Cinematic Considerations

Year: 2017

  • Detroit: Bigelow confronts racial turmoil in tale of ’67 riots

    Detroit: Bigelow confronts racial turmoil in tale of ’67 riots

    Kathryn Bigelow is used to telling stories about the fragile nature of war.

    Her last two films – 2009’s Oscar-winning “The Hurt Locker” and 2012’s “Zero Dark Thirty” – examine the immense pressure and brutality felt by those living in conflict zones, powder-kegs ripe to explode in violence at any moment.

    With her first film in five years, “Detroit,” the Academy Award winning director examines conflict closer to home.

    Taking on the racially charged 12th Street Riots in 1967, Bigelow and screenwriter Mark Boal place themselves at the heart of one of the deadliest, most destructive events in American history.

    “Detroit” is the story of three men – two African-American and one white – whose paths and circumstances brought them to the Algiers Hotel where the ensuing nightmare reflects an ominous resonance to modern times.

    The second act of “Detroit” plays out like a psychological horror show as Detroit beat cops verbally and physically terrorize hotel guests, ultimately resulting in multiple fatalities. It’s in this most gruesome middle section of the film that Bigelow does her best work, balancing multiple narratives in a somber display of voyeurism.

    “Detroit” opens and closes rocky as Bigelow attempts to contextualize the events at the Algiers Hotel.

    Within the well-crafted 20-minute opening of the film, it’s hard for viewers to understand or identify with any of the major players as things keep whipping from storyline to storyline. The opposite can be said for the unnecessarily elongated ending where events play out in bland, monochromatic fashion.

    Where “Detroit” shines the most is in its deep, talented cast that provides knockout performance after knockout performance.

    There’s a subtle brilliance in the way Will Poulter approaches the role of Krauss, the film’s primary antagonist that approaches ‘racist boogeyman’ but never quite falls over into caricature. Poulter’s eyes often boil over in a manic rage as Krauss attempts to coerce confessions. It’s in the quieter moments, however, that the performance really shines as Poulter is able to internally justify Krauss’s unjustifiable actions, expressing Krauss’s inner demons with cold, glazed-over stares that chill audiences’ bones.

    Poulter’s brash, demonic performance is counter-balanced nicely by John Boyega’s even-keeled, measured turn as Dismukes, a young African-American security guard who gets caught in the crossfire while trying to douse racial tensions. Though much of the performance is internalized, Boyega takes great care to show audiences Dismukes’ inner monologue as he struggles with the events unfolding around him.

    Algee Smith is a revelation as Larry, lead singer of an upstart Motown group called The Dramatics who tries to escape rioting on the streets of Detroit by hiding out at the Algiers. Smith is able to capture each and every moment within “Detroit” with such a pure energy and emotional authenticity that his performance resonates with audiences and places viewers in Larry’s shoes beautifully.

    Bigelow assembles a terrific ensemble cast to fill out the rich, multi-layered story including top performances from Anthony Mackie as a returning Vietnam veteran thrust into Detroit’s racial divide, Jason Mitchell as a brash teen antagonizing the police and Jacob Latimore as Larry’s best friend and band manager Fred.

    There’s a smooth ease to cinematographer Barry Ackroyd’s artful style, which represents the frantic nature of on-screen events with “head-on-a-swivel” precision. Yet at the same time, “Detroit” never has the herky-jerky camera frenzy popular in action films. More so than most movies today, the cinematography of “Detroit” enhances and heightens the dramatic tension as it weaves in and out of the fray with precision.

    Releasing “Detroit” in early August does no favors to its chances for award season success as it will likely be far from the minds of voters come this fall. But make no mistake, Bigelow’s film is a captivating and horrifying film worthy of a Best Picture nomination and acting nods for Poulter and Smith.

    While not a flawless movie, “Detroit” represents the gritty, visceral filmmaking sorely needed from major studios.

    This award-worthy film is a terrific change of pace film sure to grip audiences and provoke needed discussion about the world in which we live in.

  • Atomic Blonde: Twisting the standard action movie

    Atomic Blonde: Twisting the standard action movie

    Arthouse independent filmmaking mashes quite nicely with blockbuster action in “Atomic Blonde,” Charlize Theron’s latest movie billed as a cross between the debonair suave of James Bond and the lethally brutal “John Wick.”

