Matangi/Maya/M.I.A.


No matter what the pose is, hip hop star M.I.A. is a controversial figure.

(2018) Music Documentary (CineReach/Abramorama) Maya Arulpragasam, Diplo, Ben Bronfman, Kala Arulpragasam, Spike Jonze, Arular Arulpragasam, Sugu Arulpragasam, Kali Arulpragasam, Justine Frischmann, Nick Huggett, Lynn Hirschberg. Directed by Steve Loveridge

 

In this age where everything is divisive, there are few more polarizing figures than hip-hop superstar M.I.A. To some, she is a terrorist supporter (her father was one of the founders of the Tamil Tigers who fought against oppression of her ethnic group in Sri Lanka). To others, she is a hero standing up for the victims of genocide in her native Sri Lanka. For others, she’s a brilliant musician, combining elements of world music and hip-hop. To some, she’s a dilettante who lives in luxury while railing against poverty.

The truth is that M.I.A., born Matangi Arulpragasam but nicknamed Maya early on in her life, is all of those things. She has always been her own person, refusing to be put in a box. As a child her mother and remaining children (she talks early on how two of her six brothers were killed in Sri Lanka) immigrated to England where she encountered racism and abuse for her refugee status. She spent much of her early life, like most teens, trying to figure out what her place in the world was and early on determined not to be pigeonholed.

Music has always been a refuge for her and although she went to art school with the intention of being a filmmaker and indeed started out making music videos for Elastica and other bands of the era (she and Elastica frontwoman Justine Frischmann became close friends) it was her mash-ups of various beats and ethnic sounds that caught the attention of XL Recordings and with an in-yo-face performance style and unforgettable songs became one of the biggest stars in the world.

She has never been shy about expressing herself; invited by the NFL to perform at halftime of the Super Bowl, she expressed her disillusionment at America by flipping the bird to the cameras for which she was sued by the NFL which was eventually settled. A crude gesture, sure but that’s M.I.A. all over.

Loveridge utilized old home movies and videos (as a teen she was a compulsive recorder of life events) as well as behind the scenes access to create a portrait of a very complex and often difficult woman. She has a voice and a platform and something to say and her activism is on display in an often hagiographic documentary but at the same time she really doesn’t give a rat’s behind what the world thinks about her – yet she seems driven to having as much exposure as humanly possible. Is it so she can get her message across? Maybe…it’s hard to know sometimes what’s hype and what’s real.

My big issue with the documentary is that it jumps all over the place, both in a chronological sense and a thematic sense. At one point we see her with one fiancée, then in a scene or two later she has a different fiancée and is pregnant without any transition. It’s jarring and while I don’t think we necessarily have to delve that much into her personal romantic life, there should be some flow there and that’s what this documentary lacks.

The movie will be making an appearance locally on October 1st at the Enzian Theater for their South Asian Film Festival and while the movie is British in origin, certainly the ongoing crisis in Sri Lanka is a big part of this film as is the music of the Tamil culture. What you end up thinking about M.I.A. – disingenuous huckster using her message as publicity for her musical career, or committed and passionate activist desperately trying to bring the plight of the Tamil people to the mainstream Western media – is up to you. I’m not here to review her life, only her documentary and I find the film massively flawed, although the story of her life is compelling enough. Unlike documentaries however, real life doesn’t get the opportunity to be fixed in the editing bay, something this film desperately needed. M.I.A. seems to have done better in that regard than the film about her did.

REASONS TO GO: The activism of M.I.A. is very much to be admired.
REASONS TO STAY: The documentary isn’t very well-organized; at times it feels like it’s jumping back and forth all over the map.
FAMILY VALUES: There is some profanity, some disturbing images and a good deal of smoking.
TRIVIAL PURSUIT: Loveridge met M.I.A. at film school; this is his first documentary feature.
CRITICAL MASS: As of 9/29/18: Rotten Tomatoes: 87% positive reviews: Metacritic: 69/100.
COMPARISON SHOPPING: Amy
FINAL RATING: 5.5/10
NEXT:
American Dresser

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War for the Planet of the Apes


Caesar can be a little grumpy sometimes.

