Avengers: Endgame (2019)

Director: Anthony Russo, Joe Russo

Cast: Robert Downey Jr., Chris Evans, Mark Ruffalo, Chris Hemsworth, Scarlett Johansson, Jeremy Renner, Don Cheadle, Paul Rudd, Brie Larson, Karen Gillan, Danai Gurira, Bradley Cooper, Josh Brolin, Benedict Wong, Jon Favreau, Gwyneth Paltrow

Screenplay: Christopher Markus, Stephen McFeely

181 mins. Rated PG-13 for sequences of sci-fi violence and action, and some language.

 

Well, here it is. I’m going to try not to use the word culmination like everyone else has, but I cannot make any promises. This is the end of The Infinity Saga, the twenty-second film in the Marvel Cinematic Universe. The culmination-dammit…

Tony Stark (Robert Downey Jr., Sherlock Holmes, Chef) is drifting through space with Nebula (Karen Gillan, Jumanji: Welcome to the Jungle, TV’s Selfie). On Earth, what’s left of the Avengers have collected at the compound, unsure of what to do next. Thanos (Josh Brolin, No Country for Old Men, Deadpool 2) succeeded in his plan, obliterating half of the universe in a single snap of his fingers. As they each come to terms with the enormous loss that they and the universe have incurred, an old ally appears with an idea, a crazy crackpot idea that has no chance of working. Well, almost no chance. The Avengers, or what’s left of them, assemble on one final attempt to fix everything, and if they fail, they’ll do that together.

I’M TRYING TO AVOID AS MANY SPOILERS AS I CAN, BUT BE WARNED THAT  A REVIEW LIKE THIS WILL ALWAYS HAVE SOME SPOILERS. SEE THE FILM FIRST IF IT CONCERNS YOU.

THIS IS YOUR SPOILER WARNING.

Avengers: Infinity War set up an almost impossible task. Let’s give the villain his own movie and test out characters like they’ve never been tested before. I think that’s the importance of the Avengers franchise of the MCU. Much like any team-up movie, I think it’s important to have the team tested in a unique way, and they should almost always come out of the film with more people on the team or less, because that’s one of the only ways to change the story trajectory. Well, Infinity War had tested the Avengers, and they certainly came out of the film with less characters, but it was also an even bigger test for Anthony and Joe Russo (You, Me, and Dupree, Welcome to Collinwood) as well as the writing team of Christopher Markus and Stephen McFeely (The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe, Pain & Gain), who now had to bring in the fourth Avengers film on a solid landing and end the story. We knew that they had to do something to save some of the dusted Avengers. Hell, there was a Spider-Man trailer out weeks before the film’s release, and even though we joked about it possibly set before Endgame, everyone knew that Sony would not let Marvel kill their most popular character. Certainly, Black Panther’s story would not end after one solo film, but how was this all going to happen, and what’s the cost?

So let’s start with that impossible task. Knowing all the things that had to happen in the follow-up, it’s incredible how the Russos and the writing team actually pulled it off and made it captivating, exciting, and heartbreaking. From the shocking opening of the film to the final act, a dauntingly epic ending that takes up a large chunk of the film’s three-hour runtime, Avengers: Endgame just cruises on by. In a lot of ways, it’s the flipside of Infinity War’s coin, and it’s a good thing that they changed the titles from Infinity War Part 1 and 2 because as much as they rely on each other, Endgame is a completely different film, and that’s why it works so well. Infinity War was a film that gave each of its characters at least one moment to shine, and Endgame does that too, but Endgame even gives each film before it time to shine. There’s references to Iron Man 3 in this film and Thor: The Dark World, two films that don’t even end up in the upper 80% of most MCU fan rankings of the franchise (full disclosure, though, I love Iron Man 3). It’s a love letter to the 11 years of this franchise and the fans that stuck with it for so long.

