Synchronicity


This happens all the time.

This happens all the time.

(2016) Science Fiction (Magnet) Chad McKnight, Brianne Davis, Michael Ironside, AJ Bowen, Scott Poythress, Erik Thirsk, Derek Ryan Duke, Claire Bronson, Sergine Dumais (voice), Elle Sunkara, Ashley Drayton. Directed by Jacob Gentry

Time is not a delicate thing. Once it passes us by, it’s gone forever. There are those who dream of travelling it’s currents and eddies, seeing the events of the past and perhaps even influencing, but time is a much sturdier thing than even a river. Time is impenetrable.

Jim Beale (McKnight) is a brilliant scientist with a bare-bones lab who has discovered a way to open a wormhole, theoretically opening the door to time travel. However, he needs a lot more funding to see the experiments through. That’s where Klaus Meisner (Ironside) comes in. He’s a wealthy industrialist with the cash available to fund the project, but his motives are far from altruistic and he wants control of the invention once Beale gets it to work.

Into his life comes Abby (Davis), a mysterious woman with whom Beale starts a romantic relationship, but her own agenda remains unclear. Suddenly Beale is forced to make a split second decision and he leaps into the wormhole itself – and finds himself being the world’s first time traveler. The trouble is, he’s only traveled a week and he is forced to try to keep the timeline from being polluted – or there will be devastating consequences not only to himself but maybe to existence.

This is sci-fi on a low, low, low budget and if you don’t mind overlooking some anachronisms (much of the “technology” here looks to be of the Atari-era level, even though this seems to be set in a not-too-distant future but decidedly future. There is a lot of blue lighting, light filtering in through window slats and shadows – add a little neon and you’d have Blade Runner. This is a terrific looking movie.

The story is pretty nifty, so much so that I really tried to give you a very bare bones summary. While some of the twists and turns are a bit predictable (including, sadly, the big reveal at the film’s end), there is enough here that is not that you can at least give the movie style points.

Where the film falls down is in a couple of places; the character of Abby for example, is a bit too hipster-ish. She chain-smokes (In fact, one gets the sense that the filmmakers are heavy smokers since so many of their characters do so in kind of a reversal of modern sensibilities) and always seems to have that air that she’s privy to a joke none of us understand. I don’t necessarily blame the actress, but quite frankly I’m at a loss as to why Beale would be attracted to her the way that he was. The script doesn’t really give her much appeal, unless of course chain-smoking hipsters who may or may not be who they seem to be gives you a film boner.

McKnight is a decent enough lead but his character kind of drifts through the movie and the only time he seems to show any sort of fire is when he does the most impulsive and reckless thing he could possibly do. His connection to a scientific breakthrough may be enough to attract a woman like Abby to him but at the end of the day this would have been a better movie if we’re led to believe that Abby may actually harbor some affection for him; it’s hard to believe that she would.

In fact the whole romantic angle really falls short for me. The sparks between the two romantic leads were more like dying embers and no real heat is generated whatsoever. The film is really saved by Ironside, the veteran character actor who has played all sorts of bad guys in his career, is the most watchable of the actors here. While we know that Meisner is up to no good, Ironside at least makes the character interesting and watchable. Veteran character actors like Ironside class up any production they’re cast in.

The worst thing here is the dialogue. It’s clunky and uses phrases that nobody living in 2016 actually uses – who says “I got duped” unless they’re in an Oscar Wilde play? There are a lot of quotations of both abstract scientists and authors whom you wouldn’t expect to find in a thoughtful sci-fi film. This could have used a good deal of polish, particularly in the aforementioned dialogue.

Quite frankly, this isn’t a movie I can throw a lot of support behind, although I think it’s clear that Gentry has a terrific visual sense. The movie’s failings, particularly what’s coming out of the actor’s mouths and the way the characters acts, are pretty substantial. The visual look is at least reasonably cool and the premise intriguing but like a lot of time travel films becomes a little overly confusing. The acting is passable with the exception of veteran actor Ironside but again for the most part not especially notable. While this has gotten a fairly small theatrical release, you’re probably better served to see it on your local VOD network or on iTunes where it’s currently available.

REASONS TO GO: Decent enough premise. Michael Ironside is always welcome.
REASONS TO STAY: The dialogue is clunky. The characters don’t act like real people.
FAMILY VALUES: Some foul language as well as some sexuality.
TRIVIAL PURSUIT: Gentry co-directed The Signal.
CRITICAL MASS: As of 2/15/16: Rotten Tomatoes: 41% positive reviews. Metacritic: 39/100.
COMPARISON SHOPPING: Timecrimes
FINAL RATING: 5.5/10
NEXT: Hail, Caesar!

Alex Cross


Alex Cross

Matthew Fox wishes he was still “Lost.”

