This may prove to be the most difficult review I’ve ever written in my twenty years (!) of reviewing movies. How do I ever begin to describe the events of Marvel’s culminating blockbuster Avengers: Endgame without stepping too far into the dark and dangerous territory of the accursed spoilers? I thought it would be difficult talking about last year’s Infinity War considering the shocking plot events and general secrecy, but this concluding chapter to a 22-movie journey is even more secretive (the trailer accounts for only footage roughly from the first twenty minutes). I’ll do my best, dear reader, to give you the clearest impression I can of this unique experience while respecting your need to be un-spoiled. In short, Avengers: Endgame is unparalleled in our history of modern popular blockbusters because it needs to work as a clincher to a decade-plus of hugely popular blockbusters for the Marvel Cinematic Universe (MCU), and boy do they ever stick the landing.
The film picks up with our surviving Avengers picking up the pieces following the events of Infinity War, namely Thanos (Josh Brolin) eliminating half of life throughout the universe. The original six Avengers are all suffering through guilt, depression, and degrees of PTSD following their failure to defeat Thanos. Scott Lang a.k.a. Ant-Man (Paul Rudd) arrives after having spent time in the quantum realm and has a potential solution that will involve traveling through time to correct the mistakes of the past and bring everyone who vanished back to life. The remaining teammates assemble at the behest of Steve Rogers a.k.a. Captain America (Chris Evans), including Bruce Banner a.k.a. Hulk (Mark Ruffalo), Black Widow (Scarlet Johannson), Thor (Chris Hemsworth), Hawkeye (Jeremy Renner), Rocket Racoon (voiced by Bradley Cooper), Nebula (Karen Gillan), and War Machine (Don Cheadle). However Tony Stark a.k.a. Iron Man (Robert Downey Jr.) needs the most convincing, as he is most afraid of making things even worse and losing more people he feels are too precious to be casualties to their failures once again.
The thing to know ahead of time is that Endgame is not for the casual fan. This is a long love letter to the fans that have pored over all 22 preceding films, not just a scant one or two. Infinity War was accessible to relative newcomers because of the structure and focus on Thanos as the main character, providing a self-contained arc that lead up to his finger-snapping triumph. It also benefited from the fun factor of simply watching a bunch of popular characters interact and team up for the first time in MCU history. Now that a majority of those characters have turned to dust, the emphasis falls back on the original core of the Avengers, bringing things full circle. In several ways, Endgame is about bringing to a close this mammoth project that began with Iron Man, this decade of storytelling ambition that has stretched out into multiple inter-connected franchises. If you love these characters, then Endgame is a movie made specifically for you. There is a long stretch in Act Two that relies upon a decent amount of fan service and sentimentality, but I don’t think either is an automatically negative attribute. Before we reach the finish line it’s important to take stock of how far we’ve come and this goes for the essential characters and their long arcs. There are several fun cameos strewn throughout and the filmmakers even take an interesting tack of trying to reclaim and re-contextualize the MCU movies that fewer people enjoyed. It makes for a filmgoing experience that is heavy in references, in-jokes, Easter eggs, and cozy nostalgia, which will confuse and frustrate those not well versed in this big world.
The other thing to know, especially if you’re a long-standing fan, is that there will be tears. Oh will there be tears. I lost count of the amount of times I was crying, which was pretty much on and off nonstop for the final twenty minutes. I was even tearing up for supporting characters that I didn’t know I had that kind of emotional attachment for. The film is done so well that the first third actually could play as the MCU equivalent of HBO’s The Leftovers, an undervalued and elegant series about the long-term recovery of those that remain in a post-rapture world. The opening scene involves a character having to go through the loss of loved ones via Thanos’ snap, and it’s brutal as we wait for what we know is coming, dread welling up in the pit of your stomach. The Russo brothers, the returning directing team from Infinity War, know what scenes to play for laughs (the line “That’s America’s ass” had me in stitches), what scenes to play for thrills, what scenes to play for fist-pumping cheers, and what scenes to play for gut-wrenching drama. They allow the movie to be an existential mood piece when it needs to be, actually dwelling on the repercussions of a life post-universe culling. There’s a character who frantically searches to see if a loved one was among the missing, and that eventual reunion had me in tears. With the three-hour running time, the Russos have the luxury of allowing scenes to naturally breathe. This might be the most human many of these characters have ever seemed, and it’s after recovery and grief. Needless to say, the conclusion feels very much fitting but also unabashedly emotional, unafraid of diving deep into its feelings. I sobbed.
I was worried once the film introduced the time travel plot device that everything was simply going to be erased and invalidate the struggles that came before. The worst use of time travel is when it eliminates any urgency or danger, allowing an endless series of do-overs to correct the past. Fortunately, returning screenwriters Christopher Markus and Stephen McFeely (Civil War, Winter Soldier) realize that in order for there to be a reversal, a glint of a happy ending, there must be a cost or else it all meant little to nothing. There are finite events in the movie that cannot change (as of now) and losses that will be permanent (as of now, if they don’t want to cheapen the journey). People died with Infinity War but we all knew, at least when it came to its dreary conclusion, that it wasn’t going to be too long lasting, which allowed the communal grief to be short-lived. After all, there’s a new Spider-Man film coming down the pike two months from now, so it’s highly unlikely the teenage web-head will remain dead. However, with Endgame, the deaths serve as the cost for resurrecting the MCU, and they will be felt for years. The screenplay provides limitations to the time travel mechanics, though I don’t think the collective hand-wave to the nagging paradoxes was as successful as the movie thinks it was. The film barrels ahead, essentially telling you to forget about the paradoxes and enjoy the ride, focusing on the characters and remembering what is really important.
Suffice to say Downey Jr. is once again his charming, self-effacing, and enormously entertaining self. The MCU began with this man and his contributions cannot be overstated. He is the soul of this universe. Evans is compelling as the straight-laced inspirational figure who takes stock of what he’s sacrificed over the years, Hemsworth showcases a potent mixture of comedic and dramatic chops, Johannson is definitely the Avenger going through the “bargaining” phase to try and make things right and she has some subtle emotional moments that belie her desperation and guilt, and Renner makes a welcomed return in a way that made me appreciate Hawkeye like I never had before. Brie Larson does reappear as Captain Marvel but the movie smartly puts her back on the sidelines protecting the many other worlds in the universe needing assistance because of how overwhelmingly powerful she can become. Larson filmed her scenes for Endgame before her own solo movie, released a month prior, so forgive the different hair and makeup, Twitter nit-pickers. I will say there is one scene that is a bit convoluted how it gets there but is destined to make women in the audience cheer with excitement as the MCU says, “Hey, that whole ‘strong female character’ thing? Yeah, we’ve had all that for years, and here you go.”
