Blue Iguana


The gang that couldn’t shoot straight.

(2018) Heist Comedy (Screen Media) Sam Rockwell, Phoebe Fox, Ben Schwartz, Peter Ferdinando, Simon Callow, Amanda Donohoe, Frances Barber, Al Weaver, Peter Polycarpou, Anton Saunders, Jenny Bede, Andre Flynn, Vic Waghorn, Glenn Wrage, Peter Singh, Pedro Lloyd Gardiner, Paul Chan, Danny Granger, Martin Muncaster, Jack Silver, Pamela Cook. Directed by Hadi Hajaig

 

Stephen Soderbergh is famous for depicting teams of con artists and thieves who are cool, competent and clever. Most times, criminals are anything but those three things. Generally, people go into crime because they don’t have the skills to make a living honestly nor any inclination to obtain any. They want to do things the easy way, not knowing that if you want to get away with a crime it takes some planning, foresight and knowledge.

Eddie (Rockwell) and his buddy Paul (Schwartz) are both ex-cons working in a New York diner while out on parole and trying to keep their noses clean. Into the diner walks a pushy English rose named Katherine Rookwood (Fox) who is the lawyer for an Eastern European businessman named Arkady (Polycarpou). She needs to use the two schlubs for a job in London which would be a clear parole violation but she’s got that all covered.

What she needs is for them to steal a gym bag at one of the museums. If she retrieves the bag, it will erase a crushing debt she’s been trying to work off to the businessman. However, things don’t go entirely to plan; it turns out that the two Americans are way over their heads. Arkady has in his employ a mullet-wearing thug named Deacon Bradshaw (Ferdinando) who has serious mommy issues particularly since his mom (Donohoe) is oversexed and abusive. There are also much bigger fish to fry, particularly after Eddie and Paul – and Katherine as well – are double-crossed by Deacon and his violent thugs.

They work out a plan to take back what they lost and maybe get a little bit more – ok a lot more – than they would have gotten out of the deal; that is if they can keep their butts out of the crossfire. Not necessarily an impossible task since nobody in either gang can shoot worth a damn.

The first thing that came to mind as I watched this was that it’s Soderbergh on a budget. It crosses British gangster films with American heist movies which is a natural mix but one that really hasn’t been tried often until now (other than by Danny Boyle to my knowledge). In addition, it has the always watchable Sam Rockwell leading the cast.

He’s watchable enough here but he’s not nearly as manic as he normally is. The movie could have used a little more energy from Rockwell surprising to say and at the end of the day it is Fox who commands most of the kudos for her performance here. Her character does a lot of eating and if anyone can look endearing with a blog of ketchup on her chin, it’s Fox.

There is a lot of quirky charm in the movie; I liked Ferdinando as the volatile thug Deacon. He goes on profanity-laced rants when his underlings mess up which is just about all the time. Few can curse as well as a Cockney and Ferdinando makes a running gag out of it; in fact, Rockwell makes a point of trying to learn how to do the Cockney accent although to judge how effective he is you’d have to ask a true Cockney. My guess is “not well.”

Towards the end things start getting increasingly violent and that’s where the movie shines. There are several demises that are extremely bloody (particularly the very last one) and Hajaig handles them with a deft comedic flair. There were some moments that left me chuckling (although none that left me doubled over with laughter) and a few moments where I thought they missed the mark, particularly early on. One of my favorite running jokes is that nobody in the film can shoot worth a damn; I’m talking couldn’t hit the side of a barn with a basketball from five feet away type of shooting.

I like these sorts of movie and while the reviews thus far have been pretty poor, I actually thought this was a solidly entertaining and often fun piece of work. Yeah, there are a lot of clichés – you know that Eddie and Katherine are going to get romantic and they do – but for the most part, the fast pace and the humor keep you from wanting to check your cell phone too much. You may think that’s faint praise but in 2018 that’s actually an accomplishment.

REASONS TO GO: Quirky but entertaining. There are some truly inventive moments.
REASONS TO STAY: Rockwell’s performance is oddly subdued.
FAMILY VALUES: There is a good amount of profanity, violence and a smattering of gore.
TRIVIAL PURSUIT: The blue iguana is an actual breed of iguana that is indigenous to the Cayman Islands.
BEYOND THE THEATER: Amazon, Fandango Now, Google Play, iTunes, Microsoft, Vudu
CRITICAL MASS: As of 8/25/18: Rotten Tomatoes: 27% positive reviews. Metacritic: 30/100.
COMPARISON SHOPPING: Logan Lucky
FINAL RATING: 7/10
NEXT:
An L.A. Minute

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American Animals


These aren’t your father’s Reservoir Dogs although they may look it.

