Thoughts on Cinema

The walking, talking junkyards, the Transformers, grace us with their return in the threequal, Transformers: Dark of the Moon.  While many have been waiting with anticipation for their next battle, all of the explosions and crashing metal fail to sugar-coat this desecrated property.

 

Michael Bay’s latest orgasm of destruction follows the Autobots’ struggle to save Earth yet again from the Decepticons, pulling in Sam Witwicky (Shia Lebeouf) and his Victoria-Secret-model girlfriend, Carly (Rosie Huntington-Whiteley) as their new fight stems from a cover-up involving the moon landing and the plan to revive the dead planet of Cybertron.

 

The plot lacks the abundant number of gaping holes that littered the previous entry, but it’s nowhere near perfect.  It’s still farfetched, even for a movie with giant robots, with the motives behind the choices of both hero and villain inconsistent and illogical, such as the Decepticons wiping humanity out despite their plan to enslave them and the Autobots allowing thousands to perish to prove a point.  However, before the film even gets to the story, Bay opens with thirty minutes of plot-irrelevant, brain-numbing humor that desperately forces you to laugh with silly gags involving cameos from John Malkovich and Ken Jeong.  On top of that, the director treats the first act like the spawn of a car and lingerie commercial, throwing in sweeping images of hot rods and zooming so closely on Huntington-Whiteley’s ass, you’re afraid the director might perform a colonoscopy.  While these are trademarks of his, it leaves little time to make Sam and Carly’s relationship seem genuine outside of him being jealous of her boss (Patrick Dempsey).

 

Of course, Bay is renowned for his expert hand at special effects, and Dark of the Moon is no different.  The CGI hits an all-time high in detail.  The robots bear a realistic gleam in their parts as well as the dents and scratches they suffer in combat, all of which blends extremely well with the on-location shots and live detonations.  At times, it is a bit difficult to take in all the work that went into the animation with the action moving at a swift pace and so much cluttered into a single frame, especially during the climactic battle, but when things slow down long enough, you can fully absorb the visuals.

 

But just like the leading lady, unfortunately, the Transformers are portrayed as just something pretty to look at.  Little depth is given to support the amazing graphics, a crime against those who put in the countless hours creating them.  Optimus Prime is at least given an arc throughout the story involving his mentor, but his companions rely on what the audience knows from the previous films to get any sympathy from them.  Even Bumblebee, whose friendship with Sam played a huge role in first film, has little to do, and when the Autobots are an inch away from death, their lack of background snuffs out any sense of dread for their demise.  Any new characters introduced are left as caricatures that depend on the viewer’s familiarity with stereotypes, such as a vulgar Irish robot.  Unlike the controversial Mudflaps and Skids from Revenge of the Fallen, they’re not on screen long enough to be as annoying.

 

Transformers: Dark of the Moon is like going to the dentist to get your tooth pulled only to have the Novocain wear off.  For all of its flare and no substance, Dark of the Moon is a bitter, flat beer that fails to numb the pain of what you have just witnessed.

-Sean

Innocent blood spilled, two knights of the Crusade abandoned their posts as merchants of death in the name of God only to find that they have begun a journey through plague ravaged towns that could lead them to redemption or eternal damnation. Season of the Witch starring Nicolas Cage and directed by Dominic Sena won’t challenge Lord of the Rings or Army of Darkness for cult status because it’s not trying to be anything more than a straight forward tale that has been told in one form or another.

This film was about how faith can screw with your moral compass. However it takes itself as seriously as a morning cartoon. It romanticized the endless battles of the Crusade to near comical levels. The two main characters are having an entire conversation as they swung swords wildly with CGI in the background. Do they even suffer a scratch? Does it really matter now that Nicolas Cage will say yes to any project in order to pay his debt off? No.

Perhaps the biggest plot hole in the entire story revolved around why Cage as Behmen decided to abandon his quest for God. Seemed implausible that a man who slaughtered hundreds of Moors would finally wake up after the death of just one innocent. Yet, after the death of a few traveling strangers he’s ready to kill what may be an innocent girl who may or may not be a witch.

