Robert the Bruce


The once and future King.

(2019) Historical Drama (Screen Media)  Angus Macfadyen, Anna Hutchison, Zach McGowan, Gabriel Bateman, Talitha Bateman, Brandon Lessard, Diarmaid Murtagh, Emma Kenney, Patrick Fugit, Melora Walters, Shane Coffey, Daniel Portman, Seoras Wallace, Kevin McNally, Jared Harris, Nick Farnell, Gianni Capaldi, Mhairi Calvey.  Directed by Richard Gray

 

In Scotland Robert the Bruce is a national hero, able to do what William Wallace could not – give the Scots their freedom from English rule – but it didn’t come easy.

Some ten years after the execution of William Wallace, Robert the Bruce (Macfadyen) is King of Scotland, but uneasy lies the head that wears the crown. That’s because other Scottish nobles, particularly the clan of John Comyn (Harris), also are claimants to the throne of Scotland. After an ambush at Greyfriars’s Church leads to the death of Comyn, Scotland is in chaos. The English, with whom Comyn had allied, have put a price on Robert’s head of 50 gold pieces. The unceasing wars against the English have led to a divided country; some support their King who is promising freedom, other weary of war that has claimed so many husbands, sons and brothers.

Pretty Morag (Hutchison) has lost a husband to the wars and a brother as well. Raising her own son Scot (Bateman) as well as her nephew Carney (Lessard) and niece Iver (Bateman), they live on a remote farm in the mountains. Robert, hounded by foes on every side, is ready to give up. He dismisses his few loyal remaining men, including his best warrior James Douglas (Murtagh) who thinks it is folly for Robert to be without protection. He is soon proven right as Robert is attacked by three of his own men, including treacherous Will (Fugit) and badly wounded. Scot finds him in the woods and the family of Morag bring him to their farmhouse to tend to him, much to the displeasure of Scot who blames Robert for his father’s death.

They know they are risking death and their uncle Brandubh (McGowan) is sniffing around the farm – he is looking for Robert, who he has discovered is in the vicinity, but he is also hoping to woo Morag who had married his brother. Even as Robert gets better, the king knows he is in dire peril and dragging this good family in with him. Can he escape and take the family who saved his life to safety?

In all honesty, I don’t know how apocryphal the story is. It could be pure fiction, or based on folk tales, or based on fact. I honestly couldn’t tell you, but I do know Macfadyen – who played the role memorably in Braveheart previous to this and co-wrote the script – has been trying to get this movie made for more than a decade. The 56-year-old actor is playing the King in a period when he was in his mid-30s; this Robert is more world-weary than the one he played in Braveheart and less fiery-eyed. There are moments, particularly near the end of the film, where we see the old Robert the Bruce and thse moments are welcome.

The elephant in the room is Mel Gibson, and I’m sure he wouldn’t be too pleased to be called an elephant. One of the things that made Braveheart such a classic, beloved film was the presence of Gibson, who was at the time at the top of his game and one of the biggest stars in Hollywood, and possessed of enormous charisma before later events derailed his career. Macfadyen is a terrific actor and he has plenty of screen presence, but I’m sure he’d be the first to tell you he’s no Mel Gibson and the movie feels the lack of that kind of star power.

It also feels a lack of Scotland in it. The movie was largely filmed in Montana which is a beautiful state, but it doesn’t have the same look as the Scottish Highlands. The largely American cast also has difficulty with the hard-to-master Scottish accent. Either it’s laid on too thick or not thick enough. Mostly, though, actors drop in and out of it willy-nilly.

That’s not to say there aren’t moments in this film that are worth waiting for. There isn’t a ton of action here in the two-hour film, and American audiences may have a hard time with that. It is not a fast-paced film either and American audiences will REALLY have a hard time with that. Still, if you are patient, there are some scenes that come close to recapturing the magic of the Oscar-winning Braveheart but it never quite does. This isn’t a sequel so much as a spin-off and it doesn’t have the budget to recapture the battle sequences of that film, so Robert the Bruce doesn’t have the epic scope of the previous movie. Still, the character is a big part of Scottish history and proud Scots will not want to miss this, nor will those who love that craggy land.

REASONS TO SEE: There are some moments that are pure magic.
REASONS TO AVOID: A little too slow-paced for this type of movie.
FAMILY VALUES: There is all sorts of violence and mayhem.
TRIVIAL PURSUIT: Mhairi Calvey, who played the wife of Robert the Bruce here, played a young Murron, the eventual wife of William Wallace, in Braveheart.
BEYOND THE THEATER: Amazon, AppleTV, Fandango Now, Google Play, Microsoft, Vudu
CRITICAL MASS: As of 4/25/20: Rotten Tomatoes: 40% positive reviews: Metacritic: 42/100.
COMPARISON SHOPPING: Braveheart
FINAL RATING: 6/10
NEXT:
True History of the Kelly Gang

Daddy’s Home 2


A boy’s night out isn’t necessarily meant for all boys.

(2017) Comedy (Paramount) Will Ferrell, Mark Wahlberg, Mel Gibson, John Lithgow, Linda Cardellini, Alessandra Ambrosio, Owen Wilder Vaccaro, Scarlett Estevez, Didi Costine, John Cena, Andrea Anders, Kyle Tristan Wakefield, Hector Presedo, Yamilah Sarivong, Daniel DiMaggio, Matthew Delameter, Yimmy Yim, Bill Mootos, Chesley “Sully” Sullenberger, Sylvia Barjolo. Directed by Sean Anders

 

In our modern age, children often have more than one father or more than one mother (and occasionally both). Marriages don’t last a lifetime as they did back in the day. Sometimes having more than one pair of hands can be helpful. More often though things just get confused.

Co-Dads Brad (Ferrell) and Dusty (Wahlberg) have patched up their differences and are humming along as a unit; Dusty has found his inner touchy-feely guy and Brad is still dangerous around power tools. Christmas is coming and rather than bounce from house to house, the two have decided to have one massive Christmas celebration, a “together Christmas.” The prospect is exciting but for the advent of…the granddaddies.

