Fractured

Fractured (2019)

Starring Sam Worthington, Lily Rabe, Stephen Tobolowsky, Adjoa Andoh, and Lucy Capri

Directed by Brad Anderson

Written by Alan B. McElroy

Click here for my Letterboxd review

The RyMickey Rating: C

Movie Review - Hacksaw Ridge

Hacksaw Ridge (2016)

Starring Andrew Garfield, Vince Vaughn, Sam Worthington, Luke Bracey, Hugo Weaving, Rachel Griffiths, and Teresa Palmer

Directed by Mel Gibson

Hacksaw Ridge is an engaging film of two disparate tones that surprisingly and seamlessly meld together under the direction of Mel Gibson.  Certainly a difficult sit for its last hour which gives the audience one of the most realistically violent portrayals of war I've ever seen captured on film, I never found myself bored or uninterested in the true story of conscientious WWII objector and soldier Desmond Doss even during the film's first ninety minutes which plays like a 1940s style Hollywood wartime romance.  However, while Gibson succeeds at blending two distinct genres (and infusing some amusing humor), his film sometimes plays a bit too hokey due to some of his directorial flourishes and some of his cast's one-note "podunk country" characterizations.

Andrew Garfield portrays Doss who grew up in Lynchburg, Virigina, during the Great Depression.  A near tragic childhood incident in which Desmond could've killed his brother instills a deeply religious belief system into his young mind, with Desmond carrying the missives of the Ten Commandments with him throughout this life.  When WWII begins, Desmond feels that he must enlist to serve his country despite the urgings of his parents (Hugo Weaving and Rachel Griffiths) and his girlfriend Dorothy (Teresa Palmer) to remain in Virginia and do his part on his home soil.  Filled with patriotic pride, Desmond heads off to basic training to be a combat medic where he immediately finds resentment amongst his fellow soldiers for his refusal to carry a weapon, taking on the role of a passive conscientious objector as he abides by the commandment that he "shalt not kill."  Many attempts are made to relieve him of his duties, but Desmond perseveres and is allowed to head over to Japan with his regiment (after a quick wedding to Dorothy, that is).  It's there where the American troops engage in an epic battle to take over Hacksaw Ridge from the Japanese -- a brutal melee during which Desmond proves his worth and his unimaginable bravery without ever picking up a weapon.

Desmond Doss's story on the battlefield is an amazing one -- one that deserved to be brought to the screen.  His tale is treated with reverence by Gibson (and the screenwriters) and it's certainly an odd thing to see religion and faith be treated with respect in a mainstream big budget movie.  For that, I commend Gibson, but I also feel that there were moments when visually the director decides to paint a too blatantly Jesus-esque depiction of Doss.  Slow motion edits and obvious cinematographic overtones hammer home the comparison a bit too bluntly (and actually caused me to laugh at one point in time -- something that was certainly not the intention).  In a similar fashion, during the film's first half, much of cast is forced to portray one-note characters, particularly that of Desmond's father Tom played by Hugo Weaving.  Weaving is the quintessential country bumpkin -- an alcoholic, abusive, slow-talker who is eventually won over by his son's backbone -- and he's playing a joke of a role that feels as if it could've been culled from a Duck Dynasty episode or a human version of The Country Bear Jamboree.  Quite frankly, it's a bit embarrassing, as is the typical array of characters Desmond meets in his army regiment from the tough-as-nails Smitty (Luke Bracey) who refuses to accept Desmond until a pivotal moment changes his worldview to a comedic Sergeant Howell (Vince Vaughn) who puts Desmond through a tough struggle to stay in the army.  Granted, Desmond's army buddies fare better than his father, but the script does these side characters no favors.

Andrew Garfield and Teresa Palmer come across much better and their love story is peppered with several meet-cutes and blinky-eyed 1940s flirting, but it works in the environment set up by Gibson.  Admittedly, this romance stands in huge contrast to the incredibly violent though brutally realistic war scenes in the film's second half, but Gibson manages to stage both disparate segments with confidence, allowing Desmond's religious faith to remain a strong focus amidst the chaotic freneticism of the violent Hacksaw Ridge battle.

In the end, Hacksaw Ridge is a successful film and portrays a story that will instill a great deal of pride in Americans who give the film a watch (even those inherently anti-war and anti-violence).  Gibson really does do an excellent job in showcasing and merging the brutality of war with the gentle strength of faith and character in Desmond Doss.  I just wish the screenplay could've allowed for a more well-rounded portrayal of the cast outside of the film's central romantic relationship.  It's good to see Mel Gibson back behind the lens again and even if he adds in a few too many flourishes, he proves he's an adept auteur.

