Don’t Go


Ireland may not be the best place to go to assuage your grief.

(2018) Mystery (IFC) Stephen Dorff, Melissa George, Simon Delaney, Aoibhinn McGinnity, Grace Farrell, Gavin O’Connor, Lalor Roddy, Des Cave, Luke Griffin, Charlotte Bradley, Sean Mahon, Laurence O’Fuarain, Sahar Ali, Ella Connolly, Tara Breathnach, Grainne Coyne, Aiveen Gleeson. Directed by David Gleeson

When times are hard the movies tend to reflect that – not necessarily about the things causing those hard times but with films that reflect people going through hard times themselves. Any parent will tell you that the hardest time of all is losing a child; it’s not just the anguish of grief but the recriminations particularly when the death could have been prevented.

Writer Ben Slater (Dorff) and his wife Hazel (George) are going through exactly those circumstances. The two are renovating the family hotel that has been in Hazel’s genealogy for generations, a lovely boutique hotel right on the wild shoreline of Ireland. Ben is teaching at a local Catholic school where he pals around with the irreverent Father Sean (Delaney) who recognizes that Ben is using the booze a little too much, even for Ireland.

Often, Ben passes out on the beach near a rocky outcropping where he has a dream – or perhaps memory – of a family day at the beach not long before Molly (Farrell) fell down the stairs of the hotel and broke her neck. It was one of those lovely family days of building sand castles and two parents delighting in the antics of their daughter. Ben is also getting an odd recurring message: Seas the Day.

He becomes convinced that Molly, for whom spelling was a challenge, is the one behind the messages. He also begins to obsess with the idea that he is actually travelling into the past, particularly when he starts returning to wakefulness with mementos of that day clutched in his hand. In subtle ways he has begun changing things in the past but not enough to bring Molly back. To make matters worse, Hazel’s somewhat fragile and emotional friend Serena (McGinnity) has moved back in with them and she carries a secret that can break apart the already on thin ice couple. Things are definitely not right but what will Ben do to make things right?

Think of this as an Irish ghost story without the ghost. Molly’s presence is all over the place for Hazel and Ben, but she’s no apparition and there are no real scares here. Mostly, this is a mystery of a man desperate to change his circumstances and trying to interpret the clues left to him to do it. Dorff, a dependable performer who unfortunately has been stuck with comparisons to Kiefer Sutherland throughout his career, deserves better. His performance here is strong enough to take notice, although not strong enough to overcome the flaws in the script.

The story moves at an elephantine pace and it feels like it shouldn’t be. There are too many scenes that reconfirm points that have already been made; the script could have used a little more brevity or the film more judicious editing at the very least. At times it becomes too much the soap opera which undercuts the basic melancholy which suffuses the movie throughout. Then again, the grim tone could have used a little more lightness.

Besides Dorff, there are other reasons to see the movie. The picturesque Irish countryside and coast make for lovely backdrops and Ferry Corsten delivers a truly lovely score that enhances the beautiful images we are treated to. Still, this is a movie that just can’t seem to get out of its own way and while it comes together nicely with an ending that ties things together, it is definitely a downer of a movie that is best suited for rainy days and broken hearts.

REASONS TO GO: Both the score and the cinematography are lovely.
REASONS TO STAY: Too much soap opera sabotages what would otherwise be a nifty concept.
FAMILY VALUES: There is sex, profanity and drug use extant.
TRIVIAL PURSUIT:  Dorff will be a key cast member in the next edition of True Detective.
CRITICAL MASS: As of 10/23/18: Rotten Tomatoes: No score yet. Metacritic: No score yet.
COMPARISON SHOPPING: The Time Traveler’s Wife
FINAL RATING: 5.5/10
NEXT:
Horn from the Heart: The Paul Butterfield Story

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Deadpool 2


Deadpool: Superhero in training.