Dusty’s dad Kurt (Gibson) is a womanizing ex-astronaut who looks at his son’s new-found soft side about the same way a steak lover would look at maggots in his filet. He is convinced that Brad is emasculating his son and seeks to drive a wedge between the two of them. At the same time Brad’s dad Don (Lithgow) has arrived with his love of improv comedy and enough hugs to give Richard Simmons diabetes.

With the kids undergoing crises of their own and Sara (Cardellini) – Dusty’s ex and Brad’s current wife – showing justifiable jealousy over Dusty’s new girlfriend, the extremely sensuous best-selling author Karen (Ambrosio) and this family is a Christmas meltdown waiting to happen.

Like the first film, the comedy is strictly hit or miss with the edge going towards the latter. However, the sequences that work will induce plenty of laugh-out-loud guffaws in all but the most jaded of audiences. However, most audiences will also experience extended sequences of dead silence, possibly punctuated by an occasional groan or eye-roll.

The chemistry between Ferrell and Wahlberg remains pretty strong; adding the two veterans Gibson and Lithgow to the mix doesn’t appear to affect it much. Lithgow however is in top form, hitting a comedic stride that actors who specialize in comedic roles might envy. I found myself grinning every time Lithgow was onscreen; even though Don is a bit of a one-note character, Lithgow keeps that note fresh and sounding clear as a bell throughout.

Some critics have expressed absolute disgust that Gibson was cast at all. I have three words for them; Let. It. Go. You’re talking about events that happened 20 years ago when Gibson was a raging alcoholic. Yes, I get that he said some absolutely detestable things but his career was effectively derailed and by all accounts he’s sober at the moment. Do people have to pay for their mistakes the rest of their lives or do we forgive them and move on at some point?

The subplots involving the children seem to be aimed at an entirely different audience and the movie could have easily done without them. And not for nothing but the juvenile actors here give performances that can only be deemed as “excruciating.”

It also should be said that none of the women in the film – and there aren’t many – have any character development to speak of. All of that is reserved for the men. Make of that what you will but personally think the filmmakers could have spared a little bit of time to allow us to get to know Karen and Sara a little better.

Mainly this is adults behaving badly and at times the film descends into shtick and cliché. There are enough funny moments to balance that out for the most part but generally speaking, Daddy’s Home 2 left me with absolutely no desire to check out a third film. I suspect I’m not alone in that regard.

REASONS TO GO: Lithgow is hysterically funny here. There are some pretty decent laughs here and there.
REASONS TO STAY: None of the female characters are developed at all. The kids are extremely annoying.
FAMILY VALUES: There is a bit of profanity and some sexually suggestive material.
TRIVIAL PURSUIT: Although Gibson plays Wahlberg’s father in the film, in reality Gibson is only 15 years older than his onscreen son.
CRITICAL MASS: As of 1/16/18: Rotten Tomatoes: 19% positive reviews. Metacritic: 30/100.
COMPARISON SHOPPING: Daddy Day Camp
FINAL RATING: 6/10
NEXT:
Small Crimes

New Releases for the Week of November 10, 2017


MURDER ON THE ORIENT EXPRESS

(20th Century Fox) Kenneth Branagh, Johnny Depp, Michelle Pfeiffer, Judi Dench, Josh Gad, Daisy Ridley, Willem Dafoe, Penelope Cruz, Derek Jacobi. Directed by Kenneth Branagh

On board a luxury train traveling from Istanbul to Calais a passenger is mysteriously murdered. The cabin door has been locked from the inside. Who done it? Fortunately, the world’s greatest detective – Hercule Poirot – is on board the train and if anyone can make sense of the bewildering maze of clues, it’s the Belgian with the grand moustache. Based on the book authored by Agatha Christie, this is one of the greatest mystery novels ever written.

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

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

Rating: PG-13 (for violence and thematic elements)

Daddy’s Home 2

(Paramount) Will Ferrell, Mark Wahlberg, Mel Gibson, John Lithgow. Christmas time is here and there’s nothing like the holidays to bring a family together. For Brad and Dusty, the two co-dads are happily contemplating a blended Christmas with all their family under one roof. Then, both of their dads decide to visit for the Yuletide and all of a sudden things are getting way more complicated.

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

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

Rating: PG-13 (for suggestive material and some language)

The Killing of a Sacred Deer

(A24) Nicole Kidman, Alicia Silverstone, Colin Farrell, Barry Keoghan. A brilliant cardiovascular surgeon takes a young man under his wing when his father, a patient of his, passes away. When the boy’s behavior turns sinister, the surgeon notices that his family is getting seriously ill. He will be forced to make an unthinkable sacrifice in this new film from the director of The Lobster.

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

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

Rating: R (for disturbing violent and sexual content, some graphic nudity and language)

Wonderstruck

(Amazon/Roadside Attractions) Oakes Fegley, Julianne Moore, Michelle Williams, Millicent Simmonds. Two young children – one a boy in the Midwest in the 1970s, another a deaf girl in New York City of the 1920s – search for answers about who they are, unaware of the connection that binds them together. Brian Selznick, who wrote the novel this is based upon, also wrote the screenplay. Look for the review tomorrow.

See the trailer, clips and a video feature here.
For more on the movie this is the website

Release Formats: Standard
Genre: Family Drama
Now Playing: Regal Winter Park Village, Rialto Spanish Springs

Rating: PG (for thematic elements and smoking)

ALSO OPENING IN ORLANDO/DAYTONA:

Hello Again
Pottersville
Qarib Qarib Singlle
Walking Out

ALSO OPENING IN MIAMI:

BPM
C/O Surya
Hello Again
My Friend Dahmer
Paradise
Pottersville
Qarib Qarib Singlle
The Square
Tom of Finland

ALSO OPENING IN TAMPA:

Amanda and Jack Go Glamping
Hello Again
Qarib Qarib Singlle

ALSO OPENING IN JACKSONVILLE:

C/O Surya
Hello Again
Jane
Loving Vincent
No Greater Love

SCHEDULED FOR REVIEW:

Daddy’s Home 2
Jane
The Killing of a Sacred Deer
Loving Vincent
Murder on the Orient Express
Walking Out
Wonderstruck

Hacksaw Ridge


War is a dirty business.

