The Equalizer 2 is lucky that the threshold for entertainment is just low enough to cover even middling affairs where Denzel Washington dishes out righteous justice to the cocky criminals and ne’er-do-wells of the world. This is very much a strict formulaic second entry for 2015’s original movie, based on the TV series. It’s lesser in just about every regard although it returns Washington, director Antoine Fuqua, and writer Richard Wenk. It’s hard not to feel like a paycheck venture where everyone went on some autopilot. The plot takes a bit long to get into gear and it’s desperately missing the first movie’s lead mob investigator to create an enticing game of cat and mouse. I miss the gradual escalation, as Washington’s character gets in worse and worse trouble as he moves up the ranks of the Russian mafia. I would actually say Equalizer 2 is a movie that peaks in its first act (my favorite moment was an episodic dishes of violent retribution with a group of arrogant sexual assaulters). There just isn’t anything truly memorable here. The action can often feel murky with how it’s been photographed, and there is the occasional questionable quirk that would take me out rather than fully engage (baking flour is combustible now?). There is a satisfying storyline where Washington reaches out to an at-risk youth to dissuade him from joining a gang. It has some nicely drawn character moments that feel meaningful, but then it’s back to the grind of whatever an Equalizer movie means in the twenty-first century. I enjoyed the first Equalizer as a modern-day Canon action vehicle with some pretty sickly entertaining deaths and taut action/suspense sequences. It was a movie that made its presence felt beyond Washington’s cool charisma. With the sequel, all we’re left with is Washington’s charisma performing the heavy lifting.
Nate’s Grade: C+
I can recall actively counting down the days until Independence Day was released in 1996, gobbling up every newspaper clipping and magazine article I could. I was a big fan of director Roland Emmerich’s Stargate, which is still a terrific movie, and I was eager to watch the end of the world, as we know it, in the privacy of my local theater. It was a blast, no pun intended, and one of the biggest box-office successes at the time. Surely there would be a sequel, especially after it helped launch Will Smith into another level of stardom. Flash forward twenty years, and here comes Independence Day: Resurgence, a sequel that misses what marked the original as escapist entertainment.
Twenty years later, human beings have been planning for the eventual return of their intergalactic invaders. Former president Whitmore (Bill Pullman) and CIA director David Levinson (Jeff Goldblum) have been trying to get the world prepared and studying our alien enemy. A psychic link is still formed from Whitmore’s brief bond in the first movie, and he keeps drawing mysterious symbols. Whitmore’s daughter, Patricia (Maika Munroe), is a former fighter pilot who works for the current president (Sela Ward). Patricia’s boyfriend and fellow fighter pilot, Jake Morrison (Liam Hemsworth), is stationed on the moon building a defense system. Then the aliens come back and pick up where they left off, annihilating Earth’s landmarks and population centers. It seems that their spaceship is going to suck out the Earth’s molten core, and by all accounts, that’s bad. Our ragtag group of characters must come together and overcome substantial odds once more to save the Earth from certain doom.
So where exactly did things go wrong? I’m not one to simply state that the filmmakers missed their window of making a quality sequel. While twenty years is a long time in between outings, it doesn’t mean that you will fail to come up with a compelling movie. Mad Max was 30 years between movies and this didn’t stop Fury Road from being a masterpiece. By most accounts, yes, there is certainly less of an appetite for an Independence Day sequel in 2016 than there would have been in 1998, but the first film is still fondly remembered and a worthy sequel would be welcomed regardless.
I think one of the bigger causes to Resurgence not working is the fact that the rest of the moviegoing world has caught up when it comes to big screen spectacle, therefore spectacle by itself is not enough without a zeitgeist edge. In 1996, cutting-edge special effects-laden destruction on a global scale was reason enough to buy a ticket and the largest tub of popcorn. In the ensuring two decades, large-scale cataclysm has become commonplace on the big screen; just about every climax of a Marvel movie involves some world-devastating threat. What once quickened pulses has now become ho-hum. Emmerich himself has become a modern-day Irwin Allen since the first Independence Day, almost specifically focused on global disaster movies. I honestly don’t think there’s a better director working in Hollywood for that gig (his next movie is about the moon crashing into the Earth, so “familiar” territory). I think Emmerich’s skill and vision for big screen spectacle goes unheralded too often and he gets lumped in with empty visual stylists like Zack Snyder and Michael Bay. He’s better than that. However, the tide has turned, and audiences have become sated from empty spectacle. They need something more, or at least something compelling, and Resurgence struggles to achieve this. It feels like the aliens are back and they’re bigger, and that’s about it, folks.
