Don't Breathe

There come moments in life when you are forced to make an important choice. Like should I rob the blind war veteran’s house while he is home? The answer to that is usually going to be a firm no. “Don’t Breathe” follows three young hoodlums who pick the wrong victim in their attempt to get rich quick. Living in economic squalor, the film makers chose a dying neighborhood in Detroit as the setting, and it definitely helps to set the mood of isolation.

As a fan of vigilante justice, I was giddy after hearing about the premise of this film. Yes! Victim’s revenge is gratifying when you hate home invasions as much as I do. I would have to classify this as more of a thriller than a horror movie though; the distinction being that horror generally would be somewhat (or entirely) implausible. Thrillers are sometimes more frightening than horror because you could see yourself in the situation, but most films in the genre fall apart when they try to fabricate tension and delve into the realm of unlikely. “Don’t Breathe” toes that line nicely for most of the movie. It falls over the line during the third act, and a plot twist destroys credibility, losing the beautiful momentum it had slowly built to that point.

What works very well is that through the first two acts, Stephen Lang’s (“Avatar”) blind man is larger than life. He consumes all of the attention in any scene he is in. He is an elderly man, physically imposing, and plays visually impaired and helpless extremely well. His brief back story is not overly elaborate, but satisfactory in placing him in the mix. But what he excels at is that his character changes right before our eyes over the course of the ninety minutes, and I only wish he was given more lines, his low, gravelly voice is haunting.

The three criminals (Jane Levy, Dylan Minnette, and Daniel Zovatto) have bland personalities and back stories, and their archetypes are so typical that it’s a bit embarrassing. What is supposed to be a scare-fest loses some of its crucial emotional appeal by portraying just about everyone in an unflattering light. What I just couldn’t get on board with was figuring out who to root for. Do I root for the criminals, or the victim? Depraved all around, I just didn’t feel the visceral connection to any of the characters, which severely diminished the return on my anticipation. I suppose that as the film progresses there is supposed to be a shift in allegiance, but I found myself a vacant bystander.

Written and directed by Fede Alvarez (2013’s “Evil Dead”), what it lacks in creativity, it makes up for in execution. Creaking floorboards, little or no music, lots of great jump-worthy moments, and utter simplicity are the foundations of any good thriller. Although it goes a bit off the rails near the end, probably aiming for that epic climax, I was impressed at the camera work and way that Alvarez induced a sense of claustrophobia in the cramped house.

What failed to impress me was the use of a Rottweiler in an attempt to close loops and stretch the chase. It is sloppy writing, and come on, who is actually scared of dogs? Just smack it on the nose and scratch its belly. At the conclusion of “Don’t Breathe”, I did find myself a bit sore from being tensed up for over an hour, so that’s a sign of captivating entertainment. Kudos to Alvarez and Lang for that. If you can handle a bit of moral ambiguity and are a fan of thrillers, you might get a thrill out of “Don’t Breathe”, but if not, don’t bother. I was really hoping for better. 5/10.

War Dogs

Jonah Hill and Miles Teller are both pretty hot property right now in Hollywood. Teller was snubbed for an Oscar nomination for 2014’s “Whiplash”, and Hill has shined in “Moneyball” and “Wolf of Wall Street”. A noticeably obese Hill is showing his range once again as Ephraim Diveroli, a loud, crass American who is equal parts stupid, brilliant, and ambitious. Miles Teller is David Packouz, a floundering kid who just wants to be successful enough to raise a family and feel respected. Together, they exude a juvenile, yet tenuous friendship and stumble into a gray area of success more than they earn it. They are hustling their way to the American dream, according to the film’s tagline.

The improbable true story of two twenty-something friends who earned untold millions through lucrative US military arms contracts in the wake of the second Gulf War is presented in a very fresh, hip way. Like last year’s “The Big Short”, the absurdity of the premise brings out the natural humor in the situation and everyone involved capitalizes to ramp up the energy and action until you are earnestly wondering how is it going to end? For a film that is really a gonzo buddy action comedy biopic, it has a surprising amount of tension.