War is a dirty business.

(2016) True War Drama (Summit) Andrew Garfield, Hugo Weaving, Teresa Palmer, Vince Vaughn, Rachel Griffiths, Sam Worthington, Richard Roxburgh, Jacob Warner, Firass Dirani, Luke Pegler, Nico Cortez, Goran D. Kleut, Dennis Kreusler, Nathaniel Buzolic, Ben Mingay, Michael Sheasby, Luke Bracey, Harry Greenwood, Damien Thomlinson, Ben O’Toole. Directed by Mel Gibson

 

It is said that there are no atheists in foxholes, but at the same time there really isn’t a whole lot of room for religion in war either. When one is called upon to kill for king and country (or queen and country as the case may be) one must set aside some of the basic commandments of most religions, as well as the moral compass of society. We generally frown upon killing but wartime gives those who take human life a bit of a pass, although not without consequence. It can take a great deal of courage to set aside one’s morals for the sake of one’s country but it can take a great deal more not to.

Desmond Doss (Garfield) is just an ordinary country boy from the hill country of Virginia back in 1944. He has a deep faith and participates at his Seventh-Day Adventist Church. His father Thomas (Weaving) came back from the Great War traumatized and sometimes violent with his family, particularly with his mother Bertha (Griffiths) whom he loves with a fierce devotion. He rough houses with his brother Hal (Buzolic) – sometimes a little too rough – and pines after the sweet nurse Dorothy Schutte (Palmer) whom he knew from the moment he saw her that he was going to marry her. Well, maybe one day soon.

But there’s a war going on and Desmond doesn’t feel right staying at home while others fight and die for his freedom. He knows he needs to go out there and defend his country, but there’s one problem – his religious beliefs prevent him from killing anyone. In fact, Desmond refuses to even touch a gun. He takes this quite seriously; in fact, he has become a vegetarian (a rarity in that era) because of his beliefs. He therefore decides to enlist in the U.S. Army as a Medic.

The trouble is that somewhere along the line the lines got crossed between Desmond and the military. He is sent for combat training, and combined with his slight frame and his refusal to even defend himself with violence puzzles Sgt. Howell (Vaughn) who is training him, as well as Captain Glover (Worthington), his commanding officer. It also infuriates his fellow soldiers who see it as cowardice and beat him up something fierce.

At last he is given a direct order to shoot a gun, a command he refuses. He is summarily put in the stockade, on his wedding day to make matters worse. He will go up for court martial, which carries with it prison time at Leavenworth. All the boy wants to do is serve his country, and eventually with the help from an unexpected source, he is allowed to do that and for his efforts is shipped off to Okinawa where he will finally get a chance to do exactly what he intended to; to save lives. In the process he will win the highest award our country bestows upon its citizens; the Medal of Honor.

Gibson is not a director who shirks at showing the uglier side of humanity. We see limbs blown off of soldiers, rats gnawing on fresh meat on the battlefield, innards sliding out of horrendous wounds, blood soaking everywhere, bodies blown to bits and the most brutal and savage hand-to-hand combat you’re likely to see. This isn’t for the faint of heart.

Yet at the center of the film is a heart filled with grace. Say what you want about Desmond Doss; he is a man of his word and watching what he did in real life (from most of the sources I’ve read Gibson has stuck pretty close to what Doss really did – even leaving out some feats because he felt that nobody would believe it really happened) is truly inspiring. Heroes wear uniforms, it’s true, but they don’t always beat up the bad guys.

Garfield, who took a lot of criticism for his portrayal of Peter Parker in the Amazing Spider-Man films, has been receiving some end-of-the-year awards attention. His portrayal of Doss is simple and to-the-point. There isn’t a lot of subtlety here and Gibson sometimes goes a little bit over-the-top as when he shows Doss being lowered off the cliff face of Hacksaw Ridge on Okinawa as almost an ascension to heaven. Garfield didn’t need that kind of cinematic excess to make the point for Gibson.

Although Vaughn is the only American in the cast (nearly everyone here is Australian with Garfield and a couple of others who are Brits) the film captures the tones and rhythms of American speech from the era nicely. Gibson also makes the pastoral setting of Lynchburg extremely appealing, as anyone who has visited the town can tell you (yes, we’ve made our pilgrimage to the Jack Daniels distillery – deal with it).

In fact, that setting and pace of life actually slows the film down a bit at the beginning. It really isn’t until the movie gets to Okinawa that things really start to shine here and Gibson shows why he is a very talented man behind the camera. The war scenes are quite simply the best I’ve seen since Saving Private Ryan. It certainly will stay in your memory for quite a while.

Mel Gibson has had a checkered career to say the least. Once one of Hollywood’s biggest stars, he showed every indication that he was going to be one of Hollywood’s biggest directors. Legal issues and some fairly unsavory comments on his part derailed both his acting and directing plans; in fact, this is his first stab at directing in a decade. That Summit has kept quiet his participation, not mentioning by name Gibson’s involvement is a testament to how much of a pariah he became in the industry. One wonders if there isn’t a bit of cinematic self-flagellation going on here. Armchair psychology aside, this is Gibson’s return to form and hopefully he’ll get some opportunities to continue to direct some films that showcase his talents. He certainly has plenty of it to showcase.