Disaster movies are generally judged by their set pieces, and what is most surprising about Resurgence is that it really doesn’t have action set pieces as it does skirmishes. The movie is only two hours long, which seems like a rarity nowadays, but this is one of the few movies I think could have benefited from some extra breathing room. It feels too rushed, its internal logic often forcibly contrived, and this is evident most in its action sequences. A better term would be “skirmishes” because the sequences themselves are so curiously brief save for the climactic fight during the third act. We’ll get bursts of intensity or dread that comes to a head with violence, but then that’s it and the movie moves along. It’s usually mere moments of brief alien destruction. The action lacks proper development. One of the keys to great action sequences is naturally complicating and developing the events. Resurgence doesn’t even change gears. It provides exactly what you expect, and then it’s over, the surprise being how unsatisfying and short the unimaginative experience was for all parties. It’s a long wait until the third act where the alien queen comes outside to play. The movie shifts into a giant monster melee and it’s the one time where Resurgence feels most lively. It still follows a contrived logic (the Queen has a shield… now she doesn’t…) but I’ll credit the movie with at least saving the best for last and finally letting the action expand. I had enough fun with the final act of Resurgence that I was able to forgive some of its early transgressions.
The first Independence Day wasn’t by any means a cinematic milestone but it was fun and had a clean enough throughline. We spent the first hour in typical Emmerich fashion being introduced to the different characters and then watching the dispirit elements come together. The mystery of what was out there was intriguing and it became a step-by-step process of deducing how mankind should respond. When their hostile intent was revealed, it then became a learning experience as to how to fight back. Aerial dogfights won’t work. Nuclear weapons won’t work. It was a simplistic examination of the threat. While the solution of giving an alien operating system a virus is still a head-scratcher, at that point the movie had earned its ham-fisted solution because it had followed a logically satisfying path of discovery and response from the moment of first contact. Resurgence lacks any real internal logic. Things just sort of happen when the plot requires them and then don’t. If you’re establishing a science-fiction landscape, establishing the rules of what is possible and allowable is essential to the audience’s understanding and enjoyment. Otherwise it feels arbitrary, much like Judd Hirsch driving a school bus of children across the salt flats into danger. This literally happens in Resurgence.
Also fighting for time is a slew of new characters that are charisma-free and contribute little to nothing to the larger story. The biggest offender may be Dylan Hiller (Jessie T. Usher), the son of Will Smith’s character. What does Dylan offer as a character? His entire characterization is, and I kid you not, that he’s upset with Jake over a training accident. He punches Jake in the first act and then… he just sort of pilots ships and shoots things in the sky. That’s it. He doesn’t feel the burden of living up to his father’s reputation, or trying to make his own name for himself. He just has a quarrel to settle and does and then he still just sort of exists in the movie and the screenwriters were like, “Oh right, he’s still here. Well, have him fly something.” Jake and the rest of the young pilots don’t fare that much better as characters. Besides superficial distinguishing characteristics, they’re all variations on the same person. They’re a multi-ethnic collection of vacuous character placeholders; it’s like you took Randy Quaid’s kids from the first movie and made them on par with Smith and Goldblum. These bland characters inspire little love and are often boring with little investment. If the next movie started with them in a car and a giant pillar crushing it, I would not mourn their cinematic loss.
There are some familiar faces returning but none of them are able to compensate for the deficit of charisma and screen presence that is Will Smith. Goldblum is on autopilot and doing his stare off into the distance and talk deadly serious thing. Pullman shows up again as a warning of what was coming, though a superfluous one at that. The biggest screen presence from the first movie belongs to Brent Spiner (TV’s Star Trek) as the Area 51 scientist who conveniently has also been in a coma for twenty years. Some of his comic relief is rather labored and cheesy, but it’s at least something. Charlotte Gainsbourg (Nymphomaniac) collects a check as a psychiatrist who has little bearing other than to be Goldblum’s ex. The most interesting new character feels like he stepped out of a Street Fighter arcade game; he’s an African warlord (Deobia Oparei) who likes to use a pair of machetes to kill the aliens. “You have to get them from behind,” he keeps insisting, and I keep snickering. There’s also that Emmerich staple of an officious government weakling who comically grows a spine. It just so happens this part is played by one of the screenwriters of Resurgence, Nicolas Wright. He studied, apparently.