The RyMickey Rating:  B

Movie Review - The Keeping Room

The Keeping Room (2015)

Starring Brit Marling, Hailee Steinfeld, Muna Otaru, Kyle Soller, and Sam Worthington

Directed by Daniel Barber

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

As the Civil War is nearing its end, three women -- two sisters Augusta and Louise (Brit Maling and Hailee Steinfeld) and their slave Mad (Muna Otaru) -- find themselves surviving, but struggling to keep their small family estate alive and well after they receive word that their father has been killed in the war.  Things take a turn for the worse when two Union soldiers (Sam Worthington and Kyle Soller) break away from their regiment and head out on a vigilante rampage, running rampant across the countryside killing, raping, and looting.  When the soldiers attempt to ransack Augusta and Louise's property, the three women won't back down, doing all they can to stop the two men from succeeding in their vicious aspirations.

The Keeping Room opens with a heartbreakingly, grippingly violent opening scene that sets the tone for what is to come and while director Daniel Barber and debut screenwriter Julia Hart's film can't quite live up to the power that occurs during those initial moments, there's an interesting premise here even if it isn't always executed to its fullest potential.  Ultimately, The Keeping Room is a little too filled with silences and three ladies staring off into the countryside to really maintain its momentum, but at its crux this tells a story from a unique perspective that isn't often seen.

It's a bit unfortunate, as well, that its trio of ladies is a little uneven in terms of fully embodying the grit and determination needed for their characters.  Most successful is Muna Otaru in her first starring film role, but part of her ability to shine lies in some nice monologues concerning slavery that aren't particularly afforded the other women.  Least successful is Hailee Steinfeld whom I often like, but here she never quite grasps the Southern drawl (a little surprising seeing as how she was great in True Grit) and her Louise is the least fleshed out of all the characters.  Similarly, Brit Marling seems to waver in her accent as well, but Marling always has me wavering myself as to whether I like her or find her disappointing as an actress.  There's something natural about her that I appreciate, but sometimes when she's asked to really emote, I'm left feeling empty -- that doesn't just apply for this movie, but for many I've seen her in.  Somehow, though, Marling is captivating as the lead so she continues to befuddle me a bit.

With a little more experience behind the camera (this is only director Barber's second film) and on the screenplay, The Keeping Room had the potential of being something truly special.  While it unfortunately doesn't quite excel, it still works as a film, giving us a believable story from a perspective that feels original.

The RyMickey Rating:  B-

Movie Review - Everest

Everest (2015)

***viewed in 3D***

Starring Jason Clarke, Jake Gyllenhaal, Josh Brolin, John Hawkes, Sam Worthington, Robin Wright, Michael Kelly, Elizabeth Debicki, Naoko Mori, Emily Watson, and Keira Knightley

Directed by Baltasar Kormákur

To me, there's an insanity that comes with wanting to climb a nearly unclimbable mountain like Mt. Everest.  Shelling out $64,000 to join the Adventure Consultants team headed by Rob Hall (Jason Clarke) seems like a crazy notion to me, but mailman Doug Hansen (John Hawkes), doctor and father Beck Weathers (Josh Brolin), writer Jon Krakauer (Michael Kelly), and forty-eight year-old avid climber Yasuko Namba (Naoko Mori) are just a few of the people who decided to do such a thing in March 1996.  Everest tells their tragic true story.

While there are certainly moments of sentimentality -- most stemming from the aforementioned climbers' phone calls home to their loved ones (Keira Knightley, Robin Wright) or base camp manager Helen (Emily Watson) -- Everest doesn't harp on them.  In a film that so easily could've created emotional connections between the climbers, Everest is really about Man vs. Nature.  When someone falls off a cliff edge, it's certainly a painful moment and it's greeted with sadness and grief by other climbers, but it's also the nature of the beast.  Don't mistake my writing and think that the film is callous to those who truly lost their lives -- it's not in the slightest.  It's simply that the film is like a docudrama, detailing the incidents with a bluntness we're not necessarily used to seeing in films -- and it works.

The film admittedly takes its time to get going, but director Baltasar Kormákur succeeds in making the build-up to the climb nearly as compelling as the climb itself.  Thanks to the adept screenplay, we learn little tidbits of info about each of our climbers without ever being burdened with big backstories (with the exception of perhaps Rob Hall who leads the expedition and is the main character in the ensemble).  Once we get onto the mountain itself, Kormákur creates an intense atmosphere where that aforementioned bluntness keeps us on a constant edge because we're never really given a warning or a build-up to when bad things are going to happen.

