Motherless Brooklyn

Motherless Brooklyn (2019)

Starring Edward Norton, Bruce Willis, Gugu Mbatha-Raw, Alec Baldwin, Willem Dafoe, Bobby Cannavale, Cherry Jones, Michael K. Williams, Ethan Suplee, Dallas Roberts, and Leslie Mann

Directed by Edward Norton

Written by Edward Norton

Click here for my Letterboxd review

The RyMickey Rating: C-

Working Girl

Working Girl (1988)

Starring Melanie Griffith, Harrison Ford, Sigourney Weaver, Alec Baldwin, and Joan Cusack

Directed by Mike Nichols

Written by Kevin Wade

Click here for my Letterboxd review

The RyMickey Rating:  C

Mission: Impossible - Fallout

Mission: Impossible - Fallout (2018)

Starring Tom Cruise, Henry Cavill, Ving Rhames, Simon Pegg, Rebecca Ferguson, Sean Harris, Angela Bassett, Michelle Monaghan, Vanessa Kirby, Wes Bentley, and Alec Baldwin

Directed by Christopher McQuarrie

Written by Christopher McQuarrie

Summary (in 500 words or less):  When his team's mission fails, Ethan Hunt (Tom Cruise) and his crew (Ving Rhames and Simon Pegg) are forced to be shadowed by CIA agent August Walker (Henry Cavill) at the behest of CIA director Erica Sloane (Angela Bassett).  At odds, Hunt and Walker attempt to track down missing plutonium before it falls into the hands of a terrorist group known as the "Apostles" who want to create several nuclear weapons and cause massive damage across the globe. 

Click here for my Letterboxd review

The RyMickey Rating:  B+

Movie Review - Rules Don't Apply

Rules Don't Apply (2016)

Starring Alden Ehrenreich, Lily Collins, Warren Beatty, Matthew Broderick, Annette Bening, and a slew of other people in cameo-length roles

Directed by Warren Beatty

***This film is currently available via HBO Now/GO***

Howard Hughes was a bit of an eccentric loon who, thanks to his significant entrepreneurial endeavors, was able to have his hands in a multitude of business ventures ranging from creating aircraft to producing motion pictures.  Rules Don't Apply focuses on the latter aspect as an aging Hughes (played by Warren Beatty who also wrote and directed the film) shifts his romantic focus to a young aspiring actress from Virginia named Marla (Lily Collins) who recently moved to Hollywood at the request of Hughes.  Upon her arrival, Marla begins to fall for her driver Frank (Alden Ehrenreich), a Howard Hughes employee, who himself is engaged to be married but also finds himself enraptured by Marla.  This romantic love triangle starts the film off in an engagingly old school 1960s-esque cinematic fashion, but the film quickly starts to fall apart after it introduces its key players.

Filled with a multitude of well-known actors in cameo-style roles, Rules Don't Apply is well-acted by Lily Collins and Alden Ehrenreich, but their "will they or won't they" romantic story isn't enough of a story to sustain the film's long nearly 150-minute runtime.  Writer/director Warren Beatty seems to recognize this hence the introduction of his Howard Hughes character about thirty minutes into the film, but he fails at making Hughes' storylines captivating.  When Hughes comes into the picture, Rules Don't Apply can't seem to tell who its central character is - Hughes or Marla or Frank - and this leads to oddly edited sequences that create one the most boringly manic all-over-the-place films I've seen in a long time.  A passion project for Beatty who spent a long time getting it to the screen post-production, Rules Don't Apply has some great production values and does feel fittingly 1960s in tone and style, but it ultimately fails in the story and directing department.

The RyMickey Rating:  C-

Movie Review - Concussion

Concussion (2015)

Starring Will Smith, Alec Baldwin, Albert Brooks, Gugu Mbatha-Raw, Mike O'Malley, Eddie Marsan, Hill Harper, Luke Wilson, and David Morse

Directed by Peter Landesman

In better directorial hands, Concussion would've been a great film.  As it stands with second-time director Peter Landesman at the helm, it's simply a good film that can't quite overcome some schlocky sentimental visuals that hamper the important and intriguing true story at its core.

