Tag Archives: crime

Logan Lucky – Review

17 Sep

Steven Soderbergh has always been something of an inspiration to me. He helped start the indie craze of the 1990s with Sex, Lies, and Videotape, has made some excellent mainstream films like Ocean’s 11, dabbled in the world of surrealism with Schizopolis, and also was the creative force behind one of the most chilling television shows in recent years, The Knick. He’s a film maker that can pretty much tackle anything, even though I’ll be the first to admit he doesn’t have a spotless filmography. After taking time away from the big screen following 2013’s Side Effects, I was excited to see him return with another heist movie, this one being Logan Lucky. This has been a movie I’ve been anticipating for awhile, but I never really got my hopes up for it. After seeing it, I can say that while it’s far from Soderbergh’s best, it’s still a damn fun movie.

Sometimes it seems that certain people have all the luck, and they could really share some if they wanted to. That’s a description that is far from fitting for the Logan family. Jimmy Logan (Channing Tatum) had a promising football career, but an accident killed that dream and left him with a limp. His brother Clyde (Adam Driver) had his fair share of luck after his time in Iraq left him with a prosthetic arm. Still, the two seem to be surviving just fine, that is until Jimmy is fired from his construction job and begins scrambling to find a way to provide for his daughter, who he still keeps in close contact with after his divorce. This prompts Jimmy to dig deep into his plans and reveal a scheme to rob the funds from the Coca-Cola 600 race, and the only time to do it is on Memorial Day, one of the biggest races of the year. In order to do this, the brothers enlist the help of local ne’er do well, Joe Bang (Daniel Craig), who they have to sneak out of jail with just enough time to pull off the heist. With the old Logan bad luck facing them down, the team have to use every ounce of ingenuity to get through this unscathed.

Right off the bat, the best thing about Logan Lucky is its characters. Jimmy and Clyde are such a believable pair of brothers, and part of the reason they work so well is the chemistry and dynamic between Tatum and Driver. Channing Tatum works great as a leading man in this movie, and it’s really cool to see a down to earth, blue collar guy leading a major heist. There’s such a difference between Jimmy Logan and Danny Ocean, but both characters work great. Driver is one of my favorite elements of this movie, and every line he delivers was spot on and hilarious. Daniel Craig also goes against the mold here as the gung ho Joe Bang, and his brothers played by Brian Gleeson and Jack Quaid match his level of slightly unhinged mania. It’s a motley crew of people that make such a fun ensemble cast. I also have to give a lot of credit Farrah Mackenzie, who plays Jimmy’s daughter. She is awesome in this movie and performs way better than your average child actor. I see a bright future there.

While I do really like the blue collar element of this movie, I couldn’t help but thinking this movie was lacking in what I will call the “AHA department.” This is where you watch a heist movie and you think you’re seeing everything, but there’s more going on than meets the eye. That’s a staple of modern heist movies, and it almost feels like you’re witnessing a magic trick. There’s a feeble attempt at this in Logan Lucky, but for the most part what you see is what you get. There’s nothing terribly complicated or interesting about the heist, and that’s something of a disappointment. There’s also a lot of suspension of disbelief that has to happen for this to seem credible. For some people, it’s more than can be tolerated. If someone said they had a hard time buying everything they saw in this movie, I wouldn’t argue. Even I did at times. What saved the movie for me was the level of chemistry between the characters and the depth that they each individually had. You want all of them to succeed in their own ways, and because the character are so likable, it’s possible to look past some of the glaring storytelling flaws.

What Logan Lucky did have plenty of that surprised me is humor. I knew going in that this was going to be a light hearted and fun film, but there are moments that are just downright hilarious. Adam Driver and Daniel Craig are very funny, but the real comedic stars of this one are Jack Quaid and Brian Gleeson. They are just so over the top and relishing the characters they are playing. They had potential to be really annoying, but they were just the right amount of goofy. There’s also a near unrecognizable Seth MacFarlane in here as well, and his scenes were some of the highlights of the entire movie. The writing may be lacking in terms of cleverness in the heist, but it more than makes up for it with the genuine laughs it provided.

Logan Lucky isn’t Soderbergh’s best film and it isn’t the grandest return he could’ve made to the silver screen, but I will say it’s clearly a project he wanted to do. This movie has a lot of heart, a lot of humor, and a slew of great characters all bouncing off of one another. This is pure, lighthearted film making that offers up plenty of feel good energy. The actual heist could have been more creative and the third act feels a little rushed, but this was still a fun film. I doubt it’s going to make anyone’s list of best films of the year, but it’s one that may be worth checking out.

