Darke Reviews | Jurassic World – Fallen Kingdom (2018)

Special thanks to my movie going partner tonight for the summation on the TL;DR on this review. I can surely say you make the movie going experience better. Thank you.

Now onto the review itself.

Hooboy. Despite appearances this is spoiler free thanks to the trailers.

Set three years after the incident at Jurassic Park, a group of conservationists and scientists, plus survivors of the first incident at the park return to Isla Nublar to take what action they can to save the dinosaurs. What they find there is treachery by the very company who sent them as a great white hunter betrays them and a weaselly white man in a suit working for the older gentleman has his sights set on pure greed. Instead of wanting to preserve the formerly extinct animals, he wants to profit off of them. Our heroes must find a way to save the dinosaurs from the machinations of corporate greed without getting anyone else killed in the process.

Wait sorry that was the plot of Jurassic Park 2. Or was it Jurassic World Fallen Kingdom? I think…I think they are the same. They pasted over the paint with fresh wallpaper and some new modern furniture, but the house, the frame, the wiring are all the same. I blame Colin Treverrow, who proved with Jurassic World he wasn’t quite up to the task based on the audience and critical mixture that happened with it. Yes, it made oodles of money, but not nearly as much as the studio wanted when you consider it remained uncontested in theatres for weeks but saw consistent 50% box office sale drop offs week after week. Anything that might have contested it was even worse so it reminded us of 1993 when dinosaurs ruled the earth. This got him yanked from Star Wars Episode IX direction and after the laughable book of Henry it may be awhile before we see him in the directors chair again. He gets the blame for this as he was originally to script and direct, but was yanked from this one as well. Derek Connolly the other writer on this one was also the writer for Jurassic World and Kong Skull Island ….and Star Wars Episode IX, so hold on to your butts for that one.

*pulls up a chair and sits across from the two men* Look I get it it. You may have been given a raw deal from the studio. You didn’t have any great new ideas for a sequel to a reboot, which in itself is a sequel. So you went back to the well. Literally. You lifted the major beats and plot points from what is arguably the second best Jurassic Park film, then doubled down on all the beats you really loved from your last movie. The problem, gentle sirs, is that you crossed a line here. It’s a fine line in any reboot or sequel, of which you are dealing with both; but it is the line where you draw parallels to earlier works. You rehash scenes, beats, and locations from earlier – better works and all it makes us do is think of the better film or at least the scene where it was done better. I mean I will give you points for not having gymnastics beat a velociraptor, but that’s narrow praise.

Your main antagonist is near identical to the crib sheet you used. The secondary antagonist lacks any of the charm, wit, or sublime caliber of the original model – which makes him a comical parody of what was already a parody character. Did you not realize he was this thing? Then, oh…I just ….you expect J.A. Bayona, a horror director to shoot a scene that looks lifted right from a bloody Loony Toons cartoon. This is a mistake. This script was a mistake. It has moments which work, but they are but brief glimmers of something better that never arrived. Unless there was a contractual obligation the studio made a mistake here not bringing in another writer to tweak the script.

J.A. Bayona (The Orphanage, Penny Dreadful – 2 eps), is clearly a talented director. There are very intentional costume changes that I noticed. He was able to get the actors to do more than phone it in which I think they were trying to do more than a few times. I get it the script hindered you, like a lot. I imagine the studio did as well. You had no easy task here. You did everything you could to tell a visual story that conflicted itself every twenty minutes or so and was plagued with such laughably bad decisions that Speilberg couldn’t have saved it. You too though have some things to learn. You have to earn your musical score. The music by Michael Giacchino was wonderful but did not belong in a movie about dinosaurs, volcanos, and evil corporations. It belonged in Middle Earth or some other middle fantasy setting. Your big bad dino’s theme cannot be at the levels of Sauron, or any other of the epic baddies, it wasn’t earned. I could tell you and your visual effects artists had the idea for one shot being awesome, and they tried so hard…but you beat it a minute later with a much better one. Then you beat it again five minutes before with one of the best. If the script didn’t go back to the well, you did too and too much of it and its sour.

I haven’t talked about the actors yet, besides mentioning almost phoning it in. Chris Pratt is Chris Pratt, though he largely looked bored here. Bryce Dallas Howard’s Claire learned from the last movie and was wearing sensible hiking boots going back to the island. The movie makes sure you notice. No I am not joking. She’s fine otherwise. Justice Smith as the high pitched screaming kid from the trailer is fine; even if he has to utter the line every hacker in every movie says “I’m in.”  Daniella Pineda (The Originals) gives one of the most entertaining performances but I have a weakness for sarcastic smart feminists in STEM fields. It’s a thing. There is literally no one else worth mentioning, sorry James Cromwell, not even you.

I could spend another hundred or two words going over some not good CG work, really really bad science (I have rage), and ranting about this is a movie in search of an identity between action and horror and never quite hitting it.

TL;DR

Turn your brain off for two hours. You might have a good time.

I don’t actively hate this movie, its just another hollow high budget production that has a few moments that made me laugh or smile, but not enough for me to actually like it or feel anything about it at all. If any emotion I have towards the movie its a high level of irritation. I can’t even say this is a well made bad movies. Its a high budget mediocre movie that many will enjoy. I am so bloody happy for them I could cry. The biggest win is that the movie didn’t bore me and kept me engaged enough to want to see which plot point from previous movie they would lift next.