REASONS TO GO: A criminally little-known and inspiring story. It might be the best war film since Saving Private Ryan. This is a return to form for Gibson.
REASONS TO STAY: The pacing is a little bit slow in the first third. Some of the images here might be too much for the overly-sensitive.
FAMILY VALUES: Prolonged sequences of graphic war brutality including grisly images and gore.
TRIVIAL PURSUIT: Doss was the second registered conscientious objector to receive the Medal of Honor – the first was Sgt. Alvin York in World War I. However, while York carried a weapon into war, Doss did not.
CRITICAL MASS: As of 12/1/16: Rotten Tomatoes: 95% positive reviews. Metacritic: 71/100.
COMPARISON SHOPPING: Flags of Our Fathers
FINAL RATING: 7.5/10
NEXT: Best and Most Beautiful Things

New Releases for the Week of August 12, 2016


Pete's DragonPETE’S DRAGON

(Disney) Bryce Dallas Howard, Robert Redford, Oakes Fegley, Oona Laurence, Wes Bentley, Karl Urban, Isiah Whitlock Jr, Marcus Henderson. Directed by David Lowery

Some of Disney’s films are better known than others. This 1977 film was from a period when their films weren’t as popular as they once were and, quite frankly, weren’t as good. This live action reimagining starts with the discovery of a young boy alone in a deep and dangerous forest. It turns out that the boy has been in there for years and experts are confounded as to how he possibly could have survived all alone. Then it turns out that he wasn’t all alone…

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

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

Rating: PG (for action, peril and brief language)

Anthropoid

(Bleecker Street) Jamie Dornan, Cillian Murphy, Toby Jones, Charlotte Le Bon. This is the true story of two Czech army-in-exile soldiers who are secretly parachuted into their occupied homeland near the end of World War II. Their mission: assassinate Reinhard Heydrich, one of the top officers in the SS. In a city under brutal lockdown, with limited information and a deadline approaching, the two know that if they succeed it will change the war in Europe dramatically.

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

Release Formats: Standard
Genre: Historical Drama
Now Playing: AMC Altamonte Mall, AMC Disney Springs, Regal Oviedo Mall, Regal Pointe Orlando, Regal Waterford Lakes, Regal Winter Park Village

Rating: R (for violence and disturbing images)

Blood Father

(Lionsgate) Mel Gibson, Erin Moriarty, Diego Luna, William H. Macy. An ex-con trying to re-establish a connection with his daughter and to ease into the straight life is sucked back into his past when his daughter runs afoul of a drug cartel and is being hunted by them. Using his criminal skills and connections from the past, he’ll have to stay one step ahead of some of the most brutal human beings on Earth to keep his daughter safe.

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

Release Formats: Standard
Genre: Action
Now Playing: AMC Loew’s Universal Cineplex

Rating: R (for strong violence, language throughout and brief drug use)

Eat That Question: Frank Zappa in His Own Words

(Sony Classics) Frank Zappa, Gail Zappa, Keith Moon, Ringo Starr. One of the most influential figures in popular music of our time was taken from us far too soon. However, his 30-year career is chronicled exclusively through archival interview footage so we get to hear, in the maestro’s own words, what he did, how he felt and get a sense of his lasting contributions to music that reverberate through popular culture even today.

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

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

Rating: R (for language, some sexual references and brief nudity)

Florence Foster Jenkins

(Paramount) Meryl Streep, Hugh Grant, Simon Helberg, Rebecca Ferguson. Some of you may have seen the French film Marguerite. You may or may not have known this, but she was based on a real person, the American heiress Florence Foster Jenkins. This is the true tail of a New York socialite who fancied herself an opera singer, but was perhaps the worst singer in history. She was apparently such a sweet soul that nobody had the heart to tell her, but when she determined to perform a concert at Carnegie Hall, it became obvious that the truth was going to come out one way or another.

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

Release Formats: Standard
Genre: Biographical Dramedy
Now Playing: Wide Release

Rating: PG-13 (for brief suggestive material)

Gleason

(Open Road/Amazon) Steve Gleason, Michel Varisco-Gleason, Drew Brees, Mike McCready. Most football fans known Gleason as the all-pro defense back for the New Orleans Saints whose block of a punt remains one of the biggest plays in franchise history, getting them into a Super Bowl. But at 34 years of age, he was diagnosed with ALS – also known as Lou Gehrig’s disease – which gave him a life expectancy of only three to four years. With the same determination that made him an NFL star, he set upon living his remaining years as fully as possible and to leave a record for his newborn son that would give him the fatherly advice he wouldn’t be able to give him growing up.

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

Release Formats: Standard
Genre: Documentary
Now Playing: AMC Disney Springs, Regal Winter Park Village

Rating: R (for language)

Indignation

(Roadside Attractions/Summit) Logan Lerman, Sarah Gadon, Tracy Letts, Linda Emond. In 1951 a brilliant working class Jewish boy from New Jersey accepts a scholarship to a small, conservative college in Ohio, exempting him from service in the Korean War. However, he increasingly clashes with the school’s unprincipled dean and simultaneously falls for a beautiful WASP which puts his family’s plans in jeopardy. This is based on the novel by the late, great Philip Roth.

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

Release Formats: Standard
Genre: Drama
Now Playing: AMC Disney Springs, Regal Winter Park Village

Rating: R (for sexual content and some language)

Mohenjo Daro

(UTV) Hrithik Roshan, Pooja Hegde, Arunoday Singh, Kabir Bedi. An adventure set during India’s Indus Valley civilization (although the graphics in the trailer place it before that era).

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

Release Formats: Standard
Genre: Action
Now Playing: AMC Loew’s Universal Cineplex, AMC West Oaks, Touchstar Southchase

Rating: NR

Operation Chromite

(CJ Entertainment) Liam Neeson, Jung-jae Lee, Beom-Su Lee, Dean Dawson. A squadron gets set to fight in the Battle of Inchon during the Korean War. In the meantime, General Douglas MacArthur’s strategies are being developed that will have a critical effect on those going into battle – and irrevocably alter his career.

