For the Love of Spock


The Nimoys are all ears.

The Nimoys are all ears.

(2016) Documentary (Gravitas) Leonard Nimoy, Adam Nimoy, Mel Nimoy, Sybil Nimoy, Julie Nimoy, William Shatner, Chris Pine, Zoe Saldana, Zachary Quinto, Nichelle Nichols, George Takei, Mayim Bialik, Jim Parsons, J.J. Abrams, Jason Alexander, Walter Koenig, Catherine Hicks, Simon Pegg, Karl Urban, Neil deGrasse Tyson, Jeffrey Katzenberg, Nicholas Meyer, D.C. Fontana, Amy Mainzer. Directed by Adam Nimoy

 

The character of Mr. Spock in the original Star Trek series was and is a cultural icon. Played by Leonard Nimoy, then a character actor who had never worked more than two weeks on the same project in his career, he was created at a time of great social upheaval and in many ways stood for rationality, logic and self-control in a time when just about everyone was about as emotional as one could get. He also stood for cultural tolerance, as he was best friends with a human which was a metaphor for the racial turmoil going on in the United States at the time (and sadly continues to this day).

Nimoy’s son Adam, a successful television director, wanted to do a documentary on the cultural phenomenon that is Spock and got his father’s blessing to do it. After a Kickstarter campaign netted the necessary funds, Adam conducted an interview with his father and started to talk to other members of the original series cast when his father suddenly passed away at age 83.

The focus of the film changed from Spock to Leonard Nimoy. It became a love letter from a son to his father. The two had a very rocky relationship at times, particularly when Adam’s drug use became an issue, which fueled displeasure from his father, an alcoholic. They went years without speaking, but eventually reconciled.

He tells his father’s story, glossing over his childhood and young adulthood and bringing him to his days in Trek. Much of  the movie focuses on his time as Spock and in between; on the rigors of fame and having to share his father with an adoring fan base. Early on, he and his sister Julie answered fan mail for their father. It was Adam who in the famous prank showed up on the set without his dad’s knowledge wearing Vulcan make-up (the footage is shown here).

Nimoy famously has had a loving relationship with the Trek community of both fans and the cast and crews of the various TV and film iterations; he also had a sometimes contentious relationship with Paramount, the studio that produced the series; his lawsuit to gain the cast royalties from merchandising was settled largely because the studio wanted to make motion pictures based on the show and Nimoy refused to sign for the film before the suit was settled. It was also at his insistence that George Takei and Nichelle Nichols were added to the animated series cast; he felt strongly that the diversity of the original show’s cast needed to be brought over to the animated show and even today both of those actors refer to the incident with great affection.

The younger Nimoy includes plenty of home movies as well as backstage footage from the show and films which for me personally was very nostalgic; I lived in Los Angeles at the time the show and the first movies were being filmed and I was reminded of that watching the film, bringing on in me a strong sense of comfort. It was an idyllic time and an idyllic place.

The movie does run a bit long in my opinion but love letters always tend to. Fans of the TV show and of Star Trek in general won’t mind; I think they’ll kind of prefer it that way. The interviews with the new cast add a bit of dimension in that all of them grew up with Star Trek even if they weren’t fans and those that were (such as Simon Pegg) were a bit awestruck working with Nimoy in his signature role. Fans like Jason Alexander and Jim Parsons talk about what the character meant to them but at the end of the day, it is his brother Mel who breaks down when talking about the terrible day when Leonard Nimoy passed away that gives us the greatest sense of what the man behind the Vulcan meant to us all.

The film closes with a tribute to Nimoy at the Burning Man festival shortly after he passed away and I swear that the flames on the tribute as, like the other temporary art installations at the festival, burned to the ground brought to mind the Federation emblem in the shape of the flames seemed to be the most cosmic of all the tributes. Spock lives but without Nimoy to give the character its essence (with all due respect to Zachary Quinto who plays Spock in the movie reboot franchise) it is mostly the idea of Spock that we have now – and that gives all of us comfort. Truly, this is a wonderful way to celebrate the 50th anniversary of the original show.

