New Releases for the Week of February 15


ALITA: BATTLE ANGEL

(20th Century Fox) Rosa Salazar, Christoph Waltz, Jennifer Connelly, Mahershala Ali, Ed Skrein, Jackie Earle Haley, Keean Johnson. Directed by Robert Rodriguez

Based on a legendary manga, this collaboration between director Robert Rodriguez and producer James Cameron involves a young cyborg girl who awakens with no memory of who she is in a future she doesn’t recognize. A kindly doctor takes her in, knowing that there is a deadly secret the girl possesses that the unscrupulous rulers of the city will stop at nothing to control.

See the trailer, video featurettes, clips and an interview here
For more on the movie this is the website

Genre: Science Fiction
Now Playing: Wide Release

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

Happy Death Day 2U

(BlumHouse/Universal) Jessica Rothe, Israel Broussard, Ruby Modine, Phil Vu. The young woman who escaped a deadly loop of reliving her birthday over and over again ending in her own murder finds herself back in the same loop, only this time she is not sure at all why.

See the trailer and an interview here
For more on the movie this is the website

Genre: Horror
Now Playing: Wide Release

Rating: PG-13 (for violence, language, sexual material and thematic references)

Isn’t It Romantic?

(New Line) Rebel Wilson, Liam Hemsworth, Adam DeVine, Priyanka Chopra. An unlucky-in-love architect awakens from a mugging to discover that she is living as the leading lady in a rom-com – the type of movie that she absolutely detests.

See the trailer, video featurettes and a clip here
For more on the movie this is the website

Genre: Romantic Comedy/Fantasy
Now Playing: Wide Release

Rating: PG-13 (for strong violence, drug material, and some language including sexual references)

The Wandering Earth

(CMC) Guangjie Li, Chuxiao Qu, Man-Tat Ng, Jinmai Zhao. When the sun begins to die, threatening all life on planet Earth, brave astronauts must find a way to save us all. Their Chinese opening last weekend took in more than $400 million.

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

Genre: Science Fiction
Now Playing: Regal Waterford Lakes

Rating: NR

ALSO OPENING IN ORLANDO/DAYTONA:

Dev
Donnybrook
Gully Boy
Lords of Chaos
Oscar Nominated Shorts (Animated, Documentary, Live Action) 2019

ALSO OPENING IN MIAMI/FT. LAUDERDALE:

Dev
Gully Boy
Love at First Kiss
Oscar Nominated Shorts (Animated, Documentary, Live Action) 2019

ALSO OPENING IN TAMPA/ST. PETERSBURG:

Donnybrook
Gully Boy
Lovers Day
Oscar Nominated Shorts (Animated, Documentary, Live Action) 2019

ALSO OPENING IN JACKSONVILLE/ST. AUGUSTINE:

Dev
Gully Boy]
Lords of Chaos
Oscar Nominated Shorts (Animated, Documentary, Live Action) 2019
Return of the Hero

SCHEDULED FOR REVIEW:

Alita: Battle Angel
Happy Death Day 2U
Isn’t It Romantic?

FILM FESTIVALS TAKING PLACE IN FLORIDA:

Reel Representation, Maitland

The Dark Tower (2017)


Good vs evil goes nose to nose.

(2017) Fantasy (Columbia) Matthew McConaughey, Idris Elba, Tom Taylor, Dennis Haysbert, Ben Gavin, Claudia Kim, Jackie Earle Haley, Fran Kranz, Abbey Lee, Katheryn Winnick, Nicholas Pauling, Michael Barbieri, José Zuñiga, Nicholas Hamilton, Inge Beckmann, Alfredo Narciso, Eva Kaminsky, Robbie McLean, Mark Elderkin, Matthew Thomson, Karl Thaning, Charlize Churcher. Directed by Nicolaj Arcel

 

There are few who will accuse Stephen King of being a brilliant writer but it is true that when it comes to telling a story he is without peer. His most ambitious story is the eight-book Dark Tower saga featuring Roland Deschain (Elba) as the last of an honorable caste of warriors known as the Gunslingers. He is tasked to protect The Dark Tower, a structure at the intersection of all reality that keeps chaos at bay. It is in the process of failing thanks to an evil wizard named Walter O’Dim (McConaughey) a.k.a. The Man in Black and we’re not talking Johnny Cash. Walter wants the tower to fall and all worlds to fall apart in the process.

