Tag Archives: summer blockbuster

Blade Runner 2049 – Review

18 Oct

One of the most influential films of all time is Ridley Scott’s Blade Runner based off of Philip K. Dick’s novel Do Androids Dream of Electric Sheep. This movie is a masterwork of visual effects, cinematography, setting, and ideas. It has the classic Philip K. Dick paranoia that made his works seminal in the realm of science fiction. What Blade Runner doesn’t achieve in is narrative. The plot is threadbare and glazes over a lot of information that could have been a handy tool in building more suspense. I think Blade Runner is an excellent film and deserves to be heralded as a masterpiece, but I can’t say it’s the best science fiction film ever made. I was concerned when I heard it was getting a sequel so many years later, and I really had no excitement whatsoever leading up to the release of Blade Runner 2049. After seeing it, it’s far and away one of the strongest sci fi films to come out in years and may even have a leg up on its predecessor.

30 years after the events of the original Blade Runner, newer replicant models have been reworked and used as servants and loyal employees. K (Ryan Gosling) is one of these newer models, and also works as a blade runner for the LAPD. His sole job is to hunt down the older, more dangerous replicants and “retire” them. After retiring a replicant named Sapper (Dave Bautista) who was running a farm in the middle of nowhere, new evidence comes to light of a child that was born from a replicant. With this knowledge posing a dangerous new way of thinking, K’s boss Lt. Joshi (Robin Wright) orders him to hunt down and destroy all evidence of this, including the child, now an adult, who was born from this replicant. As K follows the trail of evidence, he finds danger around every corner, especially from the founder of the Wallace Corporation, Niander Wallace (Jared Leto), and his enforcer Luv (Sylvia Hoeks). K also begins getting flashes of memories he thought were false, which brings his own existence into question, which ultimately leads him on the trail of Rick Deckard (Harrison Ford), a former blade runner who may be the connection that links the entire mystery together.

The original Blade Runner is a marvel of special effects and world building. While the story may not be there 100%, I dare anyone not to lose themselves in the world that Ridley Scott and his team created. The same can also be said about Blade Runner 2049, which matches Scott’s creativity in design. This is a feat I was not expecting from this movie. There’s a scene towards the beginning when K is flying through the city and the advertisements, buildings, and other structures are all larger than life, but it’s a city that seems like it lives and breathes. There are other areas that are more desolate, but that just shows the variety of the world the characters live in, especially after the “black out” that is constantly references in throughout the story. One setting that took my breath away was the interior of the Wallace building. Not only was it just great to look at, but it also helped define Niander as a character. Denis Villeneuve has shown his skill with visuals with his films before, but this takes it to a new level. I also can’t leave out the importance of Hans Zimmer’s booming score. It’s one of the coolest original scores of the year, and I listened to it immediately in the car ride home from the theater.

Blade Runner 2049 is a science fiction epic in every sense of the word. It features a world of androids, flying cars, and evil technology corporations whose goals threaten the existence that we have come to know. It’s a world that is recognizable, but still seems fresh. I love that about this movie, and again, it’s something I wasn’t really expecting. Where this film really got me though was its strong sense of mystery. This story is essentially a hard boiled mystery tale wrapped in a world of science fiction. The best part about it all is that it had me guessing until the very end, and when the ending finally showed, my mouth was agape. Philip K. Dick is no stranger to paranoia and twisted stories, and while this may not be an original of his, it still has the spirit. Is K a trustworthy protagonist? Who is Deckard really? What is the Wallace Corporation hiding? These are only some of the questions this movie poses, and watching it all unfold at a steady, yet slow pace is extremely gratifying. It’s hard for movies that are almost 3 hours long to grip audiences so  strongly, but Villeneuve’s strong direction makes it no problem.