Should I see it?

After my dismal reviews on Avengers Infinity War and Incredibles 2, my overwhelmingly positive review of Solo, and less than stellar review of this one you decide. Personally I would say Matinee if you must see it. This is not worth full price, 3D or even XD.

So…won’t be seeing it again?

Nope.

Buying i..

Nope.

Ok what about Goldblum?

He is actually in the movie as a bookend. We needed more of him.

Is it really that bad?

Look I love the T-Rex. It’s amazing. It’s also a bloody apex predator. Stop giving it hero moments. Please.

 

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Darke Reviews | Deadpool 2 (2018)

Trying a new format, see how it works.

First things first, if you liked Deadpool you will like Deadpool 2. Period. Let’s put the TL;DR upfront. It’s a solid film that at the minimum meets the expectations set by both trailers and the prior film. Ryan Reynolds is still charming. T.J Miller is still a waste of digital media. This is the year of Josh Brolin, good for him. Zazie Beetz is the best and we should praise the ground she walks on as Domino. There was not nearly enough of Yukio and Negasonic Teeenage Warhead, but hey at least we have a Superhero movie who acknowledges not everyone is straight.

Honestly, that’s one of the best things about Deadpool it does and continues to do the things no other comic book movie would dare. It pokes at every facet of the other films and its supporting industry and goes “Here I am”. Seriously, think about the last time you saw an overweight hero who isn’t The Blob. Now an overweight person of colour hero, who is also a kid? You won’t find one anywhere in movies or TV. You won’t find a modern comic book movie as effectively lampshade some of the ridiculous aspects to the comic book origin stories.

The movies biggest flaw is its pacing. It really feels it’s two hour run time; which could have been saved by cutting some of the joke scenes that go on a bit too long. The Rehash that just doesn’t work. Cutting TJ Miller entirely. No seriously, the movie would be better without him. Characters people really enjoyed could have gotten a few more minutes and that might have been worth it.

That said, have I praised Domino enough? Zazie is poetry on screen and we are all better for her and the portrayal of Domino. Admittedly I have a soft spot for the character, but it was just good to see a fun, good, bad ass lady on screen where there is zero romantic or emotional B.S with any of the other characters. She has her own agency and it works.

I am not going to try to force word count here, (or anymore) , but Deadpool 2 is worth your money. It’s a fun little romp that doesn’t fall prey to the pitfalls many sequels do. It *could* have been better, but it’s a far cry better than many sequels out there.

 

Darke Reviews | Pacific Rim Uprising (2018)

I love the original Pacific Rim unapologetically. Giant Robots. Giant Monsters. Fighting each other. Characters told with broad, but immediately recognizable strokes. A new feminist icon and “test” for movies in Mako Mori. Idris Elba. Robots that moved and felt like they were giant robots. Shots that helped you feel how massive these battles were and provided a sense of scale that *this* was bigger than life. It is absolutely ridiculous popcorn fare and few people who love it claim otherwise. It is *FUN*

So why did they get the sequel so wrong?

TL:DR

This movie isn’t worth a thousand word count review. I loathe it. I despise it. It is just bad. You know those Syfy movie of the weeks? This is what would happen if one of those was made with a budget. A needlessly complex film without focus on any of the interesting plot points they bring up. This is two movies, maybe three, put into a blender and spat out at the audience by an angry llama who understands the concept of disdain. It ignores any concepts of focusing on characters like the first did and instead jumps from beat to beat and character to character to the point we don’t care.

They ignored nearly every rule of the characters they had from the first. They also ignored the rules of the world they had set up as well. The fights were BORING. That’s right, the fights were boring. Full stop.

I think this is what it feels like to know that a studio has contempt for the audience. To see it written on screen in every action they take.

Yes, Boyega is fine. He does his best and it almost helps. Almost. Please stop trying to make Scott Eastwood happen, Jai Courtney is more interesting.. I know his Dad seems to have too much of Hollywood under his thumb, he’s almost 90. It’s ok to say no to him.

Actual Picture of Scott Eastwood….thats not fair. This is more interesting.

So should I see it?

NO! Absolutely not. This is a garbage fire sitting on toxic waste trying to be put out by raw sewage, then presented to you as if it were a three course meal.

So uh..not seeing it again?

No. Nor buying it. Don’t even ask the next one.

Really? That bad?

My partner tonight and I spent the entire time on the drive home tearing into this like starved hyena’s. I think we were being too kind.

Tomb Raider tried, got the characters right but was boring. Death Wish was a direct to DVD movie that was tone deaf. Winchester at least tried for atmosphere. This bites is thumb at the audience with how it treats all of its characters.

Ok. SPOILER Roll over section

STARTS HERE

They kill Mako. First 30 minutes. I nearly walked out then, but the young girl Cailee Spaeny looked interesting and was trying; and they may have developed a plot around her and Boyega. Nope. They sidelined, then killed Mako in the least interesting way possible and instead we get nothing from any of the female characters of any note other than weird inconsistent arcs and one that could have been replaced with a lamp because she *literally* exists as an object for the men to desire and serves no other purpose.