(2017) Science Fiction (20th Century Fox) Andy Serkis, Woody Harrelson, Steve Zahn, Karen Konoval, Amiah Miller, Terry Notary, Ty Olsson, Michael Adamthwaite, Toby Kebbell, Gabriel Chavarria, Judy Greer, Sara Canning, Devyn Dalton, Aleks Paunovic, Alessandro Juliani, Max Lloyd-Jones, Timothy Webber, Lauro Chartrand, Shaun Omaid, Roger Cross, Mercedes de la Zerda. Directed by Matt Reeves

 

This past summer was largely disappointing when it came to quality blockbusters. Sure, there were the usual suspects; loud sci-fi action, crude comedies, big superhero epics and so on. Mostly all of the high expectations for some of these wannabe billion dollar franchises fizzled out of the gate with only a few exceptions.

War for the Planet of the Apes however was one of the best-reviewed films of the entire summer. That rarely translates to big box office bucks – it didn’t recoup its $150 million production budget at the domestic box office and it finished with under $500 million at the worldwide box office, a decent enough number but surely not to the expectations of the suits at Fox.

The movie was curiously light on action despite the title; what it turned out to be was an ape character study of Caesar (Serkis), leader of the intelligent apes and the Colonel (Harrelson), the militaristic dictator of the remnants of humankind. You see the virus that made the apes smart is making humans dumb as rocks. Few thinking, rational human beings remain. The Colonel thinks all of the apes should be wiped off the face of the Earth so that humans can survive; in his mind, Homo sapiens won’t go gently into that good night.

Serkis delivers the best performance of his diverse career. Caesar is extremely conflicted; he wants peace but there is no reasoning with a fanatic. When struck by a personal tragedy, Caesar feels despair and fury but he is still tempered by the basically decent simian that he is. Of course, he’s an inspiring leader of his tribe who look to him as their savior while to the Colonel he’s a different kind of symbol. Zahn provides comic relief (and pathos) as Bad Ape.

There is a subplot involving a mute human child that ties into the ape movies of the 60s and 70s which aficionados of those films will appreciate; I surely did. There aren’t a ton of action sequences but the ones there are Reeves pretty much nails.

The CGI is surprisingly substandard for a film of this importance; there are some sequences in which it is painfully obviously computer-generated. Good CGI is seamless and fits into “reality” like a glove. That doesn’t happen here and it takes the viewer right out of the film from time to time.

I wasn’t among the critics singing the praises of this film. To my eye, it isn’t as good as the first two films in the series. I’m not sure the studio initially had faith in it either as  the movie could easily end the franchise right here; however with a fourth film already approved by Fox and a strong overseas box office chances are the franchise will continue, hopefully with films better than this one. However it is still a better than average summer movie and despite its flaws one of the best to come out this past summer which isn’t saying much.

REASONS TO GO: Serkis does some of his best work ever here. The Nova subplot is truly captivating.
REASONS TO STAY: The film is sadly uneven and isn’t up to the high standards of the franchise. Some of the CGI looked too much like CGI.
FAMILY VALUES: There are a few disturbing images, plenty of sci-fi violence and battle scenes as well as adult themes.
TRIVIAL PURSUIT: Serkis in interviews promoting the film indicated that this won’t be the conclusion of the series which may come in the fourth or fifth film of the series; in fact, Fox has already greenlit a fourth film in the franchise.
BEYOND THE THEATERS: Amazon, Fandango Now, Google Play, iTunes, Microsoft, Vudu, YouTube
CRITICAL MASS: As of 12/16/17: Rotten Tomatoes: 93% positive reviews. Metacritic: 82/100.
COMPARISON SHOPPING: Starship Troopers
FINAL RATING: 7/10
NEXT:
Mother, I Love You

