Monday, April 22, 2013

To the Wonder Review

Rated R (Some Sexuality/Nudity)

Running Time: 1 Hour & 53 Minutes

Cast-
Ben Affleck-Neil
Olga Kurylenko-Marina
Rachel McAdams-Jane
Javier Bardem-Father Quintana
Tatiana Chiline-Tatiana
Romina Mondello-Anna
Tony O'Gans-Sexton
Charles Baker-Carpenter
Marshall Bell-Bob

Directed by Terrence Malick

Let there be twirling: Ben Affleck and Olga Kurylenko in Terrence Malick's latest film, "To the Wonder."

Note: Viewed through Video on Demand. In English, French, and Spanish with English subtitles.

Terrence Malick doesn't make films; he creates visual poems. Anybody who's ever sat in a high school English class probably struggled with poetry at some point as it is one of the most difficult forms of writing to define. Just as a painter uses color on a canvas, poets use words to convey a certain emotion or idea and sometimes this can lean toward the abstract, resulting in a lot of hair-pulling as you try to discern the author's meaning. This pretty much sums up Malick's work, who continues to shed all forms of conventional narrative with each successive film. Seven months shy of hitting seventy, the notoriously reclusive director has made only five features since 1973, with a twenty year gap between "Days of Heaven" and "The Thin Red Line," followed by another seven year hiatus for "The New World." Premiering at the 2011 Cannes Film Festival, Malick's last film, the highly anticipated "Tree of Life," was met with boos and applause but despite its mixed reception, it nonetheless won the prestigious Palme d'Or award. A drama set against the backdrop of the entire universe, "The Tree of Life" is without a doubt one of the best films I have ever seen and is the very definition of a masterpiece. Watching the formation of the universe while Zbigniew Preisner's Lacrimosa played in the background was not only mesmerizing, it moved me to tears. Thankfully, I didn't have to wait long for Malick's next feature and less than two years later we have "To the Wonder." I don't know if it's because he's starting to feel his age but his sudden burst of creative energy recently is rather surprising, with three projects currently in various stages of post-production. However, this runs the risk of suffering a loss in quality and unfortunately, that is exactly what happens with his latest film. Its images are immaculately shot and beautifully framed but "To the Wonder" represents a rare misstep for the elusive director and will likely leave most viewers cold as there's no emotional center to latch onto.

Neil (Ben Affleck), an American in Paris, and single mother Marina (Olga Kurylenko) are madly in love. The two travel 'to the wonder'—Le Mont Saint-Michel in Normandy, France—before Neil returns home to Bartlesville, Oklahoma. He brings Marina and her ten-year-old daughter Tatiana (Tatiana Chiline) with him. Balancing his work as an environmental inspector with his newfound familial responsibilities, Neil's domestic bliss with Marina proves to be short-lived. They soon grow distant and with Tatiana having trouble adjusting to life in America, Marina decides to end her relationship with Neil and flies back to Paris when her visa expires. Later, Neil reconnects with an old flame, Jane (Rachel McAdams), and the two quickly rekindle their romance. However, he cuts their love affair short upon learning that Marina is unhappy and desperately wants to return to the United States. Meanwhile, a priest named Father Quintana (Javier Bardem) finds himself experiencing a severe crisis of faith while trying to care for the more needy souls among his flock.

'What the f*ck did I just watch?' It is almost never a good sign if that is the first thought that pops in your head after viewing a film. Directors like Christopher Nolan and Danny Boyle have played around with narrative structure in their respective films but for Terrence Malick, it's a whole new ball game. His stories are akin to a visual doodle (and I mean this in the nicest way possible) built out of what critic Bilge Ebiri describes as 'fragmentary moments, glimpses of memories, and occasionally even visions.' Loosely autobiographical (Malick spent much of the 1980's living in Paris with his second wife Michele Morette. The two divorced in 1998 and shortly after, Malick married Alexandra Wallace, a former childhood sweetheart), "To the Wonder" opens with Neil and Marina sitting in a train in Paris and enjoying each other's company. They are in the early days of a love affair, with Marina comparing herself to a 'newborn' in a whispered voiceover. Despite their intense passion for each other, it's immediately clear that the two aren't as close as they appear to be. There's a certain aloofness to Neil's demeanor. He always resides at the edge of the frame while Marina is often in the center, caught up in her newfound feelings of romance. For her, it is like a dream and she believes that with Neil, she'll forever be at peace. Out of the blue, Neil asks Marina and her pre-teen daughter Tatiana to come live in America with him but once in Oklahoma, the cracks in their relationship start to show. Tatiana is the first to notice her mother's unhappiness  and Neil, while genuinely caring, is noncommittal when it comes to the prospects of marriage. At the end of the first act, Marina decides to return to Paris with her daughter.