(2018) Superhero (20th Century Fox/Marvel) Ryan Reynolds, Josh Brolin, Zazie Beetz, Morena Baccarin, Julian Dennison, T.J. Miller, Leslie Uggams, Karan Soni, Brianna Hildebrand, Jack Kesy, Eddie Marsan, Terry Crews, Bill Skarsgård, Brad Pitt, Lewis Tan, Rob Delany, Nikolai Witschl, Randal Reeder, Shioli Kutsuna, Stefan Kapicic, Matt Damon, Alan Tudyk. Directed by David Leitch

 

The Merc with a Mouth returns for a second go-round (third if you count the abortion that was X-Men Origins: Wolverine) in a movie that takes nothing seriously, least of all itself.

In this blockbuster sequel, a despondent Wade Wilson attempts to kill himself which turns out to be impossible. He finds a reason to live when he befriends a 14-year-old sexual abuse victim who calls himself Firefist (Dennison). The kid seeks revenge against the headmaster (Marsan) of an orphanage who has tortured and abused him. When you can shoot fireballs from your hands, revenge isn’t all that hard to come by.

Standing in the way is Cable (Brolin), a time-travelling cyborg who has come back in time to kill the boy. Apparently in the future, a grown up Firefist kills his family and scorches a whole lot of the Earth. To fight the nearly indestructible Cable, Deadpool recruits a superteam of his own although they turn out to be short-lived. Extremely although Domino (Beetz) whose superpower is crazy good luck survives – which is a good thing because she’s one of the best things about the movie.

Nonetheless, Deadpool hopes to reason with Firefist and get him not to turn to the dark side while Thanos…I mean Cable…thinks that the greater good will be served by ghosting a 14-year-old boy. I gotta admit, I was rooting for him to kill the boy at times.

Like the first film there are plenty of occasionally gruesome action sequences. Also like the first film there is an explosion of meta-based humor, poking fun of everything from comic book movies (duh) to Barbra Streisand (Brolin’s stepmother) to every action cliché ever to Les Miserables. There are plenty of brief cameos, some of them virtually unrecognizable.

In short, it’s a hoot and a half. The humor is hit and miss at times but hit more often than not. The movie feels a lot more cluttered than the first but it also has much more scope than the first. The action is an improvement and there’s even a little bit of pathos to mix things up a little bit. I don’t think those who loved the first one will feel any less love for the sequel and I’m pretty sure that most of us will be eager for the threequel. Maybe they can convince Hugh Jackman to show up for the third. That would give Reynolds a whole new opportunity to riff.

REASONS TO GO: Reynolds continues to make Wade/Deadpool a compelling character. There are lots of fun celebrity cameos and Easter eggs throughout.
REASONS TO STAY: The movie is a little bit more cluttered than the first.
FAMILY VALUES: There is plenty of violence – some of it extreme, gore, profanity and a brief scene of drug use.
TRIVIAL PURSUIT: Dennison, who was 15 when the movie was released, was legally unable to see it in his native New Zealand.
BEYOND THE THEATERS: Amazon, Fandango Now, Fios/Verizon, Google Play, iTunes, Microsoft, Movies Anywhere, Vudu, YouTube
CRITICAL MASS: As of 8/22/18: Rotten Tomatoes: 83% positive reviews. Metacritic: 66/100.
COMPARISON SHOPPING: Super
FINAL RATING: 7.5/10
NEXT:
Blue Iguana

Alice Through the Looking Glass


The Mad Hatter through the looking glass.

The Mad Hatter through the looking glass.

(2016) Fantasy (Disney) Johnny Depp, Mia Wasikowska, Anne Hathaway, Helena Bonham Carter, Sacha Baron Cohen, Rhys Ifans, Matt Lucas, Lindsay Duncan, Leo Bill, Geraldine James, Andrew Scott, Richard Armitage, Ed Speleers, Alan Rickman (voice), Timothy Spall (voice), Paul Whitehouse (voice), Stephen Fry (voice), Michael Sheen (voice), Barbara Windsor (voice). Directed by James Bobin

 

Like most normal movie fans, I don’t mind some eye candy now and again – and I’m not talking about the good looking member of the opposite sex. I mean special effects that transport you to strange exotic places, create unusual and astonishing creatures and in essence bring awe, magic and wonder to the movies. However, like most movie critics, I’m not thrilled with special effects for their own sake.

