Tag Archives: war

War Machine – Review

21 Jun

In 2012, a book titled The Operators by Rolling Stone editor Michael Hastings was released. It details the times that Hastings spent with General Stanley McChrystal, who was the commander of the International Security Assistance Force. Soon after Hastings published an article featuring McChrystal and his team, which featured a lot of trash talking certain high level government officials, McChrystal was pretty much forced to resign his position. Now we have another look at the story in a fictionalized, satirical account of what happened by writer/director David Michôd and his latest film War Machine. I’ve heard a lot of mixed things about this movie, so I was a little hesitant going into it, but I have to say I really had a blast with this movie, despite some of its minor storytelling set backs.

General Glen McMahon (Brad Pitt) is a man of principles, conviction, confidence, and opinions. While all of those words do perfectly describe the officer, he’s also loud mouthed, arrogant, and a buffoon. He’s also the commander of the International Security Assistance Force in Afghanistan at the tail end of the war. Along with his team of sycophants and cronies, McMahon has a plan to bring peace to the Middle East with the payoff being a huge boost of his ego. Of course, along the way he has to deal with bureaucrats and politicians cutting into his plans while also trying to manage relations with Afghanistan’s new president (Ben Kingsley). While formulating a plan to head into enemy territory in a major assault that will be the high point of his career, McMahon agrees to have Rolling Stone reporter Sean Cullen (Scoot McNairy) join the ranks to see the inner workings of his squad. This, along with every other bad decision of his career, will ultimately be his downfall.

The first thing that I really came to appreciate after watching War Machine is the film’s tone. It’s silly and often times over the top, but it never falls into the realm of stupidity. The dialogue has some corny jokes, but it also has some pretty whip smart moments of really good satire. While all of the humor is well and good, I was also surprised to find some depth and drama to the storytelling. I was really just looking to have some laughs with this movie but I felt a little more than that. By the end of the film, I started to analyze the character of McMahon and his intentions and the consequences of his action. There are even a few quieter moments that were actually kind of sad, and that’s an area I really wasn’t expecting the film to go based on the trailer. This isn’t just a surface level movie that exists to provide some cheap laughs. War Machine has a message and actual depth to it to support the laughs and the sillier moments in the movie.

So, War Machine is a movie with a message and it’s one that I can agree with. Unfortunately, the film’s biggest problem lies with how this message is conveyed at certain times. Throughout the movie we hear Scoot McNairy’s character doing a voice over and explaining certain things that are happening in the film or describing a character we are meeting for the first time. This helps since there are a lot of minor characters in this movie and everyone is constantly traveling around. While this helps with certain things, it also comes across as annoying more often than it should. The character of Sean Cullen is fine when he’s actually with McMahon and the other soldiers, but his voice over is so cynical and snide, while also beating the viewer on the head with the opinions being expressed in the movie. It was kind of annoying being told how I should be thinking. If the writing of the voice over was toned down just a little bit, that would have been great. I can figure out the messages and themes of movies, so I really don’t need them explained to me in this way.

One of my main draws to this movie was to see Brad Pitt in yet another role where he’s playing someone completely out of the ordinary. Pitt takes this part of McMahon and completely embodies it. From his odd posture, to his facial ticks, and even the goofy way he walks and runs, he’s perfectly believable as this character and it’s easy to forget you’re watching an actor, even if his face is so recognizable. Sir Ben Kingsley is also hilarious as the off the wall president of Afghanistan that McMahon is trying to cooperate with, even if they’re both not on the same page with each other at all. Kingsley is really hardly in this film, but most every scene has Pitt in it. Unfortunately, while everyone else around them do their jobs fine, they aren’t given a whole lot to do other than the bidding of McMahon, and while there are funny moments surrounding their characters they don’t really have too much that stands out.

At the end of it, War Machine is a pretty funny film with a memorable lead character and a sharp satirical look at America’s goings on in the Middle East. It isn’t really a heavy film, so if you’re looking for serious war and drama, look elsewhere. War Machine is packed with great satire and a tad too much cynicism for my taste. Still, as far as comedies go, it’s definitely one that’s worth a look.