Malick's films may lack a narrative but they're always thematically ambitious. "The Tree of Life" focused on Sean Penn's character coming to terms with his brother's death while exploring several existential concepts such as life and death. The focus in "To the Wonder"  is on love and Malick distills the 'story' to its barest emotions. Unfortunately, you never feel the passion or the intimacy because the characters are little more than ciphers. When Neil and Marina (or Jane) start fighting, we're unable to feel their pain since we don't even know what they're fighting about. The softly whispered voiceover and constant twirling from the female cast drain the film of its meaning and turns it into a self-parody. And have I mentioned the twirling? Man, there is a lot of twirling here. Marina twirls in the house, she twirls in the fields, and she even twirls in the supermarket! Hell, Jane also joins in on the fun. The impressionistic approach that Malick employs proves to be the film's undoing. I just found myself unable to care about the characters as there's nothing to latch onto. Even Father Quintana's subplot goes nowhere. His doubts on the existence of God and his struggle to reconcile his faith with the daily suffering he sees is potent material yet it seems like it was tossed as an afterthought. Quintana barely interacts with the other characters anyway and the conversations he has with them, or any conversation for that matter, are barely audible.

The best elements of "To the Wonder" are the visuals and the score. Reuniting with cinematographer Emmanuel Lubezki, Malick fills every frame with gorgeous scenery. Immaculately shot, the magic hour photography lends the film a dreamy tranquility. Its picturesque landscapes of Middle America nostalgically recalls a more innocent time. My only gripe is that the handheld camerawork can at times be more of a distraction with its lingering close-ups. Hanan Townshend's luscious score creeps in the background, complemented by an eclectic selection of classical music ranging from Berlioz to Bach and of course, Francisco Lupica's famous Cosmic Beam Experience.

Given that there's so little dialogue, it's hard to sufficiently judge the performances. Ben Affleck may have 'read works by Tolstoy, Dostoevsky and F. Scott Fitzgerald, and watched movies starring Gary Cooper to shape [his] character' but all that homework must've been left on the cutting room floor. He's still the lead and anchors all three acts yet Affleck is a non-entity here who constantly wavers in and out the frame. Honestly, it's like watching a rock. Rachel McAdams pops in for fifteen minutes in what amounts to a glorified cameo while Javier Bardem spends his scenes glumly staring off into space. The only cast member to leave a memorable impression is Olga Kurylenko. She makes for an ethereal  presence and dare I say, saves the film from becoming a total disaster.

Released in a limited number of theaters and also available on VOD since April 12, 2013, "To the Wonder" has received largely mixed reviews with 42% on Rotten Tomatoes. Critics noted that it continues to 'demonstrate Terrence Malick's gift for beautiful images, but its narrative is overly somber and emotionally unsatisfying.' Similar to "The Tree of Life," the film was met with boos and applause during its premiere at last year's Venice Film Festival. I don't imagine it finding much of a wide audience either. If there's one thing the masses hate, its experimental films. "To the Wonder" is a far cry from Malick's previous work and yet I still recommend people watch it partly because we don't usually get films like these all that often. It may be a failure all right but at least it's an interesting one at that.

Final Rating: 2.5 out of 5

"What is this love that loves us? That comes from nowhere? From all around? The sky. You, cloud. You love me, too." 

Saturday, April 20, 2013

Oblivion - The IMAX Experience Review

Rated PG-13 (Sci-Fi Action Violence, Brief Strong Language, and Some Sensuality/Nudity)

Running Time: 2 Hours & 6 Minutes

Cast-
Tom Cruise-Jack Harper
Olga Kurylenko-Julia Rusakova
Andrea Riseborough-Victoria Olsen
Morgan Freeman-Malcolm Beech
Nikolaj Coster-Waldau-Sykes
Melissa Leo-Sally
Zoe Bell-Kara

Directed by Joseph Kosinski
Director Joseph Kosinski creates a stunning post-apocalyptic world in his latest film, "Oblivion," starring Tom Cruise.
Note: Screened on Monday, April 15, 2013 at AMC Loews 34th Street 14.

Back in the 'good ol' days,' a big-name actor or actress was all you needed to ensure a film's box office success. If a studio managed to snag someone like Arnold Schwarzenegger for example, the marketing campaign pretty much wrote itself. Just look at the posters for Schwarzenegger's films: every one of them has his name and face front-and-center while the title is tucked away in some corner. Nowadays, there are very few 'movie stars' that can open a film on the strength of their name alone. People like Robert Pattinson or Kristen Stewart may be popular but their fame lies in the brands they're associated with. The only actor today that can still headline a film with just his name is Tom Cruise. Despite his public image taking a hit due to his eccentric behavior and strong ties to the Church of Scientology, Cruise has managed to retain much of his box office clout, especially overseas. His sci-fi outings, 2002's "Minority Report" and 2005's "War of the Worlds," are some of the highest-grossing films of his career so it's not surprising to see Cruise return to the genre with "Oblivion" from director Joseph Kosinski. Making his debut in 2010 with Disney's "Tron: Legacy," Kosinski is slowly becoming a force to be reckoned with in Hollywood. Although it received mixed reviews from critics (51% on Rotten Tomatoes), I fell in love with "Tron: Legacy," even if the film was dramatically inert at times. Sure, Kosinski isn't exactly the strongest of story-tellers but he understands that you have to have characters worth investing in; otherwise you're left with a bunch of fancy, meaningless effects. A hauntingly mesmerizing experience full of breathtaking imagery, the story in "Oblivion" may be made up of familiar sci-fi tropes but it never forgets the human element thanks to Cruise's engaging performance.