Fortunately, Ron Perlman has a lot of experience in playing second fiddle to stiffer leads. His performance brought the lowbrow fun as the first Crusader to drop F-bombs in the 13th century. As Felson, his devil may care personality desensitized the audience to its predictable discourse. The other components of the cast stayed within the skeleton of a thin plot.

It didn’t take long to figure out whether or not the girl was a witch and while Season of the Witch wasn’t a bad film, its crime was not being terribly memorable. However as a late night 3am alternative on Netflix streaming or Cable TV, it’s the perfect multi-tasking distraction in the background.

Season of the Witch rated as a decent cheap beer so long as it doesn’t cost you anything it shouldn’t hurt you very much.

Cheers,
Ron

Kids who fled an explosion while filming at a train station were unaware of precious military cargo that could threaten their quiet little town. If these tropes sound familiar, they are definitely reminiscent of Spielberg films, Close Encounters of the Third Kind and ET. Both films captivated childlike wonder mixed with fear of the unknown in a story that resolved itself neatly. Super 8 definitely accomplished the naïve friendship of troubled children who would do anything for each other including risking their lives. However the forbidden romance angle between the characters played by Elle Fanning and newcomer Joel Courtney and the overall theme of forgiveness supplanted the alien that was a major part of its viral marketing.

It’s been said, imitation is the best form of flattery but what does one call when a director tells a story in the tradition of the executive producer? Jean-Luc Godard once criticized Super 8 executive producer Steven Spielberg for the lack of artistic merit in mainstream cinema. Whether or not it’s fair to hold Spielberg accountable for an entire generation of directors who are slaves to their nostalgic influences is subject to debate. What Super 8 delivered was a very sterile version of Spielberg-ian that definitely had the emotional center but nothing epic enough to distinguish itself from its predecessors.

Director JJ Abrams’ streak for the right casting calls remained unblemished. He has a talent for the look of a film and for the faces. Super 8 anchored by Elle Fanning (Somewhere) played opposite Joel Courtney in a Romeo and Juliet themed kid romance during the 70s. Elle, the more talented Fanning sibling, had the heavier workload. Her character had to live with the weight of her father’s shame but also was his occasional verbal abuse toy. She had to convince us that her hatred of her father would later lead into forgiveness and also legitimately fall for a boy that was indirectly the source of her misery. The childlike behavior felt authentic in the casual scenes where kids hung out and had a rambling conversation without a narrative axis to support itself. It didn’t match itself in the fear department. The kids unconvincingly fled an exploding train wreck as if it was a morning jog. It was too easy to decry as kids running in front of a green screen. Likewise, it wasn’t at all convincing that kids wouldn’t feel any fear monster hunting or dodging the military. If their fear was unconvincing, the audience didn’t feel these likable characters were in sense of jeopardy. A lesson in film making 101 illustrated by Charles played by Riley Griffith. Unfortunately, the stronger narrative was in the zombie film that he completed.

By the time boy meets girl, boy loses girl, boy makes peace with father, father makes peace with girl’s father, and boy saves girl had elapsed, the mystery involving the Space monster was a casually shoved in marketing tool that never lived up to the viral campaigning that it had promised. Super 8 was a nothing more than a forbidden kids’ romance. It didn’t have any elements of science fiction, the wonder with aliens, or any dimension to the creature. The extraterrestrial was so uninteresting that Charles’ zombie film had pushed it back to last in the hierarchy of importance.

In a film that was marketed so secretly and cleverly, Super 8 didn’t deliver on what it promised. By the time the locket left Joel’s fingers at the end, it was too late for any of the audience to leave a sterile homage of one of the most important American filmmakers of his generation.

Super 8 rated as a happy hour drink that was cost effective for what it delivered but nothing you felt compelled to return when better times return.

