Spy

Melissa McCarthy and Paul Feig are back together for the third time (Bridesmaids, The Heat) and will give us a fourth pairing with 2016's female Ghostbusters reboot/sequel. They have been pretty successful as Bridesmaids and The Heat brought in and $290 million and $230 million respectively, worldwide. Hey, if something works, don't mess with it.

Spy takes us into the world of the CIA with a stellar cast including Jason Statham and Jude Law as the James Bond field agents, Allison Janney as the director, and Rose Byrne as the femme fatale. McCarthy plays Susan Cooper, an under-appreciated agent support staff member who has a huge crush on Bradley Fine (Law), and has been helping him get out of jams for years through high tech spy gadgetry. When Fine is killed, and the identities of all the agents are compromised, Susan finally gets her shot to get in the field and save the day from a portable nuclear bomb.

The plot isn't so much interesting as it's a vehicle for setting up some pretty funny sequences and spans of dialogue. McCarthy is funny. This is a much better showing than that of Tammy, Identity Thief, or even The Heat. Spy offers up some smart humor and doesn't dumb down McCarthy or placate to the lowest possible viewer. There's something a bit more human to the self-deprecating fat jokes and physical comedy that Melissa McCarthy exudes as opposed to say, Rebel Wilson, or any of the men who have taken ownership of that characteristic. It's somehow less in-your-face, and her natural comedic talent takes the center stage. It's definitely part of the buffet, but it's not the main course if you know what I mean.

This is far and away Jason Statham's best performance to date. He is hilarious, and I would dare say that him and McCarthy sitting on stage with James Lipton having drinks would be enough for me to pay the admission fee. Their banter is so absolutely natural, and his character is an absolute buffoon, but a suave and somehow likeable alpha male. He is given the green light to one-up everyone in a hysterical and absurd manner, though it's totally normal to him. His anger and machismo top off his personality, and the scene of him volunteering to us the "face-off machine" is priceless.

The rest of the cast look like they are having fun. It's good to see Jude Law and Jason Statham dip into comedy, and Allison Janney is given some great zingers. The jury is still out on Rose Byrne in my book. She's funny in a supporting role kind of way, but I don't see her carrying a comedy. Her character, the Paris Hilton/Dr. Evil Russian vamp is a bit much, and I would have been more satisfied with any ethnicity other than Russian. Contrary to what spy thrillers tell you, not all super-villains are Russian. There is a lot of lost potential with her role.

There are some fun moments and great opportunities for some raunchy jokes, but the bulk of the humor is given away in the trailers. Why do comedies do that? Spy is a funny movie. Funnier than anything else out there right now, at least until Ted 2 comes out. 7/10.

Entourage

The show that started in 2004 and ran for 8 seasons has finally reached its end. Or has it? With a reported production budget of just $30 million, and domestic gross of nearly $20 million in its first weekend, a continued success may lead to a… sequel? I kind of hope not.

The basic premise is based on Mark Wahlberg’s experiences as he entered stardom status some twenty years ago. Entourage the show follows a rising star (or in the case of the film, a superstar) and his band of hangers-on; his older half-brother, his childhood best friend, and another friend as they navigate the excess and pitfalls of Hollywood.

Adrian Grenier plays Vincent Chase, a movie star mourning/celebrating the end of his Hollywood marriage (a week). His crew jet boat out to his yacht in Ibiza where there are scantily clad women dancing (some not even clad) and they show the audience right off the bat the kind of lifestyle they have accrued together over the last fifteen years. A big difference between the show and the film is that the excitement of new money and new celebrity has faded. All four of them have become accustomed to this life, and that takes away a big part of the vicarious appeal (at least for me).

Vincent is embarking on his directorial debut, a $100 million passion project, much to the chagrin of his agent, Ari Gold (Jeremy Piven). Ari is the centerpiece of the Entourage franchise; his flamboyant, ruthless personality drives the whole Entourage vehicle and injects the humor and soul that it needs to survive. He also is given the brunt of the clever dialogue, and he delivers them so naturally that you actually believe his character might actually exist somewhere in Tinseltown.

