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The Maze Runner (2014)
A Fair Enough, Albeit Unremarkable, Viewing Experience
Grim visions live on in James Dashner's The Maze Runner, the latest young adult novel to receive on-screen treatment. If 20th Century Fox have their way, we can expect at least two more entries, especially since a sequel is already in pre-production. The pitch is that a group of boys are stuck on a small slab of land (the Glade) surrounded by a large maze that, at night, closes and plays host to creatures known as Grievers. Enter Thomas, our protagonist and the latest in a monthly addition to said group. Unlike his more settled companions, Thomas immediately repels the idea of confinement and urges his newfound neighbors to take initiative in discovering a way out.
One can't help approaching The Maze Runner with an air of trepidation, given the number of similarly styled movies we've seen a sudden influx of. There are only so many times younglings can be subjected before we feel we've had our fill. The film does have its competencies, but the chances of captivation and anticipation for the apparently-confirmed sequel are simply far-fetched.
The Maze Runner's greatest facet is its overall intrigue--the mystery it initially presents for us to pick at. While the use of momentary flashbacks is disenchanting, viewers can expect a light mental stretch from their first viewing. Another commendable aspect is how the themes are implemented. They aren't subtle, but we're at least spared the disservice of being drilled by overwrought messages and symbolism. Perhaps the biggest and most pleasant surprise, however, is the consistency of acting. O'Brien does an adequate job as the curious protagonist with a drive to do something, yet Will Poulter stands tallest as Gally, the stubborn voice of suspicion. In that, the chemistry is also worth touching on, but you're not going to experience the same level of connection as Harry Potter or even The Hunger Games.
This is where the unlikelihood of The Maze Runner's overall resonance stems from. Most of what's presented works for the sake of adequacy, but finding anything of superb quality is almost as frivolous as making sense of the ending. For most of the runtime, The Maze Runner moves at a steady, methodical pace. Then those last five minutes pull the rug out and leave the film to slip and crumble oh so comically. About the only reason to feel indifferent to this coy play is the probable lack of total investment, which is to say (and confirm) that if you remain detached throughout the whole affair, then you may be better off than those who are more impressionable.
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300: Rise of an Empire (2014)
Wants To Be a Prime Rib, Feels Like a Pork Tenderloin
There's an early scene in 300 (released exactly eight years ago this Sunday) where Leonidas shows Daxos, an allied Arcadian, just what his men excel in (combat). He comically wraps this up with a single line: "I brought more soldiers than you did." It's easier to feel the quote in a stronger light with the release of 300: Rise of an Empire; this sequel/prequel mesh has less length, viciousness and entertainment than its easily re-watchable predecessor.
Taking focus away from Sparta, Rise of an Empire casts Sullivan Stapleton as Athenian Themistocles. His tale begins before the events of 300, but quickly catches up to when Leonidas and his Spartans ultimately fell. Along with Themistocles' backstory, a certain antagonist is treated to some extra details. Meanwhile, Eva Green comes to play her part as the truly twisted Artemisia, clearly intended as a scene-stealer.
The first place to start with Rise of an Empire is its lead. Themistocles himself is a fair enough character, showing more of an everyday vibe than Leonidas. However, Stapleton isn't up to provide a compelling performance. There's simply no sense of command or outright authority. A bit more can be afforded to Eva Green, clearly delighting in a sense of smug power.
What most people will care about, however, is the action. Thanks to its over-the-top style and unabashed battle sequences, 300 set a new expectation for what audiences could call a fun, blood-ridden time. Conversely, Rise of an Empire feels more like a trail of stained footprints leading to a half-eaten corpse. Most of the film's spectacle comes from the heavily shaded CGI and filters, making much of the action feel like it was taken right out of pre- rendered video game cutscenes. When blade meets skin, blood comes and goes with the viewer's interest. It probably says a lot when the best part of the movie is an over-the-top sex scene.
Throughout the entire runtime, Rise of an Empire feels like it's going to provide something bigger, something grander. By the time this moment finally begins pouring out, we're greeted with the end credits. Much like the attempts at creating great and memorable action scenes, payoff was clearly of little concern to the director and screenwriters. Style stomps over substance here, as does placidity to style.