In the year 2077, the Earth is nothing more than an irradiated wasteland, the result of a war with a malevolent alien race known as 'Scavs' sixty years ago. Using nuclear weapons, humanity won the war…but lost the planet. The remaining survivors have established a new life for themselves on Saturn's moon Titan while an orbiting space station called the 'Tet' oversees the extraction of Earth's remaining resources. Jack Harper (Tom Cruise) is Tech 49, one of the last few humans stationed on the planet. Working with his communications officer and lover Victoria Olsen (Andrea Riseborough), Jack specializes in drone maintenance and keeps the massive 'Hydro-Rigs' in working order while fending off occasional attacks from remnant Scavs. Two weeks away from joining his human brethren in space, Jack diligently makes his daily rounds in his advanced 'Bubble Ship' but something continuously gnaws at his subconscious. Every night, he dreams of a strange woman named Julia (Olga Kurylenko) and Jack soon comes to suspect that they might be memories of a past life. When a space capsule containing Julia suddenly falls from the sky, Jack finds his very beliefs and identity questioned as he embarks on a desperate search for answers.

The best science-fiction stories are always about 'something,' a fact that Hollywood tends to forget as studios continue to throw millions of dollars away on empty CG effects. Of course, there's also the fact that today's movie-going audience suffer from short attention spans. If there isn't an explosion every ten minutes, then the film automatically 'sucks.' This is why films like "Moon" receive only a limited release. Although its title may remind some viewers of the Elder Scrolls game, "Oblivion" is actually based on an unpublished graphic novel from Radical Comics. Created by Kosinski with Arvid Nelson as co-plotter and illustrated by Andrée Wallin, it was originally set to be released sometime in 2012 but that date came and went with nary a peep. Kosinski eventually revealed that he always intended to turn his original eight-page treatment into a film and that the graphic novel was really just used to continue development during the 2007-2008 Writer's Strike. Opening with a short prologue where Cruise's character Jack Harper recounts how the Earth transformed into a radioactive wasteland, "Oblivion" harkens back to the more character-driven sci-fi films of the 1970's and 1980's with its slow, methodical pace. There's spectacle to be found within its gorgeous visuals but Kosinski's focus is always on the characters as he explores a myriad of themes that include love, loss, and redemption. At the heart of the story is the question of identity—what does it mean to be 'human'? Are we human because our DNA says so or are we defined by the sum total of our memories and experiences? It's a common trope in many sci-fi tales such as Philip K. Dick's novel Do Androids Dream of Electric Sheep? (which was later adapted into the film "Blade Runner" by Ridley Scott). However, Kosinski at times bites off more than he can chew, with the script's philosophical musings clashing with its need to appeal to a wider audience. Still, I admire that he's trying to create a film that matters, something that entertains yet is meaningful as well. So many directors today settle for less. Although the twists in the second hour reveal the thinness of the material (it's basically a pastiche of "Wall-E," "The Omega Man," "Moon," "Planet of the Apes," and "2001: A Space Odyssey"), the human element remains intact, imbuing "Oblivion" with a soulful edge that is absent in many Hollywood blockbusters today.

By far the most memorable aspect in "Oblivion" is the visuals. Kosinski reteams with Academy Award-winning cinematographer Claudio Miranda to create one of the most breathtaking post-apocalyptic worlds I've ever seen. Shot on-location in Iceland, Earth of 2077 is an eerie, desolate landscape where the remains of humanity's once-great civilization are slowly swallowed up by time. From the Empire State Building's spire jutting out of a newly formed mountain to the New York Public Library partially submerged under a sand dune, Kosinski's attention to detail is impressive (especially in IMAX) as he transports audiences to another time and place, one that is both familiar and alien at the same time. The only signs of life are Jack and Victoria, who reside in an ultra-modern 'Sky Tower.' To get around, Jack pilots a 'Bubble Ship' and it's clear that Kosinski put a lot of thought into its design. The ship is sleek yet also practical. There's a handful of exciting set-pieces such as a dogfight between Jack and a group of drones (whose single red eye resemble HAL) but for the most part, the action is very low-key. Continuing his trend of hiring off-beat composers for his films, Kosinski has chosen the French duo M38 and the result is an outstanding score that creates an epic sense of grandeur.

Much of the film's success lies with Tom Cruise. I've read dozens of comments from people who have vowed that they will never watch a film with him ever again but the fact remains: this guy can act. Similar to "War of the Worlds," Cruise brings an everyman, down-to-earth demeanor to Jack as he goes about his daily routine repairing killer drones. I've always been impressed with the way he immerses himself in every role and it's no different here thanks to his nuanced performance. Andrea Riseborough is great as well and there are subtle hints in her character's behavior that point to her knowing that something is amiss about her mission but she refuses to acknowledge it. Victoria finds comfort in the 'lie' and she is unable to cope with it once it is exposed. As Cruise's love interest, Olga Kurylenko is fine, although her dialogue can get too bogged down by exposition. Despite being featured prominently on the posters, Morgan Freeman has a very small role and is woefully underwritten. Rounding out the cast is Jaime Lannister himself, Nikolaj Coster-Waldau and Melissa Leo, who is reduced to sitting behind a computer screen as Sally, Jack and Victoria's mission control.