Tim Burton’s 2010 Disney fantasy Alice in Wonderland was a surprise hit – not a surprise that it was a hit so much but how big a hit it became. Grossing over a billion dollars worldwide, it was natural that the studio was eager for a remake but considering the A-list nature of some of the stars and Burton’s own reluctance to make a sequel (James Bobin of The Muppets Most Wanted eventually got the job) has delayed this to the point where some have forgotten how good the first one was.

And it was rather good. I thought it was one of Burton’s best ever, which has gotten me a lot of razzing in the film buff community I hang out in, but I stick to my assessment – it’s imaginative and fun with less of Burton’s neuroses to make it too dark. I’m guessing that the experience Burton had with Disney didn’t stick too well with him, because he has chosen not to direct the sequel and it suffers from his absence.

Alice (Wasikowska) is now a young woman and not just any young woman, but the captain of a sea ship, the Wonder which was once her late father’s ship. Attacked by pirates, she takes an incredible chance against them and (of course) escapes with a daring maneuver. Point for Alice.

However her former fiancé Lord Hamish (Bill) in a fit of pique has taken over her father’s old company and has ordered the Wonder taken away from Alice and that she be reduced to a clerk in the organization. He sneeringly threatens to take away her mother’s home which he coincidentally owns the mortgage on if she doesn’t accept his terms. Turns out he’s not just a twit but a spiteful one as well.

Searching his office for a clue as to how to get out of the situation, Alice is overheard and with nowhere to escape, discovers that the mirror may provide a useful means of egress. She goes through and ends back up in Underland, the world she fell into years ago and saved when she slew the Jabberwocky (which appears in a flashback here but sans dialogue since the voice of the original was the late Christopher Lee). It seems that a calamity has occurred.

The Mad Hatter (Depp) is in a deep depression. He believes he’s found evidence that his family whom he once thought slain by the Red Queen (Carter) is still alive but nobody will believe him – including Alice. However, she determines that the only way to save the Hatter is to save his family from death and the only way to do that is to go back in time.

However, it turns out that Time is a person (Cohen) who doesn’t much appreciate people meddling with the events of the past. However, Alice steals an orb that will allow her to go back in time and warn the Hatters’ family about their impending demise, but what she doesn’t realize is that the Orb powers the Great Clock which is what regulates Time itself and without it, everything will cease to be.

The plot goes on from there and if you want to find out more, see the bloody movie but let me just say that the problem with this movie is the problem that all time travel movies have – they are generally confusing, contradictory and make the viewer’s head ache if they think about it too much. Given that this is a family film, the wee ones will probably be able to just accept the situation and keep going from there – kids are remarkable that way – but their parents will end up scratching their heads and wondering why they didn’t stay home and paint that spare room.

That’s not to say that this movie is less interesting than watching paint dry, far from it. Once again, some of the images are fantastic, such as Time contemplating an eternity of watches, each representing a human being who is still alive. When their watch stops, so do they and Time collects the stopped watches. Time is a bit of a melancholy fellow.

And Cohen plays Time with great depth and many layers. While I’m not sure why he had to give him a Yiddish/German accent other than that Cohen always plays with accents, nonetheless this is one of Cohen’s less strict comedic parts. There are moments when Cohen gets to cut loose as a comic but he tempers those with moments that really touch the heart.

Wasikowska is plucky not only in character but as an actress; the role, as written, is pretty colorless and she does what she can with it but I would have liked to have seen more depth to her. When her mother’s situation becomes apparent to her, we see her determination to save the day, but nothing of the emotions behind them. Alice is as two-dimensional here as the paper the original story was written on.

And again, this has little to do with the book Charles Dodgson a.k.a. Lewis Carroll wrote, so purists beware. Not that the plot matters overly much; Bobin clearly exists more time and energy in the special effects than he does on character development and plot (perhaps writer Linda Woolverton, who wrote the first Alice might bear some responsibility for this) which frankly is a mistake. As undiscerning as American audiences are, give them characters they care about in an environment that makes them slack-jawed with wonder and they’ll return again and again to see your movie. It really isn’t a very difficult concept to follow.

