'The Foreigner' Brutally Well Balanced - (2017) Review

Big Screen Watch: I had a lot of fun watching this movie. Better than I anticipated.

Before terror strikes the cinema, there's nothing I'd like to see more than a hard-hitting revenge story, mixed with a tense political drama. Good thing this week saw the release of 'The Foreigner'. A hard-hitting revenge story mixed with a tense political drama, starring Jackie Chan. Yes, Jackie Chan, 63 years old, is blazing through the silver screen in the way most men decades younger than him couldn't even dare. Is it a good film, or is it mostly embarrassing for the old martial artist? Thankfully, it's entirely the former.

Movie Gods we thank you.

After a terrorist attack in London takes the life of innocents, Quan Ngoc Minh, played by Jackie Chan, cares only about one. The daughter caught in the attack. Consumed by rage and a penchant for vengeance, Quan decides he can't wait for bureaucracy. He has to take matters into his own hands. God help anyone who gets in his way. A privilege that belongs to Pierce Brosnan's Liam Hennessy, who already has his hands full dealing with the fallout of a terrorist attack in London. 

That's where 'The Foreigner' takes an unexpected turn. Most might be expecting 'Taken' with Jackie Chan, but in fact, Chan's journey of vengeance only takes up about a half of screen time. A surprising amount of the story is spent unraveling the mystery the movie from a political perspective. When you go in hoping to watch Jackie Chan inflict punishment, Pierce Brosnan navigating the perils of politics is a not a good consolation prize. 

Interestingly enough? Both those stories work. The film takes its time developing these two central characters so much, it often feels like you're watching two films. Both of them entertaining. The wonder is, neither stories feel underserved by the existence of the other. Martin Cambell expertly finds a balance between political thriller and action drama. Someone should get him to direct a Bond film.

Or two.

The action is not present throughout, and only enters the story when it makes the most sense. Because you're not privy to a great amount of fighting, when you do get it, it's all the more satisfying. That's much like the fight scenes themselves, as the choreography is much more concerned with the impact of the blows, than how they happen. Most times this sytle lends itself to incoherence, but here, it worked. Everything is swift, sudden. It makes Chan feel like a force of nature you can't stop. It's also of note that Jackie Chan is delivering a great performance. Its a role that asks you to root for him of course, but he's so good that the movie doesn't have to try very hard to get you to.

'The Foreigner' isn't perfect though. While there is a balance struck with the dual storyline, there's a slight issue with pacing. It takes a while before both stories find their footing, and start to converge. I didn't think this needed to be 2 hours long, and you certainly feel as though a good 20 minutes could've been cut down. The movie doesn't over explain things per se, but it does feel like a situation where more could've been done with less.

Whether you're grimacing at the pain suffered by Jackie's victims, or biting your nails for the mystery to unfold, the result is the same. Tension. 'The Foreigner' has a lot on its plate, but manages to get through its arduous meal with aplomb. It's a well acted, well directed, and infinitely compelling story. Chan and Brosnan deliver some of their best work yet.

Rating: Big Screen Watch 

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'Kingsman:The Golden Circle' Does Everything A Sequel Shouldn't - Review (2017)

Catch It On Cable: Don't rush to see this in the cinema. If you see it at all.

It's hard to fully explain what's wrong with 'Kingsman The Golden Circle'. I'm tempted to not write a review at all. My first instinct is to posit ways I think it could've been done better. Maybe I will. For now though, I'm going to say what I thought of this movie.

Back in the directors chair for his first ever sequel, Matthew Vaughn brings us 'Kingsman The Golden Circle'. A movie that continues the high octane, wicked smart adventure of Taron Edgerton's, Egsy. A true Kingsman this time around. His mentor gone, he must face a new threat to the world, for Queen and for country. After things go explosively awry, Egsy is forced to venture cross the pond to his America counterparts, The Statesmen. Together they have to fight to preserve peace and prosperity for all mankind. Even if they can't agree on how to spell programme.

For the record.

In many ways, 'The Golden Circle' is a fine sequel. Not in the same way one admires a fine wine, but moreso that way you respond when something's wrong and you say "I'm fine". Something is wrong here, but I don't really want to talk about it. It's not the sort of egregiously bad that you care to discuss. In fact, the film does everything that your run of the mill sequel does, it just does them so poorly that the effect is something of a mess.

For starters, it's one of those films that's unfocused. Busy. Confusing. It has so many elements that go woefully underdeveloped. There's a gaggle of new characters that either do nothing, or do so little, you question their involvement. It renders them as plot devices rather than actual personalities. That's just in the second half. By the time it switches locales from London to Kentucky, the movie has already overstayed its welcome.

And much like a Kingsman, I couldn't possibly ask them to leave.

So the new stuff isn't very good, but what about the old? How do our heroes fare in their second outing? Well to be honest, not much better. Egsy is preoccupied with balancing his new relationship, and his duties as a Kingsman. That plays out as sitcommy as you might expect. Like everyone else our main character just feels ineffective. Even Colin Firth's return as Harry is not the triumphant victory that it's presented as. Most of 'Kingsman The Golden Circle' can be summed up mostly by one word: Empty.