The other three members of Vinnie’s crew have their own lives keeping them busy. Eric (Kevin Connelly), Vincent’s best friend and manager has a pregnant ex-girlfriend, a bevy of beautiful women throwing themselves at him, and an ongoing love/hate relationship with Ari. His character just isn’t that interesting, and never has been. The storyline of his estranged baby mama lacks conviction, so consequently it’s hard to care.

Turtle (Jerry Ferrara) is a success story in his own right. Having lost a considerable amount of weight and amassed an undisclosed fortune through a tequila investment with Mark Cuban, the writer’s aren’t shy about making biggest loser jokes throughout the whole film, and his fling with Ronda Rousey is entertaining, but isn’t given enough time to actually develop.
Johnny Drama (Kevin Dillon), plays the older, far less successful Hollywood supporting player burnout half-brother of Vince. A bit of verisimilitude as he’s the slightly younger brother of the more successful Matt Dillon in real life. His character is probably the most entertaining besides Piven’s Ari. He is foul-mouthed, inappropriate, blunt to the point of being awkward, but it is somehow endearing and really defines the foursome at their cores.

The newcomers to the film are Billy Bob Thornton and Haley Joel Osment as a rich Texan father/son producer team who meddle too much in their investment. Osment is great in an unlikely role, and plays the antagonist with a sweet Texan charm that simply suits him.

Doug Ellin is the writer, screenwriter, director, and producer of the series and the show. I don’t think I’ve ever seen one person’s names so many times in the opening credits of a film. I lost count at 4. He has obviously created a successful idea, and marketed it to the point of near exhaustion, but I am curious if he has anything else left in him, or if his legacy will be the world of Entourage and that’s it. Bully for him, because it has created a significant net worth for him in any case.

The lifestyles of the rich and famous is what makes Entourage fun. Dozens of cameos complete the Hollywood experience, but there simply isn’t any story. Or any measurable semblance of a plot. I felt like I binge-watched four straight episodes of the show, and the final one happened to be a season finale.

It’s a trip down memory lane if you were a fan of the show, and if you’re watching the film, you likely are. Just don’t expect anything more than an inflated episode filled with boobs and cameos. 6/10.

San Andreas

It's been awhile since there was a good disaster movie. And we're still waiting. San Andreas reeks of Roland Emmerich, but surprisingly, it's directed by kids movie sequel star Brad Peyton (Cats and Dogs 2, Journey 2). It's written by TV veteran Carlton Cuse (Bates Motel, Lost, Nash Bridges) and their lack of cinematic blockbuster experience is very clear.

Let me give you a rundown of the plot. Action scene proving our protagonist is a hero with a big heart and sharp wit. Dysfunctional family dynamics, but the love is still there. Crazy genius scientist who nobody listens to, who has a breakthrough in his research at the perfect time. Shady millionaire stepfather. Insanely gorgeous daughter leaving home for college. Hero is forced to choose his family over his job (which happens to be helicopter rescue). Millions of people die and we don't really care, because it's all about the main characters. The hero is forced to relive and overcome a past tragedy, and an American flag is unfurled at the end to signify the strength of the survivors. Come on.

A massive earthquake on the San Andreas fault is inevitable, and even perhaps overdue, but I just didn't have the feeling of satisfaction from this film that I did from, say, Independence Day. Alien invasions are cool because they aren't realistic. It's the way that zombies are fun and exciting because it could never really happen. A realistic disaster film is a bit more uncomfortable.

Why can't we have a disaster movie in North Korea, or Afghanistan? I would pay to see the Taliban, or Al Qaeda, or ISIS get devastated by an earthquake or a tsunami, or global warming, or even a giant mutant lizard. Then we could send in the Marines disguised as the Red Cross. My point is, disaster movies are thrilling, but I think there has been a desensitization effect where we see countless innocent people killed in frightening and perilous ways and it just isn't striking a nerve anymore. The movies justify the carnage as long as our hero is able to save his wife and daughter, because after all, his family is what counts. But the greater issue for me is that it just isn't shocking anymore, and I think that's starting to bother me a little bit.

