Wonder Woman


Gal Gadot takes aim at stardom.

(2017) Superhero (Warner Brothers) Gal Gadot, Chris Pine, Connie Nielsen, Robin Wright, Danny Huston, David Thewlis, Said Taghmaoui, Ewen Bremner, Eugene Brave Rock, Lucy Davis, Elena Anaya, Lilly Aspell, Lisa Loven Kongsli, Ann J. Wolfe, Ann Ogbomo, Emily Carey, James Cosmo, Wolf Kahler, Alexander Mercury, Martin Bishop, Flora Nicholson. Directed by Patty Jenkins

 

In a world where superheroes are nearly all men, the superhero movie reigns supreme at the moment. Audiences of superhero fans – also mostly male – have been streaming to these films for more than a decade, buoyed by advances in CGI technology which enable the deeds and superpowers to be rendered to live action. It’s a great time to be a fanboy.

But what about the women? While it’s true there are not very many female superheroes at either of the two major comic book houses – DC and Marvel – compared to male ones, there definitely are some and there have been few female-centric superhero movies, the not-well-remembered Elektra being the last one back in 2005. The most iconic distaff super heroine – DC’s Wonder Woman – hasn’t had a movie of her own, until now. Although her TV series starring Lynda Carter in the title role is fondly remembered from back in the 70s, there was a certain element of camp to it that gave it less serious consideration – which in many ways was true of all superhero TV shows until recently. Now it’s different for this is the age of the super heroine.

Diana of Themyscira (Gadot) lives on an island of all female Amazon warriors. Her mother Hippolyta (Nielsen) is reluctant for her daughter to be trained in the arts of war, although her aunt Antiope (Wright) trains her in secret, recognizing that Diana is destined for greatness. When Hippolyta finds out, she is furious and Diana becomes frustrated, chafing at the bit to learn how to fight from her aunt who is widely acknowledged to be the greatest of all Amazon warriors.

The world of Themyscira has been hidden from the world of Men and for good reason but all this comes to an end when a biplane carrying an American spy, Steve Trevor (Pine), splashes into the lagoon of Themyscira. The First World War is raging in Europe and when a German flotilla of ships chasing Trevor manages to find Themyscira, an all-out battle rages on the sands of their beach. They manage to defeat the Germans but at great cost.

Diana finds out more about the conflict and immediately recognizes the hand of Ares, God of War, in the insanity. Bound and determined to go and kill Ares and thus save the world, she gets reluctant but tacit approval from her mother to go. Diana reaches the London of 1919 and it is a confusing place to her. However, Trevor reports to the war council that Germany’s General Ludendorff (Huston) is planning on unleashing a new poison gas perfected by the mad Dr. Maru (Anaya) – who is known among the rank and file as Doctor Poison – that could turn the tide of the war. Sir Patrick (Thewlis), a Parliamentarian who alone seems to take Diana seriously, sends Trevor and Diana deep into Germany to find and destroy the factory manufacturing the poison gas.

Trevor and Diana are accompanied by three of Trevor’s operatives; Chief (Brave Rock), Sameer (Taghmaoui) and Charlie (Bremner). The five of them pass beyond enemy lines to witness the horrors of war and of the world of men firsthand. Diana’s sensibilities are thrown into disarray but she must put that all aside if she is going to save millions of lives. In order to do that however she is going to have to confront a god.

There has been much critical praise here with some critics stumbling all over themselves to label this a feminist superhero movie. I don’t really know how to react to that; part of me doesn’t think that the term “feminist” has a very strict definition to be honest. There are all sorts of feminists believing in all sorts of ideals. I imagine you could shoehorn Wonder Woman into a category that believes that women can be superheroes and just as badass as men can and I would be okay with defining this as a feminist film from that standpoint.

One thing positive I think the movie will do is dispel the Hollywood myth that women directors can’t do big budget action CGI films, James Cameron’s criticisms notwithstanding. Clearly Jenkins proves here that she can handle the many facets that go into a production of this magnitude and in some ways comes out with a product better than that produced by a number of Hollywood heavyweights. No longer can women directors be ghettoized into smaller more intimate films about love, feelings and empowerment which seemed to be all Hollywood – and indie producers as well – were letting women direct. Who wouldn’t want to see a woman handling a Star Wars film or a war epic after seeing this?

Gal Gadot is one reason the movie succeeds. She has always had screen presence in her supporting roles; here she proves that she has more than enough to tackle a lead role in a Hollywood blockbuster. She handles the fight scenes convincingly (not true for all A-list Hollywood men) but then again she actually served in the Israeli army, an organization that knows a thing or two about kicking butt. She also does well with the comic overtones during her fish out of water scenes in London. In fact, I wish there would have been more of this element to the film – Gadot is that good.

