Tag Archives: movies

Your Voices: On Tom Cruise

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your-voices

Your Voices is a simple concept created to encourage conversation and opinions between movie lovers. It works like this: I throw out a certain topic. After that I’ll make my case or share my opinions. Then it’s time for Your Voices. Head to the comments section and let fellow readers and moviegoers know your thoughts on the topic for that day!

Cruise

Tom Cruise

The story of Tom Cruise is fascinating to me. At one time he was the most loved and adored movie star in the business. He was a mammoth box office draw and many of his films hold special places in cinema history. But something happened. Over time people’s opinions and reactions to Cruise dampened. Was it the Scientology thing? Was it the Oprah couch-jumping? All of those were certainly low points in his otherwise stellar career but many actors have done worse. Still his decline in popularity is undeniable and (as is evident by his recent film, the wonderful “Edge of Tomorrow”) he isn’t a guaranteed big money-maker.

Personally I still like Cruise a lot and I appreciate the star quality he brings to a film. But I also think he is capable of really good performances as well as some fun big budget action pictures. Perhaps some of my appreciation for Cruise is rooted in nostalgia. I grew up through the 1980s when he rose to the top of the movie star food chain. I loved so many of those movies. But I also really appreciate some of his later work. In a nutshell I can understand some people’s aversion to Tom Cruise. I just don’t necessarily agree with it and I still find myself interested whenever I see his name attached to a movie.

YOUR VOICES: What is your take on Tom Cruise?

Now it’s time for Your Voices. In light of the so-so success of his recent film, what are your thoughts on Tom Cruise? Do you enjoy his movies? Does he rub you the wrong way? Please share you thoughts on today’s question and I’d love to hear from you in the comments section below.

REVIEW: “X-MEN: Days of Future Past”

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XMEN POSTER

The X-Men franchise (and I’m including the Wolverine films) has been filled with great movies and great disappointments. It was only two years ago that we saw a reboot of sorts and a new direction for these cinematic superhumans. Now they are back in a film that at first sounded risky and potentially disastrous. Instead of continuing with a storyline strictly focused on these rebooted characters, “X-Men: Days of Future Past” mixes them with the characters (and the performers who played them) from the past series. So my first question was is this “X-Men 4″ or X-Men: First Class 2”?

This huge mash up could have went terribly bad. I’m so happy to say that the opposite is true. In fact, after a somewhat disorienting start, the movie turns into what is easily one of the best movies of the entire franchise. Bryan Singer, the architect of the original X-Men films returns to direct this ambitious and large-scale blockbuster which gets its title from the classic comic book storyline from Chris Claremont and John Byrne.

 

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The future world is a dark place especially for mutantkind. Giant robot mutant hunters known as Sentinels have chased mutants to the edge of extinction. The X-Men of the future (played by the original cast members from the first films) have traced the origins of the Sentinels back to 1973 and a man named Bolivar Trask (Peter Dinklage). Led by Professor Xavier (Patrick Stewart) and Magneto (Ian McKellen), they devise a plan to send the never-aging Wolverine (Hugh Jackman) back in time to influence the situations that lead to the Sentinels’ creation. You with me so far?

When arriving in 1973, Wolverine is tasked with enlisting the help of the younger Xavier (James McAvoy) and Magneto (Michael Fassbender). The problem is a lot has changed since the final credits scrolled in “X-Men: First Class”. It’s this landscape, filled with political tensions, shattered relationships, and fragile psyches, that Wolverine must navigate if there is any hope of averting their future extinction. Obviously several major threats are at work both in the past and in the future. The movie hops back-and-forth throughout but the main focus of the film is Wolverine’s mission in 1973.

The movie literally plunges into its bleak future setting with practically no buildup whatsoever. We do get some exposition that sets the table, but it took me a few moments to get my feet planted and, aside from the familiar faces, it took some time to connect this movie to any of the earlier films. But once the story begins to take form it is an exhilarating and captivating experience. In fact, the story is the movie’s greatest strength. “X-Men: DOFP” features one of the smartest and most layered stories that you’ll find in a superhero picture. Even more, the story never becomes convoluted or confusing. I loved how everything unfolded and numerous connections to other X-Men films are sprinkled everywhere.