REASONS TO GO: Very much a love letter from a son to his father. It’s an interesting perspective on fame by the children of the famous. The backstage footage is pretty nifty.
REASONS TO STAY: The film is a little bit on the long side.
FAMILY VALUES:  There is some foul language but not a lot.
TRIVIAL PURSUIT:  The movie was funded by a Kickstarter campaign.
BEYOND THE THEATERS: Amazon, iTunes, Vudu, Google Play
CRITICAL MASS: As of 9/28/16: Rotten Tomatoes: 100% positive reviews. Metacritic: 74/100.
COMPARISON SHOPPING: To Be Takei
FINAL RATING: 8/10
NEXT: Milton’s Secret

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Kubo and the Two Strings


Beetle, Kubo and Monkey on a quest for armor or at least an audience.

Beetle, Kubo and Monkey on a quest for armor or at least an audience.

(2016) Animated Feature (Laika/Focus) Starring the voices of Charlize Theron, Art Parkinson, Ralph Fiennes, Matthew McConaughey, George Takei, Cary-Hiroyuki Tagawa, Brenda Vaccaro, Rooney Mara, Meyrick Murphy, Minae Noji, Alpha Takahashi, Laura Miro, Ken Takemoto, Luke Donaldson, Thomas Isao Morinaka, Zach Rice, Rachel Morihiro, Mariel Sheets. Directed by Travis Knight

 

We spend much of our time as adults trying to live up to what our parents wanted us to be, which is a harder trick than it sounds – particularly if your parents were taken from you at a young age. Indeed, we spend much of our lives trying to live up to our parents period. Some of us choose to divorce ourselves from those expectations but deep down, the desire is there.

Kubo (Parkinson), a one-eyed child, lives in a seaside town in Japan, a village that gave him and his mother Kameyo (Vaccaro) refuge when they floated in on a boat when Kubo was just a child. These days Kameyo is ill and Kubo supports them by telling stories, accompanied by his magic shamisen, a three-stringed Japanese musical instrument which causes pieces of paper in Kubo’s pack to be transformed into magical, living origami. He is beloved of the townspeople but there is an air of melancholy about Kubo – he misses the father he never knew, a great samurai warrior who had feuded with his mother’s two evil sisters (both voiced by Mara) and their father, the despotic Moon King (Fiennes).

When Kubo accidentally conjures up a demon and his mother disappears, he must go on a quest to recover his father’s armor, said to make the wearer invincible, and his sword which cannot be broken. He is accompanied by a monkey (Theron) who is more than what she seems, and a samurai that his been transformed into a Beetle (McConaughey) who is more brave than he is brilliant.

Together these three must face down terrifying monsters, insurmountable odds and a seemingly impossible quest. Their faith in each other is all that can get them through even as Kubo despairs of having a family ever again.

Laika, which has produced such gems as The Boxtrolls and Coraline, return for their fourth feature and as you might expect with that kind of pedigree it’s an impressive visual achievement. Melding CGI and the stop-motion animation for which Laika is justifiably famous for, the ancient Japan with all the mystery and magic the wizards at Laika can muster comes to vivid life. There will be lots of oohs and ahs when you get a load of this either on the big screen or at home.

Parkinson, who plays Rickon Stark on Game of Thrones, does some impressive work here, giving us a complete character who, unlikely other orphans in animated films, isn’t one-dimensional. Yes, there is grief for his parents but there is also a solid steel core of honor in him, inherited from his dad. He wants to do right and knows that he has inside him a special power that could well make everything right. However, he is fallible and sometimes does childish things, although never in an annoying way. Parkinson definitely makes the reading emotional without letting the emotions control the reading. It’s a good performance and bodes well for his future as an actor.

McConaughey has never done an animated feature before but his customary Texas drawl is absent here; you almost have to close your eyes and listen really carefully to know it’s him. Theron and McConaughey’s characters have some nice interplay and both do well with Parkinson. The voice work isn’t the issue here at all, and Takei lets fly a delicious “Oh, myyyyyy” early on in the film as an extra bonus attraction.

I do think the movie is a bit long; it drags somewhat during the middle and the epic fight sequences could have been trimmed a bit, although the one with the giant skeleton – c’est magnifique. And I like that while this resembles anime in construction, it’s an American take on the art form and quite frankly, it holds up nicely although it certainly won’t compare to classics like Akira, Grave of the Fireflies and most of Studio Ghibli’s work.