Nigerian-born Dr. Bennet Omalu (Will Smith) is a forensic pathologist for the city of Pittsburgh's coroner's office.  When former Pittsburgh Steelers' football player Mike Webster (David Morse) is found dead in his pick-up truck after a prolonged mental break-down that left him in a disoriented, woeful, and suicidal state, Omalu happens to be the coroner on hand to do the autopsy.  During his work, Omalu discovers that Webster had severe brain damage consistent with repeated blows to the head.  In subsequent years, additional football players follow a similar mental break-down to Webster and Omalu is able to perform the autopsies on these individuals as well, discovering a consistent pattern of brain damage.  Certain of his findings, Omalu decides to write an article in a medical journal, but this sets up a war between the doctor and one of the most profitable organizations on the planet -- the National Football League -- a group that, as Omalu's boss Cyril Wecht (Albert Brooks) says, "owns a day of the week."

Dr. Omalu is a fascinating figure, tremendously smart, well-mannered, and strong, and Will Smith portrays him with much dignity.  While I'm not quite sure he deserved that Oscar nomination that his wife deemed appropriate, Smith is a captivating presence here alongside Gugu Mbatha-Raw who portrays his friend-turned girlfriend-turned wife.  Their scenes together are poignant, albeit a little treacly at times.  That sentimental mushiness comes on too strong accompanied by some generically obvious visual cues from the director that mar the film particularly in its latter half when the tension between Omalu and the higher-ups in the NFL should be at its most enervating.  It's the second half that disappoints the most with the film sometimes shifting to an odd thriller aspect (unknown men following Omalu's wife, threatening phone calls, etc) that simply doesn't fit well with the heavier (and better executed) dramatics of the film's first half.  Still, Concussion works as a film and is worth seeing as it exposes a side of the NFL that they wished to stay hidden for years.

The RyMickey Rating:  B-

Movie Review - Mission: Impossible - Rogue Nation

-- Mission: Impossible Week --
Please note that all Mission: Impossible Week film reviews may contain spoilers related to both the film that is being reviewed and other films in the series.

Mission: Impossible - Rogue Nation (2015)

Starring Tom Cruise, Jeremy Renner, Simon Pegg, Rebecca Ferguson, Ving Rhames, Sean Harris, and Alec Baldwin

Directed by Christopher McQuarrie

As we come to the end of our Mission: Impossible week, I've come to the determination that the Tom Cruise-led series is a solid entry into the American cinematic action pantheon.  Does that mean that the series is full of overly amazing movies?  No, but what is intriguing (and I'm spoiling my rating for this newest installment with this sentence) is that with the exception of the second film (which, as you'll recall I found absolutely abysmal), all of the films in the M:I series rank in the "B" range.  I'm not sure there are many other film franchises that have gone on for so long that manage to maintain that consistent quality throughout.

In Rogue Nation, Ethan Hunt (Cruise) and his IMF team have uncovered a seedy agency known as The Syndicate that attempts to take down world leaders and governments by creating situations that look like accidents yet cause a great amount of havoc.  Just as IMF head William Brandt (Jeremy Renner) attempts to fund Hunt on a mission to take down the group, he is told by CIA director Alan Hunley (Alec Baldwin) that due to the numerous close calls that IMF missions have come under as of late (meaning the numerous close calls of the last two films), the US government has decided to defund the organization.  Not only that, but the CIA is under strict orders to now take down Hunt who refuses to return to the US, hellbent on finding the head of The Syndicate on his own if necessary.

Perhaps most interesting about Rogue Nation is that it's the least action-driven film since the first installment in the M:I series.  That isn't to say that there aren't some BIG moments filled with action, it's just that the film finds itself a little more focused on "talking" and duplicitous manipulation than big budget action sequences.  It's actually a bit of a relief and it works well for the film in an attempt to be a little different than its predecessors.

Part of the reason for the talkiness is due to the villain of the piece -- Solomon Lane (Sean Harris), head of the Syndicate and a Steve Jobs-ish lookalike in his turtleneck and glasses.  Lane is evil, no doubt, but his ability to keep his emotions in check and his temper under control makes him even scarier when he's got a gun to your head because you'll never expect him to shoot...and he will.  Lane is matched by Ilsa Faust (Rebecca Ferguson), an undercover British MI-6 agent who may or may not have disavowed her homeland for Lane.  Surprisingly, the film does a very good job at keeping the audience guessing as to whether Faust is good or evil and this creates a nice amount of tension throughout the film as Lane matches wits with Hunt.