Valerian and the City of a Thousand Planets


If it looks like a duck…

(2017) Science Fiction (Europa/STX) Dane DeHaan, Cara Delevingne, Clive Owen, Rihanna, Ethan Hawke, Herbie Hancock, Kris Wu, Sam Spruell, Alain Chabat, Rutger Hauer, Peter Hudson, Xavier Giannoli, Louis Leterrier, Eric Rochant, Benoit Jacquot, Olivier Megaton, Gerald Krawczyk, Pierre Cachia, David Saada, Hippolyte Burkhart-Uhlen, Elizabeth Debicki (voice), Sasha Luss. Directed by Luc Besson

 

Luc Besson is often called a visionary filmmaker, mainly for his watershed 90s sci-fi epic The Fifth Element. Besson was heavily influenced by the French comic book Valerian and Laureline which also seems to have been influenced by the iconic French magazine Heavy Metal. He hasn’t attempted a sci-fi tale on the same grand scale up until now however.

Two agents – Valerian (DeHaan) and Laureline (Delevingne) – are hard at work in the gigantic multi-species space station/city known as Alpha (which began life as the International Space Station – try to keep up). This intergalactic symbol of peaceful co-existence is being destroyed from the inside out and seems to be linked to the destruction of a paradise-like planet centuries earlier. Valerian and Laureline who have a nascent romance going (mostly in Valerian’s head) must navigate a variety of exotic alien races and cultures along with a conspiracy of far-reaching dimensions in order to save Alpha and quite possibly the universe.

Sounds like a simple enough movie but trust me this is only a bare scratching of the surface. The plot is somewhat convoluted and is confusing as all get out until late in the game. Because this is a two hour-plus movie lots of frustrated viewers will have ceased caring much by the time things become clear.

At least there will be some breathtaking visuals to keep them entertained through the confusion. Besson has always been a particularly visual director and he is in his (fifth) element here. The mainly computer-generated images are massive in scope and detail. Those who have seen the trailers for this thing and ended up plunking their hard-earned dollars at the box office were no doubt taken as I was by the gorgeous visuals.

But in all honesty there really is little beyond that to recommend the film. There is almost zero chemistry between Delevingne and DeHaan and both seem to be terribly unsuited for their roles. The comic book this is based on has Valerian as a raven-haired badass while Laureline is a buxom beauty with flowing, flaming red hair. Certainly I’m not against a filmmaker eschewing slavish devotion to source material visuals but the whole scope of the characters change from four color printed page to celluloid and that seems to be kind of a waste of good material.

This was one of the biggest disappointments of the past summer for me, and that’s saying something considering how many underwhelming blockbusters there were this year. I had high hopes that Besson would be able to shepherd this largely unknown in the U.S. source material into a big time franchise but alas it was not to be. Clunky dialogue and weak performances doomed this with critics and the lack of big names doomed it with American audiences. The movie so badly under-performed that it caused a major executive shake-up at the studio that made it. Considering that Valerian and Laureline have influenced a lot of the big budget sci-fi films of the past fifty years (including the original Star Wars) it’s a shame that it didn’t get a better movie to represent it.

REASONS TO GO: The special effects are amazing. There is a great deal of imagination displayed throughout.
REASONS TO STAY: There is little chemistry between DeHaan and Delevingne. The movie is a bit too convoluted and a little too long.
FAMILY VALUES: There is some mild profanity as well as plenty of sci-fi violence and even a bit of slightly suggestive material.
TRIVIAL PURSUIT: With a budget of $210 million U.S. this is the most expensive film ever made in France – to date.
BEYOND THE THEATERS: Amazon, Fandango Now, Google Play, iTunes, Vudu, YouTube
CRITICAL MASS: As of 12/11/17: Rotten Tomatoes: 49% positive reviews. Metacritic: 51/100.
COMPARISON SHOPPING: The Fifth Element
FINAL RATING: 5/10
NEXT:
Love and Saucers

The Dark Wind (Reseba)


Purity is hard to come by.

