Lucy: That’s Pretty Co…Wait, What the Hell??

Writer/director Luc Besson (The Fifth Element, The Family) never strays far from the bizarre when given the chance. Unfortunately, unlike his cult classic The Fifth Element, this exercise in the sci-fi mysterious is far closer to absurd than intriguing.

Premise: A young woman caught in a drug ring transforms into a merciless warrior evolving at an exponential rate. Result: Fun at the start devolves quickly into a science lesson Mr. Wizard would be ashamed of.

Lucy begins with our unwitting protagonist Lucy (Scarlett Johansson) forced into serving as a mule for a drug lord Mr. Yang (Min-sik Choi) along with three other unknowing companions. But while awaiting transport, her failed attempts to repel her capture’s advances end in beatings that rupture the bag of chemicals and in turn infect her with the contents.

Transcendence: Thought-provoking and Unique

Acclaimed Christopher Nolan cinematographer and new director Wally Pfister helms what is widely held to be one of the most recent Hollywood cinematic disasters. Yet, despite the lack of box-office draw, the film is actually far more interesting than the ominous reporting would have us believe.

Premise: As Dr. Will Caster works toward a self-aware artificial intelligence, he and his wife Evelyn find themselves confronted with an opportunity to get closer to the solution than they ever dreamed. Result: An intriguing and well-structured film that provides a new twist on a popular concept.

Will Caster (Johnny Depp) and Evelyn Caster (Rebecca Hall) along with colleague Max Waters (Paul Bettany) work in dense field of computer science devoted to the creation of Artificial Intelligence or AI. But when an anti-AI terrorist group RIFT led by Bree (Kate Mara) coordinates an all-out attack on AI facilities across the US, a devastating blow is delivered to their dream.

Entire research centers are destroyed and scientists murdered in one frightening swoop, leaving only a handful of scientists -the Casters, Waters and Joseph Tagger (Morgan Freeman)- left standing. But much to their dismay, Will would not be standing much longer, the victim of slow assassination through radiation poisoning that gives him only weeks to live.

The Lego Movie: Awesome – For Humans of All Ages!

Director team Phil Lord  and Christopher Miller (21 Jump Street, Cloudy with a Chance of Meatballs) have struck cinematic comedy gold with The Lego Movie, a film that seeks to bring to life the childhood building block/toy that enchanted millions of children for the better part of the last few decades.  But equipped with a funny, inventive premise, a multi-layered plot and awesome visuals, Lego exceeds expectations in every way.

Premise: An ordinary LEGO man, mistakenly thought to be a Master Builder savior, is recruited to join a quest to stop the evil Lord Business from destroying their universe. Result: A hilarious, deep film that will require frequent revisits.

The film begins with the arch-villain Lord Business (Will Ferrell), as he attacks and blinds Master Builder Vitruvius (Morgan Freeman), stealing away the mysterious “Kragle”.   As we progress years later and Lord Business has evolved into “President Business”, we are introduced to the sprawling metropolis of Bricksburg, where sun and over-priced lattés are plentiful.

The story centers on Emmett Brickowski (Chris Pratt) and it soon becomes hilariously obvious that the world in which they live is a not too subtle satire of our human world, where corporate interests have suffocated human imagination beneath consumerist ideology and nonsensical entertainment (shows like “What happened to my pants?” and uber-catchy singles like “Everything is awesome!”).  Here audiences will begin to understand the allegorical nature of our Lego world while also becoming deeply intrigued by the deep-seeded humor.

The 2013 Raised Glass Award (RGA) Winner: Morgan Freeman

“Ernest Hemingway once wrote, ‘The world is a fine place and worth fighting for.’ I agree with the second part.” – William Somerset, Se7en

 

Introduction

Born in Memphis, Tennessee on June 1, 1937, Morgan Freeman’s first exposure to the stage was in an all-African American production of the high-spirited musical Hello, Dolly!  Prior to this most of his life had been non-theatrical, attending Los Angeles Community College before serving several years in the US Air Force as a mechanic between the years of 1955 and 1959.