The performances from the entire cast are solid, but I want to discuss the ones that I think deserve to be discussed, good or bad. Let’s start with Robert Downey Jr. His performance here is a series best (quite a feat for the actor that has not beaten Hugh Jackman for most appearances as a superhero in a franchise), even better than Tony Stark struggling with PTSD in Iron Man 3 (see, I love that one). There, he’s dealing with the knowledge he obtained in The Avengers that Earth is not alone in the universe, and now, he’s dealing with the failure in saving billions or trillions of lives. He becomes weak, and he cannot hold blame. He keeps going back to wanting to put a suit of armor around the world with Ultron. He’s beaten and broken and still hasn’t forgiven Steve Rogers (Chris Evans, Gifted, Before We Go) for abandoning him even though he is just as responsible. He’s also dealing with the loss of Peter Parker on Titan. Tony needs some hard truth at this point on his journey, and he gets it in Endgame.

Steve Rogers watched many of his friends die right in front of him. He’s a man who fell out of time into a confusing one and did the best he could, but he comes to realize that his failure to stop Thanos has hit him just as hard as Tony, but in a different way. He’s running a group that helps people to cope with the loss, and he’s going just as much for himself as anyone else. Chris Evans consistently does the impossible with Steve Rogers/Captain America; he makes this superhero a human. He makes the goody-goody Rogers an actual human being, with plenty of flaws and pain. This is the story that tests him and his need for hope, and there’s no one I’ve seen outside of Christopher Reeves playing Superman that embodies that struggle for hope so well.

Natasha Romanoff (Scarlett Johansson, Her, Sing) has taken control of the remaining Avengers, and she’s stopped taking care of herself. She’s dealing with the loss by diving into work, hunting down a rogue Avenger who needs her help, but she’s sputtering on exhausted wheels. She’s just looking to make right on a career filled with wrongs. All the bad things she has done before finding her home with the Avengers have led her here, and she couldn’t do anything about it.

This is a film that gives Mark Ruffalo (The Kids Are All Right, Now You See Me 2) so much to do with the Hulk character, probably the most unique shift for the character in the MCU, and he does a spectacular job with it. It isn’t what I would have done, but I admire the character arc he takes.

One character that doesn’t get much to do is Thor (Chris Hemsworth, Snow White and the Huntsman, 12 Strong). This is a man who lost his father still very recently, his brother died in front of him, and half of his people are slaughtered after losing their home. He’s another hero dealing with failure. He should have aimed for the head. He came so close to saving everyone and then he didn’t. He should be dealing with the most pain of anyone in the story. Instead, he is used more so for comic relief than anything else. I get it, Chris Hemsworth is really funny, but I know he can play to drama as well. He just doesn’t get the emotional beats that I wanted him to have. It’s similar to what is done with him in Infinity War, where he just doesn’t get the time to develop his trauma. His alcoholism in Endgame could have some serious consequences and bearing on him, but it just doesn’t.

Lastly, I want to talk about Karen Gillan’s performance as Nebula. I’ve never been a big fan of the character, either the way she’s written or the performance. Nebula always reminded me of a fly that comes in the window in the middle of the night when you’re trying to sleep. You swat and swat and just can’t get rid of her. In Endgame, though, her character is expanded upon so much more because of how we see her and the presentation of how far she has come as a character since we saw her in Guardians of the Galaxy vol. 2. People forget that vol. 2 takes place just a few months after the first one, so it’s been a long time since we’ve really seen Nebula in the MCU, and Gillan’s subtle broken performance is terrific.

From behind the lens, the Russos directed the hell out of this thing, and there’s a lot to be said about the strength of their storytelling as it has evolved over the years. Their cinematography is so clean, especially when it needs to be, in some of the heavier action set pieces. It’s safe to say that there’s a lot going on in this film; there has to be, but the way the Russos keep the focus on where it needs to be to progress the story is great, and the way they handle the set pieces are very focused and strongly laid out. There’s a heavy possibility, especially in the third act, to lose sight of what’s going on and where we’re at from a narrative perspective, but they never let the film lose sight of its goal, a tremendous feat.