(2016) Drama (Mitosfilm) Rekish Shahbaz, Dimen Zandi, Maryam Boobani, Adil Abdulrahman, Abdullah Tarhan, Nalin Kobani, Imad Bakuri, Hassan Hussein Hassan, Helket Idris, Mesud Arif, Sherzad Abdullah, Shahin Kivork, Heider Bamerni, Berfin Emektar, Mame Cheto. Directed by Hussein Hassan Ali

Genocide is a condition that has often been imposed on the Yazidi, a tribe of people living in the Kurdish region of northern Iraq. Because they are not Muslims, they have become targets of ISIS who in 2014 invaded their region and began murdering them and selling their women in street side slave markets.

Reko (Shahbaz) and Pero (Zandi) are an attractive couple who have just become engaged when ISIS arrives. In the confusion, Pero hides with a group of village women only to become discovered by ISIS fighters; eventually she is sold off to the highest bidder. Reko, who works as a security guard at an American oilfield (early on in the film, one of Reko’s co-workers jokes “All of Kurdistan is an oilfield.” He arrives too late to save his fiancée but he does see some action with the Peshmerga resistance. In between fire fights, he searches for his intended, finally locating her in Syria and bringing her home.

Pero is almost a zombie by the time she returns home, staring straight ahead most times with a catatonic gaze, dissolving into screams when something reminds her of her horrific ordeal. When it is discovered that she is pregnant, life is turned upside down for both families – Ghazal (Boobani), the faithful and loving mother of Pero, knows that it will mean the end of her engagement. Reso (Abdulrahman) who is her father cannot bear to look at his shamed daughter. As for Reko’s father Hadi (Tarhan) it is his opinion that Pero is damaged goods who cannot marry his son, despite Reko’s obvious love for her.

The movie is shot simply but effectively and was given leave to shoot in the actual Yazidi refugee camp which houses nearly half a million of those who have fled their homeland. We get a sense of the desolation and despair that comes from being forced from one’s home, of being the target of a fanatical and powerful group that wants them wiped from the face of the Earth. However, as one elder shrugs, “this is the 73rd attempt at genocide” for this beleaguered people and they seem content to endure and continue. That they can trace their lineage back to ancient Mesopotamia is impressive especially considering how they have continually been the target for genocide over the millennia.

Zandi delivers a performance that is absolutely incredible. Possessed of an external beauty that is otherworldly – and a much better world than this one at that. She is the very picture of a dutiful and demure young woman who wants nothing more than to be with the man she loves. The horrors that are inflicted on her occur entirely off-screen; we only see the results of them, largely in Zandi’s eyes and her body language. We often think of the real carnage of war is limited to the battlefield but one viewing of this film will certainly set the viewer straight on that score – what the women endure in terms of rape, sexual slavery, abduction and forced breeding is absolutely unthinkable.

The film has generated some controversy – elements of the Yazidi were upset at how their culture was portrayed as backwards and intolerant. I didn’t especially agree with that but certainly there are individuals portrayed here that were certainly intolerant but there were also many who were not. As for being backwards, the Yazidi have a pretty desolate part of the world to live in and there isn’t a lot of room for luxuries to make things easier. Life for them isn’t easy and while I wouldn’t say they are backwards, they have a lifestyle that we Westerners would be hard-pressed to emulate but it is clear that they, like most of us, are tied to the place they live in ways that go beyond how easy it is to live there.

This is a powerful and moving film that reminds us that what ISIS is doing is not happening in a theoretical way; there is an actual human face to the victims of their brutality and consequences of their heinous acts. Ali should be applauded for shining a light on the deprivations of an ancient people and those who think that ISIS is just misunderstood should watch this one with an open mind. This film has no U.S. distribution yet which hopefully will change once it has been on the festival circuit for awhile; at film festivals in the Middle East it has already won some prestigious awards. This is a movie that deserves to be seen by a whole lot of people.