It was hard for me to think of anyone else being a lead character in a Blade Runner movie that wasn’t Harrison Ford, but the fact that it was Ryan Gosling should have put my mind at ease. He is the hard boiled “detective” of the story and has all the makings of a traditional character. He’s quiet, but has an edge to him with undertones of understanding, and all of the elements make up his complicated character very well. Jared Leto unfortunately in the movie a lot, but his portrayal of Niander Wallace is menacing to say the least. Speaking of menace, Sylvia Hoeks is a character that I loved to hate, which is always the sign of an excellent villain. There’s also a surprisingly heavy performance from Ana de Armas who plays Joi, K’s holographic love interest. I know how that sounds, but they actually made it work.

Blade Runner 2049 surprised the hell out of me. I was feeling like it was an unnecessary sequel which kind of impeded me looking forward to it. Maybe it is an unnecessary sequel, but it’s a damn great one nevertheless. The slow pace of the narrative pulled me into the world that it was creating and the mystery of the whole thing locked me in tighter than many movies can. This is an amazingly shot film with gorgeous special effects, an awesome score, and a story that never lets up. I loved Blade Runner 2049.

Final Grade: A+

Advertisements

Valerian and the City of a Thousand Planets – Review

26 Jul

Comic book movies are everywhere nowadays, but the only companies you really see flooding the market are Marvel and DC. There’s so many more companies with so many more stories to tell, so I always welcome a world that I’ve never had the pleasure of traveling to before. In 1967, the comic series Valérian and Laureline was created by Pierre Christin and Jean-Claude Mézières and ran until as late as 2010. This series tell the story of special spacial-temporal agent Valérian and his partner Laureline as the travel time and space protecting the universe. There’s so much material to work with and with someone like Luc Besson in the director’s chair, I was all for this. Besson’s work has been known to be hit or miss, and this one is a slight miss for me. He was on the right track with something that could’ve been a modern day space epic, but got way too distracted somewhere down the line.

After being awoken from a dream where a planet and its inhabitants are destroyed, Special Agent Valerian (Dane DeHaan) along with his partner Laureline (Cara Delevingne) are assigned to infiltrate a black market ring and extract an object called a converter. After completing the mission and being nearly killed in the process, the duo return to Alpha, a giant space station that is the home to millions of people from many planets, hence the nickname of the City of a Thousand Planets. The agents are informed by Commander Filitt (Clive Owen) that there is an infection spreading on the space station which is a major concern to all the races that live on the space station and that this converter may be the key to stopping it. During a meeting with the representatives of the station, Filitt is attacked and kidnapped by the same people that Valerian dreamed about. With the converter and their Commander missing, Valerian and Laureline have to travel into unknown territory on the space station, avoid the seediest of characters with ulterior motives for the agents, and uncover a major conspiracy that could potentially destroy Earth’s relationship with the other planets.

The first 40 to 45 minutes of Valerian and the City of a Thousand Planets had me hooked. I was loving the visuals and the world that was created for this movie. It was definitely a film to see in 3D, and I found myself easily getting lost in the environment. This is a stunningly beautiful movie with some of the best special effects you’ll see all year. There was a real sense of swashbuckling adventure that can easily serve as a reminder as to why I love action adventure movies, especially in heavy science fiction universes like this one. I was really prepped for a rollicking time at the movies with this, but we weren’t even an hour into this movie’s bloated 2 hour and 17 minute run time. Once we get to Alpha, things start going sour and that heavy feeling of disappointment began weighing down on my chest.

Let’s rewind a little bit here. While the first hour or so of this movie is solid action and adventure, I do have to talk about Dane DeHaan as Valerian. There’s something about how he delivers his lines that’s a weird combination of overdone and totally dry. It’s like he’s enthusiastically underperforming at every chance he gets. It was an awkward performance, and while he did fine at the more action oriented work, his lines with Delevingne were just awkward. Part of this may be because they had very little chemistry and the writing was just plain weird and on the nose. Cara Delevingne is a lot more tolerable than DeHaan, and her scenes provide some of the funnier and more memorable parts in the movie. There are a couple memorable performances by Ethan Hawke and Rihanna, but they are completely pushed to the wayside and forgotten about as soon as their minimal usage is complete. It’s unfortunate that some of the best characters get so easily forgotten about. I’d like to say something about Clive Owen’s performance, but it was so standard, there’s really nothing to comment on.