Jake Chambers (Taylor) is a powerful psychic who has visions of Roland and the Man in Black, the latter of whom wants to harness Jake’s power in order to bring the Dark Tower down. Jake lives on our Earth, the so-called Keystone which is the last holdout, the last world that has yet to “move on,” as the Gunslinger terms it. Jake escapes the minions of Walter and finds a portal into Mid-World, the Earth of Roland. Although Roland is disinterested in saving the universe, he is very much interested in taking down Walter who has killed everything that Roland loves. There is going to be some gunslinging you can be sure.

Elba and McConaughey are both terrific performers. Elba in particular excels; he seems literally born to roles like this one. He gives the role gravitas and a certain stoic nobility that made the role so compelling in the books. It’s the kind of character that was much more prevalent in the past than it is now; these days we like our heroes to be pure but Roland is riddled with impurities.

Sadly, these two performances are all there really is to recommend the movie. Opinion on the books is sharply divided; some believe that they are a case of King’s reach exceeding his grasp while others consider it a terrific read. Count me among the latter believers. However, trying to boil down eight books into a 90 minute movie is like trying to figure out a way to condense the Manhattan phone book into two names. You might get the gist of the series but you won’t get the flavor. There are some dynamic creature effects but they are so dimly lit that you can’t really make out the details. The pacing is all over the map; sometimes it seems rushed; other times it’s painfully slow. This has all the earmarks of a studio putting its grubby hands all over a project.

So the consensus is that this is a mess and not even a hot one. The books deserve better attention than this gives it; a full series would have done it more justice. I can’t imagine King himself is satisfied with what was done to a work he put so much time and effort into. I know that I, as a fan of the books, certainly am not.

REASONS TO GO: Idris Elba is perfectly cast for this role.
REASONS TO STAY: This film is a disappointment on nearly every level.
FAMILY VALUES: There is violence particularly using guns and some adult themes.
TRIVIAL PURSUIT: The eight-book Dark Tower series by Stephen King was inspired at least in part by Robert Browning’s epic poem Childe Roland to the Dark Tower Came.
BEYOND THE THEATERS: Amazon, Fandango Now, Fios, Google Play, iTunes, Microsoft, Sony, Vudu, YouTube
CRITICAL MASS: As of 12/26/17: Rotten Tomatoes: 16% positive reviews. Metacritic: 34/100.
COMPARISON SHOPPING: The Stand
FINAL RATING: 5/10
NEXT:
Sunset Park

New Releases for the Week of August 4, 2017


THE DARK TOWER

(Columbia) Idris Elba, Matthew McConaughey, Tom Taylor, Jackie Earle Haley, Kathryn Winnick, Dennis Haysbert, Fran Kranz, Abbey Lee, Claudia Kim. Directed by Nikolaj Arcel

Stephen King’s epic Dark Tower series spans seven books and took him more than a decade to write. At one time envisioned by Ron Howard as a multi-film series with a television series filling in the time between movies, those ambitious plans were scrapped. Now we have this, based on the poem Childe Roland about the last Gunslinger in a world that is passing but inextricably linked with our own. A mysterious man in black – not Johnny Cash – seeks to destroy the Dark Tower that protects both our worlds; the Gunslinger aims to save it. Jake Chamber, a boy from our world, may be the linchpin on whether both worlds stand – or fall.

See the trailer, featurettes and a promo here.
For more on the movie this is the website.

Release Formats: Standard
Genre: Fantasy
Now Playing: Wide Release

Rating: PG-13 (for thematic material including sequences of gun violence and action)

An Inconvenient Sequel: Truth to Power

(Paramount) Al Gore, Donald J. Trump, Barack Obama, Tom Rielly. This documentary follows up on the notorious film that made global warming a household name and became a source of controversy for climate change deniers; former Vice-President Gore catches us up on the efforts to save the Earth from man-made carbon emissions, the hope that sprang from the Paris Accords and the despair that came from then-candidate Trump who promised to withdraw from the Accords (which he did) and dismantle the EPA (which he is doing).