    What director David Leitch actually delivers, however, is an interesting, albeit graphic take on spy serials in the style of a John le Carré novel. It’s “Tinker Tailor Soldier Spy” for the 21st Century, if you will.

    Theron stars as British intelligence operative Lorraine Broughton, tasked with infiltrating a divided Berlin in 1989 just before the wall fell in search of a list of undercover spies hidden across the globe.

    While the plot of “Atomic Blonde” may seem straight forward, the execution is anything but.

    Thematically, Leitch’s film feels drenched in spray paint shining with a bright neon glow and that design permeates its way into every aspect of “Atomic Blonde” from the cinematography to the action sequences to the acting performances themselves.

    Aside from a few stoic upper management parts, every performance within Leitch’s film radiates balled up energy like an over-cranked children’s toy waiting to be released.

    Perfectly cast as the cold-as-ice spy with emotions bubbling under the surface, Oscar winner Theron seamlessly eases into her role as Broughton. Though the film opens with her emerging naked and bruised from an ice bath, it’s the scars Theron subtly hints at under the skin that permeate and haunt her performance.

    The single best performance within “Atomic Blonde” is offered by James McAvoy, who gives his David Percival a controlled mania that could only result from far too many consecutive viewings of “Fight Club.” Whether he’s spouting off Nietzsche or shaking down informants for intel, McAvoy radiates a chaotic balancing act between loyalty to his country and self-serving rule bending. It’s always the most interesting thing to watch on screen.

    Sofia Boutella, who has worked her way into larger roles in action films after “Kingsman” and “The Mummy,” does her best and most promising work to date here as naïve love interest Delphine. Boutella stands her own in scenes opposite both McAvoy and Theron and never feels outmatched or out of place.

    “Atomic Blonde” is also aided by strong supporting performances from John Goodman and Toby Jones as stoic middle management types working for MI6 and the CIA. Scenes with the pair debriefing Broughton are among the film’s best and give “Atomic Blonde” the dramatic weight needed to elevate Leitch’s film above standard action film fodder.

    In terms of spectacle, “Atomic Blonde” usually opts for flashy cinematography over big explosions.

    The main exception here is a stunning five-plus minute action sequence that looks like it was shot all in one continuous take. Witness Theron – who performed 98 percent of her own stunts in the film – take on several Russian henchmen while dragging an informant to safety will last as the film’s most iconic and impressive moment.

    There’s a level of brutality inflicted by and upon women that hasn’t been seen in a major feature film since 2011’s “Sucker Punch.” And while “Atomic Blonde” does occasionally evoke elements of that average, under-seen film, Leitch takes care to ensure that the violence is offset with memorable character performances on top of the flash. His film has a lot more grit and heart as a result.

    Moviegoers looking to catch a summer action blockbuster that takes chances while providing a bloody good time should make their way to a local theater to catch “Atomic Blonde.”

  • Dunkirk: The art of war

    Dunkirk: The art of war

    Consider the Oscar race officially on.

    Christopher Nolan, famed British auteur of award-winning movies like “Inception” and “The Dark Knight,” cements his directorial seal on the historical drama genre with “Dunkirk,” a sweeping World War II film unlike anything you’ve ever seen before.

    Despite the better part of five months of movies still to come, Nolan’s tenth feature will unquestionably end the year among the top two or three best films of 2017 and help redefine a genre for many years to come.

    Based on true events, the film chronicles attempts to rescue 400,000 British soldiers stranded on the beaches of Dunkirk, France surrounded by German forces.

    Told in three overlapping timelines, “Dunkirk” follows events as they play out on land, air and sea in a dynamic, nonlinear fashion. Audiences will have to pay careful attention to the nuances of how and why Nolan weaves these three plotlines into one cohesive story.

    Better still, “Dunkirk” is a film that begs repeat viewing; first to become fully immersed in the captivating grandeur of Nolan’s spectacle and then later to capture all the subtlety required to completely understand the film’s brilliance.

    A true ensemble piece, “Dunkirk” has a bevy of veteran and novice actors offering poignant, stoic performances that blend together flawlessly.

    Whether it’s Oscar winner Mark Rylance at the helm of a small yacht headed towards war or newcomer Fionn Whitehead becoming overwhelmed on the beaches, there are no stars here. Not Tom Hardy and surprisingly not even former “One Direction” band member Harry Styles feel too big for “Dunkirk.”

    By keeping character development intentionally minimal and using a large number of relatively unknown British actors in major roles, “Dunkirk” thrives on the intense urgency of war as anyone involved in the conflict could die at any moment.