At least the crumbs are tasty.

Something that was a huge part of the original film, was the action. Matthew Vaughn has a very distinct style, and it's certainly returned here. It's unmistakably Kingsman. When the film would irritate me the most, I could at least forget the most recent confusing moment it has, and shift my attention to the fighting. While some of the action does suffer from an overall lack of stakes, I still absolutely admired it on a technical level. There's simply nothing else like a Matthew Vaughn fight scene.

Watching 'Kingsman: The Golden Circle' was like eating a pack of assorted starburst, where most of it is yellow, and every now and then a pink one shows up. It's not a film I'd rush to watch again. Perhaps I'd revisit it in the future, maybe with a new perspective on it. For now, the movie is mostly uncompelling, with a few moments that serve as saving graces. It's not bad enough to be written off completely, but there's no reason to rush out to see it if you haven't already.

Rating: Catch It On Cable.

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'Blade Runner: 2049' Nobody Blade Runners like Blade Runner

G.O.A.T: Is it too early to call best of the year?

It's been 35 years after 'Blade Runner' was gifted to the world. The 1982 Sci-fi noir thriller with philosophical undertones changed the face of cinema and is one of the more intelligent blockbusters there is. Since its release, many have tried to capture the film's magic. Right down to the hyper-neon, yet bleak aesthetic it was famous for. Some have come close, but nothing has really come close to a mastery of tone and world-building that made the original Blade Runner so revolutionary. Until now.

Blade Runner 2049 is not a film I wanted. I felt as though the open ending of the first film fit its themes of perception versus reality. The sequel does give viewers a few answers, but it's hardly the episodic followup I feared it would be. Instead, the movie is very much as grounded as the original. Much of the movie is spent following a new Blade Runner, this time played by Ryan Gosling. So I guess that settles it folks. We finally have a new Harrison Ford. Sorry Chris.

The tendency with sequels is to go broad. Bigger means bolder. The problem is so few of them actually provide that in a meaningful way. Blade Runner 2049 deftly subsides that problem and delivers a wider narrative much less personal than the original, but crafts it around an entirely more personal character arc. It's a beautiful synergy of plot and character development that makes 'Blade Runner 2049' feel nothing short of perfect.

You have Ryan Gosling, flexing his sullen muscles as hard as he has since 'Drive', Harrison Ford yet again returning to a long time role, and even the side characters have huge names attached to them. The thing is, you're never distracted by Robin Wright as the hard-ass lieutenant, Dave Bautista as the rogue replicant. Every piece of 'Blade Runner 2049' feels intricately woven together, working to support a greater purpose. Even Jared Leto, hair slicked back with eyes aglow, didn't take me out of the film.

Weird thing? No make up. Just how Leto walked on set. Isn't that wild?

Performances and script structure aside, 'Blade Runner 2049' is stunning. A true marvel. Denis Villenueve is a modern-day visionary. An absolutely beautiful film from start to finish. Blade Runner 2049 is one of those films I could put on with the sound completely off. Of course, then I would miss the superb sound design, score, and gripping dialogue that catapults the film into being one of my absolute favourites of the year.

Then there's, of course, Villenueve's trademark tension. Sicario. Prisoners. Arrival. Films that make their bones on chilling yours. None of that is lost here. 'Blade Runner 2049' is futuristic noir detective movie that at times shares the film sensibilities of horror. And why shouldn't it? The film already is drenched in intense darks and neon. The moments of tension feel entirely in place. The moments you feel uneasy match the sentiment of the characters.

Gifs today brought to you by 2009 NBC comedies.

It's hard not to be cynical about movies, especially as everything old becomes new again. As remakes, sequels and reboots continue to plague the art form, it's a pleasure to find one that feels like a labour of love. It's a sincere, interesting and compelling film. One that feels justified in its 3 hour runtime. Not many films these days have the sense of being a true epic. 'Blade Runner 2049' is.

Rating: G.O.A.T

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'Battle of the Sexes': 1973 or 2017? - Review (2017)

Half Price: A solid biopic, uplifting and well acted. 

The beauty of cinema is that it can transport you to a time and a place you didn't think you could experience yourself. A bygone era that is so different from the times you live in, it feels as though it took place on a different planet. 'Battle of the Sexes', a movie about the incredible tennis match between Billie Jean King and Bobby Riggs, does not provide that sense of escapism. The picture it paints feels all too often like a self-portrait of today.

After the 2016 United States election, I can't think of a more relevant film to come out. The qualified and less charismatic Billie Jean King played by Emma Stone, against the loud bombastic Bobby Riggs, played by Steve Carrell, certainly, gives a parallel. The beauty of 'Battle of the Sexes' is the way it gives each of these counterparts a sense of identity. They're public figures, but like the best biopics, you leave the film feeling as though you knew them as people.

With one that REALLY looks like Steve Carrell.

You watch Billie Jean King go through the same journey as the heroes from sports movies past. The movie does a fantastic job of intertwining her own path, with the path of women everywhere. The tennis match itself holds little stake for the characters, but you never lose sight of how important it was for the world.