Cheers,

Ron

A compromised Intergalactic order entrusted a very flawed fighter pilot with a green ring that can will the user’s imagination into existence. Based off the DC comics’ property, the Green Lantern has been amended many times over the last 70 yrs. No longer a mystical warrior named Alan Scott in 1940 whose ring had a vulnerability to wood, Hal Jordan’s 1959 Green Lantern abilities are cosmic in origin. Despite the evolution of the character, the concept remained the same:  Courage and the will to act are vital ingredients that enable living beings to possess the ability to solve any problem or threat. Unfortunately the film chose to explore the concept through uninspired dialogue instead of depicting the necessary transition scenes that would convince the audience of a metamorphosis from a buffoon into a hero.

Surrounded by an A list cast, the script writers were pulled in two different directions as the interplay on Earth did not match up with the interplay on the alien world, Oa. As Hal Jordan, Ryan Reynolds’ charisma worked as an irresponsible, directionless flight jockey but lacked the substance of a Sam Sheppard to display the resolve that would sell how a character transitions from a quitter into a fearless hero. Reynolds in briefs achieved the strangest alien probe scene ever that was never part of the source material but rather as a demographic. As Hector Hammond, Peter Sarsgaard complimented Reynolds’ character as Jordan’s inferior polar opposite. As Jordan chose Will as his cosmic muse, Hammond chose Fear. A Yin to the other’s Yang in the midst of intergalactic war of emotional spectrum would have been a good introduction to the higher concept that we are not alone in our struggles to overcome obstacles. The emotion that each individual chose to overcome their obstacle in life not only defined who they were but also could have been the centerpiece for what was largely a group of characters with no direction in their lives. Alas, the actors were short changed by the studio’s greater interest in all the CGI effects that its reach overextended its grasp in telling a compelling story grounded by the acting talent at hand. Blake Lively followed January Jones in a list of vixens that had no material to work with. A shame for the actresses involved because comic books industry has come a long ways in terms of giving female characters some power and relevance to the story. Tim Robbins and Angela Bassett were along for the carnival ride. The first act’s labile characteristics don’t build up to the introduction of Sinestro played by Mark Strong. Sinestro’s importance as Hal Jordan’s mentor and ultimately the Green Lantern’s deadliest arch nemesis was undermined by too many characters and perhaps too many cooks in the kitchen of the studio.

 

Like a marriage doomed from the start, the writing and director tried to mesh Emerald Dawn, an origin story that has been rewritten in Secret Origins to the prelude of the Sinestro Corps War. The script was uneven at best and won’t help any audience member should they decide to pursue the comic book itself. If the writers had a handle on Hal Jordan, they would have established why the most powerful side arm in the galaxy  chose him above anyone else in sector 2814 of the universe. Unfortunately they had neither an understanding of the source material or the character. As a result, Green Lantern was a film that was on par with Fox’s Fantastic Four, another bastardized adaptation that didn’t get any better in the sequel.

 

 

 

Green Lantern rates as a go-to beer if there’s nothing that strikes your fancy on a nice summer weekend. It’s not distasteful but it doesn’t quench your thirst either. Perhaps, you’re better off spending your money on the source material itself.

 

Cheers,

Ron

 

We’re a month away from the release of Captain America: The First Avenger and currently in the middle of a comic book adaptation renaissance. And if fortune couldn’t smile upon us comic fans any further, we have a rare opportunity to look back at a time when adaptations weren’t money in the bank. It’s time to take a look back at a time when director Joe Johnston directed a movie based on a comic hero taking on the Nazi menace that wasn’t Captain America. Today we  look  at his first effort… The Rocketeer. Does it hold up today? Does it honor the comic it was based on? Does looking at this make you feel confident about his next film?

The film centers around Cliff Secord, a stunt pilot who relies on his best friend/mechanic Peevy and his girlfriend Jenny to get him through the day, that is until he finds an experimental rocket pack.

Half the fun of this movie is seeing Cliff learn how to use the rocket pack. A pilot by trade, Cliff’s expertise is learning to control a piece of machinery to fly through the air. Once he puts on the rocket pack he is the machine. And through the use of visual effects and the score by James Horner, when Cliff puts on the rocket and first takes flight, you believe it even when he crash lands in mud.