Another thing I appreciated is how everything had importance and carried weight. Every decision had to be made with careful thought given to their consequences. Convictions had to be questioned and actions had to be scrutinized. There are very few wasted scenes in this movie (there are a couple – for example the Wolverine butt shot? Seriously Bryan Singer?). I also think the way they joined the old with the new was smart, effective, and It avoided all of the traps that it easily could have steppedl in. Narratively this was a huge treat right up to its very satisfying payoff.

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As for the performances, can we just go ahead say without question that Hugh Jackman IS Wolverine? Once again he is very good, but he was not his normal action-fueled centerpiece and I’m fine with that. The real highlights for me were Fassbender and McAvoy. Fassbender is one of our best working actors today and his Magneto is menacing and unpredictable. He’s a man of conviction and unharnessed anger and Fassbender paints him perfectly. But the best performance may be from McAvoy. He’s tasked with conveying a huge range of emotions and I never questioned the authenticity of what he was doing. It truly is brilliant work that sets itself apart in a profound way.

I can’t believe I’m saying this again, but here we have yet another really strong 2014 blockbuster. On an almost unprecedented level, this year’s big budget movies have really taken steps up (minus a couple of disappointments). “X-Men: DOFP” is really good. It’s start is a bit jarring, the future Sentinels look pretty generic, and I could list a few other nitpicks. But in terms of story, storytelling, and sheer entertainment, the movie scores where it counts. Now the big question is where does it go from here? Have we seen the last of the “First Class” X-Men? Will the old timers take back the reins? I don’t know but after seeing this movie I am really intrigued.

VERDICT – 4 STARS

REVIEW: “The Sundowners”

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What is a sundowner you may ask? In this film from 1960 one character defines a sundowner as “someone whose home is where the sun goes down.” It was an Australian term used for roamers who traveled across the countryside taking one job at a time. They would pitch their tent wherever they were at the end of the day and that was their home for the night. Richard Zinnemann’s film follows a family of sundowners who move from place to place taking sheep herding jobs. The film bombed in the United States but did well overseas and would go on to earn five Oscar nominations including one for Best Film.

Robert Mitchum plays Paddy Carmody, a nomad at heart who has no desire to settle down in 1920s Australia. He is perfectly content with being constantly on the move and working small jobs here and there. But over time Paddy’s insatiable wanderlust begins to clash with the desires of his wife Ida (Deborah Kerr) and his teenaged son Sean (Michael Anderson). They believe the time is come to consider settling down. They’ve grown tired of constantly being on the go and Sean is at an age where he wants to experience life and set out on his own path. Paddy’s stubbornness and his family’s patience provide the film its central contention.

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Some critics pointed out that there isn’t a lot of plot in “The Sundowners”. That’s essentially true although the film’s intent is to be a sprawling tale of the family’s lives, love, and rugged endurance. We follow them along the Australian backcountry as they drive a large herd of sheep, contend with a sweeping wildfire, and live off what the land provides. This allows for some truly beautiful, sweeping scenes that vividly capture the Australian countryside. The film was originally set to be shot in Arizona, but Zinnemann petitioned hard to spend the extra money and shoot it on location. It was a good decision. The landscapes are anaccurate setting and the story feels perfectly in place. And some scenes, like the aforementioned wildfire are shot with such tenacity and skill. Simply put, the movie looks great.

The family encounters several interesting people along the way. They hire and befriend an Englishman and fellow roamer named Rupert. Peter Ustinov would receive an Oscar nomination for the role. There are also several other interesting faces that pop up when Ida convinces Paddy to take on a stint at a sheep shearing station. She hopes the time in one place will soften him to the idea of settling down here. It’s at this remote station that their family dynamic takes some dramatic turns which sets up the rest of the film.

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As for the performances, Mitchum is rock-solid as always. His Paddy is a tough, salt-of-the-earth fellow, but one whose stubbornness threatens to alienate the family the holds most dear. Mitchum fits right into the character although his Aussie accent is a bit erratic. Kerr is as brilliant as always. Her Isa puts off tough and rugged pioneer vibes but also maintains a distinct femininity. Kerr would earn one of the six Oscar nominations of her career for this role. Amazingly she never won an acting Oscar but the Academy did give her the honorary “Whoops, We Screwed Up” award in 1994. The supporting work was uniformly strong and it too gained critical praise.

“The Sundowners” does run a tad too long and there is an occasional lull or two. The absence of a more defined plot may be an issue for some as well. But the movie does a great job of selling its characters and drawing us to them. I really liked the family and I wanted to see how their story plays out. I also appreciated how grounded the story feels. The film never embraces the sentimentality that many family dramas are consumed by. It just wants us to get to know these people and to experience the life they live. Personally that was enough for me.

VERDICT – 4 STARS

REVIEW: “Edge of Tomorrow”

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EDGE PSOTER

Some folks immediately dismissed “Edge of Darkness” once they heard the name Tom Cruise and science-fiction joined together again. Not me. This was one of my most anticipated films of 2014. Unlike many I enjoyed Cruise’s last sci-fi project “Oblivion” although it was a movie with noticeable flaws. Now he’s back playing in a science fiction sandbox filled with a strong script, cool special effects, and a time loop angle that makes this film feel undeniably unique despite it dabbling in familiar territory.

“Edge of Darkness” is based on a Japanese graphic novel entitled “All You Need Is Kill”. At first glance it may come across as a typical, run-of-the-mill alien invasion picture. Times are bad on planet earth and the human race is close to extinction. Our last hope lies in a big beach invasion on the European coast akin to D-Day. But while many aspects of that will sound very familiar, the movie throws us a clever curveball which is not only fresh but very entertaining.

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Cruise takes on a very different role than we are used to seeing him in. He plays Major William Cage. That may sound like a macho military tough guy name but actually he’s a public relations specialist who works to encourage people into service while avoiding it himself. There’s no heroic and attractive golden boy aura. He’s actually an unlikable and cowardly man who soon finds himself tossed onto the frontlines of the big invasion. The battle doesn’t go well and the untrained and combat-ineffective Cage is killed in action. But instantly after death he wakes up at a past point before the invasion took place. Over and over this takes place and Cage must adapt while repeatedly reliving the doomed invasion.

We are also introduced to a character named Rita Vrataski (Emily Blunt). She’s a Special Forces Sergeant who has an almost legendary status following her inspirational fighting in an earlier battle against the aliens. She crosses paths with Cage on the battlefield but their connection may go beyond that. Vrataski is a really cool component and not only does she add a lot to the story, but she gives us a strong and capable female lead. I was immediately drawn to her toughness and resolve.

If you’ve read other reviews you’ve probably heard this film compared to the Harold Ramis comedy “Groundhog Day”. That’s an undeniable comparison. Someone else said it best – “Edge of Tomorrow” is an entertaining mix of “Groundhog Day” and “Starship Troopers”. The trippy time loop element works really well within the sci-fi environment and its definitely more than just a gimmick. Director Doug Liman uses it as a focal point and it could have easily went bad. Instead it’s a ton fun and not only does it make for a great plot device, but it also opens the door for some of the movies genuinely funny moments.

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Tom Cruise does a nice job going against type and reminding us that he is still a quality actor when given good material. I quite liked him here and he showed that he is still an actor with noticeable range. Emily Blunt once again shows that she is an actress who can play almost any role that she takes on. She never flinches in response to the physical demands of her character and you never doubt her authenticity. We also get Bill Paxton having fun playing with Master Sergeant stereotypes and we get Brendan Gleeson who is always good regardless of what he is in.

So far 2014 has been the year of the really good blockbuster. That is rarely the case but we’ve had several this year that have really won me over. Add “Edge of Tomorrow” to that list. Now it would be very easy to nitpick this movie to death and to point to a few plot points that don’t exactly make sense. But I think the movie works extremely well as a complete package. There’s some good science fiction, strategic funny moments, exhilarating action, and a smart and sharp story that never grows dull. I was thoroughly entertained by “Edge of Tomorrow” and that was exactly what I was hoping for.

VERDICT – 4.5 STARS

REVIEW: “Short Term 12”

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SHORT TERM POSTER

“Short Term 12” opens up with a great scene featuring a supervisor from a group home for troubled teens telling a story involving a past patient to a new employee. We are dropped into this conversation as an observer and we get a brief introduction to the main characters. But without a moment’s notice the scene changes dramatically. A young boy bursts through the door and takes off towards the front gate. He’s screaming, waving his hands, and clearing he is deeply upset. The workers subdue him and the emotionally complex setting of “Short Term 12” is realized.

The movie is written and directed by Destin Daniel Cretton who was inspired by his real-life experiences of working in a group home for teens. He first made this into a 2009 short film, but later developed it into a feature length picture. This was only Cretton’s second feature length movie which makes his accomplishment all the more impressive. You see, “Short Term 12” is a really good movie and much of its strength and potency can by traced back to Cretton’s pen and his raw use of the camera which perfectly captures the tone and intensity of his setting.

Short Term 12Brie Larson and Keith Stanfield

Brie Larson is unquestionably superb as the lead character Grace. She is a supervisor at the teen group home (called Short Term 12). She works alongside her boyfriend Mason (John Gallagher, Jr.) to both mentor and council a group of teens with an assortment of problems. Along the way we are introduced to them and watch as Grace interacts with them on both procedural and personal levels. Larson’s performance blew me away and there is such a natural quality to what she’s doing as an actress and within the character she is portraying. We also get some interesting scenes between Grace and Mason away from the home. At first these moments seem flimsy but they really payoff later on as the story develops.

Grace never lacks control and she is a compassionate professional when it comes to taking care of these kids. But she is especially invested in a new resident, a troubled young girl named Jayden (Kaitlyn Dever). This is where we see a different side and an interesting turn in Grace. There is a stunning and vivid dichotomy within her. She is a strong and determined woman, but she is also scarred and emotionally fragile. This adds an entirely new layer to the character and the film that I really responded to.

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At no point does “Short Term 12” feel fabricated or overly melodramatic. There is a stinging realism that permeates the entire picture. It constantly draws out raw emotion from its characters and the situations and circumstances are believable and often times troubling. There are a couple of characters than dance dangerously close to stereotypes and their stories take some fairly predictable turns. But overall the film sucks you in and exposes you to truths about these teens and the people gifted with the patience and will to help them.

I tip my hat to Destin Daniel Cretton for crafting a movie that doesn’t lose itself in the typical Hollywood contrivances and forced melodrama that we get these days. I also applaud Brie Larson who not only showed she can act, but she gives an incredible performance that is grounded and always feels true. There are waves of emotions that flow throughout the movie and the story keeps you thoroughly invested. “Short Term 12” is another great example of the strength of independent cinema and the impact these films can have on the movie-making landscape.

VERDICT – 4 STARS

REVIEW: “Upstream Color”

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UPSTREAM POSTER

Mark my words, you will spend the first half of “Upstream Color” wondering what the heck is going on. And if you’re like me, you’ll spend the second half making a series of observations or connections that may or may not exist. But all of that is okay because by the end I realized I had watched something intelligent and strikingly original. There is nothing Hollywood about this picture. It’s independent cinema in its purest form. But don’t let that fool you. This is also one of the most visually entrancing pictures to come out of 2013.

To call this Shane Carruth’s movie would be an epic understatement. Carruth serves as director, writer, editor, cinematographer, co-producer, co-star, and he composed the music. “Upstream Color” is only his second film but his first since 2004. When speaking of Carruth comparisons have been made to Terrence Malick and we see the validity of the comparisons in “Upstream Color”. His penchant for filming nature, his use of sound, the sparse dialogue, and his sweeping poetic camera feel heavily influenced by Malick’s work.

It’s impossible to put “Upstream Color” into a box and giving too much of the plot away would be stripping the film of some of its allure. It’s a very abstract movie with a haunting and hypnotic feel that permeates the entire project. And drawing in your senses is clearly one of Carruth’s main objectives. I’ll just say this, a young woman (Amy Seimetz) is drugged by a mysterious man (known only as The Thief) while at a nightclub. The drug is actually a mind-controlling parasite which The Thief exploits in order to rob her. Later she is drawn to a man (played by Carruth) who may or may not have shared a very similar experience.

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There are several other mysterious elements and bits of imagery that are cleverly used to peel back the film’s meaning. But even after you’ve dissected the movie in your mind, thematic interpretation may still be a bit challenging. But that’s one of the things I appreciated about the movie. It doesn’t lay everything out all nice and neat for the audience. It engages you and challenges your perceptions of what you are seeing. Interestingly enough, that also leads to one of the movie’s only flaws. It does reach a point where it gets a bit bogged down in its artful approach. It’s a point where the connections and revelation seems to slow down and the film turns into a series of well shot but drawn out sequences.

That aside, “Upstream Color” is a treat. Shane Carruth shows an amazing eye for cinema and he creates a movie experience guaranteed to be unlike anything else you’ve seen in a while. And I haven’t even talked about Amy Seimetz. Talk about a wonderful performance. Now be forewarned, this is a movie that may not appeal to the masses and it has flown under many radars. But for me it shows the diversity of high-quality movies we saw in 2013. It’s definitely worth checking out. I loved it.

VERDICT – 4.5 STARS