Battleship

Michael Bay would be proud. This Pearl Harbor meets Transformers meets what I was hoping Independence Day would be 16 years ago blows conventional disaster/alien invasion films out of the water in what can only be described as a ridiculous story brilliantly executed. Peter Berg gets back behind the camera for his first film since 2008's Hancock, and really delivers what an audience might expect. He doesn't take his craft too seriously, and I mean that as a compliment, but he cuts right to the chase and gives us the Naval action that Battleship ultimately advertises.

Dubious of the premise from the announcement that Hasbro's relic of a game would be translated to the big screen, I admire how Berg took a lesson from Bay and Emmerich and decided to morph this idea into an alien invasion set to the backdrop of the Hawaiian islands and a mock Naval training exercise gone awry. Subplots of romance, redemption, heroism and leadership, and survival are tenderly and meticulously placed so as to not upset the natural order of eye popping special effects and explosions.

Taylor Kitsch redeems himself for John Carter (who can blame him, the payday must have been too much to pass up on). He channels his Friday Night Lights role of Tim Riggins, and plays the gruff and delinquent Lieutenant Hopper who is living under the shadow of his successful brother, and trying to win the affection of his love's father, who happens to be the Admiral of the fleet that he's working with. He's impulsive and maverick. It's a typical archetype thrown into a situation where he needs to grow up quickly to save humanity. A convenient storyline, but Berg wastes no time accelerating the back story to get right to the action. During a training exercise, aliens land and create an impenetrable force field that keeps the fleet outside, while they create a beacon on Oahu to call for reinforcements. However, there are a handful of ships that are stuck on the inside. Strategic battles ensue, cliche chains of command and heroic decisions lead to the final battle, which I must say is pretty damn cool.

The film moves quickly, staging the next big fight while moving the story forward, and not wasting time with details like continuity, or even remote realism. Berg delivers exactly what is expected, and I was actually pleased that time wasn't wasted trying to explain the questionable plot points. The explosions are the real star of the film. You know that when a Navy warship arms, and aliens attack, the clash is epic. There is even homage to the classic game with a tense scene of blind hunting using a coordinate grid. Touche, Peter Berg.

Liam Neeson plays the Admiral, and he coasts through his lines, only taking screen time when he has to. Brooklyn Decker is the impossibly gorgeous girlfriend of Kitsch's Hopper, and she plays the role with a bit more grace and a bit less eye-candy than Michael Bay would approve of. Alexander Skarsgard is Kitsch's brother, the responsible and mature voice of reason in his life. The rest of the cast is a mishmash of Navy personnel and unknown actors. The one exception is Rhianna, who is head-scratchingly bad. She must be an attempt to appeal to a different demographic, but to say she can't act is an understatement. She is painful to watch on the screen. To my chagrin, she is establishing quite a film career with upcoming roles in a Seth Rogan comedy and the next Fast and Furious film. The aliens are given a humanoid appearance, which makes this seem like a more reasonable fight. Despite the obvious technological advantages, they seem beatable, unlike so many of the other invasion films of recent memory.

My biggest complaint is that although my math is a bit rusty, four minus three is still one as far as I know. The film ends all too abruptly, and it's like Berg just shut the water off at the end of the shower, not even taking time to wash the soap off. It's nice to not have to sift through the melodramatic carnage, but the resolution jumped straight to the credits. I truly can't wait until Hasbro rolls out GI Joe: Retaliation this summer, and then the much anticipated big screen productions of Risk and Candyland (that's not a typo).

This is a fun movie to watch. Get some popcorn and don't expect too much. Kitsch will be an action star soon. 8/10.

The Avengers

The heavily anticipated assemblage of Marvel superheroes is simply amazing. With a titanic budget of $260,000,000 (the zeroes add dramatic effect), it is the second most expensive film ever made behind Pirates of the Caribbean: At World's End. Quite an investment by a young studio despite its recent success with the Iron Man, Thor, Captain America, the Incredible Hulk, and let's not forget, X-Men endeavors. Well, the gamble has paid off in dividends as it's the second biggest Friday opening of all time, raking in $80 million domestically, on pace for a whopping $175 million weekend. Add the international take, estimated at around $325 million by the end of the weekend, and you have a success of epic proportions. That's right. $500 million gross by the end of the weekend.

