With just two finished movies attached to his resume as screenwriter, Taylor Sheridan has enjoyed immediate success. Sicario and Hell or High Water were both some of the finest films of their respective years. Sheridan has a classical sense of structure but he also pumps his big, bold Hollywood dramas with meaningful commentary and substance to communicate a systemic rot from within, whether it is the spiraling war on drugs, the rapacious banking industry, or an entire enclave of people that are ignored as an act of historical penance. When you come to a Taylor Sheridan movie, you leave feeling full on a banquet of superior screenwriting. Wind River is his next feast.
A young Native American woman, Natalie (Kelsey Asbillie), is found barefoot and dead in the snow on a Wyoming reservation the size of Rhode Island. A confluence of law enforcement officers investigate while questioning who has rightful jurisdiction, the state police, the Native police, or FBI Agent Jane Banner (Elizabeth Olsen). She’s frustrated that, while the coroner will confirm she was raped the night of her death, Natalie is not being dubbed a homicide because of the cause of her death. Jane seeks out the assistance of Cory Lambert (Jeremy Renner), a wildlife hunter for the Fish and Game Department who watches out for predators. He knows the land, he knows the people, he personally knows Natalie’s family, and he knows the loss of a daughter. Cory agrees to help Jane discover who is responsible for the murder and seek justice and, possibly, vengeance.
This is a deeply felt character-driven mystery that examines the lingering damage and defenses of a group of people often left on their own and often forgotten. Sheridan is quickly establishing himself as cinema’s finest voice when it comes to a twenty-first century cowboy ideal, the taciturn, wounded man soldiering onward in an unfair world. Sheridan has a commanding sense of place and character, but his perspective rarely connotes judgment. He’s more an observer, a therapeutic device for his characters to finally express themselves and their brokenness and how the world made them this way. He can be downright poetic but his instincts are for a large canvas with Hollywood thespians. He writes meaty, distinguished, and humane characters all around, not just for the leads. One of the hallmarks of Sheridan’s writing is how precise and generous he can be with his stable of supporting actors. As the story develops, we see just how the death affects the small community, a community struggling to hold itself together anyway through poverty, drug abuse, and limited work opportunities (according to a 2012 New York Times feature, life expectancy on the reservation was 49 years). There is a pervading sense of hopelessness that carries over the land. The people in this movie feel real, lived in, and haunted, and the location feels exactly the same. The ending text leaves a stark reminder of this feeling like a world on our peripheral: no statistics are kept for missing Native American women. Nobody has any sense how high that figure could be.
The leading man of Wind River is Renner (Arrival) but the real star is his character, a gritty and experienced wildlife hunter with an abiding reserve of unresolved issues pertaining to his own teenage daughter’s murder. He has some beautiful monologues in this movie, exquisitely written by Sheridan to showcase characterization and back-story. The first is when he helps his grieving friend by sharing the routine he went through with his own personal loss, specifically how forgetting the person, and the pain of their loss, is the worst thing one can do to honor them. “Take the pain. It’s the only way to keep her with you,” he says. Renner delivers his best performance since 2010’s The Town and it’s one that asks him to slow things down. This isn’t a flashy role, and even though there are some stunning monologues, it’s a role that asks for more understatement. Sheridan has a clear favorite archetype but he finds ways to make each person distinct.
Elisabeth Olsen’s (Ingrid Goes West) character is intended as the audience entry point into the land and history, so as such she will suffer as the rookie who always seems to be out of her depth. This is exemplified by just about every assailant getting the drop on her, even after a meth head answered the door by spraying her with pepper spray. To her character’s credit, other characters befell these same missteps but they aren’t the next most significant character. She’s an outsider trying to find her footing in delicate territory. Olsen is the one asking questions often, pushing others to explain, which usually means much of her performance is reactive, with characters uncorking those fantastic monologues. However, her best moment is during the end, when Cory is talking her through a traumatic recovery. It’s so obvious that he’s saying the words he always wish he could have said to his daughter, and so the psychological projection becomes too much for Jane who breaks down sobbing, serving as therapeutic vessel for empathy. It’s a powerful scene and the closest thing to catharsis the movie has to offer.
As such, the story is more a reflection and outlet for the characters, but it’s also an intriguing mystery until Sheridan decides to just throw up his hands and explain everything. Until the third act, the central mystery of who killed Natalie is filled with curious and dangling questions that are made all the more interesting from the unique setting and circumstances. Her lungs exploded from the cold after she ran, barefoot in the snow, for six miles for help before collapsing. That’s an interesting aspect I’ve never considered before when it comes to environmental dangers. Tracing back the events of her last night, Sheridan opens up an analysis on the precipitous lives of small-town America, except it’s a Native American reservation that’s sovereign from America. It’s an engrossing look into a culture and way of life few ever see. It’s a very unique setting that unfurls gradually over time, allowing the viewer to engage with the people, their fraying community, and the pain endured. And then the film hastily introduces its obvious culprits, shifts into an extended flashback sequence that explains everything, and zooms right into its tense climax. It all still works, don’t get me wrong. You’ll feel the mounting dread gnaw away at you during that flashback, and you’ll feel the rush of adrenaline during the shootout, and the sense of vindication by its conclusion. However, Sheridan was doing such a fine job at parceling out his elegiac story before that it almost feels like he quickly looked at the time and decided to rush into the finish.
This is also Sheridan’s first time behind the camera as director and he acquits himself well enough. A distinct sense of style doesn’t emerge but his directorial instincts follow his screenwriting strengths; the man knows when to get out of the way. The conclusion has a nasty snap of tension to it and the action hits its marks with power, having given quite the windup. Sheridan is best at directing his actors, who as stated above, give strong, emotive performances that linger with you. Wind River doesn’t prove that Sheridan has more to offer from a directing chair, but it does provide a baseline for a start to grow. I imagine from here on, having built up a reputation for writing critically acclaimed adult thrillers that big name actors flock to, that Sheridan will be directing the majority of his favorite scripts. He might not have the visual acuity or sense of vision that a Denis Villeneuve has, but he’ll reliably deliver strong performances from capable actors. He’ll also be the best steward for his stories, and I need so, so many of them.
Nate’s Grade: A-
For the new sci-fi film Arrival, I felt that an unconventional review might be suitable considering that the movie is about communication. Therefore I sought out my pal Eric Muller to converse over the many qualities of this intelligent movie. Enjoy, dear reader.
General plot synopsis: a dozen mysterious alien ships hover above the ground across the globe. The government seeks out the assistance of Dr. Louise Banks (Amy Adams), an expert linguist, to try and establish a communication line with the aliens and determine whether they are friend or foe.
Nate Zoebl: So Eric, my good friend, let’s talk about our first impressions of director Denis Villenueve’s Arrival. I was really taken with just how cerebral it all was. Given the director’s pedigree (I absolutely loved Sicario), I was expecting an intelligent movie that wouldn’t follow the same blueprint as, say, Independence Day: Re-Something or Other Go Boom, but in many ways this movie feels like you’re studying for the SATs. I don’t mean that as an insult. It’s a rather highbrow movie that follows a team of smart people doing something incredibly hard with a level of precision that brings an intense sense of realism to the scenario. It made me think of Arthur C. Clarke science fiction where if first contact were to happen it might go very much like this. It’s a linguistics puzzle box and I found that to be fascinating. The movie delivers on that front. I’m sure the casual moviegoer will be bored by the lack of intensity for two acts of movie but I was delighted. You?
Eric Muller: My first thoughts were, “Wow, Hollywood made a first contact movie that looks like how the real first contact would go.” Unlike other Hollywood blockbusters, this movie is patient. The focus of the movie is not the actors or special effects like other contact movies, the focus of Arrival is the script. The movie is a love letter to language and communication. The director did an amazing job of telling the story and also flipping conventional storytelling.
Nate Zoebl: We’ll get into more of the flipping the script, so to speak, in our spoiler section but I heartily agree. I’ll also admit that I feel much like Amy Adams as I await your next reply in this discussion (not to make any general comparisons to you and heptapod aliens). I think patience, as you cited, is one of the movie’s greatest virtues. It takes its time, it naturally develops, and this is definitely evident in the first act. The step-by-step process of Adams and Jeremy Renner and the other scientists being escorted to the alien ship, suiting up, being told the hazards and unknowns, and going inside, experiencing the different gravity, and coming up close to the giant white wall that promised so much on the other side, it’s teased out in a fashion that allows for anticipation to rack your nerves. The fear of what they’re stepping into really settles in.
Eric Muller: I’m okay with being compared to a heptapod. I appreciated the movie taking its time, allowing the audience to learn and discover at the same time as Amy Adams and Jeremy Renner. In other movies, learning the new language is usually done in a 15-minute montage. This movie is a Sci Fi movie dedicated to discovery, which is what science is.