Final Grade: B+

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-

Anthropoid – Review

5 May

In 1942, an assassination attempt on one of the Third Reich’s most despicable leaders, Reinhard Heydrich, was undertaken by a group of Czech agents working alongside operative in England. This mission was appropriately called Operation Anthropoid. The implications of this mission helped redefine the Allies’ actions in these stages of Word War II, but even with all that, this isn’t a story that I’ve seen told in a mainstream motion picture. There have been films that have told this story before, so please pardon my ignorance. Sean Ellis’ 2016 film, Anthropoid, is one of these films to tell the story of these often times forgotten Czech heroes. While this is a really solid film, there are some storytelling choices and pacing issues that hold it back from being a real war classic, but it’s certainly one that I’m really glad to have seen.

In 1941, Jozef Gabčik (Cillian Murphy) and Jan Kubiš (Jamie Dornan), two Czechoslovakian agents, are dropped into Nazi occupied Czechoslovakia. Their mission is to meet up with the underground resistance in Prague to ultimately assassinate SS-Obergruppenführer Reinhard Heydrich (Detlef Bothe). They soon meet up with the head of the resistance, Uncle Hajsky (Toby Jones), and begin planning their mission. As time goes on, the two agents begin to immerse themselves in their homeland once again, but their time is soon cut short when it is revealed that Heydrich is being reassigned to another post in France. This forces Jozef and Jan to push their plans forward, but to great risk to themselves and the people of Czechoslovakia.

Movies about World War II are everywhere, so it’s important for film makers to work hard and make their film unique from all the rest. Is Anthropoid a gleaming example of a unique WWII drama? In a sense, yes, and in another sense, no. The major pitfalls of this film happen early on, which is a good thing, but I was really worried for a good portion of the story that nothing special would really come from what I was watching. The first half of Anthropoid has the job of setting up the true to life history of the story while also creating some dramatic fiction to get the viewer more invested in the characters. The problem with that is that the true story is interesting enough, and the embellishments that the film makers added in were distracting and ultimately added to nothing. This is where the core of my worries came because these useless plot points stretched on for way too long. What I’m really trying to say is that the set up wasn’t necessarily overlong, but it was clunky and unfocused. Not every movie needs a romantic relationship… Seriously.

Where Anthropoid really hits is in its second half. With their mission moved forward, the team are forced to make some really tough decisions, which leads to some really harrowing and suspenseful scenes with explosive payoffs that left me feeling exhausted. Yes, ladies and gentlemen, it’s one of those kinds of movies. I felt like I needed to sleep until the next day once these credits started to roll. The tension in this movie is wound so tight that Hitchcock, himself, would have been proud. What helps with this is the authenticity that is clearly present throughout the entirety of this movie. Sean Ellis and his team worked really hard to recreate Prague in the 1940s, which I will get more into later. A lot of the actual locations were used in the shoots, and everything that couldn’t be filmed was meticulously recreated. This is what movies are all about, and this alone saves the movie from the rough start that plagues it.

Now, while the story has a rough start and picks up later one, the design of Anthropoid is on point for the its entirety. This is a great looking movie and that’s one of its main saviors. Like I said, there are sets that are meticulously recreated to be exact replicas of real life locations. The most impressive is a cathedral set where the climax of the film happens. It’s an enormous and very well crafted replica that looks exactly like the real thing. This film is also shot using mostly handheld cameras, but it never gets too out of control. There are movies that exist that use this style to make it seem more real, but they go overboard and move the camera so much you can’t even tell what’s going on. Ellis shows great restraint with the camera and knows exactly when to make it kinetic and when to slow the movements down.

Anthropoid is a solid World War II thriller that tells a story that I knew nothing about. It’s a very well acted and well shot film that’s full of tension, excitement, and visceral drama. The only thing holding it down is the first 35 minutes or so. It’s not that this part of the movie is terrible, but it felt like nothing was really amounting to anything. For anyone interested in the more clandestine side of World War II, I can easily recommend Anthropoid.