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

Release Formats: Standard
Genre: War
Now Playing: AMC Disney Springs

Rating: NR

Sausage Party

(Columbia) Starring the voices of Seth Rogen, Edward Norton, Salma Hayek, James Franco. In the supermarket aisle, all the various foods we bring home long to be selected. What they don’t know is that selection means they are eaten…alive. One brave sausage means to escape that fate and return to the market to warn his compatriots of their doom. Yes, this is animated. Do. Not. Bring. Your. Kids!

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

Release Formats: Standard
Genre: Animated Feature
Now Playing: Wide Release

Rating: R (for strong crude sexual content, pervasive language and drug use)

The Expendables 3


Jason Statham and Wesley Snipes decide to settle who has the bigger blade.

Jason Statham and Wesley Snipes decide to settle who has the bigger blade.

(2014) Action (Lionsgate) Sylvester Stallone, Mel Gibson, Jason Statham, Harrison Ford, Kellan Lutz, Arnold Schwarzenegger, Antonio Banderas, Dolph Lundgren, Wesley Snipes, Jet Li, Terry Crews, Randy Couture, Ronda Rousey, Kelsey Grammer, Glen Powell, Victor Ortiz, Robert Davi, Ivan Kostadinov, Slavi Slavov, Natalie Burn, Sarai Givaty. Directed by Patrick Hughes

Back in 2010, action fans eagerly awaited the debut of The Expendables which united action heroes from days gone by Stallone, Schwarzenegger, Lundgren, Bruce Willis and of more recent vintage Li and Statham. The novelty factor alone made the movie a big hit but a single soliloquy by Mickey Rourke made the movie more memorable than the average action film.

Then came The Expendables 2 which added Jean-Claude van Damme and Chuck Norris (as well as more recent action star Liam Hemsworth) which was still entertaining in its own way but the novelty was beginning to wear off. Would the pattern continue?

Yeah, it does. While this is the most star-studded of the series, it is also the least fulfilling. I use that term advisedly – The Expendables 3 has a massive dose of testosterone that will grow hair on the chest of a Disney princess, and is surprisingly entertaining but not necessarily in a good way. You can sit back and watch this and take it for what it is, but if what it is doesn’t thrill you so much, you’re in for a long evening.

The team – leader Barney Ross (Stallone), right hand man Lee Christmas (Statham), surly Gunnar Jensen (Lundgren), just as surly Toll Road (Couture) and abs-tastic Hale Caesar (Crews) board a prison train carrying a single prisoner – former Expendable Dr. Death (Snipes). As usual, lots of people get shot and stuff blows up but Team Ex wins out in the end.

But it turns out that the prison break was kind of a side trip on the way to something else. They’ve to head out and intercept a shipment of bombs from an arms dealer, who turns out to be Conrad Stonebanks (Gibson) who just happened to co-found the Expendables before turning rogue and going out on his own. That job turns out to be something of a cluster frump and gets one of the team shot and in critical condition. Shaken up, Barney decides to retire the team and find a new one.

He needs one because their CIA contact Drummer (Ford) wants Stonebanks picked up alive and taken to the Hague to answer for his crimes. That’s easier said than done however and while Barney’s new team – including tech wizard Thorn (Powell), chatterbox Spanish killing machine Galgo (Banderas), team muscle Mars (Ortiz), beautiful but deadly Luna (Rousey) and anti-authoritarian potential team leader Smilee (Lutz) has more of a modern edge to them, they don’t do any better than the first team and things go sideways in a hurry. It will take the old team to rescue the new team and a final mano a mano brawl between Stonebanks and Barney to settle this once and for all.

Da Queen, being a pragmatic sort (and a bit of a masochist) decided to count up the ludicrous scenes in the movie when something that simply was too much of a stretch of the imagination to ignore; the end figure was in double digits. I can take a certain suspension of disbelief; after all, I used to love those ’80s action epics as much as the next guy. However, there comes a point where you’re inner brain starts to say “come on, you can’t be serious” to your testicles (or the female approximation of same) and the action fix begins to clash with your inner need for some sort of logic. How much you like the movie will depend on how bad you need an action fix.

Stallone, clean-shaven for the first time in the trilogy, looks every bit an AARP member at this point. There are several close-ups on his trademark sneer and as his righteous anger leeks out from his upper lip and into his eyeballs, you can tell he’s going to go all Rambo on somebody’s ass. Statham, not so nearly long in the tooth, merely looks uncomfortable most of the way through – perhaps that’s because he was involved in a near-fatal truck crash when the brakes on the truck he was driving in the movie failed and he was forced to abandon truck before it crashed into the sea.

I will say that the much-maligned Gibson fares the best here, channeling his Martin Riggs from back in the day and if Riggs were a villain in the Lethal Weapon series this is how he’d have turned out. He’s actually pretty fun to watch although I imagine that those who still haven’t gotten over his anti-Semitic drunken rant to the cops will be less sanguine about his performance. Snipes, recently released from prison, reminds us why he was such a great action star in the first place. I thought at one time he had the potential to be as big as Will Smith, although a series of bad roles and poor life choices derailed that. It still might happen though – he could use his performance here as an audition tape for any action movie in the offing and get serious consideration. He also has the best line in the movie; when asked by Toll Road what he was in prison for. I won’t tell you what he responds because the surprise is half the fun.

There is some CGI here and they must have done it on somebody’s Commodore VIC-20 because it is absolutely miserable, some of the worst I’ve ever seen. For example, for the scene near the movie’s end where he is hanging from a winch cable on a helicopter as the chopper pulls away from the camera, I’d much rather have stopped the scene with him dangling underneath it asking his snarky teammates to winch him up now right at that point instead of seeing a clearly CGI silhouette of the copter with the distant semi-humanoid figure and cable being sucked into the helicopter like a strand of spaghetti. I don’t like my action reality messed with.

This is a series whose novelty has run its course and needs to survive simply on the success of its action sequences and the quirkiness of its characters. For one thing, too many characters get virtually no screen time (Li shows up near the end and gets three or four lines and no fighting sequences which is a complete waste of his talents) and while the cast members are pretty able individually, the whole isn’t equal to the sum of its parts.