Back to the plot and all of its shortcomings. Once Valerian and Laureline make it to Alpha, I expected the plot to thicken from there. It does start to get intriguing, but after the Commander gets kidnapped the movie devolves into a series of scenarios that don’t really have a connection with the main plot involving the converter and the aliens from Valerian’s dream. First Valerian gets lost then Lareline gets lost and then the plot gets lost and I just started losing interest. I haven’t seen a movie this distracted in a long time, but to be fair there’s a lot of really cool stuff to look at on this station it’s pretty easy to get lost. Once the plot finally refocuses I was relieved but I kind of lost interest in it at that point. It took a while to really get myself invested in what was happening after being sidetracked for so long.

Valerian and the City of a Thousand Planets is ultimately categorized as a disappointment for me. The action is a lot of fun and the special effects are fantastic. There’s nothing wrong with the world that Besson created, but there is major problems with how he tells the story and the how he wrote the characters. Dane DeHaan is pretty bad as Valerian and it was hard to get back on the main plot after aimlessly running around Alpha for so long. I had much higher hopes for this movie, but it’s a classic example of style over substance used poorly and storytelling that is shot out of an airlock.

Final Grade: C

Dunkirk – Review

26 Jul

The Dunkirk Evacuation, which took place in late May and early June of 1940, is an event which the late Winston Churchill deemed a “military disaster.” Even with that infamous description attached to it, it has become known as The Miracle at Dunkirk because of the amount of British Allied forces that were saved despite the odds due to bravery from the British Navy, Air Force, and civilians who were all too willing to help. It’s an incredible story and it’s a story that has now been scooped up by film making master Christopher Nolan, who not only succeeds in telling stories, but also sculpting them to feel new, unique, and memorable. Listen, The Dark Knight is a fantastic movie, Inception killed it in the imagination department, and Memento completely reinvented how to tell a simple narrative. That being said, Dunkirk may be Nolan’s masterpiece.

The story of Dunkirk is split up into three separate narratives that become interweaved as the movie goes along. The first story that is introduced is that of a British private named Tommy (Fionn Whitehead). Tommy narrowly escapes Nazi forces and finds himself on the beach with thousands of other British and French soldiers waiting for evacuation. Throughout the next couple of days, Tommy must survive bombings by German planes, submarine attacks on their ships, while also navigating through an environment where everyone is fighting desperately to survive. The next story is that of Mr. Dawson (Mark Rylance), his son Peter (Tom Glynn-Carney), and family friend George (Barry Keoghan) who use their small civilian boat to sail to Dunkirk and rescue whoever they can. Along the way they find a soldier (Cillian Murphy) who’s ship was sunk by the Germans and who is also suffering from extreme post-traumatic stress. Finally, we come to the eyes in the sky. Royal Air Force pilot Farrier (Tom Hardy) and his partner take on numerous German bombers in order to protect the civilian ships and the troops on the beach. This becomes a much harder task when his fuel gauge gets destroyed and he has to rely on memory to know how much fuel he has left.

Dunkirk is almost more than a movie. It’s an experience of sight and sound that is above the norm when compared to most of my trips to the theater. It’s almost as if the movie just wrapped around me and didn’t let up until the very last frame. The first shot of the film pulled me in immediately. It feels so sudden and unnatural, but at the same time beautiful. It sets the tone perfectly for the rest of the film. The camera swoops around the skies with the planes and runs along the beaches with the soldiers all while the devastating sound effects complete the audio/visual immersion. I don’t think I’ll be getting the sound of the German planes out of my head anytime soon. Even though that horrifying whine steals the show, the other planes, gunshots, explosions, and ricochets boomed out of the sound system and made me jump a few times. Finally I have to give major credit to Hans Zimmer for his subtle yet intense score that moves with the plot perfectly.

