Review: Star Trek Into Darkness

Rest easy Star Wars fans.  If Star Trek Into Darkness is any kind of indicator, then the fate of a galaxy far, far away is in very good hands.  In what is clearly a down year at the cinema, J.J. Abrams’ second entry into Gene Rodenberry’s universe is easily the best film I’ve seen this year.  Sure, there are plot elements in this film that are sure to enrage the guys who dress as Klingons for Comicon every year, but to those who are not wedded to some sense of cannon or are relatively new to Star Trek, this film will absolutely delight and entertain. 

When last we saw Abrams’ version of the Enterprise crew, all things Trek had been turned upside down with a nifty reboot.  Some four years later, we find Kirk, Spock, and the rest of the team exploring and observing civilizations on different planets.  When a mysterious figure named John Harrison emerges from the shadows to wage a one-man war against Starfleet, Kirk and crew find themselves caught between a web of dueling machinations executed by the aforementioned Harrison and Admiral Marcus (Peter Weller).

To say anything more about the plot, would venture into spoiler territory and you want to stay as spoiler free as possible going into this film.  There are twists and turns that unfold throughout the film that not only manipulate the plot but will also play with your emotions.  Does everything stand up to compulsive scrutiny?  No, there are a few logic leaps, but mostly the kind that should be checked at the door for a sci-fi action film.  Abrams and his team of writers (Orci, Kurtzman, and Lindelof) weave a tale that is as much about space travel and war as it is about family and friendship.  It’s not easy to balance hand-to-hand combat and bombastic explosions with character development, but the creative pulls it off. 

The cast that you came to know and love in the Abrams’ first Trek is back and each slip into their respective roles as though no time has passed.  Chris Pine’s Kirk is still cocky and defiant showing glimpses of the sensitivity and compassion that brims beneath Kirk’s bravado.  Zachary Quinto brings the same consistent effort to the role of Spock this time out and expertly elevates the character when the script calls for a new emotional layer for the beloved Vulcan.  Karl Urban as Bones remains a great sidekick to Pine’s Kirk, playing a great straight man for Pine’s sarcastic barbs.  But of the original crew Simon Pegg as Scotty steals the show by being the most likable of the bunch, adding the perfect amount of comedic relief to offset the grave tone of the second and third acts. 

As for the newcomers, it is hard not to be impressed with Benedict Cumberbatch.  The role of Harrison requires him to move seamlessly from cold and calculating to unbridled brutality and he does so admirably with the kind of presence that is necessary to be one of the key driving forces of a plot that is so large in scale and scope.  As for Peter Weller (Admiral Marcus), I found his work to be satisfactory at best.  Weller is no stranger to sci-fi action films and that may have contributed to his casting, but there are a large number of actors who could have easily brought a lot more to this role.  And rounding out the newcomers is Alice Eve as Carol Wallace.  Eve (from She’s Out of My League fame) is a nice actress who is very easy on the eyes, but she isn’t given much to do in this film beyond serving as a wink, wink to hardcore Trek fans.  Unfortunately, in a film with so many interesting characters, Eve’s Marcus get lost in the shuffle; a fate she shares with returnees Zoe Saldana (Uhura), John Cho (Sulu), and Anton Yelchin (Chekov).

The long and short of it is that Star Trek Into Darkness is a really fun action movie.  The film takes the crew of the Enterprise on a harrowing journey that not only provides huge cinematic moments punctuated by expertly framed action scenes, but also allows for character development.  Perhaps the greatest trick Abrams’ pulls off is to make the movie feel like a stand-alone product while at the same time bridging it to its predecessor in a way that shows growth and the continuation of the reboot that defined the first Star Trek (2009).  In a year that has produced very few must see movies, Star Trek is the best of the bunch and a must see on the big screen.  Going forward, here’s hoping J.J. Abrams and company can bring this kind of storytelling to Star Wars Episode VII.

Standout Performance: Simon Pegg.  There were a lot of capable performances in this movie, but in my opinion, Pegg hits every mark with just the right touch.

