Ranking the Marvel Movies: Worst to First

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If my calculations serves me correctly there have been around 40 (yes 40) Marvel movies. Now not all of these films are part of their more recent interconnected cinematic universe. Some came well before Marvel’s multi-billion dollar experiment was put into place. But they all qualify and help make up my rankings of all Marvel movies so far. Well, at least all that I have seen. I never watched “Blade: Trinity” (the first two were enough), “Punisher: War Zone” (I did try, but nope), or “Deadpool” (sorry fans, I didn’t like what they turned him into in the comics, and I certainly didn’t care about watching it on screen). But I have seen all the rest and here they are worst to first:

#37 – “Fantastic Four” (2015)

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There is nothing wrong with taking a few liberties when making a movie. But you should never obliterate the source material especially when the end result is this bad. “Fantastic Four” is a train wreck. Bad casting, terrible direction, and the worst writing of any film bearing the Marvel name. Disastrous.

#36 – “Elektra” (2005)

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Somewhat of a “Daredevil” spin-off, “Elektra” is killed by an incredibly flat and downright boring script. Jennifer Garner gives it her all, but she is let down by dopey dialogue, an uninteresting story, and completely uninspired action. Any possibility of Elektra showing up again was left dead in the water.

#35 – “Ghost Rider: Spirit of Vengeance” (2012)

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This just goes to show that the coolest movie poster doesn’t mean it’s a good film. The second Ghost Rider movie is really bad. So bad that even Nic Cage, the actor who will take any role thrown at him, completely wiped his hands of the series. This thing looks and feels cheap and its stupidity is sometimes beyond measure.

#34 – “Hulk” (2003)

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While some critics went for this, I see it as a failure and a complete waste of a good cast. Eric Bana is particularly good but the writing lets him down again and again. So many ludicrous additions to the source material including a father/son conflict that plays out in a dumb and excruciating ending. Sorry Ang Lee.

#33 – “The Amazing Spider-Man 2” (2014)

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Bloated, overblown, overstuffed – all adjectives that fit this film and that will pop up again on this list. While “Amazing 2” made over $700 million it is still considered a franchise killer and yet another Spidey reboot was quickly announced. This thing never gets its footing. Jamie Foxx is a horrible villain and Dane DeHaan’s casting is still mind-boggling. Underdeveloped characters and rampant goofiness end up killing this mess of a movie.

#32 – “X-Men: The Last Stand” (2006)

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Brett Ratner’s turn at the wildly successful X-Men wasn’t a good one. The film instantly starts on a bad note and then becomes a tedious exercise with Wolverine and Jean Grey as its centerpiece. Too many mutants tossed in with practically no interesting buildup and an ending that had me throwing up my hands. No wonder the series met its temporary end after “The Last Stand”.

#31 – “X-Men Origins: Wolverine” (2009)

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An interesting concept that is completely trashed by the time “X-Men Origins” is done. It does some interesting things in the first act but flies completely off the rails. A good Liev Schreiber version of Sabretooth is offset by a literal butchering of other key characters and of X-Men continuity.

#30 – “Iron Man 3” (2013)

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Yes I know, many people loved this $1.2 billion juggernaut. I found it to be all over the map, starting strong but ending horribly. Shane Black’s film tries to take a more human look at Tony Stark which is fine. But the slog through the middle is tough and the insanely dumb ‘twist’ at the end rightly put off a huge portion of fans. Once again a good cast is railroaded by some horrible creative choices.

#29 – “Spider-Man 3” (2007)

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Oh those third installments. They certainly have a reputation and “Spider-Man 3” lives up (or down) to it. The definition of an over-stuffed movie that simply has too much going on. Three villains that never get the full attention they deserve and some wacky Peter Parker drama doesn’t mesh as a fun and cohesive whole. It was the first of the Spidey franchise killers.

#28 – “Ghost Rider” (2007)

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It’s impossible to call the first “Ghost Rider” movie a good movie, but at least it knows what it is…kinda. There are some fun moments and at times the CGI looks really cool. But it is too ridiculous for its own good and the story itself leaves much to be desired. It made a ton of money but left no lasting impression.

#27 – “Thor: The Dark World” (2013)

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It’s hard not to be mixed on “Thor: The Dark World”. There are things I like about the characters and story. But so much is lacking. The playful energy of the first film is gone for the most part and the story itself flatlines the closer it gets to its highly mediocre and forgettable ending.