There is a lot to be said about the set design here. Everything is terrific, from the imaginative Themyscira sets (shot on the Amalfi coast in Italy) to the note-perfect London of the Great War era. The world we see may be fantastic but it is always believable and there is much to be said for that. The action sequences are also imaginatively staged with one exception and I’ll get to that in a moment.

The movie falls down on two fronts; first, that irritating theme music first introduced in Batman v. Superman: Dawn of Justice. We hear it again and again in this film and quite frankly it makes me want to stick a power drill in my ear. Secondly, the climactic battle is a nighttime set everything but the kitchen sink battle royal between Diana, Ares, the German army and Team Trevor. There is a lot of flying debris and dimly lit action sequences. It’s overwhelming considering the CGI overkill and I thought it almost came from a different movie, although there is a distinctly femme point of view to how the scene is resolved and that, I must admit, was much appreciated.

There was much buzz surrounding this film, which was heralded as a different take on superheroes. Wonder Woman, one of the most iconic characters in the DC Comics pantheon was finally getting her own live action big screen extravaganza and the film was to be directed by – *gasp* – a woman. Never mind that eight out of the ten producers are men as well as all five credited screenwriters; the glass ceiling has been shattered at last.

As any woman will tell you – well, not really. Certainly strides are made here and there is hope for the future as Marvel has a female superhero film (directed by a woman) in the pipeline and given its impressive box office receipts there is definitely going to be a sequel to this film and Jenkins is in line to direct it, although if she passes it will likely give another female director a chance to shine. This is to my mind the best DC comic book film not directed by Richard Donner, Tim Burton or Christopher Nolan and certainly a huge step for the DCEU (DC Extended Universe) to establish itself as a contender to Marvel.

This isn’t the greatest comic book superhero film ever. It isn’t even the best one being released this summer. However, it’s plenty good enough to be a worthy addition to one’s home movie library whether you are a feminist or a fanboy – or both. There’s no reason the two have to be mutually exclusive.

REASONS TO GO: Gadot is absolutely sensational in the title role. There’s enough action to make the film palatable to superhero fans but the different point of view will be attractive to those tired of the same old thing.
REASONS TO STAY: The climactic battle is a bit of sensory overload.
FAMILY VALUES: There is some superhero and war-related violence, some sexually suggestive content and a few disturbing images.
TRIVIAL PURSUIT: This is the first female-directed film to have a budget over $100 million, the first female-directed film to have a $100 million plus opening weekend and currently holds the title as the female-directed film to earn the most box office revenue ever.
BEYOND THE THEATERS: Amazon, Fandango Now, Google Play, iTunes, Vudu, YouTube
CRITICAL MASS: As of 9/5/17: Rotten Tomatoes: 92% positive reviews. Metacritic: 76/100.
COMPARISON SHOPPING: Captain America: The First Avenger
FINAL RATING: 7.5/10
NEXT:
Baywatch

 

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New Releases for the Week of June 2, 2017


WONDER WOMAN

(Warner Brothers) Gal Gadot, Chris Pine, Robin Wright, David Thewlis, Connie Nielsen, Elena Anaya, Lucy Davis, Ewen Bremner, Danny Huston. Directed by Patty Jenkins

The enigmatic Diana Prince from Batman v. Superman: Dawn of Justice gets her origin story as the DC Extended Universe kicks into high gear for 2017. Diana, Princess of the Amazons, has her idyllic life on an island that is nothing short of paradise interrupted by the arrival of a handsome American pilot who crash lands in the waters surrounding her island. He tells the incredulous Amazons that a war has engulfed the entire world and Diana knows that she must go to the world of men to save it, but if she does so she will go against the wishes of her mother.

See the trailer, clips and video features here.
For more on the movie this is the website.

Release Formats: Standard, 3D, IMAX 3D
Genre: Superhero
Now Playing: Wide Release

Rating: PG-13 (for sequences of violence and action, and some suggestive content)

3 Idiotas

(Pantelion) Martha Higareda, Sebastián Zurita, Vadhir Derbez, Germán Valdés. Two engineering students decide to go on a quest to find their friend Pancho, who disappeared on the eve of college graduation. Having been through some unforgettable adventures in college, it can only get even more bizarre now that they’ve graduated. Well, at least two of them anyway.

See the trailer here.
For more on the movie this is the website.

Release Formats: Standard
Genre: Comedy
Now Playing: AMC Disney Springs, Regal The Loop

Rating: NR

All About the Money

(Gravitas) Danny Trejo, Casper Van Dien, Mindy Robinson, Lin Shaye. Two buddies who are having financial difficulties are convinced by a third to take a vacation in a third world country. Only after arriving do they discover the real reason they are there – to capture the most wanted criminal in America for the reward money, despite the fact they are woefully unprepared and untrained for the job.