In a year of strong animated features in a summer where virtually everything else was disappointing, this stands out nicely as one of the best family films of the summer. I think it’s one of Laika’s most ambitious ideas in terms of story and visuals, but falls a little short of their best movies. For all that though, I think it’s clear that Laika is one of the top animated studios in the world, right up there with the aforementioned Ghibli, Pixar and maybe Illumination. It’s a good time to be a cartoon fan.

REASONS TO GO: The visuals are incredible. A story that is simple yet mesmerizing.
REASONS TO STAY: The film could have used a little more editing.
FAMILY VALUES:  Some of the images here are scary, and there are scenes of peril and action.
TRIVIAL PURSUIT:  This is the directing debut of Laika CEO Travis Knight.
CRITICAL MASS: As of 9/26/16: Rotten Tomatoes: 97% positive reviews. Metacritic: 84/100.
COMPARISON SHOPPING: The Forbidden Kingdom
FINAL RATING: 7.5/10
NEXT: The Light Between Oceans

Message From Hiroshima


It's the devastation you can't see that will move you.

It’s the devastation you can’t see that will move you.

(2015) Documentary (Cinema Libre) George Takei (voice), Kazuo Fukushima, Akinori Ueda, Ryoga Suwa, Hisako Miyake, Kinue Nakamitsu, Chieko Fujiki, Yoshie Oka, Junko Ohta, Kyoko Nakamura, Noboru Hirabayashi, Sumiko Uesugi, Takuji Enami, Akia Nakazawa, Tsuneo Kasai, Nenkai Aoyama, Haruto Oda, Isao Toi, Yoshie Nakatani, Masako Nishida, Sadako Imada. Directed by Masaaki Tanabe

The American attitude towards the atomic bombings of Hiroshima and Nagasaki is essentially, “Well, they brought it on themselves, and it saved millions of American lives in the process.” For the most part, Americans believe that these bombings were justified.

Message From Hiroshima may change all that. Director Masaaki Tanabe was seven years old and a resident of the Nakajima district in central Hiroshima on August 6, 1945. Fears of American bombings of a more conventional nature had led his parents to send him to stay with his grandmother 32 miles away when the bomb hit. His mother and brother were killed in the blast; his father died two weeks later from the burns he sustained. To say that this is a personal project for him would be an understatement.

The film mostly consists of anecdotal accounts of life in Hiroshima before the bomb, the devastation caused by the bomb and the effects on the community afterwards. The domed Industrial Promotion Hall – once the pride of the city where exhibits on exports from the town were regularly given and where government offices were located – which was reduced to a shell (seen in the photo above) and is the only building in the district (if you can call it a building anymore) that remains as a stark reminder of the devastation. Across the river where Nakajima was located, a peace park full of monuments to the fallen (a burial mound of remains of unknown citizens is also located here) that is both beautiful and sad.

Jocelyn Cervenka created computer graphic re-creations of the Nakajima based on photographs and survivor descriptions that are used to great effect here. They display a vibrant city center, full of shops and restaurants as well as residences. In the background, the river flows, the heart of the city. George Takei from Star Trek who has his own horror stories from the war, narrates wonderfully and describes how the citizens of Hiroshima were once very in tune with the river; bathing, swimming, diving from the various bridges and fishing were regular parts of the lives of the citizens of Hiroshima. One of the casualties of the war is that, according to Takei, that is no longer the case. I would love to see her graphics made available online so that people can take an interactive tour of Nakashima. It would not only be instructive but a lovely way to preserve that lost world forever.

The accounts of the survivors are incredibly moving and to see how raw the wounds continue to be for these now elderly people, youngsters when the bomb was dropped, still are 70 years after the fact. Watching them break down into tears as they describe seeing the devastation, of waiting for parents who never came to claim them, of not even finding bones of their loved ones for them to bury (those close enough to ground zero, which was essentially where Nakajima was, were vaporized by the heat of the blast). Listening to these accounts makes me wonder how Japan was able to move on from this kind of wound.

But this isn’t an anti-United States film. What it is mostly is a means of preserving a way of life that is now a distant memory for elderly citizens of a city that was beautiful in 1945 and continues to be today, but has been indelibly changed by the experience. The movie is only 52 minutes long and I suspect it couldn’t be any longer because as human beings, we couldn’t handle the deep emotions for much more than the time we are given here.