REASONS TO GO: Definite testosterone overload.

REASONS TO STAY: Super predictable and super brainless. Some of the worst CGI ever. Novelty has worn off.

FAMILY VALUES:  Oh yes, all sorts of violence with guns, blades, you name it – mayhem deluxe. There’s also a fair amount of language.

TRIVIAL PURSUIT: This is the first Expendables film not to be rated R.

CRITICAL MASS: As of 8/21/14: Rotten Tomatoes: 35% positive reviews. Metacritic: 35/100.

COMPARISON SHOPPING: Commando

FINAL RATING: 4/10

NEXT: Code Name: The Cleaner

New Releases for the Week of August 15, 2014


The Expendables 3THE EXPENDABLES 3

(Lionsgate) Sylvester Stallone, Jason Statham, Jet Li, Harrison Ford, Arnold Schwarzenegger, Mel Gibson, Wesley Snipes, Antonio Banderas. Directed by Patrick Hughes

The Expendables are back in action and this time they’re up against a foe who knows them better than anyone – Conrad Stonebanks, a ruthless arms dealer who once upon a time co-founded the Expendables along with Barney. This is a shock to Barney who thought Conrad was dead but since it was Barney that tried to kill him, Stonebanks has an awful mad-on about the Expendables and is out to put them all down once and for all. Barney’s going to need a little help against the well-financed and merciless teams of mercenaries that Stonebanks has sent against them – and welcome to a group of new Expendables, more tech savvy, younger and faster than the classic team. Old School, meet New School.

See the trailer, interviews, a featurette, a clip and B-roll video here.

For more on the movie this is the website.

Release formats: Standard (opens Thursday)

Genre: Action

Rating: PG-13 (for violence including sustained gun battles and fight scenes, and for language)

The Giver

(Weinstein) Jeff Bridges, Meryl Streep, Brenton Thwaites, Alexander Skarsgard. In the future, mankind lives in a Utopian community where hunger and poverty have been eradicated and while colorless conformity is the rule, contentment is the reward. However, a young man discovers that the community has a dark and secret past and that only one man – the Giver – has custodianship of those memories and he intends to hand them off to the young man. That makes him dangerous to the elders of the community who will stop at nothing to take him out. He’ll have to escape the community – something that’s never been done before – in order to save it.

See the trailer, clips and a featurette here.

For more on the movie this is the website.

Release formats: Standard (opens Thursday)

Genre: Science Fiction

Rating: PG-13 (for a mature thematic image and some sci-fi action/violence)

Let’s Be Cops

(20th Century Fox) Damon Wayans Jr., Jake Johnson, Rob Riggle, Nina Dobrev. A pair of bros have been invited to a costume party and decide to go as cops. Mistaken for the real thing, they decide they like the way the rest of the world treats them as cops and so they’ll keep on going as long and as far as they can take it. Of course, the real cops don’t take kindly to this and they wind up with a heaping helping of T-R-O-U-B-L-E with a capital T.

See the trailer here.

For more on the movie this is the website.

Release formats: Standard (opened Wednesday)

Genre: Comedy

Rating: R (for language including sexual references, some graphic nudity, violence and drug use)

Singham Returns

(Reliance) Kareena Kapoor, Ajay Devgn, Anupam Kher, Amole Gupte. A police officer with a reputation for honesty but also for being ferocious with wrongdoers is promoted to Deputy Chief of Police. Dead set on wiping out injustice in his town, he comes up smack dab against not only wealthy criminals but corruption in his own department.

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: Bollywood Action

Rating: NR

What If

(CBS) Daniel Radcliffe, Zoe Kazan, Adam Driver, Rafe Spall. After a series of failed relationships, a young medical school drop-out still trying to find out who he is decides to put his love life on hold. Of course, most of his friends then seem to find the perfect partner for themselves which makes him feel miserable and alone, but then he meets this great girl whom he connects with immediately. The trouble is that she lives with her boyfriend. Still, the two become best friends but maybe that’s not enough.

See the trailer, interviews, clips, a featurette and B-roll video here.

For more on the movie this is the website.

Release formats: Standard

Genre: Romantic Comedy

Rating: PG-13 (for sexual content including references throughout, partial nudity and language)

Apocalypto


These fellas want to talk to the critics about the negative reviews.

These fellas want to talk to the critics about the negative reviews.

(2006) Adventure (Touchstone) Rudy Youngblood, Dalia Hernandez, Jonathan Brewer, Morris Birdyellowhead, Carlos Emilio Baez, Amilcar Ramirez, Israel Contreras, Israel Rios, Isabel Diaz, Espiridion Acosta Cache, Mayra Serbulo, Iazua Larios, Lorena Hernandez, Itandehui Gutierrez, Sayuri Gutierrez, Hiram Soto, Jose Suarez, Raoul Trujillo, Gerardo Taracena. Directed by Mel Gibson

Hey, does anybody remember when Mel Gibson was one of the pre-eminent directors in Hollywood? When Braveheart won Oscars and he was the sexiest man alive and the darling of talk shows? I can’t think of a single actor who fell as far as Gibson did through mostly his own doing. Lindsay Lohan comes to mind but even her fall was less spectacular because she never achieved the heights that Gibson did in his heyday.

On the heels of his unexpected hit Passion of the Christ which was the first film to show Hollywood the box office power of the Christian audiences and essentially gave birth to a whole new subgenre – the Christian-funded and directed films which are largely promoted through churches and group sales, Gibson turned his attention to ancient Mesoamerica. This movie, with dialogue entirely in native languages (ancient Mayan although how accurate the language is can only be verified by scholars; I don’t remember any objecting at the time this came out) is supposedly taken from portions of the Popol Vuh, an 18th century collection of ancient Mayan myths and oral histories written down by a Spanish Dominican priest and was acted largely by a cast of locals.