With that visual storytelling comes the editing, which is very strong. The film never feels long. It’s the enjoyment factor, no doubt, but clocking in at just over three hours, the film almost should feel long, but it doesn’t. Not once. After seeing it twice, I can say with certainty that there’s only one scene I would cut earlier in the film to tighten it more, and it probably would only save 30 seconds or so.

No offense to Danny Elfman, but I’m really happy to hear Alan Silvestri’s score here after being absent from Age of Ultron. Silvestri’s score takes notes from The Avengers and especially from the ending of Infinity War, but it dives deeper into the depression, loss, and hope that permeates the film, and his score has a note of finality to it. If this is indeed the last time we’ll see some of our favorite heroes, Silvestri sends them out on a high note.

Avengers: Endgame accomplishes the most difficult task assigned to it. It has an ending. This is the end of a big part of this franchise without feeling the need to really set anything else up. For the most part, there isn’t an MCU film that hasn’t had the need to at least set up something in the end credits, but not Endgame, and that’s a strong and restrained decision because the film should speak for itself and everything that comes before it, and boy does it have a lot to speak on. This is an absolute cinematic achievement, and barring a few small hiccups, it comes off without a hitch. The ending raises some questions that we won’t really have answered until Spider-Man: Far From Home (the true last film in Phase 3), but beyond all that, I loved watching this movie and cannot wait to see it again, if only to catch some more of the blink-and-you’ll-miss-it moments. If you haven’t yet, then seriously, why not?

#ThanosDemandsYourSilence #Don’tSpoilTheEndgame

 

4.5/5

-Kyle A. Goethe

 

 

For my review of Joe Johnston’s Captain America: The First Avenger, click here.

For my review of Anna Boden and Ryan Fleck’s Captain Marvel, click here.

For my review of Jon Favreau’s Iron Man, click here.

For my review of Jon Favreau’s Iron Man 2, click here.

For my review of Louis Leterrier’s The Incredible Hulk, click here.

For my review of Leythum’s A Funny Thing Happened on the Way to Thor’s Hammer, click here.

For my review of Anthony and Joe Russo’s Captain America: The Winter Soldier, click here.

For my review of James Gunn’s Guardians of the Galaxy, click here.

For my review of James Gunn’s Guardians of the Galaxy vol. 2, click here.

For my review of Joss Whedon’s Avengers: Age of Ultron, click here.

For my review of Anthony and Joe Russo’s Captain America: Civil War, click here.

For my review of Ryan Coogler’s Black Panther, click here.

For my review of Jon Watts’s Spider-Man: Homecoming, click here.

For my review of Taika Waititi’s Thor: Ragnarok, click here.

For my review of Anthony and Joe Russo’s Avengers: Infinity War, click here.

Avengers: Infinity War (2018)

Director: Anthony Russo, Joe Russo

Cast: Robert Downey Jr., Chris Hemsworth, Mark Ruffalo, Chris Evans, Scarlett Johansson, Benedict Cumberbatch, Don Cheadle, Tom Holland, Chadwich Boseman, Paul Bettany, Elizabeth Olsen, Anthony Mackie, Sebastian Stan, Danai Gurira, Letitia Wright, Dave Bautista, Zoe Saldana, Josh Brolin, Chris Pratt

Screenplay: Christopher Markus, Stephen McFeely

149 mins. Rated PG-13 for intense sequences of sci-fi violence and action throughout, language and some crude references.

IMDb Top 250: #37 (as of 9/1/2018)

 

Well, it happened. I almost cannot believe it, but it happened. After 10 years and numerous storylines, everything in the Marvel Cinematic Universe has culminated in this.

Let me say that word again: culminated. I like that word.

So a lot has happened. I’ll try to sum it up as quick as I can.