Final Grade: B

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Detroit – Review

9 Aug

In 1967, Detroit was shaken by the 12th Street Riots which lasted from July 23 to July 27. In just 4 days time 23 civilians were killed and 16 police and military members were also killed. The number of wounded on both sides go way into the hundreds. It was a very dark time in America’s past that was caused by racism, classism, and poverty and the tensions among the three being pushed to their very limits. In the middle of all this, an incident occurred at the Algiers Motel in which 3 people were killed under unknown circumstances. This is the focus of Kathryn Bigelow’s new film, Detroit, a shocking look at what has remained unseen for 50 years. While it’s true no one really knows what happened, it’s clear that Bigelow did a lot of research and investigating of her own, and Detroit will remain as one of the high points of film for 2017.

Amidst the 12th Street Riots in Detroit, multiple lives are affected while some are changed forever. Melvin Dismukes (John Boyega) is a private security guard and factory worker who is called to defend a small convenience store overnight, which is situated right beside a National Guard outpost. Larry Reed (Algee Smith), the lead singer of The Dramatics, and his friend Fred (Jacob Latimore) become separated from the rest of the group and end up at the Algiers Motel. It’s here that they meet Julie Ann (Hannah Murray) and Karen (Kaitlyn Dever) and try to hit it off. A prank involving a starter pistol attracts the attention of the National Guard where Melvin is and they all head over to the Algiers. It also attracts the attention Officer Philip Krauss (Will Poulter), a racist cop who believes he has complete authority over the streets of Detroit. At this convergence at the Algiers Motel, violence and hatred erupts which ends in the death of 3 people and a subsequent investigation that held the eyes of all in Detroit.

Detroit is a very intense movie that depict real life events, so it’s important that Kathryn Bigelow and the rest of her crew depict things in a very specific way. Luckily, Bigelow has shown herself to be just the person to portray very dramatic real world events with her other films The Hurt Locker and Zero Dark Thirty. With Detroit, a sense of environment is very strong and it succeeds at putting the viewer right in the middle of things, regardless of how chaotic and disturbing something may be. There are times where this film is a marvel to look at and listen to. It feels so genuine and authentic at times that I actually felt like I was transported back to a certain time and place. Part of this has to do with the excellent cinematography. Handheld camera work is something that can be completely overdone nowadays, and it’s often used in movies where it’s unnecessary and is just something to be seen as “artsy.” It’s used perfectly in this film and it never feels out of place. There’s also a very heavy usage of close ups where character’s faces are held in full frame for a good amount of time. It’s a risky move for Bigelow and it requires her to also have found just the right actors for the parts.

The performances in this movie are so good it’s almost scary. In fact, in a couple cases it is scary. John Boyega isn’t in the movie as much as I thought he was going to be but he gives such a natural performance that feels completely unlike his role in Star Wars, which is a good thing since it’s practically impossible to compare these two movies in any way shape or form. Will Poulter, who plays Krauss, is a force to be reckoned with in this movie and it’s by far one of the best and most complex performances of the year. His character is a complete psycho, and the frightening thing is that he doesn’t see that he’s doing anything wrong. Poulter gives a performance that is as horrific as it gets. Finally, the breakout star of this movie is Algee Smith, who I’d say is more of the focal point of the ensemble cast. His IMDb only has in credited in some random things and a part in Earth to Echo, which I think MAYBE three people saw. He is outstanding in this movie and has a bright career ahead of him. Seriously, Hollywood, keep your eyes out for this guy.

Detroit also had pacing that I wasn’t expecting, but it’s really the best way the movie could have been done. When I saw that the run time was about two and a half hours, I was a little concerned that it would be overstuffed with useless plot elements that could have easily been removed to turn it into a two hour movie. I really had nothing to worry about, however. The first part of the movie sets the stage for the riots and the characters for a while. Once we get to the Algiers, however, we remain there for a very long time. The whole incident is shot in real time and during this whole event we hardly leave the premises of the motel. This goes on for a really long time, but it never feels boring or overlong. Finally, the third part is the aftermath which keeps the stress from the time at the Algiers raised high. I hate using this word, but the storytelling really was riveting and I couldn’t peel my eye away from the screen for more than a second.

