Category: Movies (Page 50 of 191)

Blu Tuesday: Spectre, Crimson Peak and More

Every Tuesday, I review the newest Blu-ray releases and let you know whether they’re worth buying, renting or skipping, along with a breakdown of the included extras. If you see something you like, click on the cover art to purchase the Blu-ray from Amazon, and be sure to share each week’s column on Facebook and Twitter with your friends.

“Spectre”

WHAT: When he receives a cryptic message from the recently deceased M (Judi Dench), James Bond (Daniel Craig) goes on an unsanctioned mission to bring down the terrorist organization known as Spectre, whose enigmatic boss (Christoph Waltz) shares a deep connection with the secret agent.

WHY: Director Sam Mendes should have trusted his first instinct and called it quits after “Skyfall,” because while that movie was always going to be difficult to top, “Spectre” doesn’t even come close. Though it hits all the beats of a typical Bond adventure, it feels like it’s just going through the motions. Daniel Craig looks bored for most of its bloated 150-minute runtime, while Christoph Waltz is wasted in a role more concerned with hiding his identity than properly integrating him into the story. The sole highlight is Léa Seydoux, who plays one of the more intriguing Bond girls in recent times; she’s sexy, smart and can take care of herself. Unfortunately, she doesn’t arrive until the second half, at which point you’ll likely have already tuned out. One of the running themes in “Spectre” is that Bond has become obsolete, and it applies to the production as well, because while Craig may have helped usher in a new era of the franchise, he nearly undoes all that hard work with this listless installment.

EXTRAS: There’s a featurette on shooting the opening sequence and a series of video blogs about director Sam Mendes, the cars, the action and more.

FINAL VERDICT: RENT

“Crimson Peak”

WHAT: After she’s whisked away to England to live with charming baronet Thomas Sharpe (Tom Hiddleston) and his ice-cold sister (Jessica Chastain) in their crumbling mansion, young American heiress Edith Cushing (Mia Wasikowska) uncovers terrible secrets about the Sharpe family history when tortured apparitions begin to haunt

WHY: It’s no secret that Guillermo del Toro has a slightly deranged imagination, but there’s a beauty to his madness that flows through all of his movies, none more so than “Crimson Peak,” which delivers a different kind of horror from the typical haunted house story. Though the film drags a bit in the first hour, it picks up considerably in the latter half thanks to the chemistry between its three leads. Jessica Chastain is particularly good as the villain, digging into her juicy role with a quiet intensity that could have easily devolved into camp. However, the movie’s real MVP is the mansion itself, a remarkable piece of craftsmanship that highlights del Toro’s visually distinct style and functions as its own character. “Crimson Peak” could have been better if del Toro paid as much attention to the story as the lavish costumes and production design, but it’s an enjoyable piece of gothic horror that adds a dash of prestige and sophistication to a genre not usually known for those qualities.

EXTRAS: In addition to an audio commentary by director/co-writer Guillermo del Toro, there’s a making-of featurette, interviews with the cast, additional featurettes on costumes, make-up effects and production design, a tour of Allerdale Hall and some deleted scenes.

FINAL VERDICT: RENT

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Movie Review: “Deadpool”

Starring
Ryan Reynolds, Morena Baccarin, Ed Skrein, T.J. Miller, Gina Carano, Brianna Hildebrand, Stefan Kapicic
Director
Tim Miller

A Deadpool movie has been bandied about for years – particularly by star Ryan Reynolds, who’s been dying for another shot at playing the so-called Merc with a Mouth after his bastardized appearance in “X-Men Origins: Wolverine” – but it wasn’t until the test footage shot by first-time director Tim Miller was leaked in 2014 that Fox decided to move forward with the project. And it’s a good think they did, because although the film deviates slightly from its source material and relies a lot more on the included love story than expected, “Deadpool” is a fresh and entertaining action-comedy that demonstrates why studios should take more risks, especially when it comes to the superhero genre.

Before he went by the name Deadpool, Wade Wilson (Reynolds) was a former Special Forces operative turned mercenary just trying to earn a living and help people out along the way. But when he’s diagnosed with terminal cancer shortly after meeting his kindred spirit, Vanessa (Morena Baccarin), Wade accepts an offer to take part in an experimental treatment from a shadowy organization run by a deranged mutant named Ajax (Ed Skrein), who takes pleasure in torturing his patients. Miraculously, Wade’s cancer is cured and he gains accelerated healing abilities not unlike those of a certain X-Man, but his entire body is horribly scarred in the process. After he escapes from the facility, Wade decides to wear a disguise and assume a new identity in order to exact revenge on the man responsible for both saving and ruining his life, unwittingly dragging Vanessa into the conflict.

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Movie Review: “Hail, Caesar!”

Starring
Josh Brolin, George Clooney, Scarlett Johansson, Tilda Swinton, Channing Tatum, Ralph Fiennes
Directors
Joel & Ethan Coen

For the first 20 minutes or so of “Hail, Caesar!,” it feels as though Joel and Ethan Coen are making another “Burn After Reading,” only this time their target is not political thrillers in particular, but ‘50s Hollywood in general. George Clooney’s character’s sword & sandals epic (and the movie’s namesake) is pompous beyond words, and Scarlett Johansson’s pool movie is disturbingly good at pointing out the continuity errors of those films (she’s bone-dry in every shot). Ultimately, though, “Hail, Caesar!” is not about the films at all, and once that becomes clear, the films within the film become a distraction. Amusing distractions, yes, but they’re sometimes hard to watch without thinking of things the movie could be doing instead that would make for a better overall viewing experience.

