Review of Deadpool

We have officially entered the Year of the Superhero. No fewer than six major motion pictures featuring DC or Marvel characters will reach screens in 2016. For nerds of all things comic books, it's like being on Cloud 9, but will everyone else feel over-saturated? That's a question to be answered much later in the calendar. Right now, we have 20th Century Fox's latest attempt at a franchise (following the mostly successful X-Men series and the utterly disastrous Fantastic Four attempts), and, truth be told, Deadpool doesn't "feel" like every other superhero movie. Sure, it depicts an origin story, but its approach and tone are wildly divergent from anything else in the sub-genre. Not only does it delight in satire and self-reverential humor, but it wallows in graphic violence, f-bombs, sex, and full frontal nudity (of both genders). And its main character couldn't possibly care less about truth, justice, and morality. It's a wild ride, but unlike every other superhero movie ever made, it's not in any way, shape or form suitable for children.  

Deadpool doesn't completely escape the trap of the tired "origin story," but give the filmmakers credit for having fun with the timeframe. The movie begins in present day, where the titular character, aka Wade Wilson (Ryan Reynolds) is on the hunt for the man responsible for mutilating him, a mutant named Ajax (Ed Skrein). Then we flash back to earlier times when Wilson is diagnosed with terminal cancer. When approached by a mysterious organization with an experimental procedure designed to cure him, he takes the leap of faith in order to live happily with his girlfriend (Morena Baccarin). Ajax and his lackey, Angel Dust (Gina Carano), subject Wilson to extreme torture in order to "release" a mutant gene within Wilson, and it both cures his cancer and gives him superhuman abilities. On the flip side, it leaves his whole body scarred. Donning a full-body costume to hide his appearance, Wilson seeks to wipe his two antagonists of the face of the earth. But the X-Men disapprove of his ultra-violent methods and send two of their own, Colossus (Stefan Kapicic) and Negasonic Teenage Warhead (Brianna Hildebrand), to reign him in.

You've seen this entire story before, but you probably haven't seen it in the manner that director Tim Miller elects to take things. The movie is full of snarky, raunchy humor, most of which is successful. Wade Wilson has a wisecrack for every occasion, even to the point where he's aware he's in a movie and takes shots at other Marvel characters and films (for example, when told he's being taken to Professor X: "Which one? Stewart or McAvoy? Ugh, these timelines are so confusing!"). Deadpool also sticks out a giant middle finger at the prospect of a shared, homogenized universe. Could this character and his attitude possibly fit into any other mainstream superhero's world? I don't know and I don't care. The point is to deliver an entertaining experience in the now without waiting for some future project to justify its existence.

If any superhero trope is available, you bet it's fodder for Deadpool to skewer. The opening credits mock everyone in the cast from "A British Villain" to "Directed by Some Asshole." The courtship of Wilson and Vanessa is anything but cute as it depicts a wide variety of sexual kinks. And the title character himself, played with the ideal mix of sarcasm and charm by Ryan Reynolds, never skimps on an opportunity to rip into the pretentiousness with which the X-Men view their "hero" status. The movie never stops winking and wisecracking, and while such a rapid fire rate of jokes guarantees a fair share of clunkers, worry not. When one joke misses, another one is right around the corner to redeem it. Guardians of the Galaxy (unloved by me but adored by many) tried to mix satire with straightforward action, but Deadpool is more successful-- and far more ruthless.

The need for Deadpool to replicate virtually every beat of a standard superhero origin story is a minor annoyance. One senses the inevitable sequel (teased in a post-credit sequence, of course), free from the shackles, will take the character to even greater heights. In fact, the story in general feels small; there's very little at stake outside of the fate of a tiny handful of characters. The villains are adequate and participate in a satisfyingly brutal climax, but they're not especially memorable outside of that. Still, the movie has enough of a heart to make us care about Wilson and Vanessa, and I applaud the filmmakers for taking on a hard-R approach to a familiar project. Deadpool hits the screen not as a cog in a giant toy/comic book marketing bonanza, but as a thoroughly entertaining movie in and of itself.

Rating: *** (out of ****)

Review of Hail, Caesar!

For movie buffs, the release of a Coen Bros. movie might not have the same "juice" as that of, say, Martin Scorsese or Quentin Tarantino, but it's nonetheless something to look forward to every few years. For their latest, the veteran duo has turned back the clock to 1950s Hollywood, a time when the allure of movies was a much bigger deal, long before streaming, high definition, or even home video entered the fray. The Coen's don't have anything particularly compelling to say with this movie; their goal with Hail, Caesar is considerably lighter. They introduce a colorful gallery of individuals who probably aren't too far from real-life movers and shakers in the industry and let them go wild in various vignettes. The movie is unquestionably a comedy, but its full-blown belly laughs are few and far between. Nevertheless, anyone who enjoys the Coens' work should be chuckling and smiling throughout.