Anyway, the expectation has been building since the teaser after the Captain America credits last summer, and the reputation of Joss Whedon has certainly added to the frenzy. All of the heroes we know and love return with the addition of Mark Ruffalo taking the reigns of the enigmatic Hulk in a new incarnation that is much more animalistic and simian than the previous two. Whedon delivers an absolutely tremendous mind-blowing orchestration of special effects and action.

The story takes us to an impending invasion of Earth led by the mischievous Loki, the half-brother of Thor of Asgaard. If you aren't following, don't worry, the story is kept relatively auspicious, and that's a good thing. The assumption from the opening credits is that there is a basic understanding of the characters and the story lines, but they aren't necessary to enjoy the spectacle. Each superhero is brought in to save the world, and after initial disagreements, there is a final battle in the heart of New York City that rocks the screen and showcases each of their strengths. They each evolve as individuals for the benefit of the team throughout the film, in a predictable yet satisfying way. There isn't anything new or clever about the plot, as you have an all-star cast of characters, so they are obviously the focus. Whedon does a remarkable job splitting the screen time so that nobody is left behind. A brilliant choice to use the Hulk sparingly adds both intrigue and tension, and Ruffalo is a nice fit as a reluctant hero who finally embraces his purpose.

Paced quickly, there is rarely a dull moment, and when there is, it is full of quick wit and nicely timed humor. Downey as Iron Man uses his characteristically annoying yet captivating loquacious rants to keep us entertained, and ultimately sets us up for the next film on the docket, Iron Man 3.

Captain America takes the reigns as the team leader, while Thor flexes his muscles but ultimately becomes a supporting character alongside Hawkeye and Black Widow (who has significant screentime). The surprise to me was the importance placed on the Hulk character and the brilliant CGI resemblance to Ruffalo. He was certainly given the most entertaining part, and was tasked with great lines and single actions that broke the action for some sharply timed comedy.

The only complaint I have, besides the somewhat overwhelming 3D battle scenes, was a whole unnecessary sequence of turning an aircraft carrier into a floating fortress, which ultimately led to a problematic and fantastical action scene. Entertaining to be sure, but I couldn't shake the "why didn't they just stay on the water?" idea. The Marvel movies have found a different audience; one of all ages and all demographics, and the box office draw proves that. The theatre was packed with people of all ages, including some great costumes. Phoenix Jones would have been proud. I've said it before, and I'll say it just once more: Marvel has brilliantly selected, spread out, and released their films with business savvy and discretion. Staying true to form, there is a sneak peek at the villain of the next film after the credits, which should certainly be fun for the writers. Be sure to stay all the way to the end though. There's a great punctuation mark to what is going to be a difficult film to beat. Nice work, Joss Whedon. 10/10.

The Cabin in the Woods

This surprisingly fresh horror film comes courtesy of Joss Whedon and Drew Goddard, basically two uber-creative writers who got together to make an original and on-target flick. It follows five unsuspecting, yet stereotypical (jock, slut, pothead, pretty boy, virgin) college students as they travel to a cabin in the middle of nowhere to spend a weekend unwinding from school. What they get is an entirely different experience than what they bargained for.

In a very commendable and thoughtful job, Whedon and Goddard deliver something new that blends gore porn with suspenseful intrigue and witty dialogue while both adhering to the mores of horror and reinventing it at the same time. the characters are likable enough, particularly our nonchalant puppet-masters; Richard Jenkins and Bradley Whitford.

Starting with a head-scratching discussion in a sterile science lab, the film creates questions upon questions that brilliantly intentionally aren't answered until the guilty pleasure orgy of a satisfying climax. That's what separates this film from others in the most difficult genre to film. The Cabin in the Woods doesn't try to be a horror film, it tries to do something different, and horror genre staples are conveniently used to facilitate the message.

