It wouldn’t be the summer movie season without franchise entries galore, and although I proudly shirk most, two series I have always enjoyed are Star Trek and Jason Bourne. The latest episodes opened on back to back weekends and both are entertaining, serviceable entries providing escapism that hit all their required marks. But it was interesting to see how one was almost undone by its director’s ambition with action sequences, while the other was so taut and perfectly executed in its action as to take the film to another level. If Justin Lin’s smash-and-grab acrobatic incoherence is the perfect example of what not to do with action sequences, then Paul Greengrass’ intense hand-held location shooting is the masterclass of modern action direction.
Being with the same cast for the third time around gives Star Trek Beyond a nice lived-in feel. We know the characters so well, as these actors have come into their own doing great jobs with Simon Pegg’s scripted witty and goofy banter that harkens back to classic Treks, especially Karl Urban as Bones. The plot is pretty basic. And since it seems like The Enterprise needs to get destroyed every time now, they wisely dispense with this in the beginning when the crew crash lands on an uncharted planet after having fallen into a giant space booby-trap. On hand as the villain, is a growling Idris Elba who seems to be the go-to guy for villains with crazy accents these days. The flick is fun and quick paced, and the special effects (especially the giant space station/city Yorktown) are colorful, bright and dazzling.
I was happy to see J.J. Abrams move on from the franchise, but Justin Lin was not the right choice to replace him. Lin made quite a name for himself orchestrating some of the most gleefully over-the-top car/truck/tank/plane/whatever smash-em-ups in the otherwise brain-dead Fast & Furious franchise. Sadly, his flair for the outlandish stunt doesn’t translate as well into space. Continue reading →
Twelve years after Following, Christopher Nolan invites us to dream along with him through Inception. And while it’s operating on different levels than the Lang and Kubrick pieces, it shares in Hitchcock’s sense of dark fun and could easily be considered Nolan’s most ambitious and devilishly clever piece of work to date. He’s an auteur with a full blessing from the studio and his audience, and the project he devised in this rarefied air is awe-inspiring. Though there are some minor flaws, if you can’t find a way to overlook them and latch onto something meaningful in at least one layer of the dreams on display, then you have no business sitting in a darkened theater watching movies.
Christopher Nolan’s decked-out and high-concept new film brings new meaning to the idea of stealing ideas. In his futuristic universe, technology has developed where you can enter the mind of another through dream invasions and steal their ideas. It’s espionage…it’s dangerous…but what’s even more intriguing is the idea of diving deep into dreams within dreams and implanting an idea that can then spread like a virus and alter the shape of one’s universe. Whoever implanted this idea into Nolan’s mind, we thank you.