I will admit that I’m one of those Americans who looked on the nuclear annihilation of Hiroshima and Nagasaki as necessary evils. I no longer think that’s the case after viewing this movie. Anyone who thinks that detonating a nuclear device is a solution to anything should be made to watch this movie. Should we have foregone the nuclear option and instead mounted a conventional invasion of Japan that would have cost millions of lives both American and Japanese? Honestly, that’s the kind of dilemma that makes me glad I’m not President; Truman must have grappled with this for years after the fact. I don’t know that what happened to the people of Hiroshima and Nagasaki are worth the lives that were saved, I honestly don’t. I will say that for me at least, Hiroshima is no longer just a few paragraphs in a history book. The meaning is far more intense and personal to me now. I urge anyone who can see this film. It’s a life changer.

While the movie is making the rounds in one-off exhibitions usually sponsored by churches or peace organizations, it is also available on Amazon and can be viewed free for Amazon Prime subscribers. If you’re interested, you can view it here. I strongly urge that you do.

REASONS TO GO: Emotionally devastating. Short anecdotes of survivor accounts effective. Computer graphics work nicely. May change your mind about the nuclear option.
REASONS TO STAY: May be too disturbing for some.
FAMILY VALUES: Disturbing images, graphic descriptions of carnage and adult themes.
TRIVIAL PURSUIT: There is nothing trivial about this.
CRITICAL MASS: As of 9/11/15: Rotten Tomatoes: No score yet. Metacritic: No score yet.
COMPARISON SHOPPING: The Fog of War
FINAL RATING: 10/10
NEXT: Best of Enemies

To Be Takei


It's always a great day to be OK to be Takei!

It’s always a great day to be OK to be Takei!

(2014) Documentary (Starz Digital Media) George Takei, Brad Takei, Walter Koenig, William Shatner, Leonard Nimoy, Nichelle Nichols, John Cho, Daniel Inouye, Norman Mineta, Lea Salonga, Dan Savage, Howard Stern, Jay Kuo, Tom Ammiano, Eddie Paskey, Lorenzo Thorne, Telly Leung, Jimi Yamaichi. Directed by Jennifer R. Kroot

From an outsider’s perspective, it seems that it must be great to be George Takei. Beloved Star Trek actor, Facebook sensation, activist and advocate for Japanese-Americans and the gay community, he has been described as America’s gay uncle and that might not be far from the truth.

But when you consider the things he’s been through – being imprisoned in two different internment camps for Japanese-Americans during World War II, and the no less damaging prison that came from being a closeted actor throughout most of his career (he didn’t come out until 2005 and then in response to Governor Arnold Schwarzenegger’s veto of the gay marriage bill.

He has overcome some difficult, dark days but he has emerged on the other end with a disingenuous smile and a live and let live attitude that might lead some to underestimate how forceful and passionate he is for the causes he believes in. Even his feud with William Shatner doesn’t seem to be something he takes all that seriously; I get the sense he doesn’t feel any ill will towards the actor. Shatner, interviewed for the film, comes off as somewhat befuddled about the fuss and a bit standoffish – “I really don’t know the man,” he protests on several occasions.

Still, I don’t know if I could be as cheerful as Takei given his circumstances. What keeps him sane, I think, is his relationship with his husband Brad. Brad is kind of the sensible, detail-oriented one in the relationship. He takes George’s crazy schedule and makes it work. Sometimes he can be a bit of a nag, other times he can be a bit startled at George’s occasional penchant for oversharing, sometimes he can be a bit of a nit-picker. Still, the love that is there is obvious and deep.

In fact, watching the interaction between George and Brad made me think “That’s me and my wife!” There is really no difference in their relationship than my relationship with my wife other than that my relationship is with a woman and George Takei’s is with a man. They both drive each other crazy upon occasion but they both lean on and rely on each other – and there’s no doubt either man would take a bullet for the other, literally and figuratively. That’s how most good marriages work. People who are fuzzy about whether gay people should be married should watch these two gay people together. They are indeed, the prototypical gay married couple.