Tom Cruise has been the one through-line in the Mission: Impossible series of films and he's certainly captivating as the big screen action star.  This film perhaps gives him the least amount to do -- not in terms of stunts, but in terms of an emotional arc.  Rather than focus on aspects of his personal life, Rogue Nation places its emphasis squarely on taking down The Syndicate and I must say that I missed seeing Hunt's character grow...because he doesn't do any of that here.  Additionally, while I liked Jeremy Renner's newly introduced character in the last film, he's rather squandered here spending most of the film essentially sitting in a control room.  Seeing as how he is receiving second billing in the film, I expected a bit more from his character and didn't really get it.

Still, Rogue Nation is a solid entry into the M:I franchise -- I'd rate it second of the five.  [Ghost Protocol takes the top spot, M:I III takes third place, the original M:I fourth place, and M:I II an incredibly distant fifth place.]  Overall, the franchise is a winner in my book.  Should they make more, I'd definitely be along for the ride.

The RyMickey Rating:  B

Movie Review - Still Alice

Still Alice (2014)

Starring Julianne Moore, Alec Baldwin, Kate Bosworth, and Kristen Stewart

Directed by Richard Glatzer and Wash Westmoreland

While I wouldn't necessarily call Julianne Moore's performance in Still Alice a tour de force, I must admit that due to her acting choices and the way she reads certain lines, she nearly made me tear up in certain scenes in this film about a fifty-something year-old woman who is diagnosed with early-onset Alzheimer's Disease.  While the film itself is "just fine," Moore does elevate things which is likely a reason she walked away with the Oscar for Best Actress this past year.  (It also certainly helped that the roles for women in films in 2014 were decidedly weak.)

While I could list a summary for you, quite frankly I've already written all you need to know about Still Alice in the opening paragraph.  Thanks to a relatively quick running time, the directing and screenwriting team of Richard Glatzer and Wash Westmoreland place the focus squarely on Alice (Moore), a linguistics professor who can't help but find irony in the fact that her education in language and communication is failing her personally now thanks to the incurable disease that is slowly deteriorating her mind.  With her three adult children and husband (Alec Baldwin) by her side, Alice must come to terms with the fact that her life will unfortunately never be the same.

While Moore is in every scene in the film, the moments that ring the most true for me were the ones in which she is discussing her disease with her family.  Baldwin as her husband and Kristen Stewart and Kate Bosworth as her daughters help to humanize things even more by reacting in a variety of believable ways to their wife/mother's diagnosis.  Without them to play off of, Moore wouldn't have shined nearly as bright as she does.

Still Alice certainly works as a movie and it doesn't particularly do anything wrong in any aspect, but don't go into this one expecting to be blown away because that won't happen.  This is a good film that I admittedly don't think can be any better than it is -- but it's simply good, not great.

The RyMickey Rating:  B

Movie Review - Aloha

Aloha (2015)

Starring Bradley Cooper, Emma Stone, Rachel McAdams, Bill Murray, John Krasinski, Jaeden Lieberher, Danielle Rose Russell, Danny McBride, and Alec Baldwin

Directed by Cameron Crowe

There are moments of clever wordplay in director-screenwriter Cameron Crowe's Aloha that pinpoint that this lauded filmmaker (by others, not myself) has an ear for dialog that evokes a sense of spontaneity and naturalness while still feeling somewhat elegant and eloquent.  However, these small moments aren't enough to make a film work or carry a story and Aloha is a near disaster in the story department.  An hour into the film I found myself pondering what in the hell is the main storyline here?  The flick was a jumbled mess until that point and, quite frankly, doesn't get much better in its second half.