With special effects that are near flawless -- I genuinely felt like I was on Everest making the climb with the group -- Everest is certainly a success.  However, the lack of emotion -- the same thing I praised the film for earlier -- does end up being a slight downfall in the end.  It's the docudrama aspect of the whole affair that doesn't fully allow us in the audience to "feel" for the characters.  Only in the end when the requisite character codas flash up on the screen with "real life" photos of those who lost their lives on the mountain did I actually "feel" something.  The coda is there obviously to remind us that what we witnessed was true and there's no doubt in my mind that ending the film on this note is necessary to pay the proper respect to those who passed away.  However, the end also oddly makes us wish that the film itself inherently created the emotions that are aroused within us when we see the real-life photos.  It doesn't do that and because of that it's a bit too jarring of a conclusion.

The RyMickey Rating:  B

Movie Review - Cake

Cake (2014)

Starring Jennifer Aniston, Adriana Barraza, Anna Kendrick, Sam Worthington, Mamie Gummer, Felicity Huffman, William H. Macy, and Chris Messina

Directed by Daniel Barnz

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

A little more darkly comic than I was expecting, Cake gives Jennifer Aniston a nice vehicle to showcase her dramatic chops (with tinges of humor), but surprisingly doesn't give her that "Oscar" moment for her to really make a huge impact.  Granted, that's not necessarily a bad thing -- the simplicity of the movie doesn't really call for that "Oscar Scene" to happen.  Still, the flick really fails on creating an emotional arc, with things feeling decidedly and disappointingly one-note.

Aniston is Claire Bennett, a woman in chronic pain struggling to cope with an horrific event from her past that fails to let her create a livable present.  With her life in shambles -- her husband (Chris Messina) has left her, a friend (Anna Kendrick) from her chronic pain support group has committed suicide, her anger causing issues with her group's leader (Felicity Huffman) and physical therapist (Mamie Gummer) -- the only person giving Claire any modicum of support is her housemaid Silvana (Adriana Barraza) who wishes nothing but the best for her employer, but is increasingly frustrated by Claire's reliance on pain medication to make it through day-to-day routines.

The best part of Cake is this relationship between Claire and Silvana, with both Aniston and Barraza playing off each other quite well creating moments of both humor and heartache.  The film falters when it branches out to some of the other aforementioned characters mainly because none of them are really given adequate time to create an emotional impact.  Ultimately, that's the underlying problem with Cake -- too many superfluous side stories when the best part of the screenplay focuses Claire's grief and how she and her only friend -- her maid -- deal with her issues.

You could certainly do worse than watch Cake and Aniston and Barraza are absolutely the reasons to give it a go.  Unfortunately, the screenplay doesn't quite give these two characters the adequate justice they deserve.

The RyMickey Rating:  C

Movie Review - Sabotage

Sabotage (2014)

Starring Arnold Schwarzenegger, Sam Worthington, Joe Manganiello, Josh Holloway, Terrence Howard, Olivia Williams, and Mireille Enos

Directed by David Ayer

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

I don't know why Sabotage looked compelling when I saw the trailer over a year ago, but for some reason, I had in my mind that this was an Arnold Schwarzenegger movie that I wanted to see.  I'm shaking my head now because this was certainly a waste of time with The Governator playing a DEA agent who heads a team of stereotypical characters as they attempt to take down a Mexican drug lord only to have the DEA team being killed one by one in an act of revenge.

David Ayer who solidly directed End of Watch and Fury fails miserably here, but with Schwarzenegger's poor acting (and really the poor acting of everyone across the board) failing to garner any sympathy for his character who is seeking revenge for the deaths of his wife and son at the hands of drug dealers, Ayer's task was unenviable.  Then again, Ayer also co-wrote the piece and the flick certainly disappoints heavily in that department, too -- particularly the film's final twenty minutes which ends with two ludicrously shot set pieces that laughably bring things to a conclusion.

The RyMickey Rating:  D-

Movie Review - Man on a Ledge

Man on a Ledge (2012)

Starring Sam Worthington, Elizabeth Banks, Jamie Bell, Genesis Rodriguez, Edward Burns, Anthony Mackie, Kyra Sedgwick, and Ed Harris

Directed by Asger Leth

The cast of solid, but (let's face it) second-tier movie stars should've clued me in that Man on a Ledge wasn't exactly a high-caliber, but I was willing to give the thing a shot.  Unfortunately, the ludicrous plot and horribly written dialog ends up being a painful affair to suffer through.  The actors try, but are given an impossible task at which they simply can't succeed.