If I had one gripe with 'The Battle of the Sexes' is that it at times felt entirely too clean. The film gets into the nitty-gritty of Billie Jean's life but still feels as though it might've been holding back. The movie loses a sense of genuineness because of it. Moments come up where you're watching 'The Battle of the Sexes' and you'll be hard-pressed to forget you're watching a movie. It's a well-made movie, with great performances and a captured 70s aesthetic, but it never makes you feel immersed in its world.

A strange and bewildering world.

While I couldn't forget I was watching a movie, what a movie it was. It's definitely one that you will hear about come Oscar season, especially as it relates to the film's stellar performances. There are even a few side characters that shine, despite having little to nothing to do. Sarah Silverman as Gladys Heldman was particularly entertaining, especially considering it seemed as though she could go over the top at any given moment.

The movie tells the story of the 'Battle of the Sexes' well. You definitely understand how important it was, and you feel the struggle of the characters dealing with the extraordinary position they find themselves in. It's a movie that will no doubt serve as an inspiration to many, even if it feels slightly disingenuous at times. I'd say it's worth your time, but maybe at a discount.

Rating: Half Price

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'American Assassin' Is As Dull As It Gets - (2017) Review

Read A Book: You're better off staying home, saving your money.

'American Assassin' is a mess. Not a great way to start a review. You can probably tell where this is going. It's the story of 'Mitch Rapp', played by 'The Maze Runner' himself, Dylan O'Brien. A tragic, superhero-esque origin story sees Rapp lose the love of his life to a mass shooting on the beach. It's told in graphic detail and is likely to evoke some intense reactions from the audience. For anyone looking to escape the all too frequent tragedies on the nightly news, perhaps skip 'American Assassin'.

As hard as it is to watch, for the first half of the film, the violence feels earned. Rapp becomes a vigilante, touring the world to stop evil, one terror cell at a time. You understand his motivations clearly, and Dylan O'Brien gives a good portrayal of a man with Punisher levels of unprocessed grief. It's also in that first half that 'American Assassin' has one of the more interesting training montages I've seen in a while, as Rapp develops his relationship with Michael Keaton's character, Stan Hurley. A man who has the training style of Mr. Miyagi, but the bloodlust of John Rambo.

For a while, it seemed like my worst fears about 'American Assassin' were gone. The film had maintained my interest, given me decent characters, and interesting action. It had defied comparisons to Jason Bourne, and other spy thrillers and become its own animal. Unfortunately, it soon devolved into one of the least interesting movies of this kind I've seen in a long time, with a tepid second half that devours the impression made by the first.

The only people who might suffer more than the audience is the cast. They're flung into a movie that takes itself far too seriously and doesn't have the legitimacy to back it up. The actors are left to give it their all, for a story that ultimately amounts to nothing. It has nothing new, or even compelling to say about the war on terror, and in fact, is even outdated in certain aspects. Had 'American Assassin' come out in 2008, starred Shia LaBeouf, and a Gene Hackman, it would've been exactly the same film.

Eagle Eye 2: The Revenge

The more 'American Assassin' goes on, the worse it gets. It builds up a certain level of goodwill and feels like a spy thriller for the modern day. This generation's international man of mystery, with an axe to grind. It turns out to be quite the opposite, as by the end of the movie, 'American Assassin' revisits tropes from the early 2010s, the mid to late 2000s, and even has an ending that even the action movies of the 90s would call too extreme. For a film that’s based on a book, it’s probably best that you stay home and read one.

Rating: Read A Book.

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'The Dark Tower' (2017) Review: A Fantastic Sedative

Catch it on cable: A meandering movie that will be remembered as the film you couldn't remember if you watched it or not.

For those that declare cinema dead and Hollywood to be out of ideas, this is another notch in the win column for you. ‘The Dark Tower’ is yet another adaptation of a classic story by Stephen King. This time, instead of killer clowns and rabid dogs, the horrors of this tale lie in the mystical dark tower, a gargantuan structure with the sole function of keeping at bay evils from a different dimension. The evil man in black seeks to destroy the tower, and it’s up to a young man and a gunslinger to stop him.

Like many films, ‘The Dark Tower’ is a perfectly acceptable movie on the surface level. It has characters that embody age old archetypes. The reluctant hero, the chosen one, the all powerful supervillain. The character’s themselves are flat, but the roles are perfectly serviceable. It’s only when you dig a little deeper that the film begins to fall apart. The movie has a lot of ideas, most of them good, but brings them across with all the finesse of a rickety bridge.

Funny thing is, this looks like it could be in the movie.

At the heart of ‘The Dark Tower’ is a simple idea: The innocence of a child is the key to saving the world. With so many films predicated on the idea of innocence being a hindrance, it was refreshing to see something new. The trouble is the movie betrays this idea almost immediately, and insults your intelligence in the process. Instead of providing the deep, complex story it set up, the film would rather show a slick action scene or two.

On that note, if you're rushing to see 'The Dark Tower' on account of the impressive gunplay Idris Elba's character displays in the trailer, you'd best stay home. Most of what's already been seen is all there is. That's because 'The Dark Tower' is not an action film. In fact, it avoids violence when it can, and treats it as a last resort. There's a message about the weight one carries when they decide to put a gun in their hands which is effective when it wants to be, but ultimately falls apart when the depictions of gun violence are so enticing.