Nate Zoebl: It’s definitely a movie of discovery and I appreciated that it doesn’t gloss over the challenges and details of that. It’s also a discovery of our heroine, but again we’ll save that discussion for a little bit. At its core, it’s a movie about language and communication. How are we able to connect and interpret others? If 12 giant alien ships, which kind of looked like Pringles chips, were to one day appear randomly across the globe, how do we interpret intent? That’s the movie’s ticking clock, uncovering the intent of the seven-legged squid-like aliens before the more alarmist elements of our society give in to paranoia and destruction. How would an alien species even begin to try and have another understand its language? That’s a fascinating starting point. I appreciated that the alien language was, indeed, alien. It’s made up primarily of inky pictographs, circles with slight variations. This movie must have been nirvana for a calligrapher.
Eric Muller: There are going to be a lot of tattoos based on heptapod language. But you said it; the language barrier would be the first and hardest barrier to overcome in this situation. And there is one scene that really illustrates that point. When Forrest Whittaker asks Amy Adams why she is showing the aliens just simple words. Adams breaks down why the question “What is your purpose here on Earth?” is such a complicated question. Especially to anyone who doesn’t understand English.
Nate Zoebl: I think that’s such a smart scene because it opens up for us dumb-dumbs in the audience just how complicated language can be. He asks why teach them words and she says so that they have a vocabulary that they can answer back with. Arrival is kind of like the most intriguing ESL class you never took at the Learning Annex. What technical elements really stood out for you in the film?
Eric Muller: My favorite thing was them getting inside the spaceship. I know it was a simple camera trick with some CGI but it looked so good.
Nate Zoebl: Villenueve films are downright impeccable when it comes to their technical merits. Sicario was, top to bottom, a beautiful movie from looks to sounds to editing. The cinematography for Arrival was tremendous and really accentuated the overall eeriness. Also, the sound design deserves an Oscar. The sounds of the aliens as well as the disconcerting musical score kept me on the edge of my seat. The special effects were best used sparingly. The aliens themselves worked best when they were somewhat shadowed, allowing our imaginations to go into overdrive to fill in the rest.
Eric Muller: Was it just me or did the aliens looks like the final form of the Elcor species from Mass Effect? For a budget of only 47 million, Arrival looks better than a lot of movies made with three times that budget.
Nate Zoebl: My question for you: was this central mystery enough for you before the pieces fell into place in the third act and the movie’s larger end design was revealed? I think we’re getting close to talking about all that good spoiler stuff, but before we do I wanted to know if the central drive was enough for you and in particular if the characters worked well enough. We’re treated to a tragic series of flashbacks to provide some back-story to Adams, but I don’t know if I’d say the movie presents much in the way of characterization until the third act (promise, we’re getting there…). Hear me out, old friend: I almost think Renner’s character is the typical “girl” part that Hollywood fills in these kind of larger movies, the co-lead which is really meant to support the main character and, typically his, journey of self-actualization or healing or whatever. I think there might be some subtle gender politics being subverted there or maybe I’m reading too much into an underwritten character.
Eric Muller: The central mystery was more than enough to keep me interested. As I noted earlier, we were discovering the events just like Any Adams. And you are right that this movie feels like if it had been made 10-15 years ago the genders for the two main leads would have been swapped. Probably have had Keanu Reeves and Sandra Bullock.
Nate Zoebl: The natural sequel to The Bus That Couldn’t Slow Down. I suppose it’s here we should start getting into spoilers, so if anyone would like to remain pure, please come back later to read the rest of our conversation.
[WARNING: SPOILERS FROM HERE]
Nate Zoebl: It’s a movie about language and our interpretation of language and I think, very cleverly, Villenueve and the screenwriter play with the language of film storytelling. We’ve been assuming from the start that these snippets of sense memories from Adams were of her tragic past. Au contraire my friend, they are revealed to be not flashbacks but flash-forwards to a future she has yet to live. Rust Cohle was right; time is a flat circle.
Eric Muller: This movie is a classic twist on a golden age Sci Fi story. Amy Adams’ character arc could have been an episode of the Twilight Zone and been just as good.
Nate Zoebl: I think the filmmakers make something we’ve seen before, and frankly have become somewhat trite, and subvert it while making the movie and the central protagonist far more interesting. We’ve seen the tragic character that has to overcome the grief over the death of a child before, even recently in 2013’s Gravity. We’re primed for that kind of familiar Hollywood back-story to provide a dollop of depth to the main character. And then when the reveal comes, it makes the scenes have even more emotional power. Adams knew that she would have a daughter who would ultimately die as a teenager of some sort of awful disease, and Adams chooses to go ahead with this future fully knowing the unbearable pain that waits. This revelation instantly makes her character so much more interesting and puts the audience in her place to ask whether we would do the same.
Eric Muller: It is a great twist on a story we have seen before. Also it puts her in the position of whether she tells her husband about their daughter’s future.
Nate Zoebl: And that philosophical divide is ultimately what dooms her marriage. Here’s my choice, and I’ll be interested if yours varies: I would have gone along with it too. Yes, knowing what is to come means that a child was brought into existence to die sadly as a teenager and will suffer, but she will also live and love and laugh for many days beforehand, and knowing the end provides a lens that incentivizes every moment spent together. Yes she will die eventually but any one of us could be snatched from the world at any moment. At least she got to know love and life for so many years before it was taken away from her. How would you choose in this scenario?
Eric Muller: I would let my wife know so we could enjoy every minute with our child.
Nate Zoebl: Let’s step away from the emotional aspects. The end reveal also provides a jolt of energy to the climax because now it becomes a race against time, but time is also forward and backwards. Amy Adams has to stop the Chinese military from striking the alien ships and she has to use information from events that have not happened to save the day in the past. It’s a heady moment of criss-crossing plot streams that really works.
Eric Muller: That reveal, that scene with Amy Adams with the Chinese general, was my favorite scene in the movie. The writing, the way it was shot, and the timing. The timing of that scene gave the audience a chance to breathe and fully take in the reveal.
Nate Zoebl: The scene reminded me of Christopher Nolan’s Interstellar, a film I wasn’t that fond of beyond its second act planet-to-planet investigations. The screenwriter in me wants to criticize the use of the future to bail out the past because it feels a tad too easy. However, while it really irritated me in Interstellar (couldn’t you be a bit more helpfully specific, Future People?!) I didn’t have a problem with its use in Arrival. Maybe I’m a hypocrite but I feel like the execution is much more impactful here and it doesn’t undo the plotting from before. It doesn’t feel like a cheap trick. The heptapod aliens experience time as a circle rather than linearly, much like Dr. Manhattan crushing through the past, present, and future simultaneously. If we could see our future selves and the actions we make, and inform our current decision-making, I think that would probably bring about a rare world peace. Also, I really liked that the aliens weren’t just these benevolent gifters but had an agenda as well because they know humans will save them thousands of years in the future. It’s like they intervened so we could save ourselves.
Eric Muller: I also liked that the aliens said they will need us in 3,000 years. We never discover what the aliens need from us then. I think we went over this earlier, but Arrival is not a new story but just a great take and twist on that story.
Nate Zoebl: I liked that open-ended nature of the story. What if the aliens had come to Earth and spoke in nothing but emojis? Lots of pictures of eggplants and “A-ok” fingers and strangely anthropomorphic poop.
Eric Muller: Then we would use Amy Adams’ soon-to-be-dead daughter to solve the mystery.
Nate Zoebl: The aliens would essentially be modern teenagers (I’ll shake my old man fist at The Kids Today). The daughter would be all like, “Whatever mom.” And then we’d all be dead. Though the ending reveal raises the question of fate versus free will. Can these future events and memories be prevented? I don’t have an answer.
[END OF SPOILERS DISCUSSION]
Nate Zoebl: So Eric, what would you rate this movie?
Eric Muller: I have to go 5 out of 5 stars. One of the best movies I have seen this year. It was a better version of Contact. When you look at it versus Independence Day: Resurgence, it did everything right that ID4 2 failed at, like how you view Civil War versus BvS.
Nate Zoebl: Fair enough, though please don’t ever bring up BvS in polite conversation without first giving me plenty of advance warning. I’m still working through that one. I think I’d rate it an “A-” myself, and I might change that in time. I think the only thing that held me back from a full “A” is that it saves the emotional investment a bit too late to have the full wallop I think it intended.
Nate Zoebl: Now, on a scale of eggplant emojis, how many eggplants are you giving this movie?
Eric Muller: Is this where I admit I’m too old to understand emojis?