REASONS TO GO: The performance of Dimen Zandi is absolutely mesmerizing. The genocide of the Yazidi people in northern Iraq is not getting much coverage. Some of the scenes are powerful indeed.
REASONS TO STAY: Occasionally the cinematography looks like it was taken on a home video camera. At times the cast seems disconnected with what they are doing.
FAMILY VALUES: There is a good deal of profanity, racial slurs and some violence.
TRIVIAL PURSUIT: Ali intended to appear at the North American premiere at the Miami Film Festival but President Trump’s travel ban was, he felt, too much of a risk so he withdrew his application for a visa.
CRITICAL MASS: As of 3/5/17: Rotten Tomatoes: No score yet. Metacritic: No score yet.
COMPARISON SHOPPING: The Syrian Bride
FINAL RATING: 7.5/10
NEXT: Toni Erdmann

The Last Laugh


Springtime for Hitler.

Springtime for Hitler.

(2016) Documentary (The Film Collaborative) Renee Firestone, Klara Firestone, Mel Brooks, Rob Reiner, Harry Shearer, Gilbert Gottfried, Sarah Silverman, David Steinberg, Larry Charles, Alan Zweibel, Etgar Keret, Carl Reiner, Robert Clary, David Cross, Lisa Lampinelli, Jake Ehrenreich, Zdenka Fantlova, Jeffrey Ross, Susie Essman, Abraham Foxman, Roz Weinman, Malala Sagal. Directed by Ferne Pearlstein

 

Humor is an intensely personal subject; everyone’s idea of what is funny and what is inappropriate varies, sometimes to astonishing degrees. There are always taboo subjects that even comics shy away from, but not all of them. There are subjects that some comics tackle that make even other comics a little bit uncomfortable.

This new documentary by Ferne Pearlstein tackles the interesting subject of what is inappropriate material for comics, concentrating on one of the most horrible events in human history – the Holocaust. More than 70 years have passed since Nazi Germany surrendered but there are plenty who think that jokes about it – even by Jewish comics – are wildly inappropriate. Even Mel Brooks, whose cult classic The Producers dropped jaws when it was released in 1967, says that there is a difference between jokes about the Holocaust and jokes about the Nazis.

Much of the film is devoted to Renee Firestone, an Auschwitz survivor who talks about cabaret shows in the camps used to keep the workers entertained and about the gallows humor employed by the prisoners to help make the days bearable. Other survivors of concentration camps take the opposite tack – the Holocaust was no laughing matter and that the prisoners couldn’t even crack a smile, let alone a joke.

I tend to side with Renee – humor is a mechanism that many humans use to cope with stress and what could be more stressful than living under the constant threat of death? Still, six million Jews and others died in the camps – can we joke about them without trivializing them, or upsetting those who lived in them?

These are the kind of questions that are brought up by various comedians of different eras – old school like Brooks and Carl Reiner, mid-school like David Steinberg and Gilbert Gottfried and more recent vintages like Lisa Lampinelli and David Cross. There are also writers like Alan Zweibel, Malala Sagal and Etgar Keret as well as Abraham Foxman of the Anti-Defamation League which monitors anti-Semitism in the media. Foxman has some strong opinions as to what is appropriate and what is not, some of which you may agree with or disagree with. I think it’s a telling point that when Foxman pooh-poohs the argument that some comics make that the jokes keep the Holocaust from being forgotten; Sarah Silverman ripostes that if we haven’t forgotten the Holocaust why do genocides continue to this day?

To the filmmaker’s credit, no side seems to be given advantage other than that of the Survivors themselves and particularly Firestone. She is the emotional centerpiece of the film and some of the most moving moments take place as she remembers being separated from her sister whom she never saw again and having to deal with the death of her husband much later in life. Robert Clary, who played a French prisoner of war in the comedy Hogan’s Heroes used his real-life experience in the concentration camps for his character and reveals almost casually of 13 members of his family to be arrested, he was the only one left alive by the end of the war. How does one survive that? Clary doesn’t say and perhaps it’s better that we don’t know.