The film's title gives away a substantial amount of the plot, but why Nick Cassidy (Sam Worthington) is out on that ledge is the question that seems to take forever to answer.  We learn from a flashback that Nick, a former cop, was in jail for stealing a pristine and large diamond from stereotypical nasty rich guy David Englander (Ed Harris) -- a crime which he denies he committed.  When his father dies, Nick is able to obtain a day leave from prison to attend the funeral.  While there, he manages to escape only to find himself months (years? maybe days?) later on the ledge of a hotel building threatening to jump.  There's a well-thought out reason Nick's there involving some insanely convoluted plan involving his brother (Jamie Bell) and his sassy Latina girlfriend (Genesis Rodriguez) to prove his innocence, but the attempt to clear his name is so ridiculously ludicrous that it's utterly laughable.

It shouldn't have been surprising when I looked at director Asger Leth's imdb page that Man on a Ledge is his first feature film.  There's simply not a grasp at how to handle the action on display and he certainly fails at achieving any emotional attachment to the characters.  Then again, Leth really isn't the film's biggest problem which is an awful script from Pablo F. Fenjves who also happens to be having his first foray into feature films with this piece of junk.  One needs only to look at the extraneous sidekick cop character of Edward Burns or the completely unnecessary tv news reporter played by Kyra Sedgwick to know that both Leth and Fenjves were failures at learning how to edit themselves -- just two of the many things in this movie that could have and should have been left on the cutting room floor.

The RyMickey Rating:  D

Movie Review - Texas Killing Fields

Texas Killing Fields (2011)

Starring Sam Worthington, Jeffrey Dean Morgan, Chloe Grace Moretz, and Jessica Chastain

Directed by Ami Canaan Mann

Admittedly, I only watched Texas Killing Fields because 2011 was the year of Jessica Chastain and I figured I'd give as many movies of hers a shot that I could.  Good Lord...not only was this the worst of the five Chastain movies I've seen thus far, but this is one of the worst movies released last year period.  Weaving a tale about a series of unsolved murders in Texas City, Texas (apparently based loosely on true events), Texas Killing Fields focuses on three cops -- Sam Worthington with a sometimes unintelligible mumbling country accent, Jeffrey Dean Morgan as a cop with a conscience, and Jessica Chastain as the stereotypical take-no-prisoners tough as nails female officer -- and their investigation into the killings.  Along the way, various storylines are thrown at us that have no discernible connections, manage to bog down the movie with a heaviness and emotional emptiness the likes of which I haven't seen in a movie last year, and fail to come together at the conclusion in any satisfying manner.

Director Ami Canaan Mann (daughter of director Michael Mann) is no whiz behind the camera.  The film looks alright, but the pacing is so mind-numbingly boring and the movie is so choppily edited that while it seemed to be in chronological order, it very well may have been told in some oddly spliced together manner because, quite frankly, scenes failed to make any sense when placed next to one another.

The RyMickey Rating:  D-

Movie Review - The Debt

The Debt (2011)

Starring Helen Mirren, Jessica Chastain, Sam Worthington, Jesper Christensen, Marton Csokas, Ciarán Hinds, and Tom Wilkinson

Directed by John Madden

Despite liking the overall premise and enjoying the acting, something didn't quite click with me after watching The Debt.  I think, ultimately, the "payoff" doesn't quite measure up to the "build-up" and that's always a bit of a disappointment.  Plus, an oddly underdeveloped romantic subplot thrown into the mix doesn't do anything to increase the tension despite attempting to do just that.

The film jumps back and forth between two time periods.  In 1965, we meet the twentysomething Rachel, Stephen, and David (played by Jessica Chastain, Marton Csokas, and Sam Worthington) -- young Israeli government agents sent to East Berlin to kidnap the infamous Doktor Bernhardt (Jesper Christensen), the Surgeon of Birkenau known for performing heinous medical experiments on Jews during WWII.  Ideally, the trio will be bringing back Bernhardt to Israel to stand trial for his crimes.  Needless to say, entanglements inevitably arise putting a damper on those plans.

In 1997, we are introduced to the elder Rachel, Stephen, and David (played by Helen Mirren, Tom Wilkinson, and Ciarán Hinds).  Thirty years have passed and the group has been celebrated as heroes for decades thanks to their work involving the horrible doctor.  However, the three former agents harbor a great secret known only to the trio and no one else...or so they thought.  When the truth behind their secret runs the risk of being revealed, it may be time for the now senior citizen former agents to head back into the dangerous world of espionage.