Now You See Me: A Unique Thriller Worth Seeing

Director Louis Leterrier (The Transporter, Clash of the Titans) has produced one of the more enjoyable films of the early summer, using magic in this thriller to entice audiences.  While the film is far from perfect and has a few notable misses, it is fun, interesting and exhilarating from start to finish.

Premise: Four independent magicians unite to form The Four Horsemen, a new magic act that appears to have some seriously criminal implications. Result: A fun crime thriller with a unique magical spin that is sure to delight all the way through.

The fundamental premise of Now You See Me is that magic, if nothing else, is entertainment.  But hidden in this entertainment, this joy brought to observers, is a certain power, as magic is also, at its heart, the art of trickery and audience manipulation.

It is these two concepts that pervade this story, introducing four magicians, each at a different stage in their lives and careers: J. Daniel Atlas (Jesse Eisenberg), an acclaimed magician on the world scene; Henley Reeves (Isla Fisher), Atlas’ former love interest and assistant who terrifies audiences with death-defying stunts; Merritt McKinney (Woody Harrelson), a former hypnotism juggernaut who has somewhat fallen from grace in recent years; and Jack Wilder (Dave Franco), a novice who is still too unaccomplished to use his skill for more than petty theft.

But all four are brought together by some mysterious agent who introduces them to a plan that was “designed long ago.”  Quickly audiences are transported to a year later, where the motley crew has transformed into The Four Horsemen, an astounding magic act financed by insurance czar Arthur Tressler (Michael Caine) and stalked by notorious magic-debunker Thaddeus Bradley (Morgan Freeman). It is here that they begin their true magical journey, robbing a bank in Paris as one of their great illusions.

Instantly, the “crime” goes Federal, bringing in FBI agent Dylan Rhodes (Mark Ruffalo) and InterPol agent Alma Dray (Mélanie Laurent) to figure out just how these Horsemen robbed the bank. And yet even as they interrogate the suspects and attempt the same with Bradley, there is never the sense that they or other high profile agents like Fuller (Michael Kelly) and Evans (Common) are ever any closer than many steps behind.

Instead, the four magicians simply become more powerful, leveling several more fascinating targets through some really intriguing acts.  This all amidst a hapless Rhodes and company who appear genuinely out matched throughout; but rather than detract from the film, it simply elevates the excitement of these characters and their amazing feats.

It should also be noted that audiences will also take extreme delight from Bradley’s explanations of the truth behind the magic, transforming the film from a series of unexplained events into a crime thriller with delightful twists and turns, some which importantly, even Bradley cannot explain. Audiences inadvertently play the contradictory roles of wide-awed children and incredulous adults as they are both thrilled by the magic but wish to uncover the mystery it in its own right.

Add in some entertaining car chases and an extremely memorable “magic” fight scene between Rhodes and Wilder and the film successfully lands the punches needed to keep audiences invested.

Of course, the film does have a few weaknesses.  First, Rhodes comes off more as a moronic cop than a genuine FBI agent – while this ultimately is explained, it could have been delivered with a bit less scenery chewing.

Additionally, the introduction of The Eye, doubts about Dray, and several other plot lines are only partially explained, leaving a certain sense of unfinished business.  This is particularly evident in the film’s resolution: while it is an extremely enjoyable twist overall, it is delivered poorly, lingering a bit too long in the realm of over-dramatization.

Fortunately, the performances in the film hit their respective marks.  Harrelson’s performance is most consistently the funniest and most memorable, but Fisher, Franco and Eisenberg all hold their own (this is a film where Eisenberg’s one character works again).

Ruffalo is fairy consistent throughout although there are a few too many valleys that shadow the performance. Laurent is good as always although her mysterious demeanor never really pays off in this film; she is almost too mysterious for the eventual outcome. Freeman and Caine are each quite effective, as would be expected, and their back-and-forth is delightful.