How does one properly assess a movie like Avengers: Endgame, a conclusion not just to an Infinity War cliffhanger but to a twenty-two movie prelude over the course of eleven years? The emotional investment in these characters, their journeys, has to come to something to be ultimately meaningful when it’s time to close the chapter on one massively ambitious story before starting the next. And there will be a next chapter; the MCU’s unparalleled financial success assures the fanbase they’ll have plenty more high-flying and wild adventures to come in the years, and more than likely, decades to come. Marvel had the unenviable task of wrapping up a major narrative in a way that would prove satisfying without devaluing the individual films and overall time investment. Hollywood is filled with trilogies that messed up their conclusions. Nailing the ending is just as important as getting things going right, because without a satisfying conclusion it can feel like that level of emotional investment was all for naught. Endgame reminds you how much you’ve grown to love these characters, what fun you’ve had, and genuinely how much you’ll miss these characters when they depart for good. It’s hard not to reflect upon your own passage of time with the ensuing eleven years, how you’ve changed and grown from the MCU’s humble beginnings in the summer of 2008. These heroes and anti-heroes can begin to feel like an extended family for many, and so fans desperately need the ending to do them justice. Avengers: Endgame is the ultimate fan experience.
Nate’s Grade: A
It’s hard to draw comparisons to the major commitment to long-form storytelling that the Marvel Cinematic Universe (MCU) has dabbled with over the course of ten record-shattering years of success. I can think of movie franchises that have been popular over long periods of time, like James Bond, but rarely do they keep to continuity. It’s been 18 movies and ten years since the caddish Robert Downey Jr. first stole our hearts in the original Iron Man, and its stable of heroes and villains has grown exponentially. Looking at the poster for Avengers: Infinity War, it’s hard to believe there’s even enough space just for all of the actors’ names. Infinity War feels like a massive, culminating years-in-the-making film event and it reminded me most of Peter Jackson’s concluding Lord of the Rings chapter, Return of the King. After so long, we’re privy to several separate story threads finally being braided as one and several dispirit characters finally coming together. This is a blockbuster a full decade in the making and it tends to feel overloaded and burdened with the responsibility of being everything to everyone. It’s an epic, entertaining, and enjoyable movie, but Infinity War can also leave you hanging.
Thanos (Josh Brolin) has finally come to collect the six infinity stones stashed around the universe. With their power, he will be able to achieve his ultimate goal of wiping out half of all life in the universe. Standing in his murderous way is a divided Avengers squad, with Tony Stark (Downey Jr.) still on the outs with a wanted-at-large Captain America (Chris Evans) and Black Widow (Scarlett Johansson). One of the in-demand infinity stones resides in the head of the Vision (Paul Bettany), who is in hiding with his romantic partner, Scarlet Witch (Elizabeth Olsen). They know Thanos will be coming for Vision eventually. On the other side are the Guardians of the Galaxy who have a few personal scores to settle with Thanos, the adopted father of Gomora (Zoe Saldana) and Nebula (Karen Gillan). Elsewhere, Thor (Chris Hemsworth) strikes out looking for the key to defeating the big purple menace. Thanos’ loyal lieutenants attack Earth to gather the remaining infinity stones, drawing the attention and push-back of Doctor Strange (Benedict Cumberbatch) and Peter Parker (Tom Holland). The various heroes of Earth and space unite to eliminate the greatest threat the universe has ever known.
Avengers: Infinity War serves not as much a series of payoffs as it is climaxes, with climactic event right after another, and this time it’s for keeps (more on that below). There are moments that feel like major payoffs and moments that feel like shrug-worthy Last Jedi-style payoffs. Infinity War is the longest MCU movie yet at 149 minutes but it has no downtime. That’s because it has to find room for dozens of heroes across the cosmos. With the exception of three super heroes, everyone is in this movie, and I mean everyone. This is an overstuffed buffet of comic book spectacle, and whether it feels like overindulgence will be determined by the viewer’s prior investment with this cinematic universe. If this is your first trip to the MCU, I’d advise holding off until later. Any newcomer will be very lost. I’ve deduced the seven MCU movies that are the most essential to see to successfully comprehend the totality of the Infinity War dramatics, and they are Iron Man, The Avengers, Captain America: Winter Soldier, Guardians of the Galaxy, Captain America: Civil War, Doctor Strange, and Thor: Ragnarok. Naturally, being intimately familiar with the previous 18 movies will be best, but if you don’t have thirty hours to spare then please follow my seven-film lineup and you’ll be solid.
As far as the stakes, the MCU has been notoriously reluctant about killing off its characters, but Infinity War is completely different. I won’t spoil circumstances or names, of course, but the march of death happens shockingly early and carries on throughout. There are significant losses that will make fans equally gasp and cry. This is a summer blockbuster that leaves behind an impressive body count across the known universe and ends in a downbeat manner that will naturally trigger reflexive Empire Strikes Back comparisons. It’s hard to feel the full impact of the drastic decisions, and the grief over their losses because I know there is a Part Two coming summer 2019, and with that comes the almost certainty that several important events will be diminished or straight-out reversed. After all, in comics, nobody is ever really dead, though with movies the heroes have the nagging habit of aging. With that said, you better believe I was holding my breath during some standoffs, tearing up at some sudden goodbyes, and reflecting upon journeys shared.
This is very much Thanos’ movie, which was one of the bigger surprises for me. Beforehand, our exposure to the big purple guy has been relatively minor, a brief moment here or a cameo there during a post-credit scene. Considering Thanos is supposed to be the universe’s biggest bad, it makes sense to finally give him his due, and that is what Infinity War does. Thanos gets the most screen time of any character and is given an honest-to-God character arc. He’s a villain who goes on an actual emotional journey as he follows a path that he feels compelled to even as it tests him personally. He finally opens up as a character rather than some malevolent force that is oft referred to in apocalyptic terms. We get his back-story and motivation, which is less a romantic appeal to Death like in the comics and more a prevention of the apocalypse reminiscent of the Reapers in the Mass Effect series. Thanos sees himself as a necessary corrective force and not as a villain. He’s never portrayed in a maniacal, gleeful sense of wickedness. Instead he seems to carry the heaviness of his mission and looks at the Avengers and other heroes sympathetically. He understands their struggle and defiance. Having an actor the caliber of Brolin (Deadpool 2) is a necessity to make this character work and effectively sell the emotions. Thanos is the most significant addition to the MCU appearing the latest, so there’s a lot of heavy lifting to do, and Infinity War fleshes him out as a worthy foe.