#26 – “The Fantastic Four” (2005)

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Generally criticized as a bad movie, “The Fantastic Four” really isn’t. It could be called silly and lightweight but that’s part of its charm. The cast has a lot of fun and it rarely takes things too seriously. Unfortunately that isn’t enough to carry it far in your memory. In the end it doesn’t stand out despite being fun.

#25 – “Daredevil” (2003)

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Several years ago this film would have been lower on this list, but my opinion of it has changed over time. “Daredevil” has a lot going for it and it is one of the more unique and interesting superhero origin stories. It does flounder in spots particularly with its tone and pacing, but it isn’t nearly as bad as some say.

#24 – “Fantastic Four: Rise of the Silver Surfer” (2007)

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Much more serious than the first film but also more interesting. The addition of Silver Surfer to the mix is a lot of fun and some of the character drama works well. The serious tone does strip it of some of the above-mentioned charm, but the film still works. And toss in one of Stan Lee’s very best Marvel movie cameos.

#23 – “Ant-Man” (2015)

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Widely adored by audiences mainly for its willingness to do something different within Marvel’s cinematic universe. I appreciated that too, but it is still a film with issues. The comedy keeps hitting the same note and the film features one of Marvel’s worst and most uninspired villains. Funny at times but not the grand mold-breaker it is made out to be.

#22 – “X-Men: Apocalypse” (2016)

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The latest of the X-Men movies is such a mixed bag. The film starts on a slow note as it attempts to bring together so many characters from the film’s ridiculously large mutant catalog. Surprisingly it does pick up in the final act and it impressively brings everything together. But getting to that point isn’t the easiest thing.

#21 – “Blade” (1997)

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Somewhat of a pioneer of Marvel movies. Wesley Snipes was a butt-kicking, sword-weilding, vampire superhero in 1998’s “Blade”. At the time the film was something fresh and the stylized action was a hoot. It is still a little rough around the edges and no one can argue against its silliness.

#20 – “Guardians of the Galaxy” (2014)

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Again, another Marvel movie that is beloved for its willingness to go against the norm. But is “Guardians” really that great? Unquestionably it has some good laughs and the characters are fun. But some of the jokes land with a thud and (once again) a boring and wasted villain takes a lot of the steam out of the story. But you have to appreciate its aim.

#19 – “Incredible Hulk” (2008)

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Edward Norton gives his one-shot take on Bruce Banner in a Hulk reboot that does a pretty good job of helping us forget Ang Lee’s disaster. The film is based on a really good comic book storyline and bypasses another origin telling. Norton is good as is his supporting cast. Unfortunately the final act gets ridiculous and keeps it from being as good as it should be.

#18 – “X-Men: First Class” (2011)

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A surprisingly interesting reboot (kinda) of the X-Men series mainly due to the two lead performances from James McAvoy and particularly Michael Fassbender. Both actors flesh out their characters through some compelling storytelling. Unfortunately the back-end of the cast are significantly weaker and they bog things down a bit.

#17 – “Blade II” (2002)

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A fun, ultra-violent sequel five years after the first film. There is tons of style and flare in Guillermo del Toro’s direction and the action certainly takes center stage. Wesley Snipes (in full pre-tax evasion tough guy form) has a blast swinging and slicing through his enemies and that’s what the movie offers in tons. The story is light, but who went to “Blade II” for the story?

#16 – “The Wolverine” (2013)

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In many ways this is a stand-alone Wolverine film done right. It’s an odd movie that takes Logan back to past connections in Japan. The setting makes for a fun and unique setting and Jackman is at his feral best. But like so many of the movies, “The Wolverine” fails in the final act by giving a lame final battle that doesn’t measure up to the rest of the picture.

#15 – “The Punisher” (2004)

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A widely undervalued and underappreciated film featuring Thomas Jane as the scarred and tormented Frank Castle. Jane fits the character well and John Travolta is a good mix of cheesy and vile as the film’s villain. It doesn’t hold back from the violence which is fitting. The one main problem is the small group of generic outcast side-characters. They distract from an otherwise good take on the Punisher.