The best thing Resurgence has going for it is the expansive world building, one of the few aspects of the movie that shows actual thought and care. This is one of the few movies I can recall where people actually try and use the technology of their defeated invaders. Rather than just throwing all those dead spaceships on a junk pile, mankind has decided to backwards engineer technological advancements. As a result, the contemporary feels like a sci-fi hybrid of humanity and the alien technology. It’s interesting to see what advancements have been made and how these have been integrated into regular society. I do question why we only have one defensive weapon/colony on the moon when there’s also one as far as Saturn. I wanted a bit more of a sociological examination on what life post-War of 1996 means. Life would be so fundamentally altered by the realization we are not alone in the universe, and not only that but that we need to play catch up fast to survive. The assumption would be that they will be back. The threat of annihilation unifies the world but what are those consequences? What are the consequences of living in a permanent military state of readiness and anxiety, wondering is it all going to be enough?
If you have fond feelings for the original Independence Day, there may be enough good will with the sequel to appease your demands, though probably only barely. Resurgence suffers from CGI-heavy spectacle that has long lost its appeal without supplying helpful additions like characters to care about, exciting action sequences that develop and impact the plot, meaningful plot turns, and a story that follows some form of logic. It’s not a disaster in all senses of the word. In a summer that’s already building a reputation for its mediocrity, I think there may be enough that Independence Day: Resurgence has to offer that select moviegoers will walk away feeling momentary entertainment. It’s not that the first film was intellectually rigorous sci-fi, but it went about its destructive business with a satisfying precision. This movie all too often just feels like things happening, then not happening, and with characters that are there but without any compelling reason beyond survival. The end of the movie sets up an intended sequel and possible extended franchise of sequels with a larger galactic war against the alien invaders. It’s both hopeful and naïve, dangling the promise of another tantalizing humans vs. aliens throwdown. It’s also a bit aggravating because the premise of the hypothetical sequel (I’m going on record saying it won’t come to fruition for another 20 years) is much better than the “they came back again” sequel we get with Resurgence. Don’t make me pay my money and then tease me with a better movie down the road. Nothing should be taken for granted. Independence Day: Resurgence takes too much for granted, and that’s likely why this resurgence will stop with one entry.
Nate’s Grade: C
In the year 3000-something an alien race of blue figurines known simply as the Drej pretty much obliterate Earth. There’s your starting point for a movie – a few billion deaths. The last survivors drift through the ends of the universe at the bottom of the interstellar ladder. One survivor (voiced by Matt Damon) is later visited upon by a rag-tag ship led by Korso (Bill Pullman) and the shapely purple-locked Akima (Drew Barrymore), survivors of Earth as well. They rescue Damon and inform him that in his hand he holds the key to reaching a ship his father hid long ago that could create a new home world for all the drifter humans. And the Drej don’t like this idea and will stop at nothing chasing him until they find the location of this ship, the Titan, for themselves.
Sure, the effects and painted backgrounds are nice but the animation is choppy at times and the constant rotating of sets incorporated with traditional 2-D animation rates high on the annoyance scale and only shows how the 2-D stands out even more. To learn how to mix and match these styles effectively watch The Prince of Egypt. There are some sequences that are truly visionary, most notably a cat-and-mouse chase through a cluster of gigantic reflective ice crystals. But a movie is not made or saved by one scene.
The most disappointing aspect of Titan A.E. is the flat and tired script from three incredibly talented writers I admire very much (the creator of The Tick, Joss Whedon – creator of Buffy the Vampire Slayer, and John August – writer of Go). The story owes many debts to ‘Star Wars’ but even more to ‘The Wizard of Oz’. The Drej are merely faceless pop-up bad guys with zero personality or development. They wish to destroy humanity but no explanation as to “why” is ever given. They’re clouded in lifeless ambiguities. As a result you can never really care for the heroes when you could care less about the villains.
Why is Titan A.E. rated PG? Well despite its lack of fear to show some blood, and gun shots for that matter, it features the animated posterior of Damon with some light sexual banter that will thankfully fly over most kids’ heads. A quibble of mine is for equal opportunity for animated nudity. If I can see a cartoon male ass in a PG-flick, or on prime time television even, why must female nudity be slapped with an R? Let’s erase this gender double standard and let all sexes be equal under one animated nudity.
Titan A.E. may have the look but it never can maintain the feel of good sci-fi. Often times it’s either heavy-handed or overly dull. Everything is “been there, done that” but set to a non-stop playing of a soundtrack that just keeps screaming “BUY ME! BUY ME! BUY ME!” For those hoping for Disney to take its stranglehold off animation and entertainment, this picture isn’t your fabled messiah. You’ll have to wait… again.
Nate’s Grade: C