Rogue One: A Star Wars Story

The highly anticipated stand-alone to the beloved franchise has arrived. Brilliantly planned, this film is the second in a six-year sequence of Christmas openings, with Episode VIII in 2017, the Han Solo origin in 2018, Episode IX in 2019, and a yet undetermined film in 2020. I’m no seer, but I don’t think that will be the end of the SWEU (Star Wars Extended Universe).

“Rogue One” follows a briefly mentioned band of rebels from episode IV, who daringly risk life and limb to save the entire republic from the evil empire by stealing the schematics for the Death Star. Jyn Erso (Felicity Jones) plays the heroine who surrounds herself with a band of eclectic characters on a quest for humanity. The line of good versus evil has never been more clear, and the stakes never higher.

The film has a familiar tone, but deviates from some of the trademark “Star Wars” staples, much to the delight of this critic. It has a freshness and is a bit darker, more action-packed, and carries the torch for the next generation, which is a certainty considering the global popularity. The nostalgia is preserved remarkably, while opening the doors of film making technology and new characters that will captivate a new generation as well as satiate the old.

Jyn is an orphan who has a special link to the Death Star, and the fate of humanity hangs in the balance of her choices. I was underwhelmed by her performance, as it seemed wooden and unmotivated. There was little emotional range, and lots of confident quips that attempt to highlight her rebellious nature, but she is really quite dry. It was an opportunity to introduce a new and exciting iconic character, but Jyn Erso will be lost in the mediocrity of memorable but uninspiring players.

Orson Krennick (Ben Mendelsohn) marvelously plays the officer in charge of the Death Star, and he is joined by the CGI presence of Grand Moff Tarkin, played in the original by Peter Cushing. The effects are valiant, but severely noticeable and a bit distracting. With a nearly forty-year gap, his inclusion was vital to the story, so he gets a pass. We get to see the resurrection of Darth Vader as well, though his screen time is adeptly limited to just a few savory minutes.

The rest of the cast is truly the heart of the film, salvaging Jones’ shortcomings. The band of rebels are the most multi-cultural representation we’ve seen yet and we get glimpses of creatures that would make George Lucas proud (and ashamed of episodes I-III). The comic relief, however, is what injects the necessary frivolity and the timing is perfect. Alan Tudyk voices K-2SO, the C-3PO of the group. There is an Eeyore quality that is eerily similar to the golden android we all know and love, but K-2S0 is snarkier and a bit less annoying.

Director Gareth Edwards (“Godzilla”, “Monsters”) fills the chair like a pro, and although surrounded by masters of the universe, has shown that he is capable of greatness and proves to be the right choice. He paces the film brilliantly so there are no lulls in the action. The story isn’t anything original or even very interesting in the grand scheme of things, but his collection of characters, dazzling action scenes, and noticeable homage to the original trilogy makes this film powerful and satisfying. Additionally, after the climax, he uses movie magic to adrenalize the film one last time, leaving the audience in a familiar and excited state.

The Star Wars universe is in good hands. If the continuity progresses to this standard, the stand-alone films won’t be a threat to the integrity of the legacy or the enduring fondness that most superfans (or regular fans) hold toward the original trilogy. Disney is nailing the rebirth of a beloved franchise, and with no fewer than four more films in the pipeline, they have mirrored the success of Marvel in creating an entire universe and are reaping the benefits. I for one will have a standing appointment every December to see these films for as long as they are made. Those familiar with “Star Wars” will love the nostalgia, those who aren’t will definitely enjoy the action. 8/10.

Manchester by the Sea

Once in a while a film comes along that reminds you just why you go to the movies in the first place. None too often does something this utterly heart wrenching and beautiful unfold in front of your eyes. It’s an immersive tale so simply done, but so complex in emotional range.

Lee Chandler (Casey Affleck) is a handyman with a damaged past, contently living in Boston in squalor. His world is turned upside down and past demons unleashed when his brother, Joe (Kyle Chandler) dies and names Lee as guardian to his sixteen-year-old son, Patrick (Lucas Hedges). We see how a working class family struggles with life’s challenges, and as Lee’s past is revealed through a series of flashbacks, we as an audience begin to wonder, are there some things in life that can’t be fixed?

Writer/director Kenneth Lonergan (2011’s “Margaret”) paints a masterful portrait of working class New England daily life. The subtlety by which he establishes the setting and the character relationships harkens “Good Will Hunting” in equal parts heartbreak and hope. Sweeping shots of the fishing towns and the appeal of a simple life working on the water punctuates the drama effectively with whimsical sentimentality. What tugs at the heart strings more than the direction, which does have some shaky moments when the camera is moving, is the pure realism of the story.