See the trailer and a clip here.
For more on the movie this is the website.

Release Formats: Standard
Genre: Comedy
Now Playing: AMC Loew’s Universal Cineplex

Rating: NR

Captain Underpants: The First Epic Movie

(DreamWorks Animation) Starring the voices of Kevin Hart, Ed Helms, Thomas Middleditch, Nick Kroll. Two young pranksters manage to hypnotize their overbearing school principal into thinking he’s the dimwitted superhero Captain Underpants. The consequences of their prank however go beyond what they could have expected. Based on the bestselling juvenile book series and cartoon show.

See the trailer and clips here.
For more on the movie this is the website.

Release Formats: Standard
Genre: Animated Feature
Now Playing: Wide Release

Rating: PG (for mild rude humor throughout)

Churchill

(Cohen Media Group) Brian Cox, Miranda Richardson, John Slattery, James Purefoy. On the eve of D-Day, the Allied forces gather in England to mount the monumental invasion of Europe. One man stands in the way – Winston Churchill. Britain’s doughty Prime Minister, exhausted by years of war and haunted by his failure at Gallipoli in World War I, he is desperate not to be the architect of carnage once again. Beset by political opponents and frustrated generals, only the intervention of his wife and his King may yet spur to greatness a man who is destined for it.

See the trailer here.
For more on the movie this is the website.

Release Formats: Standard
Genre: Biographical Drama
Now Playing: AMC Altamonte Mall, AMC Disney Springs, Regal Winter Park Village

Rating: PG (for thematic elements, brief war images, historical smoking throughout, and some language)

Paris Can Wait

(Sony Classics) Diane Lane, Alec Baldwin, Arnaud Viard, Élodie Navarre. The wife of a successful but inattentive movie producer is tired of traveling through Europe (first world problems) and wants to head straight to Paris rather than go on to Budapest and who can blame her. Her husband’s French business partner offers to drive her. Instead of a seven hour direct drive, instead the business partner takes her on a real Tour de France, meandering down country roads and showing her fine food, fabulous wines and spectacular sights – the real France. Along the way her sense of life and joy in living is reawakened.

See the trailer and clips here.
For more on the movie this is the website
.
Release Formats: Standard
Genre: Comedy
Now Playing: Enzian Theater

Rating: PG (for thematic elements, smoking and some language)

Vincent N Roxxy

(Vertical) Emile Hirsch, Zoë Kravitz, Zoey Deutch, Emory Cohen. A loner in a small town falls for rebellious punk rocker. Circumstances dictate that they take an immediate departure from where they are but wherever they go, violence and bloodshed seems to follow them.

See the trailer here.
For more on the movie this is the website.

Release Formats: Standard
Genre: Crime
Now Playing: AMC Disney Springs

Rating: R (for bloody brutal violence, language throughout, some strong sexual content, nudity, and brief drug use)

The Wedding Plan

(Roadside Attractions) Davi Alferon, Noa Koler, Oded Leopold, Ronny Merhavi. With only six weeks to go before her wedding, a 32-year-old Orthodox Jew is dumped by her husband-to-be. Rather than cancel all the plans – the reception hall, the dress, the ceremony – she believes that God will provide her a groom and goes on a whirlwind search for the right man to spend the rest of her life with.

See the trailer and clips here.
For more on the movie this is the website.

Release Formats: Standard
Genre: Romance
Now Playing: Regal Winter Park Village

Rating: PG (for thematic elements)

ALSO PLAYING IN MIAMI:

Afterimage
Champion
The Commune
Elián
Slack Bay

ALSO OPENING IN TAMPA:

Obit

ALSO OPENING IN JACKSONVILLE:

Buster’s Mal Heart

The Galapagos Affair: Satan Comes to Eden


A family portrait of the Wittmers.

A family portrait of the Wittmers.

(2010) Documentary (Zeitgeist) Cate Blanchett (voice), Sebastian Koch (voice), Thomas Kretschmann (voice), Diane Kruger (voice), Connie Nielsen (voice), Josh Radnor (voice), Gustaf Skarsgärd,  Octavio Latorre, Fritz Hieber, Steve Divine, Teppy Angermeyer, Jacqueline De Roy, Gil De Roy, Jacob Lundh, Carmen Angermeyer, Daniel Fitter, Rolf Wittmer. Directed by Dayna Goldfine and Dan Geller

Late in the film, one of the interview subjects proclaims “Paradise is not a place; it’s a condition.” However, in the 1930s, the Galapagos Islands off the coast of South America must have seemed a paradise to Europeans who were already feeling the winds of war blowing. Full of tropical beauty and lush vegetation, it must have seemed an ideal place to get away from civilization and lead productive lives.