The dramatic story would be ruthless if wasn’t funny. The two lead characters do a fantastic job of showing wide-eyed inexperience. It’s almost as if a couple of kids find themselves at the adult table at Thanksgiving. They don’t quite know what to do, but they are happy to be there, and are relishing the respect that comes with the opportunity.

Bradley Cooper injects some seriousness into what could easily go off the rails as a true comedy as the notorious arms dealer and public enemy Henry Girard, a role that he seems to be enjoying despite his lack of any noticeable expression.

Director Todd Phillips, who struck gold with his Hangover trilogy, shows promise for more than just raunchy comedy franchises. He’s evolving into something a bit more dramatic, and for that I admire his choice of project. He allowed just the right amount of comedy to endure the political, possibly anti-American message, sort of an exploitation of government procurement process. Much the way “The Big Short” dealt with the banking crisis with humor, “War Dogs” is a sharp and complete movie because of the soft edges.

Something that many films of this nature do well is using familiar classic rock songs, often with oddly relevant lyrics (Blue Oyster Cult’s Don’t Fear the Reaper being played in a retirement home). This is notably a Richard Linklater or Cameron Crowe move, but Todd Phillips nails the music. It really adds another level of fun to this movie.

The equalizer for me, regardless of genre of film is if it makes me really want to know how it ends. I hadn’t heard much about the story prior to screening, and although the previews definitely give a good impression of what to expect, I found myself really needing to find resolution as it was building to a climax. Beyond that, I thought Todd Phillips ended it very well; on a high note, a very satisfying conclusion.

One thing that might turn off some viewers is just how immature and brash Jonah Hill’s character is portrayed. The term ugly American comes to mind, and although it’s a compliment to his craft, it is a bit despicable on screen and leaves a bitter taste throughout.

With a slim variety of enjoyable films in wide release right now, I would definitely recommend checking “War Dogs” out. Especially if you’re looking for a cool place to get out of these hot summer afternoons. 8/10.

2017 Oscar Preview

It's a bit early for an Oscar prediction, right? Never. There are more than a handful of films over the coming three months that will likely enter the discussion for the coveted gold statues, but I am here to offer my pre-release prognostication, sight-unseen. Now, there have been a handful of valiant performances, and even a few good films so far in 2016. I'd like to reserve top ten status until a bit later in the year, but thus far none of them will command recognition come next March. What stands on the horizon are a fairly impressive docket of films from thespians and directors new and old. Some may sound familiar, some won't, but here is my fall preview.

August

August is typically a wasteland reserved for iffy blockbusters, some franchise tentpoles, and films that aren't easily classified. Two such films are "War Dogs" and "Don't Breathe". The former will likely break boundaries as an artistic action comedy biopic. At best, it will be on par with "The Big Short" and at worst, well, let's just say it could definitely be disappointing. The premise is intriguing, as is the director (Todd Phillips), and Miles Teller and Jonah Hill are exceptional actors when given the right project to work with. The latter might be the scariest film of the year, or it might just be another cliche gimmick. However, with a good director (Fede Alvarez) and one of my faves, Stephen Lang, I have high hopes for some edge-of-my seat scares. Gus Van Sant's long-gestating "Sea of Trees" is another one to keep on the radar, but the premise is depressing as hell. Walking into the woods to commit suicide? Wow. I could miss it, but with McConaughey, Van Sant, and Naomi Watts, it might turn some heads.

