Vice

The title of Adam McKay's latest is a bit misleading; it's not a reference to the oft-mocked figurehead position in the Executive Branch, but more an allusion to the addictive grip of power and the extents men will go to achieve it.

Chronicling the life of Dick Cheney (Christian Bale), one of the more mysterious vice presidents in modern history, "Vice" breaks the typical rules of a biopic by taking some dramatic and comedic liberties (the benefits of redacted intelligence briefings and missing emails) and as seen in 2016's "The Big Short," breaking the fourth wall to help the viewer better understand some of the more critical terms (Unitary Executive Theory). The narrator (Jesse Plemons) is cleverly an ancillary character whose importance isn't revealed until the near ending.

Cheney's rise to power began in humble beginnings in 1960's Wyoming where the literal and metaphoric fly-fishing background is at the core of his character's lifelong process. By a stroke of luck, he crosses paths with Donald Rumsfeld (Steve Carrell) and begins an impressive political career (Representative, Secretary of Defense, Chief of Staff, Vice-President). But throughout the whole film, there is always a sense of who's really driving his ambition (Lynn Cheney; played by Amy Adams) and never a complete sense of satisfaction with his own level of power and achievement. He aspires to the top position in the white house, but just never quite gained the momentum or recognition among the voting masses. One of the few downsides to being a quiet, unassuming enigmatic man. His respect and influence within the Capitol Hill community however, is undeniable.

The real story kicks in when he mulls over the offer to be the running mate to a Texan political legacy who doesn't really have a sense of his own purpose (played magnificently by Sam Rockwell). The realization that he can run the country even more effectively as an autocrat if he has one foot in the Legislative, and one foot in the Executive Branches is validated by the thought that if he's part of each, he's not technically accountable to either. A flawless logic that was clearly what the founding fathers were thinking when they established checks and balances.

Christian Bale is a master of capturing a character, but it's what is happening behind his eyes that make this performance so compelling. The moments of silence in between lines of dialogue leave you desperately wanting to know his thought process. A surefire Best Actor nominee, the only thing stopping him from the award is the absence of a monologue or fiery speech, but that's just not who Dick Cheney was (or is perceived to be).

The supporting cast simply shines as Amy Adams, Sam Rockwell, and Steve Carrell turn in tremendous performances without overshadowing Bale's Cheney. The makeup artists deserve some recognition as we see them all age over the course of over thirty years.

What stands out is how sharply the film is put together. Documentary snippets, beautiful visual metaphors, and the use of narration and subtitles to break up the monotony of the history lesson leads to a conveyance of information in a way that tricks the viewer to enjoy it far more than they might if it were simply on The History Channel. Adam McKay has shown twice now that he's more than just Will Farrell's business partner. He's a legitimate writer and director, brilliantly carving out a niche for himself. Next up? "Bad Blood" with Jennifer Lawrence based on a shady tech entrepreneur.

This film fills a void this holiday (and awards) season. There are plenty of biopics, feel-good musicals, feel-bad musicals, uncomfortable looks at race relations, and even an epic superhero film where all of the favorites (gasp) die! But we don't have a film like this in the mix, and for that, I'm, declaring it my top film of 2018. Best Picture and Best Screenplay winners, and a few more nominations to boot. It doesn't get much more entertaining than this, but after all, my bias is probably showing. I am a US History teacher, and ran for Congress this past election... 9/10.

Green Book

If I told you back in the 1990's that one of the Farrelly brothers ("There's Something About Mary," "Dumb and Dumber") would helm a potential Best Picture Oscar winner, you would call me crazy. Well, it's true. "Green Book" is a perfect blend of a feel-good buddy flick, and high caliber dramatic narrative. Throw in the biopic influence and some tremendous music, and it just plain works.

Viggo Mortensen plays Tony Lip, a stereotypical New York Italian in the 1960's. He's a devoted family man hustling to provide with his gift of gab and enforcer physique. He's the type of guy who talks loudly and carries a big stick. He takes a job as a driver and security for Dr. Don Shirley (Mahershala Ali), a quirky piano virtuoso doing a tour of the deep South. As unlikely a duo as they are, Dr. Shirley is fascinated by Tony's unrefined and uncompromising demeanor.

As they make the journey from New York through the Midwest and ultimately into the heart of darkness in the 1960's (Jackson, MS), the reason for Tony's employment becomes more clear. The invisible racial barrier that Northerners had the luxury of ignoring is made more glaringly obvious with every new venue, and both men evolve in a very unlikely way.

The heavy racial themes are done without the typical dramatic embellishment of prior films of this nature, and that seems to be the prevailing trend, which I find refreshing and makes them stand out from other fare. Because it's a buddy film at heart, the core is the chemistry of the characters portrayed, and both Mortensen and Ali are phenomenal. Both deserve Academy recognition.

During a year in which music is seeming to drive the most powerful films in contention, the way Ali tickles the ivory (even if it isn't genuine) is positively inspiring. Mortensen has done some fantastic work in his career, but this might be his finest yet. Never better than "A History of Violence" and "Eastern Promises" in 2007-08, he packed on the pounds for this one (forty-five according to my sources) and played the most empathetic character yet. You know that deep down he's just a kind-hearted, good person, despite the rough exterior, and that's the trademark of a great actor; conveying depth.

For me, this film struck a nerve that I still can't quite put my finger on. It managed to evoke an array of emotions that only a high quality film can. I dare you not to put this film on your top 10 list this year, and I'm very interested to see the future of Peter Farrelly's filmmaking career. 9/10.

Hunter Killer

Tense submarine dramas have been hit-or-miss in the past, but the claustrophobia, tension, and fate of the world hanging in the balance of the captain’s commands is a common theme. Taking more than a few ideas from “The Hunt for Red October,” and “Crimson Tide,” Gerard Butler tries his hand as an American bubblehead in this film by untested director Donovan Marsh.

After a skirmish under the ice in Russian waters, the US military sends a Hunter Killer class submarine to investigate the aftermath. Led by newbie captain Joe Glass (Gerard Butler), he leads his men into certain conflict while a Navy SEAL team drops into enemy territory, discovering a nefarious coup that threatens the safety of not just the two countries, but the entire world. I know, sounds kind of cool, right? It is for about the first 45 minutes.

The action is undeniably entertaining. From submarine dogfights (is that what they’re called?) to Navy SEAL incursions, director Donovan Marsh shows he can handle a big-budget feature film targeting the action-hungry audiences that haven’t seen the military on full display on screen since the summer. Unfortunately, the plot, characters, and dialogue trip up the action more than they should have.

The story dictating the action is a gross display of American military ineptitude, which is a disheartening thing to see on-screen. Never before have so many military members disregarded direct orders or questioned authority to the extent shown in “Hunter Killer.” Insubordination abounds as Russian and American sailors recklessly play moral roulette with seven billion lives as the fate of the world rests on this nuclear military standoff. The sailors trust their adversaries far more than their superiors as if the fraternity of submariners is stronger than nationalism, duty, or prevention of imminent war. In addition to being rife with clichés that we’ve seen before in this type of film, the realism falls off a cliff and never quite recovers. But maybe that was by design.

Gary Oldman’s precious scenes are wrought with overacting and a misguided character portrayal. He goes from zero to sixty like a bomb going off, and never convinces me that he has the temperament for the leader of the entire Navy.

Gerard Butler is simply an enigma. Introduced in the film bow hunting in Scotland, only to be picked up by helicopter and rushed to his first command on a submarine, he displays all of two emotions; focusing on his lines, and trying not to let his Scottish accent slip out. I’m not saying it’s worthy of a Razzie or anything, but he drops the ball in a role that demands a higher caliber of emotional display.

The Navy SEALs are fun to watch as always, but the film could have made a vast improvement by inserting a more recognizable actor in one of the four roles. They are the most interesting characters of the film, and led by Bill Beaman (Toby Stevens), there was an opportunity to resuscitate some of the shortcomings from the main storyline and inject some macho adrenaline, but alas, it fell victim to the 1990’s action film curse; nameless, faceless heroes conducting war games behind enemy lines.

This was Michael Nvyquist’s last film before his death in 2017. He plays the one Russian who has that cold war intimidating presence that is critical for an antagonist, but he’s not the bad guy, so it’s a little wasted. All in all, the film stumbles early and often, but the action keeps it moving at a decent clip. I wanted more twists and turns, and I don’t know if I can ever endorse a Gerard Butler film (although “300” was pretty cool).

It’s a cookie-cutter submarine war film with lots of posturing, but little payoff. “Hunter Killer” just can’t seem to stay afloat. 5/10.

First Man

“First Man” makes me think of a story about the first female President of the United States. I would have titled this “One Small Step” or something a bit less vanilla. Either way, the title as blasé as it is, portrays a film that is nothing short of epic.