This has been a pretty wild summer for movies. There has been so much great stuff that it’s hard to keep track of it all. Amidst all of the cinematic joy, Detroit stands tall as one of the best 2017 has to offer, and yes I realize how often I’ve been saying that. This is a powerful movie about a really dark and tense time in American history and Kathryn Bigelow has the hard task of dramatizing it. The performances and film making are all top notch in this movie and it has to be remembered come Oscar season.

Final Grade: A+

Baby Driver – Review

8 Jul

It seems like I’ve been having great luck with movies recently, and the trend just keeps on going. I’ve been really looking forward to Baby Driver since I first saw the trailer for it. Writer and director Edgar Wright is best known for his Three Flavours Cornetto Trilogy which consists of Shaun of the DeadHot Fuzz, and The World’s End, all starring Simon Pegg and Nick Frost. He was also the director of Simon Pegg’s and Jessica Stevenson’s cult tv show Spaced. This looked like a bit of a departure from what he normally does, but it also looked like it still had that frenetic yet controlled style he employs. Let’s just say Baby Driver takes everything great about Wright’s work and enhances it to whole new levels to create one of the greatest action films you’ll see all year.

Despite getting into an accident as a child, losing both his parents, and suffering from a permanent “hum in the drum” as a result, Baby (Ansel Elgort) is the best escape driver in the entire underworld. Doc (Kevin Spacey), a major thief in the criminal underworld, is lucky to have him on as a permanent member of the team, despite other employees finding his constant state of listening to music and lack of any kind of vocal interaction unnerving. After one particular job goes wrong, Baby finds some comfort in an unassuming waitress named Debora (Lily James). Their relationship seems to be growing fast, but Baby is soon coerced back into the business by Doc and forced onto a crew consisting of his long time partners Buddy (Jon Hamm) and his wifeDarling (Eiza González), but also the sadistic Bats (Jamie Foxx), who threatens everything Baby stands for just for the hell of it. With this job closing in, Baby starts making plans to betray the team and make his escape with Debora, but it won’t be easy to escape the eyes of his brothers in arms and he’ll have to fight them with everything he’s got to truly escape.

Baby Driver is a lot of things. It’s a drama, it’s a dark comedy, it’s a gangster flick, it’s a heist movie, but more than anything else it’s an action film. This movie has more energy than any action movie I’ve seen in a long time and you can tell that everything that Edgar Wright is as an artist and a film maker went in to making this movie as great as it possibly can be. The car chases and various escape sequences are exhilarating, and the fact that the stunt work and various crashes and last ditch escapes were done in camera and not using computer generated effects makes the whole experience all the more worthwhile. The first car chase had me hooked, but the ride was far from being over and it just got more exciting from there. This is a good time to bring the editing up. If this film doesn’t get recognized for its editing at the Oscars, then I really don’t know what I’ll do. Wright puts this entire film to Baby’s various soundtracks, and when I say that every scene moves in time with the music, it’s no exaggeration. The best way to describe this film would be to use the word “precision.” We’ve all had that conversation about what song would work in what kind of scene. Well Edgar Wright and his team took that idea to the limit and created a whole new way to watch a movie.

With movies like Baby Driver that immediately combust with such high energy, it’s usually inevitable that the middle of the movie will slow down to an almost unbearable crawl for characters and other kinds of motivations to be built on. Somehow, someway, Edgar Wright found the perfect formula to expedite this whole process while still making it easy to care about the characters. Jamie Foxx’s character is introduced somewhere around the end of the first act and beginning of the second act which doesn’t slow the movie down even a little bit. In fact, Foxx is so excellent in his performance of Bats that the movie found another burst of energy with his arrival. Time is also given to Ansel Elgort and Lily James and their budding romance. This is where the movie stumbles ever so slightly. The tough guy talk didn’t need to carry over from the crime scenes to the romance scenes. It just didn’t fit very well and the attitude was just a little bit to much in these moments. If it was toned down a little more I think these scenes would have hit the mark a little bit better. When the third act begins, however, all mistakes are forgotten and my eyes were glued to the screen while the action never ceased to let up.