As I mentioned, the premise is altogether promising and enjoyable.  And there are also some really nice performances from Jessica Chastain and Helen Mirren, both of whom give their respective portrayals of Rachel much greater depth than I expected.  Still, I can't get over the fact that a love triangle between the three principals just doesn't work and failed to get me invested in any angle of the attempts at amour.  Plus, the older generation's story just doesn't capture the attention like the younger generation's tale.  Although the film jumps around in time (to nice effect actually), the end plays only to the 1997 aspect of the tale and, although it brings the story to a resolution, it proves to be a bit too anticlimactic given the tension achieved in the 1965 segment of the tale.

The Debt certainly isn't a bad film, but it's not one I could really tell anyone to rush and see.  It's adequate, but that's about it.

The RyMickey Rating:  C

Movie Review - Last Night

Last Night (2011)

Starring Keira Knightley, Sam Worthington, Eva Mendes, and Guillaume Canet

Directed by Massy Tadjedin

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

Temptation is what Last Night is all about.  Joanna and Michael (Keira Knightley and Sam Worthington) already seem to be simply going through the motions of being a married couple after only a few years of being betrothed.  After a squabble one night, each of them finds themselves in a position to stray from their spouse -- Michael with his beautiful co-worker Laura (Eva Mendes) and Joanna with her French ex-boyfriend Alex (Patrick Dempsey's Gallic doppelganger Guillaume Canet).  Will Joanna or Michael succumb to the allure of another or will they remember why they fell for each other in the first place?

Considering the fairly decent stars on display in Last Night, it's rather shocking to me that it received a wide release of only ten -- that's right, ten -- theaters back in May.  It'd be one thing if the film was a dud, but director/screenwriter Massy Tadjedin's first effort as an auteur is actually a very nice glimpse at a relationship faced with outside temptations.  While not without a few issues -- Tadjedin has an odd way of editing certain scenes with some pointlessly quick cuts, the first half hour hinges on tedium -- the film is overall quite a success in that it manages to have us root for this couple that we just met ninety minutes prior.

If anything, Last Night shows the public that Sam Worthington may actually prove to be a rather decent actor.  We certainly didn't get a great glimpse at his acting chops in Avatar, but here he proves that without hundreds of millions of dollars of special effects, he's actually a rather thoughtful, subdued, and talented actor.  Keira Knightley continues to act with her chin and lower jaw, trying to convey a tough exterior by moving her mandible around into odd positions.  Still, despite this crutch of hers, her Joanna is a complicated character and she sinks her teeth into probably her best role in a while.  

Add to that, this has got one heck of a final moment that I imagine will end up on the RyMickey Best Scenes list at the end of the year.  It ends the flick on such an interesting note that the mere thirty seconds at the end make up for a bit of a lackluster start.  (I actually rewound it to give it a second glance, I thought it was that clever.)  Last Night is definitely worth an instant watch on Netflix.

The RyMickey Rating:  B

Movie Review - Avatar 3D (2009)

Starring Sam Worthington, Zoë Saldana, Giovanni Ribisi, and Sigourney Weaver
Directed by James Cameron

James Cameron's Avatar takes us to the planet Pandora where ten foot-tall blue human-like creatures roam, gaining strength (via some anemone-like phalanges at the ends of their ponytailed hair) from elements of their environment like trees and animals. The Marines, however, have been commissioned to assist some corporate bigwigs in mining for some special expensive, coal-like element on Pandora. In order to both better learn about and infiltrate the Na'vi people of Pandora, scientists have crafted avatars -- they take a human and create a Na'vi-like creature that the human can control from hundreds of miles away via some sophisticated machinery.

Jake Sully (Worthington) is a paraplegic marine whose twin brother was heavily involved in the avatar program. However, at the beginning of the film, the brother has died and since Jake's DNA is similar to his brother's, Jake is pulled into the program to take his brother's place. At odds with the program's scientific director, Grace (Weaver), Jake takes control of his avatar much too quickly and almost immediately infiltrates the Na'vi people, taking a liking to their leader's daughter, Neytiri (Saldana). Jake soon finds himself conflicted between his strong Marine training and the passive nature of the Na'vi.

The story is ridiculously drawn out over an unnecessary 165 minutes. Somehow, though, even with an incredibly boring middle 40 minutes, I didn't find myself wondering when this thing was going to be over. And the reason for that is the visuals and the visuals alone.