#14 – “The Amazing Spider-Man (2012)

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Talk about a movie both helped and hurt by its reboot status. After “Spider-Man 3” the webcrawler was in need of a reboot. This film did a good job of putting together an interesting story and characters. It also did several things to separate itself from the past trilogy. At the same time the decision to tell another origin story hurt the movie. It felt too soon and too familiar despite its attempts to be different.

#13 – “Iron Man 2” (2010)

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Not quite the superhero groundbreaker its predecessor was, but still a fun romp and a showcase for Robert Downey Jr’s laser-tongued wit. Not everything works perfectly. The longer it goes the louder it gets and Sam Rockwell’s performance is borderline bizarre. But while many rail against the film, I’ve always found it to be highly-polished fun.

#12 – “Avengers: Age of Ultron” (2015)

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The Avengers films are the centerpiece of Marvel’s cinematic universe and the ambition behind them is almost as high as their budgets. This, the second of the superhero ensembles, still has the strength of the many characters we have grown to know well through their host of movies. That alone makes it worthwhile and helps get past the film’s shortcomings.

 #11 – “X-Men: Days of Future Past” (2014)

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Inspired by one of the comics most classic storylines, “Days of Future Past” is a fascinating accomplishment. It is a crazy mixture of past and present both in terms of story and in X-Men franchises. The fact that it all comes together so smoothly is amazing. That’s not to say you won’t have to endure some mental gymnastics in order to keep up. But it’s worth it in the end.

#10 – “Thor” (2011)

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Talk about a movie that had every right to fail. It could have been a catastrophe. Instead “Thor” is cool entertaining fantasy movie with a surprisingly good sense of humor. That is what sells it. It knows not to take things too seriously. Chris Hemsworth nails the role with his stout stature and his willingness to mock it at the same time. Again, much better than it had any right to be.

#9 – “X-Men 2” (2003)

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A top-notch sequel once again inspired by some the X-books’ classic stories. This particular installment builds on the groundwork laid by the first film and expands the characters in the ways you want. The action is well-done and the ending certainly packs a significant punch.

#8 – “Captain America: The First Avenger” (2011)

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Here is another example of a creative team who understands the importance of tone and knowing not to overplay their hand. “The First Avenger” is an origin story that actually feels fresh. It has a ton of heart and creates authentic characters ripe with emotional complexities and all. It plays out in a wonderfully realized 1940s setting before cleverly connecting to the existing MCU.

#7 – “Spider-Man” (2002)

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Sam Raimi’s “Spider-Man” was somewhat of a groundbreaker. I know I didn’t expect it to be nearly as competent or effective yet what it manages to do is impressive. Raimi and writer David Koepp wisely focus on the human side of their characters which gives weight and emotional value to all of the superhero action that would follow.

#6 – “X-Men” (2000)

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You could say that Bryan Singer’s “X-Men” is the film most responsible for the 15+ years of comic book movies that has followed. “X-Men” was a huge surprise and amazed many of us with how well it brought these characters to life. The story is solid, the relationships feel genuine, and the action is a blast. “X-Men” deserves to be this high because in many ways it legitimized superhero movies as true quality entertainment.

#5 – “Iron Man” (2008)

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At the time of its release some of us didn’t see how an Iron Man movie could work. Many of us were baffled by the casting of Robert Downey, Jr. to play such a superhero. We were so wrong. Marvel showed they knew exactly what they were doing not only in casting Downey, Jr. but in making a fun, easy to digest, action picture that also develops smart and believable characters outside of the flying armor and special effects.

#4 – “The Avengers” (2012)

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I had a hard time believing that Joss Whedon would be able to corral all of the moving parts that make up “The Avengers”. Talk about a movie that could have been a studio-crippling disaster. Instead Whedon gained a ton of respect from critics and fans alike by making a film so perfectly mixed with action, drama, and humor. Too much of either ingredient could have doomed it. Instead it set an incredibly high bar for any Avengers film to follow.

#3 – “Captain America: Civil War” (2016)

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This is the second Captain America film on the list, but it is essentially an Avengers installment and an excellent one at that. In “Civil War” there is a ton at stake both narratively and financially (for Marvel Studios). The careful balance of personal conflict and big budget action is incredibly well handled. It also shows how to set up what’s to come without sacrificing its own story.