    Words are spoken only when absolutely necessary and names are even less important in “Dunkirk,” perhaps the most intriguing and avant-garde way Nolan tells a conventional historical drama in the least conventional way.

    For his rousing turn as a shell-shocked sailor pulled from the water, Cillian Murphy is credited simply as Shivering Soldier. It’s a mere example of just how insistent Nolan is in making “Dunkirk” about thousands rather than a tale of a single individual or small group of soldiers.

    The focus is on the bigger picture – rightfully so – and often driven home with iconic, wide sweeping shots. Watching Nolan movies on the big screen has always been a must-see cinematic experience, but where audiences see his latest film matters more than ever.

    Nolan and director of photography Hoyte von Hoytema shot “Dunkirk” using primarily IMAX cameras on 70mm film, a rarely used format that makes panorama shots feel like intense close-ups. Watching “Dunkirk” on a regular movie projector dulls the film’s vibrancy and prevents audiences from feeling the full weight of the tension Nolan seeks to create on screen.

    The remarkable claustrophobia that pervades many of Nolan’s most intimate scenes, combined with an Oscar-worthy score from legendary composer Hans Zimmer, gives “Dunkirk” a colossal feel that no amount of computer generated imagery could replicate.

    While the cinematic depth Nolan creates is apparent, seeing this play out on an IMAX screen with bone-rattling sound that leaves arms shaking well after leaving the theater increases the effect 100-fold.

    There’s simply nothing like “Dunkirk,” one of the best World War II films ever made, in a large format theater.

    “Dunkirk” rivals “Inception” and “The Dark Knight” as Nolan’s finest work and has to be among the major contenders come award season.

    Though there is not a singular acting performance likely to be honored, this should be the first Best Director Oscar nomination for unquestionably the best filmmaker this generation and a front runner for Best Cinematography, Best Score and especially Best Picture.

    With “Dunkirk,” Nolan continues to prove why he’s a true cinema master with his most personal and tightly composed feature to date. Moviegoers would be amiss to not catch this World War II epic on the biggest screen possible.

    Unless you happen to have a 70 mm film projector lying around the house, no home theater experience will compare.

    Films like “Dunkirk” are why we go to the movies.

  • The Big Sick: Big heart matters

    The Big Sick: Big heart matters

    Falling in love with a girl in a coma sounds like a corny premise for a romantic comedy.

    But “The Big Sick” isn’t simply a knockoff of “While You Were Sleeping.”

    It’s something much, much more.

    Based on the true romance of star Kumail Nanjiani and his wife Emily V. Gordon, “The Big Sick” is one of the most honest, straightforward, quality pieces of American cinema this decade. There’s nothing flashy; no gimmick cameos or mindless dirty comedy bits.

    “The Big Sick” is a story of boy meets girl, refreshingly simple and genuine. It’s one of the best movies of 2017 and you have to see it as soon as possible.

    The film follows Nanjiani, who plays himself, as he meets young medical student Emily (Zoe Kazan) at a comedy club and the couple begin dating. Several months into their romance, Emily becomes hospitalized with an unknown disease and she is placed into a coma. Kumail’s parents, devoutly Muslim Pakistani immigrants, complicate matters by forcing Kumail to meet Pakistani women in hopes of an arranged marriage.

    Though it helps that the “Silicon Valley” actor is playing himself in a film he co-wrote, it never truly feels like Nanjiani is acting in “The Big Sick.” The performance is so effortless and genuine that it often feels documentary in nature, making Kumail easy to root for in spite of some of the admittedly stupid things he says to Emily.

    His performance encapsulates everything that makes “The Big Sick” a special film: casually charming, simple and straightforward in nature.

    Though Kazan’s Emily is in a coma for a large portion of the movie, her work is so radiant and enjoyable early that Emily always feels present in every scene despite Kazan not being on screen. Her natural chemistry with Nanjiani carries the day in a film that could easily fall off the rails.

    Audiences want Kumail and Emily to make it as a couple just as much for Kazan’s endearing performance as they do for Nanjiani’s simple honesty, a true testament to both actors.

    Having Ray Romano play Emily’s father feels like stunt casting, until you actually watch Romano on screen. It’s an unexpectedly subdued, warm performance unlike anything the veteran TV comedian has given.