Something that really surprised me about Dunkirk is the way the story is told. Nolan is known to tell intricate stories, and his earlier works like Following and Memento especially play around with narrative structure. While Dunkirk isn’t quite as broken up as Memento, it still has a unique flow to it. The soldiers on the beach have a story that lasts a week, the civilians in the boat span a day, and the pilots span an hour. This really enhances the story because we’ll see something happen through the eyes of one character and then later on in the movie we’ll see it again from a different perspective. This gives the viewer a fuller view of the event as it happened. It’s also just a lot of fun putting the pieces together as the movie goes along. It was a little bit confusing at first, but I got into it pretty quickly. Could the movie have been told in a linear way? Yeah, I’m sure it could have been but I’m also glad it wasn’t.

A complaint I’ve been hearing is that there isn’t enough character development. This kind of confuses me because I never really looked at this movie as being about the characters, but more so about the events that happened on those brutal days and nights in Dunkirk. The characters in this movie serve as archetypes for real soldiers. From the PTSD ridden soldiers to the heroic English civilians, these characters represent many. This doesn’t mean there aren’t some great performances, however. Kenneth Branagh, Mark Rylance, and Cillian Murphy are the real powerhouse performances in this movie, but there wasn’t a shaky actor in the bunch. I really don’t mind not seeing their backstories or what became of them or what their motivations for their actions were, and honestly there just wasn’t time in the narrative to slow down.

Dunkirk is a masterpiece of epic proportions and is quite frankly the best work I’ve seen from Christopher Nolan. This has been a pretty strong summer with the movies I’ve been seeing, but nothing can top this one. If another movie comes along this year that hits me as hard as Dunkirk did, I’d really be surprised. This is a movie that can’t be missed. It tells an incredible story of survival, but it also reworks the tropes of the war genre in ways that I haven’t seen done before. This film is outstanding and I can’t wait to see it again.

Final Grade: A+

War for the Planet of the Apes – Review

19 Jul

When Rise of the Planet of the Apes first came out in 2011, I didn’t really think anything of it. It took me a little while to finally get around to watching it and when I did, I was floored. The action, the story, and the superb special effects were movie magic at its purest. In 2014, Dawn of the Planet of the Apes was released and improved on everything that was established in the first film. I thought that entry couldn’t be beaten, but here we are in 2017 with the third, and final, film in the trilogy called War for the Planet of the Apes. I am kind of sad to see this trilogy ending, but it’s remained a solid example of blockbuster film making and this latest entry may be the best of the new Planet of the Apes trilogy.

Years after the Simian Flu infected and wiped out a large portion of humanity, the apes led by Caesar (Andy Serkis) struggle to survive in the woods that provide limited isolation from vengeful human survivors. After their camp is attacked by a military faction called Alpha-Omega, Caesar decides it’s time to move camp for good, but disaster soon strikes which escalates the need to move but also ignites a vengeful spirit hidden deep within Caesar. Along with his trusted friends Maurice (Karin Konoval), Luca (Michael Adamthwaite), and Rocket (Terry Notary), the ape leader sets out to find the base where Alpha-Omega is located. The group finally arrives and sees that AO, along with its vicious leader Colonel McCullough (Woody Harrelson), has taken the other apes captive and are forcing them to build a wall to protect Alpha-Omega from arriving military forces. As Caesar comes face to face with an enemy like this that he has yet to encounter, he must look at his actions and the needs of his clan to determine how to proceed and get everyone to safety once and for all.

The first thing I have to talk about with this movie is the special effects. I honestly believe that these new Planet of the Apes movies are the shining example of how to use motion capture and computer generated effects to tell a story and make a movie feel more complete. Remember the old Planet of the Apes films and the costumes that were used for the apes. Looking back on them they look kind of odd, and this coming from someone who adores the original series, even at its cheesiest. The motion capture effects for Caesar and the rest of the apes instill them with a level of reality that couldn’t have been achieved otherwise, and I can say this for every film in this trilogy. There are a few close up where the eyes of these apes look so real that it’s hard to believe they just don’t have actual apes playing these roles. While I’m on this topic, can Andy Serkis just get an Oscar already. The emotions and movements of Caesar are all Serkis and I feel like he doesn’t get the praise that he has deserved for years.