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Review: Identity Thief

I have long been a fan of Jason Bateman, dating back to his days on Valeri (a.k.a. The Hogan Family) and was glad to see him come back strong back in 2004 with appearances in several movies (Starsky & Hutch, Dodgeball) headlined by the Frat Pack.  In those ensuing years, I have come to realize this about Bateman, his shtick works better on the periphery of a film’s plot rather than as its epicenter.  He’s dry, sarcastic, and quirky, but lacks that huge presence to carry an entire film on his shoulders.  Two of his most recent movies (The Change-Up, The Switch) really hammered this home.  And after watching Identity Thief, you can add another title to the list of movies that reinforce this point, because it’s not good.

The plot of the movie is some kind of amalgamation of Horrible Bosses and Midnight Run as Bateman plays Sandy Patterson, a bean counter who must travel across the country to retrieve a con artist (Melissa McCarthy) who has stolen his identity and soiled both his name and his credit rating.  Gunplay, dirty jokes, and car chases ensue as the film morphs into a buddy flick / road trip movie. 

The pairing of Bateman and Melissa McCarthy is a perversion of the straight man/funny man dynamic as the dichotomy, sight gags, and punch lines feel like they are pumped up on a cocktail of steroids and amphetamines.  Subtlety, comedic timing, and wit are tossed out the window in favor of a balls-to-the-wall approach.  This can work in small doses but there are nuances to the art of good comedy that are vital components to this type of film.  In the absence of those nuances, you are treated to buffoonery.  Throwing Melissa McCarthy into the mix is like throwing gasoline on a fire.  What emerges is a loud hot mess of vulgarity and nonsense – and not the funny kind either.

In looking at this film, it’s hard not to wonder if McCarthy’s five minutes are up.  She was great in Bridesmaids, and good in This is 40 (albeit in a very small dose), but she is very much a one trick pony.  This becomes glaringly apparent in Identity Thief as she does not have an ensemble cast to pad her performance.  Director Seth Gordon goes back to the well repeatedly, looking to exploit her shtick to the point that her humor loses its punch.  To say that her brand of gags is completely milked dry in this movie would be a huge understatement. 

And as I mentioned before, Bateman lacks the presence to carry his share of this movie, but the blame for its failure goes beyond the aforementioned shortcomings.  Few from the cast distinguish themselves.  Jon Favreau (Swingers), John Cho (Harold & Kumar), Amanda Peet, Morris Chestnut, and Eric Stonestreet  (Modern Family) are all actors who in the past have been responsible for dispensing plenty of onscreen laughter, but in Identity Thief they collectively seem to be content to mail it in.  Clearly, this was a paycheck project for most of them.

So then what’s the verdict here?  Well, I don’t think anyone walked into this movie thinking they were going to witness the cinematic arts revolutionized or to experience the dawn of a new day in comedy.  In fact, I bet most expected to walk out of the cinema with a million fewer brain cells than when they walked in.  Still, a comedy has to make you laugh and I cannot recount a single time where I even cracked a smile.  In my opinion, this makes this movie a no go and one you should probably leave off your rental queue.  There’s enough bad comedy out there in the world for you to experience without going out of you way to subject yourself to such an inconsequential project.  So pretend you never heard of this movie and hope that Bateman comes out swinging in the reincarnation of Arrested Development and that Sandra Bullocks was able to bring out the best in Melissa McCarthy in the soon-to-be released The Heat.  Because on can never have enough good comedy.

Standout Performance: I like what Genesis Rodriguez has been doing, but the nod goes to Robert Patrick.  How can you not enjoy him as a relentless chaser a la Terminator 2.

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Review: Total Recall (2012)

The pre-release buzz on Total Recall (2012) was not good – most saying that it fell short of the original.  I myself thought the first Recall was entertaining, but given that it featured Arnold Schwarzenegger, Sharon Stone, and Michael Ironside – three actors who have enjoyed varying degrees of success not necessarily tied to their acting prowess, definitely sent me into the movie with diminished expectations.  The fact that some were using the presence of the three-breasted woman (played by Kaitlyn Leeb) in the film to generate chatter about the project really punctuated my concerns about the movie.