    Holly Hunter, on the other hand, offers a wildly bombastic, aggressive performance as Emily’s mother Beth that brashly attacks the screen until it becomes irresistibly engaging. Audiences will easily find a dozen women they know inside Hunter’s fierce matriarch, a surprisingly exciting turn for Hunter.

    While the actors portraying Kumail’s very traditional Muslim family aren’t nearly as famous, the performances are equally wonderful. Among them, Adeel Akhtar stands out as Kumail’s brother Naveed, often matching Nanjiani punchline for punchline.

    The biggest strength of “The Big Sick” is how perfectly the film turns on a dime from traditional rom-com to something much deeper, a credit to director Michael Showalter for bringing Nanjiani and Gordon’s script to life in an organic, authentic way.

    There’s never a “this is the time to get sad” moment in the film. Events flow naturally and progress as real life impacts Kumail, Emily and their families.

    Producer Judd Apatow, well known for raunchy coming of age comedies like “Superbad” and “Knocked Up,” has carved out a niche in recent years helping comedians make honest, layered comedies from 2009’s “Funny People” to to 2015’s “Trainwreck” to the 2016 Netflix miniseries “Love.”

    As the driving force behind getting “The Big Sick” made, Apatow pressed Nanjiani to hone the film’s script over four years. The result is one of the best written comedies in more than a decade.

    “The Big Sick” turns the corner for the romantic comedy genre, hopefully leading Hollywood to develop more honest, original films.

    Nanjiani’s film is the new standard by which rom-coms heading forward should be judged and it’s a film that audiences should seek out in theaters.

    There likely won’t be a better comedy in 2017.

  • Spider-Man Homecoming: A hero’s true homecoming

    Spider-Man Homecoming: A hero’s true homecoming

    There have been five Spider-Man movies to hit the big screen prior to Marvel’s latest blockbuster, “Spider-Man: Homecoming,” debuting last weekend.

    Though several early films are heralded as among the best superhero films of all time, none have ever felt as authentic to the comic book version of Peter Parker than “Homecoming” does.

    Finally, the Spider-Man movie we’ve all been waiting for is here. And it delivers.

    It’s a true homecoming for the webbed wall-crawler, whose film rights were sold to Sony Pictures well before Marvel Comics ever dreamed of developing their own movie studio. A deal struck in 2015 allowed Marvel to regain creative control over Spider-Man while Sony financed any Spidey solo movies and kept the profits. Marvel’s rebooting of the classic superhero began last year with a small appearance in “Captain America: Civil War,” bringing on Tom Holland to play a 14-year-old Peter Parker.

    “Spider-Man: Homecoming” builds on this foundation by placing Peter in the midst of high school, struggling to contain his excitement for a larger piece of the action while figuring out who Peter Parker (and Spider-Man by extension) is as a person.

    While not a true origin story by any means, “Homecoming” serves itself well by scaling back the grandiose nature of most comic-book movies. It’s a film largely grounded in reality with emotional stakes uncommon in superhero films, firmly in the mold of classic John Hughes movies from the 1980s like “The Breakfast Club” or “Weird Science.”

    Holland is the perfect actor to bring this version of the character to life as he’s able to balance Peter’s awe of his new-found abilities with the natural naivety that comes with being a teenage boy unsure of his place in the world.

    Holland has a natural ability to display authentic emotion in scenes opposite experienced actors like Robert Downey Jr. and Michael Keaton that gives “Homecoming” unexpected depth in such a bright, colorful movie.

    Marvel fully ties in Spider-Man to their cinematic universe by making Downey’s Tony Stark/Iron Man mentor to Peter Parker/Spider-Man. It’s an unique, terrifically written bookend to the character Downey originated back in 2008 and allows his Tony Stark to come full circle from the brash, naïve hero Marvel started their cinematic journey with.

    Keaton does a masterful job elevating the typical superhero villain to something interesting and engaging to watch outside of confrontations with the hero. As The Vulture, Keaton brings gravitas to a part that might not normally require weight.

    Scenes where Keaton sheds his bird-suit and digs into the meat of the character are among the best in the entire film. This is especially true of a pivotal moment in the third act that redefines verbal confrontations between hero and villain.

    For a film billed as a comic book action-adventure, “Spider-Man: Homecoming” is largely better when no one is fighting on screen, save for sequences at the Washington Monument and on the Staten Island Ferry.