I did find that aspect of the documentary inspiring; I also found that the scenes of George’s activism with both Japanese-American causes as well as gay causes to be among the most interesting in the film which is something since I’m a proud Trekker and love the little insights that come in from the surviving members of the crew of the Enterprise. As a Trekker I might have wanted more on his era in Star Trek but the film critic in me acknowledges that would only appeal to a certain segment, myself included.

However, the film critic in me frowns on the way that Kroot bounces around in subject matter, from the internment to George’s early Hollywood years to his discovering he was gay in high school to his Facebook stardom to his relationship with his parents. I would have preferred something a little more linear in terms of telling Takei’s story, although something tells me that George himself isn’t the most linear of men.

A project close to Takei’s heart these days is Allegiance, a musical about the Japanese-American experience in the internment camps that Takei starred in (along with Salonga). The show is largely informed by Takei’s own experiences and shows a depth in his acting that he rarely gets a chance to display. The musical set records at San Diego’s Old Globe Theater and is expected to debut on Broadway during the upcoming season.

Takei himself makes a fascinating subject for a documentary and it’s high time that there was one made about him. There are some great archival photographs and such but I think the focus here is rightly on the relationship between George and Brad – which is clearly the central focus in George’s life – and on his activism. It is impressive that in his 70s George Takei has become much more of a cultural phenomenon than he was as a younger man, and continues to work an impressive schedule not only as an actor but with personal appearances as well as speaking engagements for his various causes. Takei is a national treasure and we should appreciate him as such.

REASONS TO GO: Takei is as interesting a person as you think he is and probably more so. Does a lot to further the cause of gay marriage.
REASONS TO STAY: The documentary jumps around from subject to subject in kind of a willy-nilly fashion. May not have enough Star Trek material for some Trekkers.
FAMILY VALUES:  Suitable for family audiences.
TRIVIAL PURSUIT: Takei was born with the first name of Hosato, but was called George by his father, an Anglophile (as his son later became) after the coronation of King George VI in 1937.
CRITICAL MASS: As of 9/30/14: Rotten Tomatoes: 90% positive reviews. Metacritic: 67/100.
COMPARISON SHOPPING: Before You Know It
FINAL RATING: 6.5/10
NEXT: The Skeleton Twins

Pool Boys


George Takei wonders how he got into this movie.

George Takei wonders how he got into this movie.

(2011) Comedy (Cinedigm) Matthew Lillard, Brett Davern, Efren Ramirez, Rachelle Lefevre, Tom Arnold, Robert Davi, Jay Thomas, Rhoda Griffis, Patricia de Leon, Sheena Lee, Simona Fusco, Darla Haun, Janine Habeck, Monica Leigh, Jennifer Walcott, Heather Marsden, Rachel Rogers, A.J. Alexander, George Takei, John Billingsley, Stephanie Honore. Directed by J.B. Rogers

College these days is an expensive proposition and an Ivy League school like Harvard is nearly impossible unless your folks happen to have a spare million or two burning a hole in their pockets. For the rest of us, even if we have the grades and test scores to get in the very prospect of paying for a Harvard education is a daunting task.

That’s what Alex Sperling (Davern) is looking forward to. Fortunately, he has a summer internship set up that will help offset the cost but when that falls through, he looks to his fast-talking cousin Roger (Lillard) for help. Roger has been bragging about his successful aqua engineering business but as it turns out, Roger is a bit of a story teller – his business turns out to be pool maintenance in Los Angeles. As you might expect, Alex isn’t just disappointed – he’s furious.

Roger doesn’t want to let his cuz down however. A chance opportunity to housesit for a wealthy Beverly Hills client gives Roger a hare-brained idea – to turn the mansion into a brothel. He could – ‘scuse the pun – clean up and give Alex more than he needs for his tuition. Roger knows he can’t lose, particularly with Hollywood star Tom Arnold (himself) on his side.

If this kind of thing sounds familiar, it was old hat 30 years ago. Lillard is one of those character actors whose face you probably know well if not the name. He can do goofy but a little of it goes a long way and he’s a bit over-the-top here. So too is Efren Ramirez as an over-sexed gardener. However, they at least have some personality – Davern shows little here.

Like any raunchy sex comedy, there’s plenty of raunch – lots of women in various states of undress, the occasional boob, and I will say that the women in this film are as good looking as any as you’ll find in a single movie of this sort. For those looking for that sort of thing, you can’t go wrong here.