(2012) Suspense (Summit) Tyler Perry, Matthew Fox, Edward Burns, Rachel Nichols, Jean Reno, Giancarlo Esposito, Carmen Ejogo, John C. McGinley, Cicely Tyson, Chad Lindberg, Yara Shahidi, Stephanie Jacobsen, Warner Daehn, Bonnie Bentley, Ingo Rademacher. Directed by Rob Cohen

 

America loves mystery franchises. There are dozens of them from talented writers like Sue Grafton, Janet Evanovich, Robert Parker, Jonathan Kellerman – and James Patterson. Patterson is the creator of Alex Cross, an African-American forensic psychologist who has already made two appearances in film – Kiss the Girls and Along Came a Spider. He was portrayed by Morgan Freeman in both films.

Now he’s back and this time instead of a federal agent he’s a Detroit cop (this takes place much earlier in his career). Cross (Perry) is the head of a crack team of detectives who are routinely given Detroit’s nastiest crimes to solve. His childhood best friend Tommy Kane (Burns) is his right hand man, along with Monica Ashe (Nichols) who has a relationship with Tommy on the QT – if it got out the two were romantically involved, they could lose their jobs.

But things are going pretty well for Tyler. His pretty wife Maria (Ejogo) is pregnant and his grandma – henceforth referred to as Nana Mama (Tyson) watches the kids and growls folksy disapproval at her son and his ideal children Janelle (Shahidi) and Damon (played by Shahidi’s brother Sayeed).

One night, Alex gets a call that there has been a particularly grisly “four roses” murder. The victim, Fan Yau (Jacobsen) who happens to be the CFO of a multi-billion dollar global corporation, was brutally tortured before being executed. Although a number of bodyguards were also killed, Alex divines that this was the work of one man and indeed it is – a man the cops will soon call Picasso (Fox) for the Cubist drawings he leaves at the scene.

After an attack on Erich Nunemacher (Daehn), the next highest person on the executive ladder of the same corporation that Fan Yau worked for is thwarted by Cross and his team, Cross realizes that the real target is Leon Mercier (Reno), the CEO of the company. But Picasso has other plans for now – Cross has made this personal and before things are all played out there are going to be casualties and perhaps in the form of losing someone that Cross may be unable to bear.

This is a far different tone and type of film than the first two Alex Cross movies were – those were a bit more cerebral and much less action oriented. To the good, Cohen – whose got the Fast and the Furious franchise under his belt among other things – knows his way around an action sequence and there are some pretty nice ones in Alex Cross. Also to the good, the bi-play between Alex and Tommy is pretty natural and yields some of the best moments of the film, much of it due to Burns’ comedic timing and the wisecracking nature of Tommy.

Perry, best known for his Madea series as well as having become something of a brand name for urban comedies and romances, tries on strictly acting for size (until this film, the only movie he has appeared in that he didn’t direct himself was a brief cameo appearance in Star Trek). He has a future as an action star, being ruggedly handsome and athletic, although chances are for the time being he will stick to his extremely profitable directing gig. Unfortunately, he didn’t convince me as Cross, partially due to the short shrift the script gives his character. He’s supposed to be brilliant, a sort of Sherlock Holms of Detroit with keen observational skills and a talent for getting in the heads of criminals.

Those things are there but those aspects are written lazily, showing Cross’ talents as more or less big dumb luck rather than the result of intellectual reasoning and because we’re not shown that side of Cross, he loses much of the vitality that his character has in the books. In fact, I think it’s safe to say that this film’s primary flaw is the writing. The dialogue is, simply put, embarrassing. The characters say things actual people would never say and there’s no way even the talented actors in this movie can pull it off although Fox comes close.

Fox, who caught the national fancy as Jack in the “Lost” series not that long ago, is absolutely the highlight here. He is a charismatic villain, one of the best performances in a villainous role so far this year (take that Tom Hiddleston and Tom Hardy!) His shaven-headed gaunt Picasso looks twisted and sadistic and although Fox occasionally takes it over the top, Picasso is perhaps the most memorable aspect of the movie.

The endgame revelation is going to be painfully obvious to anyone who has even a lick of cinematic sense. Although I’m giving it a pretty generous rating, that’s mainly for the action sequences and not the script. Alex Cross is a pretty smart guy but Alex Cross isn’t a smart film and in a crowded release schedule it could have used some smarts.

REASONS TO GO: Nice chemistry between Perry and Burns. Fox is a demented villain.

REASONS TO STAY: Perry is unconvincing.  End twist is a yawner. Dialogue borderline incompetent.

FAMILY VALUES: There is some violence and a whole lot of bad language. Some of the images are pretty gory and even gruesome. There are some drug references, a bit of sexuality and an even smaller bit of nudity.

TRIVIAL PURSUIT: Idris Elba was initially cast to replace Morgan Freeman as Cross but had to bow out due to scheduling conflicts and was replaced by Perry who is starring for the first time in a film he didn’t direct. Ironically, Elba starred in Perry’s Daddy’s Little Girls.

CRITICAL MASS: As of 10/23/12: Rotten Tomatoes: 13% positive reviews. Metacritic: 30/100. The critics have pretty much given it a beating.

COMPARISON SHOPPING: The Bone Collector

MMA LOVERS: There’s a scene in which the Matthew Fox character participates in an underground MMA match. Fox shows some pretty impressive moves.

FINAL RATING: 6/10

NEXT: The Edge of Heaven