I was sorely disappointed in this sequel as I loved the first movie so much. This is more or less mediocre, not the crash and burn some critics made it out to be but certainly not a home run either. Audiences have reacted accordingly, with a resounding “not interested.” It will likely recoup its budget and maybe make a little bit more after its home video run, but this Alice isn’t as inviting for a return trip to Wonderland as the last.

REASONS TO GO: Some truly amazing images. Cohen gives his best performance ever.
REASONS TO STAY: Over-emphasis on effects over plot. Time travel is confusing and contradictory.
FAMILY VALUES: Some mild rude language and plenty of fantasy action and violence.
TRIVIAL PURSUIT: This is Sacha Baron Cohen’s first appearance in a film distributed by Disney.
CRITICAL MASS: As of 6/14/16: Rotten Tomatoes: 29% positive reviews. Metacritic: 34/100.
COMPARISON SHOPPING: Snow White and the Huntsman
FINAL RATING: 6/10
NEXT: Captain America: Civil War

Synchronicity


This happens all the time.

This happens all the time.

(2016) Science Fiction (Magnet) Chad McKnight, Brianne Davis, Michael Ironside, AJ Bowen, Scott Poythress, Erik Thirsk, Derek Ryan Duke, Claire Bronson, Sergine Dumais (voice), Elle Sunkara, Ashley Drayton. Directed by Jacob Gentry

Time is not a delicate thing. Once it passes us by, it’s gone forever. There are those who dream of travelling it’s currents and eddies, seeing the events of the past and perhaps even influencing, but time is a much sturdier thing than even a river. Time is impenetrable.

Jim Beale (McKnight) is a brilliant scientist with a bare-bones lab who has discovered a way to open a wormhole, theoretically opening the door to time travel. However, he needs a lot more funding to see the experiments through. That’s where Klaus Meisner (Ironside) comes in. He’s a wealthy industrialist with the cash available to fund the project, but his motives are far from altruistic and he wants control of the invention once Beale gets it to work.

Into his life comes Abby (Davis), a mysterious woman with whom Beale starts a romantic relationship, but her own agenda remains unclear. Suddenly Beale is forced to make a split second decision and he leaps into the wormhole itself – and finds himself being the world’s first time traveler. The trouble is, he’s only traveled a week and he is forced to try to keep the timeline from being polluted – or there will be devastating consequences not only to himself but maybe to existence.

This is sci-fi on a low, low, low budget and if you don’t mind overlooking some anachronisms (much of the “technology” here looks to be of the Atari-era level, even though this seems to be set in a not-too-distant future but decidedly future. There is a lot of blue lighting, light filtering in through window slats and shadows – add a little neon and you’d have Blade Runner. This is a terrific looking movie.

The story is pretty nifty, so much so that I really tried to give you a very bare bones summary. While some of the twists and turns are a bit predictable (including, sadly, the big reveal at the film’s end), there is enough here that is not that you can at least give the movie style points.

Where the film falls down is in a couple of places; the character of Abby for example, is a bit too hipster-ish. She chain-smokes (In fact, one gets the sense that the filmmakers are heavy smokers since so many of their characters do so in kind of a reversal of modern sensibilities) and always seems to have that air that she’s privy to a joke none of us understand. I don’t necessarily blame the actress, but quite frankly I’m at a loss as to why Beale would be attracted to her the way that he was. The script doesn’t really give her much appeal, unless of course chain-smoking hipsters who may or may not be who they seem to be gives you a film boner.

McKnight is a decent enough lead but his character kind of drifts through the movie and the only time he seems to show any sort of fire is when he does the most impulsive and reckless thing he could possibly do. His connection to a scientific breakthrough may be enough to attract a woman like Abby to him but at the end of the day this would have been a better movie if we’re led to believe that Abby may actually harbor some affection for him; it’s hard to believe that she would.