As a viewer, you feel like an outsider watching a third person narrative. You are constantly brought back to the idea that the unsuspecting kids in the cabin are not simply being attacked by zombies, but that there is another layer of drama unfolding above them. The cuts are masterfully placed because it both relieves tension normally reserved for simple slasher film plot lines, while amplifying tension within the larger storyline.

The actors deliver exactly in the fashion that they are intended. Among the five "victims", Chris Hemsworth takes a step back from being Thor to show that he is a decent actor who can deliver timely lines and provide a reassuring aura of familiarity to the group. Jesse Williams would be the other recognizable name/face, but he is simply dead meat from the get-go.

The real brilliance resides in the duo of Whitford and Jenkins, who excel at deadpan lines that break the suspense like a sledgehammer, but in an entirely intended fashion. Their roles couldn't be played any more succinctly. It must have been an amazing discussion between the two of them and Whedon and Goddard. I would have loved to be at that table.

It's the details that makes this film successful. Although the film as a whole is a bit ambitious, the small victories reside in the selection of music in the background, or the dialogue leading up to the hard action. This film doesn't take itself too seriously, and it's obvious by way of the third person in the control room.

You will be asking yourself "what the hell is going on?" as the film progresses, but rest assured that you will be satisfied in the end. It might be preposterous, but it is worth the wait. The climax is an absolute barrage of nightmares that converge on the viewer in a way that leaves no stone unturned. Do you hate werewolves? Clowns? Snakes? Children who do that creepy thing in horror films? You will be satisfied, and I'm sure that Whedon and Goddard had an amazing time coming up with this story.

If you're a fan of horror, this is a great film. I am not saying that this is a great film by any stretch of the imagination, but it reinvigorates a genre that is simply beaten to death and nearly impossible for anyone to do it justice by CGI and Eli Roth's influence.

This isn't a scary film, it's a clever commentary on the genre with deeper social and political ideas that are barely scratched, but exist nonetheless. I would have to recommend this film as a social experiment of its own. Originality prevails, and I can't wait until the Avengers - Go Joss Whedon! 8/10.

The Hunger Games

The most anticipated film of the year has finally arrived. Tweens and adults alike are clamoring to the theatres to experience the film that is carrying the torch that was forged by the Harry Potter sensations, and continued with the abysmal Twilight saga.

Taking place in a not-too-distant future, America has divided into 12 districts that are run by the wealthy and dictatorial Capital and President Snow. With religious undertones, each district must present one boy and one girl aged 12-18 each year for the annual Hunger Games. It's marketed as a tribute to the end of the revolution, and riches and rewards are bestowed upon the winners' district, but it is ultimately a display of power and dominance by the Capital. The 24 "tributes" are prepped, groomed, and thrown into an arena where they fight to the death until there is ultimately 1 lone winner.

The Hunger Games has a much stronger mass appeal than its genre-defining predecessors, with its gritty violence, and dystopian message of revolution and uprising of the oppressed. It's an underdog story at heart, but one with decisive fatal consequences. There is no sorcery or vampirism. No mystical powers or creatures of the night. Just plain and simple survival of the fittest. Primal and relatable to anyone with a heart.

There was much speculation that Director Gary Ross (Pleasantville, Seabiscuit) had an insurmountable task of adapting and shooting the biggest literary sensation around. With its graphic content of teen on teen murder, it should certainly be an R rating, right? Of course not, because that would ostracize the brunt of the target audience. So how does one make a film of this magnitude more mild? Ross makes it look easy and natural.

Using a shaky handheld camera to follow much of the action, and brilliant lighting contrasts of greens, reds, and whites, the tone of the film is manipulated to follow the dark and ominous theme of the story. Ross delivers the details from the book that matter the most; character traits.

