"Thor: The Dark World" Review

After the super-sized disappointments that were Iron Man 3 and Man of Steel, my once-pristine faith in comic book movies has been severely tarnished. So it’s no wonder that I felt a splitting headache when I watched the first preview for Thor: The Dark World earlier this year.

All I saw was another chance for Hollywood to hammer audiences in the noggin with a cataclysmic, metropolis-leveling climax and a greater concern for the special effects budget than the story or characters.

That being said, Marvel has succeeded twice in bringing the God of Thunder to the big screen: once in his first solo adventure and again for the Avengers team-up. But in such a year where the blockbuster theme seems to be style over substance, why risk seeing if three’s company?

With all due respect to the late John Ritter, I think Thor kicks a bit more ass.

I say that because the Asgardian is now 3-for-3 with Thor: The Dark World - a loose science fiction/fantasy epic bolstered by the charismatic performances of Chris Hemsworth and Tom Hiddleston and a screenplay full of some of the funniest, most clever gags in the Marvel Cinematic Universe.

That said, Game of Thrones director Alan Taylor brings a diminished sense of awe compared to Kenneth Branaugh’s 2011 film. The initial fly-over reveal of Asgard feels less exciting here than it did then, despite strong visuals overall.

Thor: The Dark World picks up in the midst of a cosmic “convergence,” in which each of the Nine Realms of the universe become perfectly aligned. Malekith (Christopher Eccleston, given precious little to do but scowl under layers of B-movie makeup), the leader of a race known as the Dark Elves, sees the convergence as a chance to cloak the entire universe in darkness. To do that, Malekith must recover the “Aether” – a powerful weapon that looks like a giant, floating spill of Cabernet. Conveniently, the plot thickens when Thor’s scientist girlfriend, Jane Foster (Natalie Portman), unwittingly becomes host to the Aether, making the consequences more dire and personal for the God of Thunder.

Are your eyes getting heavy yet?

If the story sounds far-fetched, that’s because it is, even by Marvel’s standards. What makes it so enjoyable, however, is the voracious pacing and clever humor that scribes Christopher Markus, Stephen McFeely and Chris Yost lend to the story. The film never seems to take itself too seriously, which is refreshing for a blockbuster as monumental as this.

Give most of the credit to Tom Hiddleston, whose Loki once again steals the show.

Now condemned for his actions in The Avengers, Loki seems as conflicted and crafty as ever. That smirking façade lets audiences know that sinister gears are always turning inside Loki’s head. This makes him, arguably, the most dynamic character in the Marvel canon thus far.

I like the way Chris Orr put it in “The Atlantic” – “Hiddleston’s Loki is a hero for the antiheroic age of Don Draper and Walter White."  That's why I believe audiences love him to the point of clamoring for Loki’s own spin-off movie.

As for Hemsworth, he brings a larger-than-life charisma, not just to Thor, but to every role he plays. That type of talent screams big-screen success. He embraces the role of Thor in such a way that makes it impossible to imagine anyone else playing the part. 

In the end, Thor: The Dark World falters with a slightly generic plot but still managers to hammer its recent super-powered competitors on the strength of charismatic performances and a fun script that doesn't take itself too seriously.

Don't miss it this weekend, and don't forget to stay for the credits.

8/10

"Ender's Game" Review

It’s a dilemma that science fiction stories have grappled with for ages: how do you solve a problem like the end of the world?

Recently, Guillermo del Toro’s solution was to fight it with giant robots. Marc Forster thought Brad Pitt could be the one to curtail our apocalypse. But for filmmaker Gavin Hood, the issue is thrust upon a battalion of 10-year-olds.

Based on the classic novel by Orson Scott Card, “Ender’s Game” picks up in the wake of a thwarted alien invasion of Earth. In order to prevent future attacks, America’s increasingly paranoid, trigger-happy government initiates a training program for the best and brightest children to become weapons against the insectoid alien invaders known as Formics. Ender Wiggin (“Hugo”’s Asa Butterfield) is the greatest of these weapons, a 12-year-old tactical genius who is hand-picked by Colonel Graff (Harrison Ford) and Major Anderson (Viola Davis) to lead his fellow child soldiers in an impending fight against the Formics.