Towards the end of the film other taboo subjects are tackled such as 9-11 and use of the “N” word but almost in so casual a manner that they might better have not been mentioned at all. Clearly the Holocaust is the big subject here and thus it should have remained. I suspect the filmmakers were aware that there might be some backlash “what, only the Jews have suffered?” which is completely unfair. Nobody’s saying that these other subjects aren’t important and shouldn’t be handled delicately but quite frankly, I think the filmmakers would have been better served sticking to the subject that brought them to the dance, as it were and use it maybe as a gateway to other taboos. Perhaps that was what they were trying to do but quite frankly I think it was a case of trying to do too much. That’s really the only issue I had with the film.

There are, of course, plenty of jokes here and quite a few of them will get you laughing. One of my favorite bits is the “Springtime for Hitler” musical number from the 1967 version of The Producers and the audience reaction shots which might be how some modern audiences in this era of political correctness might react to some of the humor here.

I’m a big believer in freedom of speech and comics, as Mel Brooks himself observes are the conscience of the country. They allow us to look at ourselves and how we react to things that are controversial and uncomfortable; restricting them with political correctness is an absolute abomination and one of the most things that as a liberal I’m most ashamed of my left-leaning friends. It is a healthy thing once in awhile to be outraged.

There is some thought-provoking stuff here and no ready answers. Like everything else, it’s all up to how you perceive things and what affects you. You may be offended by some of the jokes here – or you might laugh your tush off. Is there a line that cannot be crossed? I don’t know; maybe. Should only Jewish comics joke about the Holocaust or gay comics about AIDS or African-American comics about slavery and racism? There are those who think so; I do not. At the end of the day, we are all humans and if we believe that, truly believe that, then all experiences are shared experiences. While the Holocaust was aimed mainly at those of the Jewish faith, we can mourn the loss of these people because we believe we are all brothers and sisters; the loss of even a single Jew makes all of us less.

Sure, that’s a bit simplistic (and sorry this movie review has appeared to become a rant) but the message is that it’s harder to hate someone if you feel connected to them. If there were fewer divisions between us wouldn’t there be fewer reasons to hate? I’m not sure if that’s the message that these comedians are trying to send by joking about the Nazis or even the Holocaust but it’s a message that can be inferred and wouldn’t it be a better world indeed if we all looked at the world that way?

REASONS TO GO: The subject is truly thought-provoking. Some of the jokes are hysterical. There are a few moments that are heart-rending. Brooks is a national treasure.
REASONS TO STAY: Segments on 9-11 and other taboo subjects seemed a bit rushed and didn’t add anything to the film overall.
FAMILY VALUES: Here you will find plenty of profanity, humor that some might find inappropriate and a few images that are unsettling.
TRIVIAL PURSUIT: The movie made its world premiere at the Tribeca Film Festival in April of 2016.
CRITICAL MASS: As of 3/3/17: Rotten Tomatoes: 100% positive reviews. Metacritic: No score yet.
COMPARISON SHOPPING: The Aristocrats
FINAL RATING: 8.5/10
NEXT: The Freedom to Marry

The Angry Birds Movie


Flipping the bird.

Flipping the bird.

(2016) Animated Feature (Columbia) Starring the voices of Jason Sudeikis, Josh Gad, Danny McBride, Bill Hader, Maya Rudolph, Peter Dinklage, Sean Penn, Keegan-Michael Key, Kate McKinnon, Tony Hale, Hannibal Buress, Ike Barinholtz, Tituss Burgess, Ian Hecox, Anthony Padilla, Billy Eichner, Danielle Brooks, Blake Shelton, Jillian Bell, Charli XCX. Directed by Fergal Reilly and Clay Kaytis

 

When does a movie become a marketing tool? In the case of The Angry Birds Movie, right now. It’s based on the stupid popular Rovio Games smartphone app Angry Birds which has spawned a crapload of sequel games, a cartoon series and enough merchandise to fill in the Grand Canyon.

Bird Island is a kind of idyllic place where hugs are for sale (but the first one is always free). The birds here all have special abilities but for Red (Sudeikis) that ability seems to be losing his temper. Orphaned before he hatched, he simply grew up with a chip on his shoulder…err, wing. Working as a clown for kid’s parties was probably the wrong career choice for him. After encountering a client who irritated him, he gets into trouble with the law.