=Friedrich Ritter (Kretschmann) was a devoted follower of Nietzsche who had a devoted follower of his own in Dore Strauch (Blanchett). Scandalous even in Wiemar Germany, she left her husband and took up with Ritter; the two left Germany to make a life for themselves in the Galapagos, where Friedrich would be freed of the troubles and cares of civilization so he could write the philosophical treatise that he had been longing to (but had been unable to make time to) write. Of the islands, they settle on one called Floreana.

However, things don’t go the way he envisioned them. Strauch, who had multiple sclerosis, is unable to meet the physical demands of living on their own on a tropical island and Ritter, rather than being the understanding lover, seems to embrace the misogyny of his mentor and berates her constantly about her shortcomings.

Things don’t get any better when another German couple, Heinz Wittmer (Koch) and his pregnant wife Margret (Kruger) arrive having heard of Dr. Ritter’s experiment and decide to make their own homestead. The two families are somewhat antagonistic towards each other, Ritter and Strauch viewing them as interlopers while the Wittmers see the other couple as standoffish and arrogant.

However things go from bad to worse to terrible with the arrival of Baroness Eloise von Wagner (Nielsen) from Austria who is loud, brash and sexually forward for her time. She is accompanied by Robert Philippson and Rudolf Lorentz whom she identifies as her architect and partner but are in fact her lovers. She has plans to build a luxury hotel on the island but seems somewhat cash-poor. She immediately locks horns with both families who are united in their distaste of her.

The tension on the island reaches a boiling point and real fear begins to grip some of the people on the island. Then, when someone disappears off of the face of the earth, suspicion points in every direction. Who done it? And who was it done to? You’ll have to watch the movie to find out.

This isn’t an episode of Murder, She Wrote; these events actually happened and it was something of an international scandal back in 1933. What sets this documentary apart from a recreation of events is that the filmmakers use home movies taken by the actual participants, and the words you hear spoken in the voiceovers are from the letters and journals of those who were there and witnessed it – including the victims.

That lends a distinct air of poignancy and a little bit of creepiness; we’re literally hearing voices from beyond the grave and seeing apparitions of those long dead. Particularly chilling is a short silent film made on the island starring the Baroness as a kind of pirate queen. John Garth (Radnor), a scientist on board a vessel that made regular mail stops at Floreana, helped film the one-reel film and his observations of the effect the Baroness had on the tranquility of the island is quite telling.

What doesn’t work is the plethora of modern day interviews – some of the descendents of those on Floreana including the son born to Margret Wittmer on the island who was in his 70s when interviewed as well as other residents of neighboring islands. Few of them give much more than analysis of the environment and observations of island life and quite frankly, their contributions are neither illuminating nor entertaining. The movie could have done without them.

But there are some interesting points. The ruins of the Hacienda and of the Baroness’ compound are chilling. The presence of the famous tortoises of the Galapagos not only ground the movie in location but make a nice allegory for the passing of time – some of the tortoises on the island were there when these events happened. That certainly gives one pause.

This really had a dynamite premise and all the ingredients to make a great documentary but that’s not what we got. Instead we got a movie that is a bit frustrating for we have this amazing footage, a great voice cast reading the words of the actual participants and then we break off to hear some inane commentary from someone who once had coffee with the son of someone who knew someone who was related to someone else. I would much rather this have been a much shorter film than padded out with unnecessary analysis.

WHY RENT THIS: What a fascinating subject!  Archival footage is priceless.
WHY RENT SOMETHING ELSE: Modern-day talking head interviews offer more analysis than exposition and are of little value. .
FAMILY VALUES: Adult themes and some gruesome images.
TRIVIAL PURSUIT: Nearly all of the survivors of the events on the island wrote books on the subject which were contradictory but all were consulted by the filmmakers.
NOTABLE HOME VIDEO EXTRAS: Footage of the filmmakers during their Q&A at the Telluride Film Festival.
BOX OFFICE PERFORMANCE: $247,159 on an unknown production budget.
SITES TO SEE: Netflix, iTunes, Amazon, Vudu, Google Play, M-Go
COMPARISON SHOPPING: Ten Little Indians
FINAL RATING: 6/10
NEXT: They Will Have to Kill Us First

3 Days to Kill


Kevin Costner isn't going to let anyone stop his career re-invention.

Kevin Costner isn’t going to let anyone stop his career re-invention.

(2014) Thriller (Relativity) Kevin Costner, Amber Heard, Hailee Steinfeld, Connie Nielsen, Tomas Lemarquis, Richard Sammel, Marc Andreoni, Bruno Ricci, Jonas Bloquet, Eriq Ebouaney, Joakhim Sigue, Alison Valence, Big John, Michael Vander-Meiren, Paolo Calia, Eric Naggar, Alexis Jacquin, Frederick Malahieude, Patty Hannock, Marie Guillard, Mai Anh Le. Directed by McG

The ties that bind are often stretched, if not severed, by the needs of our careers. Success requires a certain amount of attention that is usually stolen from that which we turn on our homes and families. It is from there that we rob Peter to pay Paul.