In fact the whole romantic angle really falls short for me. The sparks between the two romantic leads were more like dying embers and no real heat is generated whatsoever. The film is really saved by Ironside, the veteran character actor who has played all sorts of bad guys in his career, is the most watchable of the actors here. While we know that Meisner is up to no good, Ironside at least makes the character interesting and watchable. Veteran character actors like Ironside class up any production they’re cast in.

The worst thing here is the dialogue. It’s clunky and uses phrases that nobody living in 2016 actually uses – who says “I got duped” unless they’re in an Oscar Wilde play? There are a lot of quotations of both abstract scientists and authors whom you wouldn’t expect to find in a thoughtful sci-fi film. This could have used a good deal of polish, particularly in the aforementioned dialogue.

Quite frankly, this isn’t a movie I can throw a lot of support behind, although I think it’s clear that Gentry has a terrific visual sense. The movie’s failings, particularly what’s coming out of the actor’s mouths and the way the characters acts, are pretty substantial. The visual look is at least reasonably cool and the premise intriguing but like a lot of time travel films becomes a little overly confusing. The acting is passable with the exception of veteran actor Ironside but again for the most part not especially notable. While this has gotten a fairly small theatrical release, you’re probably better served to see it on your local VOD network or on iTunes where it’s currently available.

REASONS TO GO: Decent enough premise. Michael Ironside is always welcome.
REASONS TO STAY: The dialogue is clunky. The characters don’t act like real people.
FAMILY VALUES: Some foul language as well as some sexuality.
TRIVIAL PURSUIT: Gentry co-directed The Signal.
CRITICAL MASS: As of 2/15/16: Rotten Tomatoes: 41% positive reviews. Metacritic: 39/100.
COMPARISON SHOPPING: Timecrimes
FINAL RATING: 5.5/10
NEXT: Hail, Caesar!

Back in Time


Marty McFly can't understand what all the fuss is about.

Marty McFly can’t understand what all the fuss is about.

(2015) Documentary (Gravitas) Michael J. Fox, Christopher Lloyd, Lea Thompson, Steven Spielberg, Robert Zemeckis, Claudia Wells, Bob Gale, Don Fullilove, James Tolkan, Huey Lewis, Alan Silvestri, Andrew Probert, Dean Cundey, Dan Harmon, Adam F. Goldberg, Bill Shea, Frank Price, Rob Klein, Ed Dennis, Tyler McDonald, Martin Sanchez, Adam Kotras, Joe Wolser, Jill Henderson. Directed by Jason Aron

When it opened in 1985, Back to the Future was an immediate sensation and a runaway hit. Some have proclaimed it the perfect movie; nearly everyone in the industry praises the script as one of the best ever written, making a time travel story work (much harder than you’d think) but supplying it with memorable characters, plenty of thrills, great eye candy (for its time) and thought-provoking situations. After all – if you traveled back in time when you were high school age and met your parents while they were in high school, would you have hung out with them?

That’s at the heart of what Back to the Future is. Thirty years after the original, we have finally surpassed the date that Marty McFly came to the future – from this point forward the entire trilogy takes place in our past.

In many ways a cultural touchstone, we mostly all grew up or have been fascinated by as adults with the concepts of hoverboards, self-lacing Nikes, jackets that blow-dry themselves, lawyers being abolished and of course flying cars. This was a bright future – not necessarily pristine as there were bad neighborhoods, drug abuse, poverty, crime and Griff who was a little bit of everything with a bionic twist.

Now we’ve reached that era and while it isn’t exactly the future that Zemeckis and Gale envisioned, they did get a few things right – including 80s nostalgia, thousands of cable channels and Mr. Fusion. Just kidding about the last one.

This documentary looks not only at the movies and in particularly the sequence set in 2015, but also at the BTTF fandom, including the Flux Capacitors rock band (who will be playing in a road show along with screenings of the movie in select cities starting next month) and Delorean enthusiasts who have had their cars customized to look like the time machine. Some of these are even street legal.

While I have to admit that the interviews with Michael J. Fox were a little bit hard to watch – yes, all the cast members are 30 years older but Fox’s Parkinson’s reminds us that he has been through a lot more than most of us have been through over that same time – it is clear that everyone involved with the movie has fond memories not only of the shoot but of the public’s reaction to it and the continued enthusiasms displayed by the fans.