As an action spectacle, however, Infinity War is good but not great. The action sequences are interesting enough but there’s nothing special and little development. There’s nothing that rivals the delirious nerdgasm of the airport battle in Civil War pitting hero-against-hero to dizzying degree. The characters are separated into units with their own goals leading to a final confrontation that feels more climactic conceptually than in execution. That’s because this is an Avengers film that falls into some of the trappings of the glut of super hero cinema, namely the army of faceless foot soldiers for easy slaughtering, the over exaggerated sense of scale of battle, the apocalyptic stakes that can feel a bit like a bell rung too many times, and even minor things like the lackluster supporting villains. Thanos’ team of lieutenants are all the same kind of sneering heavy with the exception of one, a sort of alien cleric heralding the honor of death from Thanos. Carrie Coon (HBO’s The Leftovers) is generally wasted providing the mo-cap for the Lady Lieutenant That Sounds Like a Band Fronted by Jared Leto, a.k.a. Proxima Midnight. There are far too many scenes where characters reluctantly strike a deal to give up an infinity stone if Thanos will spare the life of a beloved comrade. The film’s greatest point of entertainment isn’t with its action but the character dynamics. The fun is watching years-in-the-making character interactions and seeing the sparks fly. There’s more joy in watching Downey Jr. and Cumberbatch try and out smarm one another than with any CGI collision of a faceless army of monsters. There are so many characters that few are given fully defined arcs. Most are given beginnings and stopping places. Though the eventual sequel will have fewer characters needing to share precious screen time.
The standouts on screen are Hemsworth (12 Strong) carrying a large portion of the movie and not missing a beat of his well-honed comic rhythms from Ragnarok, Bettany (Solo) brings a sad soulfulness to Vision as a man who knows fate is likely unavoidable, and Dave Bautista (Blade Runner 2049) is perfectly deadpan as Drax and has the funniest lines in the movie followed closely by the exuberant Holland (Lost City of Z). To even say which characters deal with more complex emotions might be a spoiler in itself but there are several actors showing an emotive level unseen so far in the bustling MCU.
Avengers: Infinity War marks a significant concluding chapter for one of cinema’s most popular series, until at least the next movie possibly makes it feel less conclusive. I pity Marvel because expectations are going to be astronomical for this climactic showdown. There are so many characters, so many crossovers, and so much to still establish, like Thanos as a character more than a spooky force of annihilation, that it feels rather breathless even at nearly two-and-a-half hours. You may be feeling a rush of exhilaration on your way out or an equally compelling sense of exhaustion. Infinity War doesn’t have the imaginative highs of a Dcotor Strange, the funky personality and style of a Guardians of the Galaxy, the wonderfully thought-out structure of a Spider-Man: Homecoming, the adroit weirdness of a Thor: Ragnarok, or even the hero-against-hero catharsis of a Civil War (still my favorite). What it does have is a sense of long-gestating finality, of real stakes and dire consequences. It’s not all pervading doom and gloom; this is still a fun movie, buoyed by crackling character team-ups and interactions. While, Infinity War won’t be all things to all people, myself included, it will please many fans, casual and diehard alike.
Nate’s Grade: B
If Marvel was ever going to have a dud in its near historic run of blockbuster success, it should have been Guardians of the Galaxy, a movie that asked audiences to care about a talking raccoon and a tree creature who could only say three words. And yet that movie had me in tears by the end, and I was not alone. Writer/director James Gunn (Slither, Super) graduated from Troma to demented indie films to the Big Time with studio tentpoles. A sequel was fast-tracked and is definitely one of the most highly anticipated films of 2017 not named Star Wars. Can Gunn still deliver fans what they want without falling into the morass that is fan service, a sticky trap that can sap big-budget sequels of differentiation and make them feel more like product?
Set mere months after the events of the first film, the Guardians are enjoying their newfound celebrity and taking lucrative for-hire jobs. Star-Lord a.k.a. Peter Quill (Chris Pratt) and Gamora (Zoe Saldana) are still going through their will-they-won’t-they sexual tension. Gamora’s sister Nebula (Karen Gillan) is still looking to gain the upper hand. Baby Groot (voiced by Vin Diesel) is growing up and still cute. Drax (Dave Bautista) is still mourning his family and trying to better fit in. And Rocket (voiced by Bradley Cooper) is still making rebellious, self-destructive decisions, like stealing valuables from The Sovereign, a race of genetically bred golden snobs. The leader of the Sovereign, Ayesha (Elizabeth Debicki, looking good in gold), declares a bounty on the Guardians for their disrespect. The Ravagers are hired to collect the Guardians, though Captain Yondu (Michael Rooker) is hesitant to go after his surrogate son, Peter. Complicating matters further is the arrival of Ego (Kurt Russell), a mystifying man who happens to also be a living planet and Peter’s biological father.
Guardians of the Galaxy vol. 2 is highly enjoyable with great moments, great action, and great characters but I was left feeling like it was a step or two behind the original and I’ve been trying to articulate just why that is. I thought perhaps it was better to be upfront. I think it all stems from the fact that it’s not as fresh the second time, it doesn’t quite have the same blast of attitude and personality to disarm and take you by surprise, and I’ll admit part of this is just due to the fact that it’s a sequel to a hugely popular movie. However, also because of this there are now a set of expectations that Gunn is leaning towards because audiences now have acute demands.
We have an idea of what a Guardians of the Galaxy movie can provide, and from those demands spur creative decisions that don’t fully feel as integrated this go-round as they did in the first film. It feels like Gunn is trying to also work within a box he’s created for himself, and for the most part he succeeds admirably, but it still feels slightly lesser. The standout musical moment occurs during an opening credits that involve an action sequence from a Baby Groot-eyed point of view. As the Guardians are flying and falling to destroy a ferocious alien blob in the background, Groot is strutting and dancing to “Mr. Blue Sky” by ELO. It’s a moment of unrestrained pleasure and it also undercuts action movie conventions by having a majority of the events obscured or implied. It’s the moment that feels the most like that electric feeling of discovery from the first film. There are also 80s pop-culture references and cameos and some off-kilter comedy again. Much of it is fun, especially one cameo in particular as it relates to Peter’s father, but they also have the noticeable feel of boxes to be checked, expected items that now must be incorporated in what a Guardians of the Galaxy feature should be. Expectations can lead to fan service and then that leads to less chances and originality. Hey, I loved the 2014 original and consider it my favorite Marvel movie so I don’t want them to simply chuck out everything that worked just for something one hundred percent different. You want what you loved but you don’t want it exactly the same, which is the creative bind. Gunn leans into what the audience wants and I can’t fault him too hard. It’s still a really good film.