(2018) True Crime (The Orchard) Evan Peters, Ann Dowd, Barry Keoghan, Blake Jenner, Udo Kier, Jared Abrahamson, Drew Starkey, Lara Grice, Jane McNeill, Wayne Duvall, Gary Basaraba, Kevin L. Johnson, Whitney Goin, Jason Caceres, Gretchen Koerner, Elijah Everett, Warren Lipka, Spencer Reinhard, Chas Allen, Eric Borsuk, Betty Jean Gooch. Directed by Bart Layton

Everything looks easier in the movies. Real life is significantly harder. In real life, the hero doesn’t get the girl let alone ride off into the sunset with her, luck doesn’t side with the virtuous and crime never ever pays.

In 2004, Transylvania University in Lexington, Kentucky was rocked by the violent robbery that took place in their rare books section. It was further rocked when it turned out that the perpetrators were students attending the university (and the neighboring University of Kentucky). All of the criminals came from well-to-do or at least comfortably middle class families. None of them had a history of criminal behavior. So what happened?

Layton, a veteran British TV documentarian with one previous feature film (The Imposter) to his credit, fuses comedy and drama along with the documentary in this his first narrative feature film in a startling mash-up that moves at a frenetic pace like the best of Steven Soderbergh’s heist movies. He casts a quartet of talented young actors to play the leads and then utilizes the actual subjects themselves to insert commentary that is often contradictory as human recollection often is, and at times even interact with their fictional selves.

The mastermind is Warren Lipka (Peters), a young man who suspects that he will lead an unremarkable life, a fate worse than death in his opinion. If he doesn’t have the temperament or the skills to do something for the betterment of all, well it’s better to be infamous than un-famous. His childhood best friend is Spencer Reinhard (Keoghan), who while touring his university is shown the John James Audubon first edition Birds of America, one of the most valuable books in the world and one that happens to be housed at Transylvania University. When he remarks upon it to his friend, the wheels begin turning in Lipka’s mind as he sees it as the way to make his mark. He’s seen enough heist movies to know what is needed to make the robbery work.

At first the discussions are all very theoretical but gradually over time these discussions cross the line into planning an actual robbery. The two know they could never pull this off on their own so they rope in fellow students Eric Borsuk (Abrahamson), a mega-organized math whiz, and entitled jock Chas Allen (Jenner) who will drive the getaway car. Their only obstacle; the kindly middle-aged librarian Betty Jean Gooch (Dowd) who is physically present in the library at all times. The boys are confident they can overcome the security measures protecting the book.

While the movie doesn’t have the pizzazz, the flair or the star power of the Oceans franchise, it does have a tone all its own and a unique viewpoint. While the gimmick of conflicting testimony has been used in other movies before (notably and most recently I, Tonya) it is utilized brilliantly here and doesn’t seem gimmicky at all.

This was the opening night film at this year’s Florida Film Festival; it was also at Sundance where it made a notable splash. There is good reason for both of those facts; this is a wildly entertaining and occasionally poignant film with enough teen hubris to choke a horse. It’s just now completing its theatrical run at the Enzian and will shortly be available on VOD although I would highly recommend that readers in Orlando check it out at the Enzian. While there is one brutal and shocking scene of violence that might be difficult for the sensitive, this is essential viewing and all efforts should be made to see this movie one way or another. The real crime is if you fail to do so.

REASONS TO GO: This is a refreshingly original take on the heist film. Layton mashes up drama, comedy and documentary into a new genre all its own. The pacing is perfect. Fine performances by Keoghan and Jenner.
REASONS TO STAY: There is one scene that may be a little bit too much for those sensitive to violence.
FAMILY VALUES: There is plenty of profanity, some drug use and a scene of brutal violence.
TRIVIAL PURSUIT: Although the film is set at Transylvania University in Kentucky where the events actually happened, the movie was filmed in North Carolina at Davidson College.
CRITICAL MASS: As of 8/12/18: Rotten Tomatoes: 86% positive reviews. Metacritic: 66/100.
COMPARISON SHOPPING: The Bank Job
FINAL RATING: 9/10
NEXT:
A Quiet Place

Despicable Me 3


Gru can’t believe that his twin brother has Fabio hair.

