The Tomorrow War


Tomorrow isn’t looking quite so bright.

(2021) Science Fiction (Paramount) Chris Pratt, Yvonne Strahovsky, J.K. Simmons, Betty Gilpin, Sam Richardson, Jasmine Matthews, Edwin Hodge, Ryan Kiera Armstrong, Keith Powers, Mary Lynn Rajskub, Mike Mitchell, Jared Shaw, Alexis Louder, Rose Bianco, Seychelle Gabriel, Alan Trong, Chibuikem Uche, Dave Maldonado, Kasandra Banfield. Directed by Chris McKay

 

Among the pandemic’s casualties was this film, meant to be one of Paramount’s tentpoles in the never-to-be-forgotten (no matter how hard we try) summer of 2020 but relegated to the indignity of direct-to-streaming the following year.

High school biology teacher Dan Forester (Pratt), a former Green Beret who has felt unfulfilled since returning home from the Iraq War, is trying to find a research job without success. His wife Emmy (Gilpin) and daughter Muri (Armstrong) believe in him, but he still feels like he’s missing something. Perhaps it’s his estranged dad (Simmons), a no-nonsense macho sort who has become an anti-government hermit living off the grid.

But his life – and everyone else’s – is turned upside down with the appearance of time travelers appearing at a soccer game with disturbing news; earth has been invaded by aliens and 20 years in the future, mankind is on the verge of becoming extinct. The future needs soldiers and they’ve come to the past to recruit them.

The survival rate is appalling, but Dan knows he has to go and despite the objections of his wife and tears of his daughter, he knows that this is the war he was meant to fight. On the jaunt back to the future he befriends fellow scientist Charlie (Richardson) and soldier Dorian (Hodge), the latter of whom is entering his third seven-day tour. Oh, that’s right, I forgot to tell you – they can only spend seven days in the future before being bounced back to their own time.

He also meets a hard-boiled colonel (Strahovsky) who has a nagging familiarity to her (and only the most dullest of intellects won’t be able to figure out why). He faces the aliens – all tentacles and teeth, shooting bony white projectiles from their tentacles, which nets them the name “White Spikes.” But even the infusion of cannon fodder from the past isn’t making much of a difference as the aliens are too many, breed too quickly and are too blamed hard to kill. Mankind may well be doomed – unless someone can come up with a solution to nip the problem before it rears its ugly multi-tentacled head.

This sci-fi action/war movie has elements of alien invasion movies like Skyline and sci-fi war tales like Starship Troopers and falls about in the middle of those two films in terms of quality. Pratt is a bright spot, one of Hollywood’s most consistently successful stars since emerging in the MCU as Star-Lord nearly a decade ago. This doesn’t feel like another franchise film for him; while he excels in the action sequences, he sometimes falters when the scenes are more dramatic in nature. He has always tended to do better with a bit of a smirk than with a bit of pathos.

Strahovsky is a capable actress who should have become a big star after Chuck ended, but hasn’t gotten the kinds of roles that would elevate her there. Simmons shows off his buff bod, astonishing for a 66-year-old man, but is given little else to do. Richardson and Hodge supply good support – Richardson as comic relief, Hodge as resident badass support – but it’s clear that the centerpiece are the CGI alien and action set pieces.

What bothers me most about the movie is the plot inconsistencies. People from the past are sent forward in time to essentially serve as cannon fodder; doesn’t that affect the future if they die in the war, leaving them unable to return to the past and live out the lives they were meant to? It also seems somewhat odd that we are able to invent time travel and yet we have made no significant improvement in armament. Most wars tend to lead to breakthroughs in military technology but nothing here seems to be terribly advanced.

Still, there’s plenty of action, plenty of carnage, plenty of nasty aliens and plenty of Chris Pratt. Chances are this would have done only middling business in the theaters had their not been a pandemic, and likely would have lost money but the sale of the movie from Paramount to Amazon meant it will at least break even for the studio, although whether that translates to profit for Amazon is anyone’s guess.