September

The Oscar buzz begins. "The Light Between Oceans" has gotten some attention, but again, depressing. I think it will fall off the radar after early praise. "Sully" might be the only September film to go the distance with perennial Best Actor darling Tom Hanks (Inferno won't do it), and Clint Eastwood behind the camera. I see this as what "Flight" could have been, and everyone loves a hero. Which is true except when it's mixed with action. "Deepwater Horizon" will be deeply entertaining, but Mark Wahlberg leaves much to be desired and Peter Berg is still hung up on action over real quality. Three other films pique my interest; "American Honey", "Denial", and "Goat". All for different reasons, I could see "Denial" sticking around on critics' top ten lists if it reaches its potential.

October

The real quality films begin coming out. October brings us "Birth of a Nation", "The Accountant", "American Pastoral", and "Moonlight". I could see "Birth of a Nation", which is a semi-true account of the Nat Turner rebellion, gaining some serious looks both because of the content, and as a pendulum swing in the aftermath of the uber-white Hollywood debacle last year. Think "12 Years a Slave". Its problem may be the whole written/directed/starring problem, and Nate Parker's current rape allegations from when he was in college. "The Accountant" gives me pause. I have high hopes, but the director is Gavin O'Connor. "Miracle" and "Warrior" were great films, but I see him as more of a lightweight film maker. I hope I'm wrong, it looks very entertaining.

November

I will be very busy in November. I count four potential Best Picture Oscar films: "Loving" is my current number two. An interracial couple is sentenced to prison in 1950's Virginia for their marriage, directed by Jeff Nichols ("Midnight Special", "Mud", "Take Shelter"). He's flying under the radar as a high quality writer/director, but "Loving" will change that. "Billy Lynn's Long Halftime Walk" is Ang Lee's new baby. The story and acting may not be the most compelling this year, but Ang Lee always has some tricks up his sleeve; this time filming with a frame rate of 120 frames per second. For reference, "Avatar" was filmed at 24 fps, and "The Hobbit" trilogy broke new territory with 30. This film has been hailed as the dawning of a new era of film making from a technical standpoint, so I would highly recommend 3D IMAX on this one, which I don't do very often. It will be a worthwhile cinematic experience. "Manchester by the Sea" is another one I'm hearing good things about. Still a bit mysterious to me (fly me to special screenings already, Hollywood) it stars Casey Affleck as a man who inherits his brother's son after he dies. It should have the acting covered with Michelle Williams and Kyle Chandler co-starring, and is directed by Kenneth Lonergan, who is a bit inexperienced, but ironically won the "most overlooked film" award among others in 2011 for "Margaret". Rounding out the quality, there is "Bleed for This" which will likely land Miles Teller in the Best Actor grouping, "Hacksaw Ridge" which is a bit of a sleeper, but has potential, "Elle", "Nocturnal Animals", "Rules Don't Apply", and "Allied" all are on my radar as well.

December

Besides "Star Wars", I am probably most interested in "Passengers" with Jennifer Lawrence and Chris Pratt. The film has been on the Hollywood Black List (hottest scripts that haven't been done yet), and it has potential for a "Gravity" amount of success, certainly it will do well at the box office. Its biggest problem is opening the week after "Rogue One", but that shouldn't be too much of a problem around Christmas. "La La Land", "Collateral Beauty", "Fences", "Gold", and "20th Century Women", and "Silence" are all going to be potential contenders, but I'm calling it now. The Best Picture of the year will be "The Founder" and Michael Keaton will bring home the coveted gold after just narrowly missing out with "Birdman". This will mark his third year in a row being one of the leads in the Best Picture winner, and will solidify him as a viable if not exceptional leading man. I've always liked him anyhow, but it's really nice to see him getting his due. The Weinsteins have pushed it back from August to December because of the possibilities for awards, and with Nick Offerman and John Carroll Lynch playing the McDonald brothers, and Keaton as Ray Kroc, I think a lot of people will frown upon McDonalds after seeing the real story.

Best Picture Nominees

The sure thing nominees in my eyes are "The Founder", "Loving", "The Birth of a Nation", "Billy Lynn's Long Halftime Walk", and "Manchester by the Sea". The second tier contenders will be "The Light Between Oceans", "Sully", "Allied", "La La Land", "Moonlight" and "Nocturnal Animals". The winner will be "The Founder".