What Guardians vol. 2 does best is remind you why you love these characters. It even elevates a group of supporting players from the first movie into characters you genuinely care about, chiefly Nebula and Yondu. Both of these characters were slightly defanged antagonists in the first film, problems but problems you didn’t want to see go away. Yondu gets the biggest boost thanks to the thematic bridge of Peter’s search for his father. The notorious leader of the Ravagers has a definite soft spot for the scrappy human and it’s finally come to a head with his tempestuous crew. They mutiny on Yondu and declare him to be an unfit leader, unable to do what is necessary. This direction allows for a lot of introspection for a character that was essentially just Michael Rooker in blue paint. He has a history to him and he makes a moral deviation from his expected path, one that bears ongoing consequences. He’s Peter’s real surrogate father, and his acceptance of this reality brings a snarling secondary antagonist into the realm of a full-blown character that earns our empathy (a Mary Poppins joke also had me in stitches).
The same can be said for Nebula, who is working out some serious daddy issues. She is the stepsister to Gamora and holds quite a grudge against her green sibling. It seems that their father, Thanos, would constantly pit them against one another, and Nebula would always lose, and with each loss came a painful consequence. It’s the kind of back-story that’s given more time to breathe and develop. It opens up an antagonist into another person who is dealing with trauma and pain and who doesn’t play well with others, which seems as good a job description to join the Guardians as anything. Nebula has a fearsome sense of competition with her sister, and that parlays into some fun over-the-top action sequences. When the movie allows the two women to talk, as surviving sisters of rather than enemies, is where Nebula comes into her own.
Gunn makes sure there’s a grounded and emotional core to his characters, which makes these appealing underdogs and antiheroes ever easier to root for. Guardians vol. 2 doesn’t really move the overall plot forward too much but it does explore the relationships and their personal lives with greater depth and clarity. The characters are spread out into smaller pairings for a majority of the extended second act, which allows interesting connections and developments due to the personalities. Drax is paired with Ego’s assistant/pet Mantis (Pom Klementieff) and it’s an instantly winning couple, a man who only speaks literally and a woman who is able to channel the feelings of strangers through touch. They’re both relied upon for the greatest amount of comic relief and they routinely deliver. Klementieff (Old Boy) is a wide-eyed delight. Rocket and Yondu being stuck together allows for both to come to realizations that feel organic though also too fated by Gunn’s hand. Their general disregard for decorum leads to some great action sequences. Gamora and Nebula are working through their family issues and it makes both more interesting. When they come to a form of resolution it still feels awkward but earnest and right. But the biggest personal exploration is Peter and his own lingering space daddy issues.
Another fantastic addition to the movie was the character of Ego because of the wonderfully charming Russell (The Hateful Eight) and also because of what the character allows for. The very fact that Ego is a millions-year-old living planet is a clever curveball for the Peter Quill “who’s your daddy?” mystery sweepstakes. It also opens all sorts of intriguing questions that the second act wades through, like the exact mechanics of how Ego exists, projects a Russell-looking avatar, and what is his ultimate purpose. I’m going to steer away from spoilers but fans of the comic will already have suspicions where this whole father/son reconciliation may lead, and you won’t be disappointed. Russell radiates paternal warmth and it goes a ways to cover up the purposeful obfuscation of the character. Because Gunn has to hold back on certain revelations, some of them gasp-worthy, he can’t open up the father/son dynamic too fast or too unambiguous. As a result, the latent bonding relies upon more familiar touchstones, like throwing the ball out back with your pops or sharing a love of music. Russell makes even the most ridiculous thing sound reasonable, which is important considering we’re talking about a planet boning ladies.
Gunn also takes several steps forward as a visual filmmaker with the sequel. He has a great feel for visual comedy and how to undercut the more boilerplate heroic moments in other superhero fair. He fills his screen with crazy, bight, psychedelic colors and has a Tarantino-esque instinct for marrying film with the right song. The sequel doesn’t have as many iconic moments set to music but it will play most agreeably. The special effects are pretty terrific all around but I appreciate that Gunn doesn’t allow the movie to feel overwhelmed by them, which is important considering there are fundamentally CGI-only characters. Gunn’s action sequences, chases, escapes, and breakouts are presented with plenty of dazzling style and witty attitude to spare without feeling obnoxious. The comedy is consistently funny and diverting. There’s a bit with the need for tape that just keeps going and actually becomes funnier the longer it goes, undercutting the end-of-the-universe stakes with the search for something as mundane as tape. My screening was presented in 3D and I was worried about the film being set in space and being too dark. This is not the case at all, and while the 3D isn’t a high selling point like it was for Doctor Strange, it is a nice experience that doesn’t dilute Gunn’s gonzo color scheme. The level of thought put into his novelties can be staggering, like an end credits series of dancing clips that also manages to play upon a character note for Drax. Gunn manages to further comment on characterization even during the freaking end credits. The final showdown goes on a bit longer than necessary and is the only section of the movie that feels consumed by CGI spectacle, but the fact that only the end feels this way can be considered another small triumph of Gunn fighting through a corporate system.
Marvel knows what it’s doing to a molecular level. Almost ten years into their system, they know what works in their criss-crossing franchises and how to calibrate them for maximum audience satisfaction. At this point after Guardians, Ant-Man, and Doctor Strange, they’ve more than earned the benefit of the doubt no matter the premise. However, entrenched success has a way of calcifying audience expectations. Guardians of the Galaxy was so funky, so different, so anarchic, and so wildly enjoyable. It should only be expected that the things that made it different would now be folded into audience expectations. The misfits can only be misfits for so long. It may not be as brash and fun or memorable as the first edition but it does benefit from the strong rapport of its cast and the deeper characterization, tackling some serious subjects while still slow motion stepping to a murder montage set to the golden oldies of the 1970s. The movie matters not because of the action, or the funny one-liners, or the adorableness of Baby Groot. It’s because we genuinely love these oddball characters. The first one introduced them and brought them together, and the second film deepens their bonds and widens their scope of family. Guardians of the Galaxy vol. 2 is a sequel that provides just about everything that fans should want. If it feels slightly lesser it’s probably just because it can’t be fresh twice, but Guardians vol. 2 still dances to its own beat and it’s still a beautiful thing.
Nate’s Grade: B+
I’ve written before that all I demand from the ever-ascendant and popular Fast and Furious franchise are its eye-popping action set pieces that teeter into madcap lunacy and impressive stunt work. A fiery meteor could crush all the characters, short of The Rock, and I wouldn’t shed a tear. Despite the super serious plaudits about the importance of family and loyalty and blah blah blah, I’m only here for the action spectacle that obliterates the laws of physics. I’ve said before there’s a fine line between stupid action and stupidly awesome action, and the Fast and Furious franchise has planted its flag like few others. Nobody today goes to the level of action spectacle that the Fast and Furious films achieve, bringing to life exciting action set pieces that feel fully plucked from the imagination of an exuberant child, and I don’t mean that at all disparagingly. These movies deliver like few others nowadays. We’re a long way from undercover cops and underground street racing. Vin Diesel and his team are essentially superheroes and their power involves doing amazing things with cars. I’m not a gearhead, I don’t care a lick about automobiles, but I’ve come to eagerly anticipate this franchise. It delivers ridiculous action on a ridiculous scale like few others. It’s earned my confidence. The Fate of the Furious, the eighth film, still delivers the high-octane goods even if it can’t quite keep up with the best of the franchise’s entries.