=REASONS TO SEE: Pratt has become one of Hollywood’s most bankable stars.
REASONS TO AVOID: Some oddball plot inconsistences.
FAMILY VALUES: There is plenty of sci-fi violence and carnage, as well as some profanity including sexually suggestive dialogue.
TRIVIAL PURSUIT: Chris Pratt is married to Arnold Schwarzenegger’s daughter.
BEYOND THE THEATERS:
Amazon
CRITICAL MASS:& As of 11/28/2021: Rotten Tomatoes: 52% positive reviews; Metacritic: 45/100.
COMPARISON SHOPPING: Edge of Tomorrow
FINAL RATING: 6/10
NEXT:
Black Friday

Amnesia


Sitting out in the warm sun can be a kind of amnesia.

(2015) Drama (Film Movement) Marthe Keller, Max Riemell, Bruno Ganz, Corinna Kirchhoff, Fermi Reixach, Marie Leuenberger, Félix Pons, Florentin Groll, Eva Barceló, Lluis Altés, Rick Zingale, Kate Ashcroft, Joel Rice, Alfie Davies Man, Fabian Krüger, Joel Basman. Directed by Barbet Schroeder

 

It is said that the sea has no memory; if that is true, an island is the perfect place to forget.

Marthe (Keller) lives a kind of idyllic life in Ibiza. It is 1990 and the Berlin Wall has just fallen. Her house is absolutely charming with a breathtaking view. There is no electricity but she is absolutely fine with that. She grows many of her own vegetables and goes fishing when she is hungry. That which she can’t get from the sea or grow herself she picks up at the local market. One of her cousins is visiting and urging her to return to Germany to dispose of a property for which her presence is required. She politely declines.

Shortly thereafter, a new neighbor moves in to the house just above hers on the hillside. He is Jo (Riemell), a German musician/composer who has been drawn by Ibiza’s burgeoning Electronic Dance Music (EDM) scene. His stage name is DJ Gello and he is angling for a gig at Amnesia, the 800 pound gorilla of EDM clubs on Ibiza (and yes, this is a real club which is still open today). Jo is a pleasant sort who shows up at her door requesting first aid after badly burning his hand accidentally. She gives him an herbal cream rather than a bag of ice and the two strike up a friendship.

Marthe is in her 70s and Jo in his 20s but the two hit it off. They become fast friends, Marthe introducing Jo to the laid-back Ibiza life, Jo introducing Marthe to the hypnotic sway of EDM which Marthe actually finds compelling. There are a lot of things Marthe isn’t talking about; the cello that she never plays, the reason she won’t drink German wine or ride in Jo’s Volkswagen. He also is upset when he discovers that Marthe, who claimed to be unable to speak German, turns out to be fluent in that language.

In fact, it turns out that Marthe is in fact German. She left Germany shortly before World War II broke out and fled to Switzerland with her love, a Jewish cellist. Disgusted by what her country did and became, she has renounced all things German, affecting a sort of amnesia by choice of her native country, her native language and everything relating to it.

When Jo’s parents visit, his doctor mother (Leuenberger) and his beloved grandfather (Ganz) are trying very hard to convince Jo to return and take part in the historic reunification between East and West Germany. As the two enjoy a paella on Marthe’s patio on a sunlit afternoon, the grandfather’s harmless stories – which had evolved over the years – under Marthe’s persistent questioning begins to crumble until a stark truth remains. Grandpa Bruno’s own stories had formed a kind of amnesia for events too terrible to contemplate.

Schroeder has made some wonderful films in his storied career (his first effort in the director’s chair came back in 1969) as well as a few turkeys but this one tends towards the former more than the latter. A lot of his films feature people dealing with an unsavory past and this one does so indirectly (and directly in the case of Grandpa Bruno). Marthe, as Jo’s mom points out near the end of the film, is dealing with her issues with her homeland by running away from her feelings. It’s hard not to blame her; in an era when Americans are increasingly disillusioned with the direction that their country is taking. While we don’t have evil on the scale of the Nazis running the United States, there are certainly a lot of reasons not to like the way our country is shaping up. I’m not sure I’m quite ready to move to Ibiza and never speak English again – well, maybe I’m ready to move to Ibiza.