Fresh off the success of “La La Land,” Damien Chazelle and Ryan Gosling once again team up to tackle awards season, but this time it’s Claire Foy who steals the spotlight. With a cast that absolutely kills it every which way possible (Kyle Chandler, Jason Clarke, Corey Stoll, Pablo Schreiber, Shea Wigham, Patrick Fugit, Lukas Haas), Chazelle captures the era with remarkable realism and visual effects, and during the final act, the imagery is awe-inspiring and majestic.

The story of Neil Armstrong and NASA’s moon landing back in 1969 is widely recognized as one of mankind’s most triumphant achievements. The film follows Armstrong (Ryan Gosling) from 1961-1969 as he is balancing the monumental weight of space travel with that of a young family. His wife, Janet struggles to maintain a sense of normalcy or sanity while her husband is training for what many considered a suicide mission, and their two young sons are caught as reluctant parts of history. Armstrong evolves from daring test pilot to the most capable and reliable member of the NASA program with a subtlety that is admirable, while drifting farther and farther from his familial responsibilities.

Ryan Gosling is a thing of beauty to watch. One of the finest actors of his generation, he conveys the stoic nature of Armstrong deftly and with great detail. To a less discerning eye, the acting may seem wooden or uninspired, but it absolutely captures the personality and character including nuanced fidgets and steely-eyed gazes. Amidst the aloof appearance, Gosling has an emotional atomic bomb simmering beneath the surface. You can’t see it, but it’s there nonetheless. Not to be outdone, Claire Foy is absolutely remarkable as his oft-neglected wife. A loyal companion ready to emotionally implode at every moment, but holding it together like a 1960’s housewife is supposed to. The chemistry reminds me of DiCaprio and Winslett from “Revolutionary Road” which is to say the realism is remarkable.

Watching the inner-workings of a 1960’s NASA is cause for a bit of nostalgia mixed with a giddy sense of befuddlement. How did they manage such monumental feats with such antiquated technology? It adds to the suspense, and as trial and error has devastating consequences, the stakes seem even higher as the inevitable goal becomes a reality.

Aside from the aforementioned achievements, Damien Chazelle dazzles with his direction. The era is captured with precision and attention to the most minute detail, and when it comes time for the climax, the tension is palpable and the visuals are magnificent. The moon scenes are mesmerizing and masterful, creating a sense of legitimate awe.

The obvious history lessons aside, this is the type of movie that exudes everything that modern film-making is meant to be. Outstanding story, direction, acting, and production. It is the best film of the year thus far, and although awards season has just begun, the bar has been set very high for the other contenders.

The film is nearly flawless. Any criticisms about realism or detail is simply being overly persnickety. You will find everything about the film satisfying in the end, particularly if you’re a fan of American history, technology, and humankind’s remarkable ability to adapt and innovate. 9/10.

A Star Is Born

Bradley Cooper is a great singer, Lady Gaga is a great actor, and the music is catchy and tremendous. The true star, however, is alcoholism. In case you hadn’t seen any of the three previous versions, the film follows a fading musician as he crosses paths with a rising star. The narrative intertwines a complicated love story with self-destructive behavior, and carries a cornucopia of emotions ranging the full spectrum.

Jackson Maine (Bradley Cooper) is a successful rock/folk/country star who clearly struggles with substance abuse as he reaches the lonely twilight of his youth and the numb complacency that comes with a long bout of success. He meets and is drawn to the younger Ally (Lady Gaga) in a tremendous scene in a drag bar that sparks their mutual curiosity. They form an inseparable and unlikely pair, and as the relationship grows, the music feeds their burgeoning love.

Bradley Cooper is phenomenal. Considering he’s pulling triple duty (acting, writing, directing) it makes you think about Ben Affleck’s triumphant “Argo” and the awards it won. This film is less of an underdog at this point as the reviews from the festivals have all been raving.

Lady Gaga is outstanding as the budding star. She evolves from starry-eyed simpleton to a confident pop-star grappling with fame and a complicated marriage. The film’s remake has been in talks for decades with Jennifer Lopez, Beyoncé, Demi Lovato, and others attached at one time or another, but there’s something about Lady Gaga (real name Stephani Germanotta) that nails the role with relatable sincerity and an understated confidence that kind of hits the screen unexpectedly.

Co-writer Eric Roth (“Forrest Gump,” “Munich), seems to turn most of what he touches into gold and Lukas Nelson (Willie’s son) is a very strong choice for musical collaboration. Of course, when you have Lady Gaga as well, there is a bit of a recipe for catchiness, but Nelson adds that rough, bluesy edge that makes you reminiscent of “Crazy Heart” and Jeff Bridges’ epic performance.

What drives a film of this nature is truly the music. I can’t overstate how impressive it is what Cooper, Gaga, and Nelson created. There is some folksy blues, some hard country, and a couple of tear-jerking love songs mixed with a little bit of the obligatory pop. Some films try too hard, but “A Star Is Born” nails the necessary tone with a sledgehammer, sucking the audience into an emotional whirlwind that unfortunately climaxes a bit too early.

Sharing the stage, they positively shine, but as their romance progresses, both of their lives take on a tragic loneliness that diminishes the enjoyment. But alas, it is beautifully tragic. Masterfully done by Cooper in his debut, it leaves little to want in the end.

The alcoholism could have been portrayed a bit sloppier as Cooper was a clean, happy drunk for the most part. If there were more realistic depression, sickness, and withdrawal, I would have definitely fallen harder for the characters, but it was actually downplayed in spite of the massive quantity being consumed.

These small criticisms aside, “A Star Is Born” is a fantastic film that trumps everything else released so far, this year. It is the gold standard for 2018 best picture as well as several other awards. I’m curious to see if this is a flash in the pan for Bradley Cooper (Ben Affleck in Argo), or if we are seeing the emergence of the next great actor turned director. Either way, I am excited to see where things go in his career. 9/10.

Venom

Not quite Marvel, but pretty close. Sony has owned the Spider-Man universe and is transitioning characters and stories to Marvel, but this one is tangential with no direct connection to our beloved superheroes, which truly makes it work. Of course, we can expect a sequel if Tom Hardy is up for the challenge, but that will all depend on how much fun he had on this project. He’s gone on the record saying that he chose the Venom character because it’s his son’s favorite supervillain, so there’s a good chance we’ll see him engulfed in black goo again sometime soon.

Eddie Brock (Tom Hardy) is a complicated man. We watch as he transforms (literally) from a confident investigative journalist with a great life, to a complete wreck when he loses his job, his fiancé, and his reputation with one bad decision. The Life Corporation and its brilliant Elon Musk type CEO, Carlton Drake (Riz Ahmed) have found life among the stars and are experimenting with its symbiotic ways (is it sym-bee-ote, or sym-bye-ote?). Eddie stumbles upon one such being, named Venom, and they form a sort of partnership as Venom is trying to survive, and Eddie is trying to figure out what is going on. As Carlton Drake tries to recapture his precious extra-terrestrial find, Eddie and Venom have to protect themselves and each other.

The impressively cast of Tom Hardy, Riz Ahmed, and Michelle Williams bring this character-driven action film to life. Michelle Williams has limited screen time, and doesn’t quite show the range she is capable of, but her name adds to the credibility of the film. Hardy on the other hand delivers a cockney New York accent, and is in a perpetual state of sweaty discomfort. He regresses from a confident man to a shell of his former self; sickly and scared. It’s actually kind of great to watch.

Director Ruben Fleischer (“Zombieland”) embraces this complicated story with open arms. He masterfully fuses the character progression with the magnificent special effects, and the perfect mix of humor and horror for such a dark narrative. Venom is shifted from a feared and beloved villain of Spider-Man to an ambiguous super-being that straddles the line of good and evil, which I imagine will become trendier as we move forward with this insatiable superhero appetite that our world has developed.

A super-villain stand-alone is a new concept in an age of heroes, but if you find the right character and the right actor, it carries the same desired emotional effect as your typical hero’s journey. Next year, Joaquin Phoenix will be in a stand-alone Joker origin story, which will almost certainly become the gold standard for villain stories going forward. Samuel Jackson reprises his role as Mr. Glass in M. Night Shyamalan’s 2019 “Glass” as well, so there is a clear movement to fill a void in the genre, and I for one am pretty excited about it.

You can’t help but develop a compassionate feeling toward Eddie Brock, as he is consumed and paralyzed by the symbiote and really forced to do its will, to his chagrin and the reluctance of a sympathetic audience. This is what drives the story and really contributes to the core of its success. Originally conceptualized with an R-rating, the toned-down violence works well for the wider audience, and really amps up the humor. It’s a strong move on the studio’s part.

Was this one of the best superhero films? No. But was it entertaining and fresh? Yes. The mid-credits scene punctuates a fun future for the franchise with the introduction of another beloved villain. You have to look for something a little different to enjoy this, but the motorcycle chase scene down the hills of San Francisco, the oozy fight scenes, and the sheer giddiness of the premise make this worth watching. 7/10.