Dom (Diesel) has been preaching the virtues of family for years but now he’s turning his back on them. The notorious cyber terrorist Cipher (Charlize Theron) extorts Dom into helping her get her hands on nuclear codes. Dom’s crew (The Rock, Michelle Rodriguez, Ludacris, Tyrese Gibson, Nathalie Emmanuel) is wondering whether the man they know is still there. Government agent M. Nobody (Kurt Russell) reassembles the team to track down Dom, and they’re working with some unexpected help. Deckard Shaw (Jason Statham) has been released from maximum-security prison to thwart Cipher.
This is a franchise that soared to new heights of commercial success after it left behind its inhibitions of the imagination. It’s a franchise that lives or dies depending upon its giddy action set pieces. As I wrote about Furious 7: “The set pieces of the last few films have been stunners, and at its height, the franchise can make you feel giddy like a child watching the unreal unfold with such delight. There’s a tremendous and infectious high watching a well-executed action scene on such a large scale. With every movie our expectations are hungrier, and the franchise has found a way to satiate our action movie demands.” Fortunately for the eighth film, there are two standout action set pieces that are some of the stronger ones in the history of the franchise. The first is a car chase through New York (though filmed primarily in Cleveland) that builds and changes as it continues, an essential element for any great action sequence to stretch forward. At one point Cipher takes control of an armada of hackable, self-driving cars and pilots them as a collective weapon of mass destruction. They resemble a herd of runaway bulls. The destructive fleet leads to some impressive sights such as a bevy of cars plummeting from a parking garage. It’s a strong sequence that also finds room for the other characters to try and take down Dom, and it allows Dom the ability to outsmart them, adding the personal element. The other standout is the entire third act set around the Arctic Circle in Russia that climaxes with the dizzying heights of a nuclear sub chase and The Rock manually redirecting a speeding torpedo. There are multiple points of action and mini-goals that lead logically to the next, allowing escalation to mount. It’s dangerously over-the-top even for this franchise and it’s generally awesome and I loved it.
Eight movies in and Fast and Furious is really becoming an expansive ensemble series. The core team has been picking up players here and there with each additional movie, building its diverse definition of a diverse family. This is getting to be a crowded film and there’s just not enough room to go around for everyone to contribute meaningfully, which means it’s more likely from here on out, unless there is some judicial pruning, that characters stay religiously archetypal. Ludacris is the tech guru, but isn’t Emmanuel now also the tech guru, or does she only specialize in the tech subgroup of hacking? Why do I need Scott Eastwood (The Longest Ride) to join the gang as the awkward rookie trying to look cool? Isn’t that a milder version of what Tyrese Gibson offers as the comic relief bravado? Admittedly, I only started really paying attention to this franchise once it added The Rock, but I’m still unsure what Rodriguez brings to the dynamic beside history and romance. This general sense of the characters settling into their expected roles is exemplified in the in-car banter and one-liners. It appears often that they’re just talking to themselves for these lines. I could do with far less Tyrese reaction shots and Rodriguez one-liners. Theron is also generally wasted as the new villain du jour. She’s got the icy glare down and looks to be having fun, but she’s not given anything interesting to do. Without going into greater spoilers, I will say that Dom’s heel turn is wrapped up by the end of its 135-minute running time. No need to turn it into a multi-film arc.
Paul Walker’s character is understandably absent and I’d hate for them to bring him back after the very sweet and surprisingly poignant sendoff at the end of Furious 7, but he does still exist in this universe. I can agree with characters not wanting to get him involved in their dangerous missions across the globe, but at the end when they’re all dining as one big family, wouldn’t they also invite Dom’s sister, brother-in-law, and their children too? It gets into the Avengers territory where you start wondering why the Avengers haven’t assembled for the world-destroying threats from their respective solo film adventures.
The best post-Rock addition to the franchise has easily been Statham (Spy) and he proves it with his limited but highly entertaining time on screen. His appearances were a fun disruption in the previous film and he served as the most formidable villain. Reintegrating him onto the team was a smart move because he adds charisma, unpredictability, and a new dynamic that also seeds conflict. It was also smart because more Statham means including hand-to-hand combat action sequences that can involve a higher degree of stunt choreography, even if the former Transporter is starting to show his age. His scenes with The Rock were a natural highlight. However, adding Deckard onto the team to tackle a bigger baddie presents some weird questions. By the film’s end, everyone seems rather chummy with the man who straight up murdered their friend Han (Sung Kang). Sorry dude but it seems like everyone is rather relaxed with your murderer and big government having unlimited and regulation-free surveillance powers. My advice to future Fast and Furious installments, and there will be various, is to try and include as much Statham as possible (it’s essentially a repeat of The Rock Rule).
Where the movie has rougher terrain is in the area of drama and comedy. Look, nobody is going to confuse the Fast and the Furious films as great works of human drama. Director F. Gary Gray (The Italian Job, Straight Outta Compton) takes over for James Wan (The Conjuring) who took over for Justin Lin (Star Trek Beyond), and the discrepancy is noticeable. While having two excellent set pieces that place highly along the big board of the franchise, they’re not as well shot. Gray’s command of visuals is more than adequate but lacks the sizzle and vision of his predecessors. Wan was able to adopt the house style of the franchise and deliver a satisfying though lesser experience (Lin is king). Gray has a harder time with the material. The CGI approaches cartoon levels at points and Gray doesn’t better maintain tone. He doesn’t know when to pull back, which is unusually exemplified in the comedy asides. Everything that gets a laugh will be repeated until it becomes somewhat annoying, in particular a scene with Statham and a baby. It begins fun and cheeky, and Statham even uses the baby carriage as part of the fight choreography, but then it overstays its welcome like the other comedy bits. The dramatic moments are also far too overwrought, even for this franchise. It can be a bit much.