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The Hobbit: The Desolation of Smaug (2013)
Feels More Like a Theme Park Attraction Than a Trip to Middle Earth
Guess what this middle Hobbit has a distinct lack of (see title)? Setting the inherent issue of spreading a 350-page book into nine hours aside, this installment falls, to quote, "utterly short." Though An Unexpected Journey was nothing if not flawed, there were certainly high points that could ring well with the right set of mind. Unfortunately, there's a distinct lack of effort to help its sequel stand out, other than the looks and pedigree of its predecessors.
Being a mid-point movie, The Desolation of Smaug has the disadvantage of no real beginning and ending; though the opening scene does a fair job setting the stage and getting us back on track. Beyond that, it's a long, rough ride. The movie feels like it's going from scene to scene while doing little to leave an actual impression. Technically a lot of ground is covered, but this journey wears you out due to the runtime, as opposed to the impact of its scenes.
Many of the film's key moments (action) feel more like theme park ride attractions. In fact, shortly before the film's abrupt ending, I found myself thinking, "this is a three-hour pitch for a Middle Earth theme park." Speaking of key moments, the more serious points are always short-lived and tough to feel invested in. Why? Because this movie tends to have such a comical overtone, whether intentional or not, that the few seemingly dark points come off as out of place. The absence of blood during scenes where orcs upon orcs are slain only makes the entire movie feel more like a Saturday morning cartoon.
Then there's the part everybody wants to see: Smaug. The build up for this movie rests entirely on the last half-hour to forty-five minutes, where the dragon is woken up in a gold mine of a city. Not only that, but the dragon has a voice (Benedict Cumberbatch, no less). How is this entire sequence? Think back to how the Witch King died in Return of the King, oh so abruptly. Smaug's appearance is anything but brief, but the entire time I felt out of the experience. It's tough to pull off a talking dragon, but given the crew, I imagined a more convincing and intimidating beast. Instead, the best part about Smaug is what leads up to his awakening. Then the talking started. For every shot that Smaug appears in, I kept asking, "Do I like this? Do I buy this? Am I enjoying this?" Yet the answer resides in the fact I kept asking these questions in the first place.
As you can undoubtedly tell, I have a lot of issues and complaints to go around for The Desolation of Smaug. Though there are good aspects to find, they were also superiorly present in its predecessor(s). Even when Fellowship of the Ring and The Two Towers ended, they at least had enough of a transition to avoid that awful, arbitrary cliffhanger effect. Here, however, I could feel the air of disappointment and frustration in the theater. Rather than shock, excitement and anticipation, the reactions reeked of moaning and groaning. Count me among those mumblers.
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American Hustle (2013)
Fun and Invigorating
Twists and turns. That pitches American Hustle better than its own plot. David O. Russell's latest is one that can benefit from going in blind, even if the trailers revealed next to nothing on what it's actually about (hallelujah). Featuring damn-near everyone from O. Russell's last two films, American Hustle definitely treads the too-much-for-its-own-good line, yet it still manages to come out on top.
For those who crave pre-viewing details, American Hustle deals with conning. A couple characters make a living out of conning people, who then get caught and forced to con others who are, themselves, cons. You could probably make a drinking game out of describing this movie's plot.
Even if the premise doesn't peak your interest, O. Russell has more than a few ways to fixate you. The movie opens with a small, humorous jab at the oft-used "this actually happened" title card in movies. Follow that up with a priceless hair scene and we have the start to a movie that builds and builds, all while immersing you.
Though there are many characters, Christian Bale, Amy Adams and Bradley Cooper are the real tri-force here. Bale gets completely invested in his character (once again) and is often tough to see beyond the hair, glasses, belly fat and other make-up. Adams dominates nearly every scene she's in, bringing a presence that's both vigorous and electrifying. As for Cooper, much like his Silver Linings Playbook performance, there's a constant sense of a man with too many nerves in certain areas, but they rarely snap apart. There's so much praise and discussion to go around for the entire cast, that you could write a review simply on that. Even comedian Louis C.K. gets some classic moments in a role perfect for his dry style of humor.