Smallfoot

I’ve become something of a reluctant animated film aficionado lately, although it’s mostly watching the same four or five films over and over. And yes, before you pass judgment, I have a four-year-old at home. Before the mid-90’s, computer generated images were a thing of science fiction, but as technological advancements in visual effects make leaps and bounds seemingly each and every year, film studios are seeing the enormous box office potential and are churning out films to capitalize on the market.

Pixar has dominated the animated field since “Toy Story” hit the screens with innovative CGI back in 1995, but now we have Pixar, Disney, Illumination, and Warner Bros. as the four pillars and purveyors of the animated community. Traditional Disney fairy tales are a thing of the past (in animated form) as new, original content is filling the multiplexes more frequently all the time.

“Smallfoot” takes the traditional Sasquatch story (familiar and dear to those in the Cascade region), and flips it on its head. Channing Tatum leads a B-list cast of voices as Migo, the curious and endearing creature who stumbles upon humans, but is frustrated when none of his beastly tribemates will believe his story. You see, the Yeti in the stratosphere of the Himalayas put their blind faith in “the stones,” or a collection of tablets that guide their daily lives. Things like the floating mountain they live upon in the sky that was defecated by a giant yak. Or that Migo’s father (cast perfectly as Danny DeVito) must launch himself across the sky every morning to bang his head against the town gong to awake the giant yellow snail in the sky. Things like that.
Anyhow, Migo embarks on a quest to prove to his people that humans do exist, and everything they thought they knew and believed in was a lie. Along his descent down the mountain, he meets Percy (James Corden), a Steve Irwin type who needs to revive his television career by finding a Yeti. Through adversity, they forge a friendship and learn that valuable kid’s movie lesson in the end.

“Smallfoot” has several deeper and more complex themes than you would expect, but the attempt is a bit misguided. I was caught up in the religious overtones, and the implications of conflict based on ignorance and misunderstanding. Obviously, these themes will probably be lost on the kids, but it dampened my own enjoyment a bit. Fortunately, it takes an optimistic turn near the end, so I was left with a smile on my face instead of thinking about how this is a metaphor for the unending Israeli/Palestinian conflict.

The creatures vary in shape and size, but none truly stand out as interesting or funny. Even the lead (Tatum) is a weak imitation of a character we’ve undoubtedly seen before; he channels his inner-Wreck-it-Ralph with a pretty commendable John C. Reilly voice. LeBron James brings his voice into the mix, as does Common, Zendaya, and Gina Rodriguez, but none are given a character that really adds memorable value to the film.

Written and directed by Karey Kirkpatrick (“Over the Hedge,” “Chicken Run”), it’s an interesting idea packed with fun that kids will undoubtedly enjoy. The humor is cute and some of the dialogue and interactions bring a smile to your face, but there isn’t much for adults.

I even tried to get into the music, and was impressed by Common’s rap about the mystical stones, but there was certainly no “Let it Go” on this soundtrack. All in all, the film was cute and fun, but obviously is a kid’s movie. My estimation is that your children will love the physical comedy and the scenery, but you will be underwhelmed as you sit beside them. Grab some popcorn and just give your kids a thrill. 6/10.

The Predator

“Predator” and “Aliens” remain two of my most cherished R-rated sci-fi films of all-time. The magic of the worlds created by John McTiernan and James Cameron, respectively, have been often imitated, sometimes intertwined, but never duplicated in the thirty years since they were both created. The franchises have seen various trial and error, different formulas and character shifts. They’ve attempted sequels, prequels, and reboots. But the fire just hasn’t been rekindled since 1987. Until now.

Shane Black has found success as a writer and director (“Lethal Weapon,” “Iron Man 3,” “The Nice Guys”) but his connection to this particular franchise runs deep. This passion project began with his unfortunate role of Hawkins in the original “Predator” and he had been rumored for years to be working on a sequel that will make us all forget about the previous less than stellar installments.

Imagine my sense of childlike anticipation to see a film that might remedy all that was tragically wrong from “Predator 2” onward. It’s cinematic excitement that only comes around maybe a dozen or so times a year. When the previews finally arrived, I was a bit dismayed. Predator comes to Earth looking for something, humans band together and fight for survival while being picked off one at a time.

The Predator comes to Earth looking for something, and the humans band together and fight for survival while being picked off one at a time. Army Ranger sniper Quin (Boyd Holbrook) leads a motley crew of Veteran’s Affairs patients with names like Nebraska, Baxley, Lynch, and Coyle as they are forced to confront the Predator after his escape from a research facility hidden somewhere in the mountainous forests of Chattanooga. To throw a wrench in the mix, there’s a whole recombinant DNA plotline, a nod to climate change, and an enhanced Super Predator who comes to kill the original Predator, forcing us to wonder who to root for and why. It’s all very confusing. What isn’t confusing is the popcorn-munching action fun that accompanies sharp jokes and nostalgia for the original.

Sterling K. Brown is tremendous as Traeger, the most interesting character in the bunch. He delivers his lines with a poise and confidence that is just plain cool. His character borders on bad guy, but is so compelling that you can’t help but like him. I only wish there were more of him and less of everyone else (except the Predator).

I found myself pondering how someone could have that much clout for a secretive government agency with that many resources at his disposal in the middle of Tennessee, and then I thought, “oh yea, this is Predator.” I sat back and simply enjoyed the ride.

Olivia Munn plays the fascinated scientist, Dr. Brackett, whose lack of fear is remarkable. She’s too busy drooling over the alien technology and biology to consider that the beast is literally driven by an urge to kill for sport. Jacob Tremblay plays the severely out of place child with autism who is the focal point of the alien skirmish. The attempt is to humanize and add a sense of empathetic peril, but the entire sub-plot is simply unnecessary.

The characters were written out of cookie-cutters, and the plot could have used a significant amount of polishing, but I have to say, the dialogue was sharp and humorous, the action was far from disappointing, and the kill sequences were for lack of a better word, delightful.

I was pleasantly entertained considering the unreasonable expectations I put upon this film. Sterling K. Brown is a new personal favorite, and I’ll gladly pay to see anything he stars in from now on. I only wish he had more scenes and his character more fully developed.

“The Predator” is what you would expect, and you will be thoroughly entertained if you’re a fanboy (or fangirl). This installment is truer to the original than any attempt over the past thirty years, and you can be certain there will be a sequel. It’s worth the price of admission with so few good choices out there right now. 7/10.

Peppermint

Oddly symbolic of her own family disintegration, Jennifer Garner makes an attempt to show Ben Affleck what he gave up when he cheated on her with the nanny. “Peppermint” is truly the ultimate closure and a violent metaphor for the adage that hell truly hath no fury like a woman scorned. It’s a fun premise on the surface, and Garner is at her best when faced with combat action, but “Peppermint?” The title is nonsense while trying to be clever. “Soccer Mom Bloodbath” would be more appropriate.

Garner is Riley North, a happy wife and mother who is struggling financially and feeling the social pressures of the affluent stay-at-home mothers who pick on her. After a tragic drive-by-shooting, and the exposed corruption in the system, she sheds her meek, tolerant skin and transforms into a combination of Linda Hamilton and Steven Seagal. Five years later, a battle-hardened and combat-ready Riley returns to Los Angeles to exact her revenge on any and all people involved in her tragedy.

When Riley begins to disrupt business, the Garcia drug cartel digs in their heels and has to turn the slums of Los Angeles into a war zone, which the LAPD doesn’t want any part of. Heck, they are either scared of the cartel or corrupt themselves, so Riley is on her own. She’s the angel of death for her skid row family.

Director Pierre Morel (“Taken”) is to blame for most of the problems here. Sure, the writer (Chad St. John) has to take a little credit, but the director is always the final say. His admiration for Tony Scott is visible in nearly every scene through some flashy camerawork, but plot holes, absurd sequences, spineless characters, and derivative dialogue plague the film from the start. It’s the kind of revenge trope that you desperately want to get behind, but simply can’t. I laughed out loud several times, and couldn’t enjoy the carnage as much as I would have liked due to the insanely poor choices made by the director.

The antagonists are written in an inept, cliché, and quite simply stereotypical way. The Mexican gangsters are given little credibility for any common sense, from being unable to open a locked door to falling for the oldest trick in the book (talk too much, shoot too little). They look menacing with facial tattoos and military-grade weapons, but they are a dime a dozen. It’s simply 1980’s schlock action with a gender swap. Which isn’t to say it wasn’t a little bit fun, but I already saw this movie back when Stallone, Schwarzenegger, Bruce Willis, Van Damme, etc. played the role back in the twentieth century. And Liam Neeson just a few years back.

As the body count piles up, she makes it look simply too easy. Like Schwarzenegger in “Commando,” she manages to waltz in to a Mexican drug kingpin’s house and dispatch dozens of them without breaking a sweat (maybe she was sweating, but she was calmer than a Marine sniper). A team of Navy SEALs couldn’t execute a mission with this kind of precision. You get my point, it was a little bit unrealistic.