Thanos (Josh Brolin, No Country for Old Men, Sicario: Day of the Soldado) has one goal driving his very being: to collect all six Infinity Stones. He already has one, but to get the others, he will have to go through the Avengers, Earth’s Mightiest Heroes. The Hulk (Mark Ruffalo, Spotlight, Now You See Me 2) and Thor (Chris Hemsworth, Snow White and the Huntsman, 12 Strong) are quickly dispatched, Thanos sends his minions, The Black Order, to Earth to search for the remaining Earthbound stones while he finds himself facing off with his daughter Gamora (Zoe Saldana, Avatar, My Little Pony: The Movie). Now, it’s a fight to protect the stones from the increasingly more dangerous Thanos as the Avengers team up with the Guardians of the Galaxy, Doctor Strange (Benedict Cumberbatch, The Imitation Game, The Child in Time), Spider-Man (Tom Holland, The Impossible, Pilgrimage), Black Panther (Chadwick Boseman, 42, Marshall), and others, but do they even stand a chance?

Avengers: Infinity War almost needs to be looked at differently than other films. My goal here and in all my reviews is to look at each within the context that it exists. When I watch a horror film, I look to be scared, thrilled, or shocked. When I watch a comedy, I look to laugh or smile. When I watch a Uwe Boll film, I look to hate myself at the end. Context.

So Avengers: Infinity War needs to be looked at on its own terms as well as how the film changes and shapes the characters in this universe. It’s a season finale of sorts, and it does an incredible job of juggling so many character arcs and stories that have existed within the confines of ten years of storytelling.

Let’s start with the most important arc in the film: Thanos’s. Josh Brolin does the performance capture justice in his work as the Mad Titan. We spend more time with Brolin’s character than anyone else in the film, and for that reason, this is very much Thanos’s film. He’s the protagonist. He is the one with the goal who initiates the action, and our heroes are only trying to stop that mission. He is a believably insane tyrant who moves from planet to planet wiping half of the population out in order to restore order. It’s a crazy idea but he believes it wholeheartedly which makes him all the more frightening. He’s well-written, thoughtful and menacing. There are of course a few similarities to Kurtz from Apocalypse Now or its source novel Heart of Darkness. It’s mostly surface level but it also works pretty well and helped me to understand how his mental faculties would lead him to such a sinister mission.

The rest of the cast get mixed amounts of time, most of them only about 10 minutes onscreen with the biggest characters getting closer to 30 minutes. Thor has one of the better arcs, especially following the opening of the film. He has vengeance in his heart and a plan to stop Thanos. He joins up with Rocket Racoon and Groot to accomplish his mission and it’s an enjoyable and important set of sequences. I would have liked to see a bit more emotion from Hemsworth as the film goes on but he kind of falls back to comedy as a backup.

Mark Ruffalo also gets a lot of time with his journey, especially considering that he spends a lot of the film not being the Hulk. We see a side of both of them that I’m not sure we’ve seen before, and it’s the first time in a while that we see Banner having to deal with not turning into the Hulk.

It’s also nice to give some more time to Gamora, who has gotten some development in the Guardians of the Galaxy films but always as a companion to the others. Now, she has a really interesting relationship with father Thanos. I just wish more time would have been given to further develop the two.

Directors Anthony and Joe Russo (You, Me, and Dupree, Welcome to Collinwood) and screenwriters Christopher Markus and Stephen McFeely (The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe, Pain & Gain) developed what was later termed as strange alchemy, the forcing together of characters that don’t usually spend any time together. This idea works really well and is a large portion of what makes The Avengers films so fun and so anticipated. It’s what I’m looking forward to more than anything else for next year’s Avengers: Endgame.

The Russos did a tremendous job of weaving all of these story threads together while never once sacrificing the flavor that comes with each film. I love that they devoted time to ensure their film would not be ruined for viewers who were not there on opening night. Each of the separated groups further the problem that this team works best together but now they are caught up in different parts just trying to plug a leak, essentially, and these directors and screenwriters never let the story dry up or get stale.

Avengers: Infinity War is not a perfect movie. The ending, upon a second viewing, doesn’t really feel like it has stakes (though that may change next year), and some more character development would be much appreciated, but overall it accomplishes its goals and in context of what the film is trying to be, it succeeds in almost every way. This is an event film if there ever was one, and it is endlessly re-watchable. If you haven’t seen the film yet (and don’t kid yourself, yes you have), then what are you doing? Go. Now. Watch it.

