'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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'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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'Wonder Woman' (2017) Review: Finally.

Big Screen Watch: Do yourself a favour and check it out before it's gone.

About an hour into 'Wonder Woman', Princess Diana of Themyscira awakens on a ship pulling into London in 1918, at the height of the Great War. Her companion, Steve Trevor, gleefully welcomes her to jolly old London, but the smoke and concrete of the industrial centre of the world are nothing but revolting to the Amazonian Princess, whose home is brimming with colour and life. "It's not for everyone" Steve retorts. In that moment, the two might as well be talking about the recent slate of DC films, which have been criticized for being overly gritty, to the point of being completely inaccessible. Thankfully, 'Wonder Woman' is a breath of fresh air, and gives this cinematic universe its very best film. I realise that doesn't mean much but trust me, it's good.

I'm not crazy.

Tonal shifts aside, 'Wonder Woman' is also groundbreaking in a much more important way. Perhaps ceiling shattering is more appropriate, as 'Wonder Woman' bucks the trend of superhero films, and gives a serious treatment to a female superhero. Who would have thought that maybe, just maybe, audiences might be interested in seeing a different perspective, than that of the male hero? 'Wonder Woman' shows that a woman can be more than a mere damsel in distress.

For all it does for the current cinematic landscape, 'Wonder Woman' is a superhero movie that is pretty paint by numbers. It follows the same basic structure we've come to expect from these films. The real treasure is in the cast and their interactions. Mainly the two leads, Wonder Woman herself, played by Gal Gadot, and Steve Trevor, played by Chris Pine. The two have a chemistry that keeps the film feeling engaging, even if nothing particularly exciting is going on.

It takes a good while for the titular heroine to actually do anything heroic. I myself appreciated the slow burn the movie practiced. It gave the characters the development necessary to make its more flashy moment have any sense of substance. For all those anxious to see Wonder Woman deliver the true strength of a goddess, she's right there with you. Diana spends most of the film eager to become the hero the world knows her to be. When she finally gets the chance, the wait and anticipation pays off beautifully, as 'Wonder Woman' gives a scene that is not just riveting, but also massively inspiring. It's the most awe-inspiring superhero film, since Richard Donner's Superman.

Superheroes can be uplifting and still be relatable. 

For many, Donner's Superman is the gold standard of superhero films. For others, it stands as a relic of a bygone era, out of touch with our modern times. 'Wonder Woman' magically fuses the two viewpoints, with a story that accepts the world as it is, but imagines what it could be. The closest I can compare it to is 'Captain America: The First Avenger'. The difference is, whereas that film felt much like an Indiana Jones type adventure film, 'Wonder Woman' grounds its story, making it feel more relatable. I realise it's a movie about Greek Gods living among us mortals, but hey, the tone is the tone.

When it's not busy being a fantasy war period piece that contemplates the true nature of man, it's also a pretty damn good fish out of water story. Diana gives you everything you'd want from a stranger in a strange land. She's naive enough to be adorable, but not enough to be frustratingly ignorant. She never comes off as stupid, and instead gives the movie some of its best social commentary, as Diana points out the archaic practices that are as foreign to us today as they are to her.

Wonder Woman: "Um, duh?"

To touch on the look of the film, it refreshingly gives a break to the drab and bleak aesthetic that so many blockbusters employ. Any desaturation is strictly for story purposes. Wonder Woman stands out in the grim exterior of the battleground, as the beacon of hope that she is. It's not the Crayola box explosion fever dream that is 'Guardians of the Galaxy Vol. 2', but it's got a good grasp of its colour palette.

I promise this is the last time I'll mention GOTG V2 in a review BUT IT'S JUST SO PRETTY

The action scenes are filmed spectacularly, the dialogue is rewarding, but most notably, the characters are well developed and relatable. Although her origin story may seem a little more than familiar, Diana's story is inspiring and it gives the uplifting feeling one looks for when going into a superhero film. In a summer like this one, it’s nigh impossible to see everything before they leave the cinema. This is definitely a film worth seeing on the big screen while you can.

Rating: Big Screen Watch

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'Guardians of the Galaxy Vol. 2' (2017) Review: Character First

'Big Screen Watch': A risk taking superhero movie that pays off.