Hail, Caesar is an ensemble piece, but to the extent that it contains a main character, that would probably be Capitol Pictures producer Eddie Mannix (Josh Brolin). In the span of just a single day, Eddie navigates one crisis after another. His leading man in the studio's Biblical epic, Baird Whitlock (George Clooney), has been kidnapped by Communist academics who demand a $100,000 ransom. "It" girl Deanna Moran (Scarlett Johansson-- using the same accent she donned in her "chandeliers" SNL sketch) has become pregnant out of wedlock, so the studio must create a cover story to protect her reputation. Respected director Laurence Lorenz (Ralph Fiennes) is about to lose his mind when he's forced to work with cowboy movie idol Hobie Doyle (Alden Ehrenreich) on a serious drama, an acting job the latter is woefully out of his depth to pull off. Meanwhile, gossip columnists Thora and Thessaly Thacker (Tilda Swinton playing both) harass Eddie for exclusive stories while he ponders an offer to leave show business altogether and join Lockheed Martin.

The Coens' approach to all the fictional films within this movie is different from what you might expect. Instead of going for full-blown satire and making everyone look like buffoons, they opt to play these scenes almost straight, the key word being almost. They go for light jabs instead of haymakers. Seeing George Clooney make Charlton Heston-esque speeches and Channing Tatum tap dance like Gene Kelly is a hoot, but that's mainly because we're watching modern stars mimic major tropes from half a century ago. What looks silly today was taken at face value back then. Theses scenes are also a reminder of how amusing and over-the-top a movie can look during its making versus the "wow" effect the finished product can have on viewers. For a scene that hammers home this connection, compare cowboy Doyle's slightly embarrassed reaction to a screening of his latest movie (titled "Lazy Ol' Moon") to the uproarious laughter of everyone in the audience.

Hail, Caesar will certainly entertain fans of the quirky and offbeat. The more you love films from the 50s-60s era of Hollywood, the more details you'll pick up on. Individual scenes are wonderful and occasionally hilarious (like the argument between Eddie, a priest, a rabbi, and minister over how to depict God and Jesus on film, or the stuffy director trying to get the cowboy star to drop his Southern drawl) But if there's anything holding the movie back from upper-echelon Coen Bros., it's the lack of a strong through-story. For a while, it looks like the kidnapping of Whitlock and his experience in captivity will fill that role. Indeed, the concept of a Hollywood star being kidnapped and potentially brainwashed by Communists is a pretty funny one. But the filmmakers don't dedicate enough time to this; it's just one of a series of episodes stitched together into something that almost resembles a variety show.

In contrast to the major studio projects featured in Hail, Caesar, the movie itself debuts modestly during early February. That's not a time when box office hopefuls strike gold, but the Coens have never been about that to begin with. They have a select audience in mind, and their latest movie delivers what that audience expects. The movies-within-the-movie are simultaneously Hail Caesar's greatest strength and weakness. The Coens put so much of their energy into these re-creations (and the great Roger Deakins' crisp cinematography helps immensely here) that viewers will enjoy them on their own terms while at the same time wishing the plot had a little more forward momentum. Still, the overall movie, while at times messy and unfocused, is undeniably entertaining.



Rating: *** (out of ****)

My Top 10 Movies of 2015

12 months sure fly by in a flash, don't they? At this time last year, I openly wondered whether movies were on their way out and television was ready to take over as the most dominant visual medium in today's world. 2015's box office gave me an answer: not quite yet. This past year, we saw the Opening Weekend record broken not just once but twice (first unexpectedly by Jurassic World, then, as expected, by Star Wars: The Force Awakens). So clearly the theater-going experience still has plenty left in the tank. The only question now is whether anyone cares that, for the most part, these umpteen sequels and reboots are safe and unremarkable. It's Hollywood "playing not to lose."

Most of 2015's biggest blockbusters won't make an appearance here. Of the year's Top 10 grossing movies, only two cracked my personal Top 10. And wouldn't you know it.... they were the only non-sequel/remake/reboots of the bunch. That's not to say I'm against such movies in general. How can I be when some of the great all-time sequels include The Godfather Part II, The Empire Strikes Back, and The Dark Knight? But I am concerned when sequels repeat rather than branch out from their predecessors. Not only is it lazy, but diminishing returns are bound to kick in sooner or later.

As for the Cream of the Crop that 2015 had to offer, I'm pleased to say that this was the strongest group of films so far this decade. A few titles I placed as Honorable Mentions this time would've cracked a Top 10 in 2014 if they were eligible. For the longest time, I agonized over which title to place at No. 1. One can make a compelling case for anything in the Top 5 of this list, and that's a testament to how strong the overall quality has been this year.


As is tradition, I present my picks (including five Runners-Up in alphabetical order) in reverse order, saving the best for last. Enjoy!

Runners-Up

The Big Short

The Gift

 Sicario

 Spotlight

Steve Jobs

The Top 10

10. Brooklyn

This is the kind of old-fashioned delight we don't see so much anymore. It's a sublime, emotionally rewarding coming-of-age story of an Irish immigrant that hits all the right notes. It contains no violence nor unnecessary characters created just to generate artificial conflict. Instead, it's about a young woman forging her own identity and making hard choices between the life she has in front of her and the one behind her. Brooklyn is also a high point in the blossoming career of Saoirse Ronan, who has never been better.