 

4.5/5

-Kyle A. Goethe

 

 

For my review of Jon Favreau’s Iron Man, click here.

For my review of Jon Favreau’s Iron Man 2, click here.

For my review of Louis Leterrier’s The Incredible Hulk, click here.

For my review of Anthony and Joe Russos’s Captain America: The Winter Soldier, click here.

For my review of James Gunn’s Guardians of the Galaxy, click here.

For my review of James Gunn’s Guardians of the Galaxy vol. 2, click here.

For my review of Joss Whedon’s Avengers: Age of Ultron, click here.

For my review of Anthony and Joe Russo’s Captain America: Civil War, click here.

For my review of Ryan Coogler’s Black Panther, click here.

For my review of Jon Watts’s Spider-Man: Homecoming, click here.

For my review of Taika Waititi’s Thor: Ragnarok, click here.

 

For more Almighty Goatman,

[Happy 20th Birthday!] Bad Boys (1995)

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Director: Michael Bay

Cast: Martin Lawrence, Will Smith, Tea Leoni, Tcheky Karyo, Theresa Randle, Joe Pantoliano

Screenplay: Michael Barrie, Jim Mulholland, Doug Richardson

118 mins. Rated R for intense violent action and pervasive strong language.

 

I just watched Bad Boys for the second time. The first viewing I had was sometime after the sequel, Bad Boys II, was released. I was upset I hadn’t seen the original film and therefore could not witness the explosive spectacle of a film, so I changed that. I watched it. I somehow remember the film being…how do I put it, less terrible?

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Bad Boys is a buddy cop film about partners Marcus Burnett (Martin Lawrence, TV’s Partners, Big Momma’s House) and Mike Lowry (Will Smith, Men in Black, Focus). Burnett is a married man with a couple kids who dreams of less complicated days. Lowry is a newly rich single man who likes to get down and dirty with the ladies. When one of Lowry’s special ones is shot down in a hail of gunfire, her friend Julie (Tea Leoni, TV’s Madam Secretary, Deep Impact) goes to Lowry for help. She ends up believing that Burnett is Lowry and seeking out protection from him. As the two cops play some stupid version of Trading Places, there is also a bad guy doing…something. This is Bad Boys.

Bad Boys is the feature film debut of director Michael Bay (Transformers, Pain & Gain), and it also gives some of his less-awful work, though he still valued explosions over character development (what develops a character more than almost dying constantly, right?).

The two leads have enough chemistry to really build a franchise akin to Lethal Weapon and Beverly Hills Cop, but the script merely bastardizes the two series by ripping them off too much instead of forging a new path for itself, and the mistaken identity Freaky Friday conceit that envelops the film falls flat almost instantly and is drug along for the entire film’s runtime instead of abandoned early on like it should have been.

The villain Fouchet (Tcheky Karyo, TV’s The Missing, The Patriot) is a cardboard cutout with little memorable features. I just watched it and I can’t even really recall his purpose. He is neither fleshed out enough to feel real of sinister enough to be terrifying.

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Michael Bay’s Bad Boys is a bad film. I feel like Lawrence and Smith could play with their buddy cop relationship well if only the script was serviceable enough to give them room to play. For the most part, their talent is completely wasted and overshadowed by the “Things Blowing Up” route Bay’s directing takes them.

 

1.5/5

-Kyle A. Goethe

 

For my review of Michael Bay’s Transformers, click here.

For my review of Michael Bay’s Transformers: Revenge of the Fallen, click here.

For my review of Michael Bay’s Transformers: Dark of the Moon, click here.

For my review of Michael Bay’s Transformers: Age of Extinction, click here.