Jennifer Lawrence is wonderfully cast as the protagonist, Katniss Everdeen. She exudes the fear, rebellious spirit, compassion for the people in her life, and an authentic disdain for her circumstances. In the most riveting scene of the film, she is visibly trembling with fear as the countdown to the beginning of the games are echoing with a computer voice in the background.

The supporting cast is highlighted by Lenny Kravitz as the stylist, Cinna. He downplays the flamboyance and makes the character his own, adding a reassuring ally to the kids who are about to enter Thunderdome. On the other end of the spectrum is Stanley Tucci who absolutely captivates as the MC and television personality, Ceasar Flickerman. He has blue hair and eyebrows, and is so animated and that he puts the Running Man's Richard Dawson to shame. Josh Hutcherson does a fine job as the complicated Peeta, and Liam Hemsworth is hardly worth a mention as Gale. Woody Harrelson plays the pained alcoholic, Haymitch with ease, and Elizabeth Banks is given the comic relief as the air-headed Effie Trinket.

All in all, the film is excellent. High marks for the adaptation and the casting, the next 2 films (or 3 if they follow the finale trend for book trilogies) will certainly be full of vision and imagination. This is probably the most accurate adaptation of a mainstream novel that I've seen in a long time. Some critics are panning the fact that there were some minor deviations from the book, but in my opinion, they were justified. The ending was changed, and some of the stranger sci-fi elements were removed, but I like it. It made it more focused and authentic.

Great film, lives up to the hype, and will make hundreds of millions of dollars. Just make sure you see it in IMAX. The sound, makeup, and costumes will be mentioned when the next Academy Awards come around. 10/10.

Act of Valor

I have an exorbitant amount of respect for the men who serve in military special operations. I am in awe of the fearlessness that they show in the face of mortal danger, and let's be honest, the excitement of playing army when you're a kid never really goes away. Having just finished a handful of biographies on recent Navy SEAL exploits, this film encapsulates what no other film has done before, and that is a realistic look at overseas SEAL operations, complete with active duty operators as the actors. Not since Black Hawk Down have I been this excited to see a military film.

The idea is so austere it's almost genius. Make an action film, which has mass male appeal, and make it the most authentic non-documentary ever. The result is a well done film with some of the most heart-pounding action sequences in recent memory. Going into the film knowing its authenticity amps up the stakes; you feel like you're watching a real operation going down, and with few exceptions, it is executed in a way that would make the Navy proud.

The focus of the film is twofold. Conveying the idea that what these warriors do on a daily basis is some of the most unnatural of human behaviors: running toward bullets being shot at you, watching a friend die and moving on to finish a mission, and putting your life on the line each time you put on your boots. These are highly unusual qualities, and as the tagline goes, "Damn Few".

The second is an extraordinary display of pure adrenaline-pumping action. The film moves from mission to mission spanning the globe from the Philippines to Somalia, Costa Rica to Mexico. The filmmakers do a great job of spreading out the terrorist cells, which was obviously intentional as to not draw ire of any single country.

The story has a bit of Hollywood, with a terrorist leader serving as the antagonist, and a body count that reaches the hundreds by the end of the film. There are a few jingoistic and predictable scenes (like the jump on grenade, or time-running-out tension builders) but ultimately it is a clinic in tactical warfare. It is uber-patriotic, but that is the point.

We follow a team based in Coronado, California who are deployed to the Pacific to rescue a captured CIA operative. In the process of that, they discover that there is a major domestic terrorist threat and they follow the leads until the climactic finish. There are six to ten main characters, but the story follows the relationship of the lieutenant and the chief of the team. They are best friends and the lieutenant is an expectant father (an intentional plot point...) The rest of the team are given plenty of spotlight, but not as much character development.

The action starts very early on, and never really subsides until the bloody climax, at which point the heartstrings are tugged and we're given a 21-gun salute at a military funeral. Roll credits. The filmmakers, Mouse McCoy and Scott Waugh are Hollywood veterans as stuntmen and participating in various military projects. This is their first directorial full feature. They do a nice job using various angles including the intense first-person and the breathtaking overhead shot (boat firefight scene). The story was written by Kurt Johnstad, who has been a grip in Hollywood since the 1990's. His other screenplay was 300.