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

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

Rating: PG (for thematic elements and some troubling images)

Detroit

(Annapurna) John Boyega, Will Poulter, Anthony Mackie, John Krasinski. On July 25, 1967 one of the largest race riots in U.S. history rocked Detroit. With the city under lockdown and the Nation Guard called in to patrol the streets, three young African-American men were murdered at the Algiers Hotel. What happened that night remains a mystery; Oscar-winning director Katherine Bigelow takes a stab at trying to reconstruct the incident. Longtime production company Annapurna takes on the distribution aspect with this, their first wide release.

See the trailer, clips, featurettes, interviews and a promo here.
For more on the movie this is the website

Release Formats: Standard
Genre: Historical Drama
Now Playing: Wide Release

Rating: R (for strong violence and pervasive language)

Kidnap

(Aviron) Halle Berry, Sage Correa, Chris McGinn, Lew Temple. A mother watches in horror as her son is kidnapped from right in front of her. With the police essentially helpless, she goes out on her own to get her son back and will stop at nothing to bring him home safe. This film, one of the movies that was to be distributed by Relativity during their bankruptcy, bounced around the schedule and with Relativity apparently gone for good now was picked up by this new distributor to be their first wide release.

See the trailer, clips, interviews and B-roll video here.
For more on the movie this is the website.

Release Formats: Standard
Genre: Thriller
Now Playing: Wide Release

Rating: R (for violence and peril)

Lady Macbeth

(Roadside Attractions) Florence Pugh, Cosmo Jarvis, Paul Hilton, Naomi Ackie. A spirited woman is sent in an arranged marriage to a disinterested industrialist who forbids her to leave the house. Bored and humiliated by the constant put-downs of her father-in-law and husband, she embarks on a torrid affair with one of the stable boys and her passion becomes so enflamed that she will stop at nothing to be with her lover.

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

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

Rating: R (for some disturbing violence, strong sexuality/nudity, and language)

Landline

(Amazon) Jenny Slate, Jay Duplass, John Turturro, Edie Falco. In 1995, the older sister of a teenage girl moves back into the house causing a bit of friction, particularly since she’s engaged to a nice young man whom she suddenly and inexplicably seems to be ignoring. However, the teen has something far more stressful to worry about; she’s discovered that her father is having an affair. Director Gillian Robspierre also helmed the comedy The Obvious Child.

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

Release Formats: Standard
Genre: Dramedy
Now Playing: Enzian Theater

Rating: PG-13 (for sci-fi violence and action, suggestive material and brief language)

OPENING IN ORLANDO/DAYTONA:

Finally Found Someone
Jab Harry Met Sejal
Nakshatran
Security

ALSO OPENING IN MIAMI:

Brave New Jersey
Chronically Metropolitan
Finally Found Someone
Fun Mom Dinner
Jab Harry Met Sejal
The Midwife
Radio Dreams

ALSO OPENING IN TAMPA:

Armed Response
The Battleship Island
Chronically Metropolitan
Finally Found Someone
Jab Harry Met Sejal

ALSO OPENING IN JACKSONVILLE:

Darshakudu
Finally Found Someone
Jab Harry Met Sejal
Nakshatram

SCHEDULED FOR REVIEW:

An Inconvenient Sequel: Truth to Power
Brave New Jersey
Chronically Metropolitan
The Dark Tower
Detroit
Lady Macbeth
Landline

The Birth of a Nation (2016)


Aja Naomi King comforts Nate Parker.

Aja Naomi King comforts Nate Parker.

(2016) Historical Drama (Fox Searchlight) Nate Parker, Armie Hammer, Aja Naomi King, Penelope Ann Miller, Aunjanue Ellis, Dwight Henry, Mark Boone Jr., Jackie Earle Haley, Gabrielle Union, Colman Domingo, Esther Scott, Roger Guenveur Smith, Tony Espinosa, Jayson Warner Smith, Jason Stuart, Chiké Okonkwo, Katie Garfield. Directed by Nate Parker

 

It has been more than 150 years since slavery ended in this country and still it is necessary for the descendents of those in bondage have to remind us that Black Lives Matter. It is sadly evident from the shenanigans of the followers of Donald Trump, from the evidence that the KKK is still alive and well and for the institutionalized racism that allows people to think that flying a Confederate flag isn’t offensive to a sizable percentage of the population that we still have a long way to go.