"Don't use guns unless you absolutely have to. Now watch how cool it is to use a gun"

With a non-engaging script and characters that are hard to root for, ‘The Dark Tower’ is a certifiable dud. Even its cast, bookended by two of the most charismatic actors working today, can’t save this film from feeling like an opportunity to catch up on some much-needed rest. Even the story, which for all its “end of the world” gravitas, feels extremely low stake. ‘The Dark Tower’ feels like the beginning of a tv series, and that’s exactly where it should be seen.

Rating: Catch It On Cable.

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'Girls Trip' (2017) Review: A Movie That Tries To Have It All

Half Price: A movie that should be seen in the cinema with a crowd to back it up. At a discount.

As they get older, most people find it increasingly trying to make time for their social lives. Some have families, some have work, some have both. 'Girls Trip' is a story about 4 women going on a relentless, wild adventure, reliving their glory days, and acting as young as they feel no matter how old they are. A story told a thousand and one times with men but one that's all too uncommon for women.

They made two of these movies. TWO.

Puzzlingly, 'Girls Trip' is a movie that has everything you've seen before, and things you never thought you'd ever see. In terms of its plot, it's entirely predictable. A few moments were surprising twists and turns in the road, that ultimately led to the same tired destination. In terms of spectacle, the movie is an entirely different ball game. 

You might be able to see moments coming, but knowing is only half the battle. You'll still be woefully unprepared for the limits the film will go beyond. In fact, 'Girls Trip' will put you in a state of perpetual denial about its antics. There's a temptation to deny the movie's unlimited raunch. This is pointless. Before you can say "There's no way they'll do that", it's too late. It's already been done.

Shock value trumps all else in 'Girls Trip', with scenes designed to leave you contemplating the reality of the movie itself. In a way, this movie earned my respect. I might not have laughed for first 20 minutes of 'Girls Trip', but that doesn't mean there were no laughs to be had. In fact, the audience I saw the film with was uncontrollable. Never before have I wished a film was subtitled, as the audio just could not compete with the thundering roar of the crowd.

The constant expression of my 'Girls Trip' audience

Personally, I'll admit to being swept up by the movie's energy, but by and large, the jokes in 'Girls Trip' were met with disbelief. Sometimes by their content, other times by just how bad they were. The movie was a mixed bag from start to finish. The same can't be said for the cast, each of which fit a relatable, yet over the top archetype, with their own role to make the group feel balanced.

There's Jada Pinkett-Smith, playing Lisa, the party girl turned strict and uptight mom. Queen Latifah's Sasha, the one who could be doing better, Tiffany Haddish's Dina, the rambunctious wild one, and Regina Hall's Ryan, the main character who has it all. They play off each other mostly well and have an engaging screen presence together. By their nature, some characters get more play than others, but at least the movie wasn't bogged down by multiple sub plots, just a few grating moments.

As if the movie wasn't imbalanced enough, there's a slight tonal dissonance to 'Girls Trip'. One minute your four leading ladies will be zip lining between terraces, and then later, the movie will drop some hard truth bombs about social inequality. Honestly? I would've been thrilled had the movie explored those moments more. The film is well aware of the importance it holds, having an all female cast comprised of women of colour.

The backdrop of the trip is an event for Essence magazine which serves as a celebration of black artists. Countless celebrity cameos can be found throughout the movie, as a reminder that black stars are out there, and they're important. These moments might've been jarring, but they were definitely appreciated. When it wanted to, 'Girls Trip' told its messages well.

'Girls Trip' ropes you in, and makes you enjoy it just a little, even if you didn't want to tag along.

There are some movies that strive to be relatable. Showing us a story that reflects our own lives, through characters we see ourselves in. There are other movies that dabble in fantasy, being completely unrealistic and giving us a form of escapism as we're whisked away into the film's incredible world. 'Girls Trip' does as 'Girls Trip' would, and tries to pull off both. Sometimes successfully, most times not. 'Girls Trip' may not have been the film for me, but it was certainly the film for many.

Rating: Half Price

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'Atomic Blonde' (2017) Review: Beautifully Brutal

Big Screen Watch: A movie that tries to be more than your average fanfare and succeeds. Mostly.

From one-half of the directing duo that brought 'John Wick' to life comes yet another film about a character with a very particular set of skills. This time, the titular Atomic Blonde is Lorraine Broughton, played by Charlize Theron, a spy for the British government. Set in 1989, right before the fall of the Berlin Wall, 'Atomic Blond' follows Lorraine on a mission to secure a list of every working intelligence agent within the Soviet Union. Essentially the pre-internet version of WikiLeaks. Since her failure could mean the continuance of the cold war, it's safe to say Lorraine is under a tad bit of pressure to succeed.

As I was watching the film, it struck me that this was likely the most adult film I have seen in a while. Many films deal with mature themes and show explicit content, but something about the way 'Atomic Blonde' did this made it a cut above your typical R rated film. There's nudity, blood & gore, cursing, and each is handled extremely effectively.