Set against the backdrop of a post apocalypse world with civil war tensions rising, the plot of the movie follows the plight of Doug Quaid – a blue-collar worker who is plagued with feelings of discontent.  A visit to Rekall – a memory implant company – opens up a reality in which he is a key operative who may hold the key to easing the delicate political balance that plagues what’s left of the world.

I get a kick out of the people who in their reviews of this movie called it terrible or incredibly disappointing.  I don’t know what they expected to see onscreen when the lights went dim in the theater – perhaps Shakespeare in the Park – but to me the movie plays like your prototypical summer action flick.   And that’s perfectly okay, because not every movie can or should be The Godfather or Inception. Sometimes a movie can just be visual entertainment.  The plot of this movie is not as intricate as it may seem at face value and there are no real supremely intelligent reveals to elevate the proceedings.  The action scenes are slick and well choreographed and the pacing brisk and steady.  This one is not going to make anyone’s Best of the Year list in any category and you won’t find it hotly discussed at any MENSA meetings, but it delivers exactly what most should expect of it – guns, explosions, and mayhem. 

If it is possible to be the lead in a big budget action movie and not make a real impact then Colin Farrell accomplishes that feat.  I cannot really think of one memorable moment for him in the film – beyond having a really cool phone in hand (literally) – and if ever there was a scene that was well shot or choreographed, he was relegated to second fiddle by one of the other principals.  He’s not a good actor and he has only one gear.  You could probably make a compilation of his work in Minority Report, S.W.A.T., The Recruit, and this film and be hard pressed to figure out which scene was from which movie. 

As for Kate Beckinsale, she does some really good work in this movie.  Her performance (and that of her stunt double) is the biggest reason why Farrell’s act doesn’t derail the proceedings.  She uses her range to slide seamlessly from the role of a loving wife into that of an insanely aggressive assassin.  On the opposite end of that spectrum is Jessica Biel who was in the movie, shot some guns, flashed puppy eyes at Farrell’s Quaid, and threw the occasional punch or two.  The word “uninspired” best describes her work.   Rounding out the cast was Bryan Cranston and Bill Nighy - two terrific actors who always bring conviction to their respective roles, but sadly they were underused in this movie.  To have that kind of talent at your disposal and not fully exploit it represents a missed opportunity.

So despite these shortcomings, the film is still entertaining so I guess the MVP of the movie has to go to director Len Wiseman and his creative team.  The futuristic visuals are fun and engaging and there is a couple of show stopping action sequences.  If you appreciate the less cerebral brand action movie loaded with big explosions and great visuals then I would recommend seeing this in the cinema, otherwise this is more of a rental flick.  Again, it’s probably not going to make it into your DVD collection, but it is still worth a look. 

Standout Performance: Kate Beckinsale dominates this movie from start to finish and delivers by far the best performance of the cast.  

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Review: American Reunion

If you’re on the wrong side of thirty then you are probably old enough to remember one of my favorite Christmas classics – A Very Brady Christmas.  Go ahead; read it again.  It is not a typo.  I loved the heck out of that made for TV movie; and not because it was particularly well written - because it wasn’t - and not because it was telegenic art – because it most certainly was not.  The reason I enjoyed it so much was because it reached into the memory bank and brought me back to those grade school afternoons in front of the television set, which was always set to channel 56.  You see - there is something comforting about familiarity.  It’s like seeing an old friend or the house that you used to grow up in and immediately being whisked away to a better time and place.  It’s why the Brady reunion struck a chord with viewers, because seeing those familiar faces all in one place again evoked nostalgia. 

Writers/Directors Jon Hurwitz and Hayden Schlossberg are clearly trying to corner the market on R-rated comedies as they have followed up the debacle that was Harold and Kumar 3D with American Reunion.  I am mildly relieved to say that the latter is a much better showing than the former, but things really could only have gotten better.  What they have working in their favor is nostalgia.  It’s all they really have going for them.  It’s their hook, because the latest and hopefully last installment in the series features the entire original cast.  No ringers, no bate and switches, and no poor man’s doppelganger.  That gives the movie a big event feel, even though most of the cast have not only seen their stars fade immensely but some are straight up reclamations projects.

