Pain and Gain

They say that truth can be stranger than fiction. Never has this been more true than this Floridian story by master of non-fiction Michael Bay. He brought us the most accurate account of the bombing of Pearl Harbor, chronicled one man's heroic escape from Alcatraz, followed NASA's destruction of a cataclysmic global-killing asteroid, and most recently brought to light that Chernobyl and the Moon landing were both cover-ups for a giant sentient robot takeover. This is equally important. Three bodybuilders get involved in kidnapping, extortion, racketeering, and murder.

Now he takes us back in time to 1995. Miami, Florida. Incidentally, isn't it uncanny how all the truly good American stories come out of Florida? Someone should create a show and just call if "Florida". The material writes itself daily. Anyhow, fitness buff and personal trainer Danny Lugo (Mark Wahlberg) is tired of living a meager and invisible existence. He wants to be a "doer" and not a "don'ter". He sees the wealthy come in and out of his gym all the time, and he wants to be rich, like them. The only problem is that he isn't too bright, and doesn't want to work for it. Enter Paul Doyle (Dwayne Johnson) and Adrian Doorbal (Anthony Mackie). The three stooges hatch a get-rich-quick scheme that takes the audience on a true calamitous caper ride.

Pain and Gain is something different from your typical blockbuster, and that's what makes it fun. It's driven more by the story and the are you f*#king kidding me sequences (there's even a perfectly timed "This is still based on a true story" disclaimer midway through) than most films. Wahlberg, Johnson, and Mackie have major screen presence, and throw in Tony Shalhoub and Ed Harris, and you have a great cast of actors. Michael Bay makes Miami look like the sunny, 24/7 strip club and cigarette boat lifestyle that I'm sure it is, but it also makes you dubious of the class divide, in which our three bodybuilding criminal geniuses clearly illustrate through their squalor. Throughout the violence and bad karma that befalls pretty much everyone, the one constant is the tone of the film. Give Bay credit for that. It starts out hard, fast, hot, and funny, and it continues spiraling like that for over two hours. Like water down a drain.

This project must have been fun for the three main stars, learning that they need to portray bodybuilders to prepare for their next role. Wahlberg has always been a pretty big guy, and Johnson has gotten larger than ever over the past couple of years, but Mackie is a surprise. He's always been in good shape, but stepped it up for this role. He's the guy you recognize, but aren't quite sure where from. Million Dollar Baby, The Hurt Locker, Notorious, Adjustment Bureau, Real Steel, and Gangster Squad all showed some of his talents. He's got a big year coming up, starring in Runner, Runner with Ben Affleck, and he'll be The Falcon in Captain America 2, and The Avengers 2. He was given some of the better lines, and was paired up with Rebel Wilson to form a pretty fun couple.

Dwayne Johnson has his hands in everything these days. Just a few weeks after GI Joe 2 opened, and a few weeks before Fast and Furious 6, his big screen presence is everywhere. He is truly the current American action star. Couple that with his return to the WWE, and he's everywhere. Playing an ex-con bodybuilder who is a born again Christian, and a recovering alcoholic/drug addict is right in his wheelhouse. He's got the charisma and talent to play just about any role, but he's being overexposed and typecast too much right now. He probably is fine with it, as he's pulling in millions with each project, but considering he's going to be Hercules, and Sinbad (Arabian Nights) in the next couple of years, I'm looking forward to seeing something more substantial than just another action film. Maybe I'm impatient, but he is a legitimate actor, he just needs a role or two to show it.

Mark Wahlberg is excellent as usual. Whether it was intentional or not, his character began to darken over the course of the film in a noticeable fashion. He was a happy, courteous personal trainer with a dream and he devolved into a psychopathic monster by the end. He never seemed to lose his innocent charm along the way though. This isn't a brilliant criminal mind, just a case of greed and opportunity consuming his life.

The other standouts are Tony Shalhoub as the victim who doesn't garner much sympathy, and Ed Harris as the retired investigator whose suspicion and curiosity eventually cracks the case. Rob Corddry, Ken Jeong, and Peter Stormare show up to add some comedy, but all in all, it's every Michael Bay movie you've ever seen. Slow motion action shots, powerful music, beautiful women in bikinis, manipulated lighting, and fast cars.