I feel like there’s something of a stigma around action movies that say films in this genre can rarely be called works of art. Much like horror films as of late, there’s been a cool trend of more artistic action films, and Baby Driver falls firmly into that place. Wright and his team know how to make a film look great and sound great while also thrilling audiences with off the wall action sequences and entertaining characters. When the lights came up in the theater, it was almost hard to finds words to properly elucidate the originality and technique of the film I just watched. Edgar Wright isn’t just a good film maker. He’s clearly an excellent one and an auteur in his own right. I’ve been taught by many people that film is a visual art, where the story should be shown more than it should be told. This movie takes it another step and uses music to help tell its story in a way I haven’t seen in a movie before. When music isn’t playing, it felt weird. This was a risky thing to do. It would be very easy to mess up a movie where music is constantly playing, but this one pulled it off with such finesse.

In case I haven’t made my point perfectly clear already, Baby Driver was fantastic and easily is and will remain one of the best movies of the year. It’s action is shot beautifully with excellent stunt work and precision driving, the soundtrack knocks the second Guardians movie into next week, and the editing is some of the best I’ve seen in years. This takes action films somewhere new and unique, even though the story is less than totally unheard of. I can’t say this film is style over substance, because the two work tandem so well. It would be a sin to miss this movie, so get to it as soon as you can.

Final Grade: A+

Branded to Kill – Review

11 Jun

There are many film makers that create movies that leave me baffled. David Lynch and his fever dreams like Eraserhead and Inland Empire stand out, but who can forget the psychedelic nightmares of Alejandro Jodorowsky and his films like The Holy Mountain and Santa Sangre? A name that never really stood out to me was Seijun Suzuki, a Japanese film makers that was actually blacklisted from directing because of the odd and unmarketable nature of his movies. One of, if not his most infamous creations is the 1967 gangster film Branded to Kill. This is a movie that takes genre conventions and blows them out of the water. Is this film just one giant narrative mess or is it a satirical, yet experimental, look at the gangster subgenre? That’s for the viewer to decide.

Goro Hanada (Joe Shishido) has the honor of being the third ranked hit man in the Japanese underworld. He also has found a strange, and often unsettling, kind of love in his newly wedded wife, Mami (Mariko Ogawa). Hanada is assigned many important missions by the yakuza, including the killing of three seemingly unrelated civilians. He is also approached by a mysterious woman with a death wish named Misako (Annu Mari), who hires Hanada to kill a foreigner that she will be seen with the following day. When this new mission goes wrong, Hanada is soon on the run and betrayed by almost everyone he knows, with the only possible exception of Misako. Things only get worse for Hanada when he finds out the mythic hitman, known only as Number One (Koji Nanbara) is gunning for him and will stop at nothing until he is dead.

Take that summary with a grain of salt since Branded to Kill was not the easiest movie to follow, and it took me a little while after finishing it to fully process what I saw. At it’s core, this movie tells a classic gangster noir tale about murder, love, femme fatales, and betrayal. What makes Suzuki’s film so odd is the way this simple story is told. There are jumps in time and location that is incredibly jarring and takes a while to get used to. This movie is only an hour and a half long, but it felt so much longer than that because time and space was played with so much. The story could take place over the span of a week or a couple of months. Telling a totally linear story was clearly not Suzuki’s intention. While I do very much appreciate the strangeness, the odd continuity, and all of the confusion that goes along with it, I’m not sure how this really fits with telling the story. What I mean is that I can’t really thematically see any reasoning for telling the story like this. The third act gets really out of whack, which is appropriate for the action, but I’m not sure about the other two acts.

Despite Branded to Kill being totally strange, it still has a classic noir vibe which I really like. The lighting is harsh and the violence is sudden, but definitely leaves an impression. Another great example of noir that pushes the boundaries is another Japanese film called Pale Flower, which I reviewed quite some time ago. Branded to Kill takes it to another level, however, and some of it genuinely shocked me. This film came out in 1967, which is still some years before exploitation cinema hit audiences internationally. This film almost pushes things to that exploitive level. Like it comes real close. There are things in this movie that would have made mainstream audiences in America at this time lose their minds. Hell, there’s some things that would make modern American audiences gasp. I have to give Suzuki credit for daring to go the extra mile.

This brashness and willingness to go places traditional films of the time went didn’t come without a price. This is one of those movies where the history kind of provides a good context as to how to look at an appreciate the film itself. Seijun Suzuki made 40 B-movies for the Nikkatsu Company. That’s a lot of time dedicated to working for a company, but it didn’t last forever. Nikkatsu was not pleased with the original script for Branded to Kill, so they had Suzuki rework it. Instead of keeping it the traditional gangster tale, he made it something completely different, which is the movie I’ve done my best to illustrate as a crazy, untraditional ride. Nikkatsu was even more upset with the end result, and this got Suzuki fired. Jokes on Nikkatsu. Over time, Branded to Kill has become something of a cult classic.