December 2014 Preview

 

Well, folks, 2014 is winding down, and as perusual, we have a ton of major films coming out now to cap off the year nicely. Let’s take a look at them today, and remember, I have not seen these films and my predictions come solely from early reviews, trends, Oscar buzz, and my abilities as a film reviewer. I’m pretty good at predicting success or failure based on a lot of factors, and I merely want to provide you with a solid bit of info to make your holiday choices well.

 

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The Pyramid

We discussed The Pyramid before, and I have high hopes for it, but personally, I feel as though the studio decision to drop it at the beginning of December is not something I feel great about. While December is a great month for films, a horror film release during this time is almost as much a death notice as sending it out in January. I like the story about a group of archaologists studying pyramid ruins only to be hunted by something alive in there intrigues me, and I like the work of first time director Gregory Levasseur, who penned previous horror films like the remakes to The Hills Have Eyes and Mirrors, so it may stand tall, but I’m pretty on the fence with this one. That being said, horror movies are a lot of fun in theaters, are they not?

 

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Wild

Jean-Marc Vallee is riding high off the success of last year’s Dallas Buyer’s Club, and it would seem to be continuing with the Oscar buzz connected to Wild, based on Cheryl Strayed’s memoir of the same name, chronicling her journey of over 1100 miles hiking to come to emotional terms with tragedy in her life. Reese Witherspoon won’t be taking the Oscar for her portrayal this year, but I’m hearing that she is on the short list of possible nominees. This seems like a definite win, from the adaptation by famed writer Nick Hornby to the many performances being universally loved.

 

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Exodus: Gods and Kings

Ridley Scott and I have a strained relationship. I love his skills as a director, but every director’s cut he has ever had has disappointed me beyond belief, so in that way, I like that he is a studio man, and doesn’t get final cut. His new film, based on the works of the Bible, features Christian Bale and Joel Edgerton, looks epic to be sure, and the Oscar buzz for its technical achievements cannot be ignored. I think Ridley Scott has crafted a unique look at these events, and after a year of unique visions (Noah) and Christian pandering films (God’s Not Dead), Exodus will likely divide moviegoers. I’m all in, but not everyone will be.

 

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The Hobbit: The Battle of the Five Armies

I mean, C’MON! It’s the friggin’ Hobbit! I loved The Lord of the Rings! I love the previous Hobbit films. How can this not be an event film? I get the first feelings of huge critical acclaim for this finale to the Middle-Earth Saga. The previous Hobbit releases were less loved than their decade-old brethren, but I think director Peter Jackson is ready to cap off his saga the right way, delivering a truly epic experience.

 

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Annie

I’m just going to say this one.  NO! There. Annie getting a remake didn’t bother me much, until I saw the cringe-inducing trailer. This film likely had its heart in the right place, but it will be awful.

 

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The Gambler

Mark Wahlberg has had an interesting career. He does big Oscar films like Lone Survivor and The Fighter, and then he has Pain & Gain and Transformers: Age of Extinction. So what is The Gambler? A lit professor has an affair with a student and then gets involved with a loan shark in this film from director Rupert Wyatt and writer William Monahan. I think this film will be more towards The Fighter, which is good. I like Wyatt’s directing and I love Monahan’s writing, so I have some good vibes.

 

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Night at the Museum: Secret of the Tomb

Here we are, at the end of Robin William’s esteemed career. This is the last film of the famed performer and if we can look back at the previous two Night at the Museum films, we can say that we are looking at a lot of fun. Don’t expect a perfect night, and understand that it won’t be an original masterpiece (even the first sequel retreaded the same waters as its predecessor), but I’m not thinking bad.

 

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Big Eyes

So Tim Burton’s newest film doesn’t look like a Tim Burton film. The true story of Margaret Keane and her husband during her explosion as an artist seems like a good place to take filmgoers. There are nuances of Burton’s style here but this is wholly new territory and I can respect that, and with the great work previously seen from Amy Adams and Christoph Waltz, I’m actually pretty excited for Big Eyes.