Just as important (if not more so) is the directing style, which has a Scorsese-like feel in that it's flamboyant, but not overbearing (save The Departed). The entire time there's a constant question of what's real and what's fake. Aside from a couple deliberate points, each scene keeps you wondering what's thin as skin and what's thick as bone for each character. Even those who aren't actual cons might just be putting up a little facade of their own.
Consistent second-guessing, first-rate performances and a lively directing style all lend very necessary contributions. American Hustle is one of those movies that keeps on giving. It hits you like a whirlwind with every scene on your initial viewing. Come back again and it's guaranteed to make you notice and appreciate a little bit more. With a bravado like this, David O. Russell is certainly doing well to solidify his place amongst other greats, such as Scorsese and the Coen Brothers.
Star Trek Into Darkness (2013)
Exciting. Offers a Lot for Both New and Old Fans
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If you had told me four years ago that I'd be anticipating a Star Trek release more than anything, I'd tell you to check yourself into a mental ward. But J.J. Abrams and company produced a fresh, exciting experience with the 2009 reboot. Somehow Star Trek became synonymous with a hip and cool crowd. Now with the sequel, we've been teased by a number of things, including footage of a heavily damaged ship crashing into Earth, a chase sequence amidst futuristic skyscrapers, and the promise of a devilishly menacing villain (Benedict Cumberbatch). And the best part? That's just the start of what I have to praise about this superior sequel.
The trailers for Into Darkness have done a great job at showing footage without giving any major plot points away. Ultimately all you need to know can be inferred from these previews: Benedict Cumberbatch is up to some stuff that's going to make things VERY tense for our heroes. After a fun-filled opening to get us reacquainted with the Enterprise, the movie takes quite a few serious turns to keep us on our toes. As a non-Trekkie, I'll be the first to say that there are points which will lose the more oblivious viewers. For those who are even casually versed, however, there's a fair amount of fan service to be enjoyed. Really the core plot brings in more Trekkie lore than anything, while the story itself deals with the strengths and pitfalls of our main characters.
But don't worry, we're still given plenty of punchy comic relief--thanks to a glorious screenplay--and some especially enthralling action. One particular sequence had me gaping in sheer awe as the exact words "I'm seeing this again in IMAX!" plopped right into my head (I saw a regular 3D showing). It's not just the bright, detailed and colorful visuals that drive these scenes, but also the crisp, hard-hitting audio. Into Darkness is a film you watch with the best possible set-up, all thanks to an escalating sense of urgency. To put it in perspective, think of a new, futuristic and sci-fi way of watching the Titanic sink.
Even more reason the danger grips so hard is because we honestly feel for the characters. Chris Pine and Zachary Quinto might have young faces, but they quickly convince you that they're beyond their appearances. Both are all over the emotional board, never skipping a beat for neither deliveries nor expressions. Then there's Benedict Cumberbatch, whose identity is best left unveiled in the film itself. It's as if all the problems with Eric Bana as Nero were taken and used as reinforcement for this new adversary. There's a combination of wit and bluntness to each of his typically threatening lines, lending command and immediacy to every scene he's in.
About all that slows Star Trek Into Darkness down is the aforementioned possibility of losing certain audience members, along with an anti-climactic ending. One moment the film is still running in the high gears and the next it's down to an idle park. That said, there's so much fun, excitement and edginess that most people will happily set the smaller issues aside. You're not going to get a better, more crowd-pleasing popcorn film than this for the rest of the year.
Iron Man Three (2013)
Gleefully Inconsistent
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Everyone's favorite Avenger is back in his own film, and he is in no rush to get the dazzle going. Iron Man 3 opens with an untold backstory, just not the kind you might expect, given such a statement. After that, the movie takes the post-Avengers route, which is to say it shows one piece of the aftermath. The impact of these preceding events is apparent in the first act, but offers little more than a character roadblock, in the long run. Beyond that, the threat of a new villain is brought up consistently enough (through broadcasts) to warrant Tony Stark's curiosity. The rest is left to be seen first-hand.