Much like another movie I enjoyed this year.

Fight scenes in the movie are brutal. There's the same incredible choreography that exists in 'John Wick' films, with Lorraine affecting merciless punishment on her opponents. The movie's bleak cinematography gives way to action that was at times more visceral than entertaining. The film immerses you in spectacular fashion, as you go from admiring the way Lorraine dispatches her enemies, to feeling every blow she delivers.

Most of what sells Atomic Blonde's dreary environment is its characters. It was refreshing to see an action movie that didn't feel the need to wink and nod every few moments with a quip or two. Tension doesn't get broken in 'Atomic Blonde' and rather than be exhausting it was simply captivating. The music in the film helps this as well, and is used cleverly for the most part, but completely on the nose for others.

The movie is set in Germany in the 1980s, you can bet your ass they played this song.

While the film has many successes, it is by no means perfect. The first half of the film has pacing issues and the story is filled with so many details it can be hard to follow. Both those issues are minimized by the end of the film, and the film does more right than wrong. Charlize Theron carries it even through its most painstaking moments, and I was always engaged and entertained. It's worth the price of admission.

Rating: Big Screen Watch

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'Dunkirk' (2017) Review: The Greatest Story Never Told

Big Screen Watch: A technical marvel, truly excellent filmmaking.

'Dunkirk' is a movie about the 400,000 British and French soldiers trapped on the beaches of Dunkirk, beset on all sides by German opposition. Any attempt to escape is not treated kindly. Even standing still can be a precarious option, as any given moment could be met with a fatal encounter with the enemy. Trapped in a small location with an enemy that controls the land, sea, and skies. Sounds too incredible to be true, which is why it's the subject of Christopher Nolan's latest picture, 'Dunkirk'.

Although set in World War II, 'Dunkirk' is a war film that doesn't adhere to the cliches and tropes that plague movies of this type. Typically, you expect to follow one character in particular, perhaps with a wife and child waiting at home, and watch as he and his companions struggle for survival. That method is fine and all, but after being done so many times, it feels very old hat. Here, there are characters in the film, but the focus is on the event itself, not their individual stories.

Despite what the internet might tell you.

For doing away with such cliches, I praise the movie. However, there's a reason those cliches exist. It's a shorthand for the audience to have a genuine connection with what happens on screen. 'Dunkirk's biggest flaw is that it can be difficult to connect with the faces that react to the horrors of war. You get the general sense of despair, but there's a disconnect when it comes time to root for a particular character's survival.

Basically, 'Dunkirk' tells its story from 3 different perspectives. The fighter in the sky played by Tom Hardy, the civilian rescuer on the way, played by Mark Rylance, and the soldiers waiting hopelessly, with the most noticeable face being One Direction's Harry Styles. You don't get a sense of their characters. Leaving the cinema, you'll be hard pressed to remember even their names. I suspect though the point of the movie was not to delve into the characters within the story, but rather the story itself. With a story as incredible as this, pulling back from sensationalism was the best option, as it made the impossible story feel as realistic as possible.

Despite what the internet might tell you.It doesn't sound real, but 'Dunkirk' makes it feel that way.

The way that story unfolds is clever in its own right. The different perspectives jump through time. You'll see Tom Hardy's character shoot down a plane, in one scene, and then see it from another character's point of view 5 scenes later. Although it feels slightly gimmicky at first, the technique gave way to some truly flooring moments. It was a spectacular way to showcase how context frames perception.

It helps that there's are tremendous performances all throughout 'Dunkirk'. Everyone from Cillian Murphy as the soldier suffering the beginnings of PTSD, to the young men reconciling their short lives coming to an end. Each role in 'Dunkirk' is demanding, but the actors never lose the sense of drama necessary to make the movie work. Everything has such weight to it, which combined with the superbly executed and tense action scenes, makes 'Dunkirk' an exhausting movie. But in a good way.

Despite what the internet might tell you.It doesn't sound real, but 'Dunkirk' makes it feel that way.The universal reaction of the 'Dunkirk' audience.

Any flaws the movie has are entirely minor. Christopher Nolan is a visionary director as seen in his works 'The Dark Knight', 'Memento' and 'Inception'. With 'Dunkirk', the director pulls away from fantasy and science fiction and makes a truly mesmerizing war film. The film is absolutely captivating from beginning to end and masterfully shot. Nolan's reliance on practical effects gave the movie a sense of authenticity, which is always a plus when dealing with true stories. For the sheer technical prowess alone, 'Dunkirk' deserves to be seen on the big screen.

Rating: Big Screen Watch

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'War for the Planet of the Apes': In a League of its Own

Big Screen Watch: The fact that these movies continue to be this good is astounding to me.

Despite being prequels to a well-known movie franchise, the recent Planet of the Apes films have had unprecedented success. Both critically and commercially. The third film chronicling the beginning of the saga 'War for the Planet of the Apes', takes place 5 years after the events of its predecessor, 'Dawn of the Planet of the Apes'. After being forced into conflict, Caesar and his people are struggling. In order to survive, and for the ape revolution to succeed, these smart apes must be smarter than ever, as the war for the planet wages on.