ITS OVER

I hate this movie. I feel contempt for this movie. Do not see it please. You deserve better.

Editorials in the Darke | Sequel Bait

From my Facebook Wall:

So I was reading your review for the new Blade Runner (I just love to read your eloquent reviews!) And I was thinking… it seems to me, that it is far easier to make a whole new film then to attempt sequels. But what would you classify as the top ten sequels (any genre) in your opinion ??

This is kinda a loaded question, but one I want to take a stab at. Let me break it down into parts before getting to the meat of the question itself.

Far Easier to make a whole new film than attempt sequels

As a writer, and someone who is familiar with fan fic, it’s easier to work from a framework. Original ideas are hard only because as writers we tend to question ourselves far too often and think we are being too derivative of someone else’s body of work. This only gets harder as time goes on and more products are out there. Ex Machina could be seen as Blade Runner told with a cast of 3, but it isn’t quite that. Of course you also have reboots, in which you take the original narrative and try to modernize it or do something new with it. These have mostly poor reception with only a few actually even equaling the other work from a purely objective much less subjective standpoint. I could probably write a doctorate level thesis on that concept alone.

So then you come to the sequel itself, which has factors that can make it easier or harder when you take them into account:

  • Popularity of the property. This even has a further breakdown when you consider nostalgia.
  • Time between films
  • Budget
  • Success of the property
  • Property framework, or does the original work allow for organic sequels?

Frequently we find sequels being ordered with release dates before even a pen is put to paper to give a good script after a film does well in the box office. Usually this results in a train wreck as the creative process takes more time than is allowed, but the studio wants to get the money while people still care. Which leads into time between films. At 35 years Blade Runner is one of the longest times between actual sequels, but due to that it has built considerable credibility and nostalgia within the film community – yet it effectively bombed on its release. The popularity got it a sequel but also creates harsher judges of its quality on release. Some sequels are given less budget to work with all but damning them, while others are given exhorbitant budgets – which does not equal success as much of what made some things work was how the production had to get scrappy and do more with less, when given keys to the kingdom creativity can actually die.

Many films don’t leave room for sequels but we get them anyway. Carrie, Fright Night, even Star Wars could be considered a movie that had little room at the time for a sequel but here we are 40 years later. Others implicitly set up sequels which will never get made for good or for ill, Push, Jumper, and a lot of Young Adult films tend to fall into this category. Many reviewers (including me) and those in the critique business (Cinema Sins, Honest Trailers, Nostalgia Critic) even make jokes about how its cute they think they will get a sequel.

I could really go into this more, but for now let’s talk my top 10 sequels.

Rules:

  1. These are sequels I have seen both the original film and the sequel. If I haven’t seen it – it will not make the list, so you won’t see the critically acclaimed Godfather II on here.
  2. In many cases I am not stating explicitly that the sequel is better than the original, only that it is really good.
  3. I am including films that are part of series, but will only rate the second film against the first – so yes, you are going to see Empire Strikes Back on this list, but you won’t see Nightmare on Elm Street 3, Back to the Future 3, Indiana Jones and the Last Crusade, or Fury Road
  4. If I am reminded of a film later, I may re order this list.

Ok so here we go. These are in no particular order, currently.

    1. Star Wars: Empire Strikes Back (1980) / Star Wars: A New Hope (1977)

      Star Wars is an iconic piece of movie history. It defined the lives of tens of thousands of children and rewrote the rules of what summers and blockbusters were. It is, however, flawed. This doesn’t lessen it’s impact, but does give room for its sequel to be better. While it is clear Empire was written to be a continuation where Star Wars was not, despite protests to the contrary, it still holds as it’s own film. It successfully reintroduces the characters with no loss of personality, growth in character, and then expands the universe. The Empire becomes seen as the massive fist that it is vs. a single monstrosity. The sets, threats, and beats all just work better than they do in the first. Much of this can come from Kasdan’s writing, but also having the power of an established universe. You don’t need to explain as much, but have the luxury of using your footing to get more stable.

      Then of course there’s the ending. It would be easy to say no movie made now would have the audacity to end the way Empire does. While you still have some hope it *must* be acknowledged the heroes are playing from the back foot now and their positions are in jeopardy. This is really what gives it such staying power is that the heroes are not always triumphant. If you consistently win without sacrifice then the wins have no value. People, audiences, love to root for the underdog and if the hero is on top you just have a perfunctory win instead of a fight to come out on top in the next film. Empire delivers this and will always be remembered fondly for it.

    2. Color of Money (1986)/ The Hustler (1961)

      This will seem an odd one coming from me and it isn’t really a well known sequel. The original film has both amazing performances from Jackie Gleeson and Paul Newman. What the sequel does so smart is they introduce you to a very young Tom Cruise who seeks out a now aging Newman to show him how to shark. The music, the acting, the personalities all work and shows a logical dramatic evolution of the Newman character. It is actually rare to make a sequel like this where your original young star now plays the elder mentor. Its on this list as I think the formula here has opportunity for usage. It could and should have been used on the recent Flatliners film as Sutherland was in fact playing his prior character and would have been perfect to continue the story and mentor the new scientists on the risks.