Pain and Gain is a really fun movie. Then again, every Michael Bay movie is fun. I'll admit it, I liked all three Transformers. I liked Pearl Harbor, Armageddon, The Rock, Bad Boys One and Two, even The Island. There, I've said it. It won't win any awards, and could have been made by virtually any director as this story is a goldmine of non-fiction, but that doesn't necessarily negate its positive qualities. It was written by Pete Collins and published in three parts in the Miami New Times back in 1999, and was kicked around for a few years before Bay picked it up. Here's hoping that more absurd Florida stories are brought to the big screen. And that Michael Bay continues to entertain us. Admit it, you appreciate his artistic contributions... 7/10.

Oblivion

Tom Cruise takes a page from Sylvester Stallone's book, and refuses to accept his age. The 51 year old actor looking pretty spry, jumps back into the sci-fi genre where he did a pretty decent job in both Minority Report and War of the Worlds. Joseph Kosinski is no Steven Spielberg however. He tries really hard, and although it's not a terrible film, it is simply unoriginal.

This film is an original. It took me over a day to decide what I thought of it, and honestly, I still don't really know what I thought of it. It was so frenetic and full of shifting plot lines and focal points, that it never really congeals into any sort of discernible story. It is entertaining nonetheless. Think about a combination of The Matrix, 2001, Moon (little known 2009 Duncan Jones film - Sam Rockwell's best), I Am Legend, Star Wars, and a tiny bit of originality, and you will get Oblivion. It is both predictable and surprising, but not in the way that will elicit a positive reaction. It's more confusion and disappointment.

Joseph Kosinski did 2010's Tron: Legacy. A terrible film despite tremendous potential with story, cast, and special effects open canvass. The direction wasn't half bad, but the story was terrible. I can't scathe Oblivion (written by Kosinski) for the story, as I recognize that the Sci-Fi genre is extremely difficult to conjure new material. Impressing an audience is different than entertaining them, and Oblivion was impressive. This is mostly due to the special effects involved in the space ship/drone chase scenes. I saw it in IMAX, which was definitely an advantage for this film, and Tom Cruise didn't hurt the credibility as he is still one of the best action stars around, even at 51.

To summarize, future Earth has been attacked/invaded by an alien being, and Tom Cruise's character is a maintenance technician who fixes drones that protect the processors that provide energy and resources to the humans living on the Tet (sp?), a giant space station just outside of the atmosphere. The rest of the race have relocated to Titan, a distant moon. The remainder of the alien race are known as Scavs, and they attack the drones and the processors regularly, trying to disrupt the status quo.

It seems pretty straight forward, but through a sequence of encounters, revelations, and discoveries, Tom Cruise's Jack Harper finds himself smack dab in the middle of something larger and more complex than what he originally thought. It's quite predictable, but what makes it both unique and a bit impressive is how rapidly the film shifts from one commonly recognized film to the next. There is absolutely no originality (I can't blame Kosinski entirely), but he manages to take pieces of just about everything. From the Matrix concept of human harvesting, to the Star Wars fighter sequences, to the 2001 artificial intelligence creep factor to the Moon cloning idea. It's just a scatter-shot of cliches that doesn't really hit anything.

Even the actors supporting Cruise are ineffective. From the attractive yet unbelievable Olga Kurylenko, to the passive and submissive Andrea Riseborough, they just don't ever seem to fit. Morgan Freeman is a ridiculous pick to play the rebel leader, and he's enjoying his paycheck behind his ridiculous sunglasses. Suspend all belief and just enjoy the ride.

I figured out the "plot twist" way too early in the film for it to be considered credible or even clever. It didn't follow any strain of logical progression, and mirrored too many classic Sci-Fi stories to be given any credence.

