Author: David Medsker (Page 6 of 59)

Movie Review: “Now You See Me 2”

Starring
Jesse Eisenberg, Woody Harrelson, Mark Ruffalo, Dave Franco, Lizzy Caplan, Daniel Radcliffe, Morgan Freeman, Michael Caine
Director
Jon M. Chu

If the idea of a sequel to the illusionist action comedy “Now You See Me” is shocking, look no further than the box office numbers. The original film grossed four times as much as it cost, and probably would have netted even more if they hadn’t stacked the movie with so much high-priced talent. For the sequel, “Now You See Me 2” (that they didn’t call the film “Now You Don’t” seems like a missed opportunity), they went for a flashier direction style, which suits the story well. At its core, it’s a heist movie, so appropriating from the “Ocean’s” films is to be expected.

One year after the events of the first film, the master illusionists The Horsemen are still lying low, waiting for instructions from the secret organization of magicians who call themselves The Eye. Their handler, FBI agent Dylan Rhodes (Mark Ruffalo), finally gives them a target: tech guru Owen Case (Ben Lamb), who has invented a mobile phone chip that steals customers’ personal information in order to sell it to the highest bidder. The Horsemen, who are now folk heroes and wanted men (and woman), crash Case’s launch party with the intention of exposing him, but they get the tables turned on them by Case’s former partner Walter Mabry (Daniel Radcliffe), who abducts the Horsemen and forces them to steal the chip before a slew of black market goons intend to. Rhodes and the Horsemen are completely stuck, but they receive help from an unlikely source.

It is so nice to see that Jesse Eisenberg has recovered from whatever chemical imbalance/hypnotic spell/caffeine overdose led him to give the worst performance of his life in “Batman v Superman: Dawn of Justice.” He’s not extraordinary here, but no one is – it’s not that kind of movie, and that is why they cast the aforementioned high-priced talent. Get the right people to just read the lines, and everything else will fall into place. And that’s exactly what happens.

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Movie Review: “Neighbors 2: Sorority Rising”

Starring
Seth Rogen, Rose Byrne, Zac Efron, Chloe Grace Moretz, Kiersey Clemons, Beanie Feldstein, Ike Barinholtz
Director
Nicholas Stoller

The 2014 film “Neighbors” cost $18 million to make and brought in $270 million worldwide. That is a spectacular, “Saw”-like return on investment, so it makes sense that the studio would be interested in making a sequel. There’s just one teensy little problem: there was nothing about “Neighbors” that lends itself well to a sequel. (Also, no one appears to have been asking for a sequel, but that is apparently beside the point.) It’s a film where the main characters each win a battle, but lose what’s left of their dignity. No bonds are forged, and the attempt at a happy ending drips with sadness. One of the first film’s good points was that they didn’t seem concerned about tomorrow because they were having too much fun today. Then tomorrow came, panic settled in, and for God knows what reason, the decision to not make a second film wasn’t considered. This is a mistake.

“Neighbors 2: Sorority Rising” isn’t even remotely tethered to reality. If this took place in the real world, at least two people would be dead and one would be in traction. It requires “Horrible Bosses 2” logic in order to work, which dictates that if you’ve been badly burned in your personal or professional life, you will learn absolutely nothing from the experience and make the same mistake again. “Horrible Bosses 2,” for the record, was another movie that no one asked for, and it made half as much as the original. Universal should prepare themselves for a similar drop-off.

Mac and Kelly Radner (Seth Rogen and Rose Byrne, respectively), now with a two-year-old and another baby on the way, have decided to sell their house and move to the suburbs. They have a family who wants to buy, and the house is put in escrow. The Radners do not understand that the sale is not final until their realtor spells it out for them for the sake of the plot (and the audience); the buyers have 30 days to back out of the deal for any reason. When Mac and Kelly see that a group of rebel girls wants to start a new party-friendly sorority in the abandoned house next door (the house previously owned by the Delta Psi Betas from the first film), they ask the girls to tone it down until the sale goes through. The girls are already annoyed that sororities are not allowed to throw parties, but fraternities are. They are not receptive to this request.

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Movie Review: “Captain America: Civil War”

Starring
Chris Evans, Robert Downey Jr., Scarlett Johansson, Sebastian Stan, Anthony Mackie, Chadwick Boseman, Daniel Brühl, Elizabeth Olsen, Paul Bettany, Don Cheadle, Emily VanCamp
Directors
Anthony & Joe Russo

By all rights, Captain America should be the lamest, worst Avenger. He came of age decades before the topic of segregation was even entertained. Rock & roll hadn’t been invented yet. If Steve Rogers is a real person, he’s likely a racist crank, yelling at the other Avengers to get off his lawn.