    3. Blade Runner 2049 (2017) / Blade Runner (1982)

      Just see my recent review and know that these films are amazing pieces of work and the sequel is the best possible sequel you can make from a movie that didn’t have implicit architecture to do so. Already news agencies are talking about how 2049 bombed. As a financial investment it certainly did, but this doesn’t keep it from being amazing film making.I was tempted to throw everyone by putting Kurt Russel’s Soldier on here as the sequel to Blade Runner, but as its merely a spiritual successor/side-quel set in the same Universe I couldn’t. But you should see it and I still consider it an amazing film for what it is.

    4. Dawn of the Planet of the Apes (2014)/ Rise of the Planet of the Apes (2011)

      The first movie of the remakes here has one of the greatest film surprises in it of all time with a single word uttered. The second capitalizes on the world and the conclusion and takes us a time into the future. The visuals become stronger as does the storytelling. It is great science fiction in that it makes us look at our own humanity and our interactions with each other through the lens of how Ape culture is being built, interacts with itself and the natural divisions that occur – THEN goes and adds humans into the mix to show when opposing cultures meet. Many deride movies like this for showing the evil of “man”, but ask the un-contacted tribe in the Amazon what they think of modern man. Wait, you can’t they were just wiped out by a gold mining company.We do have better angels, but movies like this remind us of what we do all too frequently overtly and unconsciously amongst our own society. This is why it makes my list as the movies put these issues in focus and do it well consecutively.

    5. Aliens (1986) / Alien (1979)

      Alien is one of the definitive horror films of all time. So how do you make a sequel in the genre? Trick question – you don’t. You instead turn it into a pulse pounding yet character driven action movie. Aliens does something that most horror and action films fail to do – let you get to know the characters just enough so that when they die you knew who they were and a basic personality. To borrow from Oceans 11 “He has to like you and forget you.” Modern films in these genres give us the same amount or more of disposable characters, letting you know they will die, but don’t bother to make you care so the stakes never rise. Think about Vasquez, tough as nails, reaching for her partner Drake. Sgt. Apone, Frost, Weirzbowski, Ferro. Most fans of the franchise know each of those names, but they were nothing more than tally marks against the things have gotten bad. Hudson, Vasquez, even Gorman are left with you so that when they die, you see just when it couldn’t get worse it does. Hicks is taken out for the last fifteen minutes of movie, but for a moment you worry he won’t make it because of how all the others were structured. Even Bishop is set up to let you worry and you do. Not bad for a machine. This is why Aliens is a fantastic sequel. It defies convention and sets up structure in a way that others should, but don’t learn from, on how to do horror/action/and or sci fi.

    6. Superman II (1981) / Superman (1978)

      Richard Donner cheated here. Both films were made in 1977 with Donner having filmed an estimated 75% of it prior to being removed from the project by the studio. Richard Lester replaced Donner, but to get the credit had to shoot 51% of the material – which meant much in the way of reshoots. While I do feel the Donner cut is superior and the troubled production does create some very interesting continuity errors in the movies, Superman II is quite likely the most remembered of the two movies. This comes down to Terrence Stamp as Zod and Reeves Superman being so much larger than life. It brings the otherworldly nature of Superman into the focus vs. the weird real estate story of the first. If I asked you to quote a line from either of these films easily 90% of people would say “Kneel before Zod” – and that right there is why it makes the list. The *fond* memories of it and how well it holds up 40 years later.

    7. Star Trek: First Contact (1996) / Star Trek: Generations (1994) AND Star Trek: Wrath of Khan (1982) / Star Trek: The Motion Picture (1979)

      Ok this one is kinda a cheat as its the same franchise, but different generations. MP allowed for Khan where they reached into the series and pulled one of the iconic villains and resurrected him into one of the most iconic sequels of all time. The battle of wills and the sacrifice of friends to see it through. Sure the sacrifice was short circuited by another film, but that doesn’t lessen the impact of watching Spock die before your eyes.

      First Contact does similar and brings the analogy closer to Moby Dick (as the movie points out), but does so very well. It’s also the first time TNG really goes “Dark”; meanwhile telling two very different stories successfully. Both of these movies tend to top people’s Star Trek film lists and for good reason.

    8. The Dark Knight (2008)/ Batman Begins (2005)

      Batman Begins is the better comic book movie that remains true to its origins and is an overall better Batman film. The Dark Knight deviates keeping only trappings of comic book worlds but tells instead a gritty crime drama with a villain who is on par cinematicaly with Hannibal Lechter. It is better made as a film, where you could watch it and a movie like Heat in a film study of crime films and while there might be a few eyebrows raised the argument is easy to make.The loss of the more comic book aspects and too much of it shot during daylight do take away from the Batman nature of it, but with its billion dollar gross, near universal fan and critical praise The Dark Knight does need to be acknowledged as one of the great sequels of all time.