Ethan Renner (Costner) has been living that life longer than he can count. It has cost him his wife Christine (Nielsen) and his daughter Zoe (Steinfeld) who live in Paris and rarely speak to him and find no real reason to seek that kind of thing out. Of course, Ethan has a somewhat unusual career – he’s an assassin for the United States government.

He has been sent to take out the Albino (Lemarquis), the right hand of a German arms dealer nicknamed the Wolf (Sammel). However, the meticulously set up hit goes sideway when the Albino recognizes one of the agents (Le), dispatching her in a particularly gruesome fashion. Ethan himself gives chase and has the Albino in his sights but collapses, nose bleeding and barely able to breathe. He manages to put a bullet in the leg of the Albino before passing out.

It turns out that Ethan isn’t well at all. He has a brain tumor that has spread into his lungs because, you know, the brain and the lungs are connected. He doesn’t have much time left to him; a few months at most. Faced with his own mortality, Ethan decides that killing for his country doesn’t have the same appeal and decides to spend what time he has left reconnecting with his wife and daughter.

While he tells his wife about his condition, he keeps that information from his daughter. Zoe is a typical teenage girl; sneaks out to go party with friends, check. Underage drinking, check. Argues with her mom like cats and dogs, check. Dresses inappropriately, check. Subject to wild mood swings that defy logic and reason, check. Yup, typical teenager girl.

Ethan is doing his best but it’s not a smooth integration into their lives. However, when Vivi Delay (Heard), a fellow assassin, shows up with an offer of an experimental drug that might give him a significantly longer life span in exchange for finishing his job and taking out the Wolf and the Albino, he leaps at the chance. He goes after the Albino’s driver Mitat (Andreoni) and finds him to be a family man who commiserates with Ethan’s dilemma with Zoe.  Through the hapless Mitat Ethan looks to work his way up the chain until he gets his man.

Unfortunately, the miracle cure has a few side effects that always seem to rear their ugly heads at the most inopportune moments. Ethan, who’d distanced himself from his own family so that the ugliness of his job doesn’t touch them, finds that they are being drawn in anyway. The whole point of taking this cure was so that he could have more time with Christine and Zoe but it only takes one well-placed bullet from one of the Wolf’s men. A bullet through the brain still has no cure.

This is fairly pedestrian espionage stuff. We’ve seen similar things with Jackie Chan, Vin Diesel and the Rock in the lead and with similarly mixed results. Costner isn’t really known for being an action star, although he has done a few films in his career that have required that element and to be honest, he can be quite good in that kind of role.

In fact, Costner is really the best thing this movie has going for it. He’s likable and down to earth, so we get a spy/killer who isn’t suave, who isn’t refined but is kind of rough around the edges. He’s had to reinvent his career to a certain extent, becoming more of a character actor as of late rather than a leading man but make no mistake, he’s still one of the most likable leading men in Hollywood history and he remains so here. His relationship with Steinfeld as Zoe is one of the movie’s high points – it’s genuine and most parents of once and present teenagers will tell you holds some of the same ups and downs that real life parents of teens are all-too-familiar with.

Heard is a terrific actress who is thrown into a part that is just misconceived from the get-go. She appears periodically in different wigs and looking like she just got off the runway at Milan, chain-smoking with a sardonic grin and far too young to be a master spy yet here she is. In fact, she oozes competence so much that one wonders that with her skills why does she need Ethan at all (the answer is that Ethan is the only one who’s actually seen the Wolf and might recognize him). Still, while I get the sense she had fun with the role, it’s just so badly laid out that it becomes distracting for all the wrong reasons.

The hallmark of a Luc Besson movie is well-done action sequences and there are several here that will keep action fans if not happy, at least not walking out of the theater. There’s nothing here that’s overly imaginative or challenging but it at least is professionally done so there is entertainment value throughout. The Wolf and the Albino, while having nifty monikers, lack any sort of menace. They both scowl a lot and other than the one scene where the Albino executes a female agent, you don’t get a sense that they pose any threat to Ethan or anyone else in the movie. They’re more or less just goals for Ethan to achieve and it’s more of a game of hide and seek rather than spy versus spy.

REASONS TO GO: Costner and Steinfeld are solid. Some decent action sequences.

REASONS TO STAY: Heard fares poorly. Villains not menacing enough.

FAMILY VALUES:  Plenty of action, a bit of sexuality and a fair amount of foul language.

