Movie Review - Dope

Dope (2015)

Starring Shameik Moore, Tony Revolori, Kiersey Clemons, Zoë Kravitz, A$AP Rocky, Keith Stanfield, and Kimberly Elise

Directed by Rick Famuyiwa

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

Dope starts out quite clever, amusingly smart and engaging -- there's seriously a joke about Neil de Grasse Tyson and Ice Cube that lands so humorously in the first few minutes that my hopes went sky high.  While director-screenwriter Rick Famuyiwa's flick doesn't quite maintain its momentum after some great opening moments, Dope still provides a rather unique glimpse at African American culture.

Malcolm (Shamiek Moore) is a high school senior growing up in Inglewood, CA.  Obsessed with 90s rap culture, Malcolm also finds himself getting trashed on by other students for liking "white stuff" like skateboards, comics, "TV on the Radio," getting good grades, and applying for college.  It's that last "white thing" that's prominently on Malcolm's mind when the film opens.  Desperate to head to Harvard, things are going rather swimmingly for Malcolm until he's convinced by his friends and fellow geeks Jib (Tony Revolori) and Diggy (Kiersey Clemons) to attend the birthday party of drug dealer Dom (A$AP Rocky) at a popular club.  Malcolm obliges in part because he knows that Dom's on-again/off-again girlfriend Nakia (Zoë Kravitz) will be there and Malcolm hopes to make an impression despite the fact that he's not exactly adept with the ladies.  However, the party gets raided by the police and Dom hides his stash of dope in Malcolm's backpack unbeknown to the high schooler, leading to a chaotic series of events that turns Malcolm's life upside down.

While Dope maintains its insightful humor throughout, I could't help but think that it lost a little bit of its original point of view once Malcolm becomes an unwitting drug dealer.  Directorially, Famuyiwa always keeps things sly, both visually and story-wise, and he gets some great performances out of his three main cast members.  Shameik Moore, in particular, is a fresh-faced newcomer who more than carries the film with his exuding of both intelligence and street smarts, and Tony Revolori and Kiersey Clemons (the latter, a sassy tomboy lesbian) add authenticity to the proceedings.  Beyond this trio, however, the film finds itself teetering a little bit, unsure of whether it wants to stay based in reality or go a little over-the-top and whenever it veers towards the latter, I found myself disappointed and removed from the story.  Still, Dope's aesthetic and main performances provide a unique experience that I wish was a bit more carefully executed throughout.

The RyMickey Rating:  B-

Movie Review - Mad Max: Fury Road

Mad Max: Fury Road (2015)

Starring Tom Hardy, Charlize Theron, Nicholas Hoult, Hugh Keays-Byrne, Zoë Kravitz, Rosie Huntington-Whiteley, Riley Keough, Abbey Leigh, and Courtney Eaton

Directed by George Miller

Winning six Academy Awards is no easy feat -- especially for a genre film such as Mad Max: Fury Road.  I will totally agree that director George Miller's film is uniquely designed in terms of sets, costumes, and sound -- all for which it won Oscars.  However, it's rather telling to me that the film didn't receive a screenplay nod amongst its ten nominations.  After watching, it's no surprise, though, as the script is one of the biggest downfalls of the manic film that, while better than the 1979 original which I despised, is still too much of a punk-fueled visual cacophony to merit me ever wanting me to subject myself to it again.

The title of the film would have you believe that "good guy" Max (Tom Hardy) is the star of the film, but the little story that Mad Max: Fury Road has to offer isn't really about him.  Sure, the flick opens with Max attempting to escape from the army of Immortan Joe (Hugh Keays-Byrne), a tyrant who rules over a large group of people by controlling all access to water and fuel in a post-nuclear-explosion apocalyptic desert society.  When Max fails his escape, the film shifts to Imperator Furiosa (Charlize Theron), one of Joe's best warriors who is responsible for heading out into the world to bring back gas and water in a giant tanker truck.  However, on her latest mission, it's discovered that she has smuggled out five of Joe's young wives in an attempt to take them to safety.  When her treachery is unveiled, one of Joe's War Boys, Nux (Nicholas Hoult), straps Max to the front of his truck (because, you see, Nux is draining the blood out of Max in order to get healthier himself) and chases after Furiousa along with a bevy of other crazy-looking folks.

And then everything else in the entire movie is one long chase sequence after another...after another...after another.  It never ends.  There's very few moments of respite and, quite frankly, because of the nonstop barrage of chaotic sound and in-your-face visuals, I zoned out after about an hour.  Quite frankly, there's nothing here.  Sure, you've got a "woman scorned" angle with Furiosa trying to help out objectified women, but the feminist angle never really rises to the occasion.  Max himself is left with very little to do in the film and Tom Hardy continues to give us just the low-voiced growling he's become so well known for over the past several years.  