(2017) Animated Feature (Universal/Illumination) Starring the voices of Steve Carell, Kristen Wiig, Trey Parker, Miranda Cosgrove, Dana Gaier, Nev Scharrel, Pierre Coffin, Steve Coogan, Julie Andrews, Jenny Slate, Andy Nyman, Adrian Ciscato, Brian T. Delaney, Katia Saponenko, Ken Daurio, Cory Walls, Carlos Alazraqui, Mindy Sterling, Laraine Newman, Teresa Ganzel. Directed by Kyle Balda, Pierre Coffin and Eric Guillon

 

There’s this thing about the third film in a trilogy. Once in awhile, it turns out to be the best of the series i.e. the original Star Wars trilogy or Indiana Jones. Most of the time, however, the films in a trilogy tend to get progressively weaker. Which one in the Gru trilogy will the third film be?

Gru (Carell) is working with his new wife Lucy (Wiig) in the Anti-Villains League trying to take down Balthazar Bratt (Parker), a kid star from a forgotten 80s sitcom who is out to steal the world’s largest diamond. When that goes sideways, the two are fired by new no-nonsense AVL head Valerie Da Vinci (Slate).

When Gru’s mom tells her son about the twin brother Dru (Carell again) that he never knew he had, Lucy urges him to visit his twin along with the girls – Margo (Cosgrove), the level-headed one; Edith (Gaier) the playful one and Agnes (Scharrel), the shrill unicorn-obsessed one – to visit. It turns out that Dru has taken up the family business and plans one last big score with his brother. It’s back to being despicable once again – or is that deplorable?

The first movie felt fresh and fun, the sequel less so and this one feels tired and uninspired. Dru isn’t much of an addition to the ever-expanding family and the girls get more obnoxious and unendurable with each passing film. Worse yet, Bratt is an unremarkable villain who seems to be all gimmick and no interesting traits. The movie relies way too much on gadgets, some of which are admittedly fun but one gets into gadget overload – did the directors learn nothing from the mid-80s Bond films?

You’ll notice I haven’t mentioned the Minions up to now. That’s because they have a much-reduced presence in this film compared to the first two and I think that ends up hurting the movie overall. I can understand that the producers might have been concerned about an oversaturation of Minions, considering that they had their own movie a couple of years ago (and another one scheduled for 2020) but they have been the best part of the Despicable Me franchise from the beginning. Trying to rely more on Gru and the colorless Dru was a tactical error.

There’s enough here to keep the kids entertained and clearly they were – the movie was the only summer release to gross more than a billion dollars at the worldwide box office. However, parents who decide to rent or buy this one might want to find a reason to leave the room when the kids are watching.

REASONS TO GO: There are some great “mom” moments. Some of the gadgets are clever.
REASONS TO STAY: The franchise feels like it’s running out of steam. The film could have used more Minions and less Dru.
FAMILY VALUES: There is a little bit of cartoon action and some rude humor (if your kid goes ape for fart jokes, you might want to think twice about letting them see this).
TRIVIAL PURSUIT: Elsie Fisher who voiced Agnes in the first two films was replaced by Scharrel because Fisher had outgrown the role.
BEYOND THE THEATERS: Amazon, Fandango Now, Google Play, iTunes, Vudu
CRITICAL MASS: As of 11/22/17: Rotten Tomatoes: 60% positive reviews. Metacritic: 49/100.
COMPARISON SHOPPING: Minions
FINAL RATING: 6/10
NEXT:
The Man Who Invented Christmas

68 Kill


Now here’s a woman who knows how to get what she wants.

(2017) Action (IFC Midnight) Matthew Gray Gubler, AnnaLynne McCord, Alisha Boe, Sheila Vand, Sam Eidson, Michael Beasley, James Moses Black, David Maldonado, Ajay Mehta, Hallie Grace Bradley, Lucy Faust, Peter Jaymes, Eric Podnar, Carlos Antonio, Walker Babington, Kelly Connolly. Directed by Trent Haaga

This year there’s been a spate of heist action films that have been unusually entertaining. One that’s flown under the radar is this gem that made some waves at South by Southwest and also the Florida Film Festival.

This one is a little bit more graphic than most. Chip (Gubler) is a decent guy who has a problem; he just can’t say no to a pretty girl. His girlfriend Liza (McCord) knows all about it and uses it to her advantage. She’s not a very nice girl in a lot of ways but what she is for whatever its worth is practical. Chip wants to bring in as much cash as he can to support Liza who has lavish lifestyle tastes on a trailer park budget. In fact, they do live in a trailer park and when the couple is short on funds when the rent is due – which occurs pretty often – she makes up for it with blow jobs and other sexual favors.

