Arrival

The much-anticipated sci-fi Oscar hopeful has finally, well, arrived. Director Denis Villeneuve (Prisoners, Enemy, Sicario, 2017's Blade Runner sequel) has emerged as one of the hottest film makers around, and for good reason. "Arrival" is a refreshingly suspense take on the alien invasion genre. Less lasers and conflict, and more thoughtful looks at the important questions that might arise. Granted, there has to be a story arc, character studies, and the fictional element that simply adds to the mystique of first contact, but this film is unlike so many that have come before.

Within hours of the arrival of the alien ships, Dr. Banks (Amy Adams) and Dr. Donnelly (Jeremy Renner) are brought to one of the sites in beautiful rural Montana. She is a world renowned linguist and he is an unspecified scientist or mathematician. Together, they are charged with the job of deciphering the alien language to uncover their intentions and purpose. The race against time is amplified by the concurrent attempts by other nations around the world to discover the alien agenda for themselves, and there is always a ticking clock of global competition that adds fuel to this mysterious fire.

Adams delivers a spectacular acting performance, boosted immensely by Forest Whitaker's no-nonsense lieutenant colonel Weber. The narrative is driven forward using the genius guise of the unknown. The rules of alien invasion films are pretty loose, but historically have taken few liberties to acknowledge the more realistic response. It's not all machismo and sending in army guys to face something new with force. There is a more cerebral, scientific approach with this film, and it is extremely captivating. Renner's performance is a bit more vanilla, but that's alright. He is clearly the second banana, and is not only fine with it, he wears it nicely. The deference is refreshing as there is a certain amount of recognition in the sparkle of his eye that he's the part of something fantastic and it's just fine.

As the film moves toward its climax and reveal, there are some remarkable directorial moves, and that's the difference between this film and something more pedestrian or banal. Besides the camerawork and music that fit perfectly with the vision of Villaneuve, the slow zoom of the camera into a innocuous, yet completely bizarre frames present something of an illusion to the eyes. He did this type of work in "Enemy" a couple of years ago, and continues to play with the viewer's mind, but in a good way.

I had high hopes for this film from first hearing about its production. I truly felt that Villaneuve could give an alien invasion film its due better than perhaps any other director on the planet, and I was right. The subtlety and attention to detail is astounding and mesmerizing. The story is just fresh enough that a viewer leaves a tad confused, but can put everything together by the time they're home from their drive. That's the mark of a solid film beyond the objective beauty that so many critics can easily identify and define. I appreciate a smart and bold film more an more the older I get.

"Arrival" isn't the sexiest of alien films, but it makes you wonder and exudes ambition. I am extremely excited to see what Villaneuve has in store for us in next year's "Blade Runner" sequel, and with Harrison Ford and Ryan Gosling starring, it should follow suit with the original and become an instant classic, no doubt. "Arrival" is one of the top ten films of the year thus far, and is worth a second look (think "Inception" or "Interstellar"). It is like a highbrow "Contact" without the bad acting and Carl Sagan mumbo-jumbo. See this if you want to know how a visionary makes a good film. 9/10.

Doctor Strange

A leap of faith is easy when you are the Marvel studios. “Ant-Man” and “Guardians of the Galaxy” don’t sound so absurd now when you look at the former pulling in a global $520 million on a meager $130 million budget, and the latter grossing $773 million at a cost of just $170 million. “Doctor Strange” is a lesser known character that is bringing the dark and otherworldly arts to the MEU and will likely bridge the gap from “Avengers” to the “Infinity Wars”.

Let me preface this review by saying that I’m not familiar with the comic narrative or the origin story. Doctor Stephen Strange (Benedict Cumberbatch) is a cocky, brilliant neurosurgeon in New York City with a penchant for expensive things, fast cars, and showing off his superior intellect. His brash demeanor turns off colleagues (and an ex-girlfriend) from the get-go, but his passion for vocational perfection is admirable by all (sound familiar? Tony Stark, cough, cough). After an accident rocks his world, he seeks satisfaction outside of traditional medicine and finds himself in Nepal learning the mystic arts from The Ancient One (Tilda Swinton). From there, he is exposed to the multiverse, both good and bad, that opens up worlds and dimensions of possibilities for the future of the Marvel Extended Universe.