Taking cues from Cliffhanger and Roland Emmerich (if you didn't catch the reference earlier, he's behind Independence Day, Godzilla, 2012, The Day After Tomorrow, The Patriot, White House Down - he's basically the Steven Spielberg of disaster films), San Andreas lacks so much originality that it's almost unable to enjoy. Almost.

The Rock, who now goes by his birth name, Dwayne Johnson, shines as our protagonist. He is a full-blown action star who rocks everything he does. His character isn't given enough depth to screw it up anyway, so flex those muscles and flash that million-dollar grin (or $150,000,000 but who's counting). Loving dad, good guy, still in love with his impending ex-wife. He's a true blue-blooded hero with his football and wrestling pedigree and that works for the character. And his physique is ridiculous. He's what Arnold Schwarzenegger would have been in the 80's and 90's if he didn't have that damn Austrian accent (and Arnold did just fine for himself). He is the popcorn blockbuster action star of today, hands down. He's rumored to be Jack Burton in the reboot of Big Trouble in Little China, and that might be a brilliant future cult classic if they do it right. I'm very curious as the original holds a special place in my 9 year old heart.

The only other enjoyable part of San Andreas is the rising starlet, Alexandra Daddario. She's almost too good looking to be in movies in my opinion. It might be her eyes, or her body, but for a 29 year old to be playing a 43 year old's 18-year old daughter, that's impressive, even by Hollywood standards. She slowly loses articles of clothing over the course of the film, which was likely intentional and highly effective. Since her brief appearance in True Detective, she had graduated from playing a teen to an adult. It's a bit weird that she regressed, but she'll be around for awhile. Hopefully playing some more mature roles.

The rest of the cast is average at best. Paul Giamatti in an overdone performance, Carla Gugino and Ioan Gruffud make background noise as the other two pieces of the love triangle. The film isn't terrible, but it is massively formulaic. Being one step ahead of the story is never satisfying, even when the special effects are pretty cool. I guess I am just tired of seeing major landmarks destroyed and lives tossed away left and right. The film isn't supposed to be about eye candy and predictability, it's supposed to be about disaster and overcoming the odds. I just wish more of the characters overcame those odds. Skip this one. It's the kind of movie that would be great to stumble across late at night on HBO to battle insomnia. 5/10.

Pitch Perfect 2

The big winner of the weekend is Elizabeth Banks. Who? The director, producer, and supporting star of the sequel to 2012’s surprise girl-power comedy hit. Budgeted at just $29 million, it has a domestic gross of $64 million in its first weekend, blowing away Mad Max: Fury Road, and knocking Avengers 2: Age of Ultron from its box office perch. Pitch Perfect 2 is primed to do well internationally as well, and looks to destroy 2012’s $115 million take (variety.com). Not bad for a directorial debut.

PP2 picks up three years after the first installment. Beca (Anna Kendrick) and her crew of a Capella debutantes are fresh off of three straight collegiate singing championships. A mishap in front of President Obama and the millions of Youtube hits that follow leave the Barden College Belles banned from competition with one caveat. Win the worlds, and get reinstated. They pick up a new recruit, a Belle legacy named Emily (Hailee Steinfeld) and battle the German uber-group, Das Sound Machine, who are the singing equivalent of Ivan Drago.

The film follows the formula of the first very closely. Light and fluffy is a safe way to play it with lots of catchy songs, some mashed up and some just done with vocal flair. Sticking to a riff-off (with some nice cameos), some comedic romance, and a modest amount of character conflict, there isn’t much surprising or even clever about the plot. There is the big finale with groups showing their best stuff, and I must say, Journey’s “Any Way You Want It” performed in different languages has never been better.

