulting in an awkward tone that never finds its groove.
Actually, Fuqua's previous film, Olympus Has Fallen had similar problems. The tone of that movie was a little more consistent, but it all felt a little forced, like Fuqua thought he was making more of a badass action film than he actually was. The violence in that film was extremely graphic as well, almost too much so like The Equalizer. Normally I'm all for over the top and gratuitous violence, but Fuqua seems to have no real understanding of how to use the violence for any kind of impact on the viewer. Usually such violence in film in used to elicit some kind of response from the audience, whether it's visceral or dramatic or entertaining or funny, it can be quite a tool for any gifted filmmaker.
But Fuqua seems to think that just by putting graphic violence onscreen that we will cheer it on. After all, Denzel is killing some really bad guys. But it all just comes off as ugly as opposed to fun.
As I mentioned earlier though, the films worst offense is probably the tone. As the film opens, Washington is helping a fellow employee at his Home Depot-like store to lose weight so he can qualify for a security job at said store. The interaction between the two characters and all the other employees is so sweet and silly and contrived that it feels like Family Matters with cursing. It gets even weirder during the films big climax when those characters meet up with the main villains, a group of Russian mobsters (!), and another sequence of out of place violence ensues.
Chloe Grace Moretz is all but wasted as the teenage hooker that serves as the catalyst for getting Washington out of retirement. I'm not sure if it's a script problem or simple miscasting, but Moretz never feels anything like an actual character and instead just comes off as a young actress made up to look rough. It doesn't help that she disappears for most of the movie only to turn up at the very end all cleaned up and talking up the fact that she now reads books.
I guess the sole good thing I have to say about The Equalizer is that Denzel Washington is fine. He certainly doesn't embarrass himself but it's a role he can do in his sleep at this point, though thankfully he doesn't seem to be doing so here. Actually, there is one sequence in the film where Washington walks away from an explosion without looking back that is so silly and oddly put together by Fuqua that it actually borders on self parody, so there's that.
Overall, The Equalizer a non adaptation of the TV show on which it is based, as well as a boring and tonally confused mess of an action movie.
Tuesday, September 9, 2014
Lords of Dogtown
It's been almost a decade since I last watched the documentary Dogtown and Z-Boys and the subsequent feature version, Lords of Dogtown, both of which chronicle the legendary Zephyr skateboarding group that's largely credited for inventing skateboarding as we know it today. I remember liking both, especially the documentary, so when they popped up on Netflix a few weeks ago I figured now was a great time to revisit the flicks.
The documentary holds up well as an entertaining, if somewhat biased look at the group. Not a huge surprise given the fact that the films director was original Z-Boy Stacy Peralta. Either way, I enjoyed it again and was very curious to see how the feature held up.
And dudes, I was a little surprised at just how terrible it is. Filled with awful acting, hokey cameos and a tone that wants to be a lot edgier than it actually is, Lords of Dogtown is a straight up mess.
As with any adaptation of anything, things are going to change from the original property to the new one. It's just part of the deal, and usually, it makes sense. But Peralta, making his feature screenwriting debut, takes the already interesting story of these kids, and throws in every rags to riches cliche in the book. It certainly doesn't help that Peralta makes himself out to be the angel of the entire group. The only one with any kind of decency or loyalty out of the bunch, with everyone else instantly growing giant egos and seeing dollar signs upon the first sign of fame.
Of course, it's entirely possible that that's how it happened. That stuff wasn't in the documentary, but it still could have gone down that way. And besides, even if it didn't, this isn't supposed to be the documentary. This is the dramatization, meant more for entertainment than anything else. And if it had been done well, it wouldn't have bothered me, but it seems as if Peralta just added that stuff in for the sake of being dramatic as opposed to letting any of the drama feel interesting or organic to the story itself.