Final Grade: B+

The Great Wall – Review

3 Mar

I recently did a review for Zhang Yimou’s 2011 war drama, The Flowers of War. In that review, I mention that Yimou is a very respectable film maker who has an especially strong talent for filming what I believe to be some of the most beautiful looking movies I’ve ever seen. His latest film is The Great Wall, a monster movie that involves protecting the Imperial City from creatures hell bent on destroying civilization as we know it. That combined with Yimou’s colorful and sweeping directorial style kind of made this a must see for me. Well, all I can say is that this film definitely looks great. That’s pretty much where the compliments end.

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William (Matt Damon) and Pero (Pedro Pascal) are two mercenaries scouring the East looking for “black powder,” which we now know as gunpowder. During their search, they end up at the Great Wall of China and are questioned about their intentions immediately upon their arrival. The two partners soon learn why the soldiers at the wall are so concerned about their motives. During a seemingly quiet afternoon, the wall is raided by alien monsters called the Tao Tie, whose goal is to penetrate the wall and continue on to the Imperial City. It doesn’t take long for William to come to a decision as to wether he wants to escape with Pero and another Englishman, Sir Ballard (Willem Dafoe), or if he would rather stay and defend the Great Wall with the newly appointed general, Lin Mae (Jing Tian).

I was excited for this movie for multiple reasons. First off, I was pumped to see Zhang Yimou tackle a big budget monster movie and have his style painted all over the movie. I was also just pumped to see another monster movie from Legendary, which has pretty much become the monster movie company for America. In these ways, the movie does succeed. When battles start happening, I got really into it. The special effects look kind of cartoony, but for some reason, that didn’t really bother me. I was taken aback by Yimou’s use of color and framing scenes to make them look as epic as possible. One of these shots in particular happened in the very first battle where you can see most of the battle in one super wide shot. Another really cool thing are the different regiments of the soldiers and the uniforms they wear to identify themselves. Honestly, in terms of style and scope, this movie stands tall.

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Like I said before, that’s pretty much where all of the good stuff ends. The Great Wall really isn’t all that good of a movie despite having a really cool premise. My biggest problem was the characters. I haven’t seen such poor development and writing in a really long time. Any scene that didn’t involve a battle or special effect of some kind fell flat. Like completely, utterly flat. It’s incredible how an epic period piece featuring alien monsters attacking the Great Wall of China could be so boring. There are a few characters worth something, but that’s not saying to much. William’s partner Pero has a good amount of one liners and a story that at least attempts to go somewhere before that’s shut down by some idiotic decisions from the writers. Lin Mae is also a pretty cool character who feels the most human out of anyone else. The worst offender of characters not worth anything is Sir Ballard. If you were to take Willem Dafoe out of this movie, nothing would be different. He’s completely wasted here.

I was also really bothered by the acting in this movie, but part of this also has to fall on the writers. There was so much clunky and awkward dialogue in this movie which only made me more distracted during the down time that I’ve already complained was boring enough. Like I said before, the only exceptions from this are Pero and Lin Mae. They weren’t perfect, but they were better than the rest. Honestly though, I was mostly shocked at how flat and uninspired Matt Damon was. I didn’t know until the end of the movie that he was supposed to be European, and I still don’t know exactly where he’s supposed to be from. His accent is on and off throughout the whole movie, and the way he delivers his lines is cringeworthy. Aside from his weird accent, he uses this over the top tough guy voice that wore thin on me after the second line of dialogue he had.

The Great Wall is a very disappointing movie. Throughout its run time, I saw a lot of hope for potential, but nothing really came of it. I will say that this is a fantastic looking movie with cool creature design and some excellent use of lighting and costume design. Everything else from the characters and their development to the structure of the narrative is flat, recycled, or just plain boring. As a monster movie, it works at the most basic of levels. As a movie to be appreciated and viewed for something more than that, it’s a failure.

Final Grade: C-

The Flowers of War – Review

10 Feb

There’s been a lot of controversy surrounding Zhang Yimou’s newest movie, The Great Wall. I haven’t seen the movie yet, so I’m going to hold all judgement until I actually do, but I wanted to point out that Yimou is still responsible for some really fantastic and visually striking films that shouldn’t be ignored. The two that I’m most familiar with are Hero and House of Flying Daggers. In 2011, Yimou went in a sort of different direction with the historical war/drama film, The Flowers of War, a chronicling of the Rape of Nanking during the Second Sino-Japanese War. This film has a lot of power behind the story, and the performances are to be praised along with the visual flair behind it. There is something holding the movie back from being a classic, however, and some of the detractions of his newest film can also be noticed here.

