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.