Ultimately, Now You See Me is a pleasure for fans of magic, crime thrillers, or exciting mysteries.  While the result somehow seems a bit rushed and possibly too light for the build-up, it still leaves a strong impression.

Rating: 7- A refreshing Champagne that a cute bartender comp’d you

Oblivion: Sci Fi Déjà Vu All Over Again!

Writer/director Joseph Kosinski (Tron: Legacy) has delivered the cinematic equivalent of déjà vu with his latest film, Oblivion.  While it scores some entertainment value and ponders some interesting concepts, it is impossible to avoid the distracting feeling that all of this has been done before.

Premise: Jack and Victoria near the end of a mission on a ruined Earth but find that their orders are not what they thought they were. Result: A hodge-podge Sci Film that frankensteins together the plots of many other films forcing a result that is largely uneven and uninspired.

Kosinski’s Sci Fi tale instantly launches audiences into the far future, some 7 decades in fact, years after an alien invasion has left Earth in ruins.  Despite winning the war, Humanity has been forced to evacuate to a distant moon, while a handful of humans remain to support a mission to bring them Earth’s remaining water; this mission is led largely from a space station orbiting the planet called the Tet and voiced by the watchful station liaison, Sally (Melissa Leo).

Jack (Tom Cruise) and Victoria (Andrea Riseborough) are the sole human residents of Earth, managers of the hydro-extraction process and maintenance for menacing drones – robotic spheres – that guard the extractors.  They guard them from the remaining Scav element, those creatures that invaded Earth decades earlier, who pose a constant, looming threat.

Of course, there are other threats, some obvious – radioactive regions of the Earth still off limits- and some not so obvious, such as Jack’s memory, supposedly wiped clean to protect him, that now draws him back to a confusing past.  And it is this festering, insidious longing that does the most to destabilize him, forcing him to take risks and abandon protocol, an issue Victoria clearly does not have.

Nevertheless, the two live as companions and Kosinski gives us a few forced scenes that border on sex between robots (the chemistry between the two is intentionally non-existent, but still creepy to watch.)  That is until one day, as the Scavs grow bolder and take down a hydro plant, they also manage to signal an outlying spacecraft that soon lands on Earth.  Why the giant space station has not discovered this ship before is not discussed, but as soon as it lands, the drones begin destroying its contents – its human contents.

Jack is plunged into a confused world, managing to save one passenger, the woman from his “dreams”.  And this development forces the Scavs out of hiding who then capture Jack and the woman, Julia (Olga Kurylenko).  But in yet another twist, it seems the Scavs are not really Scavs at all, but humans, led by Beech (Morgan Freeman) and Sykes (Nikolaj Coster-Waldau).

And so goes the film, twist after twist that are fun on some level, but like the Jack-Victoria love scenes, have very little effect.  The direction itself is somewhat splotchy, as the film takes many twists and turns that feel clunky rather than seamless, much like a poorly conceived rollercoaster ride that leaves its riders bruised and battered as much as thrilled.

Worse still, the thrills are based on a premise that simply has been done before.  Each twist seems to be lifted from another Sci Fi film, some that Cruise has even starred in.  Mild Spoiler Alert: There are elements of Minority Report, Independence Day, Moon, Star Trek: The Motion Picture, The Sixth Day, and on and on and on. By the end of the film, Oblivion feels more like a walk down memory lane than a unique thriller.

The acting in the film is expected.  Cruise, Riseborough and Kurylenko all contribute notably to the film and whatever it is that it is trying to do.  Leo stands out as just plain creepy in a way that only she can (and once again, she manages to inhabit a completely new character). Freeman and Coster-Waldau are just there, however; there is nothing about their characters or their respective performances that stands out, leaving one to wonder why they are in the film in the first place.

