New Releases for the Week of February 21, 2020


THE CALL OF THE WILD

(20th Century Fox) Harrison Ford, Karen Gillan, Omar Sy, Bradley Whitford, Dan Stevens, Cara Gee, Jean Louisa Kelly, Wes Brown, Terry Notary. Directed by Chris Sanders

Based on the classic Jack London novel, this is the tale of Buck, a dog with a big heart but unfortunately a clumsy manner, the latter of which gets him exiled from his comfortable California home to the wilds of Alaska, He makes friends with a curmudgeonly loner and ends up making his own destiny as the leader of a mail sled dog team.

See the trailer here
For more on the movie this is the website
Genre: Adventure
Now Playing: Wide Release
Rating: PG (for some violence, peril, thematic elements and mild language)

10 Things to Do Before We Break Up

(Vision) Christina Ricci, Hamish Linklater, Jon Abrahams, Katia Winter. Two people who don’t believe in love get together in a relationship they both know is doomed, but it soon becomes apparent neither one of them wants it to end.

See the trailer here
For more on the movie this is the website  
Genre: Romance
Now Playing: Old Mill Playhouse
Rating: NR

The Assistant

(Bleecker Street) Julia Garner, Matthew Macfadyen, Mackenzie Leigh, Kristine Froseth. A young woman fresh out of college gets her dream job working as an executive assistant to a powerful entertainment mogul. As her day goes by, she begins to notice the subtle degradation that permeates her job and decides at last to take a stand.

See the trailer here
For more on the movie this is the website  
Genre: Drama
Now Playing: Barnstorm Theater, Regal Winter Park Village
Rating: R (for some language)

Atlantics

(Netflix) Mame Sane, Amadou Mbow, Nicole Sougou, Aminata Kane. A group of construction workers in Dakar who haven’t been paid for months abandon their jobs and decide to take to the sea to find better opportunities elsewhere. One of them is Suleiman, the lover of Ada, who is promised to another man but who loves Suleiman.

See the trailer here
For more on the movie this is the website  
Genre: Drama
Now Playing: Cinematique of Daytona
Rating: NR

Bheeshma

(Blue Sky) Bishu Sengupta, Rashmika Mandanna, Nithin, Vennela Kishore. A young man who creates memes for a living is determined to remain a bachelor for the rest of his days, but fate seems to be conspiring against him.

See the trailer here
For more on the movie this is the website  
Genre: Dramedy
Now Playing: Amstar Lake Mary, Cinemark Orlando
Rating: NR

BHOOT: Part One – The Haunted Ship

(ZEE) Vicky Kaushal, Bhumi Pednekar, Ashutosh Rana. A bereaved shipping officer must save a girl he believes to be real who has been appearing on a derelict ship – the Sea Bird – that is believed to be haunted. The first of two parts.

=See the trailer here
For more on the movie this is the website  
Genre: Horror
Now Playing: AMC West Oaks
Rating: NR

Brahms: The Boy II

(STX) Katie Holmes, Owain Yeoman, Christopher Convery, Ralph Ineson. When a family moves into a stately old home with a checkered past, their young son makes friends with a life-sized doll named Brahms.

See the trailer here
For more on the movie this is the website  
Genre: Horror
Now Playing: Wide Release
Rating: PG-13 (for violence, terror, brief strong language and thematic elements)

The Lodge

(NEON) Riley Keough, Richard Armitage, Alicia Silverstone, Jaeden Lieberher. A family vacations at a remote mountain cabin for the holidays but when the father is forced to return to work abruptly, he leaves his two children in the care of his new girlfriend. However, terrifying events powered by spectres from her dark past haunt the three of them as a blizzard traps them there.

See the trailer here
For more on the movie this is the website  
Genre: Horror
Now Playing: AMC Altamonte Mall, AMC Disney Springs, Cinemark Orlando, Regal Waterford Lakes, Regal Winter Park Village
Rating: R (for disturbing violence, some bloody images, language and brief nudity)

My Boyfriend’s Meds (Las píladoras de mi novio)

(Pantelion) Jaime Camil, Sandra Echévarria, Jason Alexander, Brooke Shields. A dream trip to a tropical paradise turns into a nightmare when her boyfriend accidentally leaves his prescription meds behind..

See the trailer here
For more on the movie this is the website  
Genre: Comedy
Now Playing: AMC Disney Springs, Epic Theaters of Lee Vista, Regal The Loop
Rating: NR

The Night Clerk

(Saban) Ana de Armas, Helen Hunt, John Leguizamo, Tye Sheridan. A young, socially challenged night clerk at a hotel witnesses a murder in one of the rooms. However, his actions are deemed suspicious by the detective in charge who makes him the number one suspect.

See the trailer here
For more on the movie this is the website  
Genre: Suspense
Now Playing: Old Mill Playhouse
Rating: R (for language, some sexual references, brief nudity and violent images)

Olympic Dreams

(IFC) Nick Kroll, Alexi Pappas, Gus Kenworthy, Morgan Schild. A cross-country skier at the 2018 Winter Olympic games feels alone in a crowd in the Village. She links up with a volunteer dentist who is having relationship problems and maybe the spark of something is ignited. This was reviewed last week by Cinema365; you can follow the link to review by clicking on the movie’s name under “Scheduled To Be Reviewed” below.

See the trailer here
For more on the movie this is the website  
Genre: Romantic Comedy
Now Playing: Barnstorm Theater
Rating: PG-13 (for some language and sexual references)

Portrait of a Lady on Fire

(NEON) Noémie Merlant, Adele Haenel, Laura Bajrami, Valeria Golino. A woman is commissioned to paint a portrait of a reluctant bride to send to a potential suitor in 18th century France. However, the painter who is there under the guise of being a companion (and paints her portrait by night) soon develops romantic feelings for her subject.

See the trailer here
For more on the movie this is the website  
Genre: Historical Drama
Now Playing: Enzian Theater
Rating: R (for some nudity and sexuality)

Standing Up, Falling Down

(SHOUT!) Billy Crystal, Ben Schwartz, Grace Gummer, Nathan Corddry. After his stand-up career fails to take off in Los Angeles, a man returns home to Long Island to regroup. Along the way he rekindles old relationships and strikes up a new one with an eccentric dermatologist who has regrets of his own.