George Miller (who also co-wrote the film) feels as if he came in with the attitude of "Let's throw everything at the wall and see what sticks."  And then he proceeded to either think everything stuck or he just was too lazy to clean up, because as his camera zigs and zags crazily through the insanity he's placed onscreen, he seems to hope that the audience can't see all the nuttiness he left scattered throughout.  Mad Max: Fury Road has reasons to be recognized.  The costumes are unique and the production design was admittedly awesome, but beyond the below-the-line crafts (which certainly hold merit and helped my rating be as high as it is), Fury Road is a mess.  I can't imagine watching this on a screen bigger than my tv screen at home -- I'm not quite sure I would've been able to sit through the freneticism.  

The RyMickey Rating:  C-

Movie Review - Divergent

Divergent (2014)

Starring Shailene Woodley, Theo James, Ashley Judd, Jai Courtney, Ray Stevenson, Zoë Kravitz, Miles Teller, Tony Goldwyn, Ansel Elgort, Maggie Q, Mekhi Phifer, and Kate Winslet

Directed by Neil Burger

I feel like it's wrong that I didn't hate Divergent.  In reality, it's a bit of a carbon copy of The Hunger Games franchise -- dystopian society in a ravaged United States, different segments of the population broken off into distinct groups, girl savior tries to take down the evil governmental figurehead.  Much to my surprise, however, I found Divergent an interesting enough start of a series of films.  Unfortunately, I'm not quite sure from this point forward how the films progress into something worth watching, but the first flick is at least moderately appealing.

As mentioned, the overarching premise of Divergent is that the residents of the United States -- or at least the residents in the walled city of Chicago -- are broken up into five groups.  Each group represents one of the following qualities -- smart, kind, honest, selfless, brave -- and when teens reach the age of sixteen they must choose which quality they will follow for the rest of their lives after taking a specially designed test that helps them hone in on where they most likely belong.  Teen sister and brother Beatrice (Shailene Woodley) and Caleb (Ansel Elgort) have grown up with parents (Ashley Judd and Tony Goldwyn) who belong to the community of Abnegation which controls the government, but at the Choosing Ceremony, Caleb joins Erudite (the "smart" clique which desires to run the government) and Beatrice joins Dauntless (the "brave" group which is essentially the law enforcement aspect of the society).  Upon joining Dauntless, Beatrice shortens her name to Tris and soon discovers that she may not be cut out for this new life.  However, once you've chosen your community, you're stuck there and if you don't fit, you'll be forced to become homeless out on the streets.

Tris is also faced with the notion that her initial test to determine which group she belonged in came back showing that she was "divergent" -- meaning that she doesn't belong to any one group.  Divergents are not looked upon in a positive light by Erudite leader Jeanine (Kate Winslet) who sees Divergents as too independently-minded and unwilling to kowtow to her wishes.  While Jeanine seemingly has everyone's best wishes at heart, her only goal is to push Erudite to the forefront of the community and she'll stop at nothing to see that happen.

Admittedly, it's all a bit ridiculous.  And it's all a bit of a rehash of The Hunger Games.  However, I did find myself intrigued by the plot.  Yes, Tris's training goes on for a bit too long and a romance with one of her fellow Dauntless colleagues seems forced and unnecessary (at least this early in the game), but I can't really say I was ever bored.  The acting is more than acceptable for a film like this -- meaning a film appealing to a youthful audience who may not care about such things -- and it elevates the flick to a higher level.

As I mentioned above, however, I can't quite see how this storyline carries on for three more films.  Quite honestly, the film concludes in a way that the story could've just ended and I'd have been fine with not discovering anything else about the community.  How they craft a tale that holds my interest in the future will be difficult and seemingly not possible.  I hope I'm proven wrong.  While Divergent isn't quite The Hunger Games in quality, it's certainly head over heels better than the Twilight saga.

The RyMickey Rating:  C+

Movie Review - After Earth

After Earth (2013)

Starring Jaden Smith, Will Smith, Zoë Kravitz, and Sophie Okonedo

Directed by M. Night Shyamalan

While not quite the debacle I was expecting, After Earth is a dismal, depressing flick with nothing positive to note.  Father-son duo Will and Jaden Smith star as father-son duo Cypher and Kitai Raige who crash land on Earth centuries after the planet was deemed inhabitable.  Dad Cypher is immobilized during the crash and unable to walk, so he sends son Kitai out into the unknown landscape in order to find the tail end of their spacecraft which contains a beacon that can be used to send for help.  Along the way, Kitai is forced to face an environment that has adapted to kill humans while additionally having to do battle with an alien creature that was being carried on the afflicted spacecraft that just so happens to be able to smell fear.