In the end, Oblivion is far from dull but literally light years from unique.  It feels forced and despite endless twists and turns, never has the gravitas of one big jaw-dropper.  Instead, we are left with a fairly good time with a film that could have settled for short story.

Rating: 6 – A mediocre Prosecco that a cute bartender served you

Olympus Has Fallen: Questionable Plot Saved by a Genuine Bad@$$!

Director Antoine Fuqua (Training Day, Brooklyn’s Finest) has taken a flimsy script based on a frightening premise and transformed it into an action powerhouse.  While there is much that could be improved in this film, it is extremely entertaining action event complete with its own memorable Bad@$$!

Premise: White House is taken over by terrorists. Result: Two parts awesome action, two parts flimsy plot, and three parts total Bad@$$ protagonist and you got yourself a delicious film with only a slightly bitter aftertaste.

The film begins by establishing relationships, most importantly that of Secret Service agent Mike Banning (Gerard Butler) to President Benjamin Asher (Aaron Eckhart) and his son Connor (Finley Jacobsen).  And it is during this sequence that a tragedy strikes crushing that relationship and sending Banning into obscurity: to watch the White House from afar as he sits in the Treasury Department. Even his pleas to Secret Service Director Lynn Jacobs (Angela Bassett) go nowhere.

The Dark Knight Rises: Take Your Bow Mr. Nolan. Take Your Bow.

The Dark Knight Rises marks not only the end of a brilliant trilogy, but serves as a notable milestone in a stunning legacy: born from a comic, grown by brilliant minds (Burton) and squandered by others (Schumacher), now under director Christopher Nolan, the legend lives and breathes and has indeed “risen” to unimagined heights.  Not only does this installment live up to the hype, but ages perfectly, becoming better upon multiple viewings, through a power of brilliant direction, stunning visuals, and a nuanced attention to detail that comes from creators that care as much for the story and its impact as the fans do.

Premise: Eight years later in Gotham, the terrorist mercenary Bane, overwhelms the city, forcing the Dark Knight to resurface to protect a city that had branded him an enemy. Result: A stunning, satisfying film that will live long in fan and non-fan memories alike.

The film begins in a time of peace, many years after the defeat of Gotham’s greatest nemesis The Joker; the city is now lulled into placated submission, dormant with crime at an all-time low.  This result stems mainly from the swift justice brought about by The Dent Act, a somewhat tyrannical law that rises from the legacy of the lionized White Knight Harvey Dent, whose atrocities were kept secret to protect the city, as the Dark Knight took the blame and fled into darkness.

Now, Bruce Wayne (Christian Bale) languishes in shadow, with a broken body and broken spirit, the true legacy of past events.  Commissioner Gordon (Gary Oldman) also has hit his nadir, agonizing over his decision, wondering if the ends did in fact justify the means.

But both need wait no longer, as a devilishly clever and complex plan is being hatched by the greatest threat to Gotham yet, brought by the terrifying masked mercenary Bane (Tom Hardy) and his accomplices.  Complete with chilling visage and eerie voice that resembles the output of Voldemort and Darth Vadar dropped in a blender, his plans as head of League of Shadows rest on carrying out what Ra’s Al Ghul began in Batman Begins some many years ago.

Scene after scene brings with it deeper intrigue and astounding visuals, building excitement with new, interesting characters like Blake (Joseph Gordon-Levitt), Selina Kyle (Anne Hathaway), and Miranda Tate (Marion Cotillard), all who demand the audience’s complete attention.  Of course, old friends are still around like Fox (Morgan Freeman) and Alfred (Michael Caine) as well as more minor, sometimes rightly forgettable characters like Foley (Matthew Modine) and Daggett (Ben Mendelsohn), who serve to advance the plot but little else. But in the end, this is necessary, as there is so much to keep audiences occupied that anything else added to the mix might be cruel and unusual.