    The core of “Homecoming” is about walking before you run, and the action of the film definitely rolls at a brisk walk at best. Audiences are certainly heading to the theaters to see Spider-Man fight The Vulture, but it’s not what they’re going to be talking about when they leave.

    With one of Marvel’s most iconic character back under their creative control, the future of Spider-Man looks very bright. “Homecoming” is an incredible start in re-launching a hero that has misfired in its last three solo adventures.

    Holland should easily become the first of the next generation of Marvel stars carrying the Avengers franchise forward for many years to come.

    As blockbuster summer movies go, it’s hard to do better than the refreshingly fun “Spider-Man: Homecoming.” It’s a must-see in theaters for any avid moviegoer.

  • Baby Driver: No speed limits

    Baby Driver: No speed limits

    Fast cars, terrific writing, solid acting performances and a killer soundtrack help make “Baby Driver” one of the year’s two or three best films so far.

    Director Edgar Wright’s latest movie pays homage to early Quentin Tarantino action/adventure films like “Pulp Fiction” and “True Romance,” but it’s also one of the most original films you’ll find on the big screen in several years.

    The premise feels pretty straight-forward. A young getaway driver named Baby (Ansel Elgort) grinds his way through a life of crime only to fall in love with a pretty diner waitress (Lily James) who makes Baby want to leave the criminal life behind for good.

    “Baby Driver” cruises along at a brisk pace as Baby and his boss, Doc (Kevin Spacey), execute a number of heists, but nothing ever feels rushed. The movie runs at a steady 75 mph whereas other recent, more formulaic action movies have a herky-jerky 90 mph, 20 mph, 95 mph roller coaster feel.

    A smooth cinematic adventure, “Baby Driver” is the kind of film you’re going to want to watch over and over again.

    While viewers follow Baby everywhere from start to finish, Elgort does a great job of not over-playing the role of Baby and letting things flow naturally. At first glance, much of Elgort’s performance feels like it comes as an extension of his theatrical movement. But the true heart of his work comes in the subtle nature of how Elgort changes his inflection slightly to evoke emotion in a relatively monotone character. The look in his eyes often matches this subtle vocal change in a beautiful, emotional way.

    Academy Award winner Spacey is well-suited for the role of crime planner Doc, a part that could have easily gone to Christopher Walken or Jack Nicholson 15 years ago. Spacey fits the role like a glove just like those great actors would have in a solid, unspectacular supporting performances that helps elevate the entire film.

    Jamie Foxx’s brash, unfiltered performances as take-no-prisoners thief Bats is as loud and in your face as the Michael Jackson-era red leather jacket Foxx sports throughout the latter half of “Baby Driver.” It’s a part Foxx has played before and feels that way on screen, but his Bats works in the larger context of the crews Doc assembles because the performances around Fox allow him to make broad choices with Bats.

    The film is rounded out with a terrific supporting cast including Jon Bernthal as the intimidating gun-toting muscle, Jon Hamm and Eiza González as a couple who get their thrills pulling heists together and Red Hot Chili Peppers guitarist Flea as an injury prone robber called “No Nose.”

    Action movies nowadays rely so heavily on explosions, limitless gunfire and stunt work that it all seems to blend together.

    Wright takes great care to ensure that, while the visuals are modern technically, every car chase and gun battle also feels ripped out of another era. Baby whipping a variety of cars across Atlanta with ultimate precision harkens back to films like “Bullitt” and “The French Connection.” It’s almost as if Wright hasn’t seen an action movie made before 1996, which is incredibly refreshing both tonally and visually.

    Key to the success of “Baby Driver” is Wright’s expert integration of the film’s soundtrack into the story. It’s used both in character development – Baby drowns out the constant ringing in his ears by listening to music – and seeps its way into each and every scene better than any movie has done this decade.

    The “Guardians of the Galaxy” films are often heralded for their amazing use of music, but those superhero movies can’t hold a candle to “Baby Driver.” The film’s opening heist sequence is expertly choreographed like a dance to The Jon Spencer Blues Explosion song “Bellbottoms,” Then Wright effortlessly flows into a wonderfully nuanced, timed to the split-second scene as Baby glides across downtown Atlanta while jamming out to “Harlem Shuffle” by Bob & Earl.

    Perhaps the most original film to come on the screen so far in 2017, “Baby Driver” is a can’t miss event movie that’s immensely refreshing given Hollywood’s sequel-heavy film slate.

    “Baby Driver” is a stunning reimagining of classic 60s heist films meshed with 90s cinema flare.