Like the book, Hood’s script is fraught with the same political undertones for which Card himself has come under fire. Parallels can still be drawn between Ender and Adolf Hitler, though more current themes of geopolitics and homophobia can clearly be discerned from Hood's presentation.

Butterfield fares nicely as Ender, whose hardened attitude never gets in the way of empathizing with him. No child should have to face the circumstances that Ender finds himself in, which makes him easy enough to root for. I just wish I understood more of his backstory. Hood doesn’t do a great job with character development, and instead chooses to push our tiny heroes directly into action, stopping only briefly to explain things as they go.

The only other significant players are Davis and Ford, whose Colonel Graff barks orders in such a garbled manner that he should’ve been called Colonel Gruff. Davis’s motherly disposition shines through only slightly when discussing Ender’s special training procedures with Graff.

In terms of special effects, “Ender’s Game” looks like a video game, which is decidedly appropriate. Animations are gorgeously detailed, yet slightly cartoony — similar to the style of “Borderlands” or “Red Dead Redemption.” Most of the action in “Ender’s Game” centers around a zero-gravity training arena in outer space in which the kids essentially engage in the most elaborate laser tag matches ever conceived. Combat enters an even larger, more frenetic scale in the last half-hour when Ender’s lightning-quick movements look as if he’s in the middle of a sugar-addled “Call of Duty” marathon.

Though it’s decently acted and choreographed, “Ender’s Game” proves to be yet another middling entry in a year full of mediocre sci-fi movies.

6.5/10

"Halloween" 35th Anniversary Blu-Ray Review

When it comes to “slasher” films, you’d be hard-pressed to find one better than John Carpenter’s 1978 classic Halloween.

What sets it apart from typical genre fare, like Friday the 13^th, is that Michael Myers is no maniac in a mask.

He is quite simply a physical embodiment of the pure, unwavering evil that can lurk anywhere – even in the quietest, most unsuspecting neighborhoods.

Such terror deserves home entertainment treatment of the highest order, and audiences get that with the all-new 35^th anniversary Blu-Ray release of Halloween.

The most notable feature that distinguishes this from previous releases is the all-new, high definition image transfer supervised by Dean Cundey himself, the film’s original director of photography.

The result is a gorgeously clear picture that looks like it could’ve been filmed yesterday.

By looking at still photographs comparing this version to the 2007 Blu-Ray release, it’s clear that Cundey’s 35^th anniversary transfer is the definitive viewing experience.

The color scheme is cooler and less vibrant, allowing for more natural looking images that are truer to Carpenter’s original vision.

The transfer also retains its slight graininess, lending a sense of authenticity that’s true to Halloween’s original theatrical presentation.

As for the sound, Cundey includes a new Dolby TrueHD 7.1 lossless audio track, which means the movie’s original soundtrack has been completely reconstructed to sound as clear as ever.

Carpenter’s haunting score is beautifully crisp.

Its classically foreboding presence is enhanced to evoke a greater sense of dread than ever before.

Additionally, a brand new audio commentary from Carpenter and star Jamie Lee Curtis is included.

This was my favorite special feature for the way Carpenter and Curtis josh each other – while she’s freaking out at every other scene, he’s telling her how silly she is.

Through their easygoing banter, the duo provides remarkable insights into the filming experience, the mythology, casting, and technical elements of the production.

The only other new feature is an hour-long documentary titled “The Night SHE Came Home,” in which a camera crew follows Curtis as she meets fans at her first ever horror convention.

It’s entertaining and worth a few viewings simply because this is the first time that Curtis has ever acknowledged the passionate Halloween fan base.

Her distaste for horror films and wish to disassociate from the “scream queen” image are reasons why Curtis has taken 35 years to reach out.

Other special features have all been ported over from previous home video releases.

The “On Location: 25 Years Later” featurette showcases the South Pasadena shooting locations that have, by and large, remained unchanged since the late 70s.

Though it features rare appearances from the late Debra Hill and star P.J. Soles, such a dated feature feels out of place on a 35^th anniversary release.