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in 1937, Nanking is completely overrun by Japanese troops, which puts every person in the city in extreme danger of torture and murder. Amongst these people are John Miller (Christian Bale), and American mortician hired by a Catholic church for his grim services, and a group of schoolgirls looking for cover wherever they can. One of the schoolgirls, Shu (Zhang Xinyi), runs into John on his way to the church, and he escorts her to safety there. While they are in hiding, a group of prostitutes, led by the beautiful and strikingly wise Yu Mo (Ni Ni), also find refuge in the church. These different people all have major differences in beliefs and practices, but they are soon forced to overcome these biases to protect each other when a representative for the Japanese, Colonel Hasegawa (Atsuro Watabe), makes his and his troops presence known and essentially barricades them inside the church until he can figure out what to do with them all. Thus begins a daring escape plan formulated by the reluctant John and Yu Mo to get as many people to safety as possible.

Right off the bat, The Flowers of War has a subject that is very difficult to tackle. This is a very dark time in human history, so it must really be handled with care. Luckily, under the direction of Zhang Yimou, I think that it’s handled very respectfully and without any kind of exploitation. That doesn’t mean that there is no controversy surrounding this movie. One interesting thing to point out is that this movie is banned in Japan for reasons that are pretty obvious. This film definitely shows the horrors that were inflicted by the Japanese unflinchingly realistic detail. There’s also been some critics who have pointed out that this is another example of a “white savior” story arc. I’m not one to usually point this out, but I do see where these critics are coming from. The entire cast is made up of Chinese and Japanese actors with Christian Bale being the only western actor for most of the movie. While it’s fine that he’s in the movie, a lot of the film revolves around him protecting the people inside the church. That being said, unlike some other movies that suffer from this cliché, the supporting characters do handle themselves very well and show smarts and grit in times of suspense and intensity.

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When I think of the movies by Yimou that I really like, the first things that come to my head are the colors that highlight every scene of his movies. The Flowers of War is toned down a little bit, but don’t be fooled. This is a beautiful movie to look at and, even when something isn’t jumping out at you in a shot, just look at the framing and lighting. Zhao Xiaoding, who has worked as Yimou’s cinematographer on House of Flying Daggers and Curse of the Golden Flower, returns for this movie and works perfectly with Yimou to frame and light this movie just right. There’s not enough that can be said about the visuals. There’s also great usage of slow motion photography and one particular tracking shot that sent shivers down my spine. Say what you will about anything in this movie, you have to give a lot of credit to the technical proficiency and artistry behind the camera.

While also being great visually, Yimou has shown his strengths at telling a story, and it works here for the most part. He gets the best out of his actors, for sure. Christian Bale and Ni Ni are fantastic, and the child actors are also put to great use and feel very natural. There’s a lot of power in the telling of this story, but it doesn’t really keep the power going for some parts. The film starts off very strong and just keeps building in tension and drama, but it starts to fall apart during the overlong third act. This is when the planning of their escape starts, which is all fine, but there’s a romance that forms and a lot of other unnecessary scenes of dialogue that could have been cut out or trimmed down. It just felt awkward having this slow down happen so late in the movie after so much has just happened. This is the film’s biggest detractor. It has a nice flow for most of the movie, but the third act feels so unnatural and weird at times that I started to check how much time left a little bit too often.

The Flowers of War is a really good retelling of a very dark time in human history. Zhang Yimou continues to show his strengths as a director and storyteller, even though the narrative starts to slump heavily during the overlong third act. The characters in this movie are very well rounded and it’s a beautiful film to look at. I can see people getting upset over the certain elements of the movie, but I think they should try to get past it, if not just a little bit, to see the greater story being told. This isn’t a classic, but it’s a valiant effort from a very talented film maker.