The other fun half of this movie? The villains. Where as a film of this nature would give you one villain for our hero to overcome, this film gives you three! We have Eddie Valentine played by Paul Sorivino. Valentine’s a mobster whose gang is hired to steal the experimental rocket pack. As world famous actor of the silver screen, Timothy Dalton plays Neville Sinclair who is, in reality, a Nazi. Aiding his boss’ agenda is the deformed henchman Lothar. While Valentine and his goons seem to be a Maguffin simply to get the rocket to where Cliff is, both Sinclair and Lothar all the more enjoyable by the fact they’re based in some reality. Neville Sinclair’s character is a nod to the rumor that  Errol Flynn, star of stage and screen might have had ties to the Nazi party. Lothar’s physical appearance is a loving tribute to Rondo Hatton, B-movie star.

Like most movies at the time, the superhero alter-ego was usually saved for one big battle towards the end, and this film is no exception. The name “Rocketeer” is an invention of the newspapers when Cliff first puts on the helmet to save a friend in an air show earlier in the film. As the film progresses and Cliff realizes the importance of keeping the rocket out of the Nazi’s hands and eventually the Rocketeer comes through.

The cast is pretty good considering it was a lesser known character. You buy Billy Campbell as a young man who has the best of intentions but keeps screwing up. Alan Arkin as Peevy is very much an Alfred/Q character but the friendship he has with Cliff seems genuine, almost fatherly. Of course Jennifer Connelly is a knockout in this film as Cliff’s girlfriend Jenny. In a role that could’ve been nothing more than a damsel in distress, Connelly gives Jenny ambition. She’s a college girl with aspirations of becoming an actress.  But Timothy Dalton steals the show. His portrayal of a suave, charming actor hiding a dangerous secret is so hammy and over the top you can’t help but love it.

Sadly, the film is considered to be something of a punch line considering how badly it bombed against expectations. It had to compete with Robin Hood: Prince of Thieves, City Slickers and of course, Terminator 2: Judgment Day; given the competition, it was no wonder the film didn’t perform as well as Disney would have hoped. And this is the biggest tragedy of this film. It’s so fun you wish it would have done better to see the story continue.

Another problem the film has is that it was part of a wave of failed pulp hero films that tried to start franchises. With the success of Tim Burton’s Batman, everyone wanted to try the superhero bandwagon. But with effects being what they were at the time and licensed characters being harder and harder to come by due to legal issues, Hollywood started mining lesser known characters. It started with The Rocketeer and continued with films like The Shadow, The Phantom and finally The Mask of Zorro. Although, to be fair, Zorro’s film made money and was a moderate success. All of these movies were fun films to see with the family, but sadly not enough families went to see them.

Strangely, twenty years after The Rocketeer, director Joe Johnston will release another film about a young man who dawns a costume to take on the Nazi menace. Okay, so instead of calling them Nazi’s it’s Hydra and instead of a rocket pack, the main hero has a shield, but the coincidence is staggering. Looking at The Rocketeer, it gives The Captain America film more of a hopeful vibe. Johnston knows how to incorporate action and a sense of wonder to the nineteen-thirties setting. This time he has a bigger budget and a more well known character, so time will tell if it’s a bomb or not. But, when July hits and you go to the theatre to see Captain America: The First Avenger, why not check out his first attempt to tackle the superhero genre. In fact, do it as a double feature. You’ll be pleased with the results.

 

DreamWorks brings back the animal kingdom of the Far East in their latest venture, Kungfu Panda 2.  While the company has been rather hit-and-miss with their animation, their first sequel outside of the Shrek franchise shows that they can still produce a film that is not a retread of the previous installment but a new, fun-filled chapter with a surprisingly deeper narrative.