In the end, I think Aloha is trying to tell the tale of a beginning and an ending (how clever in that "aloha" can mean "hello" or "goodbye") when it comes to relationships for its main character Brian Gilcrest (Bradley Cooper), a hired defense worker who is employed by the filthy rich Carson Welch (Bill Murray) to do computer work (I think?) on Welch's new space communications satellite launching off the coast of Hawaii in the near future.  Hawaii used to be Brian's home and while living there, he was in a serious relationship with Tracy (Rachel McAdams) who is now married to Air Force pilot Woody (John Krasinki) with whom she has two kids.  Brian's return to the 49th State creates a bit of havoc in Tracy and Woody's relationship with long buried feelings resurfacing between the former couple.  Also thrown into the mix:  pilot Allison Ng (Emma Stone) who is tasked with escorting Brian around the island and begins to fall for him;  Tracy and Woody's son Mitchell (Jaeden Lieberher) believes that Brian's arrival signifies the beginning of some Hawaiian lore that will cause volcanic eruptions and new islands to form; and, just for kicks, Tracy and Woody's daughter Grace (Danielle Rose Russell) may or may not be Brian's biological daughter.

While another film may be able to balance all these storylines, Aloha is unable and proves to be a painful experiment to watch.  As mentioned, sixty minutes in, I had no clue what was supposed to be the "big" storyline here.  I figured it would be the love triangle between Brian, Rachel, and Allison, and while that proves ultimately to be true, this segment is so poorly laid out and structured in the film's opening hour that it's impossible to feel any connection to these characters or have any desire to see this plot point reach its conclusion.  Instead of honing in on this three-cornered relationship, much of the film's beginning is focused on Brian attempting to convince native Hawaiians to allow Carson Welch to build a bridge through their land along with a huge emphasis on "mystical" and "mysterious" ancient Hawaiian folklore.  And the kicker -- neither of these two concepts make much of an appearance in the film's second half.  Throw in some incredibly weird, purportedly comedic moments that just stick out like a sore thumb (or an extra toe which literally makes an appearance here) and Mr. Crowe's script just proves to be laughably bad.

Given the mediocrity of the script, the typically solid cast isn't given a lot to work with and they find themselves floundering for motivation.  McAdams and Krasinski fare the best, but their characters are supposed to be incredibly unhappy with one another and this never comes across despite the actors' best efforts.  The typically charming Cooper is all over the place in a role that never determines whether it's supposed to be comedic or dramatic or a mix of both.  The equally typically charming Stone is like a cartoon character, never once feeling real or based in reality.  Aloha is a huge miss and one that I couldn't wait to say "good-bye" to nearly as soon as I had said "hello."

The RyMickey Rating:  D

Movie Review - Blue Jasmine

Blue Jasmine (2013)

Starring Cate Blanchett, Alec Baldwin, Sally Hawkins, Andrew Dice Clay, Bobby Canavale, Michael Stuhlbarg, Louis C.K., Tammy Blanchard, and Peter Sarsgaard

Directed by Woody Allen

Yesterday on the blog, I wrote a review of the cinematic version of A Streetcar Named Desire and I didn't speak too kindly of it.  The overly dramatic nature of the story and the acting didn't sit well with me in the 21st century.  Fortunately, Woody Allen must've agreed with me (at least I like to think that) as his latest film Blue Jasmine is a definite homage to that Tennessee Williams (screen)play.  Mr. Allen is definitely hit or miss with me, but I found his 2013 entry to his canon of work a definite success with a fantastic performance from Cate Blanchett who proves that a character similar to Streetcar's Blanche Dubois can work onscreen.

Blanchett is Jasmine, a woman who lived for over a decade in New York City with her incredibly rich Bernie Madoff-esque husband Hal (perfectly embodied by Alec Baldwin).  Never wanting for anything, Jasmine had everything she could have ever needed and hung out with anyone she could have ever desired.  However, when we first meet her, Jasmine is heading to California to move in with her sister Ginger (Sally Hawkins) thanks to her husband losing all of his fortune and Jasmine losing all the superficial things she held so close for so many years.  Not quite grasping the fact that she's penniless, Jasmine finds herself constantly reminiscing about the past, failing to face her unfortunate current situation.  She left behind her old life (and her birth name of "Jeanette") in order to find what she believed was happiness with Hal, but now that the fairybook life has been shattered, she's unable to face reality.

Blue Jasmine isn't a scene-for-scene re-creation of A Streetcar Named Desire nor are characters carbon copies.  However, the essence of Williams' work is all around Blue Jasmine, but made more believable and relatable...at least to this reviewer.  Perhaps the greatest advance Woody Allen makes is with the character of Jasmine.  In Streetcar, I never felt the crazed Blanche Dubois was a well-rounded character.  (Yes, I realize many think Blanche is one of the best written females in modern playwrighting, but I'm odd.)  I never understood what made her cuckoo and what kept her constantly on edge and scattered.  In Blue Jasmine, I completely comprehended what Allen and Cate Blanchett brought to the screen for Jasmine. By granting the viewers access to Jamsine's life pre-downfall (via Allen's rather engaging way of bouncing back and forth between Jasmine's past and present), there's an understanding as to why Jasmine talks to herself or rambles incessantly.