#2 – “Spider-Man 2” (2004)

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Sam Raimi’s second “Spider-Man” film is not only a good Spidey movie but a brilliant sequel that builds upon everything his first film did so well. It’s obviously full of spectacular special effects and some great action. But the true heart of the film is in how it presents its characters especially Alfred Molina’s Doctor Octopus. Easily the best Spidey films, and one of the finest superhero movies period.

#1 – “Captain America: The Winter Soldier” (2015)

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Notice a common theme among all of the best superhero films? The ones that put a priority on the human element tend to be the best ones. Such is the case with “The Winter Soldier”. But there is so much more to the film. A crafty 70s spy thriller influence is seen all over the story and it melds perfectly with the broader focus. I also love the fact that (aside from the big finale) much of the action was done with old-school practical effects. Everything clicks from opening credits to the end credits stinger. For my money this is Marvel’s best.

REVIEW: “Gods of Egypt”

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You have to believe there are plenty of ingredients within Egyptian mythology to inspire a fun, sprawling fantasy feature. The gods, the symbols, and the lore seem ready-made for the big budget, eye-popping blockbuster treatment. You would think that, right? Enter “Gods of Egypt”, a mess of a movie that will instantly have you doubting that belief.

This was one of those instances where I couldn’t help but think “It can’t be that bad.” The trailers looked ridiculous and critics ripped this thing to shreds. But I grew up loving the silly, cheesy but self-aware science-fiction and fantasy movies of the 1980s. When it comes to those films I have a lot of tolerance and forgiveness. But “Gods of Egypt” is indeed bad, woefully bad.

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Where to start? I don’t know, how about with the story. Writers Matt Sazama and Burk Sharpless already have a sketchy track record having penned the glaringly underwhelming “Dracula Untold” and “The Last Witch Hunter” (and working on the Power Rangers reboot for next year). “Gods of Egypt” easily fits within that catalog although its problems are significantly broader.

The story basically crosses the paths of a young mortal named Bek (Brenton Thwaites) desperate to save his true love from the underworld and Horus (Nikolaj Coster-Waldau), Egyptian God of the air whose eyes were gouged out and his throne stolen by the jealous Set (Gerard Butler), the god of the desert. Bek sees Horus as his only chance to save his fiancé. Horus agrees to help under the condition that Bek gets him into Set’s stronghold.

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So there is a decent framework for a story…kinda. Unfortunately it hardly works on any level. Sazama and Sharpless gives us one uninteresting, paper-thin character after another and their stories are as bland as the characters themselves. It meanders through waves of lame character interactions, mind-numbing fight sequences, uninspired creatures, and boring plot contrivances.

And the performances don’t help. They range from passable (Coster-Waldau), to bad (Thwaites), to laughable (Butler), to downright weird (Geoffrey Rush in a role so absurd you have to see it to believe it). And it isn’t as if the dialogue helps them. Some of the lines these actors are asked to utter are mind-boggling.

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My expression exactly Gerard…

And then there are the special effects. At times it seems the script was written in service of the effects and not vice-versa. Director Alex Proyas is constantly trying to find ways for his CGI spectacle to take center stage. The visuals are all over the place. In terms of quality the effects are wildly inconsistent and sometimes shockingly gaudy for a film with a $140 million budget. That’s bad, especially since it is utterly dependent on it’s CGI-heavy presentation.

More could be said but frankly what’s the point? It’s such a poorly written mess. The direction lets the film down in scene after scene. Gerard Butler’s Nic Cage-like career decline continues. And Egyptian mythology was never so boring. I suppose you could have a “It’s so bad it’s good” type of experience, but to do so would requires a lot of face palms, head scratching, eye-rolling, and time checking. If you’re up to trying it by all means give it a shot. Just don’t say I didn’t warn you.

VERDICT – 1.5 STARS

1.5 stars

REVIEW: “Jason Bourne”

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Who would have guessed that Robert Ludlam’s trilogy of novels would spawn an immensely popular $1.2 billion movie franchise? That’s what happened with the Jason Bourne series. It began in 2002 with “The Bourne Identity”. Matt Damon and director Paul Greengrass would make three films together. Throw in 2012’s ill-advised “The Bourne Legacy” (minus Damon and Greengrass) and that brings us to 2016 and the latest film, the generically titled “Jason Bourne”.