Nate Zoebl: I’ll also admit that I don’t understand the appeal, especially conversations that are nothing but emojis. Fittingly, I’ll end this discussion with pictographs:
[Smiley face emoji + cat dancing emoji + little green alien with “we’re number one” foam finger emoji + movie theater emoji + eggplant emoji + “A-ok” fingers emoji]
Nate’s Grade: A-
Think you were disappointed by last summer’s Avengers: Age of Ultron? The pressure-packed experience broke writer/director Joss Whedon who swore off being the creative shepherd of the Marvel cinematic Universe (MCU). Enter the Russo brothers, a pair who were widely known for their work in eclectic TV comedies like Community and Arrested Development before blowing away all modest expectations with 2014’s Captain America: Winter Soldier. I can say that the Russos are more than capable for the challenge. My simplistic blurb for Captain America: Civil War is thus: everything Batman vs. Superman did wrong this movie does right.
After the cataclysmic events of multiple movie climaxes, the world governments are wary of the power wielded by the Avengers. Secretary Ross (William Hurt, the lone returning element from 2008’s Incredible Hulk) is pushing the superheroes to sign the Sokovia Accords, which would put them under the control of a U.N. joint panel. This panel would decide when and where to deploy the Avengers. Captain America, a.k.a. Steve Rogers (Chris Evans), is worried about a group of people taking away their choice. Iron Man, a.k.a. Tony Stark (Robert Downey Jr.), believes that they need to accept limitations and that agreeing to these terms staves off something worse later. This division becomes even more pronounced when Rogers’ old friend the Winter Soldier, a.k.a. Bucky Barnes (Sebastian Stan), reappears as the chief suspect in a U.N. bombing. Black Panther, a.k.a. T’Challa (Chadwick Boseman), swears vengeance against Barnes for the bombing. As the assembly of heroes squares off over the fate of the Winter Soldier, Baron Zemo (Daniel Bruhl) is tracking down classified Hydra documents to uncover pertinent information that will topple an empire.
While I don’t want to turn every new film review as an opportunity to beat a dead horse, I cannot help but draw immediate and stark comparisons between Civil War and the earlier titanic superhero slugfest, Batman vs. Superman: Dawn of Justice. Let’s take this case point by point so there is no reasonable doubt left for the jury of ticket-buyers.
“Batman vs. Superman doesn’t set up its conflicts with enough time to develop them and it lacks real emotional stakes.”
With BvS (I’m saving my fingertips some drudgery), we hadn’t known these characters for more than one movie at best, and in the case of Bruce Wayne less than one. When they fought there wasn’t any real stakes despite the apoplectic marketing because we hadn’t built relationships with these characters. In the case of Henry Cavill’s Superman, many were turned off entirely by the guy (not necessarily by Cavill’s physique, though). Did anyone really care who won? The filmmakers relied on the audience to supply their pop-culture good will for the characters instead of proper characterization and development. In the case of Civil War, we’re dealing with the cumulative effect of having twelve movies to build up storylines and character relationships. We’re invested in these characters and their friendships, so when they fight it actually does matter. You feel for both sides and multiple characters and the movie does a good job of providing each side a credible motivation. It’s a political thorny issue but it’s kept very streamlined, focusing more on the characters. If the MCU has had one nagging problem throughout its history it has been a dearth of good villains. There’s Loki and… Loki. One solution is to just pit the heroes against each other and this produces as many fist-bumps as winces. My audience was gasping at reveals and twists and turns. They weren’t doing that with BvS. And wouldn’t you know Civil War actually has a climax that’s more than just an increasing series of punches and kicks (though plenty of those are featured); the climax is an emotionally grounded confrontation that cuts to the core of the group. The events of this movie matter and while obviously it can’t follow its divisions to an irrevocable end, I appreciated that not everything is resolved. These storylines and the conflicts between characters will carry onward when we pick up the pieces in 2018.
“Batman vs. Superman is too burdened with setting up an array of other film franchises that it loses badly needed focus and momentum.”
To be fair, this charge can also be laid at the feet of Age of Ultron, which buckled under the heavy weight of setting up multiple other future movies rather than telling a completely satisfying movie in its own right. Once the franchises gave birth to mega-franchises, the wheels-within-wheels of moneymaking, now the studios require a lot of heavy lifting from our entertainment. They’re investments in futures and if done improperly can easily crumble under the failed execution like the Amazing Spider-Man series (R.I.P. 2012-2014). Miraculously, Civil War finds ways to involve every member of a large ensemble cast into the story in ways that matter. The movie finds small character moments that make them feel better rounded, like Vision (Paul Bettany) and Scarlet Witch (Elizabeth Olsen), and it introduces featured supporting players with great care. Black Panther is a terrific addition and brings a quieter intensity that contrasts nicely with the more colorful characters. Hawkeye (Jeremy Renner) introduces himself and Black Panther curtly says, “I don’t care” and goes back to fighting. Boseman (ageless I tell you!) is smooth and magnetic. Then there’s everyone’s favorite neighborhood Spider-Man (Tom Holland), or whom I’m already referring to my pals as “best Spider-Man.” It’s another incarnation of Peter Parker but the first that feels like an actual teenager, a bundle of adolescent energy and excitement. He’s the voice of the fans and during the big battle he can’t help but gush that he gets to be involved alongside the big names. Spidey’s a fanboy too. He also has a few choice meta one-liners that had me cackling. Holland (The Impossible) makes an immediate impact and, unlike BvS, finds new ways to make us care. I’m genuinely excited for solo Black Panther and Spider-Man adventures with these characters. Even the more traditional villain of Civil War, Baron Zemo, is handled in a way that provides an emotional motivation for his character that is sincere rather than mustache-twirling villainy. In a lot of ways this feels like a third Avengers film just with the size and scope alone. The dozen characters are juggled skillfully but the emphasis is always on Rogers and Stark and their significant personal conflicts.
“Batman vs. Superman’s action sequences are repetitive, joyless, and dank.”
I challenge some enterprising soul to even try and decipher what is happening during the climactic three-on-one monster battle in BvS. I was sitting in the theater and just gave up. I wasn’t having any fun and I couldn’t even literally tell what was happening onscreen with all the confusing CGI obfuscation. The action droned on and on with little variation and was at pains to include certain members and storylines (Lois, maybe don’t get so hasty with that kryptonite spear). It was all just one big overwrought mess that made you question whether anybody on that film production actually liked these superheroes. With Civil War, the action sequences are smartly conceived and choreographed, making excellent use of geography and adding organic complications. The standout is the 20-minute superhero-on-superhero brawl at the Leipzig airport. It is nothing short of nerd nirvana. The characters use their powers together in exciting ways and it further helps them feel like an actual team taking proper advantage of their resources. It’s the culmination of a child’s imagination at play, the living embodiment of smashing action figures against one another and flying around the room. I was thrilled that the Russo brothers found ways to incorporate all the heroes into the action. The specific powers are taken advantage of in fun and surprising ways. The action changes as the stakes keep getting more complicated as more heroes enter the fray. It’s a set piece that will become legendary within film geek circles and it provides payoff after glorious payoff.
“Batman vs. Superman is devoid of all fun and takes itself far too seriously. You feel beaten down, exhausted, and punished by film’s end.”
The Marvel movies have earned a reputation for their brisk and breezy nature, which has unfairly been labeled as “weightless” and “silly.” I challenge someone to watch Civil War and tell me just how weightless and silly it is. The Russo brothers and the screenwriters take these characters seriously and their care shows. While there can be plenty of rapid-fire quips and one-liners, the movie’s sense of humor does not detract from the emotional weight of its dramatic shifts. There are political and thematic overtones, mostly the costs of vengeance and culpability, that provide extra depth to the onscreen derring-do. However, Civil War understands that an audience wants to be entertained as well with their heavy-handed messianic imagery. There are payoffs galore in this movie. Some are several movies deep from set up. It all comes together to make a thrilling and highly enjoyable movie experience that plays to its audience in the best way possible. It’s an expert summer blockbuster that packs its own punch. There’s a reason I have already seen Civil War three times already. There is so much to enjoy and it’s so tightly packed and structured that you can jump right in and go for the ride. This is the movie fans were hoping for. This is the movie that washes out the bad taste of the dreadful BvS. If one of my lasting disappointments with BvS was how it made me lose hope for future DC movies, Civil War has cemented my anticipation. The future creative direction of the MCU is in good hands with the Russo brothers. This is the movie that reminds you just how damn good superhero movies can be when they’re at the top of their game. I’d place Civil War right up there at the top of the MCU, though at this time I’m still holding Guardians of the Galaxy as the apex. They’re still achieving this high level of quality after a dozen movies, people. I would not have thought that Captain America would become the gold standard of the MCU but there it is. I felt beaten down by the merciless end of BvS. I felt the elation of an adrenaline-rush from Civil War.