If anything, they should’ve updated it with the cooperation of Carpenter and Curtis.

It would’ve been fun to see their reactions and hear their stories about filming on location so many years ago.

Remaining features include a collection of scenes shot specifically for the film’s television presentations, as well as original theatrical trailers, television, and radio spots.

Michael has never looked or sounded better, so fans looking for the definitive Halloween viewing experience should head to Best Buy or Target to pick up a copy.

 Even if you're a first-time viewer, this classic horror film is a worthy addition to any home video collection.

FILM RATING: 9.5/10

SPECIAL FEATURES RATING: 7/10

"The Counselor" Review

If Hollywood were to produce its own “greatest hits” album, it might look something like “The Counselor”.

On the surface, the film features one of the best pedigrees in the history of American cinema. You’ve got a proven director in Ridley Scott (“Gladiator,” “Alien”), a screenplay from arguably one of the greatest American novelists of all time, Cormac McCarthy (“No Country for Old Men”), and a cast of Hollywood’s most talented players including Michael Fassbender, Penélope Cruz, Cameron Diaz, Javier Bardem and Brad Pitt.

What’s more is that the television spots during Monday Night Football make it look like the next riveting episode of “Breaking Bad.” Heck, Dean Norris even makes a brief appearance as the wholesale buyer of a large shipment of cocaine in “The Counselor.”

Oh, how the mighty have fallen.

McCarthy’s story picks up when a nameless, cash-strapped lawyer (Fassbender) invests in a big drug deal, contrary to the advising of his associates (Bardem, Pitt). Inevitably, the deal goes awry, forcing our hero into an abyss of increasingly dire straits.

In trying to create intrigue and suspense in his first-ever screenplay, it’s clear that McCarthy shouldn’t quit his day job.

A reviewer on “The Counselor”’s IMDb page put it best, saying that “McCarthy fails to realize that he isn’t writing a book here.” Real people don’t often speak in monologues, which is how most of the dialogue is delivered. As such, the story becomes bogged down under the weight of its own profundity. It’s almost impossible to tell what exactly is going on at any point in time.

The aforementioned scene with Norris feels entirely out of place, and it doesn’t help that the characters in the scene are both introduced and abandoned over the course of 3 minutes. We never see any of these guys again after Norris’s character makes the deal. That being said, the rest of the film features a colorful cast of characters inhabited by capable actors.

Diaz steals the show as Malkina, the girlfriend to Bardem’s Reiner. Her ulterior motives lend a welcome sense of depth to both her character and to the film’s final act. Diaz manages to balance confidence and initiative in a manner that’s imposing, yet undeniably sexy.

This is made apparent to, not just the audience, but Bardem’s character in a scene involving her and a car. Watching it is like watching a train wreck – it’s terrible, but you just can’t bring yourself to look away.

Trailing in Diaz’s wake is the rest of the A-list cast, each given ample time to flex their chops in what feels like a series of long-winded vignettes that serve as exposition.

In the end, I think those audience members looking for recourse after the recent departure of dear Heisenberg will be disappointed by “The Counselor.” A series of interpersonal scenes with cryptic dialogue fail to make a cohesive story apparent in McCarthy’s screenplay. It’s just boring and unengaging, which are two things that stories like “No Country for Old Men” and “The Road” certainly are not.

That being said, the cast makes “The Counselor” consistently watchable. Although with such an outstanding pedigree, “watchable” is a major disappointment.

5.5/10

"Carrie" Review

In 1976, Brian De Palma brought “Carrie” to terrifying life in a film considered by many who have seen it as a classic of the horror genre.

Oscar-nominated performances and still timely themes surrounding religion and teen bullying have cemented De Palma's 'Carrie' as one of the most well-respected horror films of the past 40 years.

With such a reputation to live up to, Kimberly Peirce's 2013 "Carrie" feels as though it's afraid to be different, much like its teen protagonist.

Wrongly billed as a "re-imagining" of Stephen King's classic novel, "Carrie" tells the story of a sheltered high school girl who discovers that she has telekinetic powers after being bullied and ridiculed by her classmates.