In many ways ‘Guardians of the Galaxy Vol. 2’ is much like its predecessor. It follows a band of self-centred ne’er do wells, in the unexpected position of having to care about something other than themselves. Complete with yet another soundtrack chock full of 70s and 80s pop hits, and an even cuter talking tree, this bombastic sequel might seem like more of the same, but is a much different animal in its own right.

Like a cat.

Fear not. This still remains a series that gleefully includes a talking racoon with a violent penchant for destruction. The difference lies in Volume 2’s structure. The first film featured colourful characters that shined through a played and conventional storyline. This time around the story is left even more by the wayside, as ‘Guardians of the Galaxy Vol 2’, spends more time with the characters you originally fell in love with.

Immediately the movie immerses you with that loveable gang, with an opening sequence that hurt my face from the constant grin I was sporting. It was as if the Guardians never left. You're put in the centre of what seems to be all in a day's work for the group, as they make quick work of a no named alien monster, while 'Mr. Blue Sky' plays diegetically. There's not much context, but then again there doesn't really need to be.

Just bought my ticket for a second viewing.

There is a story to be told. Peter Quill, played by Chris Pratt, finally is reunited with his long-lost father and finds himself at a crossroads as he must choose between the family he never knew, and the family he chose. Even the basic conflict of the film, usually separated from the characters themselves, is extremely character driven.

Character work is where the film shines. The main story belongs to Star-Lord, but the rest of the cast gets a good amount of material to flesh out their personal problems. Not just the Guardians themselves, but side characters also, like Michael Rooker's Yondu and Karen Gillan's Nebula are given a fair share of development. Unfortunately, Dave Bautista's Drax gets the short shrift and is relegated to little more than comic relief. That doesn't amount to much for a movie that spends as much time being dour as a cat does in the water.

That is to say, not much.

The characters are engaging, and make an unconventional structure such as this work. Still, the film can feel uneven at times, as without a central motivating plot,  many moments are left lacking momentum. ‘Guardians of The Galaxy, Vol 2.’ has multiple scenes of characters exploring what makes them tick, but without much reason as to why they’re doing it.

I'd describe 'Guardians of the Galaxy Vol 2' as emotionally chaotic. It's by no means tonally dissonant. The sardonic humour blends well with how guarded the characters are, masking their deeper turmoil. Rather the movie presents so much of what the characters are feeling, sometimes with nought but exposition, and loosely ties it with the rest of the film. I was very nearly lost by this approach.

Usually something I'm quite fine with. 

The second act particularly feels like snippets of a 'Guardians of the Galaxy' television show, that gave each of its characters an episode to flesh out their identity. For my own sake, I decided to take a wait and see approach. The movie had much more to go, and I'd seen films come back from worse. Thankfully, the film delivered, with a third act that reconciled all my qualms with the scenes prior. Every element that seemed out of place was now positioned perfectly. Methinks a second viewing would be all the more enjoyable.

‘Guardians of the Galaxy Vol 2’ is a refreshing superhero movie. It takes the spotlight and aims it squarely at its characters. While some shine a little brighter than others, the ensemble captivates still. Its humour is constant, and its strong character work makes the movies more emotional beats hit strong. It definitely deserves being seen on the big screen.

Rating: Big Screen Watch

P.S: Something that I feel gets overlooked in 'Guardians of the Galaxy', is the score by Tyler Bates. Since the soundtrack took the world by storm, the tones and pieces he put together on the first film don't get the attention they deserve. I was happy to hear he would return for the sequel since a familiar theme serves as a good way of connecting a franchise. His work here is just as good as it was the first time around. Here's hoping he comes back for Vol. 3.

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'The Fate of the Furious' (2017) Review: Just As Fast And As Furious As You'd Expect.

Reluctant Big Screen Watch: A Big Screen Watch I didn't want to give, but a big screen watch all the same.