Unfortunately most of the rest of us want some comedy with our sex comedies and there is little of that to be found here. Most of the jokes are tired and/or fall flat. Some of that is performer-driven but much of it is that the jokes weren’t that funny to begin with. That’s not a good sign if you’re looking to laugh.

WHY RENT THIS: Plenty of gorgeous swimsuit-clad (and nude) bodies.

WHY RENT SOMETHING ELSE: Doesn’t add anything to the raunchy sex comedy genre. Not funny enough.

FAMILY VALUES: Plenty of raunchy humor, sexual content and nudity, some bad language and a bit of drug use.

TRIVIAL PURSUIT: The Braille studs on Lillard’s cap read “1969.”

NOTABLE DVD EXTRAS: There’s a virtual lapdance sequence (I kid you not).

BOX OFFICE PERFORMANCE: $2,269 on an unreported production budget.

COMPARISON SHOPPING: Risky Business

FINAL RATING: 4/10

NEXT: Ender’s Game

New Releases for the Week of November 1, 2013


Enders Game

ENDER’S GAME

(Summit) Asa Butterfield, Ben Kingsley, Harrison Ford, Viola Davis, Hailee Steinfeld, Abigail Breslin, Nonso Anozie, Brandon Soo Hoo, Moises Arias. Directed by Gavin Hood

After barely surviving a vicious alien invasion, humanity’s future rests on the shoulders of a little boy named Ender. Alone out of all the candidates for Battle School, he shows the most potential to lead humanity to victory against the Formic. However, the aliens are returning and time is running out. Ready or not, Ender must lead the forces of humanity against a formidable foe and impossible odds. Is he up to the challenge?

See the trailer, promos, a clip and a featurette here.

For more on the movie this is the website.

Release formats: Standard, IMAX (opens Thursday night)

Genre: Science Fiction

Rating: PG-13 (for some violence, sci-fi action and thematic material)

12 Years a Slave

(Fox Searchlight) Chiwetel Ejiofor, Michael Fassbender, Benedict Cumberbatch, Brad Pitt. This is the true story of an African-American born a free man in New York City. In 1841, Solomon Northup was a respected violinist who traveled around North America performing recitals, but one night he is betrayed, drugged and transported to New Orleans where he is sold as a slave. His struggle to escape and return home to his wife and children became the stuff of legend.

See the trailer, clips, featurettes and a promo here.

For more on the movie this is the website.

Release formats: Standard

Genre: Historical True Life Drama

Rating: R (for violence/cruelty, some nudity and brief sexuality)

About Time

(Universal) Domhnall Gleeson, Rachel McAdams, Bill Nighy, Lindsay Duncan. At first skeptical, a young man discovers that he has indeed inherited the family gift to be able to travel back to any moment in his life and relive it. He uses his gift to woo a comely young woman and to make his life better but eventually learns that time travel cannot cure everything and that there is a price to pay for every gift. This is opening at the Regal Winter Park Village only at present in the Orlando area but will expand to most theaters on November 8.

See the trailer and clips here.

For more on the movie this is the website.

Release formats: Standard

Genre: Romantic Fantasy

Rating: R (for language and some sexual content)

Free Birds

(Relativity) Starring the voices of Owen Wilson, Woody Harrelson, Amy Poehler, George Takei. A somewhat delusional militant turkey recruits the very unwilling Thanksgiving turkey presidential pardon for a mission back in time. Their destination: the very first Thanksgiving. Their mission: to substitute some other meat for turkey. Good luck with that.

See the trailer, clips and a promo here.

For more on the movie this is the website.

Release formats: Standard, 3D

Genre: Animated Feature

Rating: PG (for some action/peril and rude humor)

Krrish 3

(Filmkraft) Hrithik Roshan, Priyanka Chopra, Vivek Oberoi, Kangna Ranaut. An Indian superhero must battle an evil scientist and the mutant creatures he has created to save the world from a hostile takeover.

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: Bollywood

Rating: NR

Last Vegas

(CBS) Michael Douglas, Robert De Niro, Morgan Freeman, Kevin Kline. Four childhood friends, now edging somewhat reluctantly from middle age to old age, decide to head to Sin City to celebrate the impending wedding of the last hold-out to bachelorhood among them. While they’ve changed, so has Vegas baby and once these four hit the Strip, neither will be the same.