That said, I thought it was a valiant effort, and I don't blame Tom Cruise for going along for the ride. He wasn't half bad. The story was just 20 years too late in its delivery. I might be harsh on the genre, but it's because I just can't stand to see recycled material. I have too much respect for the classics and the potential of the genre in its infinite potential. Joseph Kosinski has seemed to come out of nowhere to get approved for huge budget projects, which is odd to say the least given his experience, but what he's produced has been on par or better than what someone with his experience should be expected to produce. I expect big things from him based on Tron: Legacy, and Oblivion. He's working on the sequel to Tron now, which remains to be seen how impressive it will be to the movie-going public (I think not). Anyhow, he takes on a difficult genre, but I would recommend skipping Oblivion and renting Moon (2009). It's a great film and is much more straight-forward with the same results. 6/10.

42

Chadwick Boseman. Be ready to know his name.

The biopic about Jackie Robinson and his brave and tumultuous venture into professional baseball is less about America's national past-time (debatable at this point in history), and more about the racial injustices that existed a mere 65 years ago. Set in 1945, as pro ballplayers were returning from WWII, Brooklyn Dodgers executive Branch Rickey, innocently claiming profit motivation and not racial injustice, shocked the world when he backed Jackie Robinson, a 26 year old Negro League star. He pushed him through the farm system up into the big leagues, and the rest is history.

Jackie is an icon in professional sports, and I was impressed to learn that the number 42 has been retired by all professional teams in baseball as well as celebrated every April on a day in which every baseball player wears the number. A feat not ever done before or since. It was a barrier broken, and even more impressive because he did it with his bat and his speed, not just as a gimmick. He won Rookie of the Year, won a World Series, and although he was only in the league for 10 years, was inducted into the Baseball Hall of Fame in 1962. Sadly, he died in 1972 at age 53, but his legacy will certainly live on.

Written and directed by Brian Helgeland. What's that? You don't know who that is? He won an Oscar for writing LA Confidential, a fantastic film noir about corruption within the LAPD in the 50's. He also penned Mystic River, Payback, Man on Fire, and the most recent Robin Hood. He has established himself as a Hollywood heavy hitter in the screenplay department, and is making his first foray into mainstream direction with 42. Needless to say, although not a household name yet, he is an up and comer who I would compare with someone in the William Monahan or Paul Haggis realm. Someone who has definite writing cred, but is just now making a name in the direction field. He definitely has talent and displays poise with this endeavor, although a sports film is all about the story and actors, and less about the direction.

Chadwick Boseman storms onto the screen as the iconic legend, and is a dead ringer for Robinson. Perfect casting. He has spent the last ten years doing various stints in television, but this is his first (of many I'm sure) leading man role. He plays Robinson cool and with the right amount of emotion displayed through his eyes. It's a very difficult role and emotion, but he shows the restraint necessary to lend credibility to the realism of the film. He is excellent as Jackie Robinson, and the portrayal is respectful and from what I could tell, accurate.

Harrison Ford comes out of left field to play Branch Rickey, the old and weathered baseball dinosaur. He is practically unrecognizable at first glance, and has been off the radar for so long that his name isn't mentioned in the aging veteran actor conversation, but he is back. And he's emerging into a new role now that he's 71. Long gone are the days of action, Indiana Jones (we'll see), and Han Solo (umm, we'll see). He's opened himself up with this performance for the old man looking for an Oscar, and this next chapter of his acting career may earn him some accolades if he chooses his projects wisely. He has a few more projects coming out this year, a sure sign that he's back in the game. He's a business executive in Paranoia, an old, gruff mentor in the adaptation of the kids' modern classic Ender's Game, and he's rumored to have some sort of a hand in Anchorman 2. This could be his finest work since his brilliant cameo in Jimmy Kimmel's "I'm F*&king Ben Affleck". He's also signed on for another Indiana Jones (5), and Star Wars episode 7, which will be epic (JJ Abrams and Disney). Suffice to say, he's making a comeback. I don't know why, but he's always had the potential. He's played the waiting game for the past 20 years, and now he's primed for some really good roles.

Alan Tudyk steps out of his mostly comedic persona to shine in a supporting role, as short and uncomfortable as it is. He is the Philadelphia A's manager Ben Chapman. He probably says the N word more times than he has minutes of screen time, and it really adds another depth to the picture of racism at the time. It is hard to take him seriously in any role, but he definitely stands out as the non-Ford/Boseman player who shines. John C. McGinley lends his commentary as Brooklyn announcer Red Barber, and has some terrific lines. Old metaphors and phrases from the 1940's that are so comical and antiquated that could make a comeback in modern lexicon.