See the trailer here
For more on the movie this is the website  
Genre: Comedy
Now Playing: Old Mill Playhouse
Rating: NR

ALSO OPENING IN ORLANDO/DAYTONA:

Hai Tang Hong
Shubh Mangal Zyada Saavdhan
Swift

ALSO OPENING IN MIAMI/FT. LAUDERDALE/KEY WEST:

Citizen K
Corpus Christi]
Hai Tang Hong
Hump!
India vs. England
Mafia: Chapter 1
Shubh Mangal Zyada Saavdhan
Those Who Remained
True Fiction
Varda by Agnes

ALSO OPENING IN TAMPA/ST. PETERSBURG/SARASOTA:

Impractical Jokers: The Movie
Shubh Mangal Zyada Saavdhan

ALSO OPENING IN JACKSONVILLE/ST. AUGUSTINE:

Emerald Run
Impractical Jokers: The Movie
Mafia: Chapter 1
Shubh Mangal Zyada Saavdhan

SCHEDULED FOR REVIEW:

Brahms: The Boy II
Call of the Wild
The Lodge
Olympic Dreams
Portrait of a Lady on Fire
Standing Up, Falling Down

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Transformers: The Last Knight


Mark Wahlberg reacts to news that Michael Bay plans to blow even more shit up.

(2017) Science Fiction (Paramount) Mark Wahlberg, Anthony Hopkins, Josh Duhamel, Laura Haddock, Santiago Cabrera, Isabela Moner, Jerrod Carmichael, Stanley Tucci, Liam Garrigan, John Turturro, Glenn Morshower, Gemma Chan, Peter Cullen (voice), Frank Welker (voice), John Goodman (voice), Steve Buscemi (voice), Omar Sy (voice), Ken Watanabe (voice), Jim Carter (voice) Sara Stewart. Directed by Michael Bay

 

Michael Bay sure loves to blow shit up. In his latest installment of the Transformers series, he does a whole lot of blowing shit up; so much of it, in fact, that there’s almost no room for a coherent story.

See if you can make any sense of this; the world is in chaos with Optimus Prime (Cullen) having fled the planet to go seek Cybertron, the home world of the Transformers. There is no leadership and the Transformers are being hunted down by the TRF, a government strike force headed by Colonel William Lennox (Duhamel) who implores in vain his field chief Santos (Cabrera) that there are differences between the Autobots and the Decepticons. As far as Santos is concerned, the only good robot is a dead robot.

Izzy (Moner), a 14-year-old girl living in the rubble of old Chicago in a zone off-limits to humans due to Transformer infestation is discovered by the TRF but rescued at the last moment by Cade Yeager (Wahlberg), one of the most-wanted people on Earth due to his association with Bumblebee and the other remaining Autobots. Yeager is given a strange talisman by a dying Transformer who appears to be much older than the rest of them. In the meantime, Yeager takes Izzy to South Dakota and his junkyard where the last remaining Autobots are hiding.

Sadly, the TRF track them there too but Yeager is rescued by Cogman (Carter), a kind of C-3PO type of Butler. Cogman flies Yeager and Bumblebee to Jolly Olde England where Sir Edmond Burton (Hopkins) informs Yeager that the Transformers have been on Earth much longer than anybody knew and that he has been charged with protecting the history of the Transformers by keeping it hidden. He is also protecting the Staff of Merlin (Tucci) which is in reality a high-tech weapon. Quintessa (Chan), the Mad Goddess-Creator of Cybertron, wants that weapon so that her dead world can live again – only it would rob the Earth of its magnetic core which would kill our world. Yikes.

So Cybertron is on its way to Earth, Megatron (Welker) is doing the bidding of Quintessa and Optimus has surprisingly switched sides under the Mad Goddess’ influence. Everyone is after the Staff but only one human can wield it – Vivian Wembley (Haddock), a comely Oxford professor of history who specializes in Arthurian legends and who happens to be, unbeknownst to her, the last living direct descendant of Merlin. Got all that?

I really don’t know where to begin. At more than 2 ½ hours long, this is a bloated mess that outstays its welcome early on. There’s only so much falling masonry the puny humans can dodge before it starts to get old and it gets old fast. The trouble with a franchise like this is that in order to sustain it, you have to get bigger and badder with each succeeding movie and I can see Bay is trying his damndest to do just that. The novelty of having giant robots battle each other is wearing thin; not only are we seeing that kind of thing from the Transformers franchise but also from such movies as Pacific Rim and Colossal. There is a certain segment of the population – mainly adolescent boys or men with the maturity of adolescent boys – for whom that is all that is necessary for an entertaining movie. The rest of us need a bit more.

The turgid dialogue may be the most cringe-inducing of the entire series and that’s quite an accomplishment, albeit one that shouldn’t be an object of pride. The fact that they got Sir Anthony Hopkins, one of the greatest living actors, to appear in the movie is something of a minor miracle although I sure hope they paid him a dump truck full of money.

I give Wahlberg props for at least trying to make a go of it in the film but in the end he is reduced to mostly ducking for cover, sliding down embankments and bickering with Vivian. Wahlberg is an extremely likable actor but most of his charm is wasted here in lieu of spectacle and make no mistake – it’s spectacle without spirit.

The destruction is so constant and unrelenting that after awhile it becomes senses-numbing and actually quite boring. I will admit to never having been a fan of the animated show in the first place but I thought it to be at least better than most of the similarly natured kidtoons of the era but this is worse than even those. While the CGI is generally pretty detailed at times there are moments where it looked like they completed the CGI in a hurry and it shows.

The movie jumps the shark early and never stops jumping it. For example late in the movie, the 14-year-old girl stows away on a military aircraft on a do or die mission to save the world. I mean, really? The only reason she is on there is to save the day for the adults so that the tween audience can be pandered to. Quite frankly I felt the movie was aimed at the lowest common denominator throughout. That’s not a good feeling.

I probably would rank this lower if I thought about it long enough but there are some pretty impressive effects and Wahlberg deserves something for his efforts. I think Bay went for sheer spectacle and found that he was so focused on the sizzle that he neglected to put on the steak. That makes for a pretty empty and unsatisfying summer barbecue.

REASONS TO GO: Lots of shit gets blown up. Wahlberg makes a vain but valiant attempt to elevate this.
REASONS TO STAY: The movie is wayyyy too long and boring. It’s a bloated, mind-numbing mess.
FAMILY VALUES: There is plenty of sci-fi violence and robotic mayhem, a smattering of profanity and a brief scene of sexual innuendo.
TRIVIAL PURSUIT: This is the most expensive Transformers movie to date with a shooting budget of $260 million.
CRITICAL MASS: As of 6/23/17: Rotten Tomatoes: 16% positive reviews. Metacritic: 27/100.
COMPARISON SHOPPING: Nothing compares to this.
FINAL RATING: 5/10
NEXT: Beatriz at Dinner

Inferno (2016)


Tom Hanks and Felicity Jones at least got their exercise regimens in.