For what is usually well past the expiration date, Fate of the Furious marks the 8th iteration in the Fast and the Furious Franchise. At this point, most movies turn to gimmicks. Putting their characters in space in a desperate attempt to catch the attention of viewers who checked out around movie 4 or 5. For this family though, there are no signs of slowing down. Once again the tight knit family of car enthusiasts turned super spies must come together. This time, it's to stop their biggest threat yet. Fearless leader gone bad, Dominic Toretto. 

That's a welcome new element in a series that for all the upping it does of the ante, has felt a bit stale. How many times can Dom's team be sent after a dangerous piece of technology, only to be outsmarted by a sophisticated adversary, but ultimately win the day with street smarts and a can of Nitrous Oxide? That's no different than what you see in this movie by the way, but despite being formulaic, 'Fate of the Furious' definitely delivers on what fans of the series want.

Rapid fire incomprehensible nonsense coming atcha face boiiiii

I don't go for world class acting. I don't go for intricate storytelling. What I do go for, is fast cars doing impossible things. Boy does 'Fate of the Furious' has a great number of vehicles doing massively impossible things. If you're a stickler for logic, reason, the observance of the laws of physics, or just a plain old acknowledgment that man is subject to harm, you shouldn't really watch this movie. If you can set all that aside, you'll be able to enjoy some genuinely thrilling and exciting sequences, in which director F. Gary Gray crafts moments that are classically fast and quintessentially furious. 

The series has never tried to be any more than what it is. Each of the characters does what's expected of them at this point. Diesel's Toretto might be playing for the other side, but he's still the same strong silent type that solves every problem with a street race. Ludacris' Tej spouts some ridiculous techno jargon, alongside Game of Thrones star Nathalie Emmanuel's Ramsey. Dwayne Johnson's Hobbs mugs his way through one liner after one liner, flexing all the way, and Tyrese Gibson, God bless him, earns every cent of his paycheck, making sure you hear every last syllable of Roman's dialogue.

A being of pure bliss.

Because the series regulars are so ingrained in their roles at this point, the real fun comes in the new cast members. Most notably is Charlize Theron playing the villainous Cipher. The Fast and Furious villains have always felt sort of like the rebellious kids of Bond villains. Desperate for their much more charismatic parents' approval. Each one gets a little better, but Cipher is a step in the wrong direction I feel. Theron plays her well, as she is wont to do, but the character takes herself so seriously, it can feel out of place in a movie that is essentially a live action Looney Tunes cartoon. 

L to R: Elmer Fudd, Tasmanian Devil, Yosemite Sam, Sylvester the Cat, Charlize Theron, Bugs Bunny, Lola Bunny, Marvin the Martian, Tweety Bird, Porky Pig, Foghorn Leghorn

If you like these movies, you're already planning on seeing this film. If you don't like these films, but wonder, maybe this time they'll change, they don't. It's everything that you've come to either love or hate the franchise for, cranked up to 11. For me, that made for a great time in the cinema, as I was transported to a world where up was down, left was right, and an orange Lamborghini raced across a frozen ocean. What else is cinema for. 

Rating: Reluctant Big Screen Watch

Here's a podcast episode we did talking about the entire Fast & Furious series, with two people who vehemently defended it:

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'Beauty and the Beast' (2017) Review: Magic Brought To Life

Big Screen Watch: I got enough new material out of the new Beauty and the Beast that made it worth seeing on the big screen.

Disney’s Beauty and the Beast is the latest animated classic to get the live action treatment. While some might see it as a soulless cash in on nostalgia, others will revel in the chance to see a new spin on the tale as old as time. Personally, I’m not offended by Disney’s live action remakes. I see them as cinematic stage plays, giving a story I once knew, new life.

‘Beauty and the Beast’ is not the riskiest of remakes. Much of the film is a loving recreation of its source material. That love can be overbearing at times, as you sit in the theatre wondering what you’re getting that you couldn’t with the original picture. The places where it does make changes are a welcome break from its slavish adaptation, that is at best, a touching reminder of what you once knew, and at worst, an embarrassing imitation.

Embarrassing, and slightly unnerving.

The most consistent part of ‘Beauty and the Beast’, is how stunning it is to look at. Particularly the Beast’s enchanted castle, and all its inhabitants. The characters lose their animated charm, but what they gain is an impressive amount of heart. When the objects talk of the lives they led before they became furniture, it rings truer coming from what looks like a candlestick, than a cartoon.