The cinematography here might just make you want to move to Ibiza. There are some beautiful vistas of gorgeous sunsets, stunning views and charming marketplaces. While this is mainly the Ibiza of 20 years ago (other than two framing scenes at the beginning and end), my understanding is that it hasn’t changed all that much.

The writing here is very simple in terms of storyline and although the plot takes awhile to get moving it does eventually do so. Yes, some of the dialogue is a little clunky (as when Jo explains to Marthe what looping is) but by and large this feels a lot like real people conversing with one another albeit people conversing in a language not native to them.

Marthe Keller was a big European star in the 70s along the lines of Charlotte Rampling who has had a bit of a late career renaissance. A performance like this could get Keller a resurgence of her own; the septuagenarian is charming and natural, never rushing her delivery. She’s not so much grandmotherly as she is a bit of a recluse; her origins are kept secret early on giving her an air of mystery but gradually as her story is unveiled we get to understand her better. The relationship between Marthe and Jo is platonic although Jo hints that his feelings run deeper, and the chemistry between the two is at the heart of the film. Both of these people are somewhat wounded and need each other and in the end we see that they are good for each other in ways movies don’t often explore.

This isn’t slated to get a very wide release although if it does well in the cities it is playing in we might see it get more screens, so it behooves you to make plans to see it if it does show up in your neck of the woods. It’s also already on Google Play and should be out on other streaming services before too long. In any case, this is a worthwhile effort from a director who has helped shape the course of film over the past 50 years – that in itself should be incentive enough.

REASONS TO GO: The vistas of Ibiza are enchanting. The story is simple but effective.
REASONS TO STAY: The story takes a little bit of time to get moving.
FAMILY VALUES: There are some adult themes as well as a smattering of profanity.
TRIVIAL PURSUIT: The house that Marthe lives in here was also used by Schroeder in More (1969) and is owned by the Schroeder family (his mother bought it in 1951).
BEYOND THE THEATERS: Google Play
CRITICAL MASS: As of 7/23/17: Rotten Tomatoes: 80% positive reviews. Metacritic: 60/100.
COMPARISON SHOPPING: The Reader
FINAL RATING: 7.5/10
NEXT: Born in China

Jack Reacher: Never Go Back


Tom Cruise finds his “make the ketchup bottle disappear” trick didn’t work as well as expected.

Tom Cruise finds his “make the ketchup bottle disappear” trick didn’t work as well as expected.

(2016) Action (Paramount) Tom Cruise, Cobie Smulders, Aldis Hodge, Danika Yarosh, Patrick Heusinger, Holt McCallany, Judd Lombard, Jason Douglas, Madalyn Horcher, Robert Catrini, Anthony Molinari, M. Serrano, Nicole Barre, Jessica Stroup, Sharon E. Smith, Teri Wyble, Sean Boyd, Austin Hébert, Sabrina Gennarino, Ernest Wells, Lizbeth Hutchings. Directed by Edward Zwick

 

Most of us have some sort of moral code. It might not be straight and narrow and it might be more flexible than most, but it’s there. For most of us, there are things that just cannot stand. Then again, there are those whose codes, for better or worse, are about as flexible as the Rock of Gibraltar. Sometimes, that can be a good thing.

Jack Reacher (Cruise) was once in charge of a Military Police investigative unit until he retired from the armed forces. He prefers to live off the grid, moving from place to place and living off his pension which he collects in cash. He hitchhikes to get from place to place. He’s a loner by nature and will never initiate a conversation without reason to, but if you get up in his grill he absolutely will mop the floor with your carcass.

His successor in the unit is the ramrod-tough straight shooter Major Susan Turner (Smulders) on whom Reacher asks a favor from time to time. The two have developed a friendly, semi-flirtatious repartee that doesn’t seem to have much expectation that anything will come of it, but there is clearly mutual respect between the two and Reacher doesn’t respect a whole lot of people. After she arrests a group of human traffickers operating from a military base (and rescuing Reacher from being arrested himself for assault in the bargain), he tells her that he owes her a dinner and she can collect the next time he’s in D.C.