I’ll conclude this unorthodox film review with my in-summary blurb: everything Batman vs. Superman did wrong Captain America: Civil War does right. Do yourself a favor and start the healing process from BvS and enjoy Marvel’s latest cinematic gift to its fans.
Nate’s Grade: A
Not as outlandishly crazy as the Fast and the Furious series, not as beholden to tradition as the Bond series, the Mission: Impossible series doesn’t get the same notoriety but I’d declare it the most consistent and best action franchise going today. Each new film is a distillation of their director’s strengths, keeping things fresh, and the mainstay is Tom Cruise in prime action hero mode and risking his life like a madman. While not as dizzyingly entertaining as 2011’s Ghost Protocol, Rogue Nation is another fun and action-packed spy thriller with terrific and memorable set pieces. The plot involves Ethan Hunt (Cruise) and his team on the run, again, as their agency is shut down for its reckless methods. A rival agency known as The Syndicate is plotting political assassinations, so Hunt and his team (Simon Pegg, Jeremy Renner, Ving Rhames) must work along the fringes to save the day. The newest addition is Swedish actress Rebecca Ferguson as a mysterious ally and antagonist for Hunt. She’s smart, formidable, and not treated as a romantic interest or overly sexualized (progress). After Alicia Vikander’s superb performance in Ex Machina, and now Ferguson’s steely turn, it’s quite a booming year for Swedish imports. The series’ star is still Cruise and his cavalier treatment of his 50-year-old body in the pursuit of the daredevil stunts. The opening with Cruise attached to the outside of an ascending cargo plane is a stunning image jolted by the charge of realism. An underwater vault break-in is wonderfully developed. The snazzy car chases, motorcycle chases, and foot chases all benefit from Cruise being front and center. Say what you will about the man but he’s a movie star. The biggest problem with Rogue Nation is much like Ghost Protocol in that it peaks in the middle. The last act takes place entirely in London and it just can’t compare with what came earlier, which leaves the movie lumbering to a close with its rather substandard villain. Even with a less than stellar conclusion, Rogue Nation is another entertaining, fun, and thrilling action movie that would be the best the summer has to offer if it weren’t for the highs of Mad Max. Nate’s Grade: B+
The Avengers wasn’t just a blockbuster it was a mega-blockbuster and rewrote the Hollywood playbook in the summer of 2012. It wasn’t just about powerful franchises anymore. Now it was about franchises that would link into a super franchise. Sony got anxious to expand their Spider-Man universe in a similar fashion as Marvel had done in buildup to The Avengers. After one poor movie, that plan was scuttled and now Spider-Man is being rebooted for the second time in five years, this time with active help from Marvel itself (look for Spidey to appear in Captain America 3). Writer/director Joss Whedon (TV’s Buffy the Vampire Slayer) was the mastermind behind the jaunty smash-em-up fun of The Avengers and was quickly signed on for a sequel after the billion-dollar mark was crossed. With great success comes great risk of upsetting that continued success. It feels like Whedon’s hands were tied to the greater forces at work. As a result, I shouldn’t be surprised but I’m still disappointed with how muddled and overstuffed as Age of Ultron comes across.
The Avengers are cleaning up the last remnants of HYDRA, taking them to a castle in a fictional Eastern European country. The HYDRA doctor has been genetically experimenting on volunteers, birthing Wanda “Scarlet Witch” (Elizabeth Olsen) and Pietro “Quicksilver” Maximoff (Aaron Taylor-Johnson). She can tap into people’s minds and he can run super fast. They’ve got a grudge against the Avengers, particularly industrialist Tony Stark/Iron Man (Robert Downey Jr.). Stark takes a piece of alien technology and plugs it into his home system to build a super fleet of automated robots to patrol the world. In no time, the A.I. has taken form in the shape of an insane robot named Ultron (James Spader) whose mission is to save the planet by eliminating mankind. He builds an army of robotic soldiers with the assistance of the Maximoff twins. Tony, along with Captain America (Chris Evans), Thor (Chris Hemsworth), Hawkeye (Jeremy Renner), Black Widow (Scarlett Johansson), and Bruce “The Hulk” Banner (Mark Ruffalo), must stop Ultron while not destroying much of the world themselves with their collateral damage.
Eleven movies into the Marvel Cinematic Universe (MCU), a movie of the size of an Avengers sequel cannot simply be a movie. It’s too important to the overall vision of the MCU, and so it has to set up and establish other characters, franchises, and the many monetary tributaries that keep the world of superheroes going. It’s already got a slew of superheroes and it adds even more new faces into the mix (I guess we needed an Avengers B-Team). The development of Ultron is also far too rushed; it’s literally minutes from being plugged in that he’s already settled into kill-all-Avengers mode. The movie barely has any time to even contemplate the perils of artificial intelligence before Ultron is already proving their fears correct. While Ultron is a fun villain (more on that later) his plan feels quite haphazard. His biggest strategic advantage is his duplication, the fact that he can exist without a physical body and can inhabit many bodies at once. Except for a hasty escape via the Internet and a climax stuffed with CGI robot mayhem, this advantage isn’t really explored. Why does a self-replicating creature beyond the bounds of physicality need or even desire a physical body? If you’re made from a nigh indestructible metal and can control numerous beings at once with a hive-mind intelligence link, why would you want to be turned into flesh thanks to what amounts to a 3D printer? The introduction of The Vision (Paul Bettany, this time in the flesh) is quite muddled and confusing. The incorporation of the Maximoff twins is awkward and they feel more like accessories than needed additions. This Quicksilver doesn’t come anywhere close to the memorable prankish Quicksilver from Days of Future Past. The pacing of the film is so ramped that it feels like the movie is falling over itself to get to the next large-scale action set piece. At 140 minutes, they could have removed one or two action pieces and devoted more time to streamlining and cleaning up the narrative.
And the action sequences start off with a bang but they invariably fizzle out. The opening sequence begins with a Birdman-styled tracking shot to connect all our fighters, and it’s a fun way to kick things off while visually tying together the team. The Hulk vs. Iron Man brawl is fun for a while, partly because it harkens back to the pleasures of the first film, namely watching our heroes battle each other as much as the villains. After a while, the CGI onslaught becomes overwhelming and just dulls the senses. You’re watching CGI smash into other CGI and then keep smashing, with little variation. The disappointment with the action is that it too often feels weightless and hollow. It has glimmers of fun but it can’t hold onto these glimmers because the action doesn’t change. It gets bigger and more chaotic, yes, but it doesn’t develop with organic complications and real attention to setting. These big battles could happen anywhere because they almost all descend into simply fighting amidst rubble. Even Iron Man 3 found ways to spice up its action set pieces through complications, limitations, and clear differentiation. Perhaps this is a larger outcry of fatigue with the overall state of CGI overkill in effects-driven films. The concluding fight versus Ultron and his many copies just feels like the same scene on repeat but in slightly different locations. Whedon has shown an affinity to coordinate exciting and satisfying action sequences, but you just feel like the pressure and demands get the better of him.
However, every moment with Ultron onscreen is a highpoint because of the malicious cattiness of Spader (TV’s The Blacklist). He’s a perfect fit for a character who is at turns childish and petty, bonkers, and condescending. In some ways he’s like a giant robotic teenager who thinks he’s just above the rest of these so-called adults. It’s such an enjoyable villain, an area of real need in most MCU films (Loki can’t be everywhere for every movie), that I wanted more and more of him. My friend and critical colleague Ben Bailey describes Ultron as the villainous alternative Tony Stark, and Whedon does a fine job of laying out the parallels, especially with regards to ego. It’s a weird reunion for the stars of 1987’s Less Than Zero.
The most boring characters, i.e. the humans, are the ones that get the biggest expansion for character development, with mixed results. Let’s face it, Hawkeye is never going to be anyone’s favorite Avenger. I think even he acknowledges this in a moment that almost breaks down the fourth wall (“None of this makes sense. I’m fighting with a bow and arrow.”). Hawkeye’s personal life is given a spotlight and it sets up an obvious worry that he’s going to bite it by film’s end. If there was an expendable member of this team, it would have to be Hawkeye. The added attention and personal attachments seem like a dead giveaway that he’s going to be dead. I don’t think I was any more invested in his character knowing about his hidden life outside the Avengers, but I certainly played a game of, “Is this gonna be it?” as the film continued. Black Widow started as an interesting character, a spy trying to make amends for her bloody past, or the “red in [her] ledger,” as they referred in the previous film. Her budding romance with Banner makes some sense but it still feels like the character is being forced into Romantic mode not because of her character but mostly because she has a vagina. Any romance with a guy who turns green and monstrous seems like it might be best as unrequited. She’s also defined by a past trauma that, while upsetting and cruel, is also a bit too tied into her identity as Woman/Mother. It’s an unfortunate positioning for what is an inherently interesting character (the slut shaming of the character in promotional interviews by certain Avengers cast members is also highly unfortunate). Can’t we get a Black Widow movie yet, Marvel?