You could say it is an odd and unexpected return not only of Damon and Greengrass but of the series itself. The Jason Bourne character has lied dormant for nine years yet the new film is essentially a direct sequel to 2007’s “The Bourne Ultimatum”. You would think Greengrass (who also co-wrote the screenplay) had a big vision if he was bringing his lethal, conflicted amnesiac back out of the shadows. Turns out he really doesn’t. In fact, you could say that “Jason Bourne” follows the very familiar franchise blueprint.

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But that’s not saying it’s a bad movie. In fact I think a lot of the initial quick-triggered criticisms are undeserved. “Jason Bourne” has many of the same ingredients as the first three films – a good cast, some intense pacing, a handful of impressive action scenes. At the same time it’s tough to overlook the fact that somethings are clearly missing in certain areas of the film.

One of those areas is the story itself. Again, it isn’t bad, but nothing about it feels particularly fresh or original when compared to the past Bourne pictures. Bourne (Damon) is mistakingly implicated in the hacking of a CIA database. The actual culprit is Nicky Parsons (Julia Stiles) who unearths information that puts Bourne on yet another trail to find out more about his past. Hot on his heels is the ‘shoot first’ CIA led by their craggy director Robert Dewey (Tommy Lee Jones) and ambitious head of operations Heather Lee (Alicia Vikander).

Greengrass’ story globetrots around the world and features several interesting locations including Greece, Iceland, Berlin, London, and Las Vegas. You’ll also see plenty of text messages, computer screens, and keyboard tapping. But one thing you won’t see is even the slightest hint of a smile. Every single character is stern, dour, moody, or downbeat. It tends to fit with the tone Greengrass is going for, but I couldn’t help but find the ever-present, super-serious expressions a bit amusing. And don’t think about the story too much. Question marks and plot holes are everywhere.

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The film sports around three big action set pieces which are overshadowed by the slick, methodical, surveillance-based buildup leading to them. As has become commonplace in many films, the action is hacked to pieces in the editing room. Shaky cameras and quick cuts are disorienting. Perhaps it’s needed for a now older Matt Damon (the Liam Neeson action flicks incorporate the same method), but it’s still annoying. The one exception is the big finale – a fantastic edge-of-your-seat sequence in Las Vegas. Greengrass calms his camera down a tad and gives us an action scene that rivals anything in the first three pictures.

So what to make of “Jason Bourne”. It’s a movie with plenty of the Bourne elements fans will be expecting. It is a bit slow out of the gate, but when it gets its footing it falls right in line with the franchise. But that’s also why the film felt a bit stale and routine. It does nothing to step outside the franchise’s strict established bounds. Ultimately it doesn’t do enough to avoid feeling like a tacked on chapter to the Bourne story. Still a well made and fairly entertaining chapter, but nothing fresh and nothing that reenergizes the series after so many years away.

VERDICT – 3 STARS

3 Stars

REVIEW: “L’attesa” (“The Wait”)

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There is a point in Pierro Messina’s Italian drama “L’attesa” (translated in English as “The Wait”) where I realized that the film’s title spoke not only to different significant plot points but also to my personal viewing experience. One character waits for another to arrive. One character waits to share important information. And I too waited, anxious to see exactly how and if the film’s emotionally combustible pieces fit together.

I bring that up because Messina (in his directorial debut) positions us and frames our connections to his film in such a way that we must patiently watch, wait, and absorb this enigmatic story. That can be a challenge since the film’s core is lean and simple working more as an intense emotional exploration than a tightly knit narrative. This has proven to be a problem for some. For me it was an arresting exercise in potent minimalist storytelling.

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The idea for the film came from a story told to Messina by a friend. Gleanings from two specific works of writer Luigi Pirandello helped Messina and a team of three others finish the screenplay. Add to it a bold visual style clearly influenced by his mentor Paolo Sorrentino.

The film begins at a funeral with a mournful woman named Anna (played by Juliette Binoche) standing at the foot of a casket. We aren’t told who has died, but it’s no spoiler to say it is Anna’s son Giuseppe. Later Giuseppe’s girlfriend Jeanne (Lou de Laâge) arrives at Anna’s Sicilian villa expecting him there a few days later. Anna puts off telling Jeanne about Giuseppe’s death and the two wait for an arrival that Anna knows will never come.

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Jeanne and Anna are waiting on two very different things, but in doing so they begin to develop a relationship. Mutual slow-growing sympathy, respect, and admiration is formed over conversations at the dinner table, in a car, on the banks of a lake, or in a Turkish bath. Yet as the audience we know the lingering secret and the potential devastating effect it could have.

