Blog Archives

Searching (2018)

Searching is a clever, crafty found footage mystery told from the point of view of a computer screen. Unlike many found footage entries, writer/director Aneesh Chaganty has put considerable thought into the mechanics of his storytelling gimmick. The opening sequence even reminded me of Up as far as how deft it was with the economy of storytelling while providing an affecting emotional blow. In the opening, we watch a little girl grow up as computer technology and websites also advance documenting her life, culminating in her mother getting cancer and passing away, communicated via a “Mom’s Coming Home” date removed from a calendar. It was so well done I actually felt like I just might summon some tears for the passing of this woman. Right away I realized I was in for something special. Flash forward and the teen daughter goes missing and her stressed-out father (John Cho) dives into the investigation firsthand by looking through her online history and realizing how little he may have known his not-so-little girl. The movie illustrates nicely how easy it is to hide your real self online and how easy it is for others to find you and your digital impressions. Every time Cho is visiting a website, whether it’s Venmo or Instagram or Facebook or a webcam, there’s a solid reason for it and the movie has a satisfying step-by-step progression. The mystery has plenty of unexpected twists and turns and it’s anchored by a harried and distraught Cho (Star Trek Beyond), who does not look like he’s in his mid 40s at all (Kal Penn has also aged well, which makes me only want a cross-generational Harold and Kumar sequel more). The only knock on Searching is that there really isn’t a pressing need to see it on the big screen. After all, you’re watching a computer screen and typing for much of the movie. It will play just as well, if not better, on your home television or whatever smaller screen is at your discretion.

Nate’s Grade: B+

Gemini (2018)

Dear reader, I want you to know upfront that I’m writing this review for one major purpose, and that is to complain about its ending. Had this movie ended differently, I probably would have simply postponed writing about it. Then writer/director Aaron Katz (Land Ho!) went with his ending, and now we need to talk about Gemini, a neo-noir set in the world of movie stars, paparazzi, and sycophantic hangers-on in the city of angels.

The beginning thirty minutes do a fine job of establishing a world and perspective. We follow the day-to-day of Jill (Lola Kirke), a personal assistant to a popular actress, Heather Anderson (Zoe Kravitz). She deals with pushy directors, invasive press, and boundary-blurring fan interactions. She’s Heather’s support and one of her best friends. Katz does a very effective job of establishing Jill’s world of responsibilities as well as her confusing sense of where she fits in this equation. Is she more hired-help or BFF? Heather backs out of a movie and talks about starting her own production company, with Jill and her developing projects that appeal to them. That night, Heather is fearful that someone has been following her and asks for a gun. Jill gives her one, loading the bullets. The next day, Jill comes back to Heather’s palatial home and finds her dead on the floor and the growing realization that she is the number one suspect (her fingerprints are on the gun).

That’s the first third of the movie and it works well. Katz’s screenplay slowly builds, organically establishing the complicated world of Jill and her general sense of being an outsider wherever she goes. Once the murder takes place, Gemini becomes more recognizable with its film noir elements, as Jill adopts a disguise and investigates a series of suspects that could have killed the starlet, including the director she spurned and an old boyfriend who has trouble letting go. This is also where Katz introduces a new threat in the presence of Detective Edward Ahn (John Cho). He’s a calm, empathetic man but he always seems to know more than he lets on, asking probing questions that Jill doesn’t feel comfortable answering. Each new trip to a suspect presents a different mood and aim. Jill’s visit with the director becomes a humorous sit-down where the guy theorizes who is guilty if it were a movie, finally concluding it would probably be Jill as a twist. Jill infiltrates the ex-boyfriend’s hotel room and has to avoid detection and it is an efficient small-scale suspense sequence. All the while the detective appears to be circling something.

The are several merits of Katz’s film that are worth mentioning. The acting is generally good all around, especially from Kirke (Gone Girl, Amazon’s Mozart in the Jungle). She’s a natural screen presence while still radiating a sense of relatability. There’s a lot going on behind those saucer-eyes of hers and I wish the movie served her better by the end. Kravtiz (Rough Night) and Cho (Star Trek Beyond) are both unpredictable in different ways, making the audience glean extra subtleties from their guarded performances. The sleek cinematography by Andrew Reed (Cold Weather) deals in cool teals and purples, creating a hazy, 1980s-esque atmosphere without becoming annoying omnipresent like in a Nicolas Refn film. It’s style without being eaten alive by it (Neon Demon broadside?). The musical score by Keegan DeWitt (Hearts Beat Loud) is suitably moody, working in typical noir elements like brass instruments with a modern ambient sensibility. Under Katz’s direction, the movie has fun with introducing classic noir tropes and giving them a twist, as well as diverting from them, like our heroine being an ordinary outsider.