Final Grade: B+

The Crying Game – Review

4 Jan

Back in 1992 a movie came out called The Crying Game and it succeeded at causing a major stir among audiences which made it one of the most talked about movies in recent history. Critics and journalists were having a field day writing about the secrets of the movie, and it ended up being nominated for 6 Academy Awards and winning for Best Screenplay. Writer and director Neil Jordan worked very hard to get this controversial film made and it wasn’t always an easy task. At certain points it just seemed downright impossible. As history shows, The Crying Game did get made and has become something of a classic even if it isn’t something that is discussed too much anymore. I’d like to get some of that discussion started up again, so let’s get started.

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After Jody (Forest Whitaker), a British soldier, is covertly abducted by a group of IRA members, he is taken back to their hideout deep in the woods. Over the course of a few days, one of the IRA members, Fergus (Stephen Rea) befriends Jody and learns a lot about his past and his girlfriend, Dil (Jaye Davidson). After tragedy befalls the group, Fergus flees to London acting on a promise he made to Jody to check on Dil. The two quickly meet up in a bar and form a relationship which weighs heavily on Fergus’ conscience. As Fergus wrestles with his beliefs and motives, to of his IRA colleagues, Jude (Miranda Richardson) and Maguire (Adrian Dunbar), arrive in London and force him into another job that involves the assassination of a judge. His two lives from the past and present proves to be a volatile mixture that will lead to an inevitable murderous outcome.

The Crying Game is a movie that takes so many different themes and mash them together to create a hodgepodge of intriguing subject matter. Like the characters in the movie, these themes often clash together which causes a lot of the drama in the film. At first, the movie seems to be solely focused on the tension between Britain and the IRA. The barrier that breaks between Jody and Fergus in the first third of the movie is interesting to see because it shows that if you take away the labels of “British” and “IRA,” what’s left is just being human. The next part of the movie focuses on identity in multiple ways. Without getting into the realm of spoilers, there’s a huge focus on who Fergus is, was, and who he wants to be. This all happens when he meets Dil and introduces himself as Jimmy. He pretty much changes his appearance and name to become someone else, which is threatened when the IRA finally catches up with him. There’s so much more thematic depth that I’d like to talk about, but that would be at the risk of ruining parts of the movie.

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To go along with the deep thematic material of The Crying Game is an incredibly well realized screenplay by Neil Jordan. The characters that are written come with many layers, and each layer is slowly peeled back as the movie goes on, even if the character is only in the movie for a short time. These dimensions are best explored during the many conversations characters have with one another as the plot unfolds. The first half hour of the movie is pretty much different interactions between Fergus and Jody, which has a huge impact on the characters, especially with Fergus who is the main character of the movie. These two men should be enemies, but simple conversations turn them into close friends. This kind of dialogue also opens up an moral ambiguity that stirred up some controversy when this was released in the UK. In 1992, it wasn’t a popular thing in Britain to have a movie with a sympathetic and relatable IRA member as the protagonist.

The Crying Game is one of those movies that has a history that’s almost as interesting as the movie itself. Neil Jordan made a pretty good name for himself with his more independently produced films at the start of his career, but as his bigger budgeted efforts in the United States came along, things started to get a little bit shaky. Jordan saw The Crying Game as his chance to earn back his good reputation and feel like he was making films that were worth it again. The problem was that no producers or distributers seemed to share his enthusiasm about the screenplay. Jordan and his producer, Stephen Woolley, went all over the place asking for funding, and they finally found this funding in the UK, Ireland, and Japan. When the movie was released, it became a sensation. Critics warned audiences not to spoil the movie and it remained in theaters for much longer than anyone anticipated. The cherry on top of it all was an Academy Award for Best Original Screenplay.

The Crying Game is a gem from the early 1990s and has unfortunately seemed to disappear from mainstream audiences. That’s really a shame since the film deals with timeless themes of violence, identity, and humanity in ways that were very controversial, especially for a movie released in 1992. This isn’t just a throw away thriller that is forgotten about 15 minutes after seeing it. This is a movie that stays with you days after you’ve seen it and has so many layers to peel away at to see the whole picture and the message the creators were trying to convey. This is a rich, intelligent, and rewarding movie that I certainly recommend.