    Infused with practical, yet picturesque car chase sequences, the film is a perfect blend of yesteryear and modern era movie-making that has to be seen in theaters.

  • Transformers: The Last Knight: New ‘Transformers’ film a disaster-piece

    June 25, 2017 · Watch the official trailer

    “Transformers: The Last Knight” isn’t a comedy, but director Michael Bay is laughing all the way to the bank.

    Now in its fifth iteration, the “Transformers” franchise is vastly more successful than it has any right to be with “The Last Knight” sinking to inexplicable new lows in cinema. Completely gone are coherent, linear plot lines that make any sense, even by the standards set in prior films.

    The fact of the matter is that “The Last Knight” doesn’t care if audiences don’t understand what’s going on, only that they enjoy the explosions and metallic carnage along the way. It’s Bay at his most bombastic and self-indulgent.

    The plot is as outlandish as it is irrelevant. King Arthur’s Knights of the Round Table are about to be slaughtered by an invading force when Merlin calls upon ancient Transformers to provide him with a magical staff and command of a three-headed metallic dragon to turn the tide.

    The Knights create a secret order to protect the secret of the Transformers, which is passed on to the likes of Harriet Tubman and Abraham Lincoln. Transformers later help Americans kill Nazis because of course they do.

    Bay, along with the four credited writers on the film, blatantly lifts elements from any and every movie franchise he can get his hands on. There’s “Da Vinci Code”-esque jaunt through a fictionalized retelling of history, a “Suicide Squad” inspired sequence as the bad guys round up more villains or the British butler Transformer that isn’t so much a homage to iconic “Star Wars” robot C-3P0 as it is a bad knockoff with a shiny paint job.

    At best, “Transformers: The Last Knight” is a send-up of Bay’s increasingly ridiculous movie franchise based on a children’s toy, except it’s unclear whether Bay truly understands how far his films have fallen.

    Along for the ride in this CGI-heavy train wreck is Mark Wahlberg, reprising his role as Texas inventor Cade Yeager from 2014’s “Transformers: Age of Extinction.” From the outset, it’s clear to see that Wahlberg’s heart simply isn’t in it and his performance increasingly wears his indifference on his sleeve.

    On the other hand, Academy Award winner Anthony Hopkins charges into his role as Transformer historian Sir Edmund Burton full bore, as if the part was written in a reimagining of a Shakespearean tragedy. Watching Hopkins cavalierly recite prose about Autobots and Decepticons with such commitment is equally amazing and painstaking to watch.

    The clearest sign in how little Bay actually cares about his viewers’ ability to comprehend and enjoy his film is in how “The Last Knight” appears on screen.

    Shot using a wide array of cameras, the film jumps from aspect ratio to aspect ratio seemingly at random. At times, the whole screen top to bottom is used, then the screen is chopped in half vertically, then perhaps back to full or maybe something just short of full. No less than eight different aspect ratios are used in the trailer alone. The nonsensical camera work can be rationalized in high-octane action scenes, but it’s equally as prevalent in mundane dialogue that is inexcusably misdirected.

    But nothing about “The Last Knight” is supposed to make much sense. That seems to be Bay’s point: that no matter how ridiculous, how frustrating or how scattered his film may get, people will still pay to see things blow up.

    When it works, there’s an indulgent decadence to the explosive insanity of Bay’s action films. When it doesn’t work – and “The Last Knight” simply doesn’t work – the results are cringeworthy.

    If you’re going to see a fifth “Transformers” movie at all, the only way to watch it is on the big screen. Moviegoers on the fence about “The Last Knight” need to pass on this cinematic wasteland.

  • Rough Night: ‘Rough Night’ for laughter

    June 19, 2017 · Watch the official trailer

    More so than any other genre, comedy is entirely dependent on good writing to make a film work.

    As its title may suggest, “Rough Night” delivers disjointed moments of genuine humor and follows up with lazy, uncreative sex jokes that wane over the course of the film.

    Penned by “Broad City” writers Lucia Aniello and Paul W. Downs, “Rough Night” is a bland, thinly constructed script derivative of smart, raunchy comedies like “The Hangover” or “Bridesmaids.” In this case, the film also acts as a de facto reboot of the 1998 dark comedy “Very Bad Things,” which saw a bachelor party go bad when a prostitute is killed at the party.