This is a franchise that revels in the ridiculous, that embraces being a big dumb action movie in the best way, delivering imaginative and often eye-popping action that deserves the full big screen treatment. Fate of the Furious falls somewhere in the middle of the franchise from a quality standpoint. It’s not as good as seven, which wasn’t as good as six, which wasn’t as good as five, but it’s still good enough. It’s definitely lesser and the new director doesn’t have the same natural feel for the preposterous as previous directors, and even after eight films I’m still mostly indifferent about the far majority of the characters on screen. As I’ve written before, though, thankfully the movie has the good sense to know what the audience is paying to see. It’s here for the fast cars, eye-popping stunts, and gratuitously framed camera angles highlighting women’s derrieres (I think there’s a contractual law that a close-up of booty shorts must make a grand entrance in the opening minutes of every film). Fate of the Furious is just enough of what I want from the franchise, though it’s getting harder to keep up with every new movie. Furious 9 and 10 are already in the works, and it’s only a matter of time before we get Fast and Furious in Space. It’s getting further and further removed from a sense of reality but as long as it keeps up with incrementally raised expectations and employs enough charming actors to compensate for Diesel’s enormous lack of charisma, then they’ll keep fans like me happy in the short run.
Nate’s Grade: B
The Fast and the Furious series has never been more popular, which is crazy to think about for a franchise entering is sixth sequel. Then in November 2013, it suffered its biggest shock. Actor Paul Walker was killed in an automobile accident. The already-filming seventh film was put on hold, pushed back a year for release, and retooled to accommodate the new tragic reality that one of the core members of a popular series going back to 2001 was no longer walking this Earth. With this context, it’s hard not to apply an added level of gravitas and dramatic weight to a series that previously skirted by on its fun and outrageous stunts. It’s weird to watch an actor’s final filmed moments, knowing this is the last time you’ll see that face, hear that voice, on screen again. I’m already dreading that painful realization in November that, with Mockingjay Part 2, this will be the last cinema will see of Phillip Seymour Hoffman. With tragedy hanging over it, Furious 7 does an admirable job of sticking to what it does best while serving as a fitting tribute and sendoff for Walker.
Coming on the heels of the events of Furious 6, Dom (Vin Diesel) and his crew have dispatched Owen Shaw (Luke Evans, collecting a paycheck for one scene lying in bed). Shaw has an older brother, Deckard (Jason Statham), who swears vengeance and comes hunting after Dom’s team, killing Han in Toyko (events previously seen in 2006’s Tokyo Drift). Then Shaw hobbles Agent Hobbes (The Rock), leaving him sidelined for much of the movie. Dom and Brian (Walker) place their families in safety and then set off to eliminate Deckard Shaw. Little did they know that the government has a similar interest. Mr. Nobody (Kurt Russell) promises to help Dom in his quest if Dom agrees to a secret mission to rescue a computer hacker (Game of Thrones’ Nathalie Emmanuel). This hacker, codenamed “Ramses” has developed a device that taps into every camera and microphone on the planet to track anyone anywhere. If Dom can secure the device, Mr. Nobody will use it to track and take down Deckard Shaw.
What elevated the Fast and Furious films into new heights of critical and commercial acclaim are the over-the-top action set pieces that don’t just defy the laws of physics, they obliterate them. There’s a fine line between stupid action and stupidly awesome action, and I think Michael Bay is still trying to finesse this understanding. Under the guidance of director Justin Lin, the franchise got bigger and ballsier and enjoyably insane. The action set pieces were huge and wild and well developed with organic complications and world-class stunt driving. The set pieces of the last few films have been stunners, and at its height, the franchise can make you feel giddy like a child watching the unreal unfold with such delight. There’s a tremendous and infectious high watching a well-executed action scene on such a large scale. With every movie our expectations are hungrier, and the franchise has found a way to satiate our action movie demands (for my money, Fast Five is the best). Furious 7 is the first Fast film not directed by Lin in ten years. James Wan, best known as the director of horror films Saw and The Conjuring, stepped into the director’s chair and he assimilates well into the “house style” of the franchise. However, I found myself missing Lin’s touches; he has a natural feel for choreographing action sequences with style and a clear eye for orientation. I found the editing for Furious 7 too choppy and several action sequences hampered by not getting a better sense of the wider surroundings and what was happening. Wan acquits himself well and keeps things running smoothly, though Furious 7 is a slight step down but still plenty entertaining.
Let’s talk about those giddy highs of Furious 7, because they are certainly there, though I wish there was more of them. Am I just getting greedy or building a tolerance? There are two standout moments that made me squeal. The first involved a set piece involving cars parachuting out of a transport plane. The next was a car crashing through the window of an Abu Dhabi skyscraper into another skyscraper and then into another skyscraper. Your brain tells you that there are no way any of these moments could truly happen in reality, and that in these circumstances it’s majority CGI, but if you’re like me, you just do not care because the sheer scale of awesome is too enjoyable to pass up. When you can pull off large-scale and imaginative action that manages to also maintain a strong sense of fun, then you’ve landed upon something special. The previous Fast films have been able to maintain that giddy high for a more sustained period of time, but I cannot deny that the same thrills and over-the-top pleasure is present with Furious 7.
A factor that added to my enjoyment is that Furious 7 never dawdles or dwells too often during its 137-minute running time, save for an extended resolution for Walker. This has never really been a franchise that has soared on the strength of its characterization. Seven movies in, I still don’t really care for any of the characters except for The Rock and that’s mostly because he’s The Rock. I was happy that the film was always active to distract me from how one-dimensional and boring most of these characters are, even the villains. Statham (The Expendables) is the best villain the franchise has had so far but even he seems to be stuck in a lesser gear, failing to capitalize on all his abilities with a car chase franchise. The Rock vs. Statham fight shatters all breakable furniture within near proximity, but you still suspect it should be better given the participants. Djimon Hounsou (Guardians of the Galaxy) is wasted as a number two villain who mostly just shouts orders for people to fire weapons, and martial arts superstar Tony Jaa is definitely wasted as a number three villain, an elevated henchman with too few opportunities to bust a move. MMA fighter Ronda Rousey appears briefly as an Abu Dhabi security chief. She performs well, pummeling Michelle Rodriguez while in evening wear; however, you quickly realize that Rousey is not an actor. She’s no Gina Carano (Fast and Furious 6), and speaking of, when is this woman going to finally be cast as a super hero? She’s practically a living Wonder Woman anyway and she has that “it” factor.
When the movie tries to be dramatic, it starts to stall, which is probably why it relies mostly on platitudes about family (“I don’t got friends, I got family,” Dom says in a weird retort). Jordanna Brewster is once again written to the side as the Concerned Wife, and the movie still doesn’t seem to know what to do with the re-emergence of Rodriguez’s Letty character. She got her memory back in the previous film, but now she’s having trouble readjusting, but before this can develop into an actual plot she disappears again and then the big action just kicks in. There’s enough of a team built up to provide diversity, with Ludacris and Tyrese Gibson serving as comic backup. There’s a sense of camaraderie that doesn’t feel artificial, and the small moments together are perfectly nice, but thankfully the movie has the good sense to know what the audience is paying to see. It’s here for the fast car, eye-popping stunts, and gratuitously framed camera angles highlighting women’s derrieres (there are a lot of thongs in this movie).