If kids with cell phones speaking different slang are all that set this "re-imagining" apart from De Palma's original, then Peirce and her creative team need detention and prom privileges revoked.

While teen angst is timely as ever, especially in today's cyber age, Peirce doesn't bring much to the table in terms of presentation.

The production design, from Carrie’s house, to the school and the prom, looks and feels exactly like the original.

The script, from original “Carrie” screenwriter Lawrence D. Cohen and “Glee” producer Roberto Aguirre-Sacasa, features dialogue that sounds verbatim to Cohen’s 1976 screenplay.

That being said, the new scenes tacked onto the script were executed rather well.

The film’s chilling opening sequence features Carrie’s mother, Margaret White (Julianne Moore) wailing for help and forgiveness from a bed strewn with bloodstained sheets.

If the screams of agony weren’t frightening enough, several religious icons and grotesquely melted candles litter the bedroom, lending a creepy Gothic vibe to a bizarre scene that concludes with Margaret giving birth to Carrie in the bed.

Later on, after finally accepting Tommy Ross’s invitation to prom, Carrie gleefully goes to a store to pick out fabric for a dress – giving the audience a glimpse of how she feels coming into her own, despite an abusive mother and mean classmates.

Give all credit to Chloe Grace Moretz for stepping out of Sissy Spacek's shadow and making this role her own.

With every timid look, smile and tear shed, her emotions feel genuine and confident — qualities sorely lacking from the rest of the production.

As for Margaret, Moore is the only choice for the character made famous by Piper Laurie's grim, Oscar-nominated performance.

Since I only first saw the original after finding out about this remake, I could only see Moore whenever Laurie was onscreen.

Moore is nothing short of terrifying in her turn as Carrie's religious fanatic mother.

Though it's well acted, Peirce's "Carrie" is an unnecessary impersonation of a superior film with important themes that still hold up today.

Save yourself the price of a prom ticket and watch the 1976 version of "Carrie" on Netflix this Halloween.

6.5/10

"Captain Phillips" Review

SPOILER WARNING

Each week during this past spring and summer, it felt as if we were getting another new sci-fi picture about an impending apocalypse. Now that the fall awards season is underway, the theme seems to have turned to individual survival.

Last week featured Sandra Bullock in Alfonso Cuarón’s breathtaking Gravity, a film about an astronaut trying to make her way back to earth.

This week, it’s Tom Hanks as a hostage in director Paul Greengrass’s Captain Phillips.

Set in the spring of 2009, Captain Richard Phillips sets out with a crew of 20 men on the Maersk Alabama, a cargo ship carrying food and supplies to impoverished countries in Africa. When the minor threat of a pirate attack in their waters becomes an impending reality, there’s little Phillips or his crew can do when their only weapons are high-powered water hoses and one flare gun. From there, Phillips is forced to fight for his life when the pirates kidnap him onto a lifeboat and hold him for ransom. 

As director, Greengrass brings the intense, kinetic style of filmmaking that made his two Bourne films so terrific. The deft camerawork of cinematographer Barry Ackroyd along with Henry Jackman’s pounding musical score create a sense of urgency that’s grounded in stark realism. Save for a gorgeous opening shot of Phillips’ northeastern home, the camera is always moving.

That means most of the action is filmed “shaky-cam” style which contributes to a feeling of seasickness, in this case. Though I never felt the effects myself, Captain Phillips would be hard to recommend to anyone who typically suffers from motion or seasickness.

As for the performances, it’s impossible to picture Tom Hanks not getting a Best Actor nod for his work as the titular character. Every phrase he utters and every change of the look in Hanks’ eyes allows the audience to know precisely what Phillips is thinking. He is easy to empathize with in his everyman portrayal of the captain. The ending alone features some of the most amazing work I’ve ever seen from the actor and is certainly the highlight of his performance here.

We see a man, who at once had power over a crew of 20 individuals and was able to hold his own against armed captors without a weapon, revert to an almost infant-like state of dependence. Hanks’ ability to pull off the contrast in just those last few minutes is unparalleled to the work of any other actor so far this year.

 

As the leader of the pirate hijackers, Barkhad Abdi proves perfectly menacing in his first ever acting role. Watching this newcomer spar with the likes of Hanks, during what is arguably one of the best performances of the actor’s career, is incredible.