Iron Man 3 returns much of what was missing from the second film: delight. The laughs and conversations can definitely get obnoxious, but even when they fall flat, there's still an odd gravitation to find towards it all. At least, with the very potential exception of the film's key plot twist. Spoilers will not arise, but those in charge of the script choices really jumped the shark here. This will be an experience-destroying moment for some, especially given what is initially built up. From there on, the plot begins to fade away as action is (finally) incorporated on a more frequent basis.
Like the laughs themselves, Iron Man 3 has tone shifts splashing left and right. To say the film loves leaping from detrimental threats to light-hearted scoffing is definitely an understatement. If it wasn't so brash--usually courtesy of Robert Downey Jr., you could almost pass it off as dark humor. Whether it works or not rests entirely on the viewer's emotional flexibility.
One certainty, however, is that the cast had a fun time doing this film. While there are some serious scenes, a lot of room is made for whimsical or play-along-with-it moments. Guy Pearce, Don Cheadle and Ben Kingsley get a lot of the latter. In fact, if there's anyone who gives Robert Downey Jr. a run for the suck-it-up award, it would have to be former series- director Jon Favreau, even with his brief screen time. There really aren't any weak points in the cast, although Gwyneth Paltrow could've had more footage during the second act.
Where Iron Man 3 shines the most, unsurprisingly, is in the action sequences. No, they aren't always plausible. Then again, neither is half the technology Tony Stark has at his disposal, so credibility is far from top priority. As Guy Pearce says in the movie, "ever since that guy came down with the hammer, things haven't been the same." Nonetheless, this leads to some pretty impressive stuff. The attack on Stark's mansion is as thrilling as you'd expect, while the climax almost feels like it got mixed up with The Adventures of Tintin in some spots. But given all of the style, it's tough to complain.
The final word on Iron Man 3 is that it's a very misleading film. Things start off quite serious before quickly turning comical. There's nothing wrong with that in and of itself, but it isn't always for the best reasoning. Still, everyday audience members won't have a problem rolling with what comes around, simply because it means plenty of entertainment. Iron Man 3 is a worthy successor and inclusion to the franchise, but the first film has continued to prove a tough piece for Marvel to match.
Oblivion (2013)
Arresting Visuals, Vague Details
The fact 2012 has passed is clearly of no concern to Hollywood. An incoming assault of end- of-the-world and post-apocalyptic pictures is nigh, with After Earth, Pacific Rim, World War Z and This Is the End keeping Earth in plenty of jeopardy. The first one up? Summertime precursor Oblivion. Set roughly a half-century into the future, the movie serves up as many immaculate shots as it does derivations from previous science fiction works.
Pitching Oblivion's premise doesn't necessarily make it sound like a riveting experience; Tom Cruise leads a small cast of relatively small players (aside from one Morgan Freeman) as Jack Harper. His task is to repair drones which have been taken down and left by beings known as Scavs. Truth be told, it takes a while to reach the movie's meat, and even longer to find its funky bones. Before and in-between those points are a few stretches that could've easily been tightened for a bit less seat-shifting. Twists and turns, especially of the unpredictable kind, are seldom and infrequent.
One thing Oblivion does accomplish well is a certain level of intrigue, namely after the first hour. A certain twist happens that, if unsurprising, still opens up a few questions the movie assumes we've already pondered. As the final act starts to close, a sense of eminence comes forward which, if nothing else, holds our undivided attention. Concern arises not so much with the convenient ending, but the payoff stemming from the climax. Backing details are both sparse and vague, further reinforced by a brief but jarring shift in setting.
Looking past the story isn't too difficult, since there are several spectacular sights to behold. If you've ever wondered what Earth would look like after every single disaster movie, Oblivion is here to fill (or show) the gaps. Since many of these come during the first act, it means the feathery stakes can rest easy for a short while. Even when the eye candy changes to slightly more action-packed moments, we still get to enjoy concise directing. You won't feel the raised stakes so much as witness them, but at least the ongoings are discernible.