 

Kungfu Panda 2 resumes the journey of Po, the jolly panda with a hefty appetite, as he has embraced his destiny as the Dragon Warrior and has been accepted by his companions, the Furious Five.  Yet with his newfound title, he confronts the mystery of his origins in a quest to defeat the evil Lord Shen and his weapons that have the power to “stop kungfu.”  Off the bat, the Kungfu Panda 2 retains close to the level of quality of the animation part one displayed.  It’s slightly improved in color and detail, and the template is given a chance to expand in scope as the characters are taken to new places, most impressively Gongmen City with its labyrinth streets and detailed architecture.  The film also incorporates animated segments that resemble Chinese shadow puppetry in several flashbacks, widening the range of stunning visuals beyond the computer graphics.

 

Paired nicely with the animation is the humor, which relies mostly on the witty writing and martial arts, as opposed to the pop culture references and dance scenes found in DreamWorks other pictures.  Most of the time, the banter works thanks to the actors speaking it, but Jack Black’s shtick does stretch itself a little thin.  He channels his typical “dude” persona, yet he at least pulls back enough during the weightier elements of the story to give his character a sympathetic, humble side.  The jokes hit more often than not, but most of them revolve Po’s enormous weight and hunger, and they do get repetitive to the point of predictability.  On the other hand, the visual gags are rather inventive with one that combines a Chinese dragon costume and Pacman drawing the biggest laughs.  Like the works of Stephen Chow and Jackie Chan, the slapstick nature of the fighting is both funny and awe-inspiring and manages to have something unique in the style with each progressing scene without retracing its own steps.

 
Displaying the greatest improvement over the first film is the new story.  The movie wastes no time in recapping its predecessor, nor does it follow it beat for beat.  Instead, it reestablishes the setting and its characters with a new, thoughtful tale that stems from the small, weird fact that Po was raised by a goose, purposely left unexplained in the last chapter.  While the illogical pairing provided a few laughs the first time around, it serves as the foundation of a serious story about Po’s past that deals with a subject matter that few kids films address in today’s society where not every child has a traditional upbringing.  It’s a nice move to wrap the idea of how it’s not where you’re from but how you’re brought up, no matter by who, and shows that in an industry diagnosed with sequelitis, the effort is still made to make an engaging, heartwarming narrative.

 

Kungfu Panda 2 is an ice cold beer.  It may lack the pleasant surprise the first round had, but it is just as fun with more of a reason to feel for its characters this time around.

-Sean

 

My friend and I arrived at the Al Hirschfeld Theatre as avid Harry Potter fans amped to see Daniel Radcliffe shed his decade-long persona.  It was the first time either of us had been to a Broadway play and we had no idea what to expect.  From the moment we took our seats, the promise of an experience vastly different from any movie screening filled us with excitement that only intensified in the minutes before the curtain opened.  But as the orchestra began the 50’s jazzy overture, we were as yet unaware of how captivating the show was going to be.

 

How to Succeed in Business Without Really Trying fires on all cylinders from the opening number and continues to astound all the way through to the grand finale.  While it is fifty years since its inception and is filled with traits of that period, from the wardrobe to the character archetypes, it feels relevant now.  Amplifying the idea of “it’s who you know, not what you know,” it satirizes what is considered today a difficult field in which to get ahead and makes it the easiest thing in the world to ascend in as it follows J. Pierrepont Finch (Daniel Radcliffe) and his climb up the corporate ladder, using his charm, wit, and a handy self-help book from which the play derives its name.  Employing the book’s ingredients for success, Finch rises up in the ranks by gaining popularity with his co-workers and superiors, including company president J. B. Biggley (John Larroquette), while also attracting the attention of a lovely secretary and the boss’s conniving nephew.

 

Radcliffe sings and dances away all traces of the Boy Who Lived, fully embodying Finch’s youthful ambition to scale the mountain of business and reach its peak.  He has proven himself more than adept to handle the demanding task of a musical, shedding a bright light on his career beyond this past decade.  Also headlining the richly talented cast is John Larroquette, who is fun to watch as Mr. Biggley with his stern, yet goofy demeanor spliced with youthful vigor when performing his own numbers.  Making her Broadway debut, Rose Hemingway plays Finch’s love interest, Rosemary Pilkington.  She’s sweet and lovable as a woman who just wants to be with her one-and-only, and more than once, she delivers an entire musical number by herself and does so flawlessly.  Rounding out the main characters in Finch’s life is Christopher J. Hanke, playing the boss’s nephew, Bud Frump.  He is the epitome of a slimy, mischievous business man, even though he is performs poorly at his job while equally adept at sabotaging the jobs of others.  Hanke revels in his character’s devious, childish nature, delivering multiple laughs for every step he takes and every note he belts out.