Some folks might not realize that when the movie first started shooting, Fox wasn’t available because of his Family Ties commitments; actor Eric Stoltz was cast as Marty instead. However, six weeks into shooting it became clear that Stoltz, who is a very fine actor, just wasn’t right for the part. They managed to then get Fox, who would film his television show on weekdays and on weeknights and weekends would do the movie. It was exhausting but was clearly worth the effort because we, the viewing public, not only got a classic TV show from the deal but also a classic movie trilogy.

I have to admit that I appreciated the fan stories much more than the professional talking head interviews, much of the material for which has been covered in interviews on DVD and Blu-Ray editions that are easily available, much of it on the new 30th anniversary Blu-Ray collection. In some ways, this documentary is a bit of a disappointment; the editing appears a little haphazard, the flow of the film is a little choppy and as I said, the reliance on talking heads is too much.

Still, the movie is so good, so iconic, so central to Western culture that it is hard to watch this movie and not feel the warm fuzzies inside. We all connect to the trilogy whether we saw it as children or as adults. Even if the insights here aren’t especially new or revealing, it is still fun to revisit the movies as well as the fans who have been so devoted to them. Zemeckis has said that there will be no Back to the Future 4 (although I’m a big believer in “never say never”) so we will have to make do with this and what transpires in comic books and videogames that are inspired by the film. With the recent milestone in our review, it is a very good time to go back in time.

REASONS TO GO: Clearly a labor of love. Fan stories are quite interesting. The background of Zemeckis’ previous films gives good context.
REASONS TO STAY: Talking head overload. A bit disjointed. Doesn’t feel fully formed.
FAMILY VALUES: Some references to the sexuality of the trilogy.
TRIVIAL PURSUIT: The original Back to the Future had its initial surprise premiere at the Century 21 theater in San Jose, California.
CRITICAL MASS: As of 10/25/15: Rotten Tomatoes: No score yet. Metacritic: No score yet.
BEYOND THE THEATER: Netflix, Vimeo, Amazon, iTunes
COMPARISON SHOPPING: Trekkers
FINAL RATING: 6/10
NEXT: Six Days of Darkness commences!

Terminator Genisys


I just want to set the world on fire...

I just want to set the world on fire…

(2015) Science Fiction (Paramount) Arnold Schwarzenegger, Jason Clarke, Jai Courtney, Emilia Clarke, J.K. Simmons, Dayo Okeniyi, Matthew Smith, Courtney B. Vance, Byung-hun Lee, Michael Gladis, Sandrine Holt, Wayne Bastrup, Gregory Alan Williams, Otto Sanchez, Matty Ferraro, Griff Furst, Ian Etheridge, Nolan Gross, Seth Meriwether, Afemo Omilami, Teri Wyble. Directed by Alan Taylor

Some franchises seem to need little encouragement to be creative. Some tell a single story over the course of several films. Others essentially make the same movie over and over again.

The War Against the Machines is reaching it’s end; John Connor (J.Clarke) and his troops are storming an L.A. prison camp which hides Skynet’s secret weapon even as another brigade is storming the main server complex in Colorado. Complete victory is within their grasp; except that Skynet has sent a Terminator (Schwarzenegger) back in time to assassinate Sarah Connor (E. Clarke), his mother, before he can be born. John sends his right hand man, Kyle Reese (Courtney) back in time to stop the unstoppable cyborg.

Sounds familiar right? But this isn’t a reboot. When Reese gets there he discovers the Terminator has already been dispatched – by another Terminator, reprogrammed and sent back further in time to save Sarah – and now to save all of them from a liquid metal T-1000 (Lee) that is nearly impossible to destroy, but clever Sarah manages to find a way.