9. Ex Machina

This movie came seemingly out of nowhere in April 2015 and delighted just about everyone seeking intellectually-based science fiction. Questions aplenty; at what point does consciousness occur for an AI? Is it a can of worms even worth opening? Does a machine, no matter how human-like, have rights or is it just a lab experient? Dig in and enjoy. For newfound star Alicia Vikander, this is her most compelling work in a plethora of roles this past year.

8. Creed

Director Ryan Coogler delivered the best movie of 2013 in Fruitvale Station, and he cracks a Top 10 once again with Creed. This movie is a template for how to "soft-reboot" a franchise. It introduces wonderful new characters with their own compelling stories while at the same time deepening the arcs of old friends. It calls back to its roots at times (like with the training montages and the Bill Conti score), but it feels fresh. Juxtaposing the rise of Adonis Creed with the decline of Rocky Balboa makes for great drama, and their scenes linger in the mind even more so than the electric boxing action.

7. The Hateful Eight

The Force Awakens may have been the event of the year for the masses, but the release of a Quentin Tarantino film is always something of an event for movie buffs. You expect two things every time the acclaimed director's name is attached: creatively bloody violence (sometimes in humorous ways) and quotable dialogue. The Hateful Eight delivers both in spades as well as a refreshingly unpredictable narrative. It has an undeniable mean streak, so it won't win over any new converts, but those who don't mind that will have a blast. Finally, those who were lucky enough to see the movie in 70MM Roadshow format received an extra treat in the form of a presentation that I wish more "long" movies (2:45-plus) would go back to.

6. The Martian


In contrast to The Hateful Eight, which arguably had no true heroes, The Martian is a movie without villains. This sweeping, suspenseful sci-fi survival tale is both a wonderful human story and a celebration of scientific ingenuity. The circumstances for the main character are grim, but the movie flawlessly uses humor to support its thesis. Director Ridley Scott cranks out new projects more than anyone else in Hollywood, so he's not always in top form. But when he gives his all like we see here, the results speak for themselves.

5. Carol

Carol is many things: the best love story of the year, two of the best lead performances of the year (in a crowded field of great female acting), but one thing it thankfully isn't is a "message movie." Sure, it's about a lesbian relationship set in the 1950s, but the characters and their struggles take center stage over political points (think Blue is the Warmest Color, only nowhere near as graphic). Even the men in the story aren't demonized but presented as realistically flawed individuals. Carol is a slow-moving film, but before long, it will capture you in its spell and win your heart. 

4. The Revenant

It's technically a 2015 movie (released on Dec 25 in NY/LA before opening wider on Jan 7), and it was absolutely worth delaying this list to see. Like The Martian, this is a story of survival against impossible odds, but it's a little slower, more meditative and much more brutal. But even those who can't stomach graphic violence can appreciate The Revenant's astonishing cinematography and Leonardo DiCaprio's gutsy, riveting performance. Even during the story's slower points; you can get lost just staring at this movie. The "you are there" quality here is undeniable; see it on the biggest screen you can find instead of waiting for video.

3. Mad Max: Fury Road

Like The Revenant, here's another film whose greatest impact is felt inside a movie theater. This awesome, exhilarating action spectacle didn't make the kind of box office impact I hoped it would, but movie buffs far and wide have responded enthusiastically. Director George Miller raises the bar for action filmmaking; don't be surprised if taking in this film suddenly makes garden variety superhero adventures feel more hollow. My guess is that over the many years, Fury Road's reputation will only grow as most of its fellow sequels/reboots begin to fade. Who would've thought that a fourth outing from a series left in the '80s would take such a quantum leap in quality that it's now being mentioned as a potential Best Picture nominee?

2. Inside Out

After taking a year off, Pixar struck back in 2015, reminding us why no one makes multi-layered animated family movies better. It's a huge hit with kids of course (and by far the biggest moneymaker on my list), but dare I say adults will take away more from it. An endlessly inventive delight, Inside Out invites intellectual participation and reminds us how ALL emotions working in tandem (yes, even the "negative" ones) are required for a well-balanced individual. For sheer creativity and wonder, this deserves to become an animated classic in the years to come. It's one of Pixar's two or three best, and that's saying something considering the studio's track record.

1. Room

Sure, the films right behind Room on this list are more impressive from a technical perspective. But for me, nothing else released in 2015 delivered a greater emotional impact than this masterful adaptation of Emma Donoghue's 2010 novel. Layers abound; the experience of the main character and her son when in captivity is harrowing, but it's the "re-adjustment" period they go through after the rescue that transforms this movie into a complete drama. Not a single note rings false; director Lenny Abrahamson knows exactly when to tug at the heartstrings and when to show restraint. Very few movies move me to tears; this is a rare exception. Add to that the best female performance of the year in Brie Larson and one of the great child acting performances of all time in Jacob Tremblay, and you have one of the best films of the decade. Crown it the king of 2015.