Which films am I most excited to see? Easy. "Passengers", "Arrival", "The Founder", and of course, "Rogue One". I like to make my predictions early for plausible deniability of accuracy, but also to say that I called it back before anyone else. Like the Mariners winning the World Series this October. And the Seahawks in 2017. Good luck to all, and email me with your thoughts, I'd love to hear them.

Suicide Squad

DC and Warner Bros. find themselves in a mad scramble to catch up with the Marvel juggernaut, and I for one thought that “Suicide Squad” would help them in their efforts. It didn’t. In fact, this can only set them back farther after the disappointing “Batman vs Superman” in the spring. We have to hold out for next year’s “Wonder Woman” for any hope of superhero salvation, and by that time, the pressure will be very high.

For those who haven’t heard, “Suicide Squad” is a team of little known bad guys who are pulled out of prison and forced to work together under the most dangerous of circumstances. Presumably these are missions that the US military can’t handle, but I’ll get to that in a bit. Amanda Waller (Viola Davis) is the brainchild of this proposal, and no sooner than she pitches the idea does it become almost critical that they assemble.

Writer/Director David Ayer (“Fury”, “Sabotage”, “End of Watch”, “Training Day”) was given the keys to his daddy’s Porsche in this $175 million film that doesn’t even have a mainstream character, and he wrecked it going 20 miles per hour. Shame. Batman makes a brief appearance in a couple of inconsequential scenes, including the mid-credits interlude that is becoming all the rage in superhero flicks, but the highlight of “Batman vs Superman” couldn’t even save this film. Ayer even let Jared Leto forge a new Joker, but the iconic performance by Heath Ledger sadly haunts any effort on Leto’s part. It was doomed from the start. Besides over-acting, and being more thuggish than insane, the Joker’s role in this film is far too peripheral anyway. It’s gimmicky, but he isn’t given enough screen time to be effective.

This assortment of villains has a range of abilities, or non-abilities, which made the movie pointless right off the bat. Captain Boomerang, Slipknot, Killer Croc, and Harley Quinn bring absolutely no value to a fight against anyone or anything that is armed. Rick Flagg and Katana are the minders of the squad, and even they aren’t impressive, even when the bullets start to fly. I guess I was expecting more interesting characters from a character-driven vehicle.

Will Smith highjacks the film as Deadshot even though there are more interesting characters lurking in the shadows behind him. He is given almost as much screen time as Margot Robbie’s backside in tight shorts, which are the true star of the bunch, but Smith just doesn’t play well with others, so I assume he needed to be playing the anti-hero.

The real problem is the identity crisis that the film has. Billed as a group of bad guys, they kept having to remind us who was good and who was bad because they just became too nice and likable over time. They even started working as a team, and growing consciences. It is a team flick, but it wasn’t supposed to have a happy vibe. The second problem I had with the film is the story. It is terrible. Like really, really bad. Let’s just march these characters down a street and let them fight whatever comes up. Baseball bats, boomerangs, crocodile hands. Don’t worry that the US military could just send in a Seal team and handle this, let’s take a big risk on this group of bad guys with no experience and really bad attitudes. And just to remind you, they are really bad. The plot saddened the superhero movie fan in me even more than Brandon Routh’s “Superman Returns” back in 2006.

What I would have done differently for starters is to make this an R-rated film. Marvel’s “Deadpool” broke the mold in the spring with the not-so-family-friendly film, and it worked out great for them; critically and at the box office. Suicide Squad was supposed to be DC’s answer to a more violent superhero movie, which would be great given the natural tone of DC comic films anyhow. Give it a try, the target audience doesn’t shift much when you go from PG-13 to R, and there would be much more leeway for David Ayer to create the film he probably wanted. Violence, nudity, language. It would have fit in this case. If it made hundreds of millions (which it would have and will anyway), try it again, something different. My inkling is that Will Smith, DC, and Warner Bros. had a bit more skin in the game than Ayer did, and so they won in the end. It’s a shame. Ayer is a talented writer, but I’m not sure his directing is on par with his contemporaries.