However when Nat Turner (Parker) was alive slavery was in full force and there was no end in sight. He lived in Southampton County, Virginia and as a boy (Espinosa) played with the scion of the plantation owner. The owner’s wife (Miller) saw something in the young boy and sought out to teach him how to read – although only the Holy Bible, because she felt that would be the only book useful to him. After the plantation owner passed away his son Samuel Turner (Hammer), now grown, orders Nat back to picking cotton much to his mother’s disappointment.

However, it turns out that Nat has a talent for preaching the gospel and it seems to calm down the slaves – it might not hurt that Samuel was, as owners go, fairly reasonable and less cruel. The local parson (Boone) witnesses Nat’s testimonial and suggests to Samuel that he send out his slave to surrounding plantations to placate the workers by preaching to them the Gospel. As this would put direly needed coin in Samuel’s pocket, he agrees and Nat begins to see first-hand what the conditions on other plantations are like.

He also meets Cherry (King), a comely house slave that he urges Samuel to buy. Eventually he lets her know that he’s smitten by her and she eventually relents to his charms. The two are married Gullah-style but as Cherry is now working on a neighboring plantation, they see each other rarely.

But tensions between slaves and whites are growing exponentially and after Cherry is brutally raped by white slave catchers led by the despicable Raymond Cobb (Haley) and soon thereafter his friend Hark’s (Domingo) wife Esther (Union) is raped by a lusty slave owner from a neighboring plantation. Nat begins to realize that the entire institution of slavery is unjust and that it is his duty to help the Lord strike it down. In August of 1831, he and a group of his fellow slaves, pushed beyond their limits, go on a spree, attacking plantations and killing the owners and their families. The first blows of a civil war have just been struck, although none will know it at the time.

Some (including myself) will compare this to 12 Years a Slave and there are some things that do make the comparison palatable. Both films show the brutality of slavery and both films show how unjust it was. However while 12 Years was a lot more intellectual an endeavor, this is from the gut. It captures the rage of angry black men who certainly have a great deal to be angry about.

This is clearly a passion project for Parker who produced, co-wrote, directed, and starred in and likely sold tickets in the box office for. Passion projects can be double edged swords when it comes to doing biographies. There can be a tendency to mythologize the subject and I think Parker indulged in that a little bit here. The Nat Turner that is depicted here is almost saintly until the sexual assaults drive him to lead a bloody uprising in which women, children and even infants are murdered. One has to deal with some of the gruesome deeds that occurred at the hands of Turner and his followers, however justified they may have been. I don’t believe I’m being racist when I say that Turner, about whom little is really known from a historical perspective, was likely not that nice; what we do know about him suggests that he had hallucinations – or visions if you like – of angels and divine beings (which to be fair are depicted in the film) and that he himself felt that he was being called by God to dispense justice to the slave owners and lead his people out of bondage as a modern day Moses.

Parker is at a bit of a disadvantage, truth be told; Turner was a rarity among slaves in that he could read but most of what we know about him comes from Confessions of Nat Turner: The Leader of the Late Insurrection in Southampton, Virginia written by the white lawyer Thomas Ruffin Gray and supposedly based on his actual confession, although many historians question its validity. Parker had to fill in a lot of blanks and does the best he can. Even William Styron, who won a Pulitzer Prize for The Confessions of Nat Turner in 1968, had to essentially invent Parker as a fictional character, which brought a lot of outrage from African-American intellectuals and civil rights leaders at the time.

The depictions of the horrible things suffered by slaves at the time may be among the most graphic ever put to film and may be too much for sensitive viewers. For my own part, I’m glad that Parker chose to go this route; too often Hollywood has portrayed slaves as sad people in chains singing “Swing Low, Sweet Chariot” and wondering when oh when Lord will we be free. The reality of their existence was brutal and inhuman and while there were slave owners who were compassionate, there were many who were not.

Parker gives a searing performance as Turner and he shows a ton of screen presence here. He is supported by Hammer, whose character is a borderline alcoholic and certainly not always a kind and gentle man towards his slaves. Domingo is a tower of strength in his role as Hark, one of Turner’s confidantes and closest friends.