    9. Terminator 2 Judgement Day (1991) / Terminator (1984)

      What is it with Cameron making superior sequels -ignoring Pirhana II the spawning. In this case he expands on his own universe and gives one of the most financially successful sequels of all time. Terminator 2 largely holds up in every category from then til now even with its early generation CGI effects. There are some that don’t let’s be fair, but it works on a lot of levels in the FX department even now. Much was practical and then we have excellent character development like we saw with Empire Strikes back on how characters changed over time. Terminator gave us a world, a look and a feel. Terminator 2 capitalized on it. The sadness is that none of the sequels gave us John Connor like we were promised from T2’s battlefield shot or even a world as promised by Kyle Reese in the first.

    10. Captain America: Winter Soldier (2014) / Captain America: The First Avenger (2011)

      I have a love for The First Avenger. Of the two movies it is the one I am more likely to watch just because it is a touch more on the feel good components (all things considered) and less on more modern horror shows. It makes me feel in the right ways. That being said, Winter Soldier is without a doubt the best sequel in all of the Marvel Cinematic Universe. Even Cinema Sins and Honest Trailers had issues mocking it because much like Dark Knight it is solid film making. What it does better is keep within the strongest parts of its comic book trappings.

That’s my list. While I have a feeling I missed something and didn’t fully explain everything (I’m already at 2500 words) I believe these are the right choices. There were a few who didn’t make the cut. I may get inspired to talk about remakes/reboots in a future post to this. Special thanks to Jessica L. for inspiring this post.

Comment here on AmusedintheDark on Facebook on what you think should be on this list or if you agree or disagree.

Runners Up:

  • The Chronicles of Riddick (2004) / Pitch Black (2000)
  • The Wolverine (2013) / X Men Origins Wolverine (2009)
  • Hellboy 2 The Golden Army (2008) / Hellboy (2004)

Darke Reviews | Blade Runner 2049 (2017)

I would like to ask you some questions.

First there are some disclosures. I have not read Do Androids Dream of Electric Sheep by Philip K Dick, nor really any of his other works. I suppose this doesn’t surprise my regular readers as me reading books with movie ties is a rare bird indeed. Another important disclosure, I had never watched the 1982 Blade Runner until within the past two years. Sure I had seen parts, but never all the way through. I am not sure how I missed it (aside from being 6 when it came out) until recently, but it happened. I think Blade Runner is a seminal work of science fiction which has inspired an easy fifty percent of film in that genre since then. I think it is a master craft of film making in its art direction, style, acting, and story. I also think it is heavily flawed in it’s pacing and let us not discuss the consent issues. It is easily the pinnacle of Ridley Scott’s directing career, and while films like Gladiator and Kingdom of Heaven are also going to be long remembered – none of his later works will have such a cultural impact as the Blade Runner (or Alien, which needs to be acknowledged as well).

First question: Should Blade Runner have been retired?

It’s hard to make a sequel 35 years later. Very few have succeeded with such a large gap between films and even fewer have this long of a gap, but there is a lot that can help make it less painful. Start with bringing back an original writer from the first film, in this case Hampton Fancher, who has literally done next to nothing else in the writing realm, so I can’t speak to his style beyond what we know. We do know he has both story and screenplay credits. Beyond that we add Michael Green to our recipe. Green is a mixed bag having given us the Green Lantern movie we do not speak of in polite company, but also Logan, but also again the claptrap that was Alien: Covenant. He leaves me scratching my head to his impact on what is otherwise a nearly flawless execution of story; a story I won’t discuss beyond what you see in the trailer as spoilers duh. It feels like a natural continuation of the world of 2019, city speak, blade runners, and off world colonies. A world of billboards as tall as buildings, neon, concrete, and rain. I see the thirty years of evolution in a world that is dying yet fighting and clawing for its last breath through humanity and machine. Because of this execution, because of how the story played – it evoked emotion and thought.

Things movies forget to do in genre films often enough. Movies like mother! provoke. Movies like High Rise provoke, but they often can leave you feeling confused on how to feel about what you saw. You know it was art, but you can’t quite pin it. The same goes here, but with a defter hand. You know this is art when you watch it, but you can more eloquently describe how it made you feel or think without questioning the artistry in the process or asking “was that necessary?”.

Much of that credit needs to go to Denis Villeneuve (Happy birthday 50!); who gave us one of the best science fiction movies of this decade in Arrival. He is the only man I would want to direct this film, even as I watch it I know the hand on the wheel has precision and intention without being full of himself (*stares at Nolan*). The word that comes to mind to me at times watching how beats play out, how the camera works, how angles, and colour are used is sublime. Villeneuve is a director you need to watch for. He needs to continue making science fiction, I am positively begging him as he is able to blend technical precision, emotion, and thought into film – all the while using cinema for all it can bring to you. His staging is incredibly intentional and I noticed more than once certain patterns and trends in aspects of the film making. In my opinion, there is absolute reason why he choose to have it snow off and on during the running time. Don’t go looking for anything, it is nothing major – just an impression.