An aspect of Age of Ultron I did enjoy was how conscious the heroes are about mitigating collateral damage and especially human casualties. At every turn, the Avengers are thinking about saving those caught in the cross-hairs first. They go out of their way to save those left behind. I think, and I’m not alone in this conclusion, that Whedon is directly responding to the disaster porn that was Zack Snyder’s miserly Man of Steel. The latest Superman movie bothered me with how callous it was with human life, treating devastating city-wide 9/11-style destruction as mere entertainment. As Superman and Zod were colliding through every damn building in Metropolis, you knew thousands if not millions of unseen people were perishing in this rather pointless melee. Whedon’s band of heroes places a priority on human life regardless of region.
It would be disingenuous of me to say Age of Ultron is not entertaining. Whedon is still a terrific storyteller and that still shines through the troubled areas and spotty plotting. The action makes good use of the various heroes and their abilities, providing fun combos like Cap hurling his super shield so Thor can redirect it further with his hammer. The use of humor was one of the bigger enjoyments of the first Avengers, and while it’s still abundant and enjoyable here as well I’d say it’s overdone. When every character is cracking quips every fourth line of dialogue, it pulls you out of the movie and the stakes feel lesser. The running joke where the Avengers make fun of Captain America for his prudish sensibilities on profanity is a joke that works at first but then loses all sense of fun as it’s pounded into the ground on repetition. The larger set pieces each have their moments to delight, especially the opening and the Hulk vs. Iron Man battle. Age of Ultron isn’t a bad movie and it has some truly great moments and great character moments and payoffs, but it’s only moments. The plot meant to connect the dots is too labored with the burden of setting up several Marvel franchises. In the MCU pecking order, I’d place Age of Ultron right around Iron Man 2 quality (another movie compromised by the extra burden of setting up other movies, namely The Avengers).
It’s sure to set box-office records and I imagine fans of the original will happily lap up another super team-up, but Avengers: Age of Ultron is something of a disappointment for me. The more I think about it the fun parts become a little duller and I find more areas of criticism. It’s just not as fun a movie experience, and that’s due to the rushed and muddled story and too many characters. After the critical and commercial success of the first film, I doubt that Whedon could have produced a film that would live up to the sky-high expectations, but that doesn’t excuse the finished product. It feels like Whedon had to struggle to pull this one off, especially with the added demands, and I can’t blame him for wanting a break from the MCU. The Russo brothers who so dazzled audiences with their direction of Captain America: The Winter Soldier will be stepping in to direct the next Avengers sequel(s). I hope they’re up to the task because the burden of carrying a billion-dollar franchise with its tendrils connected to other franchises appears to have been overwhelming for one of the greatest storytellers of a generation. Enjoy Age of Ultron but be wary of what the future holds for the larger MCU.
Nate’s Grade: B-
With two movies, writer/director David O. Russell has vaulted to the top of Hollywood. Previously known for his own difficult behavior, Russell’s last two films, The Fighter and Silver Linings Playbook, were both critical and commercial hits (Silver Linings made over $230 million worldwide). Both brought a bushel of Oscar nominations as well, making Russell one of the hottest directors for actors and producers. But a new side seems to have emerged over these last two movies, one less of Russell the domineering director and one of Russell the open collaborator. It feels like he’s just hitting his stride too. American Hustle is Russell’s latest and it’s sharply written, engrossing, lively, surprisingly comic, and readily entertaining.
In the late 1970s, the FBI set up an undercover sting to nail political corruption, ultimately nabbing several U.S. congressmen and one standing U.S. Senator. Richie DiMaso (Bradley Cooper) is an FBI agent who snags the perfect assistance. To catch a crook you have to think like a crook, and so Richie has strong-armed a pair of lucrative con artists into helping him. Irving Rosenfeld (Christian Bale) is a professional down to his elaborate hairpiece. He’s used to fleecing desperate people and selling phony artwork to the gullible, but he’s been too shy about making too much noise. If you stay small, you go unnoticed. Irving’s partner in crime is Sydney Prosser (Amy Adams), a kindred spirit who has reinvented her self. She and Irving are in love, and now they’re trapped by Richie to set up New Jersey mayor Carmine Polito (Jeremy Renner). The one unpredictable element is Irving’s young wife, Rosalyn (Jennifer Lawrence), who could blow up the whole operation with her careless and self-involved tantrums.
Russell has once again given audiences one of the most entertaining films of the year, this time allowing them to participate vicariously in a con game, trying to anticipate the twists and turns and assessing everyone’s personal angle. This is a fictionalized rendition of the Abscam case (the opening text drolly says, “Some of this actually happened”) and it gives us a slew of meaty characters that have something going on. The central point elaborated in this pop crime caper is that we’re all cons, we’re all pretending, on some level, to be different people; Russell’s film just takes this notion to the extreme. Irving and Sydney are trying to escape lives of ordinary malaise, of being victims, of the more powerful dictating their options for them. With Sydney, she’s pretending to fall for Richie, but we don’t fully know which side she may choose to end up on. Richie is trying to also escape his dull life of desk jobs and lower middle-class dinners. His ambitions get hold of him, and with Irving’s aid, he catapults himself toward achieving those oversized dreams of his, never mind the ethical lapses in nabbing the bad guys. For Carmine, he’s so fiercely devoted to his community that you don’t doubt his loyalty for a second. He’s a man who sincerely wants to help others and is knowledgeable enough about how the world works, knowing he may have to grease some wheels to get the progress started. He is the most moral figure of the five main players and you may find yourself rooting for him to escape the snare closing in on him. Then there’s Rosalyn who has her hooks in Irving, looking for a sense of stability for her and her child. She’s a volatile cocktail of emotion but she knows what she needs to do to keep Irving anchored to her needs, though she’s also cognizant enough to latch onto a better provider if one materializes. Mixing and matching those characters, you have an eclectic mix of personalities clashing, many at odds with one another as far as goals, and the conflict stirred up is delicious.
Russell also attaches on his Martin Scorsese filter, delivering a freewheeling film about criminals from their wizened point of view, explaining the ins and outs of their hustle with flamboyance, style, and vigor. While the opening is a tad slow, including an opening minute watching Irving work his almost breathtaking comb over hairstyle, we plow right along into this world of hustlers and con men, learning tricks of their trade (hint: desperate people are desperate) and the tools to stay ahead of detection. We’re awash in multiple perspectives, each with voice over, a frenetic camera, and emboldened editing. It’s the Scorsese approach given studious application to the Abscam affair. It’s a great thing that Scorsese is the finest living filmmaker and devoting a two-hour-plus homage to the man’s most stylized crime pictures is a plus. Russell’s movie feels alive but also hungry, like many of his characters, restlessly searching for something. The scenes land but they don’t feel like they’re standing still; everything is propulsive in this movie. The small operation of Irving and Sydney is taken to the big leagues thanks to Richie’s ego, and the FBI’s desire for splashy headline busts, but wider exposure also exponentially multiplies the danger. Once the gambling scheme attracts the investment of the Mob, that’s when everyone has gone too far. I was clenching my fists in suspense toward the end, worried that our fictional cons may be too far in to survive.
Russell hasn’t lost his magic touch with actors. His last two films have netted seven acting Oscar nominations and three wins, and the cast of American Hustle meets that same level of excellence. Perhaps even more so than The Fighter, the characters are given a very broadly comic brush, easily and routinely stepping into a carnival row of over-the-top behavior. It provides plenty of entertainment of the mishap and absurd variety, but there are also lone piercing moments of great empathy with these messy people. Mostly, the various actors all seem to be in a great syncopation, each one contributing where the other left off, building a great and compelling picture. When this ensemble is firing, it’s hard to beat. Special mention to comedian Louis C.K. (TV’s Louie) making the most of every scene he’s in as an FBI party pooper. His running gag involving a personal ice-fishing story is one of the film’s best jokes.
Bale (Out of the Furnace) is our guiding voice in this world, a flimflam man of the first order who fools maybe even himself. He’s got his own code of ethics and a heart behind that pot belly (another physical transformative performance by Bale the chameleon). He’s briskly entertaining but my only complaint is that, by being so suave and slick, he seems a tad too low-key at points given the risk involved. I know it’s part of the act, but from an audience standpoint, it makes him seem a tad too modulated. His equal is Renner (The Bourne Legacy) who is so earnest that it practically breaks your heart when he oversteps into morally murky territory.