Branded to Kill is certainly not for everyone, and it even took me a little bit of time to fully wrap my head around what I just saw. It takes a gangster story with hints of noir and turns it into a dreamscape where time and logic are unimportant. Sometimes I felt like this worked against the film, but most of the time I was really into the weirdness. I have to give Seijun Suzuki credit for making a movie that no one else at the time seemed interested in making, even if it end with him getting fired from Nikkatsu. For any fan of off the wall kind of movies, I’d recommend Branded to Kill. Anyone looking for something easier to comprehend, you can find plenty of other great gangster stories out there.

Final Grade: B

Drugstore Cowboy – Review

28 May

In 1990, a novel by James Fogle was released. The text told an autobiographical tale of drug addiction, crime, and the consequences that come with the decisions to engage in that type of lifestyle. Interestingly enough, a movie called Drugstore Cowboy came out in 1989 which is based off of the novel that came out in 1990. Well, that’s a weird circumstance, but a lot of it had to do with the fact that Fogle was still in prison in 1989 and wasn’t released until the following year. With Gus Van Sant in the director’s chair and source material such as this, this film was bound to become something special.

Bob Hughes (Matt Dillon) is living life to the fullest. He has a beautiful girlfriend named Dianne (Kelly Lynch), he has friends that are willing to follow him to the ends of the earth, and he spends his days free of any kind of employment to live his life as a free spirit. He’s also addicted to all sorts of drugs, and will go to any lengths for a fix. His main source of pharmaceutical income is to rob drugstores blind. His luck seems to be coming to an end when a particularly invasive run in with Detective Gentry (James Remar) forces him to leave town and find new means of getting his fix elsewhere. Unfortunately, Bob and his crew can’t seem to catch a break and it doesn’t take long for tragedy to hit the group harder than they ever expected. This forces Bob to really examine what he’s done with his life and wether he’s willing to give it all up to finally find some stability or stick with his usual ways and live a life where death is right around the corner and paranoia is his right hand man.

In 1996, Trainspotting was released and changed the way films about drugs could be made. In 2000, Requiem for a Dream was released and this film redefined these rules. Before all that, however, was Drugstore Cowboy. This was a modern look at drug addiction that helped pave the ways for these other classic films. By today’s standards, Drugstore Cowboy is pretty tame, but it stands tall in the world of film history. This was a movie that showed a realistic and disturbing side to drug addiction, while also being darkly funny in its dialogue and minor idiosyncrasies that are present in all humans, even if they are addicted to world altering substances. This is where this film shines. It shows characters with deep flaws, other than the obvious, while also showing their strengths. It’s clear that Van Sant didn’t want to take sides, but rather depict addiction in its true form when it comes to physiology and the law.

With its meandering plot points and unfocused direction, Van Sant successfully portrayed the lifestyle he was trying to depict. In any other movie, this would be a fault, but since we’re talking about addicts who will hit the open road whenever they want to and completely relocate their lives, it works well. Something that doesn’t work all too well for me is how Van Sant examines the consequences of their actions. There are a few excellent scenes where the characters get what’s coming to them, and those are some of the more satisfying scenes of Drugstore Cowboy, because it makes the choices the characters make have more weight. Then again, there’s something that happens in the middle of the movie that doesn’t end up being resolved by the end. It’s also a little hard to believe these characters can remain so calm and appear so cool under certain circumstances right after how they just got done saying how desperate they are to get high. Maybe Trainspotting just spoiled me.

The writing in this movie is definitely unique. For most of the movie, we have characters in situations that I could really see happening. Matt Dillon is excellent as Bob Hughes, the leader of this gang of miscreants. He plays well with Kelly Lynch, James LeGros, and Heather Graham. Graham and LeGros have a chemistry all their own, which also adds good moments of comedy and serious drama. It’s also a real treat to see William S. Burroughs as a drug pedaling priest. The dialogue they are given often works well, like when Bob is talking about his different superstitions. There are times that it feels a little bit too theatrical, which is something I’ve seen in Van Sant’s work before. For a movie that is trying very hard to be realistic, it kind of loses me when hear a line that sounds like it was written for a movie and not for a character I’m supposed to believe is real.