Review of Star Wars: The Force Awakens

How can one possibly approach and analyze the latest chapter of Star Wars like a "normal" movie? After all, 38 years ago, there was simply a movie as opposed to a mega franchise. It was a one-off film simply made to entertain but ended up changing the movie industry as we know it. Now, much like the first prequel, 1999's The Phantom Menace, the start of a new trilogy isn't just a movie but a cultural event. But December 2015 represents a different beast than May 1999. Not only has original creator George Lucas moved on, but for the first time ever, we have no idea where the saga is headed (in contrast to the prequels, where everyone knew they would end with Anakin becoming Darth Vader). Sure, we have old friends like Luke Skywalker (Mark Hamill), Princess Leia (Carrie Fisher), and Han Solo (Harrison Ford) to comfort us to a certain degree, but the expectations are still gargantuan.

Director J.J. Abrams has made it unmistakably clear he's crafting The Force Awakens for lovers of the original trilogy. Ditto for Disney's goal of repairing the relationship with fans who despised the three prequels (I am not a member of that category). To that end, he has borrowed relentlessly from A New Hope, the movie that started it all, perhaps a little too much. No doubt Abrams has made a solidly entertaining, sweeping space opera that those very fans will eat up, but he may have played things a little too close to the vest. With one notable exception, the movie does little new or bold. The story beats and visual touches resemble A New Hope so strongly at times that the "deja vu" factor distracts from the many other things the movie does well.

As the familiar opening crawl informs us, Luke Skywalker has vanished. 30 years have passed since the destruction of the Empire, but remnants of the old guard have formed a new organization called the First Order. They sport a new killing machine even larger than the Death Star. It can't move (it's embedded inside a planet), but its firepower more than compensates. The same Stormtroopers we know and love are back as well, although one of them feels more conflicted than most about all the killing and dominance. His name is Finn (John Boyega), and following a village's brutal encounter with the deadly, lightsaber-wielding Kylo Ren (Adam Driver), Finn decides to bail on the First Order. He rescues a prisoner, Resistance pilot Poe Dameron (Oscar Issac) and the two escape in a TIE fighter, but the Order shoots them down and they crash land on the desert planet Jakku.

Meanwhile, on Jakku, we meet scavenger Rey (Daisy Ridley), who is scraping out a living collecting junk and trading it for food. She encounters the ball-like droid BB8, who is carrying a map to Skywalker's whereabouts, intending to reach the Resistance rebels. Joining forces with Finn, she eludes Kylo Ren's troopers en route to the Resistance, going so far as to steal the worn-down Millenium Falcon. They don't make it far into space before a freighter sucks up their ship. That's when they run into the Falcon's original owners, Han Solo and Chewie. Once our old friends learn the importance of BB8's mission, they have no choice but to return to the life they left behind.

Abrams aggressively emulates Lucas' approach with the original trilogy. In some cases, he's successful, like with the varies wipes, irises, and a reliance of practical special effects over CGI. There are also some clever touches involving Rey briefly struggling to fly the Falcon and fire a blaster before finally getting the hang of it. But there's no shaking the fact that far too much of this story feels like A New Hope with a different coat of paint. A youth living on a desert planet hungering for a better life? Check. A droid with crucial info? Check. The Falcon taking on TIE fighters? Check. Time spent inside a Cantina with wacky alien creatures? Check. An X-wing assault on a large circular base? Check, and so on. It's possible many fans won't care; they'll just be thrilled to return to a brand of Star Wars they know and love. But the quasi-remake vibe is so strong in places that once you see it, you can't "un-see" it.

Nevertheless, The Force Awakens has made some dramatic improvements for the series, especially in acting and dialogue. Gone is the stilted awkwardness of Anakin/Padme in Attack of the Clones or Luke's whining in A New Hope. Instead, the speech patterns and dialogue flow much more naturally. There are plenty of amusing utterances and not a bad line to be found. Also absent is anything aggressively geared toward children. No Jar-Jar Binks, Ewoks, or creatures of their ilk. The closest thing to "cute" is BB8, but he's a welcome, charming addition, full of clever visual sight gags. Finally, the look of the film is note-perfect. Abrams' vision of the galaxy truly looks like the next logical visual step for this series. The environments and battles are striking without relying too much on computers. You'll feel the weight of every ship maneuver, every shot fired, and every clashing lightsaber.

Daisy Ridley's Rey is a phenomenal addition to the Star Wars ensemble. She's plucky, heroic, and instantly sympathetic. If a woman can lead the charge in Aliens, The Hunger Games, or Mad Max, why not in Star Wars as well? John Boyega is every bit her equal. Finn can be a bit awkward and panicky, but his heart is in the right place and his character goes through an effective arc. Oscar Issac's Dameron slightly resembles Han Solo, although he doesn't have nearly as many wisecracks to go along with his piloting skills, at least not yet. Together, these characters, along with Han and Chewie, may not have as memorable a bond as we saw in A New Hope and Empire Strikes Back, but they connect.