Let’s talk acting. I have heard people say this is Harrison Fords best performance. I am not sure if I agree, but it is certainly in his top 5. He does bring all his years of experience to bear and it is an absolutely solid performance, but I have to say he’s upstaged. Ryan Gosling, who I knew was solid after seeing Drive, gives what in my opinion is an Academy Award winning performance. There are people who may say after films like Drive or Only God Forgives this role isn’t a stretch and I would disagree with them. There is a lot of nuance to his role as our Blade Runner but also chemistry with one of his co-stars Ana De Armas. Anna plays Joi; and while I have not seen anything else in her body of work, I hope to see much more. She is engaging in her role and the interactions with Gosling are part of what made me feel so I must give credit where it comes due. Another new comer to western cinema is Sylvia Hoeks who reminds me of someone I can’t quite place. Her character Luv is as complex as any other and uses her time on screen to maximum effect. Other actors worth mentioning in their roles are Robin Wright (Wonder Woman), Dave Bautista (Guardians of the Galaxy), MacKenzie Davis (The Martian and an admitted girl crush), and Carla Juri (Brimstone).

Don’t even get me started on the effects. Villeneuve made the brilliant decision to go as practical as he possibly could. If someone told me he made real holograms for some of the shots I wouldn’t be surprised. Minatures, Bigatures, full sized props and set pieces absolutely litter this film like confetti on New Years Eve. It’s magnificent and grand. The computer effects that do exist are generally seamless and hold tight against the practical. There’s even a few shots I had never quite scene before and amazed me to see now. While some of those may have been done, I don’t think they’ve ever been done that well.

So by now I have heaped the praise. I would love to tell you it is flawless in all facets of execution. It is not. There remain pacing issues, which left me near the two hour mark thinking I had been watching for easily two and a half. Not nearly as prevalent (and with 100% improvement in consent issues) as the first was, it still didn’t quite hold every single shot. There are scenes and beats which could have been trimmed and no loss would have occurred. As my dearest best friend pointed out, if you are thinking about the run time while watching it – they got something wrong. Additionally, there are a handful of nitpicks I could make but it would be pedantic to do so. I have heard the word pretentious thrown around in regards to this and while in large part they are wrong, I did find Leto’s performance little more than that descriptor. The movie struggles to try to be as important or have plays like the first but doesn’t quite reach the shoulder of Orion.

TL;DR?

Blade Runner 2049 is well deserving of the praise it is getting. It is a well crafted, technically masterful, beautifully acted and directed film. It is just shy of me using the word Great when applied to it. I don’t know if it will ever, or could ever , be seen in the same light as the original.  I don’t know that this long after and with the nostalgia for the first and its myriad versions it would have a chance anyway; but then again who does expect it? The movie succeeds in a way that so few do especially in this genre in that it made me have rich emotions watching it. It made me think about what it was trying to do and what it was showing me. I left me thinking about it beyond this review on the drive home.

I have another listing for the spectacular films of 2017 amidst the slurry of releases this year and I will be surprised if anything coming out the rest of the year will reach the heights the films thus far have. Of course other films, such as Thor and Justice League will make lots of money, but will they be this GOOD. Will they make me feel a range of emotions or just turn off the brain for a bit. Even The Last Jedi, which is the only remaining film I am eagerly anticipating in 2017 will no doubt be good, but not this close to Great filmmaking. Great Sci Fi.

Next Question: Should you see it?

If you are a fan of the original, sci fi, curious, or otherwise want to have the potential for rich discussion with me or others around it – yes. Yes you should. This weekend. If you don’t like the original or thinking sci fi (thats ok too ya know) you may want to give it a pass or at least matinee.

Seeing it again?

Maybe. Probably.

XD or 3D?

The XD or other equivalent sound systems and screens do improve the movie from a standard definition and basic Dolby stereo. The 3D might be ok, but it was just fine without.

I take it then you are buying it?

No question in my mind.

So it made you feel?

Yeah and I am really happy about that, even if all the emotions involved weren’t joy themselves.

Last Question – you’re walking through a desert. Kidding. Whats next?

Next week I hope to see The Foreigner and Happy Death Day.

Why did you choose that poster for your image?

Because I am tired of teal and orange….long story. Might post on it.

Darke Reviews | Kingsman : The Golden Circle (2017)

I have not seen the movie. I no longer plan to see the movie.

Everyone close to me knows I avoid all other reviews, review sites, production blogs, insider blogs, etc. prior to a movies release. I base everything on my reviews from the trailer to screen only. I do not want to taint my review by production nightmares or amazing productions and horrible final products. I base them on what you promise me via trailer and what I receive when I put down my $11. So when the person closest to me in the world goes: “Hey this article ( https://www.themarysue.com/taron-egerton-kingsman2-scene/ )  has spoilers. I won’t be seeing this or any Matthew Vaughn movies”, an hour or two before I go see the movie; it causes me to take note.

So I read the article. I am both happy and sad I did. I can tell from other reviews I have watched between now and this writing that the overall product is a solid Ok to Good, but at least three have brought up a scene in question without getting into the details found in the article from TheMarySue. I was deeply conflicted for a bit.

The scene/issue: In attempt to plant a bug to track someone Eggsy has to seduce a woman and insert the object into her via her vagina. The shot is done as a point of view following his hand.  The actor who played Eggsy was actually uncomfortable performing the scene (and did not in the end).

Can I tolerate overt, unnecessary sexism in a film that uses it as a punchline for all of 30 seconds?