The translation isn’t always effective. Most notably in the part of Gaston, played by Luke Evans, whose larger than life character is underserved by Evans’ humanity. That’s not the fault of Evans, it’s just, there’s no one quite like Gaston. Still, humanity is the key to this adaptation, as the film adds a touching connection to the characters that dare I say improved upon the original.

Yeah I said it. I'll be outside. Waiting. 

Kevin Kline's role as Belle's father Maurice is the chief example of this. A man who seemed insane even before his ramblings of a monstrous beast. Under Kline's care, he became a genuine character. One with heart, quirks, and identity. If only the same could be said for the depiction of Lefou.

Played by Josh Gad, Lefou is Disney's first depiction of an openly gay character in a major motion picture. Josh Gad is charming as Gaston's most loyal friend, and sidekick. He makes you laugh, and when seen in live action, the sheer abuse he takes has a certain dark humour to it. Unfortunately, his over the top performance is a faithful one, but considering the character's newly revealed identity, can be uncomfortable, bordering on stereotype at times.

Of course, the main attractions are the Beauty, played by Harry Potter’s Emma Watson, and the Beast, played by Legion’s Dan Stevens. Watson carries the frustration of her character’s plight beautifully and gives Belle an admirable strength. Stevens gives the Beast the one thing he’d been missing all along. A character to care about. The remake does one thing remarkably well and gives the somewhat questionable romance an air of legitimacy.

Less of the Stockholm Syndrome vibes. Way more Beastiality vibes. It's a trade off. 

Was ‘Beauty and the Beast’ worth the price of admission? I’m inclined to say yes. It’ll take you back to how you felt the first time you watched it, and pepper in a few new things to keep it feeling fresh. Watching Belle talk to her horse was charming in a cartoon, but laughable in this version. Still, gaffes like that are minor and don't take away from the overall joy of watching magic come to life.

Rating: Big Screen Watch

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'Logan' Review: A Superhero Movie Your Dad Will Like

Very High Big Screen Watch: Go see it. Right now. Not for kids.

2009 saw the release of 'X-Men Origins: Wolverine'. A movie that has been called one of the worst superhero movies of all time. By me. Several times. Despite that movie's critical failure, there was the release of 'The Wolverine' back in 2013. James Mangold was in the director's chair, and it marked true detachment from the rest of the X-Men franchise. It seemed like a step in the right direction, albeit a half step, with a third act that brings down an otherwise stellar film. If a mostly bad movie and a mostly good movie is what had to happen to bring 'Logan' to life, the world is much better for it.

Set in the not too distant future of 2029, 'Logan' is an X-Men movie quite unlike any other. Gone are the black jumpsuits and supersonic jets. All that remains is Hugh Jackman, playing Logan for the 8th and final time. Logan must come to terms with his own mortality, something that's eluded him for the last century or so. Despite wanting nothing more than to be left alone, he's forced back into acts of heroism, when a young girl, the first mutant to be born in decades, shows up at his doorstep. Logan must take her to a place safe for their kind. One that may or may not exist.

Hopefully, it ends differently than in Mad Max Fury Road.

On that journey, you'll also find an aged and decrepit Professor Xavier, played once again by Patrick Stewart. Stewart's been playing Charles Xavier for 17 years, over the course of 6 films. It's only in this film that both he gets to show their true strengths. He's always been one of the best elements of the franchise, but his role in this movie digs a little deeper than the all knowing Professor X. The most drastic thing about 'Logan' is how much more mature it is than the other films in the franchise. It's the second X-Men film to get an R rating, but it uses it for a different kind of brutality than 2016's 'Deadpool'. 

With 'Logan' you don't root for violence. Every time Wolverine's claws come out, there's a disappointment that it couldn't be avoided. Every act of rage has weight to it. A weight which the movie takes its time to make you feel. The movie is a slow burn at times, but it's far from paced poorly. Every down moment is one where the movie serves the characters. 