With this being the final film of the trilogy, I expected this to be the largest and most epic in terms of scale. This really isn’t the case. Rise of the Planet of the Apes has a huge finale on the Golden Gate Bridge, Dawn of the Planet of the Apes has Koba and his followers attacking the humans in an all out battle, but War for the Planet of the Apes has a climax that is relatively smaller in comparison. This doesn’t make it more intense, however. When the major conflict of the film is finally addressed, which is the tension between Caesar and the Colonel, it’s a devastating scene that completely reinforces the themes that this movie is presenting and the moral strength and beliefs of the characters. There is a lot less action here, but Caesar’s war to free his apes and lead them to freedom is a continuing struggle that will leave your eyes glued to the screen for the nearly two and a half hour long runtime. There can be a lot of adjectives used to describe this movie, but boring would not be one of them.

The story to this film isn’t just a leave your brain at the door kind of narrative. In fact, I feel like I need to watch this movie again to fully see everything this movie had to offer. From beginning to end, there’s Biblical symbolism sprinkled throughout which can be both obvious and subtle. While there’s also clear hero and villains in this movie, writer/director Matt Reeves is interested in also showing the flaws of both. Caesar starts to see a lot of Koba in himself which frightens him, and the Colonel has motivations to do what he does other than just pure evil and sadism. This makes the story and the outcome feel heavier and puts it a step above the average summer blockbuster. I will say, there are a few moments of this movie where the suspension of disbelief is taken to the most extreme. One scene in particular actually pulled me out of the cinematic trance I was in and prompted me to turn to my friend, who was equally confused, and just ask why the film makers would make this choice.

War for the Planet of the Apes is one of the strongest summer blockbusters to come out in quite a while and is certainly the strongest film in this new Planet of the Apes trilogy. It explores themes of leadership and morality in such deep ways while also telling a science fiction/fantasy story of highly intelligent apes fighting for survival. With a story like that successfully tackling themes that deep, you know this film has to be something special. It also works as an intense action/adventure film that has plenty of exciting moments to keep the viewer on the edge of their seats. One more time for the people in the back, GIVE ANDY SERKIS AN OSCAR. In all seriousness though, War for the Planet of the Apes is an excellent film, and this entire trilogy shouldn’t be missed out on.

Final Grade: A

The Mummy – Review

14 Jun

Since 1932, The Mummy franchise has gone through many different variations. There was a whole classic Universal monster series that started with The Mummy in 1932 starring Boris Karloff and spanned all the way to 1955 with Abbott and Costello Meet the Mummy. Then Hammer Studios made their own series which started in 1959 and ended in 1971 with Blood from the Mummy’s Tomb. I did a whole review on this series so you can see my thoughts on that there. In 1999, it was revamped by Stephen Somers which went on until 2008 with Tomb of the Dragon Emperor. Now, we have a whole new Mummy movie which is meant to kickstart Universal’s Dark Universe. While I’m sure they wanted this to start with a bang, it’s more like a very loud thud.

Nick Morton (Tom Cruise) and his partner, Chris (Jake Johnson), are two treasure seekers who use their military travels as an excuse to find hidden artifacts around the world. Their latest find comes as something of an accident. In Iraq, the two find the lost tomb of Princess Ahmanet (Sofia Boutella), a member of the Egyptian royal family who was cursed and buried alive for attempting to unleash the evil force that is the dark lord Set. While wanting to keep the find for himself, Nick reluctantly hands the find to archeologist Jennifer Halsey (Annabelle Wallis), who loads it into a cargo plane en route to England. The plane soon crashes and Nick is presumed dead. This doesn’t last long, however, since he soon wakes up in a morgue only to learn that Ahmanet wasn’t found in her sarcophagus, while also being haunted by visions of death and the past. Realizing he is cursed, and with Ahmanet wreaking havoc across London, Nick and Jennifer have to team up with mysterious forces to stop the mummy from giving Set life and overtaking the world with their dark powers.