I mean I have watched plenty of things that are gratuitously sexist. Piranha 3D and 3DD come to mind right out of the gate. I have watched my share of movies with consenting (and even not consenting) adults having sex in them or women in lingerie having sex (Atomic Blonde , The Hunger ). So why does this bother me more than those?

If you are still with me reading this, lets start with Piranha. The sexism there probably kept more than a few women out of the theatres, including me. I have watched them since and realized that while yes it is still sexist that sexism is also the joke and the victim of the joke as well. It is so ridiculously over the top and consistent about it. It is just on the right side of lampoon. There are more than a few people who will enjoy the overt perversion of the film, but they are as much part of the joke as well. The title of the second one even plays into that, even as it earned derision from many. In the case of the Piranha movies they go in with the knowledge, intent, and desire to be comedy horror and the overt sexism is a literal constant part of both narratives. That constant is what makes it different.

Alright so what about films like Atomic Blonde and The Hunger. *sigh* Admittedly this one is a touch harder with these two mentions. Let’s address the Hunger. As a lesbian vampire film you can tell it was filmed by a guy. That said the act itself is treated well, and the seduction and succumbing to it is a functional and necessary part of the narrative with the associated consequences as part of it. Atomic Blonde is slightly different in that regard, but only slightly. It treats the bisexuality of the characters and the act slightly better; while still generally being filmed for the male gaze. Both sequences have a high degree of intimacy and passion that ultimately serve the characters and narrative rather than detract from it. They are naturalistic within the story and it would change the film and characters in a significant way if they were absent.

So why is this different? Because it is unnecessary. Like the Princess Tilde scene from Kingsman – what did it actually serve? Did you *need* to see the scene? Would it have worked had Eggsy closed the door with her smiling on the bed and Merlin looking over and going “Oh my”? Yeah. It would. The problem here with a POV shot of the hand sliding down her stomach and into her panties and then her? It adds to a pattern.

Vaughn is outright juvenile and sexist. He is a shock jock (DJ) like old Howard Stern. He does it because he can and wants to be bold and edgy. He’s a 15 year old with $90 million dollar budgets. Let me clarify.

The Tilde scene was on it’s own? It caused a minor murmur. Some folks didn’t like it, but that was it. Didn’t really hit the radar in reviews or news. Now add this scene with Poppy Delevinge’s character Clara. Most reviews I am coming across are bringing it up with a “why was this needed?” – more on that in a sec. Two isn’t a pattern yet. There’s more. Let’s look at Hit Girl in Kick Ass. I like the movie, love the character, but he has her drop the “C” word just to shock people. Then there’s the teen sex scene, true the actors were 20 and 23 at the time but they were playing high school kids. I am not against teens having sex, not even remotely, I am wondering why it needed to be filmed? There’s the treatment of Roxy in the first film – you know the one who actually became a Kingsman? True the narrative is about Eggsy and Harry, but you lessen the one of two named significant female besides his mother; who is not treated particularly well either, by leaving her off screen for much of the action?

My final point on the why was this needed for the Clara scene? If a script writer gives this scene to you as a director and producer you have the absolute right to change the scene and change how its filmed. You can keep it from being exploitative if you feel you need to include it. This fails here as Vaughn is writer, director, and producer. He wrote the McGuffin for the intent to write this scene and shock. He picked how it would be filmed. It literally only exists in this format to allow him to film it as such. The McGuffin could have worked any number of ways that didn’t require *this*. Yet here we are.

Where does that leave us?

I cannot in good conscience see this movie. I cannot in good conscience recommend it.

If this scene as described doesn’t bother you and you can enjoy the rest of the movie without this being a detractor – props to you. I am not going to judge people who don’t have an issue with it. I hope those that see this truly enjoy it and this doesn’t take away from it.

It would for me enough to taint the rest of the experience. Enough to taint how I think of his other movies, which I enjoy as well.

I’ve drawn a line in the sand for white washing and I have to here for this absolutely unnecessary sexist filming.

Is there anything else you are drawing a line in the sand for in the near future?

Trigger warning for pedophilia on this topic so I am using my spoiler roll over text to discuss. If you wish to see just highlight from here:

Yes. Jeepers Creepers 3. When the first two came out the internet wasn’t nearly as powerful as it is now. Information about people and their misdeeds not nearly as prevalent. I had no idea the director Victor Salva was a convicted pedophile. Not only committing the crime but filming it as well. I cannot support his works now that I know. Do I still enjoy JC/JC2? Yes – for what they are. You can enjoy something still after you find problematic issues with those who made it. It does not mean, however, you have to continue supporting them once you know.

This includes Polanski. I had no idea of his background at first. I know the victim wants the story to die so she can keep moving on. This is does not equate to absolution. Do I like the Ninth Gate? Sure. Can I continue to support him? No. Which means not adding some of his older works to my collection such as the Fearless Vampire Killers to avoid giving him any form of residuals. 

As a reviewer, topics like these do cause conflict. I have an objective role to perform in the watching of film and media and writing about it. I also have my subjective beliefs and values. I have to be true to myself and not support things I find problematic.

I hope you all understand and can join me for the next review.