See the trailer and a clip here.

For more on the movie this is the website.

Release formats: Standard

Genre: Comedy

Rating: PG-13 (for sexual content and language)

Man of Tai Chi

(Radius) Keanu Reeves, Tiger Hu Chen, Karen Mok, Iko Uwais. A young martial artist studies Tai Chi to improve his spiritual self but an unscrupulous promoter on the underground fight circuit in Hong Kong ropes him into that lucrative field. As the matches grow more intense, the young fighter turns his back on the precepts he once held dear and his will to live must carry him through this crisis.

See the trailer and a link to stream the full movie here.

For more on the movie this is the website.

Release formats: Standard

Genre: Martial Arts

Rating: R (for violence) 

Skinwalker Ranch

(Deep Studios) Jon Gries, Kyle Davis, Erin Cahill, Devin McGinn. Strange goings-on at an isolated ranch and the literal disappearance of the ranchers 8-year-old son garner media attention. A year afterwards, a security firm sends an investigative team to look into what really happened. What they discover is much more than anyone could have imagined.

See the trailer and a clip here.

For more on the movie this is the website.

Release formats: Standard

Genre: Sci-Fi Horror

Rating: R (for language and some violence)

Underdogs

(Media Services) D.B. Sweeney, William Mapother, Melora Walters, Natalie Imbruglia. A perennially underachieving Ohio high school football team gets a new coach, a new attitude and a new lease on life. However, they still have to play their crosstown rival, a traditional powerhouse, in order to make that move to the next level.

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: True Sports Drama

Rating: PG (for some language) 

Star Trek Into Darkness


Alice Eve and Chris Pine try to out-blonde each other.

Alice Eve and Chris Pine try to out-blonde each other.

(2013) Science Fiction (Paramount) Chris Pine, Zachary Quinto, Zoe Saldana, Benedict Cumberbatch, Karl Urban, John Cho, Bruce Greenwood, Alice Eve, Peter Weller, Simon Pegg, Anton Yelchin, Noel Clarke, Nazneen Contractor, Amanda Foreman, Jay Scully, Jonathan H. Dixon, Aisha Hinds, Joseph Gatt, Deep Roy, Anjini Taneja Azhar. Directed by J.J. Abrams

The trouble with taking on an icon is that the bar is impossibly high. You’re not going to please everybody, particularly the diehard old guard fans of the franchise. The fever pitch of shrieking outrage usually begins with the second film in the reboot. J.J. Abrams knows that better than most; he has had his fingers in the hands of three beloved franchises – Mission: Impossible, Star Wars and Star Trek.

This is his second film in the reboot of the Trek franchise. The first got some grudging respect from the notoriously difficult-to-please Trek fandom who might very well turn their noses up if Gene Roddenberry were resurrected and turned up to direct a new Trek movie.

The new film starts out with a terrorist attack in London, ramps up with a conspiracy to militarize Starfleet’s science and exploration mission (think of NASA with missiles and bombs) and finishes up with the appearance of a familiar foe.

Normally I’m one to describe the plot in great detail, but I think I’m going to abstain this time – for one thing, I found that knowing little about what was to occur in the movie made it far more delightful. Knowledgeable Trekkers and those fairly familiar with the canon of the original series will find lots of references here, from Harry Mudd to Transwarp drive to tribbles. There is also a great deal of referencing one of the original series most popular episodes and most beloved films but not exactly as you might remember it.

Abrams has re-energized the franchise without a doubt. Part of the success of the reboot has to do with the casting – each of the choices are spot on. Pine in particular takes the essence of Captain Kirk created by William Shatner and loses some of the mannerisms that made the character a bit of a parody in later years. Pine understands the basics of the legendary Captain – the recklessness, the ego, the brilliant strategic mind and the penchant for womanizing, but takes out the quirks – the stunted speech patterns, the over-reaction reactions and the writers have kindly aided his cause by giving Kirk fewer pronouncements and more self-analysis.

Quinto also makes a terrific Spock, although I noticed in this movie that his jaw seemed a bit more set and he looked a little less like the original Spock in a lot of ways, but he does capture the constant war between the emotional human side and the cold, logical Vulcan in him. The trauma of Vulcan’s fate in the last film weighs heavily on him, although he doesn’t show it.