Tom Hanks and Felicity Jones at least got their exercise regimens in.

(2016) Thriller (Columbia) Tom Hanks, Felicity Jones, Omar Sy, Irrfan Khan, Sidse Babett Knudsen, Ben Foster, Ana Ularu, Ida Darvish, Paolo Antonio Simioni, Fausto Maria Sciarappa, Alessandro Grimaldi, Robin Mugnaini, Paul Ritter, Vincenzo Tanassi, Alessandro Fabrizi, Simone Mariani, Gabor Urmai, Jon Donahue, Fortunato Cerlino, Attila Arpa, Kata Sorbo. Directed by Ron Howard

 

I don’t know if it’s fair to characterize the novels of Dan Brown as an acquired taste. After all, he’s sold millions of copies of his Robert Langdon novels starting with The DaVinci Code. His plots tend to be complicated and sometimes overly so. Still, they can be an entertaining read. Now, his fourth novel in the series has become the third filmed version of the franchise

Professor Robert Langdon (Hanks), one of the world’s leading minds, wakes up in an Italian hospital with no memory of how he got there. Dr. Sienna Brooks (Jones) is trying to establish how he was shot; there is a head wound where a bullet apparently grazed his skull which might account for his amnesia. Just then a remorseless assassin (Ularu) comes for him, forcing the professor and doctor to flee.

In fact, it turns out a lot of people are after Langdon. The World Health Organization, with Dr. Elizabeth Sinskey (Knudsen) and .investigator Christoph Bouchard (Sy) are chasing Langdon with an unknown agenda. The Italian police are after him after surveillance footage reveals that he stole the death mask of Dante Alighieri  whose Inferno holds clues to a mad billionaire’s (Foster) plan to “cull the human herd” by releasing a plague that will kill half the world’s population and immediately ease overpopulation concerns. A bit of a drastic cure, that.

In any case as Langdon’s memories begin to slowly return, he finds he is in a race against time to find the killer virus and stop this mass murder on a demonic scale. In order to do that he has to follow a chain of clues left behind by the billionaire who killed himself rather than reveal the location of the virus’s delivery system to the WHO. Who can Langdon trust? As it turns out, not the people he thinks.

I have to admit I found the first film in the series, The DaVinci Code, to be genuinely entertaining – the follow-up, Angels and Demons, less so but still acceptable. The third in the series is by far the least entertaining so far; the preposterous nature of the plot has become far too glaring to ignore and the payoff not enough to be worth the ride. Hanks looks a bit tired here; I suspect he’s given Langdon about all he can give him as an actor. There were rumors that both Howard and Hanks were leaving the series after Angels and Demons but apparently they were prevailed upon to do the third film after pre-production on a proposed film version of the third book in the series, The Lost Symbol, stalled.

Again, Howard utilizes an international cast that is largely better known in Europe than in the United States with the exception of the Oscar-nominated Jones who shines here, reinforcing my opinion that she is one of the best young actresses out there who is likely to be one of the most honored actresses of her generation when all is said and done. Khan, who plays the nefarious head of a shadowy security agency, also has some meat on the bones of his character that he can work with but his part is all too brief alas.

Seeing the sights of Florence, Cambridge and Istanbul (among other places) is pleasing, particularly to me personally as I was in Florence just this past May and can attest to the beauty of the city having seen the Ponte Vecchio and the Uffizi with my own eyes. It certainly ignited the tourist in my soul to see some of the sights that the movie highlights. If you have that tourist gene inside you, you’ll likely be pleased by this as much as I was, but it’s not really enough to recommend a movie just for the setting. It’s rough when every ten minutes or so you’re rolling your eyes at yet another plot turn that defies logic. Even Dan Brown’s most loyal fans will be shaking their heads at this one.

REASONS TO GO: Plenty of lovely tourist opportunities for places like Florence and Istanbul.
REASONS TO STAY: The plot is absolutely preposterous.
FAMILY VALUES:  Action and violence in plenty here, as well as a few disturbing images, brief sexuality, some disturbing thematic elements and brief foul language.
TRIVIAL PURSUIT:  This is the first Robert Langdon film not to be written by Akiva Goldsman.
CRITICAL MASS: As of 12/6/16: Rotten Tomatoes: 20% positive reviews. Metacritic: 42/100.
COMPARISON SHOPPING: Outbreak
FINAL RATING: 5/10
NEXT: Be My Cat: A Film for Anne

New Releases for the Week of October 28, 2016


InfernoINFERNO

(Columbia) Tom Hanks, Felicity Jones, Omar Sy, Irrfan Khan, Sidse Babett Knudsen, Ben Foster, Ana Ularu, Ida Darvish, Paolo Antonio Simioni. Directed by Ron Howard

Cryptologist Robert Langdon, one of the most brilliant minds on the planet, wakes up in a hospital with amnesia. As he and his doctor try to piece together what has happened to him they discover a monstrous plot bent on reducing the population of the world to a manageable number – by releasing a virus that may kill half the world’s population. Their only hope is to follow the clues left behind concerning Dante, the Italian writer who created the modern conception of Hell. This is the third film to be based on the Dan Brown series of novels.

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

Release Formats: Standard, IMAX
Genre: Adventure
Now Playing: Wide Release

Rating: PG-13 (for sequences of action and violence, disturbing images, some language, thematic elements and brief sensuality)

Ae Dil Hai Mushkil

(Fox STAR) Ranbir Kapoor, Anushka Sharma, Aishwarya Rai Bachchan, Fawad Khan. A beautiful young woman, reeling from the break-up of a long-term relationship, starts to fall for a young man who loves to sing. The film has come under fire for the casting of a Pakistani actor; tensions have been high between Pakistan and India of late following a terrorist attack on an Army base near Uri in the Kashmir region.

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

Release Formats: Standard
Genre: Bollywood
Now Playing: AMC West Oaks, Cinemark Artegon Marketplace, Touchstar Southchase

Rating: NR

Michael Moore in Trumpland

(Dog Eat Dog) Michael Moore, Donald Trump, Hilary Clinton. This surprise Moore film is hitting theaters only days after being filmed. This is essentially a one-man show that Moore did in Ohio, deep in the heart of Trump territory, discussing the 2016 Presidential election rather than a documentary on Trump himself, as some have surmised.