Blanchett is a powerhouse here.  It's early in the season and I'm well aware I haven't seen many movies this year at this point, but she should absolutely be remembered come awards season.  This is her film and she magnetically carries it from the opening scene.  I found myself almost entranced at certain moments by the way a simple change in the timbre of her voice can carry so much meaning and emotional emphasis for her character or the way a seemingly nonchalant motion of her hand can relay the pain her character feels.  Vivien Leigh did a lot with her hands in Streetcar, but in that film it really felt like someone "acting" as opposed to feeling intrinsically necessary like when Blanchett does the same movements.

The film falters a bit when it places its focus on Jasmine's sister Ginger and a relationship she forms with a stereo salesman (Louis C.K.) she meets at a party.  It's not that Sally Hawkins or Louis C.K. fail to deliver in anyway, but their characters' story fails to materialize into something substantial enough to warrant its presence.  In addition, Michael Stuhlbarg is given a rather hilarious role to sink his teeth into as a dentist who falls hard for Jasmine, but his character is the one person in Allen's screenplay that didn't feel based in reality to me.

Still, Woody Allen definitely has it in him after all these years to craft good work.  Granted, last year's To Rome with Love was a complete bust and I didn't fawn over Midnight in Paris nearly as much as everyone else, but as I've "grown up" I've come to look forward to whatever he brings to the summer moviegoing season.  It may be time to look at his earlier work with which I'm not entirely familiar.

The RyMickey Rating:  B+

Movie Review - To Rome with Love

To Rome with Love (2012)

Starring Woody Allen, Alec Baldwin, Roberto Begnini, Penélope Cruz, Judy Davis, Jesse Eisenberg, Greta Gerwig, Allison Pill, and Ellen Page

Directed by Woody Allen

There's part of me that's happy that Woody Allen somehow manages to still make a film a year.  [Trivia tidbit:  1981 is the last year he hasn't had a film released...that's a shocking feat.]  Even if his previous one was a clunker, producers still shell out the money for the 77-year-old auteur to write and direct.  Coming fresh off the heels of his biggest financial success in decades Midnight in Paris (a film which I didn't fawn over nearly as much as everyone else), Allen sticks with the European travelogue motif he's explored as of late jetting off to Italy in To Rome with Love.  Admittedly, I was a bit surprised that this venture is comprised of four completely separate shorter films that Allen edits by intercutting them scene by scene.  I initially thought the storylines would come together, but they don't.  Instead, it's four incredibly simple plots that happen to take place in Rome, but never once glorify it or paint the city in the same adoring light in which Allen viewed Paris in his last film.  And, rather unfortunately, none of the stories prove to be engaging enough to make you want Allen to head back to them as soon as he switches to another tale.

The film opens with Hayley (Allison Pill), an American visiting Rome alone, soon after graduating college.  When she gets lost one day, she asks an Italian hunk named Michelangelo (Flavio Parenti) for directions and the two immediately hit it off, finding themselves engaged after a very short time.  Hayley's parents Jerry and Phyllis (Woody Allen and Judy Davis) make the trek over to Italy to meet Michaelangelo and his folks.  Jerry was a former music executive and happens to hear Michelangelo's father Giancarlo (Italian opera singer Fabio Armilato) singing in the shower causing the American to concoct a crazy idea to make this singing funeral home owner into an overnight operatic sensation.

We then meet Leopoldo (Roberto Begnini) in his ho-hum, boring desk job.  He's got a wife and kids whom he loves, but he lives a life of very little excitement until one day out of the blue, Leopoldo begins to be followed around by paparazzi.  They track his every move and he becomes an instant celebrity throughout Italy.