The film quickly escalates from a quirky revenge story to a full-on rampage in a matter of minutes, and there are unexplained subplots and underdeveloped characters galore. I regret to inform you that for the fourth or fifth week in a row, I simply can’t recommend a movie to the masses. “Peppermint” is not nearly as refreshing as its namesake. Skip this one and just rest assured that good films are on the way in October. 4/10.

Kin

I’ll bite. You take a broken-home family drama, throw in one single out of place science fiction element that has just enough snazzy gadgetry to make it something shiny and different, and you’ve captured my interest.

Elijah (Myles Pruitt) is a fourteen-year-old boy growing up adopted by a white family in a working-class part of Detroit. He’s a good kid at heart, but we’re taken down the road of a typical fall-between-the-cracks story when he’s suspended from school for fighting, is caught stealing to make ends meet, and is all but neglected by his hardline authoritative single dad with a heart of gold, played by Dennis Quaid.

Elijah’s whole world is turned upside-down when his older brother, Jimmy (Jack Reynor) is released from prison, and he finds a supercool ray gun while scavenging for scrap metal. The owners of the weapon as well as frenemies of Jimmy begin chasing the brothers down, and they enjoy some familial bonding as they road-trip across the country. Along the way, they pick up a wayward stripper who doesn’t seem to really have a place in the film played by Zoe Kravitz.

If you’re not buying what I’m selling, I don’t blame you. Every aspect of the film was poorly done with the exception of two. Firstly, James Franco channels his inner Travis Bickel as Taylor, a psychopath chasing Jimmy straight out of Detroit with no regard for law enforcement or injury to himself or his posse. Franco excels at exaggerated characters, and this performance is severely entertaining. Secondly, there is a brief, five-minute window into another realm near the end that brought me to the edge of my seat, then lost my attention just as quickly when it ended.
Presented as a twist, we get a fantastic ending… to a different film. The remarkably ordinary narrative is seemingly paused and amped up to some out-of-body experience complete with the best characters and actor in the entire film, and then it vanishes, like a dream, resuming its disappointing run to the credits.

This appears to me to be the type of film that probably looked pretty cool on paper. Written and directed by Jonathan and Josh Baker, there was clearly some unfulfilled childhood fantasy or traumatic experience in their past that led in part or in whole to the creation of the film. In their defense, some of the visual effects were pretty cool, and there were several subtle homages to 1980’s and 1990’s films of the genre that may or may not have been conscious decisions, but that doesn’t make this an enjoyable experience as a whole.

“Kin” left me feeling both betrayed and confused. For about five minutes near the end, this was nothing short of spectacular. Hinting at what might have been, and reminiscent of some of the better sci-fi films in recent memory (“The Matrix,” “Looper), the transition from mediocre to special was more abrupt than you typically see on-screen.

Myles Truitt is a solid young actor, but this wasn’t a great use of his potential. There was an awkwardness during the strip club scene, or with Kravitz’ character in general that I couldn’t really shake and there was also a limited range of emotion displayed, but I suppose that might have been the character. There was a lot more that could have been done with the young protagonist.

Michael B. Jordan shows up just in the nick of time to salvage what could have easily been one of the worst films of the year, instantly freezes it, and moves it into territory that has massive potential if the film makers had just found that magic ninety minutes ago.

I ultimately wanted more show and less tell from the climax, but I would be lying if I said I thought there would be any coming back from the first few acts. It’s not for a lack of trying, and I always respect and admire original ideas in film, especially in the sci-fi genre, but the execution was doomed from the start. If you are looking for a film in this realm that did hit the mark, see 2016’s “Midnight Special.” 4/10.

The Happytime Murders

You wouldn’t know that this film has any ties to the legendary Jim Henson by the sheer amount of raunch and filth it contains. It’s this precise filth that attracted me to it in the first place, as a world of puppets and humans engaging in lewd behavior isn’t something you see on the screen very often. I have a juvenile sense of humor, and dirty puppets was one of the best skits on Dave Chappelle’s show back in the late 1990’s. The red band trailer shows potential for a fantastic blend of obscenity and humor, but unfortunately, the humor ends with the trailer. The obscenity continues.

In an alternative reality, humans are living alongside Muppets, who are naturally second-class citizens. When a string of murders targets the cast of an old kids show called “The Happytime Gang,” private investigator Phil Philips (voiced by Bill Barretta) teams with his old partner, Detective Edwards (Melissa McCarthy) to solve the caper. As the murders pile up, the two become deeper entrenched in the mystery, ultimately landing right in the middle of the crime spree themselves.

The fun, upbeat tone of the absurdity is minimized by the vulgarity, particularly the unnecessary language and in-your-face puppet sexuality. The film falls to such depths of depravity that we even have a Sharon Stone interrogation scene, a la “Basic Instinct.” But with a buxom Muppet. It just didn’t feel funny; it was kind of gross.

Melissa McCarthy was a solid choice for the role of Detective Edwards, but there was too bitter of an edge to her character. She had been burned by her partner’s mistake years ago, and couldn’t get the chip off her shoulder, which made her a bit of a Debbie Downer. She shines brightest in scenes where she is excited and happy (high on sucrose), or bantering with Muppets in a witty repartee of insults and comebacks. There just aren’t enough of these scenes to make up for the rest of the film’s shortcomings.

Director Brian Henson (yep, it’s that famous Muppeteer Henson’s son) has a new production company, aptly named “Alternative Henson” and it ushers in a new generation of edgier, R-rated puppeteering. Maybe I’m getting old, but there is something sacred and nostalgic in my mind about the Sesame Street brand. So innocent and child-centric. To bring a sharp edge to it just doesn’t quite work. At least not the way it was done here.

Writer Todd Berger makes his feature debut with this commendable film noir that really had potential had it gone another direction. I like the idea of a world where humans and puppets co-exist, and I like the story of a murder mystery. I even like the tough, no-nonsense Muppet detective working with a traditional comedian to solve the mystery. However, this could have been done with a PG rating and attracted a much wider audience (more money, potential franchise). It could have easily maintained the humor while preserving some dignity.

The tagline of Sex. Murder. Puppets. Pretty well sums the film up, but I would add nonsense and gratuitous to the advertisement. The best part of the film was the end credits behind-the-scenes look at the making of the film, but I shuddered in embarrassment for the people in green-screen suits simulating sex with their puppets. Just plain weird, but maybe I’m not the target demographic (if not me, then who is?)

“The Happytime Murders” may tickle your funny bone if you’re in the right mood, but I guarantee it would have made a bigger box office splash if they had stuck to a PG rating. One of the worst films of the year so far. 3/10.

The Meg

The cultural impact of “Jaws” can’t be overstated. Any child of the 80’s remembers frantically paddling from the deep end, thinking there was a shark lurking somewhere below them in the hotel swimming pool. It brought a frightening new genre into clarity from which there was no turning back, and for that, we thank you, Steven Spielberg. Then in the 1980’s, we experienced the undersea perils of discovering prehistoric creatures, or deep sea phantoms (“Leviathan,” “Deep Star Six,” “The Abyss”). “The Meg” harkens elements from both, but does really nothing well in the process.

The film begins mid-rescue, where we meet Jonah (biblical reference much?) played by the ever-swarthy Jason Statham. He’s saving the day in a stranded submarine when an unfortunate bit of foreshadowing forces him to make a deadly choice, and it clearly haunts him, because five years later, he’s an alcoholic beach bum living off the grid in Thailand. Meanwhile, billionaire Morris (Rain Wilson) has financed a state-of-the-art marine biology lab that unleashes a Megalodon (or more… no spoilers here) into the South China Sea. From there, we experience several poor choices followed by mishaps and unexpected carnivorous predatory behavior. Lots of boats and equipment is destroyed, and everyone goes swimming. Then the survivors hatch a ridiculous plot to outsmart the nearly hundred-foot-long beast, but can they do it before the Meg finds a snack on one of the most packed beaches in Asia? You’ll have to shell out the money to find out.

They say filming on and underwater is one of the most challenging and costly locations, and I can see why. Sharks are unpredictable creatures, so they must have spent a bunch on safety while filming. Wait, my sources now tell me it wasn’t a real shark. It was computer generated, so that makes me feel better. Kidding aside, cameras and water just weren’t ever meant to mix, and although there are some beautiful shots of underwater scenery, anytime there is action that goes above and below the surface, there is a mess of transition. Director Jon Turtletaub (“National Treasure”) doesn’t do anything particularly well or poorly, but like the shark in the film, his eyes are bigger than his stomach. He bites off more than he can chew by allowing obvious issues to remain unanswered (science, decompression, gravity), but that may be by design to fit the whole cheesy marketing angle.