Liza is pretty much done with this sort of life. She’s learned that the landlord (Jaymes) is keeping a stash of cash in his home safe – to the tune of $68,000. Such a haul, she reasons, would be enough to give her and Chip a brand new life in a much better place than the craphole they live in. It’s an easy, smash and grab job – nobody has to get hurt. However, just in case – a couple of guns might come in handy if they need to defend themselves. Nothing to worry about, honey; I’m sure we won’t need to use them. I’m positive of it, in fact. You can guess how that’s going to go.

Two dead people and a hostage named Violet (Boe) later, a sickened Chip and adrenalized Liza show up at her brother Dwayne’s (Eidson) house to sell him Violet; as it turns out, Dwayne likes to torture and mutilate women for sexual pleasure and Violet is plenty pretty. This is way more than Chip signed on for and he decides to cut his losses and get out with Violet. However, Liza doesn’t take well to breaking up with her boyfriend as you can imagine and as weird as things have been, they are about to get weirder.

Haaga, who has some experience in the Troma factory of low budget genre movies, has a phenomenal sense of pacing; this movie starts off with a shot of a fly caught in honey (a heavy-handed but apt metaphor) and then never lets the foot off the gas. The movie careens – sometimes drunkenly but always sure of its destination – from one set piece to the next. We just hang on for dear life and if we’re smart, enjoy the ride.

AnnaLynne McCord is an absolute revelation. I don’t think I’ve seen any actress play a psychotic bitch quite as ably as McCord in ages. This ranks up there with What’s the Matter with Baby Jane territory in my opinion; she’s that good. One moment she can be tender and loving towards Chip and the next she’s a shrieking banshee with a pump action rifle aimed for your skull. Love hurts, fool.

Gubler who plays the seminal science nerd in Criminal Minds gets to stretch his wings a bit here in a role that is very unlike the one he’s known for. Chip is sweet but spineless and not book smart or street smart. As a result he makes some unwise choices and he is way too naive when it comes to women, particularly in that part of the world which seems to be populated by some mean ones.

I like that the movie just keeps getting better and better as it goes along. It’s not a movie that overstays its welcome in the least nor does it start out so slow that by the time it gets going the viewer has already checked out. Rather by the time the climax is in full gear I was fully invested in the story and characters. That doesn’t happen all the time for both of those elements, so kudos to Haaga.

Now, most of the women in this movie (with the exception of Violet) are stone cold crazy, over-the-top bitches, hookers, double crossers, two timers or some combination thereof. ‘Course, most of the men in the movie (with the exception of Chip) aren’t much better but there seem to be more redeemable men in the film than women. Some might find this anti-woman, although I don’t think it is personally. If anything, it’s anti-low life scumbag and that’s a cause that reaches across both sides of the aisle.

There is plenty of humor here to lighten up the gore and violence; it’s a little on the dry side so those who don’t cotton to that kind of funny might be well-served to stay away. The characters here are also the most misbegotten collection of fever dream psychos ever assembled in an indie film. It’s like David Lynch in charge of Deliverance in a trailer park setting and if that log line intrigues you, this is the kind of film you’ve been waiting for all year. This isn’t for everyone but if you like to have fun at the movies, don’t mind a little gore, get revved up by frenetic action sequences and don’t mind some oddball characters in the mix, your ship has come in.

REASONS TO GO: The film gets better as it goes along. The humor is bone dry in a good way.
REASONS TO STAY: Some may find this a little misogynistic.
FAMILY VALUES: There is plenty of profanity, just as much violence, some gore and sexuality.
TRIVIAL PURSUIT: The film won the audience award in the Midnighters category at this year’s South by Southwest Film Festival.
BEYOND THE THEATER: Amazon, iTunes, Vudu
CRITICAL MASS: As of 9/3/17: Rotten Tomatoes: 87% positive reviews. Metacritic: 56/100.
COMPARISON SHOPPING: Logan Lucky
FINAL RATING: 7.5/10
NEXT: Win It All

Logan Lucky


Logan Lucky gives you the most Joe Bang for your buck.

(2017) Heist Comedy (Bleecker Street) Channing Tatum, Adam Driver, Riley Keough, Katie Holmes, Daniel Craig, David Denman, Farrah Mackenzie, Seth MacFarlane, Charles Halford, Hilary Swank, Brian Gleeson, Jack Quaid, Katherine Waterston, Dwight Yoakam, Sebastian Stan, Darrell Waltrip, Jeff Gordon, LeAnn Rimes, Macon Blair, Ann Mahoney. Directed by Steven Soderbergh

 

When Steven Soderbergh announced he was retiring from directing Side Effects in 2012, a lot of film buffs – this one included – were disappointed. Soderbergh had been for more than 20 years one of the most fascinating and interesting directors ever since emerging from the indie ranks. He’d directed huge blockbusters and small intimated films but the time had come for him to hang it all up.

