Imagine a world where over 90% of all children die from a strange, highly contagious disease. Does the government, for the sake of the future, take every precaution to protect the few that remain? Of course not!
No, U.S. President Gray (Bradley Whitford) has the military round up all of the surviving children, who are all carriers of the disease and thus have one of five distinct color-coded powers. Kill the ones that can’t be controlled. Imprison the rest of them in labor camps.
Teen Titans Go! To the Movies begins with a reel of comic book panels flipping rapidly. It appears like a title card from a Marvel film. However, the camera pulls out to reveal a person flipping through a comic. After dispatching (sort of) a giant bubble supervillain, the Teen Titans—Robin (Scott Menville), Starfire (Hynden Walch), Cyborg (Khary Payton), Raven (Tara Strong), and Beast Boy (Greg Cipes)—sneak into a movie premiere, where the film “Batman Again” is screening. The auditorium is jam-packed with DC comics superheros, some attending in order to watch themselves on screen.
Christopher McQuarrie’s Mission: Impossible – Fallout is the sixth installment in the Mission: Impossible franchise, and like all long-lasting Hollywood franchises it serves a steady-handed formula.
The plot of Fallout, then, needs little explanation. American secret agent Ethan Hunt (Tom Cruise) is tasked with finding and retrieving a series of MacGuffins. To do so he reassembles a familiar team. Hunt will dangle high in the air. He will run at top speed. He will go rogue. All in pursuit of a narrative fueled for the contrived sake of action set pieces. All of which are stellar, so who am I to complain.
There is something inexplicable about The Equalizer 2. For one, and perhaps most importantly, it is the first sequel that legendary actor Denzel Washington has chosen to take part in. Why this particular project struck his fancy is hard to say. He seems to enjoy the wise man action hero personality. He has a history of collaboration with the film’s director, Antione Fuqua.
But the script for The Equalizer 2 couldn’t be called impressive. It structures a feature length film. But the plot slides away from the brain like bland scrambled eggs off of a nonstick pan. There is nothing Continue reading The Equalizer 2 (2018) Movie Review→
San Francisco. It is a bleak, ash-covered world. Lost and devoid of hope, survivors futilely search for meaning after a battle at Wakanda changed the universe with a single snap.
Just kidding! Marvel’s Ant-Man and the Wasp, the sequel to Peyton Reed’s 2015 film Ant-Man, is set weeks prior to the events of Avengers: Infinity War. Scott Lang (Paul Rudd), aka Ant-Man, is at the tail-end of his house arrest, which he landed after helping out Captain America during the events of Captain America: Civil War.
The FBI are constantly looking over Lang’s shoulder while also looking for Lang’s co-conspirators Hope Van Dyne (Evangeline Lilly) and Hank Pym (Michael Douglas). Hope and Hank, meanwhile, are working to Continue reading Ant-Man and the Wasp (2018) Movie Review→
I’m going to be transparent about something up front: I’m going to the mat for The First Purge. Not only do I think it is a passable movie, but I think it is the only good Purge film to date.
The Purge is a franchise whose premise showed so much promise from the beginning. An American political system in which an annual event allows all crime to be legal for one night. It has B-movie schlock written all over it.
Why, then, was The Purge a quaint home invasion movie? Sure, it had the high concept marketing gimmick of people in creepy masks (a concept that has reached pique kitsch by the fourth installment). But otherwise it was no different, narratively, from a Funny Games or a Panic Room (both of which: superior artistic efforts than The Purge).
There are two reviews I can write about Sicario: Day of the Soldado. One compares the drug cartel thrill-drama to its inarguably superior predecessor. The other views it in a vacuum. One of these reviews disparages the film. The other provides a half-hopeful shrug of the shoulders.
I scrawled this note—thin and chicken scratched—in my notebook about an hour into J.A. Bayona’s Jurassic World: Fallen Kingdom, the sequel to Colin Trevorrow’s smash-hit 2015 film Jurassic World (itself being a soft reboot of the Jurassic Park franchise envisioned by Steven Spielberg).
From moment one of Superfly, the remake of the 1972 blaxploitation film of the same name, there is over-indulgent bombast. Not to demean the song that kicks off the film. Future curates the original music throughout, which is lush and appealing, if not an impossible comparison to Curtis Mayfield’s scoring of the original film (his “Pusherman,” which is one of the best original songs made for a film, gets reprised in this movie).
Music, in fact, might be the strongest aspect of Director X’s vision of enigmatic Atlanta drug pusher Youngblood Prince (Trevor Jackson). It makes sense, given the man’s lengthy history as a music video director.
That also likely explains why the plot of the film begins in a highly-active strip club. This sequence is, more or less, a hip-hop music video. And the rest of the film Continue reading Superfly (2018) Movie Review→
Gary Ross’s Ocean’s 8 is an all-female reboot of the wildly popular Ocean’s trilogy from the 2000s (those films directed by Steven Soderbergh). In the film, Danny Ocean’s sister Deborah (Sandra Bullock) gets paroled from prison after almost six years of detention. During those five plus years, Debbie planned an intricate heist of a $150 million Cartier diamond necklace.
Debbie and her partner (Cate Blanchett) round up a crew of criminal specialists (Helena Bonham Carter, Rihanna, Mindy Kaling, Sarah Paulson, Awkwafina) to pull off the heist during the Met Gala, where they have arranged Continue reading Ocean’s 8 (2018) Movie Review→
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