For more on the movie this is the website.
Release Formats: Standard
Genre: Documentary
Now Playing: Enzian Theater

Rating: NR

Burnt


A dish well-prepared is a dish well-enjoyed.

A dish well-prepared is a dish well-enjoyed.

(2015) Drama (Weinstein) Bradley Cooper, Sienna Miller, Daniel Brûhl, Emma Thompson, Riccardo Scamarcio, Omar Sy, Sam Keeley, Henry Goodman, Matthew Rhys, Stephen Campbell Moore, Uma Thurman, Lexi Benbow-Hart, Alicia Vikander, Lily James, Sarah Greene, Bo Bene, Elisa Lasowski, Julian Firth, Martin Trenaman, Esther Adams. Directed by John Wells

The pursuit of excellence often becomes an obsession with perfection. It can often be a journey that becomes a nightmare of excess, fueled by drugs, sex and ego and lead one down to oblivion. Coming back from that can be nearly impossible.

But that’s the task before Adam Jones (Cooper). Once a two-star Michelin chef in Paris, this American enfant terrible of the French culinary world was a bad boy living the fast life, driven to get that final third Michelin star but so lost in both his own ambition, a relationship with his mentor’s daughter (Vikander) and an escalating drug habit that a spectacular meltdown lost him everything.

Two years of sobriety later, having worked shucking a million oysters in New Orleans, he’s ready to resume his tilt and decides that opening up a restaurant at a prestigious London hotel would be the ticket. It so happens that Tony (Brûhl), the son of an old friend and perhaps the best maître’d in Europe has such a restaurant that could use an infusion of the buzz that comes from having a celebrity chef. Tony is reluctant, given Adam’s volatile temperament but eventually gives in.

Adam sets to putting together a “dream team” for this restaurant, bringing in a Michel (Sy), a sous chef he wronged in Paris but who has since forgiven him and Helene (Miller) who is a raw talent that Adam thinks can become great. She comes with a precocious daughter Lily (Benbow-Hart) who is as tough as any food critic when it comes to her meals.

Adam turns out to be a martinet in the kitchen, screaming in the faces of his staff and so obsessed with perfection that he forces Helene to apologize to a fish because of a minor mistake in cooking it. Eventually though he manages to get his act together and soon his kitchen is humming along like a well-oiled machine. However, there are complications; he owes a large debt to drug dealers that he won’t let Tony pay for him and they are getting increasingly insistent on getting their money. He also is falling in love with Helene, who is developing strong feelings for him as well.

But things come to a head when the Michelin inspectors come and Adam faces an unexpected turn of events, sending him spiraling back down a road that he has sworn he wouldn’t take again. Can even the great Adam Jones fix a meal gone this bad?

Cooper, who at one point in his life aspired to being a chef himself, makes an excellent Adam Jones. Cooper is one of Hollywood’s most likable actors but he has to play a very unlikable character in the uber-driven Adam. His kitchen tantrums and occasionally manipulative tactics can sometimes leave a sour taste in one’s mouth but Adam isn’t a bad person per se, and we do get to see the humanity of the man peeking through at unexpected moments.

The rest of the cast is solid as you’d expect of a cast with this kind of international caliber. Miller, who worked with Cooper on American Sniper, retains the chemistry the two enjoyed on that film here. Thompson, who has a small role as Adam’s therapist, shines as she always does and Rhys also has a meaty role as a rival chef. I particularly liked Sy, however; the big French actor has never turned in a subpar performance that I can recall and even though he seems to be on a supporting role treadmill at the moment, I foresee some big things in his future.

The problem I have with Burnt is that the predictability of the story. Other than one major twist, there’s pretty much a Screenwriting 101 feel to the plot. There’s even the precocious kid that exists for no other reason than because precocious kids always show up in movies like this. Not that Benbow-Hart isn’t anything but good in her role, it’s just that the character is extraneous. Does Helene really need to be a single mom? No, she just needs to be single. Her motherhood adds nothing to the emotional resonance of the film.

There’s plenty of food porn and I will say that if you’re hungry going in chances are you’re going to have a craving for some good food and it isn’t a stretch to say that you’ll probably leave the theater (or your couch if you are reading this after it makes it to home video) hungry and not for fast food either; for a sit down meal in a place that has tablecloths and waiters and most importantly, delicious food. We can all use a good meal from time to time. As a movie, I would place this more as casual dining more than fine dining, but it does strike a chord nonetheless.

REASONS TO GO: Cooper and Miller have real chemistry. Plenty of food porn. Nicely paced.
REASONS TO STAY: Predictable story. Too-cute kid syndrome. Too many unnecessary subplots.
FAMILY VALUES: A whole lot of foul language and some drug references.
TRIVIAL PURSUIT: Cooper patterned his in-kitchen demeanor on that of Gordon Ramsey.
CRITICAL MASS: As of 11/20/15: Rotten Tomatoes: 27% positive reviews. Metacritic: 42/100.
COMPARISON SHOPPING: Chef
FINAL RATING: 6/10
NEXT: Kingdom of Shadows

Jurassic World


Here comes the cavalry.

Here comes the cavalry.

(2015) Science Fiction  (Universal) Chris Pratt, Bryce Dallas Howard, Vincent D’Onofrio, Ty Simpkins, Jake Johnson, Irrfan Khan, Nick Robinson, Omar Sy, BD Wong, Judy Greer, Lauren Lapkus, Brian Tee, Katie McGrath, Andy Buckley, Eric Edelstein, Courtney James Clark, Colby Boothman-Shepard, Jimmy Fallon, James DuMont, Matthew Burke, Anna Talakkotur. Directed by Colin Trevorrow

It is not unusual to be fascinated by dinosaurs. We all look at the great lizards who ruled the world before men walked upright in awe and wonder. Now there is nothing left but the fossilized remains of their bones. We know precious little about them, mostly extrapolating from the few tantalizing clues we’ve discovered over the years. How would it capture the imagination if we could examine a real, living dinosaur – and how insanely dangerous would that be?

John Hammond had a dream. He’d discovered away to clone dinosaurs using blood found in mosquitoes trapped in amber over several million years. He wanted to display them in a biological preserve on Isla Nublar off the cost of Costa Rica. Unfortunately, his plans to open Jurassic Park (as he hoped to call the theme park) met with disaster and death.

However, that was 22 years ago. His dream became reality eventually – in Jurassic World, a high-tech theme park complete with Starbucks and a resort hotel. Hammond is no longer with us, but his successor – Simon Masrani (Khan) – has given the world a major tourist attraction that draws millions every year.