Thankfully, he couldn’t stay away for very long and his retirement only lasted five years. He’s back with this stupid entertaining film that can best be described as Elmore Leonard by way of The Dukes of Hazzard or the unholy lovechild of Oceans 11 and Talladega Nights.

Jimmy Logan (Tatum) is a former football star whose NFL dreams were derailed by a knee injury. Since then, he’s worked whatever jobs he could find, be them in the mines of West Virginia or a construction gig in North Carolina. Through it all he makes the time to be a dad to Sadie (Mackenzie) who lives with her mom Bobbie Jo (Holmes) and her new husband Moody (Denman).

The Logan clan has always been the poster children for the adage “If it wasn’t for bad luck they wouldn’t have any luck at all.” Jimmy’s bum knee comes to the attention of the insurance company who deem it a pre-existing condition and the construction company that Jimmy is working for in the bowels of the Charlotte Motor Speedway has to let him go. To make matters worse, it turns out that Moody is opening up a new car dealership in a distant part of West Virginia and Jimmy is likely not going to see his daughter hardly at all. Moving to be close to his little girl is something he simply can’t afford.

So he decides that he is going to have to finance his life the old-fashioned way – by stealing, and he has a whopper of a plan. He’s going to rob the Charlotte Motor Speedway during a car show when the attendance is low and security is lax. Jimmy can’t do the job by himself so he enlists his war veteran brother Clyde (Driver) who lost his arm in Iraq, and his hairdresser sister Mellie (Keough).

Even that won’t be enough however; he needs a demolition expert and there are none better at it than Joe Bang (Craig). Unfortunately, Joe has had a disagreement with the law and is currently in residence at the West Virginia state penitentiary.. Jimmy and Clyde are going to have to break out Joe so his absence isn’t noticed and sneak him back in so that it’s like he was never gone. Why not just stay out? Because he’s close to his parole date and he doesn’t want to mess it up. Jimmy’s got a plan for that too, however.

Heist movies, when done properly are maybe the most entertaining of all movie genres. Fortunately, this one is done properly. It has a large cast but not too large; it’s got some fairly impressive names in it and a director who knows how to make use of them. The writing is taut and smart and even though much of the dialogue is delivered in thick Mountaineer State accents the pacing moves at lightning speed. There is literally never a dull moment in this film.

I have to admit that early on in Tatum’s career I was not a fan. I’m happy to say that I am now however. He has worked hard and improved almost with every movie; he has learned to improve where he can and on those things he hasn’t improved upon (yet) he makes sure he chooses roles that don’t accentuate his flaws. He has enough onscreen charm to make Leona Helmsley smile through a toothache and of course just about any lady (and quite a few men) will tell you that he’s not so hard on the eyes.

Daniel Craig is a revelation here. Generally he plays tightly wound characters but here he seems to let absolutely loose and have more fun than I’ve ever seen him have with a character, well, ever. With his bottle blonde spiky hair and cornpone accent so thick that it might have been laid on with a trowel, he inhabits the character without fear or inhibition. I would be happy to see a Joe Bang spin-off movie.

Soderbergh excels at these sorts of movies. His Oceans series is proof of that but he knows how to pace a movie to leave the audience breathless. This is about as high-octane as a NASCAR race and the viewer never has to wonder for a moment what’s going to happen next because Soderbergh wastes not a moment in this film. He also infuses it with a jet-propelled soundtrack of roots rock, country and high-octane rockers that hit the audience like a dose of jet fuel.

Now those of a Southern rural background might take offense to this and I can’t say as I blame them. The movie really plays to Hollywood stereotypes as the Southern rubes that are street-clever and get one over on the city slickers It is this kind of disparagement that drove many West Virginians to vote for Trump. Maybe that’s something liberal filmmakers should take a look at objectively.

As it is this is as fun a movie as I’ve seen this summer and after a season of bloated blockbusters and over-hyped disappointments it’s a pleasure to just sit back and enjoy a movie that you don’t have to think about but just have fun with. This has the makings of a sleeper hit if it gets marketed right; sadly, that doesn’t appear to have been the case. A lot of moviegoers don’t know much about this movie whose trailer wasn’t much seen in theaters or on television. Hopefully enough will catch on that this is a fun movie that is everything that a summer movie should be. That should be enough to call an audience out of the heat and into the multiplex.