Benedict Cumberbatch may seem an odd choice for a superhero, but just like Robert Downey Jr. as Iron Man, he hits the mark. His snide arrogance gives way to humor, emotion, and even a little action in the way that only an actor with range can make possible. I really was impressed with the depth of the character and the way he was captured by Cumberbatch in more than just a one-dimensional portrayal (Captain America, Thor, Hulk, Ant-Man, etc.). Because he will be an integral part of “Infinity Wars”, I am excited to see where he fits with the old and new Avengers.

Danish crossover star Mads Mikkelsen (“Casino Royale”, “Rogue One”) is the primary antagonist, and he nails the tone of the film. Mostly passive, but clearly capable, he throws an assist toward Cumberbatch and company that really moves the pacing along nicely. His villainy is subtle and understated, deferring to the origin story and character development of Strange. He even has some humorous moments himself that fit perfectly with the storyline.

A star-studded supporting cast of Rachel McAdams, Chiwetel Ejiofor, Tilda Swinton, and Benedict Wong are nicely placed around Cumberbatch, but I feel Ejiofor’s character (Mordo) could have been a bit stronger if he had a little more detail in his introduction. I also question the casting of Swinton as The Ancient One and had heard that there was some whitewashing controversy. The bald head look is pretty cool on her, but wouldn’t it make sense to cast someone who’s more, I don’t know, Asian? There are literally billions of women to choose from, and they played it safe and questionable by casting a recognizable Oscar-winning white woman.

Director Scott Derrickson (“Sinister”, “The Exorcism of Emily Rose”) takes a massive step forward with one of the more ambitious projects of 2016. The effects alone require a visionary that is rare, and he does Marvel complete and total justice. The post-film credits hint toward a sequel, but let’s be honest, it’s a near certainty if the other critics and audiences feel the way I do.
“Doctor Strange” is a mesmerizing psychedelic trip into the metaphysical universe that evokes “Inception”, “2001: A Space Odyssey” and even to some degree, “Harry Potter”. Sorcery and mystic arts prevail, but my only gripe is the overwhelming barrage of visual stimulation. At times it is too much and for too long, like a hallucinogenic trip that starts off mind-bending and beautiful, but quickly becomes nearly incomprehensible and therefore easy to tune out. The film makers pulled out all the stops effects-wise, which is remarkable and impressive.

My only other complaint is with the score. I commented to a friend that I thought I was watching “Star Trek” at times, and after some research, realized that composer Michael Giacchino was in fact responsible for both “Doctor Strange” and “Star Trek”. It was noticeable, Michael. Shame on you.

“Doctor Strange” is well done. Entertaining and fresh, a worthy addition to the Marvel family. I don’t have to tell you to go see it, because let’s be honest, you probably will (if you haven’t already), but take it from me; you won’t be disappointed. 9/10.

Jack Reacher: Never Go Back

It’s hard to believe that “Top Gun” was thirty years ago. Tom Cruise is still the gold standard for an action star, despite his questionable personal life. He once again immerses himself in the Jack Reacher character, based on the book series by Lee Child, for the second time since 2012.

Jack Reacher is an ex-Major in the US Army Military Police, a title he reminds us of numerous times throughout the film. He has a distrust and disdain for the military, but maintains his close connections and wields effortless authority when it suits him. He fights crime on his own terms and never seems to stay in one place for very long. He finds himself embroiled in a severely uncomplicated plot involving a might-be-love interest (Coby Smulders) and a could-be-daughter (Danika Yarosh) where they form a severely dysfunctional pseudo-family. He is matched up against a shady, nameless contractor (Patrick Heusinger) who would fit right in if he were in a James Bond film with his sunglasses, black leather jacket, and black driving gloves. Pretty cool, but not very incognito.