However, like every human endeavor, the shine wears off pretty quickly and people grow jaded, their attention captured by other things. In order to stay competitive, Masrani knows he has to present new attractions to keep the crowds coming. But dinosaurs don’t exactly grow on trees; there are only so many of them to go around. He knows what the public wants – bigger, louder, more teeth. So he sets his chief mad scientist Dr. Henry Wu (Wong) to genetically engineer one, one with the traits of a variety of different dinosaurs – only bigger, louder and with more teeth.

Park director Claire (Howard) has no problem with that. She’s already got Verizon interesting in sponsoring the new exhibit. However, one of her top trainers isn’t so excited. Owen (Pratt), who has a history with Claire (they dated for about five minutes years ago) and a military background, has managed to make some inroads with the Velociraptors who at least have a kind of mutual respect thing going with him and will occasional listen to his commands.  A genetically engineered dinosaur? Messing with nature can only end up in disaster.

And so it does. The new dinosaur – dubbed Indominus Rex or “fierce/untamed king” – using previously undiscovered abilities has escaped from her enclosure and she’s got a mean on. She doesn’t kill for food; she kills for sport. That’s bad news for the other dinosaurs, but worse news for the tourists who aren’t aware that they’re going to become snacks for the new predator. And to make matters worse, Claire’s two nephews – brilliant Gray (Simpkins) and hormonal Zach (Robinson) – have ditched the sitter she sent to keep an eye on them and are about to have an up close and personal encounter with Indominus. She gets Owen to go out and fetch her wayward nephews but once he does, where does he take them when there is literally no safe place on the entire island?

Jurassic World broke box office records opening weekend, proving that there is still life in a franchise that Universal had abandoned some fourteen years previously. Director Colin Trevorrow (Safety Not Guaranteed) who also co-wrote this beast made a conscious effort to disconnect his movie from the other films in the franchise in subtle ways – only Wong, who appeared in the very first film, returns from the previous installments in the series. Fans may miss Ian Malcolm, Ellie Sattler and Allen Grant. However, there are plenty of connections still there, some subtle, some not so much.

First thing that fans are going to want to know is that there are dinosaurs and plenty of them. With CGI technology so much more advanced than they were in 1993 when the first film opened, the dinosaurs are much more detailed and realistically rendered here. There are almost no practical effects regarding the thunder lizards here, which is good and bad. You don’t get a sense of their physical presence as much, although Trevorrow utilized motion capture in order to make them move more realistically.

The park itself is modeled after modern theme parks, complete with Margaritaville restaurants, merchandising and a shopping/dining/entertainment zone in addition to the various attractions. Visitors kayak in a stream with Stegosauruses, roam a paddock in a gyrosphere with Apatosauruses, ride a monorail past the Tyrannosaurus Rex and watch a Mosasaurus leap out of a lagoon to pull a shark into the water before the stands are lowered to watch the leviathan devour its lunch through gigantic glass walls. There is an undercurrent of consumerism throughout that is meant to be a criticism of modern society, which while certainly inarguable is kind of like shooting fish in a barrel. I’m pretty sure most of us have noticed all the corporate sponsorship around us all these days.

Pratt, who shot to superstardom with Guardians in the Galaxy last summer looks to own this summer as well. I can’t recall an actor who has had two back-to-back movies do this kind of box office, and there are some pretty compelling reasons why audiences are connecting with Pratt. For one thing, he is an extremely likable sort with a quirky sense of humor that people first became familiar with in Parks and Recreation. He is also a genuinely nice guy who has connected with fans on a personal level, and that comes through onscreen.

Howard has one of her higher profile roles yet and Ron’s daughter acquits herself nicely. She is playing a kind of ice queen sort early on who has no idea how to interact with her nephews, so she fobs them off on an overworked and harried assistant (McGrath). Eventually she develops an ability to show the feelings she’s submerged over the years and as the movie progresses she becomes more identifiable – most of us know what it’s like to invest too much of ourselves into our jobs.

The supporting cast is pretty impressive, with D’Onofrio playing an InGen executive looking to militarize dinosaurs (which seems to be a potential theme for the inevitable sequel) and Johnson providing some comic relief as a nerdy technician with a crush on another nerdy technician (Lapkus). He also has one of the film’s nicer moments when it is revealed he’s wearing a Jurassic Park t-shirt that he got on E-Bay. The movie also visits the original Park at one point in the movie which is both touching and a bit creepy as well. Greer has a brief but memorable turn as the mother of the nephews and Claire’s sister.

The movie never recaptures the wonder that the first Jurassic Park elicited from audiences, but quite frankly that genii has already left the bottle, so expecting to be wowed in the same way just isn’t realistic. This is an entirely different movie made in an entirely different era so those grousing that the movie isn’t as good or the same as the first one are banging their heads against the wrong wall.

That isn’t to say that the movie is perfect. Like the first movie in which genius kids rescue the entire park, the kids – who put adults in danger by failing to listen to adult instructions – become insufferable because they are apparently more competent than people who have trained all their lives to do what they do. Like Alex the hacker who puts the whole park back online after the computer reboot in the original, the boys manage to elude dinosaurs that have wiped out entire squadrons of security guards better armed than they.

Short of that subplot ringing untrue, the movie has all the enjoyable elements needed for a good summer movie. While it doesn’t measure up to the first (and never intended to), it certainly stands on its own as a fun ride constructed well, although without innovation. While I can agree with those who grouse that the plot is too similar to the first Jurassic Park and follows in the formula that all four of the movies have been constructed with, I have to admit that when something works there’s no point in abandoning it. While I would love to see a JP 5 that eliminates the kids from the equation, it is unlikely that will ever happen. Kids after all make up a goodly chunk of the core audience for this film, so it would be economic suicide to ignore that chunk. This is nonetheless good, solid summer fun and anyone who says otherwise has a dino-sized stick up their rump.