To be frank, 'War for the Planet of the Apes' is exactly what most have come to expect. The visuals throughout the movie are mindblowing. The attention to detail given to the apes & the environment is remarkable. The series continues to be one of the best-looking franchises of its time. The performances by Andy Serkis and company behind each ape are nothing short of breathtaking. Having the technology to capture said performances is extremely gratifying, as 'War for the Planet of the Apes' gives a legitimacy to a season otherwise known for less intelligent films.

Sigh. Yeah, this still hurts."And here is where the Apes decided on a banana based economy."

Having said that, the movie did not entirely thrill me. I spent most of the first half feeling underwhelmed by the film as it went on. I felt as though there were one too many moments that were either entirely predictable or simply uninspired. At certain points, it felt like the movie was taking the easy way out. I would see the film set up something conventional, hope for it to surprise me, only to be treated to a moment that feels cheap, rather than evoking a genuine emotional response.

While it wasn't without its disappointments, the movie did have an overall sense of inventiveness to it. The world continues to have new and interesting things that help it feel fleshed out. Caesar's ape society has a design to it and so many ideas that are not drawn attention to. 'War for the Planet of the Apes' follows in the footsteps of the best post-apocalyptic movies and simply lets the audience come to know the world as it is, rather than being spoonfed the updates.

"And here is where the Apes decided on a banana based economy."

It's also worth mentioning that this is a very dark film. Both in its lighting and its tone. There are images in the movie that are extremely uncomfortable to watch and have a significant amount of edge to them. The series has never shied away from brutality before, but here, the notion of "war" is not handled lightly. Much of the movie is spent showing the immense difficulty Caesar himself has as the leader in a war he never wanted to fight. To that end, there was a solemness to 'War for the Planet of the Apes', that was a reminder of why this series has such a special place in my heart.

Even at it's worst, 'War for the Planet of the Apes' is still leaps and bounds over its competition. Despite my qualms with the first half, the second half of the movie did deliver wholeheartedly. Even those issues I had I suspect will be less disdainful upon rewatching the film. On the whole, the movie is a well made, contemplative, and extraordinarily impressive picture. Although I didn't enjoy it quite as much as I wished to, it still very much deserves your attention at the cinema.

Rating: Big Screen Watch.

Here's the audio review for the movie, where we got into some of the movie's characters, and a perspective from Kyle Howard:

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'Spider-Man' Homecoming (2017) Review: Spider-Man Has Finally Arrived

Big Screen Watch: Easily one of the best Marvel films.

Picking up right after his debut in 'Captain America: Civil War', 'Spider-Man Homecoming' opens with a Peter in conflict. He's had a taste of an amazing fantasy, and suddenly, regular old high school life just doesn't do it anymore. Seeing Captain America on an exercise video just doesn't match up to stealing his shield. While he dreams of joining The Avengers in their world-saving quests, he's stuck stopping bike robberies and helping old ladies cross the street.

That personal conflict is an incredibly entertaining part of the film. Peter Parker is reflective of every teenager too rebellious for their own good. Eager to start the next phase of their life. As Peter awkwardly fumbles his way between his double life, it no doubt provides the laughs, but only because it's so relatable. Every situation Peter gets in has about as much tension as the life or death moments.

Sometimes worse than battling a supervillain.

Those moments are thanks to the villain of the picture Adrian Toomes, aka, The Vulture, played by Michael Keaton. Keaton is one of the more memorable villains of the superhero genre and is almost as relatable as Peter Parker himself. He plays a disgruntled salvage operator who makes his living building and selling weaponry forged from the superhero battles waged in this universe over the years. Clearly, the movie puts function over fashion, as the Vulture has traded in his traditional feathers for giant winged blades of death.

Spider-Man himself, on the other hand, gets to have his cake and eat it too. His look is very much his classic trademarked style, but he's also been granted with a few bells and whistles not previously seen in a Spider-Man film. For some, this might seem like an unwelcome new addition, but I found it to be an incredibly inventive spin on a character who had become a little old hat at this point. How many more times could we see Peter Parker's spider sense slow down time as he leaps out of the way of danger, only to react with his best Keanu Reeve's "Woah".

Close enough.

There's a logic to much of 'Spider-Man Homecoming' that gives it a sense of realism. That realism though helps the movie stay grounded, following the themes the movie sets for itself. It perfectly allows the action to have more of an impact, no matter how wildly creative it gets. 'Spider-Man Homecoming' is the type of superhero film that has a message, is wildly entertaining, and feels incredibly well thought out.

The film is also a true homage to the John Hughes era of the 80s. Where better to draw inspiration for a film set in high school? That was present mostly in the characters that make up Peter's social circle. The classic drama that you get from high school shenanigans. Little things like the pressure of looking cool, getting good grades, and figuring out what to do with his life are definitely going to cause viewers think back to their own high school days. It's a good thing then that the whole cast, from each of Peter's teachers, to his best friend, to the girl out of his league are always on point.