This is, without a doubt, the best looking 3D film I've seen in theaters. Cameron has crafted a rich, sumptuous land in Pandora, one that is unlike any I've seen on film. We're completely taken into this new land filled with dinosaur-like creatures and phototropic plants. While on Pandora, we venture into a land completely created by CGI and witness characters brought to life via motion-capture technology. Just recently, I reviewed Disney's A Christmas Carol and I said I wasn't completely sold on the motion-capture technique. Well, I'll eat my words because Avatar has taken this new technology and stepped up the game by leaps and bounds. Sure, it still feels like I'm watching a cartoon, but it's the most realistic-looking cartoon I've ever seen.

Often with 3D, there's a slight blur to any type of quick motion, but Avatar looked amazingly crystal clear. Whether on Pandora or on the human's spaceships, everything looked stunningly "perfect." It really was a beauty to behold.

While the story lacked, it certainly wasn't the fault of the actors, all of whom really brought their A-game. Sam Worthington who starred in this summer's Terminator: Salvation proves an strong leading man who, whether in his human or avatar form, is quite an onscreen presence. Sigourney Weaver is unfortunately saddled with the worst lines of the script, forced to often spout the "science" behind the goings-on, but she still manages to rise above the silly dialogue (and she's really quite attractive for being sixty). I loved Giovanni Ribisi's bit role as the corporate shill for the company going after the lucrative mineral deposits on Pandora. Taking on what is esentially the nasty Paul Reiser part in James Cameron's Aliens, Ribisi is a joy to watch...I just wish he had a bigger role.

Surprisingly, my favorite role belongs to Zoë Saldana who was completely computer-animated the entire time. As Jake Sully's love interest, the geniuses at the special effects departments captured every little nuance of Saldana's body language (they captured this in everyone...it really was a treat to watch the little facial and body tics like a tensing of the neck or a slight raise of an eyebrow...it certainly didn't go unnoticed by me). Saldana's really is an exquisite, unique, and gripping portrayal -- both animal and human in one.

So, is this the best movie of the year? Nah. But James Cameron really has created something special, one-of-a-kind, and innovative. Going into this, I had big doubts, but having seen it, I'm able to look past the simply average, mundane script and see the bigger picture. Avatar is quite possibly a revolution in animation and digital cinema and something that really shouldn't be missed on the big screen.

The RyMickey Rating: B+

Movie Review - Terminator Salvation (2009)

Starring Christian Bale, Sam Worthington, Anton Yelchin, Moon Bloodgood, and Bryce Dallas Howard

Written by John D. Brancato and Michael Ferris

Directed by McG

Up front, I should say that if you actually sit back and think about this movie, you're going to hate it. There's really nothing here we haven't seen before and considering that this is really a prequel to all the Terminator movies (despite the fact that it takes place in a future after those movies...confused yet?), there's not really any doubt how things are going to turn out.

That being said, I enjoyed the two hours spent watching this popcorn flick. As we know from previous Terminators, John Connor is going to save the human race from the evil Skynet robots that have seemingly taken over the world. As the head of the Resistance, John Connor (initials=J.C.=Jesus Christ?) will be the leader that will save the people and he needs to make sure that Kyle Reese is around to go back in time and sleep with Connor's mom so that Connor's mom can have Connor. Got it? If not, go watch the first three flicks prior to watching this one.

Director McG did a surprisingly decent job with the action sequences. Right off the bat there's an action shot of a helicopter lifting off and then crashing that is seemingly done with a single camera shot with no cuts (I'm sure computers played a huge role here). That kind of impressed me from the get go. McG manages to create taut action sequences without lowering himself to the nonstop Michael Bay editing or the shaky camera that's been a staple of movies of late.

Sure, the story is lacking and full of ridiculously large holes and improbablities. Towards the end, John Connor is able to infiltrate the Skynet headquarters with nary a robot in sight to take him down. And don't even get me started on the multiple opportunities to kill Kyle Reese that fall by the wayside.

And leads Christian Bale and Sam Worthington are so one-note they are laughable. Bale is just rehashing his guttural growl from Batman, and Worthington (who is this guy exactly?) seriously switched from no accent to an Australian accent halfway through the movie.

Still, despite those pretty major flaws (flaws that would ruin other flicks), I enjoyed myself due in large part to McG's taut direction of the action scenes. I actually thought they were more exciting and just as well shot as those in the admittedly better Star Trek which came out earlier this summer.

The RyMickey Rating: C