And now comes the part where I must discuss the ending to Gemini and, in doing so, will spoil the movie significantly. If you’d like to continue reading and understand the bulk of my grievance, please proceed ahead with spoilers. This has served as your warning, dear reader.

As the film is nearing its end, it looks like Heather’s secret bisexual fling is being presented as the most likely candidate. The two of them were caught smooching by a late-night paparazzi and this could present some career problems. Jill sneaks away from the supposed lion’s den and heads out to a cabin in the California woods, the spot the fling was talking to. She enters the cabin and finds… Heather there alive and well. You see the dead body in Heather’s home was not her but the super eager fan they had encountered earlier, a look-alike made more obscured with parts of her brain missing. Apparently Heather killed her because she was stalking her and she feared for her life, or so she says. She hid out and waited for everything to die down. Jill is understandably very angry especially since she became the prime suspect. Heather is sorry but not that sorry. Do the crime scene investigators not take fingerprints? Blood samples? I’m uncertain of the timeline of Gemini but this fake-out could only last a couple days, charitably. It creates suspicion that there’s more than Heather is willingly admitting.

This sets up an exclusive interview with a big journalist, the first point in re-branding Heather after the news came out, and trying to push the narrative in the direction they want. Then all of a sudden Detective Ahn shows up at the taping and asks if he can watch as a favor. Jill considers this, confirming the case is closed, and allows it. All right, it’s at this point where all the major players are together in a crucible of secrets. Something good is going to happen, because why else bring these characters together in this moment? And then as the interview begins and Katz’s camera slowly pans over to the L.A. skyline and slowly zooms in, and this is where I started yelling at my screen. This is not an ending. This is five minutes away from an ending. The comeuppance of a starlet thinking she can get away with anything and put upon her vulnerable and faithful assistant is all set. The instincts of our wily detective will be proven right. Jill will have become a stronger character, able to suss out the truth and cut off a destructive force. Justice will be had, the truth will come out, and it will feel like a natural climax of the entire 90-minute movie. And then none of that happens. Nothing happens. It’s all setup and then the L.A. skyline (end spoilers).

Gemini is a frustrating movie with good acting, a dash of style, and some potently moody moments to tickle a neo-noir enthusiast. Until the ending. I was flabbergasted. Katz delivered a cop-out of an ending, and subsequently makes his overall film one that I don’t even think I can recommend, even to neo-noir acolytes. Gemini, I wrote this review because of your ending and I’m still waiting on one. I’ll be here if you need me.

Nate’s Grade: C

Star Trek Beyond (2016)

star-trek-beyond-poster-internationalWith J. J. Abrams’ departure from the franchise for the greener space pastures of Star Wars, there was a creative void to fill, and in stepped director Justin Lin (Fast and Furious series) and co-writer/star Simon Pegg, acclimating to the established new movie universe and providing a Trek movie that proves to be the most “recognizably Trek” in the series thus far. The crew of the Enterprise is stranded on an alien world after being attacked by a hive-like armada of ships. It’s a somewhat familiar formula, a distress call that ends up being a trap, from an unknown entity that is harboring vengeance against the Federation. This allows for several dispirit storylines to explore the surroundings but also the enjoyable character dynamics of the crew; the casting department hit the jackpot with this franchise, and it’s just satisfying to watch the actors deliver solid, satisfying character moments. The new character Jaylah (Kingmen’s blade-legged Sofia Boutella) is interesting, kickass, and a source of deadpan comedy conflicts with others. There’s a genuine sense of discovery that’s patiently paced, not so much the set-piece-every-ten-minutes of the Abrams films. Idris Elba (The Jungle Book) makes for an intimidating villain and I’m happy to report he doesn’t get lost under gobs of makeup. He becomes more Elba as it goes, and he’s given a credible motivation and back-story to explain his actions. The action is a bit less exciting than I was hoping for from Lin, whose special blend of crazy has been somewhat dampened as he adopts the house visual style of the franchise. Pegg and co-writer Doug Jung have steered the franchise into safer territory but also put the focus on the crew and their bonds, which is the secret weapon of Trek. You sense that Pegg and Jung are fans, and they even provide greater context and justification for the new Trek elements that drew earlier complaints, like the use of the Beastie Boys song which now becomes a fun moment of fist-pumping triumph. Star Trek Beyond (no colons necessary, apparently) doesn’t quite hit the same highs as the previous two films, but it’s a solid movie overall and might be the best movie for the most ardent fans of classic Trek. My last piece of advice: go into space construction in the future. The way they go through starships, you’ll always have a job.