TRIVIAL PURSUIT: While filming in Belgrade, Costner was given an audience with Serbian Prime Minister Ivica Dacic.

CRITICAL MASS: As of 3/10/14: Rotten Tomatoes: 33% positive reviews. Metacritic: 40/100.

COMPARISON SHOPPING: From Paris With Love

FINAL RATING: 5/10

NEXT: Non-Stop

New Releases for the Week of February 21, 2014


PompeiiPOMPEII

(TriStar) Kit Harrington, Carrie-Anne Moss, Emily Browning, Kiefer Sutherland, Adewale Akinnuoye-Agbaje, Paz Vega, Jessica Lucas, Jared Harris. Directed by Paul W.S. Anderson

A gladiator falls in love with the daughter of a patrician merchant who instead goes ahead to betroth her to a corrupt Roman senator. All this becomes less of an issue when Mt. Vesuvius blows it’s top and the residents of Pompeii must race against time to avoid becoming charcoal briquettes.

See the trailer, clips and a promo here.

For more on the movie this is the website.

Release formats: Standard, 3D (opened Thursday)

Genre: Swords and Sandals

Rating: PG-13 (for intense battle sequences, disaster-related action and brief sexual content)

3 Days to Kill

(Relativity) Kevin Costner, Amber Heard, Hailee Steinfeld, Connie Nielsen. One of the agency’s top field agents is anxious to leave his profession behind to spend more time with his estranged wife and daughter whom he’d kept at arm’s length so that he could keep them out of danger. However when he contracts a virulent fatal disease, he is forced to undertake one more mission so that he might get an experimental cure.

See the trailer, a promo and a clip here.

For more on the movie this is the website.

Release formats: Standard

Genre: Action

Rating: PG-13 (for intense sequences of violence and action, some sensuality and language)

Highway

(UTV) Alia Bhatt, Randeep Hooda, Durgesh Kumar, Pradeep Nagar. A vivacious young woman, on her way to being married, is kidnapped by a group of brutal men for ransom. At first she is terrified. Her father due to his position is unwilling to pay the ransom. The leader of the gang who kidnapped her refuses to let her go. As the stalemate progresses the victim begins to develop feelings for her captor.

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: Drama

Rating: NR

In Secret

(Roadside Attractions/LD) Elizabeth Olsen, Tom Felton, Jessica Lange, Oscar Isaac. In glittering Paris of the 1860s, a beautiful young woman – sexually repressed and trapped in a loveless marriage overseen by her domineering aunt – embarks on an affair with an exciting young man. The ramifications of her actions will lead to tragic consequences. This is the most recent remake of the classic Emile Zola novel Therese Raquin.

See the trailer and clips here.

For more on the movie this is the website.

Release formats: Standard

Genre: Bollywood

Rating: R (for sexual content and brief violent images)

The Past

(Sony Classics) Berenice Bejo, Tahar Rahim, Ali Mosaffa, Pauline Burlet. Returning from Tehran to Paris after a four year separation, an Iranian husband arrives to finalize the divorce from his Parisian wife. However, once there he discovers a tense situation with her teenage daughter and her impending marriage to her new boyfriend bothers him more than he thought it might. On top of all of it, a secret from their past might just tear their fragile world apart.

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: Drama

Rating: PG-13 (for mature thematic material and brief strong language)

Starting Over Again

(Star Cinema) Toni Gonzaga, Piolo Pascual. Iza Calzado. Four years after their breakup, a couple are brought back together when her architectural firm is selected to restore an old Manila mansion to be repurposed as a restaurant and he turns out to be the new eatery’s co-owner. However her feelings that this chance encounter is fate’s way of telling her she needs to seize her second chance and run with it may be derailed when she discovers that he intends to use the restaurant as a means of proposing to his American girlfriend.

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: Drama

Rating: NR

Mission to Mars


Mission to Mars

A little romantic skydancing never hurts a relationship.

(2000) Science Fiction (Touchstone) Gary Sinese, Tim Robbins, Don Cheadle, Connie Nielsen, Jerry O’Connell, Peter Outerbridge Kavan Smith, Jill Teed, Elise Neal, Kim Delaney, Armin Mueller-Stahl, Robert Bailey Jr., Patricia Harras, Lynda Boyd, Jody Thompson, Lucia Walters Pamela Diaz. Directed by Brian De Palma

The human nature is to explore, to find out what lies beyond where we have already been; to ask questions and then find answers. We explore without; the world around us, and someday, the worlds beyond our own. We also explore within; who we are, where we come from and where we are going. Hey, it keeps us busy.

Mission to Mars looks at that aspect of ourselves. Set in 2020, it posits the first manned mission to the Red Planet. Tragedy dogs the mission even before it leaves; its commander, Jim McConnell (Sinese), withdraws following the death of his wife and co-commander of the mission.