However, Bale’s performance is compensated by the sheer craziness of the Silver Linings co-stars, Cooper and Lawrence. Cooper (The Place Beyond the Pines) is a lawman but also the film’s biggest antagonist. He gets drunk with power and the credit he’s receiving at the FBI. He’s also a deeply insecure man who is trying to style himself like Irving and Sydney as a posh reinvention. Cooper gives him a manic energy and taps back into his reservoir of eager-to-please egotism. Lawrence (Catching Fire) is the most unpredictable character. She acts on impulse, flirts with sabotage, and soaks up the spotlight she’s so rarely afforded. Lawrence is having the time of her life playing a loud, shrewish, vampy housewife who has a noticeable habit of starting house fires.
Beforehand, I would have thought that Lawrence and Adams should have swapped roles (still an interesting experiment), but having now seen the film, each suits them well. Adams (Man of Steel) is the saddest character of them all to me because she’s the bruised dreamer anxious to be anyone but who she really was. She relishes the con, more so than Irving, and ties much of her self-identity to her shyster skills. But two aspects of Adams’ performance especially surprised me: 1) she speaks with a fake British accent for nearly the whole movie, and 2) the copious amount of side boob on display. As per the 1970s fashions, Adams takes full advantage of the plunging necklines, giving her fans a lot to observe from scene to scene, and not just her formidable acting talent on display.
I’ve been dragging my feet writing my review and I’ve been trying to determine why, beyond, obviously, holiday-related sloth. American Hustle is readily a good movie that provides plenty of entertainment, meaty characters, and fun, but why do I keep feeling like it’s missing one undetermined ingredient? I can’t even articulate what at the moment but after having seen the film two times now, I feel like perhaps my emotional involvement was stunted. It’s a finely tuned script that delivers big performances for big-time actors, with a dandy ending that manages to dish out satisfying conclusions to its bevy of wheeler-dealers. But why didn’t I care more, why didn’t I feel more resonance by the time the end credits landed? The best theory I can surmise at this time is that we’re caught up in the con game, where everyone is pretending to be somebody else out of necessity or desire, that when it’s all over, we reflect on what a fun ride it’s been with fun characters but do we feel like we’ve gotten anywhere? I feel like I was more interested in the characters than attached to them. Again, American Hustle is still a sensationally entertaining movie and this paragraph is but a quibble, but it’s enough to thwart me from fully embracing and celebrating Russell’s film (confession: having already seen Scorsese’s brilliant Wolf of Wall Street, this could be coloring things for me with Russell’s Scorsese homage).
American Hustle is a fun ride with arresting performances, oodles of style, energy, and comedy. It’s a crime caper of the first order, easing you into this world and watching people play all sides. Even better, we’re given a volatile mix of personalities that clash, forming new and lasting conflicts, some of which could endanger the entire operation. These are interesting people to spend time with and so we can excuse the indulgences of a 140-minute movie that offers even more with this fantastic cast. Russell with a Scorsese filter is an even more improbably entertaining filmmaker. This is a crowd-pleasing sort of movie, much like Silver Linings, that doles out punchlines and payoffs with aplomb. It’s easy to go along for the ride, laugh uproariously, and then by the end sort of wonder whether it was all worth it. The emotional detachment to the characters may be a minor complaint for a film this largely satisfying, but since we’re spending so much time on our characters, I think I would have preferred something a tad more substantive by the end. It’s a great ride, with great characters and great humor, but there is a nagging concern that it may have been a better ride than a story. Regardless, American Hustle is an enjoyably alluring con that mines the absurdist fashions, personalities, and political overreach of the 1970s, painting a tale of criminals who may be the real heroes of the American dream.
Nate’s Grade: A-
You’d think a movie where Grimm characters Hansel and Gretel turn into gun-wielding, wisecracking witch hunting mercenaries would at the very least keep your attention. How could a premise like that manage to be boring? Well writer/director Tommy Wirkola (Dead Snow) miraculously found a way. Jeremy Renner and Gemma Arteton are the brother and sister of the title and they act like a 1980s buddy cop duo transplanted into a historical fantasy realm, complete with their comically large and complicated weaponry. Too often the film settle on such a lazy tone lacking irony or cleverness, settling for lame genre quips and a rote story filled with poorly developed villains. An action movie set in a fairy tale world is a great premise, and Hansel and Gretel seem like a perfectly capable pair of leads with their back-story. It’s a shame that this movie feels like it never went beyond a surface-level once-over when it came to developing its imagination. The action sequences are ineptly staged and ineptly edited, which kept me from feeling any longed after thrills or entertainment. It ends on a much better note with an all-out witch assault but by that point the movie has already worn out its welcome. Hansel & Gretel: Witch Hunters, produced by Will Ferrell and Adam McKay, is another case of a great idea not given enough development to separate itself from the din of lame action.
Nate’s Grade: C-
The Jason Bourne spy series has been a financial wellspring for Universal studios, so when Matt Damon and director Paul Greengrass (United 93) decided they had enough spy capers and hijinks, you can understand the studio’s concern. They elevated Tony Gilroy, a writer from the beginning of the series, to director. Gilroy has done some well-received directing gigs of his own now (Michael Clayton), so his ascent made sense from a continuity standpoint. I did wonder how much liberty the studio was going to give him, whether he was going to be boxed in to a style that had worked for the series. I never knew I should have had bigger misgivings, namely that The Bourne Legacy would ransom its conclusion and force the audience to make Legacy a hit.
Apparently Jason Bourne wasn’t alone. The C.I.A. has a team of six different super agents, each undergoing rigorous training and chemical alterations to their DNA via a series of daily pills. Aaron Cross (Jeremy Renner) is out in the Alaskan wilderness when the C.I.A., led by Col. Eric Byer (Ed Norton) and Adm. Mark Turso (Stacy Keach), burn all their agents. They plan on starting over and that means eliminating all evidence of the spy program that gave birth to Bourne. That means Cross has to go as well. That also means the chemists and scientists working on the program must also be silenced permanently, and Dr. Marta Shearing (Rachel Weisz) narrowly escapes a workplace shooting. Cross seeks her out for her medical expertise. They both have a common enemy that wants them dead. Together, the duo heads over to Manila where Shearing’s company manufactures the super meds and so Cross can become a permanent super agent.
What the hell did I just watch? I know it’s labeled The Bourne Legacy. That part I get. What I don’t understand is that the filmmakers are trying to extort the viewing public into granting a Legacy sequel. Let’s cut to the chase. This movie has no ending. I don’t mean a bad ending. This movie is completely absent an ending. Not just an ending but also a third act. It’s like the filmmakers lopped off the third act and said, “If you want to see where this story ends up, you better get us a sequel.” There is no resolution for ANY STORYLINE in the entire movie. None. The good guys are still scrambling, figuring out how to blow the big bad conspiracy. The big bad conspiracy is still alive and kicking. The patsy for their wicked shenanigans is still the patsy. There is nothing that can be construed as an ending. At least the Damon Bourne movies each had a beginning, middle, and end and tied up their film plots. Sure the characters carried over and there were some larger, overarching storylines, but at least those movies felt complete. The Bourne Legacy is badly incomplete, a gaping void of a third act, and a blunder that makes me question the sanity of the filmmakers. How could you make a big budget summer action movie and not provide any semblance of closure? When the Moby tune kicked in on the soundtrack, I sat stunned, pinned to my seat in disbelief. “No, it can’t be over. They couldn’t possibly just end things here.” Oh, and they do. So enjoy 2/3 of a movie, folks.
With the anticlimactic end in mind, I now understand why the first hour felt so draggy. It’s because they had to fill out a two-hour running time. Especially for the Bourne franchise, the first hour seems to really be paced lackadaisically. For an action movie, it sure takes its time to get going. I wouldn’t have minded if I felt like we were setting up something exciting, but really the story is about a super agent who just wants to get his meds. He travels across the U.S. and the world so he can get his pills, and then he does, and then the movie abruptly ends. I’m simplifying matters in a crass way, I admit, but doesn’t this storyline just feel a tad slight? Legacy also starts to feel like a retread when it comes to its plot mechanics. The C.I.A. is burning all their super spy agents through suicide pills. They are destroying everything before Congressional oversight can reveal their true dastardly deeds. But then we need an antagonist, right? So the government goons reveal they have a SECOND even more super secret program to train super assassins/spies (“It’s Treadstone without the inconsistencies”). How far are they going to take this? Is there going to be a third super duper ultra secret level of killer spies? It’s repeating the same steps the franchise has already taken, the expert spy vs. spy clashes, but now it’s starting to get silly in a way the franchise had previously avoided.