REASONS TO GO: More dinosaurs is always a good thing. The park looks like a place I’d want to visit. Pratt has become a pre-eminent action hero.
REASONS TO STAY: Lacks the wonder that the first film created. Suffers from genius kid syndrome.
FAMILY VALUES: A goodly amount of dino-violence, peril and people being eaten.
TRIVIAL PURSUIT: Bryce Dallas Howard’s outfit is all white in tribute to the costume worn by the late Sir Richard Attenborough as John Hammond in Jurassic Park. Both of the characters were directors of the park in their respective films.
CRITICAL MASS: As of 6/20/15: Rotten Tomatoes: 71% positive reviews. Metacritic: 59/100.
COMPARISON SHOPPING: The Lost World: Jurassic Park
FINAL RATING: 7/10
NEXT: Carnage

New Releases for the Week of June 12, 2015


Jurassic WorldJURASSIC WORLD

(Universal) Chris Pratt, Bryce Dallas Howard, Irrfan Khan, Vincent D’Onofrio, Ty Simpkins, Nick Robinson, Jake Johnson, Omar Sy, BD Wong, Judy Greer. Directed by Colin Trevorrow

22 years after the events of the original Jurassic Park, the theme park John Hammond envisioned on Isla Nublar off the coast of Costa Rica is open and tremendously successful. The park has become a mecca for dinosaur enthusiasts and kids of all ages. However, there is intense pressure for the park to come up with new attractions and it appears that they have done so – a genetically engineered dinosaur that never originally appeared in nature. So it’s time once again for the running…and the screaming…

See the trailer, clips, interviews, promos, a featurette and B-roll video here.
For more on the movie this is the website.
Release Formats: Standard, 3D, IMAX (opens Thursday)
Genre: Science Fiction
Now Playing: Wide Release
Rating: PG-13 (for intense sequences of science fiction violence and peril)

Ivide

(Namma International) Prithviraj Sukumaran, Nivin Pauly, Bhavana, Christine Leidel. In Atlanta, a police investigator of Indian descent looks into a series of crimes that may or may not be as a result of corporate outsourcing.

See the trailer here.
For more on the movie this is the website.
Release Formats: Standard
Genre: Crime Drama
Now Playing: Cinemark Artegon Marketplace
Rating: NR

Mood Indigo


Audrey Tautou doesn't mind Roman Duris' extreme case of dandruff.

Audrey Tautou doesn’t mind Roman Duris’ extreme case of dandruff.

(2014) Romantic Fantasy (Drafthouse) Audrey Tautou, Roman Duris, Omar Sy, Gad Elmaleh, Aissa Maiga, Charlotte Le Bon, Sacha Bourdo, Vincent Rottiers, Philippe Torreton, Laurent Lafitte, Alain Chabat, Zinedine Soualem, Natacha Regnier, Marina Rozenman, Mathieu Paulus, Frederic Saurel, August Darnell, Wilfred Benaiche, Francis Van Litsenborgh. Directed by Michel Gondry

There are those film directors whose imaginations are so manic and so inventive that most of the rest of us can’t keep up. French visionary Michel Gondry, auteur of such films as The Eternal Sunshine of the Spotless Mind, is one of those guys. Something like Terry Gilliam on an LSD trip, Gondry has employed a good deal of stop motion animation in his films and a kind of frenetic sense of humor that is sweet and avant garde all at once. Words don’t do his work justice; he speaks a language all his own and the only way to really understand what I’m talking about is to see one of his films, like his latest f’rinstance.

Colin (Duris) is a wealthy man who lives in a Parisian apartment that looks from the inside anyway as something of a railway car. His private chef Nicolas (Sy) is also his lawyer, a brilliant man who makes wonderful dishes that he sweeps into the garbage before Colin can finish eating them. Colin has created the “pianocktail,” a musical instrument in which the notes you play on the piano keyboard determine which liqueurs and mixers are being added into your cocktail.

With his best friend Chick (Elmaleh) having fallen in love with Alise (Maiga), who also turns out to be Nicolas’ niece, Colin realizes how alone he is and demands to fall in love. Nicolas suggests that he attend the party being thrown by Isis (Le Bon) which would necessitate that he learn a bizarre dance to a Duke Ellington song which has the odd effect of turning the legs of the dancer into elongated rubber limbs that allow the dancer to walk about like an art deco-era cartoon.

At the party Colin meets Chloe (Tautou), a waif-like girl who takes an instant liking to the tongue-tied and socially awkward Colin. The two go on several dates, most of which Colin is convinced that he’s messed up. Finally the two take a ride on a swan boat that is lifted by crane over the city and finally into a train tunnel where the two kiss. Six months later they are ready to be married.

It looks like life is going to be golden for Colin but in truth that is not the case. Chick is in desperate need of money so he can afford to marry Alise, and Colin is happy to lend it to him but instead Chick blows the not insubstantial gift on memorabilia related to his favorite writer, Jean-Sol Partre. Chloe gets a rare malady – a water lily is growing inside one of her lungs – and only being surrounded by fresh flowers can save her.

Based on a novel by beloved French novelist Boris Vian, this comes across as a cross between a romantic comedy, grand opera, French farce and a cartoon from the 1930s. Although the synopsis gives you an idea of the story, it can’t possibly prepare you for the visuals you’ll encounter, including an anthropomorphic mouse that lives with Colin and Nicolas, a doorbell that grows legs and skitters about the apartment until either Nicolas or Colin “kill” it and it returns to a docile state on the wall, an office full of writers who are writing the story as we go along on a conveyer belt full of typewriters like an assembly-line script (possibly a dig at what the movie writing process has become), a transparent limousine and a honeymoon in which it is always raining on Colin and the sun is shining on Chloe.

The imagery in fact can wear you down after awhile and given the fact that the American version is 30 minutes shorter than the French, one can only imagine how Americans would be unable to cope with those extra scenes. The humor is distinctly Gallic and can be deceptively subtle or unabashedly over-the-top.

Tautou, who is now and forever Amelie, is lovely here as the gamine Chloe. She is delightfully puckish and were she an American actress she’d be Greta Gerwig. However Gerwig doesn’t quite accomplish the innocent sheen that Tautou conveys so Tautou often comes off as child-like rather than childish. Duris, one of France’s biggest male stars, has an engaging grin and a gung ho “let the director throw whatever he wants at me, I’ll still be incredibly handsome” attitude.

Be warned that this is a bit darker in several senses as a film than Gondry’s other films have been. As Chloe gets sick, the colors begin to fade from the screen and the apartment is overrun with cobwebs, dust bunnies and decay. As the film reaches its end, the apartment gets almost no sunlight whatsoever. The sometimes silly humor is still in full force but it has a grim, gallows element to it that might be off-putting to those who have just managed to get used to the sunny, optimistic fun tone of the movie’s first half.

The imagery gets almost cloyingly cute at times and your capacity to absorb cuteness may well determine the level of enjoyment you have for the movie. Also I think that seeing the movie when you are able to give it your complete concentration is a plus, although here in Orlando it is playing only at the 10pm hour during its run here which may hurt the ability of older audience members (like myself) to enjoy it as fully as I might have.