 

Though as talented as the entire cast is, it’s director Rob Ashord who amazes the most with his ability to weave every bit of detail into a tightly-knit production.  How to Succeed works like one big clock as props maneuver in and out of the stage amidst complex routines from a vast crew of performers.  Ashord’s choreography fits each number’s subject in their own unique way and never feels as if the actors are only repeating the same thing over and over.  He incorporates simple, mundane activities, like organizing mail or getting coffee, into interpretive, yet wacky dance moves that feel like you’re watching a circus act.  One such number is Radcliffe and Larroquette’s duet about college football with their dancing taking the form of practice drill and game-winning plays.  Framing all of this is the work of the set and costume designers.  They managed to create a 1950s atmosphere with lavish outfits for everyone and scenery with multiple pieces sliding into the spotlight, from a desk to a three-story tall office interior, that keep a dynamic flow from one scene to the next.

 

As a fun and wonderfully immersive presentation, How to Succeed in Business Without Really Trying is a glass of good scotch.  It will pull you in, keep you laughing from the opening song, and when it’s all over, you will want to go back for another round.

- Sean

A man desperate to re-live his glory days of kicking ass and taking names escaped hell for one last ride to oblivion. Drive Angry was the perfect metaphor for Nicolas Cage’s acting career. Cage was once a bad ass Oscar award winning actor who starred in highly acclaimed films such as Leaving Las Vegas, Adaptation, and Moonstruck. Once his eccentricities got the best of him, he hit rock bottom and he’s taking any role that his agent can deliver in order to stay out of jail for back taxes owed. Unfortunately Drive Angry was not the fun ride that Con Air was destined to be. Instead, it’s about as exciting a film as Driving Miss Daisy.

Perhaps the bigger badass was Amber Heard whose character got punched in the face by her abusive boyfriend and thrown out the back window of a moving RV. Heard had the most fun as she threw more punches than Cage. Heard certainly got a better gig than her limited appearances in Pineapple Express, Zombieland, and Never Back Down.

Director Patrick Lussier was one of a whole generation of directors making movies inspired from pop culture films of yesterday. While he’s not the only one guilty of living off of his inspirations, he’s guilty of failing to take the genre a step further. Drive Angry was a faux Grindhouse film that tried too hard to milk a few camp laughs. When Lussier directed Cage killing bad guys left and right while having sex, someone should have shown him a similar scene in Clive Owen’s Shoot’em Up. Therein lies the problem with a lot of cinema today. There’s only an interest and not a passion to make something worthy of the time and money spent.

As the accountant, William Fichtner played the devil’s right hand man making sure that Cage paid his dues. While Nicolas Cage still has to pay for the debt he owes, the audience shouldn’t have to pay for this film.

Drive Angry rates as a flat beer baking in the summer heat.

Cheers,

Ron

During a time of change, idealism collided with reality as young men and women charged with a gift to change humanity must decide to continue supporting it or establish a new world order in X-men First Class. Loosely based off the Marvel Comic book property, X-men First Class’s over convoluted spy plotted nearly overshadowed the tremendous performance of the Oscar nominated, Jennifer Lawrence as the shape shifter Mystique. Stuck between two mentors, a young flawed idealist Charles Xavier and deeply troubled fascist Eric Lehnsherr she struggled for acceptance not only in the world but also within her evolved species. Sounds familiar? She could easily be mistaken for a black woman rejected for the color of her skin amidst the talk for equality. By far, Mystique was the film’s most developed character and clearly the centerpiece of the Fox produced X-films to date. By the end of the film, she was no longer an unsure, timid girl hiding behind Xavier’s manipulative coddling but a sure, strong woman able to step from a shadow and make her own decisions. Racial prejudice has always been the strength and most relatable concept of the uncanny X-men. While Lawrence’s beauty still shined through blue make up and selectively minimal scales, the audience easily accepted the concept that her character should be as repulsive as a bad case of blue shingles.