With a reported budget of $150 million, it may make its money back, but most of that will be overseas. Just like last month’s “Skyscraper,” the film is seeking a wider audience by taking place in Southeast Asia, and casting popular Chinese actress, Bingbing Li, in a lead role. It’s a tremendously smart move, but doesn’t improve the quality of the film at all. Throw in the inevitable bad reviews, and this will be a forgettable project.

I will be the first to admit I was wrong. I thought that this would be upbeat, fun, maybe some witty dialogue and some cool shark-bait situations. Not so much. Dialogue was awful, jokes were worse. Sexual chemistry was awkward and unnecessary, and the characters were so vapid that there wasn’t really any reason to hope for their survival.

Remember what made “Jaws” so great in the first place? It wasn’t seeing the giant mouth open, with the razor sharp teeth and shreds of freshly chewed flesh dangling. It was the anticipation of seeing the giant mouth. That, and the three lead characters establishing rapport, shared fear, and engaging in pure survival together. Robert Shaw’s monologue about the tiger sharks in the water during World War 2 is still one of the best examples of cinematic storytelling I can recall. “The Meg” could have used a little of that. 4/10.

Eighth Grade

I can relate. Not that I’m a thirteen-year-old girl, but I am an eighth grade teacher by trade, so my daily interactions nine months out of the year are with thirteen year-old children. Some think I’m crazy for putting myself in a room with thirty of them, but I love the unpredictable nature of adolescent behavior and the challenges that come with trying to negotiate the hormonal changes every day. That, and I have a sense of humor that seems to be hilarious to that audience, which is a nice boost to my own ego.

Elsie Fisher is a revelation. Just a shade older in real life than her eighth grade character in the simple, yet appropriately titled comedy, she positively shines with a brazen confidence that is rare, even in adult actors. It’s the kind of performance that even in August should earn her a place in the awards discussion for performances. Her authenticity seems almost masterful; difficult to tell if she’s acting or if it’s genuine. She is the focal point of the film, and although nothing extraordinary transpires, you will leave the theatre rooting for her to have the high school experience that she so desperately yearns for.

Elsie plays Kayla, an only child to a single father coming of age in everywhere, USA. She’s an eighth grade girl with just a week left before the summer that will initiate her into the world of high school. She is self-conscious, melancholy, anxious, and mostly searching for her place in the social circle of her classmates. And then there are the boys. So awkward. The final week of her school year comes and goes, and with it some memorable (and forgettable) moments as she tries to break out of her shell in spite of the ridiculous adults around her, and the typical pressures facing teens by their peers.

Writer/director Bo Burnham (bit parts and various stand-up comedy) must have some deep, dark skeletons in his closet. In spite of the upbeat, positive overall message, there is a pervasive sense of discomfort that permeates every scene with a visceral sharpness that anyone with an embarrassing memory burned into their brain from when they were thirteen can relate. I know I can. It makes for a very personal experience, which completely nails the objective, and for that I commend his approach to the film. But it’s also the kind of film that strikes like a flash in the pan. I wouldn’t expect this kind of poignant success again from Burnham.

It’s a shame that the film is rated R, but it wouldn’t be nearly as effective if it were toned down. Certainly there will be an audience of younger viewers who will see this with their parents (I would recommend), but it’s a bit ironic that it is suggested that you should be over seventeen to see this film, as it is so relevant and meaningful.

What makes this film so watchable is that there isn’t anything intended to wow the audience. There isn’t anything cliché, or any unforeseen twist to make the film stand out. It’s simply a week in the life of an eighth grade girl. With fantastic attention to detail with regard to the influence of smartphones and the generational differences with the adults in her life, it’s heartfelt and heartbreaking at the same time for anyone who grew up in a simpler time.

Low budget and in limited release currently, strong buzz will propel this film to be one of the more successful stories of 2018, and although it is an independent comedy (a tough genre to make the big bucks), it is one of the freshest and most rewarding cinematic experiences of the year thus far.
Go see eighth grade if you loved middle school (I actually did), hated middle school (most people I know did), or were indifferent (is there anybody out there?) It’s worth your time. 9/10.

Mission: Impossible - Fallout

Just call Tom Cruise Ponce De Leon. He’s found the fountain of youth, and at a spry fifty-six years old, he doesn’t look a day over forty. Notorious for doing his own stunts, even to the chagrin of Paramount’s insurance policy, he takes things to another level with a HALO (high altitude low opening) jump out of a plane at a frosty and frightening twenty-five thousand feet. Reportedly, he made the jump over one hundred times to get the shot just right for the film. That’s dedication to his craft and for that among other stunts, he’s the most prolific action star of our generation.

Ethan Hunt (Tom Cruise) is back for the sixth time since Brian DePalma resurrected the franchise from 1960’s television graveyard in 1996. He’s tasked with going off the grid with his team of fellow tech-nerd super-spies Benji (Simon Pegg) and Luther (Ving Rhames) as well as the MI6 agent Ilsa (Rebecca Ferguson) from the last installment, “Rogue Nation.” The team gallivants around the globe, chasing plutonium bombs, and a group of sophisticated anarchist terrorists called “The Apostles.” Joining the team this time around is the CIA agent known only as Walker (Henry Cavil). He’s the muscle that the franchise has been sorely lacking, and actually complements Ethan’s petite physique nicely, as demonstrated in a great bathroom fight scene.

Director Christopher McQuarrie has been writing and directing Tom Cruise movies since 2008, so they clearly enjoy working with each other. I wonder though, if the franchise could use a little bit of freshening up. Maybe a young writer to spice things up a bit more than the cookie-cutter, predictable films that we see from Ethan Hunt. Thinking about Ian Fleming and his iconic spy, James Bond, there just seem to be more memorable antagonists, stronger themes, and tendrils of storylines that add up to more than just “Stop the nuclear madman”. Is that asking too much?

At a hefty two and a half hours, the story is dense and full of typical franchise intrigue and spy moves. Double crosses, plans that seemingly fall apart only to have been masterfully orchestrated to perfection in the first place, and of course, the obligatory wire-cutting as the bomb countdown ticks ever-closer to zero. It seems to cross the line from traditional “Mission: Impossible” to a more mainstream action film, which isn’t necessarily a bad thing, but I did miss some of the more elaborate spy sequences which gave way to massive stunts. Not a bad trade-off, but definitely moving in a different direction for the franchise.

What could have been stronger? The humor was nearly non-existent, Alec Baldwin could have had more screentime as IMF chief Hunley, and they could have picked two different looking females to play the British agent (Ferguson) and Hunt’s long-lost love (Michelle Monaghan). They could play twin sisters, didn’t someone in casting catch this? Worth noting as well is that the “twist” they throw at audiences near the end could be seen a mile away, which really could have been done differently to throw us off the scent.

In spite of these minor complaints, Tom Cruise is on top of his game. The film delivers some of the best car and motorcycle chases of 2018, some pretty cool air-to-air helicopter action, and of course, Tom Cruise jumping out of a plane at twenty-five thousand feet. You’ll want to see this film for the same reason you line up to see any summer blockbuster, and I have to tell you, this one is pretty entertaining. After a string of disappointing films recently, this is finally one I’d recommend. 8/10.

Annual Top 100

It's been awhile since I updated my top 100 list, so I thought it might be a good summer evening task while I sit next to my air conditioner in my office. I've taken the approach of compiling these alphabetically as opposed to numerically because, let's be honest, it's arbitrary to decide which one belongs at number 37 and which one belongs at 36. Likewise, comparing comedies to dramas to thrillers to independent fare as well as films as current as 2017 to films as old as the 1940's is an arduous and futile endeavor.

I've made some changes to this list since last posted, and it's a new direction that I'm comfortable with. Gone are many of the "classics" that although are great films in their own right, and are artifacts of how film has progressed over the decades, are more or less relics and for the most part just don't hold up to the quality, innovation, acting, stories, and direction of more modern films. There are several nods I've given to directors who I believe to be worthy of recognition (if only to the particular audience who read this blog), so for that I chose their finest work. There are also several films that hold a special place for me because of how they made me feel the first time I watched them.

It's a subjective list, but one that I will defend to any and all comers. So bring your comments. Email me, post on the comment thread, or send me a text or instant message. I welcome it and honestly would love to hear your thoughts as well. So without further ado, here are Adam's Top 100 Movies of All-Time - 2018 edition.