I do think that Parker would have benefitted with a little more objectivity in the script; it feels like the storytelling here is a bit rote and a bit too linear. That’s more or less just quibbling over grammar in a sense, and shouldn’t deter that many from going to see this.

Some right wing sites have drawn parallels between the film and the Black Lives Matter movement and perhaps that was intentional, but to be honest I don’t think Parker is advocating that black men rise up and start slaughtering white people indiscriminately; after all, that approach didn’t end very well for Turner or the others that rose up with him.

The film has generated some controversy based on Parker’s past legal issues. You can read about them elsewhere. I find it a shame that they have likely had an effect on the attendance for a very good movie about a very worthy subject. That’s not to vindicate Parker or what he allegedly did, albeit he was acquitted of all charges against him. I’m not a big believer in punishing someone for something they’ve already been acquitted of not doing. While the guilty sometimes get wrongly proclaimed innocent, more often people are acquitted because they are innocent.

This is an intense cinematic experience that is sadly mostly out of theaters. It should soon make its way to home video and who knows; if it gets any Oscar attention it might well get a theatrical re-release. Either way this is a movie worthy of your attention for both historical and cinematic reasons alike. It’s most definitely an angry young black man film, but it behooves all of us to listen to what angry young black men have to say.

REASONS TO GO: The Nat Turner story deserves to be told. The depiction of slavery is as brutal as any film has ever shown it to be – which is a good thing. Strong performances by Parker, Hammer and Domingo elevate the film.
REASONS TO STAY: Those with right-leaning tendencies may find the film to be polarizing. Muddies up history a little bit and makes safe storytelling choices.
FAMILY VALUES:  There is brief nudity and some fairly disturbing violence.
TRIVIAL PURSUIT:  Although the film depicts the turning point in Turner’s decision to revolt as a brutal assault on his wife, in reality his writings don’t acknowledge that he was married, although there is evidence that there was a marriage. Contemporary accounts do mention that he trusted her with his plans for the uprising but whether or not they were actually husband and wife still remains a mystery. Most historians regard the reason for his rebelliousness as spiritual visions and consider it unlikely that he felt his marriage, if it did indeed exist, was a valid one.
CRITICAL MASS: As of 11/7/16: Rotten Tomatoes: 74% positive reviews. Metacritic: 68/100.
COMPARISON SHOPPING: 12 Years a Slave
FINAL RATING: 8/10
NEXT: The Girl on the Train

London Has Fallen


Gerard Butler is sick and tired of poor reviews.

Gerard Butler is sick and tired of poor reviews.

(2016) Action (Gramercy) Gerard Butler, Aaron Eckhart, Morgan Freeman, Angela Bassett, Robert Forster, Jackie Earle Haley, Melissa Leo, Radha Mitchell, Colin Salmon, Alon Aboutboul, Waleed Zuaiter, Adel Bencherif, Mehdi Dehbi, Shivani Ghai, Penny Downie, Deborah Grant, Nigel Whitmey, Andrew Pleavin, Julia Montgomery Brown, Elsa Mollien. Directed by Babak Najafi

What do you do when you’ve already foiled a hostile takeover of the White House? Why, for most of us it would be resting on our laurels. For any action hero worth his salt, that’s just the beginning.

But Mike Banning (Butler) has had enough. Despite the fact that he has the world’s best tough-guy name (just say it out loud over and over again – you’ll get what I mean), his wife (Mitchell) is having a rug rat and is due any day now. He wants to settle down and be a dad and a husband. He’s even writing out his resignation letter.

But when you’re a Secret Service Agent with a Special Forces background who goes jogging with the President every morning that’s not such an easy task. When the Prime Minister of Great Britain has a fatal heart attack, the world is coming to London to attend the funeral, and President Benjamin Asher (Eckhart) is not one to miss the funeral of a world leader. So with Banning’s boss (Bassett) breathing down his neck to be in charge of the President’s security while he’s in London, he can’t really say no.