Thankfully, the Cap in the Marvel Cinematic Universe is none of those things. Steve Rogers is an open-minded skeptic, for whom Japanese internment camps are still a recent event. (It is not a coincidence that the word ‘internment’ is used in a crucial scene here.) He is mistrustful of the government — and who can blame him, after the events of “Captain America: The Winter Soldier” – and therefore loath to see the country he loves overstep its bounds a second time. This makes him a perfect foil for Iron Man/Tony Stark, a man whose genius is eclipsed only by his ego, and for whom reparations and accountability make sense, as long as everyone else pitches in to help him pay his bar tab.

This is the crux of “Captain America: Civil War.” The plot is more streamlined than the ’70s-era, conspiracy-minded “Winter Soldier,” but there are still some unsettling themes at play here, chief among them the concepts of freedom and safety, and the fear of compromising one for the other. The comics on which this film is based were written 10 years ago, presumably to point a finger at the George W. Bush administration for overreaching in terms of surveillance. Sadly, they’re even more prescient now.

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Movie Review: “The Jungle Book”

Starring
Neel Sethi, Bill Murray, Ben Kingsley, Idris Elba, Lupita Nyong’o, Scarlett Johansson, Christopher Walken
Director
Jon Favreau

There was much ado when Disney announced that they were going to make live-action versions of some of their most beloved animated films, but so far, the results are far better than what the naysayers were predicting. “Cinderella” was a lovely, if safe, first step, and while “The Jungle Book” doesn’t quite hit the same highs that “Cinderella” does, it’s packed with thrills, and it has the courage to go about the material in its own way. It should be noted, though, that this ‘own way’ may scare the hell out of young children.

Mowgli (Neel Sethi) is a “man-cub” that was found abandoned in an Indian jungle by the panther Bagheera (voiced by Ben Kingsley). Bagheera asks the wolf pack, who recently had pups, if they will take care of him, and they gladly oblige. Shere Khan (Idris Elba), a man-eating tiger, takes issue with the animals protecting Mowgli, threateningly suggesting that more than just Mowgli may die if they continue to do so. Mowgli doesn’t want harm to come to anyone in his pack, so he agrees to leave. Bagheera walks him to the nearest man village, but Shere Khan interferes, and the two are separated. Mowgli is nearly done in by Kaa the python (Scarlett Johansson), but is saved by a sloth bear named Baloo (Bill Murray). Baloo appreciates Mowgli’s ability to make “machines,” but Shere Khan will not stop until he’s had his man-cub meal. Further complicating matters, Mowgli has attracted the attention of King Louie (Christopher Walken), a giant orangutan who wants Mowgli to teach him how to make fire.

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Movie Review: “The Boss”

Starring
Melissa McCarthy, Kristen Bell, Ella Anderson, Peter Dinklage, Kathy Bates, Tyler Labine, Kristen Schaal
Director
Ben Falcone

“The Boss” is pitifully lacking in self-awareness. It’s a film that wants to live in Will Ferrell and Adam McKay’s universe, where there are real-life news anchor gang wars that end in people losing limbs. To be fair, it’s easy to see why they thought the audience might view the films the same way. “Anchorman” and “Talladega Nights” both feature pompous shells of a human being who are humbled on a grand scale, much like Melissa McCarthy’s character here, but that is where the similarities end. What “The Boss” gets wrong is the meanness factor. Will Ferrell’s characters in the aforementioned films are dim and shallow, but harmless, while McCarthy’s character is an unrepentant, hostile sociopath from birth. Worse, the film treats this as a virtue.

Michelle Darnelle (McCarthy) is, by the audience’s viewpoint, a thrice-abandoned orphan who grows up to become a ruthless, filthy-rich business executive. Renault (Peter Dinklage), a former lover-turned rival, gets her indicted on insider trading, whereupon she is sent to prison and loses everything. Upon her release, she arrives at the door of her former assistant Claire (Kristen Bell) because she has nowhere else to go. Claire resents the way Michelle treated her, but because she’s a decent human being, Claire allows Michelle to stay, and as Michelle ingratiates herself in Claire’s life, she sees a business opportunity when she attends a Daffodils meeting with Claire’s daughter Rachel (Ella Anderson), and they discuss cookie sales. Shortly afterward, Michelle tastes one of Claire’s family recipe brownies. Darnelle’s Darlings is born, the brownies are their cash cow, and Michelle is back in the game.

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