Now, they have a chance to stop Judgment Day itself but something is wrong with the timeline. Reese saw John getting attacked just before he was sent back in time and now Judgment Day isn’t in 1997 but in 2017. And the means that the nuclear holocaust will be achieved is through a new operating system, Genisys, that will link up everybody and everything – including the nukes. With the aging Terminator whom Sarah calls Pops – as he keeps insisting, he’s old not obsolete – the two will try to save the world from Skynet one last time but Skynet has an ace up it’s sleeve that nobody foresaw – except those who saw Paramount’s second trailer for the movie that spoils one of the biggest and unexpected twists that could have been this summer.

The Terminator franchise has seen better days. The first two films in the franchise were box office smashes and are beloved of science fiction and action film fans alike. The last two have done decent financial numbers but both critics and fans alike have excoriated both of them. Where in that demarcation does this one fall?

The latter, unfortunately. Critics have given this a spanking as you can see by the numbers below and fans have been essentially unimpressed. To be honest, I can’t say that this is one of the better movies in the series but it isn’t the worst either – Terminator Salvation gets that dubious honor – and quite frankly I think it holds up pretty well, despite the critical lambasting it has taken.

]Schwarzenegger, who essentially just made cameos during the last two films which were both filmed during his gubernatorial days but is fully back here and he steals the show. Arnold has never been the greatest of actors (though he has improved) but he’s always had a load of charisma. He manages to play the sympathetic Terminator nicely with genuinely horrifying attempts at a human smile, and a few unintentionally funny quips.

Too bad Arnold as a robot is more lifelike than the human characters. Jason Clarke has shown himself to be a capable lead actor in Life on Mars and in other films, but here he seems terribly lost. I’m not sure if he just required better direction, or any direction but I get the sense that he’s not sure how to play this messianic character and so plays him without much to recommend him by. At least he does a better job than Christian Bale did.

Courtney, who has been a villain in the Hunger Games movies does a mite better, but again seems a bit over his head. The same could be said for Emilia Clarke who has turned heads in Game of Thrones but seems strident and unlikable here instead of tough. Makes one wish her colleague in Thrones, Lena Headey, would have been the one asked to take the role here. She did a far better job in The Sarah Connor Chronicles.

The action sequences are better than average and the special effects likewise. Where the movie really falls down is in the story; it’s so convoluted, with parallel timelines and all sorts of techno babble which ends up slowing the momentum of the movie down at key moments (in one incredible sequence, four different characters try explain a plot point four times to a disbelieving character which is just beyond comprehension why anyone writing a major summer movie would do that. I think they should have simplified things a little or just didn’t explain anything and let the audience just go with it. They would have been better off in the long run. However, fans of the series might be interested to know that there will be at least two more movies made; Paramount has already greenlit them because the rights to the franchise revoke back to James Cameron in 2019 so the studio intends to get as much return from their investment as possible. I hope that the audience does, too.

REASONS TO GO: Some fine summer entertainment and eye candy. Schwarzenegger is clearly having fun.
REASONS TO STAY: Convoluted plot. A little too much like previous entries in the franchise.
FAMILY VALUES: A good deal of sci-fi violence and gun fighting, some partial nudity and a few choice words here and there.
TRIVIAL PURSUIT: Jason Clarke is the fifth actor to play John Connor. Rusty Griswold of the Vacation series has also had five actors in the same role, the only characters known to have that many different actors playing them.
CRITICAL MASS: As of 7/12/15: Rotten Tomatoes: 27% positive reviews. Metacritic: 38/100.
COMPARISON SHOPPING: I, Robot
FINAL RATING: 6.5/10
NEXT: Desire for Beauty

Time Lapse


The future doesn't look so bright for these Millennials.

The future doesn’t look so bright for these Millennials.

(2014) Science Fiction (XLRator) Danielle Panabaker, Matt O’Leary, George Finn, John Rhys-Davies, Amin Joseph, Jason Spisak, Sharon Maughan, David Figlioli, Judith Drake, Mark C. Hanson (voice), Dayci Brookshire. Directed by Bradley King

If only we knew the future. What would we do with that knowledge? If we could look even just 24 hours ahead, how would that affect our lives?