Drugstore Cowboy is definitely a movie in this subgenre of drug movies that holds a firm spot in film history. It was an honest look at the lifestyle of these wandering addicts that I haven’t seen depicted before this film. I will say that I would have liked it to go a little bit farther. That means the movie could have been a little longer or maybe if the boundaries were pushed a little bit more. Still, despite the lack of grit that I would have liked to have seen, it shows characters that I’ll have no problem remembering and scenarios that are completely unique to this movie. It’s not my favorite movie on the topic, but it’s still a very good film.

Final Grade: B+

Free Fire – Review

6 May

Have you ever been so excited for a movie, but knew you had to wait so long to see it that you were convinced it would never be released anywhere around you? Well, that’s how I felt about Ben Wheatley’s Free Fire. I saw the trailer for this movie months ago, and was so excited to see the cast and the insanity that the trailer had to offer. It also is worth mentioning that this movie has Martin Scorsese as an executive producer. All of the pieces were in place and I’ve finally gotten to see the movie I’ve been so excited for… The disappointment has really set in hard.

Chris (Cillian Murphy) and Frank (Michael Smiley) are two IRA members who have travelled to America to buy rifles from a known arms dealer and all around douche bag, Vernon (Sharlto Copley). Along for the ride is Vernon’s associate Ord (Armie Hammer), the intermediary Justine (Brie Larson), and some other hired hands to help with the transaction. This is a pretty volatile bunch to begin with, but once it’s revealed that Vernon has brought the wrong rifles and that there are hidden tensions shared between a few of the hired hands, things start to go south until shots are fired. Now the two groups are split at opposite sides of the abandoned factory they are meeting in with a suitcase full of money and crates of rifles and ammo standing between them. Whoever is left standing wins.

This as an idea sounds perfect. Put a bunch of volatile criminals in a room together with guns and money and see what happens. It’s not something we haven’t heard of before, but it looked like a movie that was going to take the idea and inject it with some high energy and lots of laughs. I’m not really sure what happened. As the movie started, I was into the dialogue and the characters. They were setting up the scene very well and when a new character was introduced, I liked seeing their personality matched with everyone else’s. I had this picture in my mind that this was just going to be a raucous clash that didn’t have time to slow down, but Free Fire is surprisingly boring. There’s a lot of sitting around and yelling insults and when a shot is fired, someone is either just clipped or missed all together. And this goes on and on it seems, until things finally pick up the way I wanted it to in the last act of the movie. If the whole film had the energy of the last act, this review would be going a whole other way.

I do have to give it to all the actors in this movie. All of them give their best to their performances, which is really the strongest point of the movie. The characters are what’s going to be remembered most. Cillian Murphy,Michael Smiley, and Brie Larson work off each other very well and they spend most of the movie together. If their chemistry didn’t work than that would have been a real problem. I also have to give it to Armie Hammer for being surprisingly hilarious as Ord, who just seemed to have an answer for everything. How could I talk about the good performances in Free Fire without talking about Sharlto Copley? This guy is one of my all time favorite actors, and for good reason. He has all of the best lines in this movie, and quite frankly, it’s clear that Wheatley wrote Vernon as his favorite character. It shows in every line Copley delivers. He’s the best part of the movie, hands down, and I know I may be a little biased in saying that, but I don’t really care.

When I think of all my favorite parts in this movie, they all come from the last half hour or so. I was looking at the time all throughout the movie wondering how they were going to fit in what I wanted to see with the time running out so quickly. This is not a long movie, so when I got to the 45 minute mark, I kinda lost hope that this movie was going to be as exciting as I originally thought it was going to be. Then the third act happens and it was a lot of fun, but I couldn’t help but wonder where all that energy and excitement and humor was for the beginning and the middle. Ben Wheatley did not handle the material well in his writing and seriously undersold what this movie could have been. The whole thing is a huge missed opportunity, which is sad because I see so much potential.

Free Fire had everything it needed to be a cult classic. It had a really cool idea, memorable characters, a great cast of actors, and a writer/director that has proven his skill in the past. I’m still not sure what happened. The finished product is a lackluster action/comedy that provides a good deal of laughs but is bogged down by an overly short run time and a surprising lack of energy. This film could have been an incident of hilarious contained chaos, but it never reaches this potential which left me wanting so much more. This is one of the bigger cinematic disappointments I’ve seen in quite some time.