Anna’s motivations behind withholding the truth are never spelled out for us and they don’t need to be. Binoche’s emotionally wrought performance vividly captures sorrow and mourning which roots her character’s reasons in her crushing grief. Binoche doesn’t need pages of dialogue. She pulls so much sentiment from her character through every expression and body movement. De Laâge is equally captivating. She is tasked with giving a much different performance than Binoche but an equally vital one.

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I see Anna clinging to her son through Jeanne and she can’t bear the thought of letting go. But the film doesn’t have a singular conclusion. It offers other possible interpretations and even flirts with madness. Its effectiveness is helped in large part to Messina’s visual presentation. Much in the Malick vein, the visuals have a lyrical movement that flow hand-in-hand with the story rhythms. There is a subtle harmony between the pain and sorrow of the characters and the imagery we see. Each gorgeous and haunting image has purpose and are thoughtfully incorporated into what the film is conveying.

“L’attesa” is a challenge. It requires patience and a willingness to look beyond a mere surface impression. It doesn’t hold your hand or dictate how you should feel about the characters or the internal baggage they carry. What is does is lay bare these emotions in a way that draws the audience in. The effectiveness of that approach will probably determine your reaction to the film. For me, it worked in nearly every regard.

VERDICT – 4.5 STARS

4.5 STARS

REVIEW: “The Wave” (“Bølgen”)

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I’m a professing disaster movie junkie. I admit it. I can’t help myself. For some inexplicable reason I always manage to find some degree of entertainment even from the flimsiest of the genre’s offering. And while many of these movies are admittedly bad, others can be top notch edge-of-your-seaters when they give us an interesting scenario and characters to actually care about.

Norwegian director Roar Uthaug gives us such a movie with “The Wave”. Called Norway’s first ever disaster movie, “The Wave” clearly pulls from western influences while at the same time bucking numerous parts of the tired Hollywood formula. Many things will strike a familiar chord – ignored warnings, a natural catastrophe, a family in peril. But it’s the film’s ability to competently and effectively craft something fresh and unique that leaves a much bigger impression.

Knowing that the film is not so much based on a specific past event but on a near certain future one adds a sobering perspective. It’s set in Geiranger, a tourist town threatened by the unstable Åkerneset mountain. Geologists believe the gigantic mountainside will one day crash into the fjord below spawning a massive tsunami. The people of Geiranger would have an estimated ten minutes to evacuate and get to safe heights. No one knows when it will happen, only that it will.

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Uthaug has said that the frightening reality of the situation influenced how he told this story. He felt obligated to represent the potential catastrophe honestly and without exploiting the true-to-life dangers facing the people of Geiranger. Knowing the collapse will eventually happen is concerning. Wondering if the people will have enough warning to escape is terrifying.

Kristoffer Joner plays Kristian, a geologist whose team is tasked with monitoring Åkerneset and issuing the warning if a collapse ever happens. Recently Kristian took a job in the oil business and is preparing to leave Geiranger with his wife Idun (Ane Dahl Torp), frustrated teenaged son Sondre (Jonas Hoff Oftebro), and adorable young daughter Julia (Edith Haagenrud-Sande). But leaving the lure of the mountain proves to be a difficult task.

What happens next shouldn’t surprise you. The mountainside crumbles into the fjord sending an 80 foot wave barreling towards Geiranger. What is surprising is seeing a disaster film handle the entire thing with such smarts. First is how Uthaug handles the buildup. The setup to the mountain collapse is absolutely crucial. The film’s opening 45 minutes is deliberate and focused, steadily building the tension and raising extremely high stakes for the small community of Geiranger.

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Another key is the film’s willingness to give us characters to care about. There are no caricatures here. There is a very humanistic approach to to how Kristian and his family are presented and developed. They are individually down to earth and are never exaggerated for the sake of drama. The performances, particularly from Joner and Torp, keep the characters authentic and grounded.

Even the catastrophic wave itself is dealt with on a human scale. The visual effects are incredible and represent the wave as ominous and deadly. But unlike most of these genre films, there isn’t a dependence on vividly showing off their digital creation. Instead the intensity boils its hottest in the moments where the wave isn’t shown, as people desperately try to get to safety. Even more importantly the camera doesn’t revel in the death and destruction. So many disaster flicks bombard us with their digital devastation – crumbling buildings, massive body counts, etc. This film knows it doesn’t need to do that in order to be effective.