The film almost takes away some of the bravery that Jackie showed, and the danger and abuse that he endured by showing Branch Rickey as an altruistic, selfless, and exceptionally racially tolerant man. The focus of good and humanity almost falls on Rickey, which is both great to see, and a bit of a shame as it stifles some of the emotional momentum built by Chadwick Boseman. It's a well done biopic, more than just an inspirational sports movie. It is equal parts Walk the Line, Miracle, and Remember the Titans.

The problem that I ran into was that the tone was much more subdued than the more uncensored and racially volatile film that the trailer shows. There is no actual violence, and even the constant racial epitaphs are done in a contrived and almost humorous way. The scene in Philadelphia where Alan Tudyk's character is obscenely and enthusiastically trying to get under Jackie's skin is done with a combination of humor and exaggerated racism. Not with the unfounded pent-up rage that many White Americans felt as a result of societal pressures. I understand that the filmmakers needed to stick to a certain standard to maintain the PG-13, and that the target demographic often drives the content. In this case, baseball fans,young adults, and those with any experience with racism seem to be the groups. Anyone can relate to an injustice story. Everyone roots for the underdog, and sports seems to bring the best out of humanity. 42 isn't the best baseball film ever made, it isn't even close. It is an inspiring and relevant racial piece of non-fiction as important as Rosa Parks or Martin Luther King Jr.

Don't expect too much baseball. It's the backdrop for much more complicated social issues, but done simply. Besides, Kevin Costner isn't in the movie, so you know it's not all baseball. What it is however, is one of the better movies thus far in 2013. 8/10.

Evil Dead

The remake of Sam Raimi's cult classic isn't half bad. It pales in comparison to last summer's surprise hit (and I still get giddy thinking about it), Cabin in the Woods, but it had a different vibe and different execution (pun intended), while targeting the same general audience. I was happy to see that Sam Raimi and Bruce Campbell were attached as producers, and Diablo Cody is an uncredited writer, although it seems a bit unnecessary. The first-time director, Fede Alvarez has that same novice charm that Sam Raimi did when he did Evil Dead. There is a bit more production value to this remake, and a lot of the tricks of the trade are recycled from the masters but that doesn't necessarily mean they aren't effective.

The story finds five young adults in a cabin in the woods. Mia (Jane Levy), is trying to kick her heroin addiction, and her estranged brother and concerned friends are there to support her through her withdrawal. Things start to unravel when a bunch of dead animals, and the book of the dead are found in the basement, causing confusion and poor decisions on all of their parts. Limbs are amputated, blood and vomit fills the screen in buckets, and razor blades, electric carvers, nailguns, and the requisite chainsaw make an appearance to up the gore factor to about an 8. This film could have easily gotten way out of hand with the blood, but I was actually a bit pleased that Alvarez restrained himself a little bit.

Jane Levy heads the cast of newcomers and unknowns as Mia, the heroin-addicted/demon-possessed woman. Nobody really stands out, but that is probably the purpose. Five unknown actors in a pseudo-low budget horror flick. Some of the typical conformities of the genre are thrown out. For instance, there aren't any half-naked women running around. Nobody makes the decision to go off on their own in the dark, and nobody outwardly refuses to believe what is going on around them.

As simple and redundant as the film is, it is pretty entertaining. Definitely a handful of gross-out moments, and a couple of jumpy scenes, but ultimately it hits the mark precisely for what it intended to do. Obviously it's not for everyone, but I wasn't shocked like I was expecting. If you're a fan of the genre, Evil Dead does justice. 7/10.

G.I. Joe: Retaliation

I went and saw a sneak preview of this last Tuesday in 3D, and have been percolating my response for a few days now. I absolutely loved everything GI Joe when I was a kid. It was the early to mid 80's, and at its height of 2nd generation popularity. I had most of the action figures, and would even save up my $3.00 every couple of weeks to get a new action figure. I would study the profile on the back, and even mix and match the backpacks and weapons of my figures. I wasn't quite as bold as some of my friends to mix and match body parts, but that's just weird and obsessive.