Darke Reviews | War for the Planet of the Apes (2017)

In preparation for this movie I did a double feature in my own home last night watching both Rise of the Planet of the Apes (2011) and Dawn of the Planet of the Apes (2014) – worth noting it was almost 3 years to the day on release from the last film.  I remembered they were good, with computer animation that defies so many other films we see, most of it focused on amazing motion capture work with Andy Serkis. The first movie is classic science fiction with a morality tale built in as it should be, but in my opinion doesn’t warn us away from the science. Granted it does require the stupidity and bad lab procedures to survive itself, but its a conceit I allow for the sake of the whole. The second movie is more of what we have become used to in our science fiction with a dystopian world with nature taking control and humanity on the brink. The question asked is can we peacefully co-exist? The answer is not when prejudice and hatred continue to reside within either side; which leads us to War.

Should you avoid this War though?

Matt Reeves returns to the directors chair after successfully helming the Dawn of the Planet of the Apes. Reeves, in my opinion is proving Cloverfield wasn’t a fluke of directing and that Let Me In was as well done as it was for a remake due to finite control of his camera and his actors. He with director of photography Michael Seresin (Dawn, Prisoner of Azkaban) go for some interesting camera shots. While most of them are not as evocative as those in Rise or Dawn, they are still appropriate. There are a few Dutch angles in the film for those who look for them and I believe you will find them appropriately used.  Intelligent use of wide shots as well as the close up.  He brings out the right performances from his actors and in scenes where I thought I might get annoyed I was surprised that I wasn’t. He, along with the story he co-wrote, know how to ease down the tension without letting it go away; allowing for laughter in the right times and right beats so as to not take away the dramatic moments that happened only minutes before. He ramps and lets go very well throughout the film with only one or two stumbles

The supporting story allows for it with Reeves and Mark Bomback on the pen. Bomback having screenplay credits on the last film, The Wolverine (Wolverine in Japan, aka the other good one); but also the less than stellar Insurgent and Live Free or Die Hard. The story is what it advertises itself to be – a war movie; but more akin to ones like The Longest Day (1962) or Battle of the Bulge (1965).  What does that mean? Well war is the backdrop to personal stories. Sure there is action but the action is in service to the plot rather than the plot and the story being in service to the action. They let beats linger long, they use the lack of actual dialogue to their benefit, and the dialogue they choose to use is used well; while the sign language of the apes continues to be very effective in this medium. They are able to introduce new characters both heroes and villains, human and ape – who manage to have their own arcs and finality to them as well. There are a few moments that while set up if you were looking close that may have some folks rolling their eyes, but it is not a major sin.

I said it before and will say it again, please just acknowledge Andy Serkis is deserving of an Oscar and punch anyone in their lying mouth if they say you can’t act or emote through Motion Capture. His Ceasar is a tired leader in this one and the weight of everything on his shoulders and it plays perfectly through the film. Karin Konoval’s Maurice, the orangutan, continues to plug the heartstrings of ape and audience while being the films conscience. Steve Zahn surprised me with how charming his performance was; which made a brilliant counterpoint to Woody Harrelson as The Colonel. He is just the right kind of monster that you can almost get for a few moments then come to your senses (I hope). Twelve year old Amiah Miller does not annoy and in fact endears through the movie as the little girl. All in all every performance was good and adds to the effort of script and camera.

Technically – yes the Apes and motion capture are even better than Disney did with Rogue One. They are improved over the last 6 years and almost…almost flawless especially in their weight on screen against living actors. Granted some of that comes from the mo-cap work, but the CG artists have to deliver on it. I want to say it’s perfect on this front, but I can’t. There’s a few shots that don’t work with the Apes, but they are rare. What is sad that some of the environmental, technological, and background effects are missing that same level of quality. While not “bad” they just aren’t quite good and temporarily ejected me from a scene, but most audiences will give it a pass. I think there are a handful of editing mistakes in the film, most of which are forgivable. At 140 minutes the movie does run a bit long and probably could have had 10-15 minutes shaved here and there with negligible impact, but improved the pacing.

TL;DR?

During my last review for this series I invoked Empire Strikes Back and Godfather II and I stand by it. War for the Planet of the Apes concludes the trilogy of films perfectly. This is arguably one of the best cinematic trilogies of all time up there with the original Star Wars arc, Godfather, and The Girl with the Dragon Tattoo. There are other trilogies sure, but they have a weak film in their series, where this franchise really doesn’t; only getting stronger as time goes on.

My only fear is Hollywood will foolishly try to make another and I hope Matt Reeves and others say no. You have as good as you are going to get and it would be wise to let the series end on the high note.

Should you see it?

Yes. War for the Planet of the Apes is an very good movie worth watching. I can’t say reasonably that 3-D would make it better, but XD probably would.

Will you buy it?

Without question.

 

Is it good Sci Fi?

Yes. yes it is. It gives you option for conversation. It gives you something to think about. It also gives both text and subtextual plots that are worth discussing. The movie defies tropes that other lesser films would have gone for. It takes risks and is intelligent about them.

Are you serious on the trilogy thing?

Absolutely. Look there’s a lot of trilogies out there and some good, some bad. It’s hard to find one that keeps getting better as it goes or ends as well.

This is a well made, well shot, well executed film deserving of praise and funding via ticket sales. I absolutely encourage people to watch this.