Throughout my life, there have been quite a few Spider-Man films. Some of them have been bad, most of them have been good. Few have been great. The only superhero who get more chances at the movies is Batman. That's because as much as a Spider-Man film may disappoint, something about the character draws people in. The films may not meet our standards, but we're more than willing to try again the next time. Thankfully, 'Spider-Man Homecoming' is definitely worth a try, and is easily the greatest Spider-Man film to date.

Rating: Big Screen Watch

Here's the latest episode of the Take 4 Podcast where we talked about the other Spider-Man movies

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Movie Money: Episode 21 (July 03, 2017)

The 2017 box office is definitely a telling one. Every week another juggernaut of the movies takes a blow domestically, doing numbers that aren't even close to what they used to do on a bad weekend. 'Transformers: The Last Knight' hit the $100m mark this weekend, with a weekend take of $17m. Considering the last 'Transformers' film made that on its opening weekend, it's safe to say US audiences aren't feeling the Cybertron civil war all that much.

Newcomer this week, 'Despicable Me 3' didn't do too bad. A $75m weekend is not the series best. 'The Minions' holds that privilege with $115m, followed by 'Despicable Me 2' at $83.5m. The series still has some legs, since the threequel at least made more than the first film, which opened with $56m. 'Despicable Me 3' took away a lot of the audience for 'Cars 3',  as the Pixar film dropped all the way down to #5 in its 3rd week. 'Cars 3' was beaten by 'Wonder Woman' which continues its incredible run, coming in at #4 this week with $16m, to the $9.5m by 'Cars 3'. 'Cars 3' almost missed the top 5 spot, with 'The House' right on its heels, with a $9m weekend.

Not a lot got made with this one.

Despite the decline of huge franchises like 'Transformers' and 'Pirates of the Caribbean', the lay of the land shows that domestic box office failure means next to nothing these days since international markets play such a large part in a movie's success. 'Transformers: The Last Knight' may have made only $104m in its second weekend, but its global cume is $431m. It's not the billion the franchise is used to, but the film is likely to take in a comfortable $500m. If the thought that even if these franchises fail, they still end up succeeding is depressing to you, then allow me to cheer you up by saying 'Baby Driver' made $36m worldwide this weekend, surpassing its $34m budget. It's far and above Edgar Wright's most successful movie. May it make over a billion dollars.

That's the report for this week and of course, here's the podcast:

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'Baby Driver' (2017) Review: The Best in the Business

G.O.A.T: Edgar Wright's most recent movie is one of the year's best.

In a world where every weekend the Baby Driver' is perhaps the most unique film to come out this summer. It's a nice respite for those of us sick of the usual mega blockbuster that often defies logic, and wears the viewer down with its exhausting runtime. It follows Baby, played by Ansel Elgort, a getaway driver for a gang of bank robbers, led by the incorrigible Doc, played by Kevin Spacey. Baby is the best in the business, but even though his hands are magic behind the wheel, his heart isn't in it. Baby would like nothing more than to ride off into the sunset, free to drive his own way. Like the cowboys of old.

Using something with a little more horsepower.

'Baby Driver' is a familiar story. We've seen the tale of the criminal with a heart of gold before. Despite that, the movie feels infinitely fresh with every moment that passes. A large part of that is due to the absolutely stellar car stunts on display. 'Baby Driver' makes the Fast and Furious films look like child's play. The stunts themselves are intricately designed and a thrill to watch, as Baby maneuvers a car like it's an extension of himself.

Watching it is one thing, but listening to it is another. Baby suffers tinnitus and is often overburdened by the everyday noises of life. To drown out the confusion, he constantly has a pair of earbuds playing everything from smooth jazz to classic rock. Baby's music is at times the centerpiece of a scene, with a gunfight perfectly synced up to the beat of a drum. Everything in 'Baby Driver' makes it feel like it's constantly moving forward, with an expert level of pacing, as Edgar Wright delivers another gem that's absolutely brimming with creativity.

The last of the long-haired weirdos who made it.

That constant momentum doesn't mean the movie moves at a breakneck speed. Yes, there are times when Baby is traveling that quickly, but 'Baby Driver' knows when to take it slow as well. Meaningful character moments are spliced in to offset the intense action. Most come from Baby's interactions with Lily James' Deborah. James plays a waitress who shares Baby's love of music. The two were at times more engaging than the car chases and gunfights, and the true heart of the movie.

I have much disdain for Ansel Elgort. The first movie I was unfortunate to see him in was 'The Fault in Our Stars'. He's not been in much else, outside of the 'Divergent' series, and a few other young adult novel adaptations. So while I don't have much to go off of, walking out of 'The Fault in Our Stars', I was entirely put off by his constant smug expression and general smarmy demeanour. I knew that a large part of that was his character in that movie was intentionally obnoxious, but I digress.

The most punchable face in Hollywood.

For a long time, I've been unable to disassociate Ansel Elgort from Agustus Waters. That is until Baby Driver, where Elgort comes into his own. He's charming, sympathetic and the type of character you root for. He's haunted but whimsical, and I was invested in his story, mostly based on Elgort's truly human, multi-faceted portrayal of him. It's clear Elgort put a lot into his performance, as he completely embodied who Baby was, right down to how certain songs make him feel.