    Very bad things happen to Scarlett Johannson’s Jess and her group of friends in Miami for her bachelorette party when one of the bridesmaids accidentally kills the stripper they hired to perform for Jess. What ensues is a cavalcade of errors as the girls attempt to dispose of the dead body undetected.

    “Rough Night” marks yet another pedestrian turn from former Academy Award nominee Johannson, as if the actress is just taking another paycheck before committing to the quality independent film projects she shines in like “Lost In Translation” or “Her.”

    Playing the straight part to balance out the quirky characters with all the punchlines is a difficult task for any actor. With Johannson, she never really builds genuine chemistry with her co-stars in a performance that feels incredibly mailed-in.

    Jillian Bell, on the other hand, rambles through every scene like a bull in a china shop as self proclaimed maid of honor Alice whether she’s aggressively brow-beating her friends into having fun or ferociously snorting drugs to hide them from the cops. It’s a classic try-too-hard performance that does the comedy a disservice at times as Bell grinds Alice into the film’s most grating character.

    Once again, “Saturday Night Live” star Kate McKinnon steals the show in a comedy far beneath her talents with a hilarious, quirky performance as Pippa, Jess’s Australian friend. While accents on comedies often come across as poor gimmicks, McKinnon takes great care to make her Australian tone and phrasing feel authentic. Her performance, especially in her eyes, elevates the material to the next level and makes the comedy better than it should be based on the delivery alone.

    Demi Moore and “Modern Family” star Ty Burrell make what amounts to an extended cameo as an adventurous, open couple looking to bring home one of Jess’s bridesmaids. It’s an unexpected change of pace for Moore and much less so for Burrell, but neither actor has any sustainable impact on the film itself.

    “Rough Night” continues a trend in recent Hollywood comedies to pack in as much crude humor as they can reasonably get away with in a R-rating film. The punchlines are often hit or miss and the plot routinely takes a back seat in the screenwriting process as the writers ladle sex joke after drug joke after sex joke to little effect.

    Despite that, moviegoers looking for a raunchy, moderately fun time at the theaters should give “Rough Night” a chance for McKinnon’s scene-stealing turn alone. If a middle-of-the-pack comedy doesn’t seem worth a trip to the movies, however, audiences could easily wait to have a “Rough Night” in the privacy of their own homes.

    Continue the conversation online at cinematicconsiderations.com.

  • The Mummy: Unwrapping ‘The Mummy’

    June 11, 2017 · Watch the official trailer

    Don’t mistake “The Mummy” for award-winning cinema fare.

    But the new monster/action film starring Tom Cruise is exactly the kind of summer popcorn blockbuster entertainment moviegoers have gotten used to over the past decade.

    Short on plot and heavy on premature franchise building, “The Mummy” tries to run before it can walk, occasionally tripping and falling flat on its face. However, there are moments that genuinely work in director Alex Kurtzman’s film.

    Cruise stars as Nick Morton, a soldier of fortune who stumbles across a secret Egyptian tomb hiding the sarcophagus of an evil princess buried alive. When the mummified princess breaks out of her coffin on a plane ride to London, chaos ensues as the mummy attempts to destroy humanity and reshape the world in her image.

    While it’s no shock to see Cruise in yet another action film, “The Mummy” is a curious choice for the veteran actor. Aside from the one airplane sequence already made famous in the trailers, there’s really no death-defying stunts moviegoers have come to expect from Cruise.

    Additionally, “The Mummy” doesn’t really take advantage of Cruise’s natural charm and charisma on screen, which could have buoyed an underdeveloped romance with Annabelle Wallis’ damsel-in-distress Jenny Halsey. Still, Cruise makes the most of a thinly written part and tries valiantly to recreate the magic of his “Mission: Impossible” films to limited success.

    Academy Award winner Russell Crowe is perhaps the movie’s biggest question mark, playing the leader of a monster hunting organization with a secret monster past of his own. Serving mostly to explain the plot in narration and bridge the gap with eventual future films, Crowe does a decent enough job bringing his character to life. Yet at the same time, the whole part feels a tad unnecessary in the grand scheme of “The Mummy.”

    “New Girl” star Jake Johnson gives the best performance in the film as Morton’s partner Chris Vail, bringing much needed levity to the heavy, slow-plodding script of “The Mummy.” As written on the page, Vail isn’t a character to write home about, but Johnson delivers each line with frantic gusto and wills the comedy to work.