As for what ails this film, the problems are three-fold.  The first is that there is too much going on.  Each member of the principle cast has to have a reason for returning to a 13 year high school reunion (and thus appearing in the film).  Because of this, we are left with a web of spaghetti-thin plot lines woven into a tangled mess.  Sure, sentimentality and the ease with which Jason Biggs, Alyson Hannigan, et al slide back into their roles makes the plot a bit more palatable, but it is just not enough to overcome the second problem, which is the recycling of the Stifler redemption storyline.  The “Stifler has not moved on and has not realized that time has passed him by” storyline was done in American Wedding but I am guessing that the writers assumed they could get away with recycling it since so few saw that film.  The third problem is that it is just not that funny.  The jokes were stale and delivered by a cast that - to be honest - looked a little too weathered to deliver the punch lines. 

It’s not a waste of time to watch this movie especially if you’re a fan of the previous films.  It’s just not a great use of your time.  If the comfort of familiarity and nostalgia is what you seek and you are okay with knowing that Hurwitz and Schlossberg often deliver raunch in lieu of real comedy then you will be entertained.  If you’re a casual fan and prefer sharp and witty humor, you should probably save this for a rental.  The novelty of seeing older versions of the characters you once knew, can only last so long when one's affinity for those characters is measured.

Standout Performance:  Eugene Levy - a fantastic comedic veteran – is given a larger role in this film and is responsible for nearly all of the few laugh out loud moments that in the film.  

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Review: A Very Harold & Kumar Christmas

The best thing about Harold and Kumar is that despite all the over-the-top chicanery, things were always grounded in reality by one simple fact – everyone knows a Korean dude that rolls with an Indian dude and that when those two get together, hilarity ensues.  Not only do I know this, but I lived it.  And because of that, Harold & Kumar Go to White Castle has always held a special place in my DVD collection - all despite the fact that the closest I’ve ever been to a White Castle is the mediocre frozen sliders that can be found in your local Ralph’s. 

I have to admit that the second installment ALMOST tarnished my memory of the first with its misguided political undertones and excessive male nudity, and diminished chemistry between John Cho, Kal Penn, and Nei Patrick Harris.  Well, I can sadly report that said fete has finally been accomplished, because director Todd Strauss-Schulson's installment in the series has sufficiently put all that was good about the original movie far enough away in the rearview mirror.  The stink of A Very Harold & Kumar Christmas is indeed that pungent. 

The problem with this film is that not only is it horribly unentertaining, but also it is completely irrelevant.  It suffers from the same problem that Ocean’s 12 does in that the film tries to be overly clever with winks and nods to itself, the cast, and crew with pseudo insider jokes – such as such NPH’s sexual orientation, Kal Penn’s hiatus from acting to work at the White House, and the current 3D technology fad - that are neither clever nor funny.  These mechanisms buried in the subtext of a film can be subtle value-adds to humor, but when they are propped up as punch lines in a comedic script that suffers from a paucity of funny jokes, it just feels plane douchey. 

John Cho and Kal Penn sleepwalk throughout this film.  It feels like Cho is killing time waiting to start work on J.J. Abrams' next installment of Star Trek and Kal Penn spends most of his energy trying to come up with his next clever tweet.  I hesitate to say much more of their respective acting performances because there was very little acting that actually made it onto the screen.  As for the rest of the cast, no one else in the film does anything of merit.  Neil Patrick Harris’ act wears dangerously thin and a few other familiar faces appear for nostalgia’s sake as nostalgia is a great way to distract audiences from the actual quality of the film.

Under no circumstances, do I recommend this film unless you like waiting ninety minutes for nothing to happen.  I know there is great temptation to see it despite everything written here that screams to the contrary.  Closure is a powerful lure since this will no doubt be the last film in the series ($35M gross).  So if possible, resist the temptation.  There are plenty other bad comedies out there that you can waste your time on that won’t ruin a near classic.  Watch something else, anything else, and preserve the memory of two guys and their epic journey for really bad sliders.

Standout Performance: WaffleBot.  I kind of want one.

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