The ultimate plot of the film stems from The Dark Knight coming out of certain retirement to defeat Bane and his army.  But Bane is much too clever, and anticipates every move eventually luring Batman and the city into trap after trap.  It is little help that Selina Kyle, the stealth and uber-intriguing “cat” burglar, keeps everyone’s attention long enough for the insidious play to take effect.

The film itself is beautiful with notable cinematography that casts a dark and almost melancholy tone while being strangely alluring. It is also fast paced, moving from scene to scene dexterously, always keeping audiences on their toes, ever-engaged and thrilled.  The battle sequences are also quite impressive: the use of the Bat is enthralling as well as the other “Bat Toys” and most importantly, clashes with Bane are exciting and hypnotic, in particular, an initial clash between the two that will leave audiences terrified.

Kyle, herself, demands as much attention, working as a powerful, resourceful and cunning quasi-villain who ebbs and flows from temptress to foil with remarkable skill; playing with audience emotions, she acts as a lightning rod for treachery and sympathy, both coexisting perfectly in a mortal enigma.

The remainder of the film rests on several essential events: the possible destruction of Batman, the capture of Gotham, and the testing of Wayne, Kyle and all key characters in their resolve.  And with each scene, the plot thickens and as the true mystery reveals itself, layer after layer peeled away by an anxious audience, the resolution offers a sweet reward buffered by constant, non-stop excitement and smart filmmaking.

Gordon-Levitt, Hardy and Cotillard prove once again why Nolan continues to cast them in his films, if for different reasons.  Gordon-Levitt is wonderful as up-and-coming detective that helps reinvigorate the police, and demonstrating the broad range of emotions required to keep his character relevant and growing.

Cotillard is also fantastic, proving that female characters do not need to be explosive like Hathaway’s Kyle to control the on-screen events; like she does time and time again since La Vie En Rose, Cotillard glows on screen, delivers line after line as if only she were made to deliver them, and with an elegance few possess.  She keeps audiences watching intently enough to make eventual developments plausible and realistic.

And Hardy is absolutely terrifying as Bane: his strange accent -once audiences acclimate to his intense, bizarre cadence- is perfectly chilling and his management of nuance through his voice and eyes -considering much of his face is hidden for the entirety of the film- is a marvel.

Of course, not all goes perfectly in the Nolan Universe.  His seemingly eternal Achilles Heel is comparably poor sound mixing, where background music or explosions obliterate dialogue; this becomes increasingly problematic with Bane, who is difficult to understand in the best of conditions (note: this is somewhat remedied by avoiding IMAX in favor of regular viewing).  Additionally, his bizarre affection for character mumbling is at some moments both irritating and distracting; with a film this action-packed, moments of diversion are luxurious that are ill-afforded.

There are also some bizarre continuity issues: for example, the Wall Street scene, considering the NYSE closes at 430p -and it certainly did not appear that this was even the case- why the subsequent chase scene occurs at night is an utter mystery. Additionally, a few lines border on hokey or ignore how actual people speak, but largely this can be overlooked by a broader understanding of the script, where issues were minimal.

Nevertheless, the ultimate resolution of the film and then of the series are both respectively fantastic.  The film winds down as the city, having been purposefully tormented for months, is now meeting its final moments as a catastrophic event looms.  It is during this crucible that truths and twists are heaped onto viewers as they sit transfixed by the sheer intensity of events.  And the final moments in the film not only serve to close the series in a satisfying manner, but also manage to provide hope, however bleak, a central theme in the film and the trilogy.

In the end, The Dark Knight Rises is an extremely strong, exhilarating and enjoyable film.  Considering the intense pressure of expectation that followed the previous film, Rises required a brilliant cast, a nuanced, detailed script, stunning visuals, exciting events and a holistic control that made the overall feel of the film a triumph.  Despite a few errors, Nolan delivered on this expectation a film that is fantastic on first viewing, and even better with time.

Rating: 9 – An expensive red wine and juicy steak that someone else is paying for and where you don’t have to put out