Eddie Mannix (Josh Brolin) is a “fixer” for the movie studio Capitol Pictures, where his day-to-day activities include making excuses for the whereabouts of his lothario superstar Baird Whitlock (Clooney), covering up a potential scandal involving his leading lady DeeAnna Morgan (Johansson), playing nice with the press (Tilda Swinton, playing twin reporters at rival publications), and executing the orders of the studio chief (whose last name, no joke, is Skank), no matter how boneheaded they may sound. Eddie soon discovers that Baird isn’t off on a bender, but has in fact been kidnapped, and is being held for $100,000 ransom. This all happens on the same day that Eddie is supposed to make a decision whether to leave Capitol for Lockheed Martin, a job with better hours and much better pay. He has a very short period of time to find a rat in an industry filled with rats.

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Movie Review: “Pride and Prejudice and Zombies”

Starring
Lily James, Sam Riley, Jack Huston, Bella Heathcote, Douglas Booth, Matt Smith, Lena Headey, Sally Phillips
Director
Burr Steers

How do you make “Pride and Prejudice” exciting? Simple: add zombies. That was the secret ingredient in Seth Grahame-Smith’s bestselling mashup novel, which transformed the Jane Austen literary classic into a blood-stained farce. But while Hollywood was quick to snap up the film rights to “Pride and Prejudice and Zombies,” the project has had a long journey to the big screen, and not without reason. Though the genre hybrid is built around a silly but clever premise, it’s also incredibly niche, which begs the question: who exactly is this movie intended for? Teenage boys will be bored by the Regency-era romance, horror fans will bemoan the lack of gore, and although the feminist subtext is more pronounced, it’s not that different from the original story. In fact, despite the addition of “zombies” to the title, the film works better as an adaptation of “Pride and Prejudice” than the action comedy it strives to be.

Set in 19th century England, the movie follows the major beats of Austen’s novel, only this time around, a mysterious plague has swept across the country and turned many of its citizens into flesh-eating zombies, leading others to train in martial arts to protect themselves. The Bennet sisters – Elizabeth, Jane, Kitty, Lydia and Mary – are some of the fiercest warriors in Hertfordshire, but their mother (Emily Phillips) insists that they find a husband and settle down. So when wealthy bachelor Mr. Bingley (Douglas Booth) arrives in town with his curmudgeonly friend, Mr. Darcy (Sam Riley), Mrs. Bennet is overjoyed to discover that he’s taken a liking to her eldest daughter, Jane (Bella Heathcote). The headstrong Elizabeth (Lily James), meanwhile, refuses to be forced into marriage, but she meets her match in the equally stubborn Mr. Darcy, and together, they must put aside their differences to stop the zombie threat… and perhaps fall in love along the way.

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Blu Tuesday: Show Me a Hero and More

Every Tuesday, I review the newest Blu-ray releases and let you know whether they’re worth buying, renting or skipping, along with a breakdown of the included extras. If you see something you like, click on the cover art to purchase the Blu-ray from Amazon, and be sure to share each week’s column on Facebook and Twitter with your friends.

“Show Me a Hero”

WHAT: As the newly elected mayor of Yonkers, New York, rising politician Nick Wasicsko (Oscar Isaac) is thrown in at the deep end when he’s forced to deal with a controversial, court-ordered plan to build public housing within the mostly white, middle-class side of town.

WHY: After spending five years exploring the socioeconomic landscape of Baltimore with the HBO series “The Wire,” it’s fitting that David Simon would want to tackle this true story about racial and political tensions in Yonkers during the late 80s and early 90s. The six-part miniseries boasts a fantastic lead performance from Oscar Isaacs and great supporting turns by Catherine Keener, Winona Ryder and Alfred Molina, but unfortunately, it just isn’t as compelling as Simon’s previous work. For starters, there are no real heroes in this story, despite what the title (a play on the famous F. Scott Fitzgerald quote) might suggest. Though Wasicsko may have been responsible for pushing through the housing legislation, he only did so out of compliance and fear of bankrupting the city, not because he felt like it was the right thing to do. Additionally, while the attempts to show both sides of the conflict are commendable, the minority characters aren’t afforded the same depth as their political counterparts. “Show Me a Hero” is either too long or not long enough, because in trying to juggle so many different storylines, it lacks the focus that would have made it truly excellent.

EXTRAS: The two-disc set includes a making-of featurette.

FINAL VERDICT: RENT

“Our Brand Is Crisis”

WHAT: Disgraced campaign strategist “Calamity” Jane Bodine (Sandra Bullock) is hired by an elite management team representing Bolivian presidential candidate Pedro Castillo (Joaquim de Almeida) as a last-ditch attempt to save his campaign. Despite the seemingly impossible odds, Jane agrees to take the job after discovering that the competition has hired its own American strategist, longtime rival Pat Candy (Billy Bob Thornton), who she’s never defeated.

WHY: For a movie about selling lies through a carefully crafted message, “Our Brand Is Crisis” feels hopelessly thrown together. There’s a complacency to the storytelling that prevents the film from ever moving outside its comfort zone, even though that’s exactly what it should be doing, while the talented ensemble cast is squandered in marginal roles. Even Sandra Bullock’s character is pretty one-dimensional, although at least she has the benefit of sharing the screen with Billy Bob Thornton’s reptilian sleazeball, who is hands-down the highlight of the movie. Thornton excels at playing the self-righteous asshole, and the ensuing tête-à-têtes between him and Bullock result in some entertaining moments of political puppetry. Unfortunately, it’s not enough to mask the film’s many flaws. “Our Brand Is Crisis” could have been a biting satire about U.S. politics and our insistence on forcing American culture on other countries, but it takes the easy Hollywood route instead – one more concerned about its protagonist’s contrived journey to redemption than the millions of people being affected by her actions.

EXTRAS: There’s a featurette on Sandra Bullock’s development of the lead character, but sadly, that’s the extent of the bonus material.

FINAL VERDICT: RENT

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