Jaguar Paw (Youngblood) lives in a quiet village on the modern Yucatan peninsula with his pregnant wife and child. He is young, handsome and as the son of the tribal chief already starting to gain the respect of the tribe. While on a hunting expedition he and his friends come upon an unfamiliar tribe who ask politely for passage through their territory; their own homeland was overrun by a vicious tribe of Mayans and they are refugees trying to find a new place to settle down.

Jaguar Paw is disquieted by this and his misgivings turn out to be merited; the same vicious tribe attacks his own tribe. Jaguar Paw, already a bit paranoid, manages to secret his wife and child in a deep pit where they can’t be seen by the invaders. The rest of the tribe are raped, gutted or captured to be taken to the Mayan city to be sacrificed. Jaguar Paw knows that he has to somehow get away and make his way back to the now-deserted village or else his wife and child will surely starve to death.

Gibson is no stranger to violence and cruelty in his movies. Even his more mainstream films can show some fairly extreme brutality and this film may be the most violent in his filmography. There are hearts ripped out of chests, jaguars ripping faces off, arrows protruding into basically anywhere on the body an arrow can protrude from, people eviscerated with dull blades…the list goes on. Some critics took issue with this at the time, pointing out that the Mayan culture was also responsible for advances in mathematics and astronomy. The American South also had some of the finest writers and musicians of the 19th century but oddly enough nobody bitched about 12 Years a Slave failing to portray that part of Southern culture nor did it need to. It always blows my mind when critics miss the point so badly. I certainly disagree with the critics who said that the final images gave them a sense of relief. From my take, it was more a sense of foreboding.

Then again, Gibson was already under fire about his drunken anti-Semitic remarks for the first time, an incident that occurred while the film was in production which undoubtedly soured a number of critics on the film. Not that I agree with Gibson’s point of view in that regard, but part of what we’re supposed to do as critics is separate the work from the worker, the art from the artist. My opinions of Mel Gibson the human being shouldn’t inform my opinions of the films he directs. Braveheart is still a terrific movie. The Lethal Weapon series is still entertaining.

This is a gorgeous looking film (if you overlook all the blood and gore) and Rudy Youngblood in the heroic lead is astonishing. I thought that he had all the screen charisma needed to become a huge star but sadly that didn’t happen, or at least not yet and not here. Looking at his performance now, he captures the feeling of a smart hunter, one who operates more on instinct than intellect and one who knows the jungle and its dangers intimately. He is out of place in the city of the Mayans and the escape sequence is nothing short of thrilling.

As someone who loves history I have to applaud Gibson’s willingness to tackle an era and a place not often explored in the movies. I wish that other films since then went back to the ancient Mayan civilization and looked at it from different perspectives but to date that hasn’t really happened much. Hopefully some filmmaker with little regard for Hollywood’s restraints will go that road someday.

I have mentioned the violence and the gore several times and I will admit that as time goes by in the film you get kind of numb to it and those who are sensitive (if they last that long) may find the blood and guts wearying after awhile. However, I have to also point out that these things are part of the story and necessary to the point Gibson is trying to make. It isn’t necessarily a pleasant one and the brutality certainly gets your attention.

I think that this is a brilliant, underrated film. If you can get past Gibson’s sins as a person and simply look at the movie as if it were directed by someone else, you may find yourself appreciating the artistry and the independence from the Hollywood mainstream. This isn’t like any movie the major studios have produced before or since and likely ever again. This is one of those movies that may take a little bit of getting used to but it is worth the investment.

WHY RENT THIS: Beautifully photographed. Exhilarating action scenes. A look at a time and place rarely seen in American cinemas.

WHY RENT SOMETHING ELSE: The violence and sadism wears on you.

FAMILY VALUES:  Some very graphic violence as well as some pretty disturbing images; not for the kiddies.

TRIVIAL PURSUIT: The digital special effects crew playfully added a single frame of Waldo from Where’s Waldo? lying on the pile of dead bodies.

NOTABLE HOME VIDEO EXTRAS: None listed.

BOX OFFICE PERFORMANCE: $120.7M on a $40M production budget.

COMPARISON SHOPPING: The Road to El Dorado

FINAL RATING: 8/10

NEXT: Inside Llewyn Davis

New Releases for the Week of October 11, 2013


Captain Phillips

CAPTAIN PHILLIPS

(Columbia) Tom Hanks, Catherine Keener, Barkhad Abdi, Max Martini, Yul Vazquez, Michael Chernus, Chris Mulkey, Angus MacInnes. Directed by Paul Greengrass

The captain of a cargo ship is on a routine run off the coast of Somalia when his radar picks up a couple of small boats headed towards his vessel at speed. Something about it feels wrong and he communicates his concerns to the authorities. They think it’s probably nothing more than a couple of Somali fishing boats but he’s still uneasy. His fears turn out to be real as his ship is boarded by armed pirates, beginning a real-life crisis that would grab world headlines.

See the trailer and clips here.

For more on the movie this is the website.

Release formats: Standard, IMAX (opens Thursday night)

Genre True Life Drama

Rating: PG-13 (for sustained intense sequences of menace, some violence with bloody images, and for substance use)

Ghost Team One

(The Film Arcade) Carlos Santos, JR Villarreal, Fernanda Romero, Meghan Falcone. A couple of slacker roommates accidentally wake the dead during a party. What to do? Call in a paranormal investigator who turns out to be a mega-hottie. Both of the roomies are into her in a big way but someone else has his eye on her – the demon they’ve inadvertently summoned.

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: Horror Comedy

Rating: R (for strong sexual content, brief graphic nudity, pervasive language, some drug use and violence)

 Machete Kills

(Reliance) Danny Trejo, Michelle Rodriguez, Sofia Vergara, Mel Gibson. The return of the ex-Mexican Federale from the Grindhouse trailer and his own feature film. This time he has been personally recruited by the President of the United States to take out a revolutionary and an arms dealer who have teamed up to start a reign of terror and war across the globe. One man against an army of thugs? When that one man is Machete, that’s all you need. When Machete takes out the trash, it stays took.