REASONS TO GO: Some truly delightful images. Very inventive.
REASONS TO STAY: Overly cutesy. Sometimes uses out there images for their own sake.
FAMILY VALUES: Some sexuality and partial nudity, mildly disturbing images and some foul language.
TRIVIAL PURSUIT: The writer whom Chick is obsessed with, Jean-Sol Partre, is a spoonerism for the name of one of France’s most decorated philosophers, Jean-Paul Sartre.
CRITICAL MASS: As of 9/14/14: Rotten Tomatoes: 63% positive reviews. Metacritic: 54/100.
COMPARISON SHOPPING: The Science of Sleep
FINAL RATING: 6.5/10
NEXT: Sci-Fi Spectacle commences!

New Releases for the Week of September 12, 2014


Dolphin Tale 2DOLPHIN TALE 2

(Warner Brothers) Harry Connick Jr., Morgan Freeman, Ashley Judd, Kris Kristofferson, Charles Martin Smith, Nathan Gamble, Cozi Zuehlsdorff, Bethany Hamilton. Directed by Charles Martin Smith

Winter the dolphin returns in this story about those wacky folks at the Clearwater Marine Aquarium (who aren’t all that wacky in real life) who discover that Winter is in need of a companion, preferably a female or she’ll be taken away from Clearwater for the good of the animal. Into the lives of the Floridian folks comes a new dolphin, Hope but will she be enough to save Winter – and herself?

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

For more on the movie this is the website.

Release formats: Standard (opens Thursday)

Genre: Family

Rating: PG (for some mild thematic elements)

Atlas Shrugged III: Who is John Galt?

(Atlas) Kristoffer Polaha, Rob Morrow, Stephen Tobolowsky, Joaquim de Almeida. With the nation’s economy in shambles, a government seemingly hell-bent on ensuring that the economy is utterly destroyed and the most productive industrialists in the nation mysteriously disappearing, there seems to be no way out for the beleaguered citizens of the United States. Only one man can seemingly reverse the tide and save America but there is a woman equally determined to stop him. The conclusion of the trilogy based on Ayn Rand’s seminal novel.

 

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: Drama

Rating: PG-13 (for some violence and a scene of sexuality)

The Drop

(Fox Searchlight) Tom Hardy, Noomi Rapace, James Gandolfini, Matthias Schoenaerts. A Brooklyn bartender works at a watering hole that also acts as a cash drop for the Brooklyn underworld. The bartender takes the cash, hides it in plain sight and then gives it to the mobsters when the time is right. However, a robbery gone sour turns everything upside down as the bartender fights to stay out of the violence that begins to gather in the neighborhood and threatens to turn a rough neighborhood into a war zone.

See the trailer, clips and a featurette here.

For more on the movie this is the website.

Release formats: Standard (opens Thursday)

Genre: Crime Drama

Rating: R (for some strong violence and pervasive language)

Finding Fanny

(Fox Star) Deepika Padukone, Arjun Kapoor, Naseeruddin Shah, Dimple Kapadia. A motley group of friends and family take a road trip to find the long lost love of an old postman. Nobody knows if she’s dead or alive or if she’s even real or just the figment of an old man’s lonely imagination. A mission that was supposed to take only 90 minutes is extended out over a matter of days as those involved in the search seek something sublime – and find it, although not what they expected.

See the trailer and a clip here.

For more on the movie this is the website.

Release formats: Standard

Genre: Romantic Comedy

Rating: NR

Love is Strange

(Sony Classics) John Lithgow, Alfred Molina, Marisa Tomei, Charlie Tahan. Two elderly gay lovers finally have it all. Once New York City makes gay marriages legal, they can finally be wed. However, their marriage gets noticed and one of them loses his job, meaning they can no longer afford to live in their tastefully decorated lower Manhattan apartment. Facing reality, they must live apart – temporarily, they say – until they can find a way to afford a place to live together but that’s easier said than done, particularly when one has moved in with his nephew, the other with a couple of NYPD cops. Not only are they missing each other, they find themselves being the glue holding all these disparate relationships together.

See the trailer and clips here.

For more on the movie this is the website.

Release formats: Standard

Genre: Romantic Comedy

Rating: R (for language)

Mood Indigo

(Drafthouse) Romain Duris, Audrey Tautou, Gad Elmaleh, Omar Sy. A wealthy Parisian inventor is lonely and longs for love. At last he finds it but his hopes may be bitterly dashed – the beautiful young object of his affections has a flower growing in her lungs. The only way to keep her alive is to keep a neverending supply of fresh flowers around her. This surreal and sweet film is the latest from inventive director Michel Gondry.

See the trailer and clips here.

For more on the movie this is the website.

Release formats: Standard

Genre: Romantic Fantasy

Rating: NR

No Good Deed

(Screen Gems) Idris Elba, Taraji P. Henson, Leslie Bibb, Kate del Castillo. On a stormy night with her husband away, a stranger turns up at her door needing to use her phone because he’s had car trouble. She takes pity on the charming man and allows him in, not realizing that the stranger is an escaped convict with an enormous sadistic streak and that he means to pick up where he left off before he went to prison.

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

For more on the movie this is the website.

Release formats: Standard (opens Thursday)

Genre: Thriller

Rating: PG-13 (for sequences of violence, menace, terror, and for language)

X-Men: Days of Future Past


Smile and the world smiles with you.

Smile and the world smiles with you.

(2014) Superhero (20th Century Fox) Hugh Jackman, James McAvoy, Michael Fassbender, Patrick Stewart, Ian McKellen, Jennifer Lawrence, Peter Dinklage, Halle Berry, Omar Sy, Nicholas Hoult, Shawn Ashmore, Ellen Page, Evan Peters, Josh Helman, Daniel Cudmore, Bingbing Fan, Adan Canto, Booboo Stewart, Lucas Till, Evan Jonigkeit, Mark Camacho, Zabryna Guevara. Directed by Bryan Singer

In the modern era of Superhero films, each franchise faces a particular problem – each succeeding entry in the franchise needs to be bigger and better, the stakes higher in order for the audience to continue to flock to the multiplex to see them. That is why, in my opinion, studios choose to go the reboot route rather than continue on with existing casts.

Bryan Singer may not necessarily subscribe to that theorem. He took the cast members of the X-Men: First Class reboot of the popular mutant superhero series and blended it with the original X-Men cast of his era and created a time-travel epic that carries the torch for both series’ nicely.

In a dystopian future, mutants have been all but eradicated as well as a good chunk of the human race. The Sentinels, giant robots with organic elements and an artificial intelligence that allows them to adapt to the various powers of the different heroes they fight, have become so powerful that not even the X-Men of the future can best them. The only humans left are those who agree with the agenda that mutants must be wiped off the face of the planet, using those who remain as slave labor.