Once he gets into court, the Judge (Key) sentences him to anger management classes. The classes are conducted by Matilda (Rudolph) who has her hands full with Red’s classmates. Chuck (Gad) is a mile-a-minute talker who is the Angry Bird counterpart to Speedy Gonzalez. He doesn’t do well with authority figures and has a bit of an attitude problem. Bomb (McBride) is a bit nicer but he has a habit of exploding (literally) whenever he gets angry. Finally there’s Terence (Penn) who’s huge and intimidating (and looks like he could be Red’s father) but only communicates in a series of grunts and snorts.

Into this idyllic paradise comes a huge ship that crashes right into Red’s house (typical). It is manned by a bunch of green pigs, led by King Leonard (Hader) who sounds like a Southern football coach but is all ham. He is bringing all sorts of entertainment and fun for the island, in return his people get to enjoy the benefits of visiting as tourists. The leadership of Bird Island is all for it but Red is much more suspicious. He can’t believe that these guys can’t be up to no good. And he’s right.

They’re after the eggs of the Birds – the unborn children. And when they take the eggs back to their own island with the intention of eating them, it means war. But who will lead the birds in their hour of need? Need you even ask?

The animation is a little more sophisticated than what you get in the game, but lovers of the game will appreciate that lots of the game play elements can be found in the movie, some of which are disguised in sneaky ways. Even casual players will get a kick out of it and I’ll admit that these little insides work well overall in the movie.

Now full disclosure – I saw this movie in France and in French and so I can’t comment on the voice performances of the American version. I can say that the movie was a lot funnier than I expected – quite frankly my expectations were pretty low, but there are some sequences that are pretty Loony Tune-ish to the max. There is no higher compliment can I think of for an animated feature than that, by the way.

On the flip side, the plot is essentially an explanation as to why the birds are so angry and quite frankly, it’s a bit weak. Parents may also want to consider that this is a movie that promotes violence as a solution which may not necessarily be a lesson they want to pass on to their kids. Then again, the old Looney Tunes did the same thing and it didn’t do my generation any harm…what, almost 15 years of unceasing war? Never mind.

REASONS TO GO: Incorporates elements of the game in clever ways. A lot funnier than I thought it was going to be.
REASONS TO STAY: Kind of a weak plot. Mean-spirited.
FAMILY VALUES: Some rude humor and a little animated action.
TRIVIAL PURSUIT: Terrence doesn’t say a single line of dialogue during the movie, other than an occasional grunt (voiced by Penn). However, he does sing (not Penn).
CRITICAL MASS: As of 6/14/16: Rotten Tomatoes: 42% positive reviews. Metacritic: 43/100.
COMPARISON SHOPPING: A Bug’s Life
FINAL RATING: 6.5/10
NEXT: Alice Through the Looking Glass

Terminator Genisys


I just want to set the world on fire...

I just want to set the world on fire…

(2015) Science Fiction (Paramount) Arnold Schwarzenegger, Jason Clarke, Jai Courtney, Emilia Clarke, J.K. Simmons, Dayo Okeniyi, Matthew Smith, Courtney B. Vance, Byung-hun Lee, Michael Gladis, Sandrine Holt, Wayne Bastrup, Gregory Alan Williams, Otto Sanchez, Matty Ferraro, Griff Furst, Ian Etheridge, Nolan Gross, Seth Meriwether, Afemo Omilami, Teri Wyble. Directed by Alan Taylor

Some franchises seem to need little encouragement to be creative. Some tell a single story over the course of several films. Others essentially make the same movie over and over again.

The War Against the Machines is reaching it’s end; John Connor (J.Clarke) and his troops are storming an L.A. prison camp which hides Skynet’s secret weapon even as another brigade is storming the main server complex in Colorado. Complete victory is within their grasp; except that Skynet has sent a Terminator (Schwarzenegger) back in time to assassinate Sarah Connor (E. Clarke), his mother, before he can be born. John sends his right hand man, Kyle Reese (Courtney) back in time to stop the unstoppable cyborg.