REASONS TO GO: This is the kind of material that is right in Soderbergh’s wheelhouse.  The film is blessed with clever writing and a terrific soundtrack.
REASONS TO STAY: Rural Southerners might find the stereotypes offensive.
FAMILY VALUES: There are some crude comments as well as a smattering of profanity.
TRIVIAL PURSUIT: Tatum and Keough both co-starred in Magic Mike, also directed by Soderbergh.
CRITICAL MASS: As of 8/18/17: Rotten Tomatoes: 93% positive reviews. Metacritic: 78/100.
COMPARISON SHOPPING: Baby Driver
FINAL RATING: 7.5/10
NEXT: Sidemen: Long Road to Glory

Ant-Man


Ant-Man on the wrong side of the tracks.

Ant-Man on the wrong side of the tracks.

(2015) Superhero (Disney/Marvel) Paul Rudd, Michael Douglas, Evangeline Lilly, Corey Stoll, Michael Pena, Anthony Mackie, Judy Greer, Bobby Cannavale, Abby Ryder Fortson, David Dastmaichian, T.I, Hayley Atwell, Wood Harris, John Slattery, Martin Donovan, Garrett Morris, Gregg Turkington, Rod Hallett, Joe Chrest, Hayley Lovitt. Directed by Peyton Reed

Good things come in small packages. It’s a truism that was likely created by short people. Still, it can be true even for superheroes.

Scott Lang (Rudd) is not a thief. He’s a burglar. But not your ordinary burglar. He’s a man with a Masters in Electrical Engineering and plenty of skills with a computer. He saw that a software company had been ripping off its customers, so he decided just to return the funds they had been overcharging to their customers. Kind of a modern day Robin Hood.

But even though his good buddy Luis (Pena) puts him up, Scott is finding it hard to make it in the outside world. Even a job at Baskin-Robbins doesn’t pan out when they find out he’s an ex-con. Baskin-Robbins always finds out. Anyway, his ex-wife (Greer) doesn’t want him anywhere near their cute daughter Cassie (Fortson) and her new husband Paxton (Cannavale), a cop, is going to make sure he stays away.

Hank Pym (Douglas) is a brilliant inventor who came up with a particle that compresses molecules, enabling the wearer of the suit he invented to utilize them to shrink to the size of an insect. He left SHIELD after a disagreement with Howard Stark (Slattery) and more to the point, Mitchell Carson (Donovan) led him to resign.

He entered the private sector and took on a protégé named Darren Cross (Stoll). After the death of his wife, Janet van Dyne (Lovitt) led to an estrangement with his daughter Hope (Lilly) to the point where she now uses her mother’s maiden name as her own, he had largely left the company. He only came back in because Cross was on the verge of discovering the secret to his particles – and planned to use a weaponized version of the suit to sell to the highest bidder. He needs someone to steal the suit and erase all the data from the system pertaining to it. But who could pull it off?

Of course it’s Scott Lang. And he and Hope (who, finding out about Cross’ plans has teamed up with her father) have a very short time to train Scott in using the suit properly, to fight effectively in it and use all the properties (like controlling ants) to become a hero in his own right. But will it be enough to beat the villainous Yellowjacket – the alter ego of Cross?

One of the things I have admired most about the Marvel Cinematic Universe is that the movies are not interchangeable. Each of them has their own style and Ant-Man continues that tradition. This is much more light in tone than the previous entries in the Marvel Universe, more like Guardians of the Galaxy than Avengers: Age of Ultron, the latter of which immediately preceded it in the Marvel timeline.

And maybe the MCU needed it; I think that other than the staunchest of Marvel fans were feeling a touch of burn-out after Age of Ultron. For whatever reason the powers-that-be at Disney decided that this would come out a mere two and a half months after the preceding movie which is a poor tactical decision and will likely cost this movie millions of box office dollars. Perhaps they just wanted a longer gap between the movie that ends Marvel’s Phase II (which this one does) and the one that begins Phase III (which Captain America: Civil War will on May 6, 2016). Still, with the Avengers still in a lot of theaters, it doesn’t make sense to release this one. I guess they’re getting ready to ratcheting up the film production to three a year rather than two which Marvel is planning on doing in 2017.

In any case, I suspect that the relatively low box office numbers (which would still be the envy of plenty of summer films) is largely due to the short turnaround. It may also be due to fan dissatisfaction over the change in director (see below) as fan favorite Edgar Wright left (or was forced out as many conspiracy-minded fanboys have opined) and Peyton Reed came aboard. I can’t say that Reed was a crackerjack replacement, but he does tend to keep things very simple in terms of framing shots and blocking action, but he also realizes this is necessarily effects-driven and allows the digital wizards to do their thing and do it they do.