As Kitai is out in the wild, he's in constant communication with his father who, thanks to conveniently innovative technology, is able to see everything going on in the environment around his son.  A pack of wild monkeys are coming Kitai's way?  No worries because Dad knows about it first.  A giant hawk is coming to attack Kitai?  We've got that taken care of.  All the while, we get to hear Papa Smith spout eloquent theology like, "Fear is not real.  It's a product of our imagination.  Danger is very real, but fear is a choice," in the most monotone voice caught on film in 2013.  With nary a modicum of emotion emanating from Will, it's obvious why Kitai wants to break away from his father.

While Will Smith is an emotional vacuum, Jaden doesn't have the charisma to carry the film.  Tackling some weird undecipherable accent, Jaden shouldn't have necessarily earned the Worst Actor Razzie Award, but any attempts by the Smith family to make their son a star should probably be quashed sooner rather than later.  Then again, maybe it's just the role as co-scripted by M. Night Shyamalan whose involvement with this was unceremoniously kept hidden in all ads after his recent directorial foibles.  After the one-two-three punch of The Sixth Sense, Unbreakable, and Signs, Shyamalan has utterly ruined his reputation and After Earth (despite direction that isn't horrible...faint praise, I know) won't help to redeem that in the slightest.

The RyMickey Rating:  D

Movie Review - The Greatest

The Greatest (2010)

Starring Carey Mulligan, Pierce Brosnan, Susan Sarandon, Johnny Simmons, Zoë Kravitz, Aaron Johnson, and Michael Shannon

Directed by Shana Feste

Calling your movie The Greatest is really just asking for trouble.  The reviewers could just pounce all over your flick and trash it.  Fortunately, first-time writer-director Shana Feste has crafted a rather beautiful film here that, while it has its minor faults, is full of some great performances including another star-making turn from Carey Mulligan.

The Greatest begins with young high school couple Rose (Mulligan) and Bennett (Kick-Ass's Aaron Johnson) in a state of undress.  They'd only been dating each other for mere weeks, but they'd been pining after each other secretly for four years of high school.  After they sleep with each other for the first time consummating that unrequited love, Bennett drives Rose home and just as he begins to tell her he loves her, their car is involved in a horrific collision.  Bennett dies at the scene.

Some time passes and Rose shows up on the doorstep of Bennett's parents, Allen (Brosnan) and Grace Brewster (Sarandon).  She reveals that she is pregnant with Bennett's child and needs assistance with her pregnancy.  The Brewster household, however, has not quite come to terms with Bennett's death with each family member, including the Brewsters' other son, Ryan (Johnny Simmons), dealing with the tragedy in various ways.  The introduction of Rose into the Brewsters' lives causes each of them to examine their own grief in ways that couldn't possibly imagine.

Sounds like fun, right?  It's not a bed of roses and, at times, the script just seems too convenient.  Everything comes together much too cleanly and quickly in the end.  There's a character that befriends the Brewsters' son Ryan whose storyline comes to an awkward conclusion.  Michael Shannon's role as the driver who hits Bennett's car is quite awkward.

All these faults, however, are overshadowed by some amazing performances that elevate this film to a level infinitely better than it deserves to be.  First and foremost, Carey Mulligan is a star.  She just shines onscreen.  There's not a false note in her performance and I think her role here is better than her Oscar-nominated turn in An Education.

Susan Sarandon is also quite good here.  As a mother who simply longs to have her baby back, she resents Rose for entering their lives.  She wants no pity from the outside world, but, at the same time, she cannot let go of her dead son in the slightest. 

Pierce Brosnan's Allen, on the other hand, refuses to talk about his son.  Brosnan really surprised me here.  He creates a rigid, emotionless persona in Allen, but this only causes the inevitable break-down to be that much more effective.  Similarly, young Johnny Simmons was gripping as the son who masks his pain in drugs.  There's something about men crying onscreen that can ring incredibly false, but both of these actors (one who's been around quite a while and one who is just starting out) really raise the bar.   

I recognize that this film isn't perfect.  It's perhaps a tad too trite and absolutely comes together much too cleanly in the end, but this tale of grief, pain, and, ultimately, forgiveness and love is something I highly recommend.

The RyMickey Rating:  B+