As our key tour guide, Tom Cruise delivers another solid performance. Most of the time, the entire movie falls on his shoulders. Thankfully, he's versed and competent enough to handle this without stumbling or overreaching. And since this is Mr. Cruise, it just wouldn't look right for him to not have at least one attractive lady beside him. In the case of Andrea Riseborough, we have a better take on what would normally be a simple caricature. Some of her emoting feels unnatural, but the unease her character goes through is pleasantly convincing. This is more than what can be said for Olga Kurylenko who, though not bad, doesn't have enough material to work with. Most of her scenes seem forced in. As for Morgan Freeman, who comes in rather late, he really doesn't have to act to convince the average audience member. That said, he works out just a bit more than the character would if portrayed by anyone else.
Other than the visual quality, what will probably stand out to film enthusiasts is just how much Oblivion borrows from other sci-fi movies. 2001: A Space Odyssey, The Matrix, Independence Day and even Armageddon merely lead an all-too-obvious list. Thankfully, while Oblivion can't stand half as high as some, it does exceed the lesser works.
While the true juggernauts of 2013 still haven't been released, Oblivion isn't necessarily a minuscule player. Those who have yet to verse themselves with most fundamental sci-fi films might walk away feeling floored. Other, more acquainted viewers will want to see this as a homage to its forefathers, which is touched upon at certain points. Keep your expectations modest and the end results might be enough for you to afford it a recommendation.
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The Place Beyond the Pines (2012)
Full of Impact
One doesn't enter The Place Beyond the Pines with mild expectations. In-between its long and deliberate opening, to a surprisingly clean final shot lies a movie embodied by ambition and emotion. While the three-act structure is divided in a very clear-cut manner, the depictions and characters are anything but.
The innocent way to pitch the film, to borrow a quote from the trailer, is that it's about "fathers, sons and consequences." At the forefront is Ryan Gosling as a stunt-driver, who suddenly finds that he has a son and just as quickly sees his life take several fast turns. These, in turn, become the backdrop for a majority of the movie's ongoings.
Attention eventually comes to Bradley Cooper, who plays a cop in a nearly unrecognizable performance. In due time, we're given the shapings of a select few characters, as we see points in their lives shape what they've become, as well as what they will become.
Derek Cianfrance didn't exactly receive soft remarks for his previous film, Blue Valentine. Likewise, The Place Beyond the Pines doesn't gear itself towards a timid audience. Climaxes usually stand somewhere in or around the third act of a story, but this one showcases its most intense and gasp-worthy parts nearly an hour in. From that point, it's tough to let your hands off the armrests or take your eyes away from the screen. Credit must be given to the script and camera work, both of which play a large part in grounding the movie. Because of that, we get caught up to the nth degree.
Commentary and study come into play, especially around the second act when the immediate effects of one event ignite more than just a trickling effect. And while emotion is still gripped and clenched during the final act, some indecisive meandering comes out, which isn't helped by what turns out to be a stereotypical depiction. It also feels like we miss out on some lingering questions as (part of) the story rides off. The aforementioned consequences don't all come full swing, and the ending leaves an empty sense of conclusiveness, if that.
Were it not for the problems sprouting out of the third act, The Place Beyond the Pines could've been elevated from great to truly excellent. But even without an actual sense of finality, one can't deny the occasional blood-pumping and conscience-throbbing intensity that comes with it.
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Olympus Has Fallen (2013)
A Time-Killing Action Flick That's More Entertaining to Watch Than it is to Look Back On
If you're looking for an action film straight out of the 90's but stuck in the present day, you'll arrive at Olympus Has Fallen. We're initially led to believe that this might offer a story of personal redemption, when it's in fact a rudimentary action flick with little purpose beyond entertaining the regular American viewer.
There's nothing wrong with offering a film such as this, so long as its entertaining. And, thankfully, Olympus Has Fallen offers enough enjoyable and compelling moments to keep its viewers watching with some degree of interest. No, the characters are not compelling and far from fully developed, and that's not necessarily the point. The point here is to keep the audience entertained and occupied, which is done sufficiently, if in an inconsistently effective manner.