 

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The Interview

I guess no controversy is bad controversy, right? The Interview is literally a movie about an undercover assassination of Kim Jong-Un. And it is a comedy with James Franco and Seth Rogen. Yes, those two sentences are related. There was so much controversy surrounding this film when it had its first trailer release that I wasn’t sure the film would ever be released, but here it comes, just in time for Christmas. I’m sure it will have the right laughs and I feel like I need to see it just to understand what the hell this was all for, but tread carefully people. Sometimes studios push controversy to cover a disappointing finished product.

 

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Into the Woods

Disney’s star-studded adaptation of Stephen Sondheim’s musical bringing together a cadre of fairy tale creatures in a dark and stunning atmospheric wood seems to be bringing the good buzz. There was definite controversy surrounding whether Disney’s version would contain some of the darker aspects of the original musical brought me out a bit, but I’m hoping that Rob Marshall’s directing and the incredible Meryl Streep can keep this film rollicking.

 

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Unbroken

The last major film on our list is Unbroken, directed by Angelina Jolie, is a true story of Louis Zamperini who was a POW in World War II after being hailed for his skills as an Olympic runner previously. Zamperini’s intense story of survival is already garnering a ton of Oscar buzz so I have good feeling abound. See this one. I know I will be.

 

 

So there you go. And here you go:

 

Best Bets: Wild, Exodus: Gods and Kings, The Hobbit: The Battle of the Five Armies, Big Eyes, Unbroken

Likely Drops: Annie

On the Bubble: The Pyramid, The Gambler, Night at the Museum: Secret of the Tomb, The Interview, Into the Woods

 

Remember these are not set in stone, sometimes a film can surprise (in both directions) and you may seem something I did not. Enjoy yourself and Happy Holidays!

Transformers: Dark of the Moon (2011)

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Director: Michael Bay

Cast: Shia LaBeouf, Josh Duhamel, John Turturro, Tyrese Gibson, Rosie Huntington-Whiteley, Patrick Dempsey, Kevin Dunn, Julie White, Ken Jeong, John Malkovitch, Frances McDormand

Screenplay: Ehren Kruger

154 mins. Rated PG-13 for intense prolonged sequences of sci-fi action violence, mayhem and destruction, and for language, some sexuality and innuendo.

  • Academy Award Nominee: Best Achievement in Sound Mixing
  • Academy Award Nominee: Best Achievement in Sound Editing
  • Academy Award Nominee: Best Achievement in Visual Effects

 

C’mon, people. Robots are fighting. Things are blowing up. Of course it is a Michael Bay (Armageddon, Pain & Gain) movie!

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Sam Witwicky (Shia LaBeouf, Lawless, Fury) is now finished with college and trying to make a life for himself. His only claim to fame is saving the world twice, which he isn’t allowed to mention (even though I’m pretty sure that he is called out in the previous film by name over the television airwaves, so I imagine he wouldn’t have to hide it). He has a new girlfriend, Carly (Rosie Huntington-Whiteley, Mad Max: Fury Road) and a new home, but no job until he meets Bruce Brazos (John Malkovitch, TV’s Crossbones, Dangerous Liaisons) who grants him one. Meanwhile, the Autobots and NEST are coming under heavy fire from Charlotte Mearing (Frances McDormand, Fargo, Promised Land) who believes that NEST should be restructured or disassembled. The Autobots have been busy trying to uncover the mystery of an Autobot ship that crashed on the moon and caused the space race.

Screenwriter Ehren Kruger (The Ring, Blood & Chocolate) seems to have learned from the mistakes made in the previous installment. The basic plot structure of this film has reeled it back to where it becomes very simplistic. In fact, the finale of the film is the entire last half. Now, I will admit that there are definite pacing issues. So much of the minutia of the first hour feels unimportant until the major event about halfway through, involving an invasion of Chicago. Once that happens, there are a lot of Chicago set pieces. A lot. I mean it. The film could’ve chopped a few scenes off. Two and a half hours long is reaching for a Transformers movie until they learn about how plot and character development  work.