On the villains' side, let's be honest; no one is going to outdo Darth Vader's level of charisma and menace. Abrams wisely doesn't have anyone try. Adam Driver's Kylo Ren wears a voice-altering mask, but that's where the similarities end. He's a leaner, more nimble combatant, and he's prone to more violent outbursts. The character also brews with tremendous inner conflict, serving the Dark Side but feeling the Light calling out. No doubt he's something of a Vader wannabe (something one character rightfully calls him out on), but there's nuance here that makes him interesting enough to devote a series to. The movie also contains an analog to Grand Moff Tarkin in General Hux (Domnhall Gleeson), and he's suitably creepy. Finally, there's the First Order's Supreme Leader Snoke, a giant bald creature (voice and motion capture by Andy Serkis) who could prove to be the deadliest adversary of all down the road.

As disappointments go, the only underwhelming aspect of The Force Awakens besides the repetitive plot is John Williams' score. Old-school material like the Imperial March and the Force Theme creep in effectively every now and then, but none of Williams' new compositions leave any impact. That's surprising considering that even the least of the Star Wars movies has delivered memorable, dramatic tunes. This may sound like nitpicking, but it's important to remember that over the many years, the music of Star Wars has displayed every bit an influence as its visuals. That magic is mostly MIA here.

Since this is the first Star Wars movie to debut during the social media age, fear of spoilers is at an all-time high. As such, Disney has gone to great lengths to hide Luke Skywalker's involvement in this story. He's in the movie, but credit Disney for keeping an aura of mystery about the character's role. Also, while I won't reveal specifics, I will say that The Force Awakens contains a twist or two well worth keeping under wraps. One event in particular will generate the most chatter, and it could become the lasting legacy of this movie. Watching some of these unfold, it's worth wondering how masterful The Force Awakens could have been had Abrams taken the leash off the story and really let the movie chart unexplored waters.

The Force Awakens is simultaneously delightful and a little frustrating. The more natural interactions between characters old and new give it life, and the action sequences are as dazzling as ever, but too much of this basic plot borrows from adventures' past. That doesn't ruin the film by any means, but it keeps it from ascending to greatness. Appealing to nostalgia is fine for now; in fact, it's what a majority of fans want. But in order to avoid the trap recent superhero movies have fallen into, the upcoming Episode VIII will need to take more chances. Nevertheless, this is still Star Wars through and through. It's not an awards contender or a candidate for my Top 10 of 2015, but it offers a blend of adventure, humor, and pathos guaranteed to please audiences of all ages.




Rating: 

Review of Mad Max: Fury Road

When we consider what we want from a great action movie, Mad Max: Fury Road is an example of what we think of. We want entertainment we experience as opposed to merely watch. We want perfect pacing, a feast for the eyes and ears, and characters worth caring about. We want that "wow" factor to show up several times before the end credits roll. And when it's all over, we want to feel exhausted in the best possible way. Leave it to 70-year-old director George Miller, returning to his roots after a lengthy layoff, to deliver that which action movie lovers everywhere hunger for. For full impact, Mad Max: Fury Road demands to be seen on the biggest screen with the most state-of-the-art sound system possible.

Taking place in the same post-apocalyptic world as the previous three Mad Max films, Fury Road sets up its story at an astoundingly economical pace. We're quickly introduced to Max Rockatansky (Tom Hardy) as he's captured by a roving gang and forced to serve as a blood donor. Then we meet their leader, the warlord Immortan Joe (Hugh Keays-Byrne), who rules over a large town thanks to his control of the most precious resource-- water. He sends out several trucks, led by one of his best Generals, Imperator Furiosa (Charlize Theron) to procure gasoline. But Furiosa plans to betray him. Having smuggled his five wives, she seeks escape and salvation to a mystical "green land" far to the east. When Joe learns of her whereabouts, he sends an all-out war party to stop her. Max eventually escapes and joins her on a quest with seemingly impossible odds of survival.

Miller constructs Fury Road as a two-hour chase. On one level, the movie recalls Bong Joon-Ho's Snowpiercer in how it shows that action sequences on a linear path make for the most nerve-wracking experiences. Characters are constantly on the move, chasing and fighting from Point A to Point B. When Max and Furiosa's Big Rig does battle with armored cars and motorcycles, we always have a strong sense of where everyone is on the movie's map. This is an achievement which cannot be understated. How many summer action films devolve into chaos, where we can't tell what exactly is happening until the explosions stop? Not here. Each set piece tops the one that came before it.

The movie may be titled after Max, but the filmmakers let Furiosa become the focal point of the narrative. There's an excellent reason for this. Had Max been the man behind the escape plan, one could've dismissed this movie as just two men (Max vs Joe) fighting over five beautiful women. They would become "things" indeed. But by having Furiosa lead the charge and Max settle into a supporting role (albeit a strong, memorable one), Fury Road makes a proud feminist statement. With Charlize Theron dominating the screen, the effect is similar to that of Alien back in 1979, where Sigourney Weaver's Ripley emerged and left an indelible impact on viewers. She kicks ass big-time.