Sounds familiar right? But this isn’t a reboot. When Reese gets there he discovers the Terminator has already been dispatched – by another Terminator, reprogrammed and sent back further in time to save Sarah – and now to save all of them from a liquid metal T-1000 (Lee) that is nearly impossible to destroy, but clever Sarah manages to find a way.

Now, they have a chance to stop Judgment Day itself but something is wrong with the timeline. Reese saw John getting attacked just before he was sent back in time and now Judgment Day isn’t in 1997 but in 2017. And the means that the nuclear holocaust will be achieved is through a new operating system, Genisys, that will link up everybody and everything – including the nukes. With the aging Terminator whom Sarah calls Pops – as he keeps insisting, he’s old not obsolete – the two will try to save the world from Skynet one last time but Skynet has an ace up it’s sleeve that nobody foresaw – except those who saw Paramount’s second trailer for the movie that spoils one of the biggest and unexpected twists that could have been this summer.

The Terminator franchise has seen better days. The first two films in the franchise were box office smashes and are beloved of science fiction and action film fans alike. The last two have done decent financial numbers but both critics and fans alike have excoriated both of them. Where in that demarcation does this one fall?

The latter, unfortunately. Critics have given this a spanking as you can see by the numbers below and fans have been essentially unimpressed. To be honest, I can’t say that this is one of the better movies in the series but it isn’t the worst either – Terminator Salvation gets that dubious honor – and quite frankly I think it holds up pretty well, despite the critical lambasting it has taken.

]Schwarzenegger, who essentially just made cameos during the last two films which were both filmed during his gubernatorial days but is fully back here and he steals the show. Arnold has never been the greatest of actors (though he has improved) but he’s always had a load of charisma. He manages to play the sympathetic Terminator nicely with genuinely horrifying attempts at a human smile, and a few unintentionally funny quips.

Too bad Arnold as a robot is more lifelike than the human characters. Jason Clarke has shown himself to be a capable lead actor in Life on Mars and in other films, but here he seems terribly lost. I’m not sure if he just required better direction, or any direction but I get the sense that he’s not sure how to play this messianic character and so plays him without much to recommend him by. At least he does a better job than Christian Bale did.

Courtney, who has been a villain in the Hunger Games movies does a mite better, but again seems a bit over his head. The same could be said for Emilia Clarke who has turned heads in Game of Thrones but seems strident and unlikable here instead of tough. Makes one wish her colleague in Thrones, Lena Headey, would have been the one asked to take the role here. She did a far better job in The Sarah Connor Chronicles.

The action sequences are better than average and the special effects likewise. Where the movie really falls down is in the story; it’s so convoluted, with parallel timelines and all sorts of techno babble which ends up slowing the momentum of the movie down at key moments (in one incredible sequence, four different characters try explain a plot point four times to a disbelieving character which is just beyond comprehension why anyone writing a major summer movie would do that. I think they should have simplified things a little or just didn’t explain anything and let the audience just go with it. They would have been better off in the long run. However, fans of the series might be interested to know that there will be at least two more movies made; Paramount has already greenlit them because the rights to the franchise revoke back to James Cameron in 2019 so the studio intends to get as much return from their investment as possible. I hope that the audience does, too.

REASONS TO GO: Some fine summer entertainment and eye candy. Schwarzenegger is clearly having fun.
REASONS TO STAY: Convoluted plot. A little too much like previous entries in the franchise.
FAMILY VALUES: A good deal of sci-fi violence and gun fighting, some partial nudity and a few choice words here and there.
TRIVIAL PURSUIT: Jason Clarke is the fifth actor to play John Connor. Rusty Griswold of the Vacation series has also had five actors in the same role, the only characters known to have that many different actors playing them.
CRITICAL MASS: As of 7/12/15: Rotten Tomatoes: 27% positive reviews. Metacritic: 38/100.
COMPARISON SHOPPING: I, Robot
FINAL RATING: 6.5/10
NEXT: Desire for Beauty