Final Grade: B+

Rogue One: A Star Wars Story – Review

21 Dec

It’s been about 5 days since I’ve seen Rogue One: A Star Wars Story, and since then I’ve been thinking about it constantly. Last year, we saw the return of the franchise to the big screen with The Force Awakens, which to me felt like new life being breathed into it that was lost during the prequel trilogy. Rogue One is trying something new by telling a story that takes place between two of the main episodes instead of continuing the main story. This left me feeling kind of skeptical and a little nervous that it wouldn’t pack the kind of punch that I expect from a Star Wars movie. As the credits began to roll and I left the theater, I was ready to sit down and watch it again.

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Jyn Erso (Felicity Jones) has been labeled a criminal by the Empire after breaking their laws and giving them trouble time and again. She has every reason to have such animosity towards them because when she was young she saw the villainous Orson Krennic (Ben Mendelsohn) tear her family apart when he forced her father, Galen (Mads Mikkelsen), to come with him to help develop a new superweapon for the Empire. Years later, Jyn is recruited by the Rebel Alliance for a very important and secret mission to obtain a secret message sent by Galen through a defecting Empire pilot, Rook (Riz Ahmed). Jyn, along with Rebel intelligence officer Cassian Andor (Diego Luna), his droid K-2SO (Alan Tudyk), a blind warrior Chirrut Îmwe (Donnie Yen), and mercenary Baze Malbus (Jiang Wen), begins her adventure to find this message, rescue her father, and stop the Empire from unleashing its new superweapon, the Death Star.

Rogue One introduces a lot of new characters to the Star Wars universe, but it also introduces a new director to helm the project, Gareth Edwards. Edwards got his recognition with his 2010 independent film Monsters and went on to direct the 2014 American version of Godzilla, which people had differing opinions on. Either way, it’s safe to say he is a fantastic visual director, and this vision is one of the best parts of Rogue One. This is easily the most beautiful Star Wars film ever made with a unique blend of CGI, location shooting, and practical make up and effects. There’s so many beautiful scenes that show how great Edwards is with size and scale. From the AT-ATs coming through the fog to the Star Destroyer hovering over a city to that jaw dropping shot of the Death Star coming out of hyperspace. This is just such a beautifully crafted film in terms of its visuals and its sound and I give Gareth Edwards a lot of credit for creating a very unique looking Star Wars film.

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With all of this praise I’m throwing at Rogue One for its impressive style and beautiful cinematography, I have to also say that this is not a perfect movie and there are some flaws that are more apparent than others. The first 20-30 minutes of this movie are really rocky and often times confusing. We see Jyn’s backstory first, but after that we are forced to bounce back and forth between multiple different planets to introduce a plethora of characters really quickly. This feels messy and it’s hard to remember a lot of these characters this fast. As they are more established later on it was fine, but the first part of this movie was so scattershot. While Jyn and the rest of her crew are come pretty cool characters, only a few of them really get the attention that they deserve. Jyn gets plenty, but someone like Baze and Rook get next to nothing. It sometimes felt that these characters were pushed a bit too far into the background for a movie that is based on a team of heroes. Finally, there are a few CGI effects that happen for a certain character that is kind of weird. I understand and appreciate what they were trying to do, and on some levels it’s pretty cool, but it’s also really distracting to look at.

So while this movie does have faults, it’s still a really entertaining movie that stands alone as well as acting as a springboard for the original trilogy. It combines lore deeply engraved in the Star Wars universe while also giving us all these new characters and ways of seeing characters we already know. The story takes us to all these different planets, each with their own feel and design. Star Wars has been known for its many different planets, and Rogue One uses its settings really well. When I say that this movie stands alone, I mean that it feels like a very different kind of movie in this franchise. This is a war movie with just a little bit of mysticism in the rare times that the Force is mentioned. There’s something about how this story is told that often times gave me goosebumps. It just feels like such a perfect fit into a universe that we all know and love.

Rogue One: A Star Wars Story is a great addition to the franchise and it really is a relief to say that. This is a beautifully crafted film that looks, sounds, and feels very unique while also fitting into the established universe very well. There’s some weird pacing issues and not all of the CGI choices work as smoothly as the film makers seemed to think they did, but all of that is overshadowed by how much fun I had watching this movie. If you want to go into this movie and nit pick it so much that nothing is left of it, then go right ahead, but if you are a Star Wars fan and are ready for another trip to a galaxy far, far away, then brace yourself for Rogue One.

Final Grade: A-