Visually, Fury Road is as impressive as anything one can find in 21st Century filmmaking. The day scenes pop with orange and red hues while the nights are covered in blue, and the level of detail in the costumes and set design is unparalleled. Miller relied on "practical" special effects far more than CGI, and while that makes for an exhausting shooting schedule, the result feels far more grounded in reality than it would otherwise. Certain sequences, like a destructive dust storm clouding the screen in red, are enough to make the jaw drop. Junkie XL's pulse-pounding score is every bit as important to the overall experience. Miller finds highly clever, even humorous, ways of integrating it (gotta love those drummers and the guitar/flamethrower guy).

The story's trajectory is simple but contains a deceptive amount of depth. When pausing for brief moments of rest and reflection, the filmmakers give us a great sense of the characters' inner struggles without overselling them. Flashbacks and back-stories do the job quickly and economically. The depravity of Joe's reign, where model-esque women serve as breeders, larger women become farmed for breast milk, and the poor scrounge for water, makes for some unsettling images. War-boy Nux (Nicholas Hault) has a memorable arc from villain's lackey to rebel hero. And there's even a little bit about religious fanaticism and capitalism. The message is clear: even in a post-apocalyptic world where society has a chance to "start over," we inevitably settle into the same class structure we have today.

Depending on how you look at it, Mad Max: Fury Road can be viewed as a sequel to a long-dormant franchise or a reboot. But however you see it, make sure you see it in theaters. It deserves to go down as an action classic. This is the Mad Max film that Miller wanted to make for so long but was constrained by budgetary limitations and the lack of a bankable star (we all know what happened to Mel Gibson). The sense of awe and the adrenaline rush from this movie-- that "you are there" feeling-- is something you're not likely to experience in quite this way again anytime soon. Will more sequels follow? It's hard to say, although Miller is on record saying he has at least two more stories to tell if this one succeeds. I say we make this a hit and have him show us his hand.

Rating: **** (out of ****)

Review of Avengers: Age of Ultron

Avengers: Age of Ultron is more movie for your buck, or at least that's how Marvel is selling it. It contains more characters, more action sequences, and more plot threads than its predecessor. Yet it underwhelms because of an overwhelming sense of "been there, done that." There's nothing radically bad or cringe-worthy throughout this latest installment's 141 minutes, but neither does it offer anything wow-worthy from a visceral or emotional standpoint. Part of the thrill of The Avengers was seeing the development of each main character from solo movie hero to part of a team; they clashed with each other before eventually coming together to save the world. One would expect a sequel, to take these characters in new and exciting directions. Sadly, Age of Ultron does not take that leap, instead simply repeating the same structure. Our heroes fought aliens bent on Earth's takeover last time, so let's pit them against robots bent on Earth's destruction this time.

In James Bond-like fashion, this movie opens in the midst of a high-octane battle where the Avengers raid a Hydra compound in order to steal back Loki's scepter. They succeed, allowing Tony Stark to finally put the finishing touches on his greatest project, a massively intelligent A.I. that can protect the world from alien invasions. Ultron (voice of James Spader) gains consciousness remarkably quickly and deduces that the Avengers, for all the destruction they've caused in the name of peace, are no real heroes and must be eliminated. But that's only the first step in his master plan. Like Noah, he wants to purge the world of humanity and "start over."

Artificial intelligence is a hot topic in science fiction, but Age of Ultron suffers from a case of bad timing, arriving in theaters one week after the exquisite Ex Machina covered similar territory. While this movie is more action-packed and will draw more crowds, it barely even pays lip service to the fascinating ideas lurking beneath the surface. Ultron's introduction is rushed like a bat out of hell, and he's developed into little more than a standard-order megalomaniac. Give actor James Spader credit for imbuing this character with the appropriate level of charisma and menace (as well as some of the best one-liners, my favorite being the one involving a frisbee), and give the FX team just as much for giving Ultron impressively-realize facial expressions and movements, but both are wasted efforts.

Too many characters proves a hindrance as well. If The Avengers introduced a new age where single-hero movies don't satisfy the way team-based ones do, then Age of Ultron shows what happens when filmmakers spread this concept too thin. The need to keep track of so many means too few opportunities for each to delight. Sure, Stark and Thor toss out some amusing one-liners here and there, but everyone else is going through the motions. A love story develops seemingly out of nowhere between Black Widow and Hulk, but it doesn't work on any level. And the new characters, including lightning-fast Quicksilver (Aaron Taylor-Johnson) and mind manipulator Scarlett Witch (Elizabeth Olsen), get in on the action plenty of times but don't linger in the mind. Their arc, like just about everything else in Age of Ultron, is underdeveloped.

On the action front, Age of Ultron gets the job done with battles of impressive scope and energy. But even then, repetition occasionally sets in. Just like in the first movie, we have a sequence where Hulk goes crazy and the rest of the team has to subdue him (this time, it's Iron Man fighting back with a Hulk-sized suit of armor). The main villain gets his licks in before eventually being defeated in an all-out, city-wide orgy of destruction. At the very least, Age of Ultron corrects the most glaring problem of Man of Steel by having its heroes address the safety of ordinary citizens even during battle (something Superman did not do in that movie). These are super-heroes, after all.