If I can surmise something from The Mummy, it’s that Universal doesn’t seem to have any intention of making their Dark Universe scary in the least. This is the first majorly disappointing thing about this movie. The original Universal series and the Hammer series mainly focused on the eeriness of the curses and the slow but strong force that were the mummies. When Stephen Sommers made the reboot, it was more of an action movie, but there was more than enough horror with the scarabs and other effects to keep me entertained. This one feels more in the vein of League of Extraordinary Gentlemen, except that it’s nowhere near as awful. What I’m getting at is that this is more of an action film, so it’s appropriate Tom Cruise was cast in it, even though this character is so boring I’m pretty sure anyone with half a brain could have played it. Looking at it as an action movie, there are some pretty cool sequences, but Princess Ahmanet is really only responsible for one of those cool scenes. I thought this movie was called The Mummy. Sofia Boutella really tries to bring this character to life, but there just isn’t enough for this particular monster to do, and that’s another major disappointment.

What this movie did really succeed at doing is making me curious about what is to come with this franchise. There’s a part of the movie that I won’t spoil that became way more interesting than the main plot with Ahmanet and the curse. This had to do with Russell Crowe’s character and the place he’s in charge of. This whole segment is a major divergence from the plot, but it did give me hope that the studio has big plans for what they want to do. This is where a lot of exposition happens as well, but it also give Boutella to do some more acting and actually put some passion into a role that seems almost completely devoid of anything cool. Crowe is also excellent in his role, which again, I will no spoil. Let’s just say I demand more of him in the movies to come.

When the movie isn’t in blockbuster action mode, there really isn’t a whole lot to say about it. It starts off pretty well with some exciting moments and the character set up isn’t bad. The film also showcases some good CGI along with pretty well done practical effects and make up. Anyone who knows me or reads this knows I’m a fan of practical effects, so it was cool to see some in this movie. When all of this slows down, however, and we spend time with just the human characters talking about the curse and the mummy, it’s really not all that interesting. In fact, they utilize so many flashbacks and tricks with losing time that I was just getting annoyed. There’s way too many flashbacks and way too much basic exposition. I saw that there were a lot of writers attached to this film which makes me wonder if the script got bounced around so much that something more subtle was just lost in translation somewhere down the line.

I can’t really say I’m too disappointed because I didn’t go into The Mummy expecting much. Even with those low expectations, I felt like they missed out on something that could have really kickstarted this franchise well. There have been plenty of really good Mummy movies in the past, so I know the concept can be done well. Of course, this one balances setting up a whole universe, but I still believe it could have been done much better. This film isn’t awful and it is watchable, but it’s also very underwhelming and since the days have passed since I’ve seen it I can also say it isn’t all that memorable. Hopefully future movies in the Dark Universe will bring something more to the table.

Final Grade: C-

Wonder Woman – Review

5 Jun

The DC Extended Universe has had a bit of a hard time. Man of Steel was a cool movie, even though it suffered from some terrible pacing. Batman v. Superman: Dawn of Justice is a complete catastrophe after having sat through it more than once. Finally, Suicide Squad was, to me, fine but only as an action movie where you could switch off and just watch it without the use of any brain cells. Now we have Patty Jenkins’ newest edition to the franchise, Wonder Woman. For a while I had high hopes for this movie, but in the back of my mind I was really worried it was going to be another bomb for DC. I really had no reason to be worried. I know that now, because Wonder Woman knocked it out of the park as both a superhero film, and just as a well made movie in and of itself.