What made the X-men property such a hot topic were the all too human flaws of these characters that made the film more identifiable with the source material. James McAvoy’s passive Charles Xavier jutztapozed against Michael Fassbender’s aggressive Erik Lehnsherr served as the film’s lynchpins. One character compensated for the other’s shortcomings as they challenged each other. The rest of the mutants were undeveloped. Havok, Banshee, and Angel Salvadore had no material from which to carve some kind of identity from. Gone Baby Gone’s Edi Gathegi’s talents were wasted in a character that should have worn a red ensign Star Trek uniform with with an X. Similar problem with Emma Frost. January Jones had no material to work with besides fetching Kevin Bacon’s Sebastian Shaw a sandwich.
Rose Byrne didn’t have a mutant power but she disappeared quite a bit. As Moria MacTaggert upgraded to CIA agent, we never got a good impression of what was her stake in this conflict. Where were her loyalties? It’s all a jumbled mess except Lawrence’s Mystique whose brief scenes with Nicholas Hoult as Hank McCoy were decent transition points before he dressed in a horrible Bill the Cat meets cookie monster outfit and piloted the Blackbird.

Director Mathew Vaughn created a sophisticated look of a film that didn’t feel like it was in the 60s outside of the JFK speech delivered. Much like the first X-film, every scene felt self-contained, while X-2 remained the strongest because it was one seamless story with an objective. The plot of the film was ridiculous involving a sub ran by well-dressed mutants plotting to start a nuclear war of divide and conquer. Only problem, what kind of world full of radiation would be worth ruling over? Slight oversight made the film falter in the last third especially in a scene where both the Soviets and USA fire ammunition on the beach thinking that it was the opposing side. Alas, it was all in an effect to construct one loud and impressive crescendo of a final conflict. While it might get a pass from non-comic book fans, fan boys who never needed a play book to keep up could easily see a gaping hole to its design. In the end, X-men First Class wasn’t so much about making a seamless film but a prelaunch that would attract old fans of the films and new ones.

X-men First Class rates as a decent tasting beer but nothing more than a cold one that is tasty but nothing I would want to do again.

Cheers,
Ron

The son of an Undertaker tried to scam the clergy for free education but ended up getting more than he bargained for when he interned with an exorcist. The Rite was the perfect cinematic instrument of faith that served as an entertaining commercial for joining the ministry of faith. While it was based off a true story, battling demons had little to do with one’s relationship with God but it most certainly sold an entertaining lifestyle of traveling to Rome, taking classes in the apple store looking Vatican classrooms, and fighting demons under the Tuscan sun.

As the reluctant protagonist, Actor Colin O’Donoghue was more form than function. Taking the cloth to the GQ extreme, his pretty boy cynicism was an easy sell but he undersold the transition to a reluctant believer. Hiring established thespians, Anthony Hopkins, Rutger Hauer, and Toby Jones to serve, as lynchpins didn’t hurt either in trying to make the film more appealable. However, their roles are foreplay to the center of the story, which has to little do with faith and has more in common with the prequel to the Exorcist.

Jan Mikael Håfström, director of 1408, tried to tell a tale about the trouble in men’s souls but there’s just too much eye candy between O’Donoghue and Alica Braga. Like any story based off truth, too many distractions from Michael Kovak’s relationship with his father ended up making the story cliché on top of being formulaic. The camerawork repetitive and effects nothing of the extraordinary. In essence, there’s just not enough material in the Rite to substantiate it as a movie. Hence, there’s not enough to write about the Rite.

The Rite rates as a beer with no defining characteristics that would make you want to order another any time soon.

Cheers,

Ron