There's also a newly married Italian couple Antonio and Milly (Alessandro Tiberi and Alessandra Mastronardi) traveling to the big city so the husband can try his hand at filmmaking with his inside-the-industry relatives.  However, when Milly leaves their hotel room to get her hair done, the voluptuous Anna (Penelope Cruz) arrives -- a prostitute who has been sent to Antonio's room by accident. When Antonio's relatives (who had never met his new one) barge into the room while Anna is beginning to work her magic on Antonio, the young Italian is forced to pretend that Anna is his wife, much to his chagrin.

Finally, there's another love story, this one involving Americans Jack and Sally (Jesse Eisenberg and Greta Gerwig) who are living in Rome while Sally attends college.  When Sally's friend Monica (Ellen Page) comes to visit from the States, Jack begins to fall for her despite his best efforts.  The supposedly funny bit here is that Jack seemingly has a sometimes-visible self conscious in the room with him in the form of Alec Baldwin who tries to steer Jack in the right and moral direction.

On their own, the individual films may have been cute for about ten minutes a piece, but each is unfortunately drawn out to seemingly interminable lengths.  While the film only runs two hours, all of the stories felt like they could have wrapped up much quicker and the movie would've worked a lot better with much trimming.  It isn't exactly helpful that the acting is simply okay with much of the talent (Eisenberg, Baldwin, Allen, Begnini, Page) simply playing characters we've seen them play before...in better movies.

So, despite the fact that Woody Allen continues to get the dough to make his films, maybe that money could be better spent elsewhere so Allen could take a little bit of a breather to better organize his thoughts.

The RyMickey Rating:  D+

Movie Review - Rock of Ages

Rock of Ages (2012)

Starring Julianne Hough, Diego Boneta, Russell Brand, Paul Giamatti, Catherine Zeta-Jones, Malin Akerman, Mary J. Blige, Bryan Cranston, Alec Baldwin, and Tom Cruise

Directed by Adam Shankman

Movies don't get much worse than Rock of Ages, one of the most dreadful films I've seen in a long time.     There's a line in Journey's "Don't Stop Believin'" which is sung two or three times in this musical that says "the movie never ends / it goes on and on and on and on," and, boy, does this movie seem an interminable mess.  I'm legitimately not sure why I watched the whole thing except to say that I knew within the first ten minutes that this was going to be the worst movie of 2012 and I needed to at least be able to have seen the movie that warranted that ignominious prize.

Somehow or another, this melange of horrible '80s rock music has been running on Broadway since 2009 and it's still going strong.  With a paper thin plot involving "small town girl" Sherrie (Julianne Hough) who moves to L.A. to make it in the music industry only to find that life is more difficult than she could have imagined, Rock of Ages throws in a bunch of perfunctory characters to try and round out the tale.  Of course, Sherrie falls in love almost immediately upon arrival with Drew (Diego Boneta), an aspiring rock star who works at the iconic rock venue The Bourbon Room run by Lonny (Russell Brand) and Dennis (Alec Baldwin) whose "witty" repartee proves groan-inducing.  The Bourbon Room is unfortunately a bit behind in paying their taxes and Dennis formulates a deal for aging rock star and nonsensical alcoholic druggie Stacie Jaxx (Tom Cruise) to play a solo performance at the establishment, much to the chagrin of the new L.A. mayor (Bryan Cranston) and his bitchy wife Patricia (Catherine Zeta-Jones), the latter of whom is on a mission to "sanitize" the city by ridding it of its bars and strip clubs.

But since bars, strip clubs, alcohol, and rock and roll are totally tubular (there's an '80s term that thankfully faded), screw the government and rock on!  At least, that's what we're supposed to feel.  Instead, I just longed for this movie to come to a close.  Filled with some of the worst performances of the year (Mary J. Blige should never get another acting job after this), there's nothing even remotely positive to latch onto.  I thought maybe Tom Cruise who is certainly taking on a different role in Stacie Jaxx than we've seen from him before might at least provide some amusement in hamming it up for the screen, but instead I just felt bad for him to be involved in this dreck.  The two leads in Julianne Hough and Diego Boneta actually come out of this the most unscathed simply because their characters were the most "normal," and despite looking all doe-eyed and innocent for much of the film, neither were given embarrassing moments to undertake like the rest of their fellow cast members.

Director Adam Shankman who did a rather brilliant job with the amusing and cheerful Hairspray several years ago should've known better.  The film jolts back and forth between its various characters too much and the musical numbers are filmed rather blandly, lacking any imagination or creativity.  I don't think you could pay me enough money to watch Rock of Ages again.  Painful...just painful...