After the events of Batman v. Superman, Diana Prince, also known as Wonder Woman (Gal Gadot), is working in France at the Louvre. She receives a package from Bruce Wayne one day which shows her with a group of soldiers during World War I. Flashback to the Themyscira, the hidden island of Amazon warriors where Diana was born and raised by her mother Queen Hippolyta (Connie Nielsen) and trained to fight by her aunt, Antiope (Robin Wright). Things change for Diana when an Alllied pilot, Steve Trevor (Chris Pine) crashes within the borders of the island, bringing with him German soldiers that were in close pursuit of his plane. After a battle, Diana decides she must go with Steve to find and stop Ares, the God of War and enemy of the Amazons, who is responsible for the Great War and its continuation. Soon Diane and Steve are off and embattled in the trenches of World War I, where Diana shows who she really is, the Amazonian warrior now known as Wonder Woman.

I’m so pleased that the DCEU finally has a movie that really feels like it’s deeper than the most shallow aspects of its story telling. Wonder Woman is a movie filled with three dimensional characters, clear motivations, conflict, and actual themes that branch out from the singular idea of war. The character of Diana is wonderfully realized. We see her grow up on Themyscira, so by the time she’s an adult, we know who she is and what drives her. The same can be said about Steve Trevor. His explanations to Diana about the world and the brutal war that plagues it shows what his true intentions are. Gal Gadot is excellent as Wonder Woman and brings both a sense of naïvety and strength. This is Diana’s first taste of the outside world, and it’s interesting to see her character in this as opposed to who she was in Batman v. Superman. Chris Pine is also really good as Steve Trevor, and supplies a lot of laughs and a lot of character.

So, with the movie taking place during World War I, it would have been easy to make this a very somber and dark movie. That hasn’t stopped the DCEU film makers before, since they seem to want to make all these movies darker than they really need to be. Wonder Woman doesn’t take that route, which was a nice surprise. There’s plenty of drama in the film both on Themyscira and during the war in Europe, but it never gets too bogged down in melodrama. It’s all very appropriately placed. There’s also plenty of humor to be had as well, and it’s pretty good humor for the most part. The main complaint I do have for this movie is that it does seem to try to hard to have more moments than necessary of humor. Some jokes are stretched too long or could have been completely cut altogether. Many of the jokes do hit, but when the whole movie takes a break just to turn into a comedy routine, I kind of switched off. Luckily, there’s only a few instances of this, which is not nearly enough to be stressed too much.

With this being a superhero movie, the action better be good. That’s one thing I think the DCEU has had going for it. A lot of people disagree with me on this, but I think the action in all three of the franchise’s movies leading up to this one had good action. Wonder Woman also has great action set pieces that are combined with some really over the top special effects, which may not be everyone’s cup of tea. Some of the CGI is noticeably CGI, but it creates an almost otherworldy visual flair which works for some of the most over the top action sequences. Slow motion and tricky camera work is also utilized to show just how powerful Wonder Woman is, and it’s a blast to watch. All I’ve seen by Patty Jenkins before this is Monster, so I had no idea she could create action scenes this well. They really are a treat to watch.

Wonder Woman is exactly what I wanted it to be and more. This was a swashbuckling, heartfelt super hero movie with brains, brawn, and wonderfully realized characters that are believable, even in a movie about Wonder Woman. The DCEU better look at this movie and see that this is how their movies need to be made. Superhero films just can’t rely on crazy action and recognizable names and faces. They need way more than that, and Wonder Woman delivers. In a world where Hollywood is oversaturated with superhero film, Wonder Woman is a reminder of just how well these movies can be done.