Released on April 19, 2013, "Oblivion" has received mixed reviews with 57% on Rotten Tomatoes. Critics noted that it 'benefits greatly from its strong production values and an excellent performance from Tom Cruise' but ultimately found the film to be 'thinly scripted.' As the sole new release this weekend, the film should handily land at the top of the box office and its already faring quite well overseas. However, audience reception during Monday's advance screening was somewhat muted, which could spell trouble in the long run. "Oblivion" has its shortcomings but Kosinski has dared to create a film that puts characters over spectacle. It's the type of sci-fi picture that Hollywood should make more of and while it's not as 'original' as it claims to be, the film nevertheless remains engaging throughout.

Final Rating: 3.5 out of 5

"If we have souls, they're made of the love we share. Undimmed by time, unbound by death."

Sunday, April 14, 2013

42 Review

Rated PG-13 (Thematic Elements including Language)

Running Time: 2 Hours & 8 Minutes

Cast-
Chadwick Boseman-Jackie Robinson
Harrison Ford-Branch Rickey
Nicole Beharie-Rachel Robinson
Andre Holland-Wendell Smith
Christopher Meloni-Leo Durocher
Lucas Black-Pee Wee Reese
Hamish Linklater-Ralph Branca
Alan Tudyk-Ben Chapman
Brett Cullen-Clay Hopper
Max Gail-Burt Shotton
John C. McGinley-Red Barber

Directed by Brian Helgeland

Chadwick Boseman delivers a sincere performance as Jackie Robinson in Brian Helgeland's latest film "42."

Note: Screened on Thursday, April 4, 2013 at AMC Loews 84th Street 6.

Americans really like to watch sports. During CBS' broadcast of Super Bowl XLVII, the average number of people who tuned in was 108.4 million, which was actually down 3% from last year. I, however, did not watch the game. Hell, I didn't even know what teams were playing or who won. In fact, I have never watched a Super Bowl or any other sporting event in my life (besides the Olympics). I don't care for sports but when I was in middle school, I tried to feign interest in baseball because one of my friends was a self-professed baseball nut. He rattled off random statistics like there was no tomorrow. During our senior trip, he talked me into playing a round of softball (a variant of baseball) as a catcher but I quit within fifteen minutes. It just wasn't for me. Nevertheless, I do acknowledge that sports, especially baseball, make up an important part of American culture. People don't call it 'America's Pastime' for no reason. Yet sixty-six years ago, that pastime was tainted by racial segregation. Everyone knows that Jackie Robinson broke the color barrier but it didn't happen overnight. Despite being met with outright derision and hostility on-and-off the field, Robinson's love for the game allowed him to persevere and eventually win over the hearts of millions. Such a story is tailor-made for a Hollywood crowd-pleaser, which is exactly what writer/director Brian Helgeland has made with his latest film "42." Featuring an engaging performance from newcomer Chadwick Boseman, "42" is a well-meaning, earnestly made biographical film on one of the most transformative figures in baseball history but Helgeland ultimately trades nuance for a by-the-numbers story that seems more concerned with the legend rather than the man himself. 

Although they gave their lives for freedom during World War II, black soldiers returned home only to find themselves still treated like second-class citizens. In order to rectify this, Brooklyn Dodgers general manager Branch Rickey (Harrison Ford) decides to break the unspoken color barrier and begins searching for a skilled African-American player who 'has the guts not to fight back.' His reasons for doing this are rooted in altruism but he also understands that racial integration will generate more revenue for the MLB. Branch soon settles on twenty-six-year-old Jackie Robinson (Chadwick Boseman), a shortstop for the Kansas City Monarchs. Fully aware that Robinson will be faced with a torrent of racism, Branch has him promise to 'turn the other cheek' and puts that promise to the test by signing him up for the Montreal Royals in 1945. Robinson's presence immediately provokes a firestorm of controversy but with the support of his wife Rachel (Nicole Beharie), he slowly earns the respect of his teammates while drawing in huge crowds. In 1947, Branch moves Robinson up to the major leagues with the Brooklyn Dodgers. Putting his resolve to the test, Robinson endures an endless stream of racial epithets from opposing teams while also facing discrimination from within. 