Before this movie even reached screens, Marvel began hyping the biggest adventure yet for the Avengers, a two-part adaptation of Infinity War, which will spread across 2018 and 2019. The fact that they've done so already reveals what they think of Age of Ultron; it's simply a placeholder to give fans something to do before the culmination of all hype finally arrives. The audience I saw this with on opening weekend seemed to agree, as no one clapped when the credits rolled. Hell, the appearance of Thanos mid-way through the credits is more likely to make viewers impatient (just hurry up and bring him on, already!) instead of giddy with anticipation.

With the exception of Captain America: The Winter Solider, all of Marvel's Phase 2 movies have taken a step back creatively from Phase 1. If Age of Ultron is any indication, the concept of a team of heroes defending Earth from hordes of aliens and/or robots has been taken about as far as it can go. Pick your favorite moment from the first film, whether it be a line of dialogue or an action sequence, and this one offers a lesser version of it. Marvel needs to take lessons from other popular franchises like Star Wars, the Dark Knight trilogy, X-Men, and Hunger Games, whose second installments served up game-changing events from a character/story perspective. That's what good blockbuster franchises do. Mediocre ones are content to repeat the same formula, sporadically entertaining but never truly letting us feel the excitement. Time will tell whether Earth's mightiest heroes represent the former or the latter.

Rating: **1/2 (out of ****)

My Top 10 Movies of 2014

This year, thanks to an energy-draining work schedule finally taking its toll on me (four 10-hour days in a row each week), I temporarily stopped writing movie reviews. But I couldn't let the year end without a Top 10 essay, which I always enjoy. I haven't written a full review of many of the films listed here, so I instead provide links to their respective IMDB pages. That will change in 2015, as a shift to a five-day, 8-hour work schedule will allow me more time and energy on a basis, and I'll return to enthusiastic movie-reviewing the way I did in 2013.

As we all look back on this particular calendar year, one particular theme always stands out. For me, 2014 was the first year I really started to wonder whether movies' cultural grip was coming to an end, with TV stealing its thunder and then some. After all, most people I talk to on a daily basis, whether in real life or on social media, are far more passionate about TV shows (Game of Thrones, Breaking Bad, House of Cards, etc) than they are about movies. As someone who goes to a theater on a fairly regular basis, not just during the summer but during awards season, I felt at times like part of a dying breed. Movies will never go away, but the game has changed. The theater/delayed home video release business model that has stood firmly for so long is finally showing cracks thanks to the rise of Netflix, TV stepping up its game, and out-of-control blockbuster budgets. For a more detailed look, I direct everyone to online critic James Berardinelli, the man who inspired me to write about movies in the first place, who has a wonderful three-part piece on the subject.

My 2014 list contains some high-profile releases you've heard of and some that debuted in art-house theaters. Some will compete for Oscars while others will not. My tastes are wide-ranging, after all. So what's missing? First of all, this year's best-reviewed movie (Boyhood), which I like and admire but didn't find to be that transcendent experience like seemingly every critic in America did. And then there's Guardians of the Galaxy, 2014's likely Box Office Champion in a weak year. It charmed many but left me cold and mildly irritated. Also, I didn't see some of the year-end, NYC/LA-only releases such as American Sniper, Inherent Vice, and Still Alice. I'll review those when they go wide in January.

Nevertheless, I found plenty of films worth celebrating. Please note that this is not an objective "Best of" list. Who in the world would be arrogant enough to claim something like that? These are simply my favorites of the year. Your Top 10 might look remarkably similar to mine. It's equally possible all ten choices would be different. Most people will be somewhere in between. But subjectivity is what makes list-making and list-reading so enjoyable, and the structure in general helps to explain the immense popularity of sites like Buzzfeed, which delight in presenting their thesis in easily organized chunks.

And so we cap off another year, first with five Runners-Up (in alphabetical order). These are five excellent films that just missed out on the Top 10 but are still well worth watching.

Runners-Up

Foxcatcher

The Imitation Game

The LEGO Movie

Snowpiercer


  

Under the Skin












And the Top 10 in reverse order, saving the best for last.

10. Dawn of the Planet of the Apes

A long-dormant series achieves awesome new life with this film, which takes the promises laid by 2010’s Rise of the Planet of the Apes and shifts the story to another level. Thrilling action and stunning visuals abound, but this film’s greatest asset is its even-handed treatment of the human/apes racial conflict and fear-mongering. This film reminds us that even in the context of a blockbuster, social commentary is a welcome addition to, rather than detracting from, the overall experience. 

9. Gone Girl

Franchise-movie fans had plenty to anticipate in 2014, but so too did book lovers with David Fincher’s provocative, mesmerizing adaptation of Gillian Flynn’s bestseller Gone Girl. It is at once a captivating and unpredictable thriller, an exploration of gender roles, and a brutal satire of news media’s sensationalism. Gone Girl is a grim, twisted film, guaranteed to fuel post-movie debate. Whether you think it’s brilliant or trashy, indifference is not an option with this one.    