Nate’s Grade: B

Star Trek Into Darkness (2013)

J.J. Abrams’StarTrekIntoDarknessEnterprisePoster return to the final frontier had me extremely excited for what the sequel to 2009’s smash Star Trek would be. It’s a different sort of Trek, a more rough-and-tumble, popcorn entertainment with the recognizable flavor of that other famous space opera that Abrams is steering into theaters come 2015. Having seen Star Trek Into Darkness twice, certain things became very clear to me. First, this is about everything you could ask for in a summer popcorn action movie. The set pieces are thrilling (my fave may be a human bullet shoot through a field of debris), there’s something new and dangerous going on just about every fifteen minutes, the stakes are constantly changing, and there are a bevy of well plotted character arcs for a deep and well acted ensemble. It’s about everything you’d want in a Star Trek movie… if you were a big fan of the 2009 film. If you’re a lifelong fan, you may have some reservations, notably the inclusion of a famous villain that shouldn’t be too hard to guess. The second half references to Trek cannon, especially Star Trek 2, feel weird for a film that broke away into a parallel universe so that it could chart its own course rather than relive the old stories. There’s homage and then there’s just subservience. Still, there are plenty of resonant themes, like friendship, sacrifice, and family, that are given adequate attention, amidst all the big-budget escapist thrills. There are even some surprisingly poignant moments that the actors ace. Benedict Cumberbatch (TV’s Sherlock) is incredible as the villain, a terrorist with a menacing, velvety voice that I could listen to all day. The vast majority of Into Darkness is tremendously entertaining, with a great pulse and sense of scene construction. The Abrams team knows how to make blockbusters in the old Spielberg variety, spectacle with humanity and humor and sweep. If this is what he can do with the Trek universe, just wait until Episode VII people.

Nate’s Grade: A-

American Reunion (2012)

What loser doesn’t attend their 13th high school reunion? Who even organizes such an untimely event? The generally unnecessary American Reunion is being dished out to the public for a number of reasons. The studio would like to revive their once lucrative sex-comedy-meets-baked-goods franchise, and most of these actors could desperately use the work. Remember when the likes of Chris Klein, Mena Suvari, and Tara Reid were above-the-title names? What I recall, now that the gang is together again, is that I found most of these characters to be dullards. They’re in their 30s, have careers and families, and stupidly comfortable lives, yet they’re up to the same old hijinks, which just seem a bit more desperate and embarrassing this time around. Seann William Scott, the franchise’s true wild card, is still amusing as ever, but I couldn’t swallow the forced nostalgia for characters that are unappealing. Jason Biggs and Alyson Hannigan still make a nice pair, but rehashing the old gang mitigates their screen time. Comedy-wise, the movie has a few memorable gross-out moments but nothing really hilarious. I laughed from time to time but mostly I was bored, and Klein, especially in his new post-Street Fighter ironic version of himself, is rarely boring. It’s a pleasant enough experience and I suppose fans of the original films will get a kick out of seeing who ended up where and, in particular, what he hell happened to Reid’s leathery face. Otherwise, American Reunion is a gathering that nobody called for and fails to justify all the effort. Then again, my favorite of the American Pie films is the second one, so take my words with caution.

Nate’s Grade: C

Star Trek (2009)

Star Trek has a hold on geek culture like no other franchise. It’s lasted over forty years, sustained five television series, and ten feature films (about four of them good), and let’s not forget the plethora of fanatical merchandise that includes everything from Trek cologne to Trek coffins. Star Wars has all the box office clout, but Trek has followers so devoted that they will create and learn a separate language, Klingon, that almost assuredly will never be spoken by anyone else outside of the festival circuit (you will never see a written Klingon exam that asks you “Where the library is?”). The Star Trek fans have been a foundation of geek culture for over four decades. People take this stuff very seriously. Trek has always been a headier brand of sci-fi, more devoted to ideas and moral dilemmas than shoot-outs and space chases, though Captain Kirk did teach the universe how to love, one green-skinned buxom alien babe at a time. 2002’s abominable Star Trek: Nemesis was meant to open up the franchise to a wider audience, but the film was the low-point for a franchise that also included William Shatner writing and directing the fifth flick (Nemesis also broke the odd/even movie curse).

When director J.J. Abrams approached Star Trek with the purpose of reinvigorating the flagging film series, you would think the man would wade into such a storied franchise with trepidation. Nope. He openly said he was making a “Star Trek movie for people who weren’t fans of Star Trek.” He was even going to change Trek canon. I imagine Trekkies (and no, I will never use the preferred nomenclature “Trekkers”) were nervous about an outsider, the author of the cinematic classic Gone Fishin’, meddling with hallowed ground. As I suspected, these fears were unfounded. The newest Star Trek does more than put a new coat of paint on an old franchise. This movie boldly goes where none of the Trek movies have gone before — turning reverent geek culture into a grand populist entertainment smash.