Gerard Butler does what he has to, being the fairly routine action hero a la John McClane, which is a bit of a shame since the opening act alludes to so much more. But by the second half, just about all potential for actual exploration is cast aside. Aaron Eckhart is a likable actor in all of his performances, even in one as underplayed as this. There's also a potentially strong predicament foreshadowed early on that could've been utilized to give the film a great edge, but it's ultimately abandoned for the routine action movie wrap-up. Meanwhile, everyone's favorite key player, Morgan Freeman, really seems bored in each scene, as if he's only there to occupy the cameraman's attention.
As you can probably guess, both the plot and characters are thin, with only implied potential separating the key players from even more routine movies (which isn't saying much). The action and tension are where Olympus Has Fallen is left to shine, which it does during the time is plays. Looking back, however, it's far easier to pick the movie apart. You'll be entertained while watching it, but left banging your head shortly after leaving the theater.
Given the lackluster stream of movies released so far this year, Olympus Has Fallen is able to make enough room for itself. Taken into account with other action films, however, there's little (if anything) to truly make it stand out. There's a sense of identity crisis here, as the film is more or less lost in another time period and suggests more than it delivers. For my money, it's decent popcorn entertainment, but not much else.
Oz the Great and Powerful (2013)
Too Many Tricks Without Heft
Few films have enjoyed as much recognition and popularity throughout history as The Wizard of Oz. Even with a notable group of naysayers, the 1939 release is still regarded as a classic and mandatory viewing for anybody. Needless to say, any sort of follow-up would pretty much be set up for disappointment, and in 1985 the Return to Oz didn't leave too much of an impact. At least, not in the long run. It's probably even of less surprise then, that a prequel of sorts released this year will suffer the same fate. Things start well enough with the eye-catching opening credits and a classic, black-and- white look as we're introduced to James Franco's Oz. While it isn't entirely clear at first, his Oz is actually a tough character to get behind. We know from the trailers that he's an everyday magician and essentially becomes a conman when he arrives in Oz. The problem isn't that he's a liar, but that he oftentimes basks in his own ego, exudes a sort of snobbiness and a general lack of concern. This isn't just a concern in the opening act, it stretches throughout the entire film. He almost comes off like an anti-hero, but this isn't in-line with how his character is necessarily supposed to come off. There's just a lack of sympathy due to his general lack of sympathy (with a couple exceptions). Another problem arises literally right when Oz lands in, well, Oz: Oz itself. If you want to know the final word on how Oz looks and feels, it's colorful but artificial. If nothing else, Oz should be a bit of a visual spectacle, but it's a little tough to feel brought in when so much is clearly CGI. There are actual sets and everything isn't as abused as, say, the Star Wars prequels, but throughout the movie I was saying "this is to The Wizard of Oz what the prequels are to Star Wars." Now, I'm not one who decries every little aspects of the Star Wars prequels. Likewise, I wouldn't say Oz the Great and Powerful is devoid of good points. The first 20 minutes are a solid way to start the film; it's nostalgic, a good touch base with the characters and again, we get nice opening credits. One of the characters, a porcelain doll, is a clear highlight of the film and probably the closest it comes to actual emotion. I mentioned above how Oz's character left me with a cold shoulder save for a few parts; his interactions with the doll comprised most of those. But even when talking about what worked well, it's so easy to get back to what doesn't work. Both Mila Kunis and Rachel Weisz feel like they were written off for silliness and, if not that, then the costume design, make up and effects accomplish just that. There are also some sharp plot holes when taking The Wizard of Oz into account, ranging from details such as why the characters are written the way they are, to the actual existence of the story itself. There's potential to explain this in a sequel, but that'll be a tough bridge to connect. Oz the Great and Powerful has a few neat ideas in place, but ultimately stumbles with inconsistencies as abundant as its own color spectrum. Even the potentially invigorating moments merely instill a sense of superficiality. Oz has a small assortment of tricks up his sleeve, but only a couple of them are actually pulled off.