See the trailer, promos and a clip here.

For more on the movie this is the website.

Release formats: Standard (opens Thursday night)

Genre: Action

Rating: R (for strong bloody violence throughout, language and some sexual content)

Romeo and Juliet

(Relativity) Hailee Steinfeld, Douglas Booth, Stellan Skarsgaard, Paul Giamatti. The classic Shakespeare tragedy gets a new treatment. While the film is set in the traditional setting of the original play, it is meant to be geared towards young people who may not have experienced that play although may have heard of it. Perhaps they should show the title characters texting their dialogue to one another.

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: Romance

Rating: PG-13 (for some violence and thematic elements) 

The Beaver


 

The Beaver

A lot of beaver jokes are suggesting themselves but I’ll take the high road (for once).

(2011) Drama (Summit) Mel Gibson, Jodie Foster, Anton Yelchin, Jennifer Lawrence, Cherry Jones, Riley Thomas Stewart, Zachary Booth, Jeff Corbett, Baylen Thomas, Kelly Coffield Park, Michael Rivera, Kris Arnold, Matt Lauer, Jon Stewart, Terry Gross. Directed by Jodie Foster

 

Depression is one of those insidious things that can trap you in a room and cut off all the exits. For some of us, depression is something we escape through drugs, alcohol or sex. For others, depression is something we learn to live with and accept as being a part of ourselves, often along with the medication we take to deal with it. Then there’s Walter Black.

Walter (Gibson) is the president of a toy manufacturing firm whose fortunes have fallen on hard times. This has led to serious depression on Walter’s part, robbing him of his inertia (as many depression patients do, he sleeps an awful lot) and his ability to communicate with his family. His teenage son Porter (Yelchin), already at odds with his parents as teens will be, finds new reasons to loathe his dad. His wife Meredith (Foster) tries to be supportive but even she has reached her limits. She throws his ass out, sadly, reluctantly but inevitably for the good of her children – there is another son much younger, Henry (Stewart) who doesn’t quite understand what’s happening.

Hitting rock bottom, Walter tries to kill himself but his attempts fail miserably. He finds a disreputable-looking beaver puppet and to his surprise finds himself able to speak through the puppet and say the things he’s wanted to say – and more to the point, discovering an avenue to rejoin his life.

It works wonders. Walter is able to reverse the financial decline of his company and reconnect with his family – first with Henry and then with Meredith. Porter still spews venom at his dad and is going through his own turmoil; he writes term papers and speeches for other classmates in their own voice. He’s in the middle of trying to connect with Norah (Lawrence), a cheerleader and class valedictorian who is going through her own life crisis.

But all is not necessarily golden. Walter is becoming consumed with the puppet, to the point that he uses it in his sexual reconciliation with Meredith which is just a little bit more than creepy. One soon has to wonder who’s in charge – Walter or the puppet and if it’s the puppet, where is Walter?

Foster, one of the most gifted actresses and directors of her generation, returns to the director’s chair for the first time in 16 years. She’s a marvelous storyteller – go see Home for the Holidays or Little Man Tate if you don’t believe me – and tends to prefer scripts with unconventional stories to tell, as this one surely is.

As a look at the effect of depression on a family, I’m not sure how to take it. As someone who battles depression himself, I can understand Walter’s behavior to a certain extent, although I kind of wonder what most psychologists would have to say about his self-treatment. I’m not sure talking in a funny cockney voice through a glorified sock puppet is the way to wellness.

Of course, one can’t discuss the film without at least mentioning the elephant in the room. Gibson’s threatening phone calls to his girlfriend became public. There are many who had yet not forgiven him for his anti-Semitic remarks five years earlier as well. His battles with alcohol are public record, and there are those who feel he is a miserable excuse for a human being. Personally, I’m not one of them; I think he’s made a lot of mistakes in his life; there are many people who are close to the man who say he’s neither violent nor racist but their voices tend to be drowned out in all the self-righteousness. I don’t know him personally; he may well think Jews are responsible for all the wars ever started. He may have just said that in a drunken depression. Either way, it’s not germane to the matter at hand.

Say what you like about him as a person, he is a really good actor. He captures the gaze of a man caught in the grip of depression without overdoing it. It’s a hangdog look, the look of a man for whom life has hit the rocks and he expects no better. As Gibson the actor shows the ravages of alcohol on his face, Walter the character shows the ravages of life there. It’s a performance that may on the surface seem over-the-top but when you peel the layers back you realize that you’re watching a man at the top of his craft constructing a gem of a performance.

Yes, there is some heavy handedness here – Walter unable to speak with his own voice and his son writing term papers and speeches in the voices of others but never his own while being terrified that he’s turning into his dad. Yup. And the literal battle for Walter’s soul that ends up….well, I won’t say because that would be telling.

The movie is considered  financial flop which can be attributed to the off-beat subject of the film (and Americans are less warm towards off-beat than they are to dramas, which is what Foster attributed the cold reception to) as well as quite frankly a general perception that Gibson is a jerk and his films should be avoided. That’s kind of sad because if you can filter out your feelings about the guy this is a pretty good movie, offbeat as it might be.

WHY RENT THIS: Gibson does a terrific job and has good chemistry with Foster.

WHY RENT SOMETHING ELSE: The story is a bit of a mess. Heavy-handed pop psychology.

FAMILY VALUES:  The themes and subject matter is pretty much on the adult side dealing with depression; there are a few bad words and some disturbing images, not to mention a teeny bit of sexuality and drug references.

TRIVIAL PURSUIT: Foster originally wanted Kristen Stewart for the part of Norah but she was committed to doing Twilight so the then-unknown Lawrence was cast.

NOTABLE HOME VIDEO EXTRAS: None listed.

BOX OFFICE PERFORMANCE: $6.4M on a $21M production budget; the movie was a major flop.

COMPARISON SHOPPING: One Flew Over the Cuckoo’s Nest

FINAL RATING: 7/10

NEXT: The Bourne Legacy