At first, the mission seems fairly routine; to discover the feasibility of colonization. However, the new mission commander, Luke Graham (Cheadle) discovers an anomaly, one which quickly turns deadly. When it becomes clear to mission control that something has gone wrong at Mars Base, a rescue mission is mounted, led by Woody Blake (Robbins), his wife Terri (Nielsen) and mission specialist Phil Ohlmyer (O’Connell). Blake insists that McConnell accompany the team, as he is the one who wrote the mission plan for the original expedition, including a possible rescue situation, and knows more about Mars than any other astronaut. It takes some convincing of the still-grieving McConnell but he eventually realizes that he could save lives so he assents.

The rescue mission also meets with unexpected tragedy after a micrometeorite shower holes the ship. The rescue party has to use all their resourcefulness in order to make it to the planet. There, they find the object of their mission … and a puzzle for them to solve. It explains why the first mission had to die … and a whole lot more. Think of this as a junior 2001: A Space Odyssey with better special effects and a director who is more of a storyteller. That, perhaps, is the biggest problem with M2M; rather than leave the mystery pretty much unsolved, letting the audience come to its own conclusions as Stanley Kubrick did with his film, director Brian de Palma makes sure that everything is explained in nice, neat little packages. That takes away from the grandeur of the mystery, and leaves us feeling like Peggy Lee; is that all there is?

Visually, there are some stunning moments, particularly late in the movie during the Martian Head scene, and during a cataclysmic accident. Sinese and Robbins are solid actors who never disappoint; Sinese is particularly excellent, playing an astronaut for the first time since Apollo 13 and comporting himself as a complex man, switching between mourning his wife and achieving the dream they both shared. Cheadle is an actor whose stock in Hollywood was on the rise when this was made; for me it cemented his standing as an actor whose every role was worth seeking out, a place he occupies to this day.

It makes for an odd switch; I’m usually more forgiving of the excesses of sci-fi flicks than Da Queen, but she liked this movie better than I did. That it got a one-hanky recommendation from Da Queen is telling enough; that she found it thought-provoking should be recommendation enough for anyone. For my part, I give it a mild recommendation; certainly, it’s worth seeing for the scope of its vision as well as the performances of its solid cast. I also give the writers props for avoiding cliché characterization and action for its own sake.

Still, I’ve seen 2001, I’ve enjoyed 2001 (although I didn’t love 2001), but this ain’t 2001.

WHY RENT THIS: Some spectacular effects sequences. Solid performances from Sinese, Cheadle and Robbins.

WHY RENT SOMETHING ELSE: Explains too much – a little more mystery would have gone a long way. Could have used more depth in characterization.

FAMILY MATTERS: There is a bit of violence, some bad language and a few disturbing images.

TRIVIAL PURSUITS: There is a “hidden Mickey,” seen here when the Mars Explorer lines up with Mars, the rotating circular hub of the spacecraft and antenna dish form the iconic image of Mickey Mouse. Of course, Touchstone is a division of Disney, and “hidden Mickeys” are notoriously placed throughout all of the Disney theme parks as easter eggs for their guests.

NOTABLE HOME VIDEO FEATURES: There is an animatics to finished scene comparison that is fairly interesting. The making of featurette also shows the input of NASA into the finished film making it a little more interesting than most.

BOX OFICE PERFORMANCE: $111.0M on a $100M production budget; the movie’s ambitious budget outpaced it’s decent box office and so it was unprofitable during its theatrical release.

COMPARISON SHOPPING: 2001: A Space Odyssey (in case I didn’t make it clear in the review)

FINAL RATING: 5.5/10

NEXT: Skyfall

Gladiator


Gladiator

Gladiators do battle...or is that the WWE?

(DreamWorks) Russell Crowe, Joaquin Phoenix, Connie Nielsen, Oliver Reed, Richard Harris, Derek Jacobi, Djimon Honsou, Tomas Arana, Ralf Moeller, David Schofield, John Shrapnel, David Hemmings. Directed by Ridley Scott

When everything that we love is taken from us we have two choices. We can wallow in our pain and let it overwhelm us, or we can do everything in our power to take what revenge we can. That revenge may take the form of retribution, or merely of survival – of learning how to rebuild your life.

Maximus (Crowe) is a general in the Roman army, much beloved by his men. He has just completed a successful campaign in Germania and has the eye of the Roman emperor, Marcus Aurelius (Harris). Aurelius is old and dying, and as happens with the old and the dying he is reflecting on the achievements of his life and has found them wanting. He wants to do the unthinkable – restore the Republic – and needs Maximus to maintain order and see to the transfer of power from the Caesar’s family to the senate, which Senator Gracchus (Jacobi) would like nothing more.