2001
12 Angry Men
A Clockwork Orange
A History of Violence
Alien
Aliens
American Beauty
American History X
Animal House
Annie Hall
Apocalypse Now
Argo
Boogie Nights
Braveheart
Brokeback Mountain
Butch Cassidy and the Sundance Kid
Caddyshack
Captain Phillips
Casablanca
Children of Men
Chinatown
Citizen Kane
Dazed and Confused
Dead Poets Society
Deer Hunter
Dr. Strangelove
Eternal Sunshine of the Spotless Mind
Fargo
Fast Times at Ridgemont High
Fight Club
Forrest Gump
Full Metal Jacket
Gladiator
Good Fellas
Good Will Hunting
Half Nelson
Heat
High Noon
Inception
Inglorious Basterds
It's a Wonderful Life
Jaws
LA Confidential
M.A.S.H
Manchester by the Sea
Moneyball
Mr. Smith Goes to Washington
Mystic River
No Country for Old Men
North by Northwest
One Flew Over the Cuckoo’s Nest
Patton
Platoon
Psycho
Pulp Fiction
Raging Bull
Raiders of the Lost Ark
Rear Window
Reservoir Dogs
Return of the Jedi
Road to Perdition
Rocky
Saving Private Ryan
Scarface
Schindler's List
Se7en
Seven Samurai
Sideways
Spotlight
Star Wars
Taxi Driver
The Dark Knight
The Departed
The Empire Strikes Back
The Exorcist
The French Connection
The Godfather
The Godfather 2
The Graduate
The Hurt Locker
The Martian
The Matrix
The Revenant
The Shawshank Redemption
The Shining
The Silence of the Lambs
The Sixth Sense
The Thing
The Truman Show
The Usual Suspects
There Will Be Blood
Three Billboards Outside Ebbing, Missouri
Titanic
To Kill a Mockingbird
Tombstone
Training Day
Unforgiven
Up in the Air
Vertigo
Whiplash

Skyscraper

“Towering Inferno,” meet the twenty-first Century “Die Hard.” Move over Roland Emmerich, there’s a new disaster artist in town, and it’s none other than Rawson Marshall Thurber. Who? The guy who brought you “We’re the Millers” and “Dodgeball” of course. Surprised? Me too, but he captures devastation exceptionally well… If it were 1988.

The world’s tallest building has been completed in Hong Kong, and security expert Will Sawyer (Dwayne Johnson) and his family are the first to live in the residential segment. Located ninety stories up, there is a lush park separating the mixed use facility from the ground below. Rising high into the stratosphere is another hundred and thirty stories of apartments and condos simply awaiting the approval of the insurance provider and, you guessed it, the security expert.

Once an FBI hostage negotiator, Will has found redemption in the form of his loving family after a standoff-gone-wrong took his leg and his badge ten years prior. Now, he’s the only one who can save the day when a group of savvy European terrorists take over the Nakatomi, er, I mean Zhou Long Ji tower. Sound familiar? It should, because Bruce Willis got a little banged up back in 1988, and both heroes managed to sustain cuts, falls, bruises, burns, and still single-handedly defeat military-grade henchmen with nothing but a little duct tape, elbow grease. And ingenuity.

The similarities to the Bruce Willis classic don’t end with the characters, plot, tension, and high-flying explosions. There is a vibe attached to this film that in spite of the unabashedly transparent cliche and lack of originality, is just plain fun. The film certainly took me back to the 1980’s when action films took themselves too seriously, but also always maintained the feel that you were watching a movie. Not compelling enough to be immersive, and never believable in the slightest. Just good old fashioned popcorn munching entertainment.

Set in Hong Kong with many Chinese actors in critical roles (including Chinese superstar Chin Han), there is clearly an angle to dominate the Chinese market. Predicted to make around $40 million opening weekend domestically, on a budget of just $120 million, I see this being a tremendously profitable film for producer Dwayne Johnson and others. In fact, depending on his cut, I reckon he will top Hollywood’s earners list for 2018 without much competition.

I’m not saying this is a good movie. Quite the contrary, but it struck a nerve with me and for that I have to give it a slightly higher rating than if I were being truly objective. Perhaps a bit of nostalgia, and to be honest, the building had some pretty cool features that may or may not be architecturally accurate. The artificial leg didn’t seem to slow our hero down much, and was even used in a couple of innovative ways during his travails, but otherwise seemed to be a bit of a gimmick that they could have done without. It’s also hard to imagine Dwayne Johnson playing a meek anti-hero, so the film could have gone a different direction if they had a less imposing protagonist. But that’s not the point, is it? Nope, because we want to see muscles, rappelling, climbing monkey-bars two thousand feet in the sky, and punches that can knock guys out of their socks.

We all know that money drives sequels, so I’m already waiting on “Skyscraper 2: Higher and even more skyscrapier.” Maybe they can tackle Dubai this time. You should enjoy this one, so settle in, grab some popcorn, and reminisce about John McClane. 7/10.

Avengers Ruminations

After the shocking excitement of "Infinity War," I had to jot down some thoughts, predictions, ponderings, and Marvel fan fiction of sorts.

Unless you've been hiding under a rock, you've seen "Avengers: Infinity War" at least once by now. The disposition of the fallen heroes is certainly not as terminal as it seems, with upcoming "Guardians of the Galaxy 3," "Black Panther 2," "Spider-Man: Far from Home," and "Dr. Strange 2". It's foolish to kill off some of the MCEU's most profitable characters, and who doesn't love Tom Holland? Brilliant casting move.

No, the next Avengers film will add the most powerful of all in Captain Marvel (solo movie in February 2019), who will be the Superman of the Marvel universe. We also might be treated to an appearance by Adam Warlock, who was teased at the end of "Guardians of the Galaxy Vol. 2."

So what will become of the MCEU after the devastation at the hands of Thanos? Well, I'll tell you my hypothesis, which is ever-evolving (isn't that the fun of it all?). My original hypothesis was that the vanished were actually the survivors. Makes sense, as they are the new characters driving new, profitable franchises. It would be a great twist and an easy out for the massive contracts of Thor, Hulk, Captain, Iron Man, Black Widow, War Machine, Rocket Raccoon. However, it's not going to be that easy, although it would have caused an uproar among fanboys and girls worldwide. I still like that version of things.

Assuming there isn't a massive twist, our survivors are all long-standing members, so this is an opportunity to say goodbye to them without sharing too much screentime with the young bucks. It's a proper sendoff into the sunset, and although some of them will certainly find their characters killed off, some will simply disappear, never to be seen again. Until the character is rebooted.

Here's the skinny. The rumored title of the next Avengers film follows two narratives, and I could be wrong on both counts, but one is "Avengers: Endgame" and another is "Avengers: F__ H___" which could be Fallen Heroes, or Final Hour, or Finding Hawkeye (not likely). Endgame seems to be the prevailing theory, so we'll go with that. Dr. Strange told Iron Man that they were in the Endgame, so it's on.

Gamora, Vision, and Loki are dead. Sorry guys, they aren't coming back. Iron Man was left on Titan with Nebula, so he is obviously the last hope for half the universe, so the two of them will chase down Thanos and try to get the Infinity Gauntlet back, and turn back the hands of time to save all their friends. Their mission will coincide with the Earth mission where Captain America, Thor, Hulk, Black Widow, War Machine, and Rocket Raccoon will find Hawkeye, who has evolved into a new hero named Ronin (I'm pretty excited to see how this goes).

Where I'm uncertain is how Captain Marvel and potentially Adam Warlock will fit in with this narrative, they may be the third storyline, taking the supernatural approach and enlisting the help of the Nova Corp. in some mission in the vast reaches of space, no doubt linking up with Iron Man and Nebula.

Here's what's going to happen, and I'll lay it out in two ways. Who will die, and what the climactic sequences simply need to be in order to work effectively.

Who will die? Several of our heroes won't be returning. Among the fallen heroes, I predict Captain America, Iron Man, War Machine, Nebula, and possibly Ant-Man. I say the last one based on how the franchise might evolve, and I see the Wasp as a stronger addition to the New Avengers, and the death of Ant-Man could be an emotional tear-jerker.

Captain America will sacrifice himself to save the Avengers on Earth while Iron Man will make the ultimate sacrifice to save the universe in acquiring the soul stone. This means that what he loves most must be sacrificed, and it's either going to be himself (although how that will help things I'm not sure), or Pepper Potts and her unborn child... This could get super tragic, as it should because it's the end of the initial arc of the original Avengers.

Thanos will be found and defeated, time will be turned back, and life will continue to exist as if nothing happened in the first place. But whether the Avengers or half of humanity will have any after-effects remains to be seen. What's more certain is that we will enter a new age with a new core of heroes ready to take on new adventures.

This leads us to the New Avengers. Assuming all of the perished return, Dr. Strange will take up the role of leader in Tony Stark's stead. Black Widow and Hawkeye will retire, as will Nick Fury. Where SHIELD falls in the role of the new generation remains uncertain, but there will be a presence in future films as it's sort of the foundation of the organization and its funding.

Steven Strange will be surrounded by Black Panther, Captain Marvel, Falcon, Winter Soldier (the new Captain America), Scarlet Witch, The Wasp, and Spider-Man. Great new team which will grow and shrink over the coming decades. Where is Thor? He'll leave Earth conveniently to rebuild Asgaard, and the Guardians will return to their adventures in the cosmos. Where's Hulk? That leaves me a little befuddled. A solo franchise hasn't been announced, and Ruffalo has been with the group for quite awhile, so he might be ready to hang up the purple stretchy pants.