But by the time Reacher gets there, things have turned upside down; Major Turner has been arrested for espionage, something Reacher thinks smells fishy. And the more he talks to her commanding officer (McCallany), the fishier the smell. Pretty soon, he discovers that two of her direct reports in Afghanistan turned up dead. Quickly Reacher’s nose indicates that there’s a nasty little conspiracy going on and that Major Turner – whom he scarcely knows but considers a friend – is not safe in jail. He breaks her out and goes on the run, pursued by – well, everybody including a black-gloved assassin (Heusinger) with no name who might just be Reacher’s equal in hand-to-hand combat.

To further complicate matters, there’s a teenage girl (Yarosh) who may or may not be Reacher’s daughter and because she might be, she’s in the crosshairs of the killers. Whether she’s his progeny or not, he can’t just leave her in the hands of the wolves, so Reacher knows he’s going to have to do what he does best – kick ass and dig until he finds the truth, assuming you can handle it (see what I did there).

The Reacher book series penned by author Lee Child is at 21 books as of this writing and continuing to climb. The series has a fairly rabid fan base, not all of whom are especially pleased over the two films that have been adapted, particularly as the hero is 6’4” in the book, nearly a foot taller than what Cruise is in real life. Short of budget-busting special effects, nothing is going to make Cruise that tall. He is then forced to take up the slack with attitude.

And to a certain extent, it works. Reacher feels dangerous here. Maybe it’s the way he looks at you sideways or the coiled spring tension in Cruise’s body language but you get a sense that rubbing this guy the wrong way would be a bad and potentially fatal idea. I will give Cruise that – he gets the attitude of Reacher right.

But that makes it a bit of a hard sell. Reacher as written isn’t the sharing kind. He’s taciturn, sullen, often hostile. He’s smart in a predatory kind of way. He’s also self-disciplined as you’d expect for an elite military officer but that doesn’t mean he can’t explode into violence when the need arises. It’s the kind of character that Clint Eastwood might have owned a few decades ago, or more recently maybe Schwarzenegger. In many ways, Jack Reacher isn’t much different than a number of action hero loners with faulty social skills and therein lies the rub.

Much of the movie (particularly in the second half) requires Reacher to be something of a father figure and it just comes off…wrong. Reacher is loyal to a fault but that doesn’t make him an ideal family man. The interactions between Reacher and Samantha (said sullen teen whose moral compass is a bit shadier than his) are awkward as they should be, but that ends up making you feel uncomfortable, like listening to Florence Foster Jenkins singing karaoke.

The action sequences are decently staged, although unremarkable in and of themselves. The climactic fight between the assassin and Reacher on the rooftops of the French Quarter (and it must be said that the Big Easy looks pretty great here) is lengthy but it feels predictable. I’m not saying that it’s horrible, it just didn’t wow me. Perhaps I’ve seen too many action movies.

All in all, this is entertaining enough to recommend but not enough to recommend vigorously. I think that a good movie can be made from the Child novels but thus far the movies have been decent but not memorable. They make for some nice time fillers if you’re bored and want to kill a couple of hours, but if you’ve got a yen for an action movie that’s going to leave you breathless with your heart pounding, this isn’t the one to select.

REASONS TO GO: Some pretty decent action sequences highlight the film. The filmmakers utilize the New Orleans location nicely.
REASONS TO STAY: For the most part the film is pretty unremarkable. It loses steam in the second half.
FAMILY VALUES: There is all sorts of violence and action movie goodness, a bit of profanity, some adult themes and a couple of bloody images.
TRIVIAL PURSUIT: The film is based on the eighteenth book in the series; its predecessor was based on the ninth book.
CRITICAL MASS: As of 11/17/16: Rotten Tomatoes: 38% positive reviews. Metacritic: 47/100.
COMPARISON SHOPPING: Out for Justice
FINAL RATING: 6/10
NEXT: Denial