A trio of young roommates have to wrestle with that problem. Finn (O’Leary) is a frustrated painter who has no idea what to paint. Stuck in the visually artistic version of writer’s block, he has taken a job as the maintenance man in a group of bungalow-style apartments, the sort that were once popular in L.A. and continue to be found throughout the Southland. He lives with his best friend Jasper (Finn), a happy-go-lucky gambling-addicted bartender and his girlfriend Callie (Panabaker), the only one of the three gainfully employed and an aspiring writer herself.

Finn gets word that their neighbor opposite them, the reclusive and elderly Mr. Bezzerides (Rhys-Davies) is late with his rent check. In addition, nobody has seen him for at least a week. He sends Callie over to the apartment, fully expecting it to stink to high heaven with the smell of decayed corpse but it seems fine. However, she discovers something odd; there’s a contraption that resembles a giant Polaroid camera pointed at their front window and a wall full of photos of things going on in their apartment – and sometimes of simply the empty window. Several of the photos appear to be missing.

They soon deduce that the device actually takes a picture of whatever it is aimed at 24 hours into the future. Callie finds Mr. Bezzerides’ journal detailing his experiments; the last entry indicates that the photo taken that day indicated Mr. Bezzerides demise. Eventually his desiccated body is discovered in a storage unit.

Finn is all for calling the cops but Jasper argues that it would be foolish to do so when what they have in front of them is a veritable gold mine. All they have to do is put a sign in the window with the winners of that day’s races and they can make a fortune. Jasper is sure that it will be perfect with no harm even remotely possible coming of it. Callie seems all in with the idea but Finn is  reluctant. Jasper convinces him that he can see what he’s painting in the future and get out of his funk. Finn finally agrees, a bit reluctantly.

Of course Jasper being a world class screw-up is absolutely wrong that no harm could possibly come of using the camera; of course harm can come, in the form of a suspicious bookie (Spisak) and his taciturn goon (Figlioli).  Paranoia rises, relationships crumble and the future suddenly seems a terrifying place as they become slaves to the images that must occur. Or do they?

First-time feature filmmaker King and his co-writer (and fellow first-time feature filmmaker) BP Cooper have formulated a cool premise that has tons of potential, then really don’t do anything with it. For one thing, they commit one of the most cardinal sins in filmmaking; taking two fairly smart and sensible characters (Finn and Callie) and have them listen to the most irresponsible of the three (Jasper). Would you even take advice as to what brand of toothpaste to use from this guy? No, and neither would they, especially since they presumably know him better.

Panabaker, best known for playing the sensible scientist in The Flash TV show, is once again playing the most grounded member of the group. Her performance is satisfying, but unfortunately both Finn and O’Leary (particularly the latter) seem a little bit stiff, like they’re not comfortable on-camera. Maybe someone showed them a Polaroid.

Near the end of the film some sexual tension shows up; I wish they might have used this a bit more in the film as it did improve the overall torpor that the movie seems to exist in. I will say that the climax turns out pretty well and tells me that both King and Cooper have a good deal of potential as writers, but the movie is definitely somewhat hit and miss in that regard; they use a terrific concept to tell a rather pedestrian story when all is said and done. With a little bit more imagination they might have had something here but that doesn’t mean what they have isn’t entertaining. Certainly it is worth a look on VOD or at your local theater if it happens to be playing there. Sci-fi fans will probably get a kick out of it in any case; I don’t need a gigantic camera that takes pictures of the future to tell me that one.

REASONS TO GO: Nifty difty premise. Cleverly thought out.
REASONS TO STAY: Stiffly enacted. Doesn’t really use the premise wisely.
FAMILY VALUES: Some violence, some sexuality, some drug use, a little bit of foul language and some tense situations.
TRIVIAL PURSUIT: Polaroid film is no longer manufactured. The filmmakers had to fake the Polaroids by purchasing old Polaroid pictures on Ebay, cutting out the insides and pasting digital images color-corrected to resemble Polaroid pictures inside.
CRITICAL MASS: As of 6/9/15: Rotten Tomatoes: 77% positive reviews. Metacritic: 50/100.
COMPARISON SHOPPING: Timecrimes
FINAL RATING: 6/10
NEXT: Casino