We’re not supposed to sympathize with the pirates, despite our understanding of their plight and motivations. Abdi’s anonymity is consistent with the sense of hyper-realism that Greengrass is trying to portray. A name actor in that part would have diminished the film’s impact.

The script from Billy Ray (Breach, The Hunger Games) is strong for a piece based on source material from Phillips himself. It perfectly captures his side of the story. However, the narrative would have felt more complete if it had shown the captain reuniting with his family or with his crew after such an ordeal. Sadly, we never get that.

While it doesn’t quite reach the visual or poetic aspirations of “Gravity,” “Captain Phillips” is fall’s next great thrill ride. See it.

8.5/10

Top Picks for the Halloween Season

It’s my favorite time of year again! Here are some of my top movies to watch during the Halloween season. Be sure to check them out for a few good screams!

Psycho

Widely considered Alfred Hitchcock’s most shocking film, Psycho is the “slasher” that defined a genre and set the benchmark for modern horror movies. Halloween is the only other film of its kind to come close.

Halloween

No list would be complete without this perennial favorite from WKU’s own John Carpenter. After 35 years, Halloween still stands the test of time as a post-Psycho affirmation of the “slasher” genre and one of the scariest of its kind for its silent, brooding antagonist and haunting musical score from Carpenter himself.

The Conjuring

This recent chiller from Insidious director James Wan is destined to become the next horror classic. Fine performances, a strong story, and slow-burning thrills are punctuated by a spooky, slam-bang climax that rivals The Exorcist. Homage is paid to that and several other old-school favorites, including Poltergeist and Child’s Play.

The Exorcist

An engrossing story about two priests enlisted to save the soul of a young girl after she is possessed by the devil. The infamous “pea soup” scene is just one of several spine-tingling moments that have earned The Exorcist the title of "scariest movie ever made" by top critics.

The Evil Dead

To this day, Sam Raimi’s 1981 cult classic is still considered one of the most graphic, gut-wrenching pictures ever made, despite its use of practical visual effects over CGI. The film has a dark sense of humor that soars on the wings of Bruce Campbell’s over-the-top performance. Such humor was sorely missed in this year’s remake.

Sinister

At the time that I first saw Sinister last October, it was the scariest movie I had ever seen. Director Scott Derrickson doesn’t cheat with his scares, evoking a sense of dread in every frame. It becomes more and more stylized by the end, but it’s still a bloody good time that caused me to lose sleep for days.

The Blair Witch Project

You have the creative team of Daniel Myrick and Eduardo Sanchez to thank for popularizing the “found footage horror” genre with this cult favorite. Made on a shoestring budget in the late 90s, Blair Witch is still one of the most realistic thrillers you’re likely to see. Its minimalist approach proves that the human imagination can be more frightening than any vampire, mummy or werewolf out there.

Paranormal Activity 3

In my opinion, this is the best of the Paranormal Activity franchise. Rewinding the story back to the VHS days of the late 1980s, this prequel hints at how and why the “activity” began. The scares start early and don’t let up, culminating in the series’ most shocking ending.

The Cabin in the Woods

This entertaining thrill ride from the creative duo of Joss Whedon (Buffy the Vampire Slayer) and Drew Goddard (Cloverfield) turns horror movie clichés on their head with a classic setup but a completely atypical payoff.

Zombieland

I enjoy the wacky sense of humor with which director Ruben Fleischer and scribes Rhett Reese & Paul Wernick approach this romp while packing on satisfying zombie action. Woody Harrelson, Emma Stone, Jesse Eisenberg and Abigail Breslin make for endearing leads.

Donnie Darko

Though not technically billed as a “horror” film, Donnie Darko is a season staple for its intricate plot, bizarre imagery and Halloween-time setting. A young Jake Gyllenhaal affirms his A-list status with an arresting performance.

The Nightmare Before Christmas

While Tim Burton’s stylized, stop-motion settings and characters certainly evoke the spirit of the season, Nightmare technically doubles as both a Halloween and a Christmas movie. It’s just as good any time of year.