It’s a good thing he decides to go because bingo bango bongo five world leaders are assassinated and the President’s chopper is shot down by terrorists. Like most terrorists, they have an axe to grind with the United States, but unlike most terrorists they seem to be well organized, infiltrating nearly every stratum of security in Britain. Getting the President to the U.S. Embassy is job number one for Banning but he’ll have to negotiate the streets of London which are now overrun with bad guys impersonating cops, soldiers and Central Casting.

While I liked the predecessor Olympus Has Fallen just fine, this is a step backward from its predecessor. The first film was a wild ride in the vein of Die Hard; this one just dies hard. The action is on the pedantic side, never a good thing. Action junkies may end up yawning which is always a bad thing – there is a definite been there-done that feel to the action. I don’t expect them to reinvent the wheel but there needs to be a lot more passion invested than apparently was put in here.

The shame is that I have always really liked Gerard Butler as an actor and you can tell he’s really doing his best with a subpar script. Butler is one of those guys that you’d probably have a great time sharing a beer with and telling tall tales to in a pub. He’s what I call a working class actor; he’s not  the sort of guy who gets offered roles that win Oscars, but he gets the job done day in and day out and in the end comes off as a likable guy, even when he’s playing a real douchebag (as in Gods of Egypt). I think he doesn’t get the respect he deserves, either from critics or casting agents but that’s just me talking.

He has a decent supporting cast, but many of them are wasted in roles that feel like they mostly ended on the cutting room floor – Leo and Forster have both got Oscar nominations on their resumes but barely get a line or two in here. Morgan Freeman, maybe one of the most respected actors of this generation, has a little bit more to do but not by much; his role is essentially display dismay, frustration and once in awhile deliver a “we’re gonna kick your ass” zinger as is necessary in most action films. Like the previous one, there is a bit of a right wing dick swing vibe here as the President gets tough on terrorism directly – with a machine gun. Go, POTUS, Go!

I get that with most action movies you really don’t want to think about the plot too closely as there are often logical holes in them but there has to be at least a LITTLE bit of logic; most people understand that the President is protected by a virtual army and when he goes to a foreign country, he is literally surrounded at all times by Secret Service agents and if his helicopter was shot down in a friendly country like England, there would be a rescue operation already in place and scrambled even before the chopper hit the ground.

Still, even as mindless entertainment goes, there is a bit too much disbelief to suspend here. I’m one of those people who thinks that there is something noble about creating a vehicle for people to forget about their troubles for a couple of hours but this movie could have used a serious rewrite (and it got several, judging from the number of screenwriters credited) or more likely scrapping the project altogether. While I wouldn’t mind seeing the character Mike Banning again, I would rather see him in a much better movie than this. Check it out if mediocrity is your thing, but don’t make too much of an effort to do so.

REASONS TO GO: Some nifty action sequences. Butler is excessively likable.
REASONS TO STAY: Really hokey script. Lacks any sort of credibility and any sort of logic.
FAMILY VALUES: A ton of action, mayhem and violence and a smattering of profanity.
TRIVIAL PURSUIT: Fredrick Bond was set to direct but dropped out due to creative differences.
CRITICAL MASS: As of 4/25/16: Rotten Tomatoes: 24% positive reviews. Metacritic: 28/100.
COMPARISON SHOPPING: White House Down
FINAL RATING: 5/10
NEXT: TBA

RoboCop (2014)


RoboCop takes aim at skeptical critics.

RoboCop takes aim at skeptical critics.

(2014) Science Fiction (MGM/Columbia) Joel Kinnaman, Gary Oldman, Michael Keaton, Abbie Cornish, Samuel L. Jackson, Jackie Earle Haley, Michael K. Williams, Jay Baruchel, Jennifer Ehle, Marianne Jean-Baptiste, Aimee Garcia, Douglas Urbanski, John Paul Ruttan, Patrick Garrow, K.C. Collins, Daniel Kash, Zach Grenier, Maura Grierson. Directed by Jose Padilha

Military drones have become over the past 12 months something of a cause célèbre, although drones have been in use for years. In the near future, those drones will be even more sophisticated – human control may well be entirely unnecessary. However most Americans are uncomfortable with the idea of life and death being doled out by machines.