Cruise is ageless. Regularly doing his own stunts and brawling with the best stuntmen around, he is impressive be it with a gun, his fists, or his kicks. The action scenes are entertaining as all get-out, and the subtle nod to poorly written action films of the 80’s and 90’s, whether intentional or not, is highly effective. The character is mysterious, but doesn’t leave you wondering or caring. He’s a simple man with an unflappable code. You root for him in all of his unrealistic scenarios where he outsmarts and outpunches everyone in the room and that’s really all there is to him. Despite his over-used blue-steel squint, eye twitch gaze, you know there isn’t much more than a man who is always looking for a fight beneath the surface. Even the big man posture and walk exudes testosterone, and it totally works.

Director Edward Zwick reteams with Cruise (“The Last Samurai”) and seems to be slumming a bit in his choice of project. It certainly must have been a fun film to make, and perhaps there is a relationship between the two that made it appealing, but he is a high quality director (“Blood Diamond”, “Glory”, “Legends of the Fall”) and his efforts don’t go unnoticed. An awkward ending shows some of his trademark dramatic style, but otherwise he captures the action with a veteran’s touch.

The writing is pedestrian, but I’m unfamiliar with the source material, so I can’t speak to the adherence to the novel. It reminds me of so many books written in the genre (including my own) and never achieves any real depth or realism. It is a fun time though.

I was actually surprised that I enjoyed this film so much despite its many weaknesses. It did get a little old during the third act when the twist emerged unceremoniously and predictably, but it was followed by an epic fist-fight, so all is forgiven. There is a tone created from the very first scene that makes you sit back and just enjoy the show. A true sign of a successful film, even if it isn’t the best of stories. This is the type of film you might order on-demand on a Saturday night when you’re in the mood for something exciting, and you will be pleasantly surprised. With tempered expectations comes satisfaction. Love him or hate him, Tom Cruise is going to be around for a long time. 7/10.

The Accountant

Who is The Accountant? He’s an untrained yet highly effective Jason Bourne with autism (or an autistic if you ask someone in the anti-cure camp). Unfortunately, he is a less smartly-written character in a less exciting setting, and a completely stereotypical portrayal of someone with the neurological difference with quite a few blatant irregularities.

“The Accountant” is more of an autism awareness public service announcement and a commendable advertisement for the obvious joy that comes with an exciting career in accounting than it is a thriller, or a real action film. You see, the film lacks real teeth because it gets too bogged down trying to be clever and different. The attempt at character depth overshadows what could be a pretty fun shoot-em-up, or a terse thriller. It inevitably fails quite noticeably at both.

A predictable twist that is as improbable as it is lackluster leading to an ending that will leave you shaking your head, as well as a character shift that is beyond unlikely, convolutes the tone and complicates the message the film makers are trying to send. Is this a character study? A romance? A cautionary tale or a story of redemption? Maybe. Maybe not, and it really doesn’t matter.

Ben Affleck plays Christian Wolff, one of many aliases he smoothly and deftly dons throughout the painful 130 minutes. He is an accountant for criminals, uncooking the books and vanishing with his payment, no questions asked. His constantly mentioned autism portrays him as a savant, trained by his harsh and demanding father to ignore his challenges, leading him to become a stone cold emotionless professional. A bit too cool, a bit too reflexive, and a bit too James Bond for his own good.

Surrounding Affleck is a stellar supporting cast of J.K. Simmons, Anna Kendrick, and Jon Bernthal. All expert actors, Bernthal shines in his first scene, Simmons in his last, and Kendrick doesn’t really have a place in the film at all. I worry that her turn in “Up in the Air” may turn out to be the only critical acclaim of her career, as recent roles have been either trifling or ill-advised. At least she is young, rich, and clearly having fun. Case in point, “Pitch Perfect 3”.