With the specter of Walker’s passing, the movie also presents a ghoulish game of looking for the tricks to work around his untimely absence. Reportedly the actor had filmed “most” of the movie and the remaining scenes, retooled after months of production being on hiatus, were completed by Walker’s brothers and some CGI sleight-of-hand. Perhaps I just have a more trained eye for spotting the cinematic wizardry, but by my judgment it sure didn’t feel like Walker was present for most of what was eventually used in the movie. I noticed a lot of wider shots and scenes where Walker is not facing the camera to speak or he’s at an odd angle. At no point did the movie become a strange uncanny valley experience of discomfort; movie productions have digitally attached faces before to other heads, notably for Oliver Reed in 2000’s Gladiator. If you’re not looking for it intently then it will all pass seamlessly. The film’s final ten minutes end up becoming an extended sendoff for the character of Brian, but really it’s the actors saying goodbye to their friend. It’s reverent and respectful and might be the most honestly emotional moment in the series history, which I know isn’t saying exactly much.
I mentioned Phillip Seymour Hoffman in my opening paragraph, and I don’t think anyone is going to confuse Walker for Hoffman in terms of acting talent, but that doesn’t negate or mitigate loss and grief. Personal confession: when I was writing for my college newspaper, I interviewed Walker over the phone for 2003’s Timeline, which if you haven’t seen it, and I’m assuming that’s the majority of readers, is a terrible movie. I’m not going to pretend I had any terrific insight into the man, but I found him to be a good guy with a level head who hadn’t let fame get the better of him. One could argue that the character of Brian was not significant enough in the context of a big, dumb action franchise to deserve this sort of emotional catharsis, but loss is felt, and Furious 7 has two missions: to entertain and to memorialize Walker. While the action as a whole is not up to the same caliber, it’s still plenty engaging and has enough of its characteristically dizzy thrills to be memorable and worth seeing on a large screen. On the second count, it lets Walker race off into the sunset in a way that feels appropriate, sincere, and without tipping over into complete melodrama. In that regard, this is the Fast and Furious movie that had the most to accomplish and it succeeds. It’s a near certainty that there will be a Fast and Furious 8, or a Furious 8, or a Fast 8, or whatever you call it, but for now it’s a chance to take a breath and add a dose of reflection for a series normally about the ridiculous.
Nate’s Grade: B
I’ll confess something upfront: I have no interest in cars whatsoever. Never have. I don’t care. Seeing sexy cars with their gleaming and purring engines, well it does nothing for me. Hearing people talk about American vs. import or different engine capabilities, well it puts me to sleep. I get no thrill from cars alone. What I do get thrills from are when the cars are utilized in exciting action sequences that are well developed. I enjoy the role the cars play rather than the mechanics of the cars themselves. I’ve never watched a full Fast and Furious movie until the 2009 sequel, the fifth, which added notable franchise-lifter The Rock. I was won over by the wow-factor of director Justin Lin’s bombastic action. This is not a franchise for me from the gearhead content; however, I have become a fan thanks to the talents of Lin, the inclusion of my man crush The Rock, and some truly spectacular action set pieces. Fast and Furious 6, or Furious 6 as the onscreen title declares, is pretty much everything I thought it would be: dumb, loud, physics-free, and boasting remarkable action sequences, and it delivers.
It’s years after Dom (Vin Diesel) and Brian (Paul Walker) and their crew pulled off their epic heist in Rio. Hobbs (Dwayne “The Rock” Johnson) recruits Dom’s team for help nabbing a really bad guy with his own really bad team. Owen Shaw (Luke Evans) is a military-trained Brit who is hijacking advanced weapon parts to put together a super weapon that can knock out the power grid for a country. Dom’s ready to turn down the offer, content to live it up in paradise, when Hobbs shares a photo of Letty (Michelle Rodriguez), alive and well, and part of Shaw’s wrecking crew. Letty, Dom’s old squeeze, was thought dead, but it turns out she has amnesia, and Dom is determined to foil the bad guy and reclaim his girlfriend.
When I say Fast and the Furious 6 is a ridiculous movie in the extreme, I mean that as a compliment and a detriment. The movie never attempts to be anything outside of a loony, high-octane action thriller that gleefully ignores reality. Characters will fly off cars at great speeds, crashing into parked motor vehicles as “safe landings.” Brian will get himself thrown in the same prison as a notorious criminal, gather his needed intel, and escape all within a couple of days. The bad guy’s plan is also one of those only-in-the-movies super weapons. For goodness sake there’s even the hoariest of plot devices – amnesia. Really, Letty can’t remember anything. How prevalent is amnesia? Movies make it seem like it’s one Flintstones-style bump on the head away. Then there’s the massive amounts of wear and tear the heroes take on, their cars take on, and in general their superhuman status. But anyone expecting these films to adhere to a recognizable reality, especially after five movies, is adrift. Part of the appeal of the franchise is exactly its over-the-top lunacy with its action.
Having only really checked into the franchise one movie prior, I’m sure that there are plenty of moviegoers who are wrapped up in the ongoing saga of Dom and Brian and their motorin’ crew. I didn’t care about the characters; well, I generally liked most of them in an abstract way, but I was never that involved with them. I enjoyed The Rock’s character the most but that is also due to the innate magnetism of The Rock, someone Diesel could take some serious notes from. I say all this because there is a lot of time spent on the ongoing character relationships between Dom and his amnesiac love, Letty. He’s trying to pull her back, reminding her of the memories he thinks are tucked away, and they talk and drive and talk and I was bored. Perhaps if I had four movies worth of investment I would care more, but I don’t. Then again, we’re talking about a romance between Diesel and Rodriguez, both fine genetic specimens, but neither of them are what you would call gifted thespians outside of their defacto tough guy roles. The rest of Dom’s team are given throwaway bits, though even with those meager offerings Tyrese Gibson (Transformers) comes close to wearing out his welcome as a nagging naysayer. The multiracial cast is so large that it makes it hard for any of them to actually develop as characters. Plus, this movie provides a matching evil cast that doubles the number of characters.