The action sequences are serviceable but they’re not any better than what the franchise has produced before. Cross has a few nifty escapes but nothing that reminds you of Jason Bourne’s sheer ingenuity. What other man can take down bad guys simply with a rolled up magazine or a book? Aaron Cross just can’t compete with that. The final motorcycle chase is nice but it just seems to be repeating the same danger with little variation. The best action sequence is actually a bit macabre. It involves a workplace shootout. To even call it an action sequence is a bit of a disservice since it’s actually a tense and horrific scenario that is coming eerily all too familiar in the news. Weisz’s character has to hide while her co-worker methodically guns down his fellow lab workers. Oh, and he also took off the door handles, making it dire for help from the outside to get inside. It’s a horrific sequence that’s played out to stomach-knotting levels of tension, as the dread slowly mounts and the pessimistic inevitability looms. Now, obviously Weisz was going to survive, as we know this, but the sequence still resonates with real, primal terror.
So what does The Bourne Legacy have going for it in its favor? Well the duo of Renner and Weisz is a pretty good pairing. Renner (The Hurt Locker) has been rolled out as the next thinking man’s action hero, and he finds interesting depth to his spy character in a rather routine plot. But he’s even better when he’s onscreen with Weisz (The Constant Gardener). There’s plenty of shouting matches and intensity but they have workable chemistry and Weisz’s character gets to be an essential part of the spy heroics rather than a tagalong. I cannot fault the actors for the film’s flaws.
I understand why the Universal suits felt like they needed to pump new blood into their lucrative Bourne franchise. After a while, an amnesiac super spy is going to hit a breaking point; he’s going to run out of essential memories to recall (Bourne 5: where Jason Bourne gets back the memory that he does not like Indian food). I like Renner and Weisz. I even like Tony Gilroy as a director. What I do not like is only getting 2/3 of a movie. Whose bright idea was it to just lop off the third act and provide no resolution? The ending is so unbelievably jarring, so staggeringly incompetent, that I have to dock this movie major points. I can’t say the ending out and out ruins the film considering I was only marginally liking it beforehand. The Bourne Legacy is proof that sometimes imitation is not the best substitute for ingenuity. Gilroy is no Greengrass. Cross is no Bourne. Legacy is no complete movie.
Nate’s Grade: C+
For the past four years, Marvel has been seeding its all-star super hero collective in the storylines of its summer blockbusters. And with six super heroes, The Avengers carries some super expectations. The creative mind behind the film is none other than Joss Whedon, best known for creating and shepherding cult TV shows like Buffy the Vampire Slayer, Angel, and Firefly. Not exactly the first name you’d think Marvel would assemble to front a $200 million movie. For geeks, Whedon has become a reliable standard of quality (the patchy TV show Dollhouse notwithstanding). Here is a man who can marry big ideas with sharp characterization and delightfully skewed dialogue. In Whedon, geek nation has a savior, and Marvel knew this. The Avengers is 142 minutes of geek arousal stretched to orgasmic heights.
Nick Fury (Samuel L. Jackson), head of the agency S.H.I.E.L.D., has a dire need for Earth’s mightiest heroes. Loki (Tom Hiddleston) has traveled through a portal and plans on conquering Earth thanks to an approaching alien army. Fury has tasked Tony Stark (Robert Downey Jr.) a.k.a. Iron Man, Steve Rogers (Chris Evans) a.k.a. Captain America, and special agent Natasha “Black Widow” Romanof (Scarlett Johansson) with stopping Loki and rescuing one of S.H.I.E.L.D.’s own agents, the skilled marksman Clint “Hawkeye” Barton (Jeremy Renner), who is under Loki’s devious mind control. Loki’s brother, Thor (Chris Hemsworth), would like to cite jurisdiction and bring his wicked brother back to his home world. The only person who may be able to locate Loki’s path is Dr. Bruce Banner (Mark Ruffalo), a guy with his own anger issues. With this many egos, it’s bound to get dicey. As Banner puts it, “We’re not a team. We’re a time bomb.” Can they put aside their differences to unite to save the Earth? Does a Hulk smash?
Whedon, the king of clever genre deconstruction last seen in the excellent meta-horror film Cabin in the Woods, plays it relatively straight, giving his big, effects-driven film a straight-laced sense of sincerity. It’s not making fun of these sort of big-budget, effects-driven smash-em-ups, it just wants to deliver the biggest smash-em-up yet. To that end, The Avengers achieves maximum smashitude (trademark pending). By its rousing finish, the movie has become so massively entertaining that you forget the draggy first half. The scope of this thing is just massive. The last thirty minutes is solid action across miles of crumbling, just-asking-to-be-exploded city landscape. But the trick that Whedon pulls off is how to orchestrate action on a monumental scale without losing sight of scale, pacing, and character. You’d think with a full deck of superheroes that somebody would be shortchanged when it came time for the rough and tumble stuff. Not so. Instead of fighting one another, the prospective Avengers work together in all sorts of combinations. The characters are well integrated into the fracas, making particular use of their abilities, and finding new locations of focus every few minutes. This expert hero shuffling keeps things feeling fresh amidst the constant din of chaos.
In fact, the movie finds time to give every hero his or her due, finding a small moment to reveal some characterization. I thought Whedon’s biggest challenge was going to be the juggling act of balancing so many heroes and so much screen time, but the man found a way, like he regularly does, to squeeze in character with ensemble action. The Hulk fares the best. After two movies, it feels like Whedon has finally nailed the character; granted, this success may be credited to the fact that Bruce Banner (all hail Ruffalo) is kept as a supporting character. The struggle of the character being likened to a recovering addict is a smart way to present the character without getting too morose (I enjoyed the revelation that the “Hulk” half prevented Banner from killing himself). When he’s told his mission is to smash, you can feel the exuberant joy of an unleashed Hulk id. The Hulk had two great audience-applause moments that made my theater go berserk. I also really liked the attention given to Black Widow and her lonely back-story. Hawkeye was a complete badass, though he only gets to do fun stuff in the madcap finale. The trouble with the hero team-up franchises is that not everyone’s on the same level of power. Thor is a god for crying out loud, Iron Man has super weapons, Hulk is Hulk, Captain America at least has superhuman strength but what do Hawkeye and Black Widow bring to the team? When you’re competing with all that power, being good with guns or a bow seems pretty puny. And with Hawkeye, there’s going to be a limit to his effectiveness unless he has a magic bag of replenishing arrows. Still, Whedon finds ways to make the heroes badass and humane in equal measure, and surprisingly funny, which is welcomed.
It’s hard to believe that Whedon had only directed one feature film before (2005’s Serenity, based upon Whedon’s canceled Firefly show) being given the keys to the Marvel universe. He’s directed several TV episodes of his signature shows but the man has never produced anything on this scale before. Given a gigantic canvas, Whedon delivers the goods. His action sequences are rollicking and fun and, best of all, shot and edited in a fashion where you can understand what is happening (take some notes, Hunger Games franchise). The action is well choreographed and elevated with organic complications and particular attention paid to location, like the Nicky Fury airship. Whedon is a master of the plot payoff, setting up his elements and then piloting the narrative to satisfying conclusions and integrations (Cabin in the Woods is also a pristine example of this gift). If you’re going to introduce an airship, you better believe that sucker is going to threaten to crash. I’m glad that Loki was brought back as he was the best Marvel big screen baddie yet, though I’m disappointed they essentially put him on ice for an hour.
The technical elements are ably polished even for this kind of film. The cinematography by Seamus McGarvey (Atonement) is terrific, utilizing bright color in a way that the visuals pop. The special effects are top-notch and you just feel immersed into the action. The destruction is cataclysmic but rarely does the movie feel phony. I was impressed by the Hulk designs and the sequences in inky space with our alien adversaries. For that matter, are these aliens robots? It’s unclear whether the giant flying centipede-like ships are creatures. The 3D conversion is one of the better outings due to the fact that it doesn’t keep throwing stuff in your face. Plus, viewing Johansson’s leather-clad assets in 3D certainly has its own appeal, as does Gwyneth Paltrow in jean shorts. Hey How I Met Your Mother fans, Cobie Smulders looks practically smoldering in her S.H.I.E.L.D. agent outfit too. Okay, I swear I’m done with the female objectification.
I hesitate calling The Avengers the greatest super hero/comic book movie of all time, as the teaming hordes of Internet fanboys foaming at the mouth are wont to do. If your definition of a comic book movie is a giant sandbox with all the coolest toys, then this is your film. This is a comic book turned flesh. The Hulk and Thor fight and prove who is the strongest Marvel man, that’s got to be a geek’s wish come true. Many of the infighting sequences felt like, servicing the tastes of the fanboys, and after a while the constant hero on hero action felt tiresome. I get that we have a clash of egos going on here, but the movie suffers from a lack of narrative cohesion, by which I mean that the first hour of the movie feels like a series of guest appearances by heroes on loan. The movie doesn’t fully come together until the point where the team comes together; I doubt Whedon intended that symbiotic relationship. The movie feels more like a patchwork of standout scenes and memorable moments that a fully formed and cohesive story. If you haven’t seen the previous four Marvel movies (Iron Man, Iron Man 2, Thor, Captain America), you’ll be pretty hard-pressed to follow the story. Loki’s motivation and plan seems rather sketchy other than causing discord amongst the heroic ranks. His powers seem inconsistent and vague. Also I found the musical score by Alan Silvestri to be bland and unworthy.