You see Wolverine with a level of vulnerability not often afforded to indestructible men. Hugh Jackman plays the role with more subtlety than he ever has. He gives it an authenticity, with micro expressions that seem to just come to him naturally, and go a long way in making Logan feel real. Speaking of understated performances, 'Logan' also features a chilling performance by young Dafne Keen. She plays the young mutant under Logan's protection. Much of the movie rests on her young shoulders, but damn does she carry it. 

Her acting is as bad ass as her character. 

I was floored at several points, something usually achieved by an actions sequence. This time it was the way the movie treated its mature content. With potency that demanded sincere attention and respect. 'Logan' handles ideas of mortality, immigration, drug use and refuge with absolute class. It has a resonance that is unmatched in its field, with a story that heartbreakingly feels so close to our own reality at times. 

Although now is the perfect opportunity to have an over the top cartoon villain in your movie and call it true to life.

'Logan' is a superhero movie that almost feels like it doesn't want to be one. It's not concerned with sequels, merchandising, or continuity for that matter. It simply wants to be a good film. It's not riddled with explosions, or an end of the world plot. Its characters might be supernatural, but they feel utterly human. It's jaw-droppingly good at the things it does, and uncannily what it does is join the ranks of the greatest superhero movies of all time.  

Rating: Very High Big Screen Watch

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'John Wick Chapter 2' (2017) Review: John Wick and the Terrible, Murderous, No Good, Very Bloody Day

Big Screen Watch: Every bit as enjoyable as the first film, with more to the world of John Wick to explore. 

It’s easy to think that originality in Hollywood is dead. Case in point: Lego Batman. A movie based on a line of toys, based on a comic book character. The cynic in me wants to give up on cinema altogether. Then a movie like 2014’s 'John Wick' comes around. The brainchild of long time stunt coordinators and first-time directors. With its captivating style and intriguing world, John Wick was a sleeper hit that thankfully, has been granted a sequel.

Blessed are we the meek, who have been granted by the Gods of film, this bountiful gift. 

Compared to the first film, John Wick Chapter 2 is a definite upping of the ante. Everything that made its predecessor an exhilarating thrill, is present in this sequel. It’s never going to be as impressive as that first instance, but John Wick Chapter 2 does enough to keep the film feeling fresh, despite stepping over familiar ground.

Then again, avid viewers of the first film might be slightly disappointed at how familiar this movie is. Many of the same beats are hit. Sometimes exactly. For my money, I was happy to get a mix of new interesting characters, and dimensions to John Wick’s world of coordinated assassins. There’s an air of immense playfulness and creativity to the film, a quality that runs from its world expansion, t the many many ways John Wick knows how to inflict punishment. It's a good thing he's an assassin and not a primary school teacher.

I once saw Mr. Wick discipline 3 kids, at his desk, with a pencil. A f*****n'. Pencil.

It's not just inflicting punishment. John Wick is one of those rare instances of action hero who despite his tremendous skill, takes quite a bit of pain. Physically and otherwise. Keanu Reeves is somber enough to give Batman a run for his grieving money. The entire cast does well to sell you on their intriguing additions to the John Wick world. Hardly anyone is wasted. Especially in the case of Ruby Rose. She plays an assassin who communicates only via sign language but is arguably the most charismatic of the lot.

To be honest, I'm not sure which is the case. Either the characters are so well performed by their actors, or the film is just that good at building the atmosphere that surrounds them. I'm inclined to think the latter, considering Common. The raptor is a bit of a distraction when you first see him, but as it goes on, he feels as organic with the rest of the movie as John Wick himself. There are a number of performances though that benefit from the notoriety of the actors that play them. Who could find fault with pairing Neo back with Morpheus?

I'll be honest, I would've cheered if it turned out the world of John Wick was just a construct of the Matrix.

A staple of the first film is the way the action felt as focused as John Wick himself. That’s not changed and remains the best element of this film. John Wick moves like a force of nature. The way he dispatches violence is swift, merciless and also, immensely creative. It shows an immense skill on the part of the directors. The kind of skill it takes to choreograph extended action sequences the way most scripts craft dialogue.