Director Gavin O’Connor (“Miracle”, “Warrior”) had great intentions but just had a terrible script to work with. He manages to make Affleck once again look like a true blue action star, and some of the fight sequences are remarkable. It is however difficult to Ben in front of the camera so soon after “Batman vs Superman” and his public, messy divorce. His upcoming “Live by Night” might be the redemption he needs, a la “Argo” before putting his cowl back on for no fewer than three more Batman flicks. His dirty love affair with Warner Bros. knows no shame.

Writer Bill Dubuque (the abysmally disappointing “The Judge”) does himself no favors by allowing the blatant attempt to capitalize on autism to unfold so organically. Being in the education field, it nearly made me uncomfortable to see inconsistencies that eliminated any sense of respect or reverence for the disorder.

“The Accountant” could have actually been very good. Had the twist been molded a little more expertly and the main character been a little less suave and a little more, I don’t know, accountant? It could have been thrilling and sharp. Better luck next time, Ben. 5/10.

Middle School: The Worst Years of My Life

Based on the book series of the same name, “Middle School: The Worst Years of My Life” follows the travails of Rafe Katchadorian, an artistic introvert who may or may not be the pre-teen autobiographical incarnation of author James Patterson (Maximum Ride, Alex Cross series).

Rafe (Griffin Gluck) is an average kid dealing with average issues; pesky little sister, starting new school mid-year, divorced parents. There isn’t anything particular special about his life except for his imagination and maturity. His drawings come to life a la “One Crazy Summer” circa 1986, but instead of serving as a distraction to express the inner dialogue through crude and cheap trickery, it actually moves the story along nicely as it is a welcome addition to the live action film.

As Rafe enrolls at a new, prestigious middle school because of numerous, untold expulsions, the evil principal Dwight (Andy Daly) cracks the whip and tries to prepare the student body for the BLAAR test (Baseline Assessment of Academic Readiness) in what is a nice riff on the absurd climate of high stakes testing in education. Noticing the ubiquitous oppression and conformity, Rafe decides that rules aren’t for everyone, and he pushes back against the system in traditional heroic fashion.

Director Steve Carr (“Paul Blart: Mall Cop”) creates a nicely balanced caricature of school that is humorous without appearing condescending. There are character archetypes present, but he manages to enrich the story through the quick pace and sharp animation, and adds some refreshingly deep themes to what is on the surface simply a kids’ movie.

Lauren Graham (“Gilmour Girls”, “Parenthood”) stands out as Rafe’s mom, the lone adult who isn’t playing a tightly prescribed role. It’s authentic and emotional, but most of what she does is. Beside her, there is the duplicitous boyfriend and very effective comic relief (Rob Riggle) in an over-blown stereotype of a self-absorbed egotist. The goofy, cool, down-to-Earth teacher (Adam Pally), the wise yet bitter custodian (Efren Ramirez), and the authoritative assistant principal (Retta). None is overwhelming, and in fact, Principal Dwight is perhaps the character that is a bit overdone, and taints what is otherwise a surprisingly well-done film.

The genre of kids’ comedy is rife with duds over the years, and most aren’t even memorable enough to mention here. There are countless attempts to tell the same story; fish out of water who redeems him/herself, learns lessons in the process, and makes friends. “Middle School” is a bit of an exception to this typical story arc. Although typical in nearly every way, there is something starkly different than other films you’ve seen before. There is a depth and execution that usually falls apart when the film enters the third act. The twist adds a bit of an emotional charge, and there isn’t any lingering about in any of the areas during the wrap-up.

I give credit to Carr for this as he assembled a great cast of characters and presented middle school in a way that gives subtle homage to familiar stories while preserving the integrity and pacing of something different and new. I haven’t read the source material, but I have spent a lot of time in middle schools (teacher, not as a failing student). The film isn’t realistic by any stretch of the imagination, but it surpasses most in terms of its charm and upbeat ultimate message.