Maximus wants nothing more than to go home to Spain, to a farm with his wife and young son, and raise crops in peace. However, Aurelius’ plan doesn’t sit well with his son Commodus (Phoenix) who is heir apparent and would lose everything if Aurelius goes through with his scheme. Being “not a moral man” as his father describes him, Commodus kills his father and assumes the throne. He wants Maximus to support him but Maximus knows immediately what has happened when he sees Aurelius, whom he admired, dead in his bed and refuses. Commodus’ sister Lucilla (Nielsen) who has a thing for Maximus takes the better part of valor and supports her brother. So does Quintus (Arana), Maximus’ second-in-command who recognizes an opportunity when he sees it.

Commodus orders the execution of Maximus. Maximus begs Quintus to watch over his family, but Quintus tells him that his family will join him shortly in the afterlife. Maximus, knowing that time is of the essence, fights out of his execution and escapes but is badly wounded in the process. He races to get home but his wounds slow him down and he arrives to find his house burned and his family crucified. Maximus buries his family and collapses in despair.

He is collected by a passing slaver, and cared for by Juba (Honsou), an African slave. They’re all taken to an outlying province and sold to Proximo (Reed), a trainer of gladiators. Proximo was a former gladiator but he was given his freedom by Marcus Aurelius himself. Despite this, he resents the late Caesar because he did away with gladiator games in Rome, banishing them to the  provinces far away from the glittering center of the Empire.

Maximus at first wants no part of anything – no part of life, in fact. He just wants to hurry up and die so he can be with his family in the afterlife, but Commodus’ betrayal gnaws at him, worrying at him like a dog with a bone. Before he sees his family he must have his vengeance, and Proximo convinces him the best way to achieve that is to become Rome’s most famous gladiator, after which he will be freed and can then do what he must.

Since Maximus is fighting as “The Spaniard,” Commodus is unaware that Maximus is alive. By the time he finds out, Maximus is far too popular for him to kill – the mob that is Rome is not yet in love with Commodus, and he needs that love to maintain his hold on the Empire. The dream of Republic that Marcus Aurelius once had is still in the air, held by Lucilla and Gracchus. They hatch a plot to break Maximus out of the gladiator’s quarters and take him to his army, which he can then lead into Rome to enforce Marcus Aurelius’ dying wish. Can a slave, a gladiator, take on an entire empire and hope to win?

This was the best movie of 2000, in the eyes of the Academy (which gave it the Best Picture Oscar) and in the eyes of this critic. Director Ridley Scott resurrects the swords and sandals genre, giving it new life. CGI recreates the glory of Rome, creating magnificent vistas of Coliseum and Senate. This isn’t Rome as it was so much as we would like it to have been, but that suffices.

That said, the cinematography is curious for this movie. At times, it seems the entire movie has been filmed in overcast conditions with badly overexposed stock. I suppose that’s part of the film’s overall look in an attempt to create a period, but it just seems unnecessary to me. I guess I’m a simple kinda guy at heart.

Nothing wrong with the performances here though. Crowe and Phoenix are magnificent as antagonists; Crowe, on a roll to becoming one of the best actors in the world, is expected to do this kind of quality but what was surprising is that Phoenix held his own and at times, outdid Crowe. Still, Crowe won a Best Actor Oscar that year while Phoenix received a nomination for Best Supporting Actor. Oliver Reed and Richard Harris certainly could have been considered for the same nominations as well.

In many ways this was one of the first iconic movies of the 21st century. Given the note-perfect score co-composed by Hans Zimmer and Lisa Gerrard (she the voice of the magnificent but much-missed world music group Dead Can Dance) and the opening battle scene which is one of the most impressive ever filmed, it’s no wonder. While some critics thought this overblown and bloated, over-relying on CGI and brutal gladiatorial sequences, audiences adored this movie and so did I. It’s Entertainment with a capital “E” and deserves to be treated as such.

WHY RENT THIS: An essential movie from the past decade, with star-making performances by Crowe and Phoenix.

WHY RENT SOMETHING ELSE: The cinematography is a bit mannered and some of the violence is a little too Peckinpah for my tastes.

FAMILY VALUES: A good deal of gore and violence, as well as some sexuality make this a bit brutal for the kiddies.

TRIVIAL PURSUIT: Oliver Reed had a massive heart attack with three weeks left to film and passed away. The remainder of his scenes was shot with a body double, with Reed’s head inserted digitally.

NOTABLE DVD EXTRAS: The Blu-Ray edition has an extensive group of features on this two Blu-Ray disk version, including a documentary on the historical basis of various elements of the film, a History Channel special on Roman gladiators, and a feature on abandoned and deleted sequences and why they never made it to the screen.

FINAL RATING: 10/10

TOMORROW: The Mysteries of Pittsburgh