Ok, so having Peralta write the screenplay was a big mistake, but having director Catherine Hardwicke at the helm was not, for the most part at least. Hardwicke employed a bleached out effect to the camera work that was extremely popular in the mid-aughts for whatever reason, but it works here. Also, she makes sure the footage of these kids skating is just as accurate and fascinating as the real footage from the documentary, even going so far as to mimic some of the shots that Peralta would become famous for in his Bones Brigade skating videos. Hardwicke even assembled a who's who of young performers to star in the flick, including Heath Ledger, Emile Hirsch, Nikki Reed and Johnny Knoxville, among others. Unfortunately, this is where Hardwicke trips up a bit.
Look, I love Emile Hirsch. I think he can be a great actor. His work in Into the Wild is incredible, I'm a huge supporter of Speed Racer and his most recent work in Prince Avalanche is a hoot. But Hirsch is terrible here. He plays Jay Adams, the youngest and wildest of the bunch. The documentary does a great job conveying Adams' spirit and rambunctiousness, but in the movie Hirsch just keeps making weird faces, leaning his head back and widening his eyes. In other words, he tries really hard to be tough and crazy but just comes off as goofy.
And guys, Heath Ledger is bad in this movie. Really bad. His character, one of the founders of the Zephyr group, is seemingly nothing like he was in real life, at least in comparison to the documentary. Which, again, I wouldn't have cared if it worked in the context of the movie, but it doesn't. Heath simply made a choice and ran with it. He employs some kind of surfer dude accent, says "man" a whole lot and acts spaced out for the majority of the movie.
Now, let it be known that Heath Ledger was great. I know it, everybody knows it. And honestly, I really like it when actors make choices like Heath did here. But sometimes actors need to be reigned in, and this was one of those times. But Hardwicke is pretty absent in this instance. She doesn't seem to be able to give any real kind of direction to these actors. To be fair, a lot of the fault lies in the script. And maybe she thought that letting these kids interpret the lines their own way would help the film feel authentic to the way teenagers really talk. But what was meant to feel authentic comes off as amateurish, and a lot of the fault in that area lies with Hardwicke.
As for the tone of the movie, I get the feeling that it really wants to feel dangerous, something the documentary was successful at conveying as these kids tore though what was believed to be the limits of professional skateboarding. As you might be able to guess though, the feature film does not have a dangerous bone in its body.
Oh, I also mentioned that the film has some hokey cameos, and upon reflection that's not entirely true. A few of the original Z-boys pop up quickly in amusing cameos that only hardcore fans would be able to notice. They're fun and harmless and don't detract anything from the movie. But Tony Hawk shows up in a moment that is so *nudge nudge* *wink wink* that it's cringe inducing. I don't really have anything else to say about it, honestly. I just hated it and I needed you to know.
I haven't even gotten into the subplot about the kid with a brain tumor, and you know what, I don't think I will. Suffice it to say the movie doesn't handle it very well and decides to treat more like a joke than anything else.
Alright, well, I didn't like this movie, obviously. I'm a little surprised to find that a lot of you guys do, though. Have you all watched it recently? I can certainly see how it might have been a draw for some of you back in the day. Hell I even mentioned earlier that I remember liking it ten years ago. It has a great cast and an interesting story, it just turns out that the movie is quite terrible as opposed to good like we all thought. Don't worry guys, this isn't a holy grail film from our youth that we're terrified of ruining, it's just a really bad movie.
The documentary holds up well as an entertaining, if somewhat biased look at the group. Not a huge surprise given the fact that the films director was original Z-Boy Stacy Peralta. Either way, I enjoyed it again and was very curious to see how the feature held up.
And dudes, I was a little surprised at just how terrible it is. Filled with awful acting, hokey cameos and a tone that wants to be a lot edgier than it actually is, Lords of Dogtown is a straight up mess.
As with any adaptation of anything, things are going to change from the original property to the new one. It's just part of the deal, and usually, it makes sense. But Peralta, making his feature screenwriting debut, takes the already interesting story of these kids, and throws in every rags to riches cliche in the book. It certainly doesn't help that Peralta makes himself out to be the angel of the entire group. The only one with any kind of decency or loyalty out of the bunch, with everyone else instantly growing giant egos and seeing dollar signs upon the first sign of fame.