Rules aren’t for everyone, but this film is. I would recommend this to the masses as a breath of fresh air in what is certainly a down season for film. I haven’t seen a truly impressive film in months, and although this wasn’t what I would call impressive, I was pleasantly surprised. 8/10.

The Magnificent Seven

The story was created decades ago, but it never gets old. From Akira Kurosawa’s “Seven Samurai” in 1954, remade as “The Magnificent Seven” in 1960, we now get a twenty-first century look at good, old fashioned cowboy vigilante justice. But not really. The imagination doesn’t stray far from the Yul Bryner version, complete with a multicultural motley crew, and a helpless town who rely on seven strangers to protect them from the evil violence of capitalism disguised as progress.

Starting off by painting an idyllic picture of a prairie town, we are abruptly shaken by the dynamite explosions and chaos of a brutal gold mining operation. Bartholomew Bogue (Peter Sarsgaard) is an entrepreneurial tycoon who decimates town after town by lowballing the citizens, eventually driving them out through coercion. He is borderline sociopathic, and remorseless in his death dealing if it stands in the way of his financial goals.

Denzel Washington is the man in black as Chisolm, a bounty hunter who stumbles upon the hapless town, and begins to round up his gun slinging compatriots in an act that is simply revenge justified as righteousness. He is typical cool, smooth Washington, but didn’t show enough emotion to create a memorable character.

Homegrown product Chris Pratt (Lake Stevens) manages to easily upstage Washington at every turn, which is no easy feat. He plays the comic relief as the gambler, lothario, and easy-shooting cowboy, Josh Faraday. He is likeable and doesn’t seem to need to act aside from his broken southern accent. He exudes coolness, and although his star has been on the rise for some time, this performance certainly doesn’t hurt.

Hayley Bennett (the upcoming “The Girl on the Train”) is Emma Cullen, the hardened and scorned woman who manages to round up the men, and never quite emerges from the background to present a character of any depth. She’s a Jennifer Lawrence doppleganger and dresses a bit too risqué for the time and place, and the men are perfect gentlemen of course. I get the reason, there needs to be a damsel in distress, and when there’s an opportunity for a corset, I suppose you have to take advantage.

Director Antoine Fuqua presents a disappointingly vanilla take on the genre. Although he conjures the spirit of Sam Peckinpah in what is more “The Wild Bunch” than “Seven Samurai”, the characters are drawn up with a bland sense of anonymity and the bonds created among the seven gunslingers is shallow and unsubstantiated. Even the inevitable connection at the end between Chisolm and Bogue is weak and trite. The archetypes are stereotypical (Asian martial artist, Mexican outlaw, Indian savage) and their willingness to join each other happens far too quickly and easily. There is little explanation for why all seven are willing to selflessly die for civilians and one another. It’s also a bit confusing how they are able to coalesce so quickly and seamlessly, as if they were a special forces unit.

I do feel that it could have used a change of venue as opposed to rehashing or retelling the Old West story. “Training Day” was a gritty and outstanding look at urban police warfare, and Fuqua hit the mark with his vision and realism. In today’s climate of rampant gun violence, a different setting would have been a welcome breath of fresh air and could have been really quite effective and clever, but I get paid to critique, not write screenplays.

Alas, for a western, “The Magnificent Seven” is an action-packed thrill ride that will definitely satisfy the romantic longing for the simple times. Lots of revolvers, horses, saloons, chaps, and hats. Pratt, and to some degree, Manuel Garcia-Rulfo, who plays the Mexican outlaw, Vasquez, evoke an exciting and inspiring aura. The rest tend to simply go through the motions, particularly Ethan Hawke, who overacts and is startlingly haggard as Goodnight Robicheaux, the war hero with an inner-demon, and Vincent D’Onofrio, who is the tracker, Jack Horne.

If you are in the market for some good old-fashioned lead-slinging fun, and don’t want to overthink things, this will certainly suffice while you wait for the higher quality fare of the fall. Fuqua pulls out all the stops with his action sequences and it’s worth it for Pratt alone. 7/10.