The effects are for the most part well-executed, although the 2001-style sequence near the end of the movie as Scott enters the Microverse is a bit psychedelic, some might even say Dali-esque. The movie works best when they are in the world with ants as big as SUVs and where Thomas the Tank Engine becomes a runaway locomotive.

Rudd has always been a personable actor with a flair for the sarcastic and his winning personality is at full throttle here. He has bulked up his musculature to superheroic proportions and despite the fact that he is playing a convict (albeit a philanthropic one) the audience roots for him from beginning to end. There were those who might have rolled their eyes when he was cast but again, it turns out to be perfect casting as Marvel seems extremely adept at matching their superheroes with the right actors to play them.

I’ve always been a big Michael Douglas fan and for me, he is the best reason to go see this. Hank Pym is undeniably the best character he’s gotten in ages and this is his best performance in years. This is the Michael Douglas we remember from such films as Romancing the Stone, Wall Street and Fatal Attraction. He owns the screen every time he’s on it.

In the supporting realm, Evangeline Lilly is somewhat enigmatic in her pageboy haircut that reminded me of silent movie star Louise Brooks; ever since her breakout performance in Lost she hasn’t really gotten a part that takes advantage of her skills until now. Hopefully she’ll get plenty of good parts off of her performance here. Also Pena shows remarkable comic ability here; he has tended to play second banana roles for the most part – lots of cops on his filmography – but he steals the show here.

The light-hearted tone may be disappointing to fans who prefer their superheroes dark and undoubtedly we’ll get plenty of that in the next several Marvel films starting with Fantastic Four next month. Still, this is fine summer entertainment, better than the majority of the blockbusters that have appeared this summer to date and that’s saying something. This won’t stand up with the best of the Marvel Cinematic Universe but it won’t disappoint either. Marvel keeps on rolling and I for one continue to look forward to each new Marvel movie with anticipation.

REASONS TO GO: A little more light-hearted than most superhero films. Douglas gives his best performance in years.
REASONS TO STAY: May be too light for hardcore fans.
FAMILY VALUES: Superhero-style violence.
TRIVIAL PURSUIT: The film was originally developed by Edgar Wright who had brought the film to casting; however he dropped out at the 11th hour due to creative differences with Disney who had bought Marvel Studios in the intervening years; Reed stepped in, retaining the cast Wright had chosen.
CRITICAL MASS: As of 7/26/15: Rotten Tomatoes: 79% positive reviews. Metacritic: 64/100.
COMPARISON SHOPPING: The Incredible Shrinking Man
FINAL RATING: 7/10
NEXT: Shaun the Sheep Movie

Chappie


Dev Patel and a new kind of Robocop.

Dev Patel and a new kind of Robocop.

(2014) Science Fiction (Columbia) Dev Patel, Hugh Jackman, Sigourney Weaver, Sharlto Copley, Yo-Landi Vi$$er, Ninja, Jose Pablo Cantillo, Brandon Auret, Johnny Selema, Anderson Cooper, Maurice Carpede, Jason Cope, Kevin Otto, Chris Shields, Bill Marchant, Robert Hobbs, Mark K. Xulu, Sheridon Marema, Shaheed Hajee, Arran Henn. Directed by Neil Blomkamp

Law enforcement is by definition a dangerous job. Police officers are killed in the line of duty all over the world more often than we would all like. Some feel that militarizing the police will protect better those who protect and serve. Using advanced military robotics may well be the solution, they might think.

Johannesburg, South Africa, has gone one step forward in that direction. Rather than put tanks and armored personnel carriers in the streets with gangs armed with rocket launchers and other advanced weaponry, they have put mechanized robots. However, these robots are often used with police officers, since a computer can’t tell right from wrong. However, the programmer for the robot cops, a fellow named Deon Wilson (Patel).

Deon has a whole other idea in mind. He’s developed a program that would give the Scout robots artificial intelligence; the ability to learn, grow, expand and make moral judgments that they couldn’t possibly make in the field. What he doesn’t know is that Michelle Bradley (Weaver), the head of the company he works for, is deathly afraid of even the concept of A.I., knowing that it could mean the end of the human race.

More practical is Vincent Moore (Jackman), an ex-military man whose creation, a clunky AT-AT looking thing whose design was rejected by Bradley, has more practical reasons for being pissed at Deon – he wants his Scout project to fail. He wants it to fail miserably and then let his own devices come save the day. Everyone in the building knows that Moore is a piss-poor engineer but everyone is a little afraid of him because Moore is a little psycho.