The RyMickey Rating:  F

Movie Review - Rise of the Guardians

Rise of the Guardians (2012)

***viewed in 3D***

Featuring the voice talents of Chris Pine, Alec Baldwin, Hugh Jackman, Isla Fisher, and Jude Law

Directed by Peter Ramsey

There is certainly the potential for a great movie in Rise of the Guardians, but in the end something doesn't quite come together completely resulting in a surprisingly cold and icy film (no pun intended to the main character Jack Frost).  Despite some lovely animation and a villain whom I relished for his constantly sneering menace, the film's story just didn't work concluding with a disappointing climax that proves to be a bit of a letdown.

First off, it must be mentioned that this is not a Christmas movie.  Yes, Santa is in it (although the not-quite-so-jolly guy is known as "North"), but it's not his story and it's not Noel-centric at all.  In fact, the tale takes place three days before Easter and while we see North in his residence, this isn't a film about him or the December holiday.  I say that not as a criticism at all, but simply as a way of countering the expectations that you would likely have had going into this.  I will admit that it threw me a bit off balance at first.

Trouble is afoot for the Guardians, an Avengers-like group of childhood bigwigs -- Santa Claus (Alec Baldwin), the Easter Bunny (Hugh Jackman), the Tooth Fairy (Isla Fisher), and the Sandman (a lovely Chaplin-esque voiceless character) -- who discover that the evil Pitch (AKA The Boogeyman voiced by Jude Law) is stealing the lovely dreams Sandman places into the minds of children and replacing them with nightmares.  Unable to defeat Pitch on their own, The Man in the Moon (who is essentially a faceless and voiceless omnipotent God) sends Jack Frost the guardians' way, hoping that he can help take down Pitch.  Jack (voiced by Chris Pine) doesn't necessarily want to join the exclusive club.  Unlike his Guardian counterparts, he's rather youthful and gets his kicks from making it snow which he realizes isn't exactly as exciting to a kid as Santa or the Easter Bunny.  However, before he can even walk away from the group, Jack and his fellow Guardians are forced to chase after Pitch who, having already stepped in on the Sandman's turf, has now ransacked the lair of the Tooth Fairy.  As children across the world begin to stop believing in the Guardians, their special powers start to weaken and they must join forces to defeat Pitch.

[Fairly obvious spoiler ahead if you've watched any kid movie ever...]

There's a great premise here based off of William Joyce's series of books, but while the film starts off plenty fine, it doesn't come to any form of satisfying conclusion.  There are some great moments when Pitch faces off against the Guardians during the middle of the film -- moments that were truly exciting and tense -- but the film ends with such a thud that it nearly negates all the build-up.  Ultimately, I simply couldn't buy in to the corny and hokey way Pitch is defeated in the end.  The notion that childhood fantasies and dreams could in some way save the day rang false and provided an incredibly disappointing finale.  Add to that an incredibly corny "find your center" chakra-esque mission for Jack Frost to "discover who he really is" and hokeyness was the name of the game.

[End Spoilers.]

Design-wise, the film looks great with an admittedly different look than we've come to expect from computer-animated films.  The lines are a little more sharp and the characters are a bit more anime-esque than we're used to seeing which is a positive (and this is coming from someone who cares not a bit for the anime style of animation).  Also, the film has a great villain in Pitch, voiced to perfection by Jude Law.  While it would have been nice to see a bit more malevolence from the character, he is far and away the best part of the movie...it's just a shame that his evil power grows a bit repetitive as the film progresses.

But, Rise of the Guardians just doesn't come together in the end, not quite managing to make the most of the most popular figures in childhood lore.

The RyMickey Rating:  C+

Movie Review - The Edge

The Edge (1997)

Starring Anthony Hopkins, Alec Baldwin, Harold Perrineau, Elle MacPherson, and Bart the Bear

Directed by Lee Tamahori

***This film is currently streaming on Netflix***

Nowadays, it seems like Anthony Hopkins will do anything for a paycheck (a la DeNiro), but he usually still manages to elevate some of those projects probably simply because a British accent will make anything seem more highbrow than it usually is.  When The Edge was made back in 1997, Hopkins hadn't quite started down that path, however, but this could very well be considered his first venture into the action film genre.  