The Avengers is sure to be geek nirvana for many of the comic book faithful. It’s an audience pleaser of mass scale, and I’m sure that your theater will be cheering in abundance. Whedon has pulled off the near impossible. The movie is a thoroughly entertaining, exciting, and witty popcorn spectacle of the first order. But where the movie hits the ceiling, at least for me, is that it ONLY wants to be the best super hero movie and this seems like limited ambitions. It’s like making the very best possible women in prison movie (great, but is this really all you set your sights on?). I had a great time watching Whedon’s handiwork but I wish it mined the outsized territory for bigger themes, a little more than audience-satisfying pyrotechnics, something I feel that X-Men: First Class did a better job of handling. Don’t get me wrong, I greatly enjoyed The Avengers and it’s a fantastic start to the summer movie season, but by no means is it The Dark Knight or even aspiring to be, and that’s okay. Enjoy the busy escapades of Marvel’s next smash franchise. Who knows when they’ll be able to wrangle everyone together for another adventure, but judging by the sounds of ringing cash registers, the answer is sooner than we think.
Nate’s Grade: B+
In the span of three months, two Pixar vets will be making their live-action filmmaking debuts. Andrew Stanton (WALL-E, Finding Nemo) is directing Disney’s big-budget John Carter of Mars adaptation, which will be released this March. But first is the awkwardly punctuated, colon-hoarding Mission: Impossible: Ghost Protocol (henceforth referred to as M:I 4), directed by Brad Bird. Any fan of The Incredibles (and who isn’t) knows that Bird is a terrific visual stylist who can compose remarkably exciting action without overlooking characterization. If anyone was ready for the leap into live-action, surely it was this man. Bird is the real star of the movie, and he aces his debut. I think he’s finally living up to the potential he showed with TV’s Family Dog (please note the tongue firmly planted in cheek here).
Ethan Hunt (Tom Cruise) and his IMF squad are on the run. They’ve been framed for an explosion that took out the Kremlin. The president has invoked “ghost protocol” meaning that the IMF no longer exists, and every member is cut loose. That means Ethan and his newest team, techno wizard Benji (Simon Pegg), feisty Jane (Paula Patton), and the mysterious Brandt (Jeremy Renner), have no backup. They are considered rogue agents and Russian’s own special police force is hunting them down as well. Hunt and his team must track down and stop an international terrorist, Hendricks (Micheal Nyqvist, the Swedish Girl with Dragon Tattoo series), who sees the global benefit of nuclear catastrophe (I suppose surviving would be the catch). Hendricks has gotten hold of Russian nuclear launch codes and now is looking to put the final pieces together to initiate a war between the United States and Russia, plunging the world into disaster. Hunt’s team travels around the globe to stop this bad man and his bad plan.
Bird delivers in a major way in his live-action film debut. The man behind two of the best animated films of all time and Ratatouille, has shown that his keen skills of directing animation have easily translated to real people and real-ish explosions. Bird is a mad genius when it comes to staging elaborate action sequences; he teases out his action with organic consequences and his camera makes adept use of space and geography, and best of all you can easily follow what’s going on in the frame. So when we have an action sequence that takes place in the tallest skyscraper in the world, you know Bird is going to make fine use of this fact to accentuate his action. And the man does so in spades. The Dubai sequence is probably the how-did-they-do-that? standout that people will be most talking about. Hunt has to climb the outside of the aforementioned tallest building in the world using nothing but some special sticky gloves that don’t always work right. He has to climb several stories up, and then there’s the matter of going back down without them. But M:I 4 doesn’t rest on its laurels, because immediately after this sequence we have a feast of thrills. We segue right into a meeting between two parties where Hunt’s team has to pose as each member of this sit-down, orchestrating two separate simultaneous false meetings with the real bad guys. The two meetings dovetail one another as far their needs, making for a blissful parallel of escalating suspense. And then even after this, we get a foot chase into a sandstorm, which then becomes a dangerous car chase into a sand storm. And there are even more great stunts and spectacular action to come, notably a fight in a futuristic car park where the cars tumble from level to level.
Bird has such a firm command of his action, exercising his inspired imagination and all the tools in the special effects paint box. The screenwriters deserve recognition as well, Josh Applebaum and Andre Nemec, both of whom honed their writing chops on J.J. Abram’s sublime spy show, Alias. Their opening sequence, an escape from a Russian prison, sets the stage with Bird’s smart execution; setting up a problem and then letting the situation play out in surprising yet logical and clever ways. It may not have the epic scope of a Michael Bay flick, but Bird’s action is cool without having to be exhausting or noxious. The frenetic pacing rarely lets room for breathing. One of the film’s quiet moments ended in such a jarring fashion that it startled me and I kicked the patron sitting in front of me. I must also credit Applebaum and Nemec for producing the only Mission: Impossible movie that did not involve a turncoat. I was starting to think that IMF’s Human Resources department was in needing of a good housecleaning. Bird, and the screenwriters, has delivered a Mission: Impossible movie so good, with such kinetic and rewarding action sequences, logically utilized gadgets, sexy cars, sexy gals, and exotic locales. They’ve basically made the best Bond movie not to bear 007’s likeness.
Like the previous Mission: Impossible flick, this one emphasizes the team aspect, which makes a more fulfilling and interesting set of missions. M:I 2 became the “Ethan Hunt kicks people in the face for two hours movie,” which Chuck Norris might approve but otherwise was lacking. When J.J. Abrams got on board in 2006, the brand finally got back to its roots. And a team working together with individual strengths makes for a much more satisfying mission that also allows for multiple points of action. Simply out, if you have three people that need to do stuff in synchronicity, it plays out much better than watching Cruise kick people in the face. Choreography is always better when you have more dancing partners. Anyway, with M:I 4 we get some terrific teamwork that can be just as thrilling as the action sequences. Besides the breathless Dubai sequence, there’s a great sequence where the team has to infiltrate a sleazy Indian businessman’s (Anil Kapoor, the TV host from Slumdog Millionaire) cocktail party to get some special satellite codes. Jane is tasked with seducing the sleazy guy, Benji is left to operate a mechanical rover with a powerful magnet that will levitate Brandt, in a metal suit, across the system’s super hot inner mainframe, and Hunt is trying to lose his Russian pursuers. It’s a great sequence where all the pieces come together for maximum effect.
Cruise has done plenty in the last five years to destroy audience good will, so it’ll be interesting to see if audiences warm back up to the man with the million-dollar smile. Cruise has always been an actor of ebullient energy and charisma, and this has always aided him in action settings and M:I 4 is no different. He’s still a credible action hero and a born movie star, whatever audiences think about his increasingly polarizing personal activities. Lessening Cruise’s load is a smart move, and Pegg (Paul) can provide needed comic relief while Patton (Precious) supplies the sizzle. My goodness can this woman fill out a dress in marvelous ways. Not to be completely sexist, she does a fair amount of ass-kicking too. Her fight with the French femme fatale agent (Lea Seydoux) was all kinds of awesome. Renner (The Town) seems groomed as a potential heir apparent for the franchise. His character is given a small amount of depth to work with, the guilt of a mission gone wrong that has a very personal connection to Hunt. At this point, Renner can do no wrong as an actor in my book. Although there’s only a nine year age difference between Cruise and Renner, so I don’t know how much more mileage that gives you as a franchise. Regardless, Renner is an actor of great conviction and intensity even when he’s silent.
In terms of the franchise, I’d say this fourth installment is just as good as Abrams’ M:I 3, though Abrams had a much better villain and the added emotional urgency of hunt’s wife in distress. Seriously, this is one really boring and completely interchangeable villain. For a movie about the world being on the brink of thermonuclear Armageddon, why do the stakes feel so low? It’s probably because the movie has deliciously orchestrated and eye-popping set pieces but very little urgency. World War III has never felt so ho-hum. Still, it’s hard to fault an action movie when it delivers such high amounts of adrenaline, perfectly packaged in well-developed action beats. This is a high-flying popcorn spectacle of the top order, a grandiose piece of Hollywood escapism. Mission: Impossible 4 is pretty much everything you’d want in a summer blockbuster, only shuttled to winter. I think Bird’s future is limitless, in animation and live-action, and I think the Broccoli family would do us all a favor by tapping Bird to direct a Bond movie. M:I 4 is a pretty good resume for the gig. That would be one mission to die for.
Nate’s Grade: A-