The SEALS clearly don't try to ham it up for the camera. There are some cheesy one-liners, but they are legitimate. The actors didn't seem to want to make this something it wasn't, and so they choreographed the missions in a way that would most accurately reflect how it would go, complete with unpredictability and snafus.

57 SEALS have died since 9/11, which is an astounding number considering how highly trained, confident, and well-equipped these men are. Estimates show that there are about 2,000-2,500 current SEALS on active duty which equates to about a 2.5% mortality rate (various sources). However, after reading about and seeing what their missions truly entail, it is amazing that the number isn't higher. Act of Valor gives a nice tribute to these fallen warriors at the end of the film; a nice reminder of why it was made in the first place. The full audience gave it a standing ovation, as I'm sure audiences around the country did, and word of mouth should dwarf some of the more critical reviews.

This film isn't for everyone, but if you're interested in the covert work that these silent heroes embark on every day, this is a fantastic film. It was everything I was hoping it would be, and the obligatory Hollywood components aside, it tells the story the way the SEALS, the directors, and the screenwriter wanted it. The Navy should be proud. I see this film as a trailblazer into a new genre of realistic action filmmaking. I think there is a market for it, and I look forward to more projects like this. 9/10.

Oscar Predictions

Let's start with the snubs. Best Actor was a slugfest, and there were almost too many losers to count. The glaring omissions are Ryan Gosling, Michael Fassbender, Andy Serkis, and Michael Shannon. They all gave stirring performances (Gosling gave 3) and deserve to be recognized. Unfortunately, there are only 5 slots, and even the surprising Demian Bichir and the underrated Gary Oldman are deserving as well. Clooney and Pitt were on cruise control, but offered up two of their best performances to date, and that's impressive. My biggest gripe is Gosling, who at the very least should have been nominated for supporting actor for Crazy, Stupid, Love. I would prefer best actor in Drive, but I'm not a part of the academy.

I'm skipping certain categories that simply aren't on my radar. I'll stick to the basics. Everyone has offered their predictions of winners, but here are my choices if I were voting.

Visual Effects - Rise of the Planet of the Apes. Simply stunning eye candy.
Sound Editing - Transformers: Dark of the Moon. Bay does loud like nobody else.
Sound Mixing - Transformers: Dark of the Moon. See above.
Makeup - Harry Potter and the Deathly Hallows part 2. The magical mind of Rowling come to life deserves some recognition.
Costume Design - Hugo. You can't get 12 nominations and not win something.
Art Direction - Hugo. See above.
Editing - Girl with the Dragon Tattoo. Fincher and his team are experts at editing film. This is truly deserved.
Cinematography - War Horse. Beautifully done, the cinematography almost brings a tear to the eye.
Adapted Screenplay - The Descendants. Great story, but the execution does it justice.
Original Screenplay - Bridesmaids. Comedy genius. It's an honor just to be nominated, but this broke through the genre.
Supporting Actress - Berenice Bejo. She shined in the Artist.
Supporting Actor - I just changed my mind after watching Warrior again. Nick Nolte. Tormented father who has nothing left. He plays a drunk better than just about anyone.
Actress - Tough call, but I'm going with Michelle Williams. She encapsulated Norma Jean with gusto and grace.
Actor - Jean Dujardin. His confidence is contagious. Pitt is a close second though.
Director - Michael Hazanavicius. Absolutely timeless film that came along just when Hollywood needed a reminder of its roots.
Picture - Moneyball. I know, you're thinking "what?" This year, there were no films that were far and away better than the others. It's a close race, and I just feel it's time a sports movie got a little credit. It is a smart underdog story that hits just about every demographic possible. In a year of aspiring Oscar films (see all other nominees), Moneyball is the most sincere and natural. I loved it.

I know full well that many of these nominees won't actually take home the gold, but this is my list. Let me know what you think...