The actors and actresses seem better in this film when compared to the previous installment. Patrick Dempsey (TV’s Grey’s Anatomy, Valentine’s Day) is one notable exception as Dylan, Carly’s boss who helps Sam get his job but has some secrets of his own. He is absolutely awful, and I like him normally. Rosie Huntington-Whiteley actually succeeds at performing worse than Megan Fox did. I don’t know how, but she did.

We get a lot of awesome battles, specifically a few involving Shockwave, a massive beast of a Decepticon who can take down skyscrapers with ease. The visual effects continue to impress in this series.

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Transformers: Dark of the Moon doesn’t get nearly as much right as the original film, but is more of an achievement than Revenge of the Fallen was. It gets a lot more on track, but it still comes down to likable trash. Worth a see, but still mostly for major fans.

 

3/5

-Kyle A. Goethe

Transformers (2007)

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Director: Michael Bay

Cast: Shia LaBeouf, Tyrese Gibson, Josh Duhamel, Anthony Anderson, Megan Fox, Rachael Taylor, John Turturro, Jon Voight

Screenplay: Roberto Orci, Alex Kurtzman

144 mins. Rated PG-13 for intense sequences of sci-fi action violence, brief sexual humor, and language.

  • Academy Award Nominee: Best Achievement in Sound Mixing
  • Academy Award Nominee: Best Achievement in Sound Editing
  • Academy Award Nominee: Best Achievement in Visual Effects

 

I had a conversation once with a friend who told me something very profound and possibly the best description of director Michael Bay (Armageddon, Pain & Gain). He said, “Michael Bay makes likable trash.” It’s true. None of his films are very well put together, so going into them with the thought process that you are reviewing a Best Picture nominee would be a mistake. You have to take it at face value.

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That being said, I think Transformers is one of his best works. It stars Shia LaBeouf (Lawless, Fury) as Sam Witwicky, a teenager who just wants a car. He wants something that is his, something that he thinks will make him unique. He quickly finds out how true that is when he comes across the realization that his newly acquired vehicle is actually a robot in disguise named Bumblebee. Bumblebee is an Autobot, a good guy, and he isn’t the only Transformer on Earth. In fact, Sam soon finds himself entangled in a battle between the Autobots, led by Optimus Prime, and the Decepticons, led by an unknown force. Sam only has romantic interest Mikaela Banes (Megan Fox, Teenage Mutant Ninja Turtles, This is 40) to assist him as he is hunted by the mysterious government agency Sector 7 and its leader Agent Simmons (John Turturro, O Brother, Where Art Thou?, Exodus: Gods and Kings). Meanwhile, a military base in Qatar is attacked by Decepticon forces, leading Captain William Lennox (Josh Duhamel, TV’s Las Vegas, Scenic Route) and USAF Tech Sergeant Epps (Tyrese Gibson, 2 Fast 2 Furious, Black Nativity) across the desert in search of rescue and answers.

I walked into Transformers expecting crap, but what I got was a fun romp that didn’t take itself very seriously and worked for that very reason. It had a lighthearted screenplay from Roberto Orci and Alex Kurtzman (The Amazing Spider-Man 2) and strong actors in the roles, with the exception of Megan Fox who essentially fills the role of Boobs and Ass very nicely, but is little more than a thing to look at when the robots aren’t fighting. Bay doesn’t take his source material very seriously either, and I think that is why it works so well. He was reported as almost turning down the film based on the fact that he didn’t know or like the Transformers line. The same can be said of J.J. Abrams when he took the role of director on the Star Trek films. He wasn’t a fan of them and therefore came at the material from an unclaimed perspective.

I think that is one of the reasons that the sequels to Transformers suffer from so many more flaws, but the original film is a good time. Most of the production’s technical aspects are nothing too exciting, but the post-production work with the visual effects is astounding and if you asked me, and of course you are, I think that it got robbed the Oscar in visual effects that year.

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Have fun with this movie. I did. I was very pleasantly surprised to see how much fun I had. It had some pretty likable trash indeed.

 

4/5

-Kyle A. Goethe

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