After a Scout is badly damaged in the field it is assigned to get scrapped. Seeing an opportunity to see if he can make his creation work, Deon decides to bring home the spare parts to build a robot of his own and see if he can make the A.I. work. Instead, he’s intercepted by a gang led by Ninja and Yo-Landi (Ninja and Vi$$er, respectively) who want him to give them a means of turning off the Scouts so that they can undertake a grand heist that will in turn give them the cash to pay off Pitbull (Selema), a psychotic gang leader who they owe money to.

Instead of an off switch, they get Chappie (Copley), the robot with the A.I. Child-like and frightened, Chappie learns at an astonishing rate. Ninja wants to turn Chappie into an accomplice in the heist while Yo-Landi is more of a nurturing sort. Despite Deon’s best efforts to keep Chappie in the straight and narrow, Ninja and his mate Yankee (Cantillo) are turning on Chappie to the delights of Thug Life and Gangsta Rap.

But Chappie is developing a moral compass of his own and is torn between Ninja and Yo-Landi, whom he address as Daddy and Mommy, and Deon, his creator. What will Chappie become, and what will happen when he gets there?

Blomkamp is the South African director behind District 9 and Elysium. Both are dystopian sci-fi films that are not only well-made entertainment but thought-provoking as well. This is the latest in that particular trend, although quite frankly it’s not as successful as the first two.

Artificial Intelligence is a subject that is moving well out of the province of science fiction and into the realm of science. It’s something we’re getting closer to. The nominal villain of this film, Moore, opines that artificial intelligence is unpredictable and could decide at a moment’s notice that the easiest way to protect the world was to get rid of the human population. He does have a point.

But then again, Chappie is literally a child whose moral development is being overseen by thugs. I can imagine that would raise some red flags, although the Yo-Landi character is a bit more maternal and less harsh than her male counterpart.

Patel who rose to fame with Slumdog Millionaire has become an engaging, charismatic actor who is able to ensnare audience sympathies with just a smile. He has as expressive a face as anyone in the business and he uses it to good purpose here. Jackman for his part rarely plays the villain and while his point of view here at least is relatable, the character’s jealousy and bullying tactics make the character hissable. I hate to say it but Jackman is far too ingrained in the public consciousness as a hero to make as an effective villain as you might like. Weaver is simply one of the most compelling actresses of our time.

Copley supplies the motion capture for Chappie as well as his voice; he does a pretty serviceable job, particularly delivering some much-needed moments of pathos near the end of the film. Copley is no Andy Serkis (but then again, who is?) but he does make Chappie feel like an actual flesh and blood…er, nuts and bolts robot.

Where the movie falls down is in the casting of Ninja and Yo-Landi Vi$$er. They are both highly regarded rappers in South Africa and they have the look of the criminal gang down, but quite frankly they’re both horrible actors. Ninja is stiff and delivers his lines in kind of a colorless gruff voice that gives me the impression that he didn’t really want to be there while Yo-Landi’s child-like voice is so distracting that some of her dialogue simply becomes unlistenable. One wonders if the characters carried the same name as the rappers because Blomkamp, who co-wrote the script with his wife, didn’t trust them to react to different character names while the cameras were running.

Blomkamp makes some tactical errors along the way besides the casting. The dialogue is often cheesy and doesn’t sound like real people talking. The abandoned industrial sites that are the hideouts for Pitbull’s gang as well as Ninja’s are indistinguishable from one another, while having Pitbull brandishing a solid gold machine gun may look gangsta but is impractical to say the least and ludicrous to be more accurate. There’s a lot more I could go into but it would be like kicking a dog while it’s down.

The movie has been fairly negatively received both by critics and at the box office and I can genuinely say that both critics and audience have it right. It isn’t to say that Chappie is without any merit whatsoever and should be avoided like a root canal on a healthy tooth – there is entertainment value here, it’s just that if you go in expecting something along the lines of District 9 you are going to leave disappointed. Blomkamp clearly is a talented director and has some major high profile projects lined up for the near future. Hopefully he’ll do a better job with them than he did with this.

REASONS TO GO: Some genuine moments of pathos. Dev Patel is engaging and Hugh Jackman makes for a decent villain.
REASONS TO STAY: Rappers are TERRIBLE actors. Missteps throughout.
FAMILY VALUES: A lot of violence, even more foul language and some brief nudity.
TRIVIAL PURSUIT: Chappie’s rabbit ear antennae are a nod to the similar look of Briareos in the manga Appleseed of which Blomkamp is a fan.
CRITICAL MASS: As of 3/25/15: Rotten Tomatoes: 30% positive reviews. Metacritic: 41/100.
COMPARISON SHOPPING: Bicentennial Man
FINAL RATING: 6/10
NEXT: The Wrecking Crew