Of course, it's entirely possible that that's how it happened. That stuff wasn't in the documentary, but it still could have gone down that way. And besides, even if it didn't, this isn't supposed to be the documentary. This is the dramatization, meant more for entertainment than anything else. And if it had been done well, it wouldn't have bothered me, but it seems as if Peralta just added that stuff in for the sake of being dramatic as opposed to letting any of the drama feel interesting or organic to the story itself.
Ok, so having Peralta write the screenplay was a big mistake, but having director Catherine Hardwicke at the helm was not, for the most part at least. Hardwicke employed a bleached out effect to the camera work that was extremely popular in the mid-aughts for whatever reason, but it works here. Also, she makes sure the footage of these kids skating is just as accurate and fascinating as the real footage from the documentary, even going so far as to mimic some of the shots that Peralta would become famous for in his Bones Brigade skating videos. Hardwicke even assembled a who's who of young performers to star in the flick, including Heath Ledger, Emile Hirsch, Nikki Reed and Johnny Knoxville, among others. Unfortunately, this is where Hardwicke trips up a bit.
Look, I love Emile Hirsch. I think he can be a great actor. His work in Into the Wild is incredible, I'm a huge supporter of Speed Racer and his most recent work in Prince Avalanche is a hoot. But Hirsch is terrible here. He plays Jay Adams, the youngest and wildest of the bunch. The documentary does a great job conveying Adams' spirit and rambunctiousness, but in the movie Hirsch just keeps making weird faces, leaning his head back and widening his eyes. In other words, he tries really hard to be tough and crazy but just comes off as goofy.
And guys, Heath Ledger is bad in this movie. Really bad. His character, one of the founders of the Zephyr group, is seemingly nothing like he was in real life, at least in comparison to the documentary. Which, again, I wouldn't have cared if it worked in the context of the movie, but it doesn't. Heath simply made a choice and ran with it. He employs some kind of surfer dude accent, says "man" a whole lot and acts spaced out for the majority of the movie.
Now, let it be known that Heath Ledger was great. I know it, everybody knows it. And honestly, I really like it when actors make choices like Heath did here. But sometimes actors need to be reigned in, and this was one of those times. But Hardwicke is pretty absent in this instance. She doesn't seem to be able to give any real kind of direction to these actors. To be fair, a lot of the fault lies in the script. And maybe she thought that letting these kids interpret the lines their own way would help the film feel authentic to the way teenagers really talk. But what was meant to feel authentic comes off as amateurish, and a lot of the fault in that area lies with Hardwicke.
As for the tone of the movie, I get the feeling that it really wants to feel dangerous, something the documentary was successful at conveying as these kids tore though what was believed to be the limits of professional skateboarding. As you might be able to guess though, the feature film does not have a dangerous bone in its body.
Oh, I also mentioned that the film has some hokey cameos, and upon reflection that's not entirely true. A few of the original Z-boys pop up quickly in amusing cameos that only hardcore fans would be able to notice. They're fun and harmless and don't detract anything from the movie. But Tony Hawk shows up in a moment that is so *nudge nudge* *wink wink* that it's cringe inducing. I don't really have anything else to say about it, honestly. I just hated it and I needed you to know.
I haven't even gotten into the subplot about the kid with a brain tumor, and you know what, I don't think I will. Suffice it to say the movie doesn't handle it very well and decides to treat more like a joke than anything else.
Alright, well, I didn't like this movie, obviously. I'm a little surprised to find that a lot of you guys do, though. Have you all watched it recently? I can certainly see how it might have been a draw for some of you back in the day. Hell I even mentioned earlier that I remember liking it ten years ago. It has a great cast and an interesting story, it just turns out that the movie is quite terrible as opposed to good like we all thought. Don't worry guys, this isn't a holy grail film from our youth that we're terrified of ruining, it's just a really bad movie.
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