This new incarnation looks backwards, explaining how the crew of the U.S.S. Enterprise came together. The movie shows the path of Jim Kirk (Chris Pine), from troubled youth to eventual starship captain. Kirk’s father captained a starship for about 10 minutes, but he managed to save 800 lives under attack, including the birth of his son. Captain Pike (Bruce Greenwood) recruits Kirk to Starfleet Academy with the promise of doing something more with life. We also witness the boyhood of Spock (Zachary Quinto), who is teased for being half-Vulcan and half-human. His human mother (Winona Ryder) encouraged Spock to embrace his human emotions instead of cutting them off, Vulcan-style. Kirk and Spock clash at the Academy, and then an emergency requires all the recruits to saddle up for their first mission in space. Nero (Eric Bana) is a dastardly Romulan who has traveled back in time. In the future, he blames an older Spock (Leonard Nimoy) for the destruction of his home planet and the deaths of billions of Romulans. To ensure this does not happen, Nero is going to eradicate Starfleet home planets, starting with Vulcan and then Earth.

J.J. Abrams is a geek’s best friend. He understands geek culture, and yet the man is able to take genre concepts and make them easily accessible to the unconverted while still making a finished product that is respectful, playful, and awesome. Abrams is an expert on the pop culture catalogue, and he knows how to make genuinely entertaining productions that succeed on brains as well as brawn. He brought tired spy conventions into the twenty-first century with the cool, twisty Alias and Mission: Impossible III, which was really an extravagant two-hour episode of Alias, and I mean this in the best way. He has an innate understanding of action sequences and knows well enough that an audience needs to be engaged emotionally, so he makes the action as character-based as much as possible. Abrams has a terrific imagination behind the camera, and he reminds me of a young Steven Spielberg in his ability to marry artistic integrity with big-budget crowd pleasers. Abrams and his screenwriters Alex Kurtzman and Roberto Orci (Transformers, TV’s Fringe) have crafted a stellar Trek that will appeal to die-hards and those who couldn’t tell a Romulan from a Vulcan (I fall somewhere in between).

The time travel storyline could have used more juice, however, it serves its purpose by establishing a parallel Trek universe to work with. Beforehand, Trek had established so many previous stories that it hamstrung writing new stories because they had to be extensively researched to make sure they did not conflict with 40 years of canon. Abrams and company wrestled free from the grip of the established history and can now play around unencumbered to a degree. I mean, fans don’t want to see something radically inauthentic, but Uhura and Spock as a couple? Sure, why not? The fan favorite character catch-phrases (“She’s givin’ it all she’s got,” “Dammit Jim, I’m a doctor?,” etc.) are organically worked into the story so that they don’t become falling anvils.

Star Trek‘s pacing can be whiplash inducing. It speeds through two hours of action and setup while still maintaining an emotional connection to the characters involved. The movie has a boyish enthusiasm for adventure and it’s fun watching well-known characters assemble and amble into new and interesting directions. The action is routinely thrilling and I enjoyed Abram’s small touches, like watching a crew member get sucked out into space and cutting all sound to illustrate the cold, empty vacuum. The amount of humor injected into the movie can be distracting at times, not because it isn’t funny but because of the brisk tone breaking. One second it’s a life-or-death scenario and the next Kirk is running around with giant goofy hands. Still, it’s good to see some humor in the Trek universe that isn’t related to alien culture clashes.

The young ensemble is amazingly well cast. I didn’t think a younger generation of actors would be able to step right in and play such lived-in characters, but they pull it off. The hardest shoes to fill are unquestionably Kirk’s, and Pine (Smokin’ Aces, Just My Luck) carries that same cocksure bravado without stooping to a stilted Shatner impersonation. His performance feels at times like Han Solo and Luke Skywalker rolled into one, and he’s an appealing presence that captures the essence of a dashing and rebellious scrapper. This Kirk is still an adventure-seeking, skirt-chasing 1960s kid at play. Quinto (TV’s Heroes) is blessed to look remarkably similar to Nimoy, but the actor also gets to explore the human side of Spock. He feels compelled to harness emotion, like all Vulcans, yet it’s intriguing when certain emotions slip out and build a bigger picture about what’s going inside the mind of a being dominated by logic. Quinto has less to work with by design and yet the man finds interesting ways to ensure Spock can be recognizable. Each of the supporting actors has their moment, but my biggest surprise was Karl Urban as Dr. Leonard “Bones” McCoy. Urban has mostly been confined to lame action movies as of late, like Doom and Pathfinder. But he’s really funny and his performance captures DeForest Kelly’s mannerisms down without turning into a caricature.