What Roar Uthaug and company have given us is a film that manages to be unashamedly a disaster movie while at the same time distinguishing itself as something unique. The result is a fabulous, intense, nailbiter that more often than not stays within the realm of plausibility. Then add in the ominous warning that this event could legitimately happen in the future. That makes it all the more effective.

VERDICT – 4.5 STARS

4.5 STARS

5 Phenomenal Hostage Movies

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When considering “hostage movies” there is a such wide variety of films to consider. I found myself filling up a page with movies worth considering. I started narrowing the list down by choosing to omit any military or P.O.W. scenario. I also took out any individual kidnapping. Still the list was large, but there is only room for five. So as always, I wouldn’t call this the definitive list. But there’s no denying that these 5 hostage films are absolutely phenomenal.

#5 – “AIR FORCE ONE (1997)

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This is certainly one of the more unique hostage movies. U.S. President Harrison Ford, his family, and staff are held hostage aboard Air Force One by Russian terrorists led by Gary Oldman. The fact that the movie is confined to an airborne plane adds several interesting dynamics. Ford is a believable president and Oldman, while a little hammy at times, once again plays a deviously fun baddie. Sure, “Air Force One” requires a certain suspension of disbelief, but it’s still a hostage movie that is a hoot to watch.

#4 – “THE DELTA FORCE” (1986)

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Ok, I know “The Delta Force” is sometimes emotionally manipulative and features several preposterous action scenes. But it also nicely melds elements of the 1980’s action pictures with the real-life hijacking of a TWA jet in 1985. Chuck Norris is as wooden as ever, but a nice supporting cast featuring Lee Marvin, Joey Bishop, Shelly Winters, Robert Vaughn, Martin Balsam, and Robert Forster make up for it. The film incorporates several true-to-life incidents surrounding the hijacking which makes the movie feel more grounded even in the midst of motorcycle rocket launchers and Chuck Norris one-liners. Call it a nostalgic pick, but “The Delta Force” is a solid hostage film.

#3 – “KEY LARGO” (1948)

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John Huston’s “Key Largo” marked the final time Humphrey Bogart and Lauren Bacall worked together onscreen.  It’s also one of the best hostage movies ever. Bogart visits a Key Largo hotel ran by a deceased army buddy’s father and falls for Bacall. But things really amp up when some hotel guests turn out to be gangsters led by Edward G. Robinson. Once their identity is revealed, the gang takes over the hotel. To make things worse a hurricane hits which keeps them stuck there while giving the audience some fantastic and memorable moments. This isn’t just a great hostage movie, it is one of Bogart’s best.

#2 – “DIE HARD” (1988)

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1988’s “Die Hard” is the movie that made Bruce Willis a true big screen movie star. It could be argued that this is the quintessential hostage movie. Willis’ John McClane attends a Christmas party with his estranged wife at the Nakatomi Plaza skyscraper. A group of terrorists led by Hans Gruber (played wonderfully by the late Alan Rickman) take over the building and hold the partygoers hostage with the exception of a barefooted McClane. He picks off Gruber’s men from the ground floor to the rooftop and gives us memorable scene after memorable scene. “Die Hard” is a straightforward picture that is the near perfect mix of hard-nosed action, well placed humor, and great side characters. No hostage movie list would be complete without it.

#1 – “THE PETRIFIED FOREST” (1936)

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Yep, it’s Humphrey Bogart’s second appearance on the list but it is certainly well deserved. In “The Petrified Forest” he plays Duke Mantee, a gangster on the run from a massive police manhunt. Duke and his gang end up busting into an Arizona diner and hold everyone hostage. Some of the film’s best moments involve Bogart sitting in the diner verbally sparring back and forth with the hostages including Leslie Howard and Bette Davis. Edward G. Robinson was the first choice to play Duke, but Howard pushed for Bogart who eventually got the part. And thank goodness he did. There are a lot of good hostage films, but for me “The Petrified Forest” is the best of the bunch.

Agree or disagree? Do you have a hostage movie that I should have included? Leave a comment below and share your thoughts or tell me your favorite hostage movie.