Jackie Robinson has been the subject of an afterschool special, two television movies and even a musical but it's surprising that Hollywood has never made a big-screen retelling of his accomplishments until now (with the exception of 1950's "The Jackie Robinson Story," which ironically stars Robinson as himself). Studios and especially audiences eat up 'inspirational' stories like these. Covering Robinson's time with the Montreal Royals and his first season with the Brooklyn Dodgers, Brian Helgeland's "42" unfortunately falls into the common trap of idolizing its subject matter too much. You never really get a sense of who Robinson was as a person because the script is nothing more than a hagiography. Much of the drama is focused on his attempts to prove that he has what it takes to make it in the all-white world of major league baseball but Helgeland's treatment of the material lacks subtlety, with many characters reduced to being caricatures that are either completely good or completely evil. A perfect example of this is when Philadelphia Phillies manager Ben Chapman (Alan Tudyk) lets loose a string of racial slurs at Robinson every time he comes to the plate. While it was likely worse in real-life, these scenes instead cheapen its racial conflict by turning it into a display of over-the-top buffoonery. However, there is one moment that manages to capture Robinson's pent-up frustration after he endures another round of Chapman's taunts. Alone in the runway behind the dugout at Ebbets Field, Robinson finally snaps, his barely-contained fury let loose with a scream as he repeatedly smashes his bat against the wall before sobbing silently. This is the type of raw emotion that Helgeland should've strived for, rather than settling for mawkish sentimentality. 

Thankfully, "42" isn't a total loss and some of the most compelling scenes take place on the baseball field. At one point, Robinson reaches first base and with a mischievous smile at the pitcher, steals second and third in quick succession. His skill on the field is answered with verbal and even physical abuse. From Fritz Ostermueller beaning him in the head (which didn't actually happen) to being spiked in the thigh by Enos Slaughter, Robinson overcomes each obstacle with his dynamic athleticism and shrewd play-style, allowing Helgeland to deliver plenty of crowd-pleasing moments. The film shines in these scenes, even when Robinson's triumph is already a foregone conclusion. Regrettably, the script can't help but fall back into cornball sermonizing, complete with preachy platitudes from Ford's Branch Rickey. Even the production design reflects this tone. Constantly bathed in a warm light, "42" exhibits the same shiny glow of many recent Hollywood bio-pics and while it's handsome to look at, it just feels too sanitized and artificial, right down to the freshly pressed costumes and obvious CG backdrops. Mark Isham's score also lays it on a little too thick at times with his swelling violin. "42" is not a 'bad' film per se but Helgeland plays it too safe, robbing the drama of any impact in favor of feel-good nostalgia. It even avoids the fact that the Brooklyn Dodgers lost to the New York Yankees during the 1947 World Series! 

Fortunately, newcomer Chadwick Boseman manages to instill some measure of depth to the script with his nuanced portrayal of Jackie Robinson. When it comes to casting someone in the role of an iconic figure, especially a historical one, you need someone that not only resembles them but can also embody their personality in a convincing manner. Boseman accomplishes them with aplomb, giving a performance that is both sincere and dignified. With his cantankerous demeanor and gruff speech, Harrison Ford is charming as Branch Rickey, even if he is a giant walking cartoon. The rest of the cast are filled out by fine character actors who are sadly shortchanged by the story. Nicole Beharie is one-note as Robinson's wife, and the only Dodger teammates that stand out is Lucas Black's Pee Wee Reese and Hamish Linklater's Ralph Branca. Linklater has a funny scene where his character awkwardly tries to get Robinson to shower with the team while John C. McGinley's straight-faced, old-timey delivery as sports commentator Red Barber drew a lot of laughs. 

Released on April 12, 2013, "42" has received largely positive reviews with 76% on Rotten Tomatoes. Critics hailed it as 'an earnest, inspirational, and respectfully told biography of an influential American sports icon, though it might be a little too safe and old-fashioned for some.' It's currently on track for a weekend box office debut of $25 million, the highest ever for a baseball film. I'm not surprised considering how well-received it was during the advance screening last Thursday. People were literally cheering in their seats. My praise is a little more reserved and while it may seem like I hated the film, let me assure you I didn't. Yes, Helgeland should've taken more risks with his script but it's hard to fully dislike "42" given how earnest and well-meaning it is.

Final Rating: 3 out of 5

"You give me a uniform, you give me a number on my back, I'll give you the guts."

Thursday, April 11, 2013

Fast & Furious 6 Review

Rated PG-13 (Intense Sequences of Violence and Action and Mayhem Throughout, Some Sexuality and Language)

Running Time: 2 Hours & 10 Minutes

Cast-
Vin Diesel-Dominic 'Dom' Toretto
Paul Walker-Brian O'Conner
Dwayne Johnson-Lucas 'Luke' Hobbs
Michelle Rodriguez-Leticia 'Letty' Ortiz
Jordana Brewster-Mia Toretto
Tyrese Gibson-Roman Pearce
Chris 'Ludacris' Bridges-Tej Parker
Sung Kang-Han Seoul-Oh
Gal Gadot-Gisele Harabo
Gina Carano-Riley
Elsa Pataky-Elena Neves
Luke Evans-Owen Shaw
Clara Paget-Vegh
David Ajala-Ivory
Joe Taslim-Jah
Kim Kold-Klaus
John Ortiz-Arturo Braga

Directed by Justin Lin

Vin Diesel, Paul Walker, and Dwayne Johnson reunite for Justin Lin's "Fast and Furious 6."

Note: Screened on Tuesday, April 9, 2013 at AMC Empire 25.