If there is a main weakness to Abrams’ Trek outing it’s that it feels far more like the opening act of a larger movie. Nero is a fairly weak villain, though Bana gives him a nicely polished glower. The villain is really just a tie-in for the time travel storyline, which is also a narrative quirk to secure an open field for further stories. Meaning, that much of the movie can be seen as assembling the pieces to simply move forward on their own. It’s an expensive set-up movie, and Abrams makes sure that the audience sees every dollar of the splashy visuals onscreen. Personally, I was also getting tired of the cinematography decision to fill the screen with as many light flares as possible. It seemed like every other moment had a blast of light beam in from some direction. After a while it sort of felt like an eye exam where the optometrist shines a flashlight back and forth. And it takes far too long for Scotty (Simon Pegg) to appear in the movie.

J.J. Abrams does more than hit the restart button. He has made a Star Trek that manages to be respectfully reverent but at the same time plays along to the mainstream visual sensibilities of modern cinema. It’s fun without being campy, reverent without being slavish, and this Trek never forgets to entertain from the opening assault on a starship to the Michale Giacchino’s closing credits score. This is an enjoyable rush of sci-fi escapism. The Star Trek series was always deeply hopeful and humanistic, believing in the best for humanity and that man, in cooperation, could achieve greatness. I think further escapades with this cast and Abrams at the helm could reach greatness. For now, I’ll be happy with this rollicking first entry into a franchise that seemed adrift in space. Bring on more of the green-skinned women.

Nate’s Grade: A-

Harold and Kumar Escape from Guantanamo Bay (2008)

I was a big fan of the first outing to White Castle, a crude stoner comedy that also happened to be clever in its outrageousness. The Harold and Kumar sequel returns the same writers but what the hell happened? The first film separated itself from its class of juvenile jokesters because it had charm and wit, but this mediocre movie just stumbles from one uninspired comedic setup to another. The boys get mistaken for terrorists and then the movie becomes a ramshackle road trip through America. The gags are lame and easily telegraphed. Regrettably, many jokes are reheated from the first film, like Kumar’s fantasies involving an anthropomorphic living bag of weed. The presence of the hysterically gifted Neil Patrick Harris gives the film a boost but even NPH cannot save these less-than-stellar shenanigans. The comic set pieces don’t add up together into something greater, and the only scene worth remembering is when the boys smoke weed with President Bush. You know you’re in bad shape when even the gratuitous nudity feels tacky and boring.

Nate’s Grade: C

Euro Trip (2004)/ Harold and Kumar Go to White Castle (2004)

In 2004, there was a gold mine of smart but crude comedies. I cannot fathom why people have ignored both Euro Trip and Harold and Kumar Go to White Castle. Not only are both movies extremely funny, they serve as perfect examples of a great teen comedy. And both had characters that weren’t idiots or stoners. A trio of former Seinfeld writers penned Euro Trip and the fast-paced wit and love of the absurd is evident. The leads of Harold and Kumar are Asian-American and Indian-American, which gave and smart intriguing ethnic point of view to teen comedies. Harold and Kumar were studying to respectively become a doctor and an accountant. These characters aren’t dumb, just in over their heads as they hunt all night for those tiny White Castle burgers. Harold and Kumar has many laugh-out-loud moments that won’t make you ashamed for doing do. Neil Patrick Harris’ lurid cameo is a highpoint. Euro Trip and Harold and Kumar are intelligent, crude, and blisteringly funny. Rent them if you can.

Both Grades: B

American Pie (1999)

 

I may be a lone voice in a sea of opposition but I’ll say that I really didn’t laugh much at this latest teen sex romp. I wanted to laugh more than I did, oh I did, but it never really transpired. The movie throws together out of place gross-out gags and false sentimentality. The entire thing was predictable and for the most part stale. I may be over-analyzing a teen sex comedy, but that’s what I had to do with the time where I wasn’t laughing. The creators of this seem to imply that gals who don’t put out aren’t worthwhile or even cool. I could never feel for any of the characters or relate because they were all so shallow. There are some humorous scenes in this flick but they are few and far between. Many of the jokes just fall flat. Overall I could say I was greatly disappointed with American Pie and hope that the most innovative joke in the next teen sex comedy isn’t played to death in commercials and turned into a tagline. Are you listening Universal marketing team?

Nate’s Grade: C

 

<span>%d</span> bloggers like this: