Category Archives: Movie Reviews – M

REVIEW: “Meru”

by

19

Meru poster

Nestled in the heart of India’s Garwhal Himalayas stands a beautiful yet ominous mountain called Meru Peak. Topping at an elevation of 21,850 feet, the mountain features three peaks, one being Meru Central which is considered by mountaineers as one of the world’s toughest climbs. Meru Central features a 4000 foot granite wall called the Shark’s Fin and the route around it has been tried and failed by the world’s best climbers.

This documentary tells the story of three climbers who first attempted to conquer the Shark’s Fin in 2008. The three determined men endure a major storm, harsh temperatures, and a shortage of supplies only to be forced back down a few feet away from conquering the peak. It’s disappointing and demoralizing for the team but it is nothing compared to the adversity each would individually face in the three years that followed.

Early into the film it’s easy to see these guys as nothing more than free-spirited adrenaline junkies. You would have to be a bit crazy to take the deadly risks they take and to put your body through the stress they do. But after the failed attempt to summit Meru, team leader and one the world’s best climbers Conrad Anker, his trusted partner Jimmy Chin (who also directed, co-produced, and shot the film), and young but trustworthy Renan Ozturk each experience personal tragedies or near-death experiences that completely alter their lives.

The documentary takes a detour from climbing to look at these tragedies and show us the effects they had on these men. Tackling Meru was no longer important. Life had taken darker turns and each man was bearing his own heavy burden. Through this Anker, Chin, and Ozturk become more to us than adrenaline junkies. It grounds them on the most human levels. As a result we empathize with them when they decide to go back to Meru Central. We understand their personal motivations and we too see this as more than just a climb.

At times you may feel like your watching one big North Face advertisement. The logo seems to be in every shot. There are also moments where the narrative transitions are a little rocky. Other than that “Meru” hits every important note you want from a documentary. But it also has an intriguing structure that teases you to make negative assumptions before unveiling its deeper human component. That is when I knew “Meru” had a lot more going on under its surface. I ended up caring about these men, empathizing with their perspectives, and reflecting on my own viewpoints. I love it when a film is able to pull that kind of reaction out of me.

VERDICT – 4 STARS

4 Stars

 

REVIEW: “The Maze Runner”

by

31

MAZE poster

Fear not my friends, teen dystopian science fiction is still alive and well! Don’t believe me? Just check out the laundry list of films that fit the description. As we speak “The Hunger Games” and “Divergence” are two franchises currently going (or recently ended) that are based on popular teen books. Add to that list “The Maze Runner”, the first installment of the film adaptations of James Dashner’s popular 2009 book series.

“The Maze Runner” serves as one big introduction to the characters, the setting, and the circumstances. It functions specifically as the opening of a series and it does little to expand its identity beyond that. First time director Wes Ball follows a pretty bland blueprint in establishing his world. There are several cool elements at work and the entire premise is pretty intriguing. There are also several common shortcomings that plaque many of these types of films.

MAZE1

The story begins with a 16-year old boy (Dylan O’Brien) suddenly waking up in a moving service elevator. He is met at the top by a group of boys in a place called the Glade – a big grassy area completely surrounded by huge stone walls. The boy (who we later find out is named Thomas) doesn’t know who he is or how he got into the elevator. And obviously he has no idea what kind of world he has awoken to.

The boys of the Glade have built a social structure filled with several of the usually character types. Thomas and the audience learn about the world through scene after scene of exposition. For a while it seems like each character he meets has to stop a lay out another explanation of what this group of people does or of what that particular threat is. Very little is allowed to happen organically in the first half of the film.

But even amid some pretty generic table setting an intriguing  foundation is laid and the second half of the film builds upon it. The walls around the Glade actually lead to a giant maze filled with a number of dangers. The group has given into the idea that they will never make it out of the Glade. Thomas defies that reasoning and sparks a movement to learn the maze and escape their captivity. But what is actually looming behind the maze? Don’t worry, you’ll have three whole movies to find out.

THE MAZE RUNNER Minho (Ki Hong Lee, left) and Thomas (Dylan O'Brien, right) search for a way out of the maze. TM and © 2014 Twentieth Century Fox Film Corporation.  All Rights Reserved.  Not for sale or duplication.

The suspense builds up pretty good in the second half and I was genuinely hungry to get some hints as to what was going on. Unfortunately “The Maze Runner” offers up very little in terms of answers. There also isn’t a big cliffhanger high. Instead it simply ends. It also leaves you with plenty of plot holes to ponder. I’m not talking about obvious storylines that we can expect to be answered in future installments. These are portions of the story that just doesn’t make sense.

You could point to other storytelling deficiencies and you could pick apart the performances of some of the young cast. Yet despite its pretty glaring flaws, “The Maze Runner” managed to do one of the most important things – it left me interested in seeing where the next film was going. I did find enough here to get me involved and I did find myself curious about the secrets being kept. And there are a few unorthodox angles that I did find pleasantly surprising. These are reasons I can slightly recommend “The Maze Runner”. At the same time it isn’t a film I’m anxious to see again and I can certainly understand why others would be even less enthusiastic.

VERDICT – 3 STARS

3 Stars

REVIEW: “Mistress America”

by

12

MISS POSTER

Noah Baumbach has a unique fascination with telling stories of high-strung eccentric chatterboxes who aren’t always the most likable people to be around. Some are airy and naive. Others are astringent and self-absorbed. But despite each of their quirks, annoyances, or repellent personalities, I’ve always found myself fascinated with Baumbach’s strange and often self-destructive creations.

Enter “Mistress America”, an unusual amalgamation of all of the above. It features most of the normal Baumbach signatures – neurotic and/or insecure people, a ton of hip rapid-fire dialogue, and a bustling New York City backdrop. As with every other film of his, a big part of your reaction will be influenced by your opinions of the characters and your tolerance levels for them.

MISS1

Baumbach’s favorite muse and girlfriend Greta Gerwig co-wrote the story and gets top billing, but the film is really about a girl named Tracy struggling to find her niche during her freshman year at college. She’s played by Lola Kirke who was very good in last year’s “Gone Girl”. Tracy feels like an outcast and can’t fit in with any of the typical college groups. Even the nerdy intellectuals pay her no attention except for a fellow writer named Tony (Matthew Shear). But even that relationship isn’t without its complexities.

Sensing her daughter’s melancholy, Tracy’s mom (Kathryn Erbe) encourages her to call up and connect with her soon-to-be stepsister Brooke (Gerwig). Tracy is instantly smitten with Brooke’s panache and lively New York City lifestyle (stating in one scene “I can’t imagine the city without you”). Brooke talks a good game and seems to have her toe dipped in many of the city’s coolest waters. But as with many of these characters, there is reason for us to wonder if her life is truly all sunshine and roses.

MISS2

For the most part “Mistress America” succeeds on the exact same level as most of Baumbach’s pictures. The characters are interesting even in their peculiar states and the story could be called a simple platform for their idiosyncratic philosophizing, witty banter, and self reflections. Dialogue is always a focus and most of it works as quirky intellectual comedy and drama. But this also feeds into a couple of the film’s issues. There are moments where the back-and-forths between characters feel too scripted. Other exchanges work noticeably hard to be intellectually cool. I’m also not sold on some of the comedy angles we get later in the film.

Embracing Noah Baumbach means dealing with certain blemishes and minor frustrations. At the same time his unique characters, rich dialogue, and sharp wit is more than enough to make up for them. This particular dive into the fashionable problems of big city millennials may not measure up with Baumbach’s best. Yet it still manages to capture what I enjoy about his films and the uniqueness of his formula is always satisfying.

VERDICT – 3.5 STARS

3.5 stars

REVIEW: “The Martian”

by

37

The Martian poster

Ridley Scott’s filmography has been pretty amazing. A quick scan shows it to be littered with cult classics, blockbuster favorites, and Oscar winners. But over the last several years many have hit Scott’s films pretty hard. Personally I have disagreed with the many. I loved the slower, character-driven approach to “Robin Hood”. I don’t think “Prometheus” was nearly as bad as many do. And despite its noticeable flaws, I thought “Exodus” was a pretty grand spectacle.

But now the 77 year-old Scott has once again caught the attention of his critics with “The Martian”, a brainy and somewhat observational  science fiction flick based on Andy Weir’s 2011 novel. Scott has long enjoyed delving into the science fiction realm, yet with “The Martian” he has managed to create something unique. This entertaining mixture of striking visuals and patient, methodical narrative has little in common with Scott’s past sci-fi experiences. “The Martian” is a much different movie but it still spotlights Scott’s talents as a filmmaker even though it may not sit among his best.

1E2FE3AD

“The Martian” plays out like some type of love letter to science and space exploration. There are A TON of science-heavy back-and-forths between the film’s large cast of characters and science is the centerpiece for nearly every scene. In many ways it was captivating to watch and listen to these people speak 10 light years over my head – bouncing around theories, equations, and analyzing data. At the same time it left two-thirds of the film feeling too emotionally dry. Drew Goddard’s script nails down the science but sometimes misses the human element.

The story hops into gear quickly when the Aries III Mars mission is hit by a brutal storm. They are forced to prematurely leave the surface and in the process astronaut and team botanist Mark Watney (Matt Damon) is presumed killed and left behind. Actually though, Mark miraculously survived and wakes up to find himself alone and stranded on the red planet. Armed with more scientific knowledge than a stack of college textbooks, Mark determines to use his science knowhow to survive. That starts by figuring out a way to communicate back to Earth.

For me Matt Damon is the epitome of the ‘reliable actor’. He is always solid and you know what you’re going to get. Here he handles his alone scenes well often talking to only himself of a computer screen. Many scenes require him to carry them ala Tom Hanks in “Cast Away”. He doesn’t exhibit the charisma or charm of Hanks but he more than gets the job done and you never doubt him or his predicaments.

MARTIAN1

The film’s second setting is on Earth. Upon discovering that Mark is alive, NASA sets out to find a feasible rescue plan. To accomplish this the movie introduces us to a host of characters many of which function solely to toss around their own scientific solutions. An interesting ensemble is put together for the NASA scenes. On the better side of the group is the rock-solid Chiwetel Ejiofor who plays Mars Mission Director Vincent Kapoor. In much more curious casting, Kristen Wiig feels terribly out of place as NASA’s chief spokesperson. And while Jeff Daniels certainly wasn’t “bad”, he was a bit hard to believe as the “Head of NASA”.

But there is a third setting and I would argue that it contains the more compelling and entertaining characters. It takes place aboard the Hermes where Mark’s crew is making the long trip back to Earth after losing one of their own. Or so they think. It’s here that the film gives us a better mix of science and human emotion. The casting is also stronger featuring Jessica Chastain, a reserved Michael Peña, Sebastian Stan, Kate Mara, and Aksel Hennie. I loved spending time with this group.

MARTIAN3

“The Martian” has wonderful visuals but not strictly in the way you might expect. There aren’t a lot of eye-popping visual spectacles. It’s more subtle and calculated, concentrating on gorgeous, slow-moving panoramic shots and unique, strategic camera angles that highlight the spectacular space settings. The storytelling is somewhat similar, at least until the last act. Most of the movie has the feel of a smaller more intimate picture despite its grand size and scale. I really appreciated that. It lasts right up until the finale. The ending felt much more studio polished and traditional.

Many people are heralding “The Martian” as a return to form for Ridley Scott. I would argue that he never lost his form but that is another discussion. Instead I’ll just say “The Martian” is another fine movie on a truly great filmmaker’s filmography. It’s not without its flaws. There is some questionable casting and some characters are woefully underdeveloped. Some of the humor doesn’t quite land (including a 70’s disco gag which never ends), and the ending was a bit too by-the-books. But none of these things keep “The Martian” from being a standout motion picture experience. It does several things we aren’t used to seeing from blockbustery type movies and it does them really well. And for me it is another reason why Ridley Scott remains a top-tier filmmaker.

VERDICT – 4 STARS

4 Stars

REVIEW: “Mortdecai”

by

24

Mort poster

Life is full of important questions. Does Donald Trump really think his hair looks good? Will Tom Cruise ever age? Do people actually watch “Keeping Up with the Kardashians”? But perhaps the most perplexing question is this – what has happened to Johnny Depp? And to go a bit further, what is driving him to pick such wretched projects these days? Over the years Depp has chosen a wide variety of weird and eccentric roles. But since his last “Pirates” movie, several of his choices have been…well…suspect.

Simply put, “Mortdecai” is his worst yet. It’s an appallingly unfunny action comedy fueled by lazy humor, juvenile gags, and its absurdly creepy main character. The film is based on a book series by English novelist Kyril Bonfiglioli. There were several books in the series which makes me think there was some decent material there. But screenwriter Eric Aronson doesn’t capture anything interesting or entertaining.

Mortdecai (Depp) is a shady art dealer and charlatan who, along with his high maintenance wife JoHanna (Gwyneth Paltrow), is financially strapped due to heavy tax debt. Inspector and old college acquaintance Alistair Martland (Ewan McGregor) comes to Mortdecai to help find a stolen rare Goya painting in exchange for settling his tax debt with the government. Along with his trusted manservant Jock (Paul Bettany), Mortdecai globetrots around the world, encounters a variety of uninteresting people, and faces plenty of dangers. Whatever.

Yep, that's the face you'll have as the final credits roll

Yep, that’s the face you’ll have as the credits roll

I’ve already mentioned how terribly unfunny the film is. You can only handle so much of Depp’s measly voice and bizarre gap-toothed smile. Humor focused on vomit, dry heaving, and body parts gets old quick. It also doesn’t help that the entire stolen painting mystery is sleep-inducing. It’s dull, lifeless, and smothered out by all of the vain attempts at humor. The movie tries to liven things up by injecting a few comedy-laced action sequences, but they are just as uninspired and forgettable.

I feel as though “Mortdecai” revolves around a continuous inside joke that I was never let in on. Surely a comedy can’t be this anemic, lame, and humorless. I sat stone-faced the entire time watching a talented and wasted cast flounder around with some of the worst material of the year. It could be said that this is a new low for Johnny Depp. The guy has talent. We have seen it in the past. But you see none of it in “Mortdecai”. Instead you get Depp at his most annoying and you have to wonder how much more of this nonsense can his career take?

VERDICT – 1 STAR

1 star

REVIEW: “The Man From U.N.C.L.E.”

by

31

UNCLE poster

“The Man From U.N.C.L.E.” debuted on NBC during the Fall of 1964. The campy and stylish spy-fi television series ran for only three and a half seasons but it has left a surprisingly lasting impression. That’s funny because during its short run the show struggled with its identity. It was at its peak of popularity when it was trying to be serious, but once the show started incorporating more humor the ratings dropped substantially.

So here we are, 47 years since the original show’s cancellation, and we have a big screen adaptation. The film embraces both the serious and the silliness that marked “The Man From U.N.C.L.E.” and its interesting television run. Guy Ritchie helms this wacky mélange of action, comedy, spy thriller, and a retro GQ photo shoot. On paper the movie calls for skepticism as it has all the ingredients to be a disaster. Thankfully it’s far from it. Instead Richie gives us a fun and zesty affair that quite exceeds the expectations I had.

UNCLE1

One of my causes for caution was rooted in the film’s two leads. Henry Cavill plays Napoleon Solo – a name so blatantly absurd yet tonally spot-on. He’s an accomplished thief turned reluctant CIA top agent. He’s quite confident and has a penchant for good fashion and even better hair. Then there is Armie Hammer playing KGB agent Illya Kuryakin. He’s a bit of a brute who is a by-the-book operative with a propensity towards fits of anger. Can you see where this is going? Two lone wolves forced to work together and all that stuff? Surprisingly the movie plays with that conceit without going too far.

Brimming with post-World War II and Cold War politics and atmosphere, “The Man From U.N.C.L.E.” is set in 1963 where our two good-looking stars meet while trying to nab at target for their respective countries. That target is Gaby Teller (played with sauce and spunk by Alicia Vikander). She’s the daughter of a nuclear scientist believed to be working on a nuclear bomb for a wealthy couple who also happen to be Nazi sympathizers. Solo and Kuryakin are ordered to join forces along with Gaby to foil the nefarious plot despite their differences.

There are several things the film could have done to derail itself. First there is the humor. “The Man From U.N.C.L.E.” doesn’t make the critical mistake of taking itself too seriously. At the same time it doesn’t bombard the audience with dopey, annoying gags and slapstick. Instead the movie relies on a very calculated dry wit. In many ways the characters are the gags with their ultra-serious personalities and corny bravado. We really see this in the film’s bromance innuendo that Solo and Kuryakin are completely impervious to.

Then there is the action. We certainly get a handful of snazzy action set pieces, but those expecting to see normal action-packed summer movie fare may leave disappointed. Ritchie doesn’t drown his movie in endless shootouts, fistfights, or car chases. He uses action but even it is presented with pinches of style and humor. There are a couple of action twists that feel a bit out of place but ultimately it is done well and in the right amounts.

But the film’s strongest point may be the fabulous recapturing of its 196os setting. Guy Ritchie, cinematographer John Mathieson, costume designer Joanna Johnston, and composer Daniel Pemberton all contribute to the film’s stylish and energetic sense of time. Everything including the fashion, the decor, the technology. The period flavored music which hearkens back to so many different 60’s era sounds. The film is very aware of its style and it could be said that Ritchie wallows in it, but certainly not to the point of making it any less impressive.

UNCLE3

Back to Cavill and Hammer. Some have criticized their performances and the lack of chemistry between the two stars. I actually enjoyed them particularly Cavill and his suave, cheesy overconfidence that is clearly spoofing early Bond. There are moments where Cavill seems to be posing more than acting and Hammer feels as stiff as a board on occasions. But as for their chemistry, it’s a bit hard to judge since they are playing two characters who actually have no chemistry. That’s kind of the point. Overall I think they pull it off. And then you have Vikander who is a lot of fun playing the roles the men visualize for her while being smarter than any off them think. I also really liked Elizabeth Debicki giving a playfully exaggerated performance as one of the film’s villains.

So what to make of “The Man From U.N.C.L.E.? There is a smugness to the whole proceeding that sometimes shows itself in the self-indulgent style and in Ritchie’s infatuation with how good his actors look. But there is also an undeniable allure. I loved the realization of the setting, the controlled but effective humor, and the well utilized smattering of action. Most importantly I had a lot of fun, something we don’t always get to say with these types of projects. Sadly the film’s unique flair hasn’t drawn big crowds at theaters, but I found it to be a welcome retreat that may not be flawless but is certainly entertaining.

VERDICT – 4 STARS

4 Stars