The key things to keep an eye on will be the deaths of Iron Man and Captain America, which are beyond inevitable. Also, how powerful will Captain Marvel be? We'll find out in February. There is the distinct possibility that making her too much like Superman will destroy the credibility of the universe, but Marvel has done a nice job with Thor and Hulk (and Scarlet Witch) in making their powers fallible and their personalities human-like. My wild card is Ronin. He's going to emerge as a fan favorite and will give Jeremy Renner a nice send-off

We'll see what happens, but what's clear is that Kevin Feige and his team are in control of this vehicle. "Dr. Strange," "Black Panther," "Captain Marvel," "Guardians" and "Spider-Man" will lead us into a new era of superhero excitement. Watch out, DC.

Ant-Man and the Wasp

Coming off the heels of the brilliant (“Black Panther”) and epic (“Avengers: Infinity War”), we have a short respite in “Ant-Man and the Wasp” or as I like to call it, Marvel lite. What it lacks in story or brawn, it makes up for in humor, but it never quite reaches as massive heights as when Ant-Man grows to nearly seven stories tall in the San Francisco harbor.

Paul Rudd returns as the tiny avenger, this time joined by a more capable hero; the Wasp (Evangeline Lilly). Together, they must help Hank Pym (Michael Douglas) venture into the unstable quantum realm to rescue his long lost wife, Janet Van Dyne (Michelle Pfeiffer). Naturally, there is a greedy villain played sleazily by Walton Goggins who’s after Hank’s technology for the financial value, while a mysterious apparition named Ghost (Hannah John-Kamen) is chasing it for her own reasons. Neither of the antagonists quite measure up to the challenge of the task however, even though they are dealing with two elderly scientists, a bumbling thief in a cool suit, and a sidekick who turns out to be much more capable than our mini-hero. In other words, any of the real Avengers would have destroyed their adversaries easily.

But “Ant-Man” is a different type of superhero movie, isn’t it? More Paul Rudd and less Thanos. You know what I mean. Michael Pena returns as Luis, the wisecracking friend of Scott’s who at first seems unbearably annoying in his speedy quips, but it really does grows on you and in one particular scene, he redeems himself completely with the help of Rudd and Lilly. The film delivers on its promise from the previews, but don’t expect anything more than a mediocre good time.

Director Peyton Reed reprises his role manipulating the sizes of all types of objects: human, insect, and even Pez dispenser. He must have had a ball playing with these ideas, but the whole quantum realm thing gets a little out of hand with the half-hearted explanation of the scientific process. The action scenes were fun and effects were pretty cool, but there was something missing. I’m not sure if it’s so much that something was actually missing as it was just slightly unsatisfying and underwhelming. Unfortunately, even some of the effects seemed a bit beneath Marvel’s abilities.

Writers Chris McKenna and Erik Sommers have been busy with hits “Spider-Man: Homecoming,” “Jumanji: Welcome to the Jungle,” and “The Lego Batman Movie” on their resume just in the last year and a half, so maybe they were feeling burned out and just cranked out what they could, putting too much focus on the witty repartee and not enough on the conflict.

As we’ve seen recently, the minds behind Marvel have an endgame in mind for the current band of Avengers, and Ant-Man and the Wasp are no exception. Going into the agonizing dry spell until the next installment, we are given time to contemplate and speculate where the heroes have gone, which is great for business. Next March, we will meet a game-changer in “Captain Marvel” (Brie Larson), and then we can all collectively exhale when we learn the true fate of our favorite heroes in May’s “Avengers 4.”

What’s next for the franchise? Well, as the post-credits scene suggests, this film fits right in where “Infinity War” left off, and will up the stakes even more as we wait for next May. I suppose they can’t all be winners, and “Ant-Man and the Wasp” is definitely what I would call low-hanging fruit in the MCEU. Not the worst one we’ve seen, but definitely could have been better. But just like ice cream, Marvel movies are good even when they are bad. 6/10.

Jurassic World: Fallen Kingdom

Already dominating the global market (China), the follow-up to 2015’s massively successful “Jurassic World” adds yet another layer of absurdity to the clever premise created by Michael Crichton way back in 1990. What started as a special effects novelty has become a full-fledged action franchise. Although it’s fun to see dinosaurs on-screen, it’s getting a little stale and is challenged to come up with bigger, badder predators and original chase scenarios.

Returning to Isla Nublar off the coast of Costa Rica, we are treated to a startling revelation since we last saw our mad geneticists and secret billionaires; the dinosaurs didn’t die off. The second time around I mean. After a very cool opening sequence, the audience is faced with choosing sides; Darwinism, or save the dinos from the active volcano threatening to do them in yet again. The powers that be send in a team to collect survivors to ensure the species, but aren’t they all homegrown and female? Couldn’t it just be done all over again? Anyway, the wealthy suits behind the rescue operation obviously have an ulterior motive, and our heroes Owen and Claire need to save the day. And the dinos. And the civilians. And the world.

“Jurassic Park: Fallen Kingdom” has a little bit of everything, but not much depth. Visually it’s beautiful as there are underwater scenes, volcanic eruptions, a creepy museum/house/dungeon, and loads of reptilian species, most of which are conveniently described for the audience, including the new killing machine hybrid of the Indominus Rex and the Velociraptor, the creatively named Indoraptor. We also have plot twists (predictable), close calls galore, and even a little bit of humor. It’s pretty much everything you would come to expect from a Jurassic Park sequel, but it just doesn’t satisfy.

Chris Pratt returns as Owen Grady, a velociraptor trainer who may as well carry a lumberjack axe and a bottle of Brut everywhere he goes. He’s about as manly as they come, and seemingly the only one who has any common sense around giant meat-eating animals. Bryce Dallas Howard is Claire Dearing, a bleeding-heart dinosaur lover who just needs to admit that she’s into Owen. The two of them unfortunately lack any real chemistry, not that they would have any time or energy with all the running and jumping and nearly dying. The sexual tension takes a backseat to a half-baked plotline anyway, and it’s all just an excuse to cook up more dinosaur action.

Colin Trevorrow (“Jurassic World”) wrote the screenplay, but handed off directorial duties to J.A. Bayona (“A Monster Calls”). Bayona is a master of integrating CGI into his films, and this one is no different. The various dinosaurs take center stage with more screen time than in prior films, and that is what salvages the film’s zest. The Indoraptor is one tough customer. A tenacious and resilient foe, it kills indiscriminately and with animus, and the toe-tapping is a nice added touch.

What I truly appreciated was the detail in the CGI. $170-200 million can buy you a lot of techno-wiz magic and I think we’ve officially reached the time when anything is possible on-screen. There is no longer a need to hide behind what is simply impossible to show an audience. It’s a bit sad, but incredibly exciting at the same time. Literally anything is possible, and looks realistic when done right. That is the precise selling point of this film.

I do wish I had seen the film in IMAX, and perhaps even 3D. I tend to avoid the latter most of the time, but feel like for this one it may have been worth it. “Jurassic World: Fallen Kingdom” is a fun summer film, but it reeks of stale ideas. The writers are throwing darts at a board and pouring money into special effects, but it’s going to turn a profit, so they will keep the sequels coming. I suppose if you like dinosaurs and a little bit of action, you’ll appreciate this film. I for one miss the magic of the original. 6/10.

Ocean's 8

The dramatic shift toward gender equality in Hollywood is on full display with this all-female caper, spinning off of the massively successful (and fun) “Ocean’s Eleven” reboot trilogy. Unlike last year’s “Ghostbusters” reboot, “Ocean’s 8” is less about reboot, and more about being part four with an all (mostly) new cast. I wouldn’t be surprised to see a follow-up if the box office gives it the thumbs up, and I would bet some of our original members would jump at the chance. Of course, the numbers game is an obstacle, so we couldn’t add more than two of our old friends. I’d like to see the Casey Affleck and Scott Caan characters. “Ocean’s Ten?”

Danny Ocean (George Clooney) has a sister! Who knew? Debbie Ocean (Sandra Bullock) emerges from a stint in prison and immediately sets to work, orchestrating the all-female heist of the century. Hollywood starlet Daphne Kluger (Anne Hathaway) is wearing a $150 million dollar Cartier diamond necklace to a museum gala, and Debbie has a perfect plan to snatch it. Of course, there is elaborate high-tech scheming, subterfuge, improvisation, and celebrity cameos galore. What better way to show off the Kardashians than at a Gala? The team features Debbie’s right-hand woman, Lou (Cate Blanchett) who plays Pitt to Debbie’s Clooney. Sarah Paulson, Helena Bonham Carter, Rhianna, Mindy Kaling, and Awkwafina round out our octadic delinquents.