Ignoring all the dumb plot points and repetitious messages, when it comes time to unleash some top-draw action, that’s when Lin earns his mettle. The man has guided the franchise through four sequels ever since 2006’s Tokyo Drift, which dovetails with the timeline of this film in a surprising way (did you know these were prequels and not sequels?). I can forgive all the lapses in logic and physics when I get action sequences so good I don’t want to blink. The last two extended action set pieces in Fast and Furious 6 are stunners, massive, constantly evolving, and ridiculous in the best ways possible. The first is a freeway chase involving a tank and along a coastal Spanish highway high above cliffs. The phrase “freeway chase involving a tank” should immediately put a smile to your face. There is such over-the-top vehicular carnage, all along a trepidatious path, and the pacing just keeps things fully amped. The finale involves a giant military aircraft and a seemingly endless runway (seriously, this thing has to be like 80 miles long). Dom and his team are driving cars inside the plane, out of it, zipping around, snagging wings, being carried off with the plane; it’s a glorious sequence that involves multiple points of action, different team members, and develops organically while still escalating the awesome. Lin handles these sequences like a pro. I’m tempted to say that the greatness of these concluding action set pieces is reason enough to see Fast and Furious 6 in the theater on the big screen.
I’ve never really understood the appeal of Diesel (Babylon A.D.). I felt like I was asleep when it was decided that he had become a major action star. I don’t get it. The man grumbles just about every line of dialogue into an almost indecipherable growl. He also has the habit of getting very quiet when he’s supposed to be serious, thus making it even harder to understand what the guy is saying. I know at this point Diesel is a package deal with the franchise, but I wouldn’t mind if the far more charismatic Johnson (Pain and Gain) were to slide over and replace him as lead. Rodriguez (Battle: Los Angeles) seems to have a habit of dying in franchises and being resurrected (see: TV’s Lost, Resident Evil 5). The rest of the franchise players do their parts well enough with what little they have. Evans (Immortals) makes for a suitable sneering if forgettable villain. My favorite new actor is Gina Carano (Haywire), not necessarily because she’s a great actress, though she’s better than you’d think for an MMA-fighter-turned-actor, but because this woman is a born movie star. She’s got screen presence, a fierce look, and the lady does her own stunts. She is an impressive beast of an action star and hopefully somebody will get her the right project to make her break out big time (Haywire wasn’t it, folks).
While I prefer Fast Five, a more fun flick where the team play their parts in a convoluted but entertaining heist, Fast and Furious 6 is a highly enjoyable summer movie with some top-class action sequences. This franchise is the epitome of the popcorn thriller, its vaunting heights of ridiculousness also its most laudable quality. Six movies in, I imagine most moviegoers know what they’re getting with this franchise and they must like it because every sequel seems to outperform the last at the box-office. The formula of fast cars, sexy ladies, and hyperactive action make for a surefire, turn-off-your-brain summer spectacle. Lin has a real knack for directing large-scale destruction that’s easy to follow and easy to get caught up in. He has a strong tentpole mentality and I imagine he will be tapped to helm some other big-budget action picture. Whatever it is, his involvement guarantees my interest. I don’t know about Fast and Furious 7, scheduled to come out speedily next summer. Lin is being replaced by James Wan of horror fame, notably Saw and Insidious (his DePalma-esque work on 2007’s Death Sentence was actually striking). Considering Lin made one feature before jumping into Furious mode, a small indie crime drama, I won’t discount Wan’s potential, but I’ll miss Lin all the same. In the end, the director could be just as interchangeable as any other part of this franchise as long as it sticks to its tested formula and delivers the goods when it comes to ridiculous action.
Nate’s Grade: B
The fifth movie in the gearhead Fast and the Furious series unapologetically eschews logic and physics to deliver an energetic, over-the-top, stupidly entertaining action movie. This thing’s got swagger to spare. Credit Justin Lin, director of the last three films in the series, who has a tremendous knack for orchestrating mass chaos into eye-catching sequences. The plot is practically inconsequential but involves Vin Diesel and his team planning an Ocean’s 11 style heist against an evil Rio de Janeiro crime lord. Diesel, that black hole of charisma, sticks to what he’s good at: grunts and glares. It was a smart move to introduce The Rock as a dogged DEA agent. His added brashness and command of cool gives the series a boost in star power. The final act of this film is an exceptional chase sequence where Diesel’s crew drags a large bank vault through the streets of Rio, destroying just about every car in sight. The stunt work is phenomenal and the special effects feel seamless, never ripping the viewer out of this hyperactive, preposterous reality. Sure, it can get bogged down in its teenage horndog worship of hot cars and hot gals (Rio is in no short supply of physically ample women), but Fast Five delivers in spades when it comes to junky popcorn thrills. I can’t believe I’d ever write these words, but I’m actually looking forward to more Fast and the Furious hijinks. Just as long as Lin and The Rock return.
Nate’s Grade: B+
Boiler Room is like a Wall Street for the dot-com kids, hell they even have a scene where they openly quote and recite Glengary Glen Ross. Giovanni Ribisi plays the son of a judge and the head of a gambling front he runs in his home that decides to cut his teeth in the world of stocks and options. Boiler Room begins as an insightful and well-paced inside look toward the cut-throat world that crunches the numbers and keeps the leg of our economy afloat. I find it fascinating that a good base of our economy is based upon round table rumor and the opinions of a select few. But the brash and stirring scenes of the politics of a sell are then given up when the FBI is introduced and Gio tries to take the company out from its dirty inside. The movie then falls to the wayside of entertainment. Boiler Room is a surprisingly engaging film that decides to go down the wrong path.
Nate’s Grade: B
There is a magic that animation has that a regular film can never capture. It can delve into our imaginations and conjure up emotions and laughter that regular celluloid can rarely get a firm grip on. So why has every animated film this decade fallen under a strict formula that bogs down the quality of the efforts? Now comes a movie like The Iron Giant, which restores faith in all that is good with cinema.
The Iron Giant is reminiscent of E.T., but has a distinct voice of its own. The main question might be, “Is it enjoyable for people other than kids who can’t touch the floor with their feet?” I can answer that question easily: Yes! Adults, teenagers and children will have just as much fun with this picture together. It is a movie for all ages and for all time.
The animation is strikingly brilliant and deserves an ovation of its own. Never have I seen voice-over-to-mouth animations done so fluidly. The sight of the giant itself is awe-inspiring, but never terrifying. The movie also perfectly captures the innocence, patriotism and Cold War hysteria that defined American living in the ’50s.
But the truly biggest thing The Iron Giant has to offer is magic and heart. The characters are all well-developed, and the audience is made to feel great attachment to each one. The script for the feature is right on, and never is a scene wasted. And the tale is very touching as it heads toward its climax. I don’t mind admitting my eyes were quite moist toward the end.
The Iron Giant breaks the common mold of animated flicks. There are no cuddly animals and slapstick sidekicks, no dopey forced love interests, no one-dimensional villain, and thank God, no Grammy wannabe songs breaking up the drama. The Iron Giant sends out a strong message and breaks free of a Disney-controlled industry. I dare say this is the greatest animated film of this entire decade, by far. I urge everyone to go out and experience some of the magic and warmth that is The Iron Giant. This is destined to become a classic, mark my words.
Nate’s Grade: A+