In the end, there was too much nonsense going on to warrant enjoyment. The film started too fast, progressed too slowly, and ended painfully. Will Smith had to drop his Will Smith one liners. Jared Leto is no Heath Ledger, and let’s just say Batman, Superman, Aquaman, The Flash, Cyborg, and Wonder Woman (no Green Lantern?) don’t have to worry about these clowns causing too much havoc. 3/10.

Jason Bourne

Matt Damon returns for the fourth time as the twenty-first century James Bond, Jason Bourne. The commercial success of the franchise demanded a return, and I will tell you, Bourne is back in a big way.

Discounting 2012’s “Bourne Legacy” which starred Jeremy Renner in the titular role, it has been nine years since the icon of modern espionage has graced us with his screen presence. The subtle master of cat and mouse has come out of hiding to find answers to his own questions in the midst of a global Wikileaks-sized security breach.

The CIA is hot on his tail, led by Tommy Lee Jones as the director of the covert agency. He is the latest in a long line of distinguished actors who have gone up against Damon in this franchise, and things haven’t gone well for any of them. Vincent Cassell also joins the cast as “The Asset”, a cold-blooded assassin with reasons of his own for hunting Bourne.

The whole gang is back together behind the scenes. Paul Greengrass directs his third entry, Tony Gilroy writes his fifth (he also directed “Legacy”), and Doug Liman is back on board as an executive producer (he directed the first film and produced the others). As you can imagine, there is a lot more of the same. The character is the draw and always will be, so we see high-tech espionage, exotic European locations, and lots of backstabbing and double dealing. Of course, Jason Bourne is above it all, outsmarting every single person on the planet. But that’s the fun, isn’t it? Seeing how he’ll get out of jam after jam.

Greengrass is a natural for this type of film, and he has a prior connection to Damon in 2010’s “Green Zone”. He was the director behind “Captain Phillips” and “United 93” both films I would highly recommend as well done bio-pics. His trademark handheld camera style can be a bit unsettling at times, particularly when there is a lot going on on-screen. That is really the only gripe I have with the direction.

Gilroy delivers a story that picks up right where the last one left off in terms of tone and pacing. Two incredible chase sequences bookend what is the most linear and simple entry in the series yet. I found the complex nature of the first three a bit frustrating when trying to enjoy the film without necessitating reflection, but this one is ripe for immediate consumption and enjoyment.

Two problems I had with the film, and neither is overtly damaging of an enjoyable viewing experience. First; Oscar-winning actress, and Hollywood’s hottest female Alicia Vikander plays the CIA Head of Cyber Surveillance, Heather Lee. Would a twenty-eight-year-old who looks like she is twenty really find herself at the top of an intelligence agency at that young of an age? It didn’t work for me, and played into the commentary and criticism that as Hollywood leading men keep aging, the leading ladies stay the same age. There is some credence to that.

The second problem I had was the need to parallel Apple’s battle with the NSA using implication that shady government is recruiting the private sector to do their dirty work with the intention of destroying privacy, all in the name of security. It’s a little too soon after the San Bernadino shooting to bring that piece of non-fiction into the narrative.

Assuming Damon is interested in taking on the role for a fifth time, you can count on another installment within the next few years. With a nearly $5 million Thursday night opening, and projected $50-60 million opening weekend, it will be a worthwhile investment for the team of Greengrass, Gilroy, and Limon as well. It is a bit redundant, but If you are looking for action, and a bit of a trip down memory lane without the multifarious names, places, and black ops files to remember, you will definitely enjoy Jason Bourne. Again. 8/10.