Making a last stand in a Chinese temple are the remaining X-Men: Professor X (Stewart), Magneto (McKellen), Storm (Berry), Wolverine (Jackman), Bishop (Sy), Colossus (Cudmore), Shadowcat a.k.a. Kitty Pryde (Page), Blink (Fan), Sunspot (Canto) and Warpath (Stewart). They know that it is inevitable that the battle will be lost. They have only survived because Pryde has developed a plan in which she sends one of their members consciousness back a day to warn the rest that an attack is imminent so they can be elsewhere when the attack comes.

Professor X proposes that they do something similar but long-range. He has pinpointed the problem back to an event in 1973 – one in which weapons scientist Bolivar Trask (Dinklage), an anti-mutant hater of epic proportions, is assassinated by Mystique (Lawrence), the shape-shifting chameleon who was once the close friend of Charles Xavier (McAvoy) and later became the ally of Eric Lensherr (Fassbender) a.k.a. Magneto. She was later captured and her DNA was used to make what was already hard-to-defeat giant robots into nearly unbeatable sentient machines. The assassination also turned public sentiment against the mutants.

Sending someone back forty years is nearly impossible however. Pryde points out that “the human mind can only stretch so far before it breaks.” However Wolverine with his mutant healing power is the only one who can survive the trip. So it is that Mr. Cheroot first and Ask Questions Later is sent back to the Disco age where he will be given the monumental task of convincing the younger Xavier to try and find Mystique and stop her from her appointment with Trask.

Wolverine knows full well that it will take both Xavier and Lensherr to talk the headstrong Mystique who is angry and wounded over the deaths of several friends in Trask’s experiments on living mutants to discover what makes them tick. However, this is no walk in the park assignment. Xavier is bitter and angry over being shot by his old friend. He was paralyzed in the incident but a serum that Hank McCoy a.k.a. Beast (Hoult) developed allows him to walk and numbs the pain but also blocks out his powers. Xavier is just fine with that and really doesn’t give much of a flying you-know-what for the future but at last his conscience kicks in and he agrees to help Wolverine.

Getting Lensherr aboard is slightly more difficult. He is being kept in a metal-less prison hundreds of feet below the Pentagon – apparently he’s been blamed for the magic bullet that killed JFK – but Wolverine knows a guy. That guy is Peter Maximoff a.k.a. Quicksilver (Peters) who has superspeed and the attitude to match.

Of course, once they free Magneto he turns out to have an agenda all his own and now the clock is literally ticking – in the future, the Sentinels are approaching the temple where the remaining X-Men are holed up and Wolverine’s consciousness hangs in the balance.

This all sounds very convoluted and it is. I have deliberately left the individual powers of most of the different X-Men unexplained – it would just take too long. The issue I have with movies like this is that we get literally a dozen or more different characters most of whom are given short shrift or split screen time with a younger/older counterpart. When you have a cast that’s chock full of actors who’ve received Oscar consideration (there are eight of them), something’s got to give. Poor Halle Berry (who won Oscar gold) has almost no dialogue and only a couple of minutes of screen time although to be fair, Berry’s pregnancy prevented her from taking part in the movie as much as the producers would have liked. Anna Paquin (who also won an Oscar) gets no dialogue and less screen time than it takes to read this sentence and yet she gets star billing. Ah, the magic of Hollywood credits.

Despite this, the movie flows surprisingly well and those actors who do get more than a few moments of screen time make the most of it. McAvoy in particular does well with his self-medicating and self-loathing Professor a far cry from the suave and confident Professor X of his counterpart Patrick Stewart. We see the road that Xavier is taking towards the compassion and wisdom his character becomes known for and it’s rather fascinating. Jackman as well continues to make Wolverine his own and while it’s hard to make something new out of a character he’s played seven times, Jackman manages to accomplish that.

The supporting cast is pretty stellar and Dinklage is a superb villain. His Bolivar Trask doesn’t see himself as a villain but rather the facilitator who unites mankind against a common enemy. His enmity against the mutants is somewhat surprising considering that as a small person, Trask is himself an outsider within society. It’s a multi-layered role and a villain worthy of a broad canvas such as this.

As you’d expect the battle sequences are plentiful and well-done. The Sentinels are fearsome creatures that have expressionless faces that are all the more terrifying for their mechanical blankness. Lots of things get blown up real good, and there are plenty of fists, fur and energy beams flying through the ether, not to mention flames, ice and the occasional claw.

A warning to those unfamiliar with the X-Men comics; there is a lot that goes unstated in the film that may not make sense. For example, the Wolverine in the ’70s has bone claws and in the future, claws of metal. That’s because the metal infusion that changes the nature of his weapon doesn’t take place until later on in time. In fact, the man responsible, Stryker (Helman) makes an appearance as an ambitious Trask operative here – he’d be played by Brian Cox in X2.

What really saves this movie is the plot which is complex and intelligent. Some often snipe at comic books and the movies that are based on them for being dumb and loud, but this is certainly not the former (and only occasionally the latter). Some thought was given to the mechanics and ramifications of time travel. The movie also made a good effort in re-creating the time period. Just as First Class was something of a superhero Bond movie, this is a lot like a superhero conspiracy movie, complete with Tricky Dick, the military-industrial complex and lava lamps.

This is the kind of entertainment that is synonymous with summer and a perfect fit for a year which has been thus far an improvement over last summer. The X-Men have always been some of the most interesting of comic books with some of the most compelling themes in the art form. The apocalyptic vision of the future here however is nothing compared to what is to come in the next installment of the series which is teased in an extra scene following the credits.

REASONS TO GO: Some sensational action scenes. Riveting storyline.

REASONS TO STAY: Too many characters; may be hard for non-fans to keep up with all of them. May not make sense to those unfamiliar with the comic.

FAMILY VALUES: Lots of comic book action and violence, some suggestive material, brief nudity and a few bad words here and there.

TRIVIAL PURSUIT: In the comic storyline the movie is based on, it is Kitty Pryde who travels back in time, not Wolverine. The change was made for continuity reasons – in the 1970s Pryde wouldn’t have been born yet, whereas Logan is ageless and would appear exactly the same in both future and past.

CRITICAL MASS: As of 6/1/14: Rotten Tomatoes: 92% positive reviews. Metacritic: 74/100.

COMPARISON SHOPPING: Terminator 2: Judgment Day

FINAL RATING: 7.5/10

NEXT: A Million Ways to Die in the West