The draw for me isn’t the humor, but the music. I can’t be the only one who has the secret karaoke fantasy that is the lives of these ladies (and gentlemen). I was a little disappointed in some of the selections, but a 36 year old man clearly isn’t the target demographic. They threw me a bone with some early 90’s hip hop, Journey, and Pat Benatar. Musically, the German super group bullies the Belles, but there is always more comedy than competition between the crews and that keeps the tone of the film in line with its predecessor in terms of positivity and fun. Throw in the Green Bay Packers in a scene that parodies an illegal underground gambling ring hosted by David Cross, and you know it’s a good time.

Keegan Michael-Key and John Michael Higgins steal the show in my opinion. Key plays Beca’s boss with his typical sharp-tongued wit, constantly denigrating his interns. He’s honestly one of the funniest guys around. If you haven’t seen Key and Peele, and you’re into sketch comedy, check it out. Higgins brings the vapid podcast commentator to another level with his racist, sexist, and generally inappropriate comments.

The rest of the cast is mostly filler, with Adam Devine getting a bit more screen time as Bumper, and Rebel Wilson’s Fat Amy as the butt of most of the jokes. The fat jokes get old, even if most of them are self-deprecating and not mean-spirited. The Belles are still the motley crew we saw in the first film; the hot sexually aggressive one, the black lesbian, the Guatemalan who is always one-upping the sob stories, the creep Asian girl who barely talks, and the bubbly optimistic blonde. It’s an eclectic bunch, but they work well together.

There are absolutely no surprises when you walk into Pitch Perfect 2. You get what you pay for, and it delivers music, comedy, and a genuine feel good experience. It’s a bit of fun, but I can’t imagine a third film in the franchise. Of course, stranger things have happened. 6/10.

Mad Max: Fury Road

What a film. What a lovely film.

It’s been exactly 30 years since George Miller delivered his last genius blend of psycho-apocalyptic anarchy and mesmerizing bleakness. A visionary cinematic landscape of dust, mayhem, religious zealots, and carmageddon all in the name of Earth’s waning resources. Sure, he’s the director behind Babe: Pig in the City, Happy Feet and Happy Feet 2, but doesn’t that kind of kill the buzz surrounding this epic of horsepower and carnage?

Fury Road isn’t quite a movie as much as an immersive experience. From the throaty engine starting behind the opening credits, until the climactic finale, there is hardly time for a pit stop. We meet Max (Tom Hardy) standing in a barren landscape speaking more words in his monologue than in the whole rest of the movie. He’s lost everything that he loves, and now his life is simply about survival. Not even a full minute into the film and we have a group of bandits who capture him and cage him like an animal and make him a blood donor for the gonzo cult leader, Immortan Joe (Hugh Keays-Byrne). It’s not long before he’s tied up to the front of a car with a transfusion going to the driver, Nux (Nicholas Hoult), who does an incredible job personifying the blind devotion that he and the countless nameless minions have to Joe. It’s religious at its core, with nods to Viking lore and references to Valhalla, but it’s also a convenient explanation for the berserk disciples who sacrifice themselves without a second thought, with dreams of a jihadi afterlife. The chase begins, to catch Imperator Furiosa (Charlize Theron), a war rig driver who commandeers the truck with the cargo of Joe’s bevy of beautiful slave/breeder wives. They cross the wastelands looking for “the green place” but really the whole plot is an excuse for horsepower and explosions. And then more horsepower and more explosions. The viewer is given a peek inside the mind of the preposterous George Miller with men jumping from car to car, tossing explosive spears, dirt bike jumps, chainsaw-wielding swinging stunt men, and demolition derby carnage. It amps up as the film goes on to a roaring crescendo, and when the dust settles, you’re left feeling like a Nascar racer who just ran out of gas.

One or two bloggers and self-proclaimed movie critics have slandered the film for its alleged blatant and even gratuitous feminism. Hogwash. Make no mistake, Charlize Theron is the star of this film and Tom Hardy’s Mad Max plays second fiddle, but it is calculated. Max met the right woman, and what better plot than the five wives of the evil ruler running away and being chased to the ends of the earth by the desperate husband? It shows vulnerability and strength. It’s genius.