Final Grade: C-

T2 Trainspotting – Review

7 Apr

One of my favorite movies of all time is the 1996 Danny Boyle film Trainspotting, which is based on a 1993 novel of the same name by Scottish author Irvine Welsh. This film seems to have always been with me since it seems like a week can’t go by without me referencing it or just having it cross my mind when a certain song comes on. I just love this movie to death, and to me it’s a perfect film. For years, a sequel has been talked about and going through different phases of production, but here we are in 2017 and we finally have T2 Trainspotting. This is a time of sequels and reboots and remakes, so a lot of people may be turned off by this idea, but Welsh did write a sequel in 2002 called Porno. With Boyle, screenwriter John Hodge and Irvine Welsh all back on board for this sequel, I was also on board and this film did not disappoint.

20 years after deceiving his friends and running off with a whole bag of money, Mark Renton (Ewan McGregor) finally returns to Scotland with the hopes of reuniting with friends and family. His friends all seem to be in different states of decay with Simon (Jonny Lee Miller) managing a run down bar and addicted to cocaine, Spud (Ewen Bremner) still a heroine addict who’s lost nearly everything, a Begbie (Robert Carlyle) in prison with a strong personal vendetta against Mark fueling his every action. Pretty soon, Mark and Simon get over their troubles with one another and turn, once again, to a life of crime with the plans of converting Simon’s bar into a brothel. They enlist the help of Spud and Simon’s girlfriend Veronika (Anjela Nedyalkova) to help wth the transformation. Things start to get out of hand, however, when Begbie escapes from prison and starts gunning for Mark, while Simon and Spud do their best to cover for him. Amongst all of the crime and the business plans, this gang’s past is quickly catching up to them and there’s nothing they can do about it.

I’d be lying to you if I said I didn’t nearly jump out of my seat when I saw each character return in their respective introductions. These are some of my favorite characters ever put to the screen, because no matter how troubled and deceptive they are, you can’t help but love them. It’s been 20 years since the original film came out, but the way these actors seamlessly return to their roles, it feels like the first film could have come out yesterday. The shenanigans they get into are very reminiscent of the first film without it ever feeling like Danny Boyle, John Hodge, and Irvine Welsh are just capitalizing on its success. This isn’t a film about nostalgia for the audience, but more so about the dangers of becoming to enraptured in your past that you’re unable to look forward, which is the case for most of the characters in this movie.

If  were asked to describe this movie in one word, I could easily give you the answer: seamless. This is a seamless transition into a sequel that feels so natural, it’s almost as if this were always meant to be. The end of the first film isn’t quite a cliffhanger, but it does leave the audience wondering if the certain betrayal that happens is enough to make them change their lives. This film answers that question with a resounding “no.” This is an excellent postscript to the questions that can arise at the end of the first film while offering a deeper understanding of these complicated characters as they enter middle aged life. While there is a sense of nostalgia and love of Trainspotting with small references to scenes from that movie, it comes with the danger that too much nostalgia will ruin your foresight, a theme that I just can’t get enough of.

While T2 Trainspotting is just the sequel I needed, it does come with a storytelling flaw that stops it from reaching the esteemed heights of its predecessor. I this movie, Mark and Simon are turning back to a life of crime in order to turn Simon’s bar into a brothel. Cool. I’m into that story. Meanwhile, Spud is dealing with his own problems, which get explored more when he’s brought into Mark and Simon’s plan. Also cool. What’s upsetting is that certain interesting plot points go nowhere after awhile in favor of something completely different to happen in the final act of the movie. Luckily, the plot points that are abandoned are not the most interesting parts of the movie, but it feels like a lot of time was wasted for such a big part of the story to just be completely abandoned like it never existed. It leaves the second act of the movie feeling disjointed and certain scenes feeling unnecessary. It’s kind of a weird decision and I’m not sure I fully understand why they took the movie in that direction.

T2 Trainspotting is exactly the sequel that the first film needed even if it doesn’t reach the level that its predecessor did. The bottom line is that I loved this movie. I really, really did. It’s like these actors never stopped playing these characters since they return with what seems like such ease. Danny Boyle and his crew also seem to not miss a beat with the kinetic editing and often outlandish style of the film. If certain plot points were cleaned up, I would have been very pleased, but the most interesting parts of the movie remain intact as the characters face elements of life that they just aren’t prepared for. I can’t wait to see this one again.

Final Grade: A-