The relationship between Spock and Uhura is an interesting one, given that this is a recent invention. Zoe Saldana gives the character a little more action-orientation than Nichelle Nichols did in her day; I like also that the writers give her a lot more to do than being a glorified answering machine. She is much more a member of the team than she was in the original series, where much of the planning, decision making and risk taking was done by the male members of the crew. You’ve come a long way, baby.

Cho is a worthy successor to George Takei as Sulu. One of the great regrets I have when it comes to Star Trek is that we never really got to see too much of Sulu as Captain – in the couple of instances when we did see it Takei was amazing. Cho gets an opportunity to take command as Sulu and makes the most of it; I’m kind of hoping we see Cho in a spin-off someday.

Pegg is one of the world’s outstanding comic actors and while Scotty becomes more of a comic figure than he was in the original series (although depicted as a heavy drinker he had his share of drunk moments that James Doohan played beautifully) the main thrust of his character is his brilliance as an engineer and we get that from Pegg as well, although he is a bit more willful than the original Scotty and in one of the new film’s most underrated scenes stands right up to Kirk, something I don’t recall seeing the character ever do before but was a welcome moment here.

There are also “guest” characters; Greenwood as Pike is a bit of a mentor and a lot more of a father figure to Kirk. Alice Eve is gorgeous and plays her pivotal character as a lot more than you might guess from the surface – and the writers leave room for future glimpses of her character. Peter Weller, who had a couple of appearances on the Enterprise TV series, plays an admiral here whose character might remind long-time fans of an admiral who had a small but pivotal role in one of the last movies featuring the original crew.

That leads us to Benedict Cumberbatch whose character is…well, not who he appears to be. Fans of the original series will doubtlessly guess early on who he actually is but for now let us say that he is a brilliant adversary worthy of Kirk and Spock and whose appearance is done in what I believe is the proper way – coming into the series sideways, making the surprise all the more pleasant (although again savvy Trekkers will either know from Internet chatter who he is or guess based on the clues the filmmakers give us early on). Cumberbatch is an up-and-coming actor who looks to have a brilliant career ahead of him, and based on this film is already getting some scrutiny for some plum roles in franchise films. Before you know it this man is going to be one of the biggest stars in Hollywood. Bet on it.

The stakes are higher here and the effects are as crazy good as they were in the last Star Trek film. I chose not to see it in 3D – who wants to see those annoying lens flares in 3D? – and I think that’s a wise choice. Some of the scenes are set in pretty dark places and the 3D glasses will only make it murkier. Besides, I didn’t get the sense that 3D would have added anything to the experience.

I liked the movie just a smidge less than the first one; what pleased me most is that the filmmakers are developing the characters in just the right way to set up more thoughtful episodes in the future. While there was some underlying commentary about the militarization of space, the usefulness of drones and of terrorism in general, this is still a little more action-oriented than fans of the original series may like but that does make the movie more palatable to non-fans. Oh, and you get to see Klingons too.

In my review of the first film I wondered if Abrams could repeat his successful reboot in the second film. The answer is a resounding yes. This is great entertainment not only for Trekkers but for general audiences as well, managing to thread the line nicely. Certainly this bodes well for the future of the franchise and with the 50th anniversary of Trek’s debut in 1966 only a few short years away, one can only be hopeful that there are a lot more places for the crew of the Enterprise to boldly go.

REASONS TO GO: Pine turning out to be an excellent Kirk and the rest of the supporting cast works well also. Nice effects, battle sequences and stunts.

REASONS TO STAY: The story is a little bit all over the place.

FAMILY VALUES:  There are some pretty intense battle sequences in space as well as some pretty nifty fisticuffs.

TRIVIAL PURSUIT: Christopher Doohan, the son of the original Scotty (the late James Doohan), makes a cameo appearance as a transporter technician working alongside the current Scotty in the transporter room.

CRITICAL MASS: As of 5/23/13: Rotten Tomatoes: 87% positive reviews. Metacritic: 72/100; pretty impressive reviews for a Star Trek film.

COMPARISON SHOPPING: Avatar

FINAL RATING: 7.5/10

NEXT: Russian Ark