Unlike typical action films, though (and this is probably due to the script by well-known playwright and newly-turned-Republican David Mamet), this film gains its suspense from the age-old concept of Man vs. Nature.  When Hopkins' rich billionaire mogul Charles Morse gets stranded in the Alaskan wilderness with photographer Robert Green (Alec Baldwin) and his co-worker Stephen (Harold Perrineau of Lost fame), it turns into a "Survival of the Fittest" type showdown, with the three men needing to fight off both the mindgames they throw at one another and the physicality of the huge bear (played by Bart the Bear who gets first billing in the credits) that is hunting them down.

Surprisingly, for a film written by the well-known wordsmith Mamet, it's the action sequences between the men and the bear that work the best.  Director Lee Tamahori creates some true genuine suspense between the men and their beastly attacker.  It's when the men try to one up each other with their words where things begin to get a little bland.  Tamahori and Mamet can't quite find an adequate balance between these two worlds and it causes the film to limp along to its drawn-out conclusion.

That said, the film looks lovely and Hopkins and Baldwin are both quite good, but part of me wanted their back-and-forth repartee to be more biting than it was ever given the chance to be.  The Edge is a decent film, but one that doesn't pack the punch its promising premise could have allowed it to have.

The RyMickey Rating:  C+

Movie Review - It's Complicated (2009)

It's Complicated (2009)

Starring Meryl Streep, Alec Baldwin, Steve Martin, and John Krasinski

Directed by Nancy Meyers

I'm going to quote my Adventureland review here for a moment (and let me tell you, that's something that I never thought I'd ever do):

Any movie where all the characters pretty much sit around and smoke pot all day never really does a thing for me. Life's so bad, let's smoke pot. Life's so boring, let's smoke pot. Let's smoke pot and giggle a lot.

Now, It's Complicated certainly isn't all about smoking pot, but there's an extended twenty-minute scene where Streep, Martin, and Baldwin's characters smoke some weed and act all kooky.  Let me just say that the "smoking pot to humorous effect" is a tired movie staple that isn't funny and always comes off incredibly forced to me.  If I never see this "scene" in any film again it'll be too soon.

That being said, the pot isn't really what It's Complicated focuses on in the slightest.  Instead, we get Jane (Streep) and Jake (Baldwin) as a divorced couple with three grown kids.  Jake has remarried a much younger woman, while Jane hasn't slept with anyone since their divorce (which leads to talks with her girlfriends about her vagina closing up which was as incredibly unappealing as it sounds).  At their son's college graduation in NYC, Jane and Jake sleep together.  And that's when things get complicated (aah...there's the title connection).  For, you see, Jane is actually enjoying being with Jake despite the fact that she has now turned into the mistress.  Jake's changed a bit...and they've both grown and matured.  But Jane remembers the past and perhaps sees a nice future with Adam (Martin), the nice divorced architect guy who's working on renovating her house.  What's Jane to do?

Honestly, the only problem with this movie lies in the story.  It doesn't feel like there's anything new being presented here and, in the end, it's really just not all that funny.  There were a couple times when I laughed out loud, but it felt like Jane's internal struggle went on for far too long.  Writer-director Nancy Meyers just can't seem to wrap things up quick enough and feels the need to drag things out.  I will say, though, that with the exception of the pot smoking scene, Jane, Jake, and Adam all felt like very real people.  They weren't caricatures or presented in over-the-top manners, so I will give credit to Meyers there.

But credit also must go to Meryl Streep, Steve Martin (who makes the most of his character who is essentially a boring old lump with zero personality), and Alec Baldwin.  Baldwin is really the one who comes off the best.  His Jake begins as a older ladies' man, but soon morphs into a guy who you genuinely are rooting for to win back his former wife.  He plays Jake with just a little bit of his trademark "30 Rock" Jack Donaghy mannerisms, but knows when to back off of them and play the nice guy.

And I've said it before, but Meryl Streep is...well, she's MERYL STREEP for a reason.  She's so goshdarn good in everything.  I try and try to dislike the woman, but when she's onscreen, she's really great.  Even in these throwaway roles (and this is certainly a throwaway "I need to make money" kind of role), she puts such soul into her characters that you can't help but admire what she does.

The RyMickey Rating:  C