'Baby Driver is a film that is a master class in many things. It excels in directing, sound editing, sound mixing, even simple story progression. So many of what 'Baby Driver' does well, it does better than most films at their best. There are moments in 'Baby Driver' that elicit genuine awe. Ones that take the viewer by surprise, and defies their expectations. In a perfect world, this film makes all the money possible and is seen by audiences everywhere. Unfortunately, it'll be yet another film that doesn't get nearly as much attention as it truly deserves.

Rating: G.O.A.T

Thanks for reading. We also did an audio review of this movie, where I go into the different characters that pop up in the movie, and how 'Baby Driver' matches up against other heist crews

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'Transformers: The Last Knight' (2017) Review: Exhaustingly Epic.

Catch it on Cable: The only way to watch this film. Seeing it in the cinema is too much for any sane person to handle.

It’s been 10 years since the first Transformers film was released in theaters. Since then we’ve watched the war between the Autobots and the Decepticons wage on, getting grander and grander with each film. With ‘Transformers: The Last Knight’ I do believe the series has finally reached its breaking point with its most incoherent entry yet. The war of the Transformers once again threatens planet Earth, except this time, the Autoboots face their greatest enemy yet. Leader of the Autobots gone rogue: Optimus Prime.

That summarization of the plot is extremely lacking, but to include the 1 trillion plot points this film sees fit to hurl at the viewer would be a fool’s errand. Most of them are inconsequential, go nowhere, and contradict the plot as the film goes on. If that wasn’t bad enough, the way the film presents it to you is in a manner consistent with director Michael Bay’s style, with everything in the film shot and edited like it’s the most important moment of the movie. The problem with that is, when everything’s supposed to be special, suddenly nothing is.

2017 and Syndrome still isn't being listened to.

None of this is new to the ‘Transformers’ franchise, but previously, the average movie goer could at least expect a fully finished product. Specifically, there are shots in the movie which fill the entire frame, seemingly taking up most of the screen, and then there are shots which use significantly less space, with black bars appearing at the top and bottom of the screen. The switch between the two is often rapid, forcing the viewer to constantly adjust their focus. It’s menacingly distracting, and not an experience I would wish on my worst enemy.

Perhaps just as distracting is the movie's severe tonal dissonance. The Transformers films have always been full of humour. Some of it is stupid, some of it is racist, most of it is both. At the very least, even when being forced to sit through the worst jokes possible, the film's felt somewhat balanced against the save the world plot of the main story line. Here, there's constant talk of impending Armageddon, with the world at large reacting to the threat of assured destruction, but it's hard to stick with that when the next scene is a tiny robot looking through a car magazine like it's Playboy.

2017 and Syndrome still isn't being listened to.NSFW

Of course, there's no way to talk about the movie without mentioning its incredibly memorable characters. There's small child with cute robot friend whose go get em attitude and skill with all things mechanical shows just how influential Rey and BB-8 really were. There's old wise British man, played by Anthony Hopkins, who ranges from completely checking out of the movie, to overacting the hell out of it. There's green Australian robot, bearded gun robot, and of course Asian stereotype robot, who has gone through the immense character development of a new paint job, ditching his electric blue for a sweet black and red. All of these characters were engaging and fun to watch and in no way annoying.

Sarcasm aside, the film has 4 characters worth possibly thinking about. The rest pop in and out of the movie at such an infrequent rate you forget they were there when you see them again. Mark Wahlberg's Cade Yaeger drives the plot enough to the point where you don't fall asleep, but there's nothing remarkable about him beyond that. The female lead in this Vivian, played by Laura Haddock, is portrayed as gratuitous eye candy, but also treated like a plot device. If the movie couldn't feel any more overstuffed, the plot is focused on the journey of both these characters, with each of them concerned with their own MacGuffin and end goal. Following either is just as boring and predictable as the other. It's equal opportunity boring. 

The crux of this movie, as pitched to potential audiences everywhere, is the infamous fight between Bumblebee and Optimus Prime. The matchup of the decade. The fight to end all fights. The student must best the master in order to keep the world from falling into despair and chaos. I will admit, the idea is an intriguing one, but in a movie this long, it's an insult to the audience that the fight only lasts for about 5 minutes, isn't particularly impressive, and ends as disappointingly, but not nearly as insulting, as the Martha scene from 'Batman v Superman'.

2017 and Syndrome still isn't being listened to.NSFWI really need to let this go.

‘Transformers: The Last Knight’ is a technical marvel of the worst kind. It’s the very definition of all over the place. At times the movie is dark and contemplative, but then it will switch to being as goofy as a Saturday morning cartoon. When I ask myself though, did I enjoy watching ‘Transformers: The Last Knight’, the answer is regrettably yes. Much like the way one enjoys watching a series of car wrecks on YouTube. I cannot in good conscience, however, recommend that anyone, man, woman or child pay money to see this film, as being forced to sit in a cinema for the film’s 2 hours and 30-minute runtime was devastatingly exhausting.

Rating: Catch It On Cable

'Transformers: The Last Knight' is not just the start of a new cinematic universe, but it's also the return of audio reviews! Click here to listen to our discussion on Transformers 5:
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