Final Grade: A-

Alien: Covenant – Review

28 May

Since 1979, the Alien series has been consistently revisited. The original film is a classic, and the same can be said about James Cameron’s 1986 sequel, Aliens, which is my personal favorite in the series. David Fincher’s Alien 3 is a major disappointment, and an all around ugly film, while Jean-Pierre Jeunet’s Alien: Resurrection is an off kilter, almost comic book adaptation. It’s an odd one but I like it. Ridley Scott returned to the series with his 2012 prequel Prometheus, which opened up a lot of new doors for the series and left many people scratching their heads and asking questions. Well, it’s time for those questions to be answered because we have a new movie in the series, and I was really hyped up for it. Alien: Covenant is a rollicking, violent, and disturbing summer blockbuster that filled me with plenty of emotions and made my gag reflexes work some overtime. This is a welcome addition to the series.

In 2104, the colonization ship Covenant is en route to the planet Origae-6, which will become a new home to humanity. After a disaster hits the ship, Walter (Michael Fassbender), the android watching the ship, wakes the rest of the crew from stasis. With the ship’s captain dead, the next in command is the faith based Christopher Oram (Billy Crudup). After receiving a signal from a nearby planet that looks habitable, the crew decides to check it out, much to the protests of Daniels (Katherine Waterston), the terraforming expert onboard the Covenant. On the planet, members of the crew are soon infected by spores which then produce creatures that erupt out of the bodies of the crew. They soon meet David (Fassbender again), who survived the Prometheus mission and is hiding out in a temple that holds more secrets than the Covenant team was expecting. Soon it’s the aliens against the humans, and David’s true motivations make survival all the more difficult.

When watching an Alien movie, I expect a certain kind of standard, and some of the movies in the series do not meet the criteria. This one certainly does despite some obvious flaws in character and storytelling. Let’s get some of the negatives out of the way first. For one thing, there’s a certain character that is completely wasted, and it isn’t the first time we’ve seen something like this happen in this series. Sure, there’s a moment of shock when this character’s fate is revealed, but it kind of left me wishing I could have seen more of them. There’s also a lot of exposition that crowds the middle of the movie, but a lot of this exposition is dishonest, which leads to more exposition, which then leads to confusion. Any fan of Prometheus may have well guessed that this prequel trilogy is not going to be a straightforward one, and the confusion and questions that Covenant raises just adds to that theory. This isn’t necessarily a bad thing, but when this all happens in a murky and dark and muddled part of the movie, that’s when there’s a little bit of a problem.

Much like the other films in this franchise, Alien: Covenant has a slow start, but that’s a wise way to tell this story in the grand scheme of things. Tension is built up for a long time, and when that tension is finally released, the screen explodes with terror and gore and just outrageous violence that sometimes made my stomach turn. This is easily the most violent Alien movie, and it shocked me in more ways than one. When an alien first explodes out of a crew members body, my mouth was side open at the shamelessness of it all. Ridley Scott clearly wanted this reaction and he sure got it. It’s so fun to be in a movie theater and hear gasps coming from all around the auditorium. The intensity in this movie is amped up to 11 and a lot of this comes from the incredible production design. The claustrophobia of the ships and the wide open spaces on the planet’s surface makes it very clear that no one is safe in this movie. There is one computerized effect that looked kind of weird, but the rest of the movie looked excellent.

Alien: Covenant takes what happens in Prometheus and builds off of it, so it would be hard to like this movie without liking its predecessor. The world building in Covenant is awesome and motivations for the characters feel very strong and often times tragic. A lot of the success has to do with Fassbender’s performance as both Walter and David. He is the crux of this whole prequel trilogy and he brings more menace to the screen than I was expecting. He is the perfect villain that this series needs and his calmness plays off the chaos of the xenomorphs perfectly. This is one of those movies that made me excited to see what more the series has to offer, and I really can’t wait to see what happens next, but that’s a review for another time.

Alien: Covenant isn’t the best film in the series, but it is the best film since Aliens and it’s just the sequel that Prometheus needed. This film is also not for the squeamish, but long time fans of the Alien series probably expect nothing less. Still, this movie managed to shock and horrify while also building the science fiction universe of androids, aliens, heroes, and the evil Weyland Corporation quite well. Fans of the series will have to check out this one out. If I  had to rank this movie, I’d say it’s my third favorite Alien film.

Final Grade: B+