Pat Novak (Jackson) begs to differ. The host of the right-wing news magazine show The Novak Element thinks that having robots in law enforcement would be a very good thing. However, existing laws in the United States prevent drones and robots being used in a military or law enforcement fashion on U.S. soil. Novak is campaigning to change all that.

Raymond Sellars (Keaton) would like to see him succeed. As the CEO of OmniCorp, the multinational corporation that supplies robotic devices to the military and to international law enforcement, he’s chomping at the bit to get at the virgin U.S. market but is frustrated that public opinion is against him. However, he knows that given the right stimulation, public opinion can change. What the machine needs is a human element.

Cue Alex Murphy (Kinnaman). An honest cop on the Detroit Police Department, he is chasing a  criminal gang leader named Vallon (Garrow) whose investigation by other cops on the force has stalled. An inadvertent miscue by a lowlife gun dealer gives him and his partner Jack Lewis (Williams) an opportunity to connect Vallon to actual crimes and put him away. Unfortunately, someone tips off Vallon and Lewis gets shot for their troubles.

Realizing that Murphy is not going to give up until he gets an arrest, Vallon arranges for Murphy’s car to be wired with an explosive device. It goes off, critically injuring the cop in full view of his wife Clara (Cornish) and son David (Ruttan).

This gives Sellars the perfect opportunity. Brilliant cyberneticist Dennett Norton (Oldman) can rebuild Alex; he has the technology. He can give Murphy all the advantages of being a robot while still retaining his human control. However, there are glitches. A machine doesn’t hesitate or consider human consequences; it just acts. Murphy is held back by having a conscience and emotions. Norton reluctantly must delete these items from the programming.

In his RoboCop role, Murphy scarcely even responds to his family who quickly realize that something is wrong. Norton isn’t happy about the situation either – the whole point was to retain both the human and machine and what he has created is essentially an automaton with some organic material. Nonetheless RoboCop is a huge success and Sellars is getting exactly what he wants – a repeal of the laws that keep his company from profiting in America. However, when Murphy’s human side begins to reassert itself, RoboCop becomes expendable in a hurry.

The 1987 Paul Verhoeven-directed feature was more of an over-the-top satire of consumerism as well as social commentary on urban decay and the ultimate soullessness of our society. It was most definitely a product of its time. Brazilian director Padilha (making his English language debut) is far more subtle but no less satirical, but with a little bit more thought beneath the satire – what constitutes humanity and at what point do we cease being human? He also asks a question that is very much one that should be getting asked more often – is trading freedom for security a wise idea?

I appreciate undertones of that nature, and give the movie points for it. However, movies of an action/sci-fi bent also need to be entertaining and for the most part, this one is. Kinnaman has a facial resemblance to Peter Weller (who originated the role) but in the Alex Murphy scenes shows a little more warmth than Weller radiated. He does surprisingly well as RoboCop and gets the right movement that you’d expect from a robot.

Michael Keaton is one of those actors that you don’t realize you miss until he shows up for an infrequent role. He is perfect for Sellars, making him almost likable despite his black heart. Only near the end of the movie do we see Sellars’ true colors but by then Keaton’s sucked us in. Oldman also manages to bring the conflicted nature of Norton to the fore and show both sides of the coin equally. Cornish is, I think, supposed to act as the conscience for the movie but doesn’t quite jell there. Jackie Earle Haley is awesome as OmniCorp’s prejudiced chief of security.

While the CGI is good (especially a squirm-inducing scene in which we see Murphy without the RoboCop armor) and the action decent, the story has a fractured element to it and seems to be travelling in all sorts of directions. Reportedly, the studio was extremely involved in the film and frustrated Padilha’s creative control to the extent that he made some unwise comments which he later recanted. However, the movie does show all the earmarks of studio interference which is never a good thing. Too many RoboCooks spoil the RoboBroth.

Despite the critical bashing it’s received, the movie is decent enough entertainment. If you go in expecting the same humor as the original, you’re not going to like this much. In fact, this version could have used a little more humor which it mostly gets from the Novak show segments that open the movie and are shown intermittently throughout. I would have been interested to see what Padilha’s vision for the film would have turned out to be although I understand that the movie’s budget became an issue in that regard. I suspect that he could have turned this into a better film than it turned out to be – although what he did produce is pretty good in and of itself.