It never ceases to amaze me how 'fast' time flies. People grow but Hollywood will always love sequels. Although I wasn't particularly impressed when I saw Rob Cohen's "The Fast and the Furious" twelve years ago, the film managed to turn a profit for Universal Studios and lo and behold, a new franchise was born! However, the middling box office performance for 2006's "The Fast and the Furious: Tokyo Drift" served as an indicator that the series was past its expiration date. With the original cast having moved on to other projects, fans just weren't interested. Of course, Universal still had one more card to play. Reuniting Vin Diesel with Paul Walker, Michelle Rodriguez, and Jordana Brewster, 2009's "Fast and Furious" proved that there was still plenty of life left in the franchise despite the negative reception it received from critics (27% on Rotten Tomatoes). I was ready to write off "Fast Five" when it raced into theaters two years later…but something strange happened. The film actually turned out good! Bringing together almost every cast member from the previous four entries, "Fast Five" grossed over $600 million worldwide and for once, I was excited to see what director Justin Lin was planning for the inevitable sixth installment. The lamely titled "Fast and Furious 6" won't be released until May 24th but yours truly got to see one of summer's most highly anticipated films almost two months early! Benefitting from the easy camaraderie of its ensemble cast, "Fast and Furious 6" proudly continues the series' tradition of absurdly over-the-top action thrills and you can't help but enjoy the ride thanks to Lin's enthusiasm behind the wheel. 

After walking away with $100 million from their high-profile heist in Rio de Janeiro, professional criminal/street racer Dominic 'Dom' Toretto (Vin Diesel) and his crew have scattered across the globe to enjoy their newfound wealth yet they are unable to return home due to their extensive criminal records. Despite being fugitives, Dom's sister Mia (Jordana Brewster) and former FBI agent Brian O'Conner (Paul Walker) have managed to build a new life together with their baby boy Jack. Meanwhile, Diplomatic Security Service agents Luke Hobbs (Dwayne 'The Rock' Johnson) and his new partner Riley (Gina Carano) have been tracking a ruthless criminal named Owen Shaw (Luke Evans) across twelve countries. Knowing he is outmatched, Hobbs is forced to ask Dom for help but that's not the only reason he needs him. It turns out that Dom's lover Leticia 'Letty' Ortiz (Michelle Rodriguez), who was thought to be dead, is now part of Shaw's band of mercenary drivers. Reuniting with Brian, Roman Pearce (Tyrese Gibson), Tej Parker (Chris 'Ludacris' Bridges), Han Seoul-Oh (Sung Kang), and Gisele Harabo (Gal Gadot), Dom and his elite team assemble in London to meet with Hobbs. They agree to assist with capturing Shaw on one condition: full pardons for all of them so that they can finally return home and be a family once more. 

"Fast and Furious 6" embraces two mantras: 'Give the people what they want' and 'Go big or go home.' This film has no other pretensions besides being a 'dumb summer action movie' and as such, it doesn't take itself too seriously. Written by Chris Morgan (now in his fourth outing), the story opens with Dominic Toretto and his best friend Brian O'Conner racing on a cliff road but they're not racing against each other, they're racing to the hospital to witness the birth of Mia's child. It then segues into the opening credits, which provide a handy recap of the previous films (except "Tokyo Drift") before jumping ahead six months. Without wasting any time, DSS agent Luke Hobbs shows up on Dom's doorstep to reveal that not only is Letty alive, he also needs his help to stop a criminal mastermind from acquiring a device that can cripple an entire city. A number of old faces return and not even thirty minutes in, we have our first major action scene where our heroes are screeching across the streets of London while causing untold amounts of vehicular and property damage. Make no mistake, Morgan's script (which is less a heist picture and more a globe-trotting adventure this time) is really just an excuse to string together a bunch of set-pieces, each more ridiculous than the last but damn, is it a lot of fun! Sure, speeches are made about the importance of family sticking together no matter what and while that's all well and good, it's ultimately little more than window dressing. What the audience came to see is the action and in that area, you're going to leave the theater with a huge smile on your face. 

The first hour features the requisite car chases and isn't quite as inventive as you'd hoped it would be but the second hour is when the film hits its stride. During a hit on a military convoy, Owen Shaw and his team of mercenaries end up hijacking a tank, resulting in massive amounts of destruction. However, that's nothing compared to what Justin Lin cooked up for the climax. Glimpsed in the trailers, it involves a Lockheed C-5 Galaxy aircraft being dragged down across the longest runway by a couple of cars using only tow cables. Yes, you don't have to be an engineer to know that such a feat is completely impossible according to the laws of physics but does it look awesome? You bet it does! Given how well-received the three-minute fight scene between Dom and Hobbs was in "Fast Five," Lin has elected to include a lot more brawls. With so many punches and kicks being thrown, it's amazing the characters don't all end up in the hospital. 