8. Dear White People

This decade has seen several high profile movies looking at race-relations through a historical lens, but far too few have followed Spike Lee’s lead and taken a modern-day look at the topic. Director Justin Simien’s triumphant debut Dear White People does just that as it delves into the micro-aggressions and stereotyping of people of color that constantly occurs today, especially at the University level. It delivers big laughs but it also boasts a razor-sharp satirical edge that doesn’t always make that laughter comfortable. A special shoutout goes to Tessa Thompson, who deserves (but likely will not receive) an Oscar nomination for her role as a fiery, passionate activist and radio host.

7. Nightcrawler

Like Gone Girl, this movie blends brutal satire of TV news (this time the “if it bleeds, it leads” mentality) with the rhythms of an unpredictable thriller. Led by an unforgettably creepy Jake Gyllenhaal, whose performance (not to mention dedication—he lost 20 pounds for this role) ranks among the best of male acting in 2014, Nightcrawler is gripping cinema that unfortunately didn’t catch on at the box office. Special mention goes to the film’s climax (involving a diner), which is one of the most nail-biting of the year.

6. Birdman

Alejandro Innaritu’s latest film is loud and unsubtle in skewering blockbuster movie culture, overly pretentious artistic types, and critics, but does it ever provoke thought and then some. It’s equally engrossing with its smaller-scale comedy-drama narrative as it is with its large-scale ideas. Filmed in a fascinating form that appears to be one continuous shot, Birdman dazzles visually in addition to stimulating the mind. The film is also a gold mine of acting, particularly from Michael Keaton, who couldn’t have picked a better role for his big comeback. Expect Oscars aplenty with this one. 

5. Whiplash

“There are no two words in the English language more harmful than ‘Good job,’” says drill sergeant-esque music teacher Terence Fletcher (J.K. Simmons). But even someone with this character’s mentality will be saying “Great job” to what director Damien Chazelle has accomplished with Whiplash. This is primarily a character study involving a music prodigy and his Instructor from Hell, but its trajectory is anything but simple. It’s dramatically hard-hitting, multi-layered, unpredictable, and has much to say about the obsession with achieving greatness. As for J.K. Simmons, if it were up to me, I’d hand him that Best Supporting Actor Oscar right now.

4. X-Men: Days of Future Past

Birdman may have lamented the superhero movie’s dominance of the marketplace, but here is the strongest rebuttal imaginable, the most satisfying superhero film I’ve seen in six years. Days of Future Past’s themes (fear of the Other and choosing military security over liberty for those who are “different”) resonate louder than most movies in its field, and the ensemble cast tops even that of The Avengers. And the ending, brilliantly wiping away the bad aftertaste of 2006’s X-Men: The Last Stand, satisfies in the best possible way. Days of Future Past opened big in the box office before fading quickly into the shuffle, and that’s a shame. This is one superhero franchise whose sequel I’m eagerly anticipating as opposed to just accepting.

3. Selma

Taking a page from Steven Speilberg’s Lincoln in emphasizing a single game-changing political event over the totality of a person’s life, director Ava DuVernay has crafted a superior bio-pic of Dr. Martin Luther King, Jr. It contains sequences of stunning power that only achieve greater resonance because of the way they tie into certain real-life events of the past few months. Selma is primarily about the movement, but it also never loses sight of the man at its center; it’s a “warts-and-all” portrayal as opposed to hero-worship. Yes, the film invents tension between King and President Johnson that didn’t occur in real life, but this isn’t a documentary. But it is powerful narrative cinema that deserves all the accolades it is currently collecting.

2. Life Itself

A little more than a year ago, we lost one of film criticism’s most influential voices in Roger Ebert. If the Afterlife allowed him to watch this powerful documentary, I’m sure he would’ve been thrilled with the result. It is both a celebration of a legendary man’s life and an unflinching exploration of his final years of struggle. Life Itself is the correct title; it beautifully navigates the emotional highs and lows of the man at its center as well as those closest to him. Most importantly, we have Ebert himself to thank most of all. Had he not pressed on during his final years with a single-minded determination to show the truth of his rise and decline, much of this film’s power would be lost. As is, it is an epitaph of the highest order.

1. Interstellar

This one is just too easy, right? Everyone who knows me understands I’m a huge fan of Christopher Nolan, and Interstellar was far and away my most anticipated film of the past year. Critical reaction to the film was more mixed than most of Nolan's films, but for me, it delivered on all fronts, once again captivating us with a wonderfully suspenseful narrative, provocative ideas, and awesome immersion in its world. But this time around, Nolan upped the ante by balancing a deeply emotional core, namely a tale of love and sacrifice between a father and daughter, with the macro concerns of humanity’s role in the universe. Also, in a year with the fewest tickets sold since 1995, Interstellar represents one of those rare movies that demands large-screen viewing, preferably in IMAX format. It represents true, old-school, idea-driven science fiction, and nothing else wowed my senses and my mind in quite the same way this year. I rank Interstellar third in Nolan’s overall resume behind only Memento and The Dark Knight, but as far as 2014 is concerned, I didn't have a moments doubt about ranking it No. 1.