    “The Mummy” herself, Sofia Boutella, has more lines than one might expect from a traditional mummy and is more compelling in her demonic post-mummification persona than as an Egyptian princess in flashbacks. There is a scare factor to her character, though Kurtzman and Boutella keep the horror origins of the character to a minimum in service of a more science-fiction, comic book tone.

    Like her turn in “Kingsman: The Secret Service,” there’s not much depth in Boutella’s performance though most of the film’s better moments are in action scenes featuring Boutella.

    Where “The Mummy” ventures most off track is when the film tries too hard to set up future installments of Universal Studios’ planned “Dark Universe” franchise, reboots of classic movie monsters like “Dracula,” “Frankenstein” and “The Invisible Man.”

    Rather than flesh out the plot with additional run-ins with “The Mummy,” unnecessary attention is paid to Crowe’s monster-hunting organization in order to tie in this current film with movies that haven’t even enter production yet. It’s a reckless decision that prevents “The Mummy” from becoming much more than average popcorn fodder.

    More so than many films on screen right now, “The Mummy” is a classic turn off your brain and enjoy film. Moviegoers wanting a relaxing, fun time at the cinema could do worse than a middle-of-the-pack action film starring heavy hitters like Cruise and Crowe.

    Continue the conversation online at cinematicconsiderations.com.

  • Wonder Woman: Summer’s first blockbuster

    June 5, 2017 · Watch the official trailer

    Nearly four decades after Lynda Carter hung up her tights, “Wonder Woman” finally took center stage on the big screen.

    The long-awaited feature took home just over $100 million in the United States on its opening weekend and fully delivers on the high expectations avid moviegoers had for the first female superhero movie in 12 years.

    This origin tale follows the story of Diana, a young princess hidden away from the rest of the world on an island of female warriors sworn to defend against the Greek god of war Ares. When an American pilot spying on the Germans during World War I crashes into their secret paradise, Diana is compelled to put her training to the test, go out into the world and end the bloodshed.

    Continuing the role from her supporting performance in last year’s “Batman vs. Superman,” Israeli actress Gal Gadot is an imposing, passionate choice to take on the Wonder Woman mantle. Gadot is more than believable in a fight, battling with a sense of vigor that most actors simply don’t offer in comic book films nowadays.

    Her performance in the leading role is strangely akin to Chris Evans’ turn as Captain America, especially given how similar “Wonder Woman” feels to “The First Avenger,” which saw the Marvel superhero battle Nazis during World War II. Like Evans, Gadot centers the strength of Wonder Woman within the emotional core of Diana, building her superhero power from the empathic love in her heart.

    “Wonder Woman” also flips the script by having a male in the traditional love interest role, with “Star Trek” actor Chris Pine’s Steve serving as a counterbalance to Gadot’s Diana. Pine has all the best lines in an underwhelming script from Allan Heinberg and often steals scenes with his wry smile and perfect comedic timing. Gadot and Pine have strong chemistry throughout and the film really hums when the pair share time on screen together.

    The film certainly packs a lot of punch in its extended action sequences, especially in the transformative scene where Diana unveils the Wonder Woman armor for the first time. Director Patty Jenkins does her best work here in defining the power of her superhero with an iconic battle as Diana fearlessly storms across “No Man’s Land” to take on the German army. It’s the best scene in the film by a wide margin and quite possibly the best action sequence in a comic book film in many years.

    “Wonder Woman” isn’t without its flaws.

    Structurally, the film suffers from over-extending its character base at the beginning and end, working best when the focus is on Diana’s heroism in the real world and in her burgeoning relationship with Steve.

    A clunky, computer graphic heavy third act fails to conclude the two-hour epic with the promise the film started off on. Jenkins’ movie succumbs to the same dark, unnecessary battle with a “big baddie” that wrecked previous DC films “Suicide Squad” and especially “Batman vs Superman: Dawn of Justice.” The present day scenes that bookend “Wonder Woman” also don’t do the film any favors, taking audiences out of the moment in service of the larger cinematic universe.

    There’s a lot to be said for a film led by a female superhero directed by a female director that is both successful at the box office and a quality movie. “Wonder Woman” is a major step forward in changing the minds of Hollywood studio execs as they develop future projects with women in mind.

    “Wonder Woman” certainly has dents in her armor that keep it from being a truly great film, but it’s an important movie, and one certainly worth seeing in theaters.

    Continue the conversation online at cinematicconsiderations.com.