There's no doubt that "Fast and Furious 6" is just as exciting as the previous entry (if not more so) but that doesn't mean it's flawless. The second act tends to drag with a number of aimless subplots. Much of the 'drama' is derived from Dom trying to get back with Letty and in an attempt to address criticisms that the series has moved too far away from its illegal street racing roots, Lin throws in a perfunctory race between the two. While it's tightly edited, it feels like it was tossed in to showcase a whole bunch of scantily-clad women gyrating around. Not to mention that the film makes it pretty apparent early on that Letty will switch sides (not a spoiler) so any drama between her and Dom is rendered moot. There are also times where it's obvious that Lin is trying to pad out the running time. Was it really necessary for Brian to travel all the way back to Los Angeles and risk being captured just to learn that Shaw is a 'very dangerous man'? The answer is no and yes, if offers a nice callback to the fourth film but it feels pointless in regards to the narrative. Fortunately, none of these issues spoil the experience, so long as you don't think too hard about what you're watching. 

Aware that the franchise has never been known for its great performances, Lin opts to just let the ensemble cast have fun and crack jokes at each other's expense, with Tyrese Gibson and Chris 'Ludacris' Bridges keeping the tone light with a constant stream of quips and one-liners. Dwayne Johnson is clearly enjoying himself, his bulging muscles turning him into real-life action figure. New to the film is former MMA fighter Gina Carano. Despite her lack of dialogue, Carano manages to make her mark with two memorable fight scenes with Michelle Rodriguez. Luke Evans, surprisingly not playing a cookie-cutter drug lord, finally gives the series a worthy foe for Dom and Brian to battle. As for the rest of the cast, Vin Diesel is his usual stoic self but Paul Walker isn't given much to do, partly because there's nowhere for his character to go. Jordana Brewster is wasted, while Sung Kang looks positively bored. 

"Fast and Furious 6" won't be released until May 24, 2013, which means this is the first review to be posted. Judging from the audience's enthusiasm, this film is poised to open big at the box office thanks to people being off from work and school for Memorial Day. It's competing against "The Hangover Part III" but I don't see that one doing as well given the negative reviews its predecessor received. "Fast and Furious 6" is one of those films that's 'so freaking ridiculous its impossible not to like.' It's corny, silly, and yes, even dumb but there's a fun energy to Lin's direction. Sit back and enjoy the ride because summer…has arrived early!

Final Rating: 3.5 out of 5

"You don't turn your back on family, even when they do."

Make sure to stay after the end credits for a very special cameo that sets up "Fast and Furious 7"!

Sunday, April 7, 2013

Trance Review

Rated R (Sexual Content, Graphic Nudity, Violence, Some Grisly Images, and Language)

Running Time: 1 Hour & 41 Minutes

Cast-
James McAvoy-Simon Newton
Rosario Dawson-Elizabeth Lamb
Vincent Cassel-Franck
Danny Sapani-Nate
Matt Cross-Dominic
Wahab Sheikh-Riz
Mark Poltimore-Francis Lemaitre
Tuppence Middleton-Young Woman in Red Car

Directed by Danny Boyle
Danny Boyle makes us question reality in his latest film, "Trance."

Note: Screened on Wednesday, April 3, 2013 at AMC Loews Lincoln Square 13.

Critically acclaimed actor Sir Anthony Hopkins once remarked in an interview that 'you can never trust the human mind…it's a death trap.' Although Hopkins was voicing his disdain towards 'overthinking' about his roles, it's also a pretty apt descriptor for Danny Boyle's latest film "Trance," a mind-bending neo-noir heist picture with erotic thrills. Films exploring the mutable nature of dreams and memories are nothing new, with Christopher Nolan's "Memento" and "Inception" being the most popular examples. Unpredictable in his choice of projects, Boyle's refusal to pigeon-hole himself is reflected in the eclectic array of films already under his belt but one common thread among the director's work is his focus on desperate individuals who are haunted by their own memories. Ewan McGregor's Mark Renton suffers a hallucinatory episode as he goes through severe withdrawal from heroin in "Trainspotting." Similarly, James Franco's Aron Ralston starts to experience 'visions' of his past experiences while trapped in an isolated canyon for days in "127 Hours." Even the Bollywood-inspired "Slumdog Millionaire" (for which Boyle won an Academy Award) is a journey through the main character's memories and how they shaped him into the person he is today. Harkening back to Boyle's first feature "Shallow Grave," "Trance" can get too caught up in its numerous plot twists but this original take on a well-worn genre remains wildly entertaining thanks to its stylish direction, manic visuals, and hypnotic score. 

Working as an art curator for a renowned auction house in London, Simon Newton's (James McAvoy) sole responsibility in the event of a robbery is to escort the most valuable works of art into a safe-room in the basement. During an auction for Francisco Goya's Witches in the Air, a group of organized criminals led by Franck (Vincent Cassel) stage an elaborate heist in order to steal the painting, which is valued at over £25 million. Immediately springing into action, Simon rushes the painting down to the safe-room but runs into Franck at the last possible moment. He knows he shouldn't resist since he's actually the thieves' inside man yet does so anyway. In response, Franck bashes him in the face with the butt of his shotgun and escapes with the loot. However, Simon pulls a bait-and-switch for reasons unknown and hides the painting, leaving Franck with only an empty picture frame. Franck's thugs torture Simon on its whereabouts but they fail to extract any useful information as the sudden blow to his head has left him with amnesia. To recover Simon's memory, Franck sends him to a hypnotherapist named Elizabeth Lamb (Rosario Dawson). As she delves deeper into Simon's subconscious, the lines between fantasy and reality begin to blur. 