Affleck’s acting is a thing of genius. His resume is quietly becoming more impressive than his better-known brother, Ben (see his unnoticed performance in 2013’s “Out of the Furnace” to see more). His natural and effortless façade is one of the most authentic performances I’ve seen in a long time. His character has buried his pain deep, and we see moments of it bubbling to the surface, but he maintains his composure perfectly. The professionalism is easy to miss if you aren’t paying close attention, but it’s a clinic on acting if you are. He can next be seen as Meriwether Lewis in an upcoming TV mini-series.

The supporting cast of Michelle Williams, Lucas Hedges, Kyle Chandler, and Gretchen Mol do a fantastic job surrounding Affleck and elevating him to what will certainly be the performance for which he will be remembered years from now. Williams delivers a typical Oscar-worthy performance, but her screen time is limited, which upon reflection, is a good move by Lonergan to avoid overshadowing the point of the story. Hedges is a rising star who holds his own opposite the veterans, and he adds some much-needed levity that often gets left out of emotional powerhouses.

“Manchester by the Sea” is a rare cinematic achievement that is completely satisfying, captivating, and raw. Amazon Studios is emerging with some serious competition to the heavyweight contenders, which further proves my theory about the corporate behemoth’s impending global dominance.

As awards season officially begins, I guarantee that “Manchester by the Sea” will receive its share of Oscar nominations, and at this point, I predict it will take home its share of wins, including Best Picture. It sets a nearly unachievable cinematic bar of artistry and emotion that will leave you teary-eyed, and it’s certainly an experience worth the price of admission and then some. 10/10.

Fantastic Beasts and Where to Find Them

In your local theatres. That’s where you can find them. The Fantastic Beasts. For a film that tends to live more in the realm of mediocre, the beasts are not just fantastic, they are spectacular. They are magnificent and awe-inspiring. They are the whole reason this film exists, except of course to make money and set the table for what’s to come.

What is essentially the ninth film in the Harry Potter franchise serves as a prequel that will spawn (at least) four subsequent sequels of its own. Eddie Redmayne is Newt Scamander, a writer and animal whisperer of a wizard on holiday looking to purchase a rare horse to add to his impressive collection, which he conveniently keeps in a raggedy brown suitcase. He accidentally releases an eclectic group of magical creatures to wreak havoc in 1920’s New York City, and the results are catastrophic and inevitably set into motion a chain of events that may very easily lead to another half dozen books and films.

The wizarding community attempts damage control and risks being discovered by the “nomag” (not magical), or the American version of the British muggles to the Potter initiates. Meanwhile, we’re introduced to new and imaginative creatures and characters, and some familiar names from the stories we all know and love (I say that facetiously).

David Yates returns to the director’s chair after four of the original “Harry Potter” films, and this year’s “Legend of Tarzan”. He is attached to the next four “Fantastic Beasts” films, all of which are in the process of being written, and urgently I would presume. His camerawork is simply average, though I wonder how much time he spent in post-production.

J.K. Rowling may have bitten off more than she can chew on this one. She doesn’t need the money, so I question her motives. She is tinkering in dangerous territory and might want to have a chat with George Lucas. The next few novels she writes could very well destroy her credibility with the masses and for what? To continue her legacy? I would prefer something new perhaps.

The supporting cast of Katherine Waterston, Colin Farrell, Dan Fogleman, and Ezra Miller do little to add substance to the plot or setting. They play their characters convincingly, but they seem like just that; characters. Eddie Redmayne can’t even save the attempt at brilliance that simply comes off as ordinary.

I can’t help compare this legacy to the “Star Wars” canon. Although I’m a huge “Star Wars” fan, I could see how as each new one comes out, there are people who just don’t understand the excitement and fervor. I feel that way about “Potter”. These next five stories are going to drag out the story and dilute the cultural importance and impact of the first seven books. Or eight films if you prefer.
I won’t pretend to know the “Harry Potter” universe very well. I’ve seen the movies and haven’t read the books (blasphemy for a middle school teacher, I know), but it just doesn’t really do much for me. The power that can be wielded by wizards just seems to diminish the tension and drama of conflict. Destroy the city? Just wave your wand and everything goes back to normal. Get caught by a human? Cast a spell and make them forget everything. Encounter literally any situation you don’t want to be in? Say the right combination of nonsense words and you can simply disappear. The rules or lack thereof don’t jive with my sense of logic. Even for fantasy, the narrative seems to make “Lord of the Rings” seem like non-fiction.

I will say this. If you are a big fan of the “Harry Potter” films, you will not be disappointed in the slightest. The special effects are mesmerizing and the creatures are nothing short of breathtaking and beautiful. If you’re just a movie fan looking for something to check out? It might do, but it will most certainly leave you feeling unsatisfied. 7/10 for visual dazzle.

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.