REASONS TO GO: Pretty decent entertainment value. Kinnaman does a fine job as does Oldman and Keaton.

REASONS TO STAY: Muddled and unfocused, a sure sign of studio interference.  

FAMILY VALUES:  While not as violent as the 1987 original, there are plenty of bullets flying and some mayhem. There’s also a few choice bad words here and there as well as a disturbing image of the remains of Alex Murphy after the bomb blast.

TRIVIAL PURSUIT: Michael Keaton and Gary Oldman have both been involved in the Batman franchise; Keaton as the Caped Crusader in Tim Burton’s two films, Oldman as Commissioner Gordon in Christopher Norton’s trilogy.

CRITICAL MASS: As of 2/23/14: Rotten Tomatoes: 50% positive reviews. Metacritic: 52/100.

COMPARISON SHOPPING: Total Recall

FINAL RATING: 6.5/10

NEXT: Hysteria

New Releases for the Week of February 14, 2014


RoboCop

ROBOCOP

(Columbia/MGM) Joel Kinnaman, Gary Oldman, Michael Keaton, Samuel L. Jackson, Abbie Cornish, Jackie Earle Haley, Jay Baruchel, Jennifer Ehle. Directed by Jose Padilha

In the near future, crime is out of control and military contractors have developed robotic law enforcement machines to keep the peace but the American public is wary to have them patrolling their streets. Enter RoboCop, a melding between human police officer and unstoppable machine. However, the global corporate conglomerate that created him may have a darker agenda in mind when they upgraded officer Alex Murphy.

See the trailer, a promo and a clip here.

For more on the movie this is the website.

Release formats: Standard, IMAX (opened Wednesday)

Genre: Science Fiction

Rating: PG-13 (for intense sequences of action including frenetic gun violence throughout, brief strong language, sensuality and some drug material)

About Last Night

(Screen Gems) Kevin Hart, Michael Ealy, Regina Hall, Joy Bryant. Two friends start dating a pair of roommates. As one relationship struggles, the other seems to blossom and then vice versa. A remake of an ’80s romantic comedy with a decidedly urban spin.

See the trailer, a featurette and clips here.

For more on the movie this is the website.

Release formats: Standard (opens Thursday)

Genre: Romantic Comedy

Rating: R (for sexual content, language and brief drug use)

Date and Switch

(Lionsgate) Nick Offerman, Megan Mullally, Nicholas Braun, Dakota Johnson. A pair of close friends in their senior year of high school make a pact; the experienced one determines to get his friend laid before senior prom. However, things take a turn for the different when the virgin comes out of the closet and explains that he’s gay.

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: Romantic Comedy

Rating: R (for strong sexual content including crude dialogue, pervasive language, drug and alcohol use – all involving teens)

Endless Love

(Universal) Alex Pettyfer, Gabriella Wilde, Robert Patrick, Bruce Greenwood. A young man working his way to a better life meets a beautiful young girl from a privileged background at the country club resort where he works. The two young people fall in love, which doesn’t sit well with the rich dad who is ruthless and will do anything to keep the young lovers apart – including making them watch the 1981 Brooke Shields version of the movie.

See the trailer and clips here.

For more on the movie this is the website.

Release formats: Standard (opens Thursday)

Genre: Romance

Rating: PG-13 (for sexual content, brief partial nudity, some language and teen partying)

Gunday

(Yash Raj) Ranveer Singh, Arjun Kapoor, Priyanka Chopra, Irrfan Khan. Two young orphaned refugee boys, on their own in the mean streets of Calcutta, rise through the ranks of that lawless town in the 1970s to become folk heroes – legendary crime figures who were both feared and beloved.

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: Bollywood

Rating: NR

Winter’s Tale

(Warner Brothers) Colin Farrell, Jessica Brown Findlay, Jennifer Connelly, Russell Crowe. Based on the novel by Mark Helprin, the movie depicts a love story that spans time from turn of the 20th century New York City to the modern Big Apple as an apparently ageless man chases his love through time pursued by the personification of evil

See the trailer and a featurette here.

For more on the movie this is the website.

Release formats: Standard

Genre: Romantic Fantasy

Rating: PG-13 (for violence and some sensuality)