The second Joe flick takes a new, more conservative approach to the special effects and technology and follows a new protagonist, Roadblock (The Rock) as he tries to salvage a decimated GI Joe unit and take on a group of Cobra who've infiltrated the White House. Pretty ambitious, but it's not completely absurd. It sticks with the tone of the first film, and has a fresh director in Jon Chu. He's been heavy in the Step Up franchise and other song/dance projects. This is his first foray into action however.

The rumor I had heard was that the reason the film's release date was pushed back a year was because of the monster success of a year that Channing Tatum had in 2012. Three legitimate hits in three distinct genres was enough and they needed to drag out his 15 minutes. The fact that the script killed him off after just a few scenes had to be aborted and he had to play a more prominent role in the film to cash in on his star status. Right? Wrong. There was no rewrite, and he was in fact killed off, just like the previews intimate. I found this a bit puzzling, but rewriting/reshooting after production has to be a huge pain in the butt; specifically the wallet.

The Rock handles the spotlight as a hulked out action star with grace. He is the second coming of Arnold Schwarzenegger and Sylvester Stallone, and he was born to be an actor. He has intelligence and charm that matches his physical prowess. He's a great Roadblock. The other characters used are Flint (DJ Cotrona) and Lady Jaye (Adrianne Palicki), Snake Eyes (Ray Park) and Storm Shadow (Byung-Hun Lee), because everyone loves the ninjas, and Cobra Commander (Not Joseph Gordon-Levitt), Zartan (Arnold Vosloo), and Firefly (Ray Stevenson) as the antagonists. Jonathan Pryce plays the President/Zartan in disguise, and does a nice job in his Jekyl/Hyde role. Walton Goggins and Bruce Willis add some much needed humor, so as you can tell, it's the ensemble that really makes it work. That's where the first Joe got off track; and sorry ladies, but there was too much Tatum, and far too much Marlon Wayans (I still don't know why they cast him as Ripcord).

The real golden nugget is the bromance between Roadblock and Duke. They would make an outstanding buddy comedy duo, one which I'm sure has been discussed. Unfortunately, the film dies with Duke, and the only thing redeeming is the action; particularly the ninja fighting and futuristic weaponry.

There is a third G.I. Joe in the works after the sequel outperformed the original at the box office substantially. Look for The Rock to reprise his role for a significant payday, and expect Snake Eyes and Storm Shadow to make an appearance as they are clearly (and were for me) the most popular characters of the franchise. Much like Transformers, Hasbro has a goldmine of characters to create on screen, and they would be smart to roll them out slowly, but intentionally. As for the director, I think he could easily be replaced, but will probably be brought back as long as money is being made.

When it comes to films like G.I. Joe or Transformers, it is surprising to me how shallow and how little attention is paid to the story. You would think that with hundreds of millions of dollars riding on audience approval, they would go with more than just a few explosive scenes. Who knows, maybe this is ultimately what the masses truly want. For my money, I would love to see a few extra million spent on one of the A-list screenwriters. The budget is already $150 million or so, and it's going to make over $500 million by the time its theatrical run ends. What's another $10 million? Get Chris Nolan or Paul Haggis on the job. See what Paul Thomas Anderson, Quentin Tarantino, or the Coen brothers can come up with. Get the Wachowskis, Todd Field, William Monahan, Darren Aronofsky or Charlie Kaufman. Aaron Sorkin or Stephen Gaghan. Maybe even Diablo Cody or David Goyer. You get the point. I want them to mix things up instead of Rhett Reese and Paul Wernick, who to this point have basically only done Zombieland.

I saw it in 3D, and don't waste your time or money. It's just not worth it. This film is one best saved for a Saturday night on DVD. You'll be sucked in by the Tatum/Rock relationship, and left unsatisfied (except for Palicki's wardrobe, that's impressive). Fun film for the action figure fan, but ultimately disappointing and off the mark. 6/10.