To be the smartest man in the room. It’s a nice place to be. Christopher Nolan has reached a point in his career where he is the smartest man in the room. Warner Brothers begged him to reboot the Superman film mythos, but Nolan wisely decreed that he was the last person who should do that. He knew after his successful reboot of Batman that lightening doesn’t strike twice. Yet Hollywood lives off the delusion that lightning can strike twice. So, Nolan, not wanting to bite the hand that fed him, agreed to produce and bring along many of his cohorts (notably screenwriter David S. Goyer and epic score maestro Hans Zimmer) to help breathe life into a stale franchise. He gets paid no matter what, and if this things bombs, hey, he wasn’t the director (meanwhile he’s busy crafting his own original film, Interstellar). In comes Zack Snyder, a keen visual stylist who too often succumbs to his own fetishes involving shaky camera-work and overblown non-sensical FX spun into a blender, to direct. The result is the overstuffed but weirdly entertaining Man of Steel – which brings great comfort to the writer in me, for it’s Goyer’s script (thoughtful, though full of holes and far from perfect) that rises above Snyder’s bombastic attempt to derail the film at every turn.
Man of Steel’s greatest assets (apart from Zimmer’s score) are the cast members. The filmmakers wisely brought on two of this generation’s greatest character actors to take on key roles: Michael Shannon, enraged and menacing as General Zod and quadruple Oscar nominee Amy Adams as a feisty and smarter than usual Lois Lane. It’s a real treat to watch Shannon not so much chew scenery as he does annihilate it (literally, his super-alien romper-room shenanigans with our title character bring down buildings) and it’s refreshing to see Adams’ Lois get in on the action and discover Clark Kent’s true identity from the start. She coos and pants in his arms when he rescues her, but she’s no fool and unlocks the key to bringing down Zod. Meanwhile, enjoyable cameos abound with Russell Crowe overacting as Jor-El; Kevin Costner under-acting as the senior Kent; Diane Lane pretty, naturally aged and forlorn as Ma Kent; Laurence Fishburne sadly wasted as Lois’ boss; and Christopher Meloni as a noble military man. Continue reading →
Ahhh…shit…(SPOILER ALERT!) I gave away a major spoiler of Star Trek Into Darkness in the title of the post! Though, honestly, people, is it any surprise that Khan makes an appearance in part two of Abrams’ reboot series? Following the trend of comic book films, it seems as if Abrams’ Treks will only be as good as their villains…which means this sequel is a slight notch above its overrated predecessor but is still a mish-mash rehash with nary an original idea to be found and completely void of the political allegory and societal mirror-holding that made the original series so…original. I was a bit more invested in and entertained by this rehash as if you are going to rehash plots and villains, you might as well rehash the best. I mean I can’t even remember the villain in the first film.
Though the DUN DUN DUN previews made it clear things were going to get more serious this time around, the film is inexplicably sub-titled Into Darkness…as there’s nary a moment of literal or thematic darkness to be found in the shiny happy continuation of Abrams’ shiny happy series. Okay, okay, they do speak the words war and genocide, and alotta people die James Cameron-style when the ships get all blown up and stuff. But you gotta hand it to a guy who just doesn’t give a damn. If J.J. wants to do an opening nod to Raiders of the Lost Ark in a sci-fi film, well, by golly, he’s gonna jam that in there! And if he wants to have his set designers craft an entire starship to be made of interior reflective surfaces so that his signature lens flares can go whole hog and burn your retinas…then damn it, Jim, he’s gonna do it! And if he wants to stretch out certain emo-scenes Felicity style to the point of banality…then frick, he don’t need Keri Russell present to do that. You see, J.J. is like that smart dorky crafty kid who grew up to be geek chic. He’s completely hung up on the nostalgia Hollywood peddles, which has made him a golden boy in a town that loves to recycle all that is golden. This means that many will find what he does pretty cool, but if you want anything deeper than re-imagined childhood reveries, then you better look elsewhere.
And although all the lens flares and explosions render certain action scenes incomprehensible, there are still some wondrous set pieces and stupendous special effects to be found here. Continue reading →
Andy Serkis acts circles around James Franco in new Apes flick.
When the trailers first hit the market for Rise of the Planet of the Apes, I was not impressed. Here it seemed Hollywood was yet again rehashing an old franchise that didn’t warrant revisiting. The effects didn’t look very good, and the story seemed as silly as ever. Sure, I enjoyed the original films as a kid, but even then I recognized them as high camp, and their lame attempts at social commentary were lost inside of actors in goofy ape suits and Charlton Heston’s comical over-emoting. But then the film came out this past weekend, and the good buzz was palpable and made me think I should check it out in spite of my misgivings. I come before you, my readers, willing to admit when I am wrong.
The Rise of the Planet of the Apes is the best reboot of any franchise since Batman Begins. It’s also the most fun I’ve had watching a sci-fi morality tale sinceDistrict 9. While it lacks District 9‘s satirically leanings and over-the-top gore, it makes up for it in character development and emotional involvement. Whereas the original series clumsily drew parallels to the Civil Rights movement, this new incarnation goes back to the age-old warnings against Man abusing Nature and underestimating the power of animal instincts. Continue reading →