A loose remake of Joe Ahearne's 2001 British television film of the same name, "Trance" is one of those movies that'll put your brain through the wringer as you scramble to connect all the dots and make sense of its many plot twists. The story (written by frequent Boyle-collaborator John Hodge, who shares screenplay credit with Ahearne) starts off simple enough, with James McAvoy's Simon Newton narrating in a Scottish-lilt about 'the good ol' days' where thieves would just waltz in during an auction and take whatever painting they wanted without meeting any resistance. This has forced auction houses to adopt tighter and more advanced security protocols yet these measures aren't foolproof. If a painting does get stolen, Simon advises that it's not worth risking your life to get it back. 'Don't be a hero,' he warns. If only he'd follow his own advice! Instead he tries to stop Franck with a taser and gets clocked in the face. Desperate to retrieve his prize, Franck gives Simon a list of hypnotherapists to choose from and he randomly picks Elizabeth Lamb because she happens to have 'a nice name.' For her initial forays into his mind, Boyle makes a clear distinction between fantasy and reality. In one strangely light-hearted scene, he envisions Simon's lost memories as being locked in a chapel on the French countryside. Simon 'travels' there with a beautiful woman (Tuppence Middleton) in tow and inside that chapel is a gallery containing every single painting that has been lost or stolen. He is then led to a secret room where a lone iPad (this film has an Apple fetish) sits on a table, waiting to be accessed. A moment of epiphany occurs when he taps the screen, allowing a flood of jumbled images to come rushing back at him. We think we've seen the truth but Boyle is just getting started as Simon's memories become even more confused, forcing Elizabeth to resort to extremer methods like electroshock therapy. This is where things take a bizarre turn with Simon growing more and more obsessed with Elizabeth while she acts out her own hidden agenda. The question is whether all this is really happening. Is what we're seeing real or a product of Simon's imagination? Could they even be suppressed memories? Like a magician, Boyle keeps his cards close to the chest, throwing out one twist after another and manipulating the audience's perceptions. Just when we're about to piece together the puzzle, new information is revealed that contradict what was shown before. In a way, the film mimics how the mind can distort the truth, making us see what we want to see. Depending on your preference, this constant cat-and-mouse game that Boyle plays with his viewers can be immensely satisfying or extremely frustrating. Thankfully, it's the former but that doesn't mean "Trance" is free of problems. As we're treated to a menagerie of memories and fantasies, the film starts to get somewhat muddled, with scenes taking on a decidedly dreamlike, surreal tone. This culminates in a weird moment where Elizabeth ends up shaving off a certain part of the female anatomy. The dialogue also gets too hung-up on its own psycho-babble as Boyle indulges in one too many plot twists. Fortunately, an explosive third act manages to prevent the film from derailing, even if the final reveal is boiled down to an overlong explanation. 

Despite the flawed story, the pacing remains energetic and no scene is wasted. Everything that is shown or said is there for a reason. When Elizabeth tells Franck about how her former boyfriend was abusive, it's not just idle chatter. Visually, "Trance" is a stunner. Anthony Dod Mantle's garish cinematography is packed full of bright, neon colors where characters are often shown at skewed angles at the edge of the frame or reflected in mirrors to emphasize their duplicitous nature. Rick Smith's thumping, propulsive score is one of the best I've heard, with Boyle creating exhilarating montages as the music builds to a rapturous crescendo. 

Performances are excellent across the board. James McAvoy plays the victim very well but Simon undergoes a change in personality as the film progresses. What's great about McAvoy's work here is in how he subtly shows this shift without making it appear jarring. Vincent Cassel is magnetic as Franck. His character's threatening demeanor is contrasted with moments of vulnerability and surprising humor. However, the real standout is Rosario Dawson. Not only does she have a strong sexual presence but her ability to betray almost no emotion in her voice, yet still convey so much with only tiny adjustments to her body language, is impressive. This is invaluable when portraying someone who's a complete cipher. Like Simon, Elizabeth appears to be just another victim and for Dawson to not tip her character's true intentions until the very end are a testament to her skills as an actress. 

In limited release since April 5, 2013, "Trance" has received positive reviews with 70% on Rotten Tomatoes. Critics noted that 'director Danny Boyle seems to be treading water…but for fans of [his] work, it should still prove a trippy entertaining distraction.' These types of films tend to invite one of two reactions: either you love it for the way it makes you work to connect all the pieces or you hate it for precisely this same reason.  During the advance screening last Wednesday, reception appeared to be somewhat mixed, which isn't a total surprise. Hopefully, Boyle's name lures in more than just the art-house crowd when it expands this week. "Trance" doesn't quite hold up to Boyle's previous efforts but his talent as a visual storyteller is in full force here as he creates several masterful sequences that will make your hair stand on end. Although the film has its flaws, the experience is never less than memorable.

Final Rating: 4 out of 5

"The choice is yours. Do you want to remember or do you want to forget?"