Of course, I couldn't end this review without mentioning how refreshing it is to have a film willing to use colour. So many big budget releases are devoid of a sense of colour palette. Looking drab and grey. Blues in John Wick pop, as do pinks, oranges and of course black. Black never looks as good as when it's amongst a symphony of colour. The movie isn't particularly gorey, so it's the gorgeous envrionments that stand out in John Wick's playground of murder.

John Wick Chapter 2 is an example of what makes a satisfying sequel. Its stakes are greater, and while a little bit too familiar at times, has more than enough new material in it to warrant the attention of fans of the first film. That said if you watched that film and found it wasn’t for you, stay home. This is not going to change any hearts, nor any minds. For me, I was happy to see Mr. Wick back in business.

Rating: Big Screen Watch

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'Hacksaw Ridge' (2016) Review: A Movie For Everyone, and For No One.

Big Screen Watch: Worth the price of admission and should really be seen in a dark theatre on the big screen.

The world has no shortage of war films. Additionally there is no shortage of world war II films. Yet ‘Hacksaw Ridge’ is just that. A World War II film that in fact, has a story worth telling. I suppose one more couldn’t hurt. The story is of US army medic Desmond Doss. A trained soldier, who believes in the fight against Nazi Germany, but he only has one condition. No guns.

Guns are bad, M'kay?

Immediately that sounds a little more than problematic on the battlefield. It’s what makes ‘Hacksaw Ridge’ such a compelling story. Desmond believes no man should take the life of another, as intended by God. A gun is built for just that. A killing machine. The movie spends a great part of its run-time watching Desmond defend his beliefs to his superiors. Suffering the contempt of his fellow soldiers in the process.

The brilliance in ‘Hacksaw Ridge’ is its brutality. At the very first scene there are shots of men with flaming sleeves, running in terror. Screaming. When a soldier is shot, the camera picks up every gory detail. The movie immerses you in the horrific details, that prompted a few in the audience to turn away. I can’t think of a better way to convince you of the main character’s conviction. You feel the same way about violence as he does by the end of the movie. It's the Battlefield 1 of movies.

Great game if you want to never play a war game again.

Unfortunately the film isn’t always that subtextual. There are several points that feel inauthentic. The type of dramatization peppered in to make a true story more like a movie. These moments weren’t bad, they just didn’t feel earned. They made the characters feel fake, when they’d felt so real. More often than not though it hits the mark, with those points disrupting the illusion, only momentarily.

The message of Hacksaw of course depends on you. You could apply it to any plight that you feel in your heart of hearts. I did get the feeling however that 'Hacksaw Ridge' was a movie for people who'd felt like their religious views had come under attack in recent years. Particularly those shopkeepers and cake makers refusing to cater a gay wedding. Then again, it goes to the other side as well, with a movie for those that are anti-gun. Somehow 'Hacksaw Ridge' is a movie where bleeding heart liberals, and gun toting conservatives are both the hero and the villain, so it's for everyone and no one. Who would make such a divisive movie?

Oooooooh.

Leading the cast is Andrew Garfield as Desmond Doss himself. He's perfect for the childlike innocence that Doss carries, and switches on the humility when it's time to show his respect for human life. The most inspired casting of 'Hacksaw Ridge', comes with Nathaniel Buzolic. He play's Hal Doss, Desmond's brother, which is fitting because I'm now convinced Buzolic and Garfield are in fact related. The same squinty eyes, bushy eyebrows and extended jaw. This is the most inspired familial casting since Ice Cube hired his son to play himself.

It's uncanny.

Credit to Vince Vaughn as well. He plays the drill sergeant that suffers the inconvenience of a soldier who won't handle a rifle. I give credit because often times for an actor like Vaughn, it can be a distraction to have them play so against type. Initially I expected to see his particular brand of improv, but instead, he sold me on his performance. I took him seriously the entire way through.

‘Hacksaw Ridge’ is a movie for anyone who has felt outcast. It captures the feeling of having to defend your values, and standing by your convictions. Looking left, when everyone is telling you to look right. It’s brutal. Tense. Even frightening at points. It’s best moments are its realism, as it sells you on a story that seems impossible. Though it dips into moments of dramatic fantasy, it doesn’t take away from the whole, satisfying picture. One you should see on the big screen.

Rating: Big Screen Watch

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