George Miller is the reason that Mad Max: Fury Road even exists. The creator of the original Mad Max trilogy (and our introduction to a 23 year old Australian named Mel Gibson) created a cult following, and arguably the mainstreaming of a genre that has spawned numerous successful films over the years. There’s something a bit more authentic to Miller’s take however, and nothing quite compares to his unique unmatched style.

Fury Road has its flaws. It is absurd, drags on a bit too long without much beyond quirky characters and high octane super-vehicles exploding, jumping, flipping, and traversing an endless desert leaving the mother of all dust clouds in its wake. But it’s cool. It’s a breath of fresh air even though it’s the resurrection of a franchise that has been waiting to be brought back from the dead for 30 years. Only time will tell if George Miller has any gas left in his tank for another go round.

Mad Max: Fury Road is something different, and it is cool. It is the first true hit of the summer, and it’s about time. 9/10.

Ex Machina

The future of advanced technology comes at a steep price. So says Alex Garland, the acclaimed writer of The Beach, 28 Days Later, Sunshine, and the eagerly anticipated, but ultimately unlikely to come to fruition Halo film based on the gargantuan X-Box video game franchise.

Garland makes his directorial debut with Ex Machina, a sci-fi cautionary tale about the unintended consequences of artificial intelligence. Sharp, understated performances highlight this curiously eerie film with a feel of originality devoid of pretension. Where it could easily fall into the trap of conformity, Ex Machina has a unique feel that boldly stays true to the writer's vision. Garland is hit or miss, but this seems to be a passion project and his work has paid off.

Computer coder Caleb (Domhnall Gleeson) wins an intra-office contest and is flown to the secluded island compound of the mysterious recluse founder and CEO of the company Blueprint, Nathan, played by the incredibly talented Oscar Isaac. Blueprint is the equivalent of what Google could be with a bit more R&D and a more sinister agenda. Right off the bat, something doesn't seem quite right, but Caleb warms up to Nathan and is explained the real purpose of his week long vacation. Or is he? Nathan is testing an artificial intelligence creation named Ava, who is learning human behavior more every day. Every character has secrets, and it isn't until the very end that the truth is revealed in a chilling turn of events.

Rounding out the cast is Alicia Vikander as Ava. She is more human than machine, and although the human pieces raises questions about the "how" more for the outside than the inside, it is easily forgivable in the name of science fiction. Becoming more human as the film goes on amps up the tension, and the simple plot, hidden in a fog of science and strangely plain characters adds to the effect. Nathan and Caleb are not especially deep characters. They have flaws and in many ways are opposites, but they aren't the focal point. the elephant in the room is Ava. Ava is curious but cool and confident. She is entrancing despite her obvious mechanical components, and for that, Vikander deserves kudos.

Oscar Isaac is the wild card. A genius recluse is a bit cliche, but his character is given an interesting personality. You never get the impression that he is a genius except by inference. His demeanor and manner of speaking is more spoiled rich kid than anything else, and he has a very cool and composed attitude. Throw in the alcoholism and the fact that he's a self-made man and you have a very interesting character. Garland doesn't delve too deeply into the development, but, as the idiom goes, "the devil is in the details".

Domhnall Gleeson is a deer in the headlights for most of the film. Too happy to be in the presence of AI and his employer to break out into any sort of memorable character. It fits though, as he's not the focal point any more than Isaac is. The true star is the haunting reality that artificial intelligence may truly be possible, whatever form it takes. And that all of the doomsday nightmare scenarios and unforeseen moral and ethical dilemmas may soon really be facing humanity. Obviously it won't be like Ex Machina, but technology is creeping dangerously close to the possibility, and that's what makes this such a cool movie. The ending is interesting, but not altogether surprising.

What is different about Ex Machina is that the ending is hidden in plain sight the entire film. There is no attempt at a fancy twist or clever red herring. Would I have enjoyed that a bit more? Of course, but it is also enjoyable simply for what it is; something different, and a pretty well done science fiction story. 7/10.