Writer/Director Gary Ross (“The Hunger Games”) manages to maintain the vibe of its predecessors with familiar music, some of Soderberg’s trademark split-screen scenes, and a sense of nonchalant coolness that made the first three films so enjoyable. Despite the stab at familiarity, these are all new characters, and although the introductions are done fairly quickly, we don’t ever really get to know who these women are, and that affects the enjoyment factor a bit.

I wanted more from Cate Blanchett. Her screen time seemed limited, and there must have been a reason, but the scenes with just her and Bullock were captivating. Hathaway delivered a very strong performance as well, and I would say the three of them carried this film over the hump of possible disaster, into mildly satisfying.

The story was nothing we haven’t seen before. In fact, plot-wise, it follows the formula of its predecessors and most heist films for that matter to a near-perfect cadence, but as an audience we can overlook those flaws because we love the suspense of shady deeds, secretly hoping the perpetrators will get away with it.

What is hard to overlook is the execution of their plan. The allure of the original “Ocean’s” films was the improbable, yet somewhat believable aspect. The thieves fearlessly overcome obstacles and narrowly avoid suspicion and capture. It was exhilarating and fun. “Ocean’s 8” misses that aspect of the story. Infiltrating a star-studded gala seems easy as pie for each and every member of the group. Nobody questions anything, and the security is inept and non-existence, never threatening to catch them.

As the film reaches its inevitable twist and climax, James Corden makes a welcome appearance as the insurance investigator called to work the case.

I can’t say the film wasn’t entertaining, but it lacked any bold moves or story arc deviations, and certainly had very little newness despite the fresh cast. They all fell into familiar archetypes, and Gary Ross and his team could have certainly done better.

“Ocean’s 8” stays afloat by way of the three leading ladies doing what they do best; strong acting. Everything else is filler, and you won’t be blown away, but you might find yourself missing the old crew of Clooney, Pitt, and Damon. In a good way. 6/10.

Solo: A Star Wars Story

In the wake of last winter’s critically divisive “The Last Jedi,” the Star Wars juggernaut releases its second stand-alone film and second in just six months; this time an origin story of the franchise’s most beloved scoundrel, Han Solo.

A long time ago, in a galaxy far, far away, there was a young man with no regard for conformity. Roguish and handsome, he only wanted adventure, fame, and fortune. Han Solo (Alden Ehrenreich) joins a band of thieves led by Beckett, the unfortunately miscast Woody Harrelson, and attempts a heist of a highly volatile, incredulously expensive hyperfuel source to get in the good graces of gangster Dryden Vos (Paul Bettany). Along the way, he meddles in flirtation with his childhood sweetheart, Qi’Ra (Emilia Clarke), meets a Wookie, and we finally get answers to the most pressing questions; How did he get his name? How did he meet Lando? And how exactly did he manage the Kessel Run in only twelve parsecs?

Leaving the theatre after watching “Solo” felt like eating a bowl of vanilla ice cream at a toppings bar. There was so much opportunity and so many options, but they (Disney, Marvel, writers, producers) chose the safe path with very little flavor. Don’t get me wrong, I love ice cream, and even vanilla is good, but when you have the chance to add sprinkles or syrup, you have to do it.

Alden Ehrenreich was my young actor to watch three years ago when he stole the show in the Coen Brothers’ “Hail, Ceasar!” I wasn’t sold at first when his casting was announced because let’s be honest, this is a monumentally epic role. The physical resemblance isn’t quite there, and the voice leaves me a little uncertain, but the smirk. The smirk works. Alden pulls off the swagger and blasé attitude that Harrison Ford made so memorable all those years ago. It takes a little warming up, but by the end you can embrace the new incarnation of Han Solo.

Donald Glover, Emilia Clarke, and Woody Harrelson receive mixed reviews. Acting is solid all around, but I wanted to know more about Emilia’s character, I never bought Woody as a “Star Wars” guy, and Donald Glover had some big shoes to fill. Not nearly as big as Ehrenreich, but he’s the character that drives the curiosity of the film. I have to admit, I didn’t really care much about any of the others, and I spoiled the ending because I already watched the next six movies over the past forty years.

Ron Howard boarded the project to direct last fall after the departure of “The Lego Movie” duo of Phil Lord and Christopher Miller (“The Lego Movie”). It was due to creative differences, and I can only imagine that Lord Miller wanted a bit more of a storyline. Ron Howard is fine, but this isn’t his wheelhouse. I like how they are enlisting a variety of directors for their projects, but they could have done better. Someone more edgy and less established would have made this a stronger performance.

Those who are seeking a continuation of the franchise will detect a slight odor of nostalgia, but mostly you’ll miss the days of old. Disney is on the cusp of over-saturating the “Star Wars” universe with 2019’s “Episode IX,” and the recently announced Boba Fett origins story, in addition to the rumored projects (Obi-Wan Kenobi, Yoda). I will leave you with this thought; Can you have too much of a good thing? Disney and Marvel say absolutely not. You might enjoy the film, but the luster of the franchise is definitely wearing off. 6/10.

Deadpool 2

Back in 2016, “Deadpool” broke the rules of the superhero genre, and it payed off handsomely. Not only did it earn an ‘R’ rating, which limits the box office potential, but the film’s anti-hero, Wade Wilson (played endearingly by Ryan Reynolds) broke the fourth wall of acting, and engaged directly with the audience with his witty/offensive banter. The gonzo marketing has gone viral and the franchise has opened up a new niche in the Marvel universe that may open the door for the DC universe to make the appropriate move into ‘R’ rated territory (“Suicide Squad” should have gone there).

The red-leather-clad, former-special forces, mutant assassin is back in action. Still contemplating the meaning of life, still holding on to questionable musical preferences, and still treating his body like it’s an amusement park. Because you know, he can’t die and has healing powers. He puts together a super-team (X-Force) to try to stop the powerful Firefist, while attempting to avoid the mysterious time-traveling Cable (Josh Brolin). Little does he know that the secret to his own salvation just might lie in a little bit of trust and compassion. Cue emotional piano riff.

I am not completely up to speed how the Deadpool and X-Men characters fit in the Marvel Comics Extended Universe as there are clearly connections (Stan Lee, Quicksilver, post-credits scenes), but this film is really more of a door-opening (or door-shattering) for a new brand of X-Men. With “New Mutants” being pushed back a year due to what can only be surmised as superhero saturation, the other side of the MCEU is quietly building into what looks to be the Avengers’ little brother.

Ryan Reynolds revels in this character. It was rumored that he had been campaigning for the role for years prior to being cast, and he has nailed it. After blowing it badly in “X-Men Origins: Wolverine,” he showcases the character he’s always wanted. A producer and writer on the project, this is Ryan Reynolds’ baby. He’s annoying but funny. Clever and crass. Self-deprecating at every opportunity, and I have to tell you, it works very well.

Playing the second antagonist in as many Marvel films, Josh Brolin is Cable, a time-traveling mercenary with a hit-list. He bears a remarkable resemblance to Winter Soldier, with the exception of the teddy bear, the futuristic blaster, and the glowing eye (never fully explained). I wish there was more back story, but there was a lot going on in the film, so the most interesting character will have to unravel in his obviously impending sequels and spin-offs.

David Leitch is hot property behind the camera after last year’s “Atomic Blonde.” He’s a former stuntman with an eye for action, and has two upcoming projects that will certainly raise some eyebrows. 2019’s “Hobbs and Shaw,” a spin-off of the “Fast and Furious” franchise, and 2020’s “The Division,” a Tom Clancy story where Jake Gyllenhaal saves New York from terrorist gangs (think a modern “Warriors”). Anyhow, he showcases his chops through a series of impressive action sequences, most notably everything with Josh Brolin.

Reynolds has often shared some of his professional regrets publicly, and in one of the most guilty-pleasure post-credit scenes in Marvel history, he reaches a level of catharsis that any actor would envy.

Reynolds tells the audience early on that this is a family film, and to some extent, it really is. There isn’t the typical good guy/bad guy dynamic. it’s more about having fun along the way and doing everything that is great about superhero films, just with added sex, violence, and juvenile foul language.

I was pleasantly surprised that the sequel outdid the original, I was not expecting that at all. It’s fun and fresh, and you leave the theatre with the feeling of accomplishment that comes with the consumption of a CGI blockbuster, but also the levity of a good comedy. A really good comedy. Ryan Reynolds is on top of his game, and the combo of David Leitch and writer Rhett Reese have struck gold. I wouldn’t be at all surprised to see Reynolds atop the list of this year’s highest paid actors as a result of the hundreds of millions that are sure to be generated by way of word-of-mouth and critical praise.

“Deadpool 2” has everything you could want out of a gonzo superhero action-comedy; skydiving, mutant powers and futuristic laser guns, absurd death scenes, and even a blink-and-you’ll-miss-it Brad Pitt appearance. Reynolds was right, the sequel lives up to the hype. 9/10.