Category Archives: Reviews

Independence Day: Resurgence…because one wasn’t enough

I’ll admit it; when I was younger I loved the first Independence Day movie for what it was.  A good old America hoo-ha action flick that I have watched on many Fourth of Julys.  Was it a great film? Not exactly, but it was memorable for the special effects, the one liners, and the spirit.  Twenty years from the release of the first film, there is now going to be a sequel: Resurgence.  Set in 2016 (and slated for a summer 2016 release date), this movie continues down the alternate timeline in which we were invaded by aliens in 1996.  And what a timeline that is.  The trailer shows how we adapted alien tech to empower our defenses while waiting for the second wave of alien invasion, because like anyone who has ever played Space Invaders knows, there is always another wave coming.

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Captain America: Civil… Wait for It… War

It’s almost January, which means the next big Marvel movie is only four months away! We can persevere through the harsh winter and the allergy-ridden spring knowing that the Cap will be back at it again, bouncing people off his patriotic shield and punching his way into our hearts. The Captain America: Civil War trailer displays more of the edgy anti-establishment vibe that the previous installment, The Winter Soldier, had but on a more personal level for our star. However, in order to understand this emotional depth, you’d have to watch the Marvel films that come before it. Oh, did I forget to mention that this is the thirteenth movie in the Marvel Cinematic Universe (MCU)? That’s over 25 hours of glorious screen time, but no worries! You have four months to catch up. As the birth child of many action-packed Marvel movies, it opens all sorts of riveting questions about Steve Rogers’ relationship with the New Avengers, Tony Stark, and Bucky…especially Bucky. Maybe too much Bucky, up to the point where it may feel more like a drama than an action film, and the poignant melody and less-than-usual explosions don’t help. And yet it’s a satisfying trailer as a whole; perhaps it’s because it only provides a little sample of what the title pertains to: the vivid conflict between Iron Man and Captain America or, as I like to call it, “the end to the Bromance That Never Was.” Following the now-canon hero-versus-hero format, this movie comes out after Batman v Superman: Dawn of Justice, but based on the trailers, Civil War won’t have to try too hard to knock its competitor out of the box office. With these odds, does Cap really want to punch his way out of this? I think we all know the answer to that.

Grade: P

Captain America: Civil War is PG-38 if you add the 25 hours it’ll take you to delve into the MCU.

Batman v Superman v Doomsday v Jesse Eisenberg, Oh & Wonder Woman

Arguably the greatest challenge in making a trailer is treading the fine line between piquing the audience’s interest and spoiling the movie. But this trailer doesn’t even try. It opens with some nice banter between Bruce Wayne and Clark Kent as each of them argues why the other’s Superhero isn’t so super. Their critical comments regarding the darker side of superheroes taking the law into their own hands fit nicely with Snyder’s grittier tone. But as the trailer moves on, you gradually realize that this isn’t a trailer, it’s the whole freaking movie. The trailer essentially reveals the entire plot. Batman and Superman’s verbal disagreements escalate into fist fights, okay no surprise there. But then Jesse Eisenberg (allegedly playing Lex Luthor but really just playing the same character he plays in every movie) gets bored watching them not kill each other fast enough, so he uses the corpse of General Zod to create what appears to be a hybrid of a Teenage Mutant Ninja Turtle and a Lord of the Rings Cave Troll (though it’s probably actually based on the comic villain Doomsday). Then Batman and Superman resolve their differences to take on this greater threat. Oh yeah, Wonder Woman’s there too, but given her utter lack of dialogue, it doesn’t look like she’s the strong, interesting female superhero we’ve been waiting for. A trailer for a movie with such well known characters as Batman and Superman doesn’t need to explain the entire plot. It just needs to show us that there are well motivated reasons behind the conflict between these two heroes. This trailer was made by people at Warner Bros. who didn’t actually work on the film, and it shows. It feels far more clumsy than previous trailers and reveals far too much. To paraphrase Superman, Warner Bros. “What have you done?”

Grade: F

Warner Bros. needs to learn from J.J. Abrams: When it comes to trailers, less is more

Here is the trailer itself. Watch at your own risk.

Sins of the Father

Last year on a trip to Munich I visited Dachau concentration camp. Walking through the barracks, standing in the gas chambers, and looking into the crematoria deeply disturbed me. Yet one of the most unsettling things I remember was something the tour guide mentioned in describing the dismantling of the camp at the conclusion of the war: “Most guards honestly thought they could simply go home and live happy lives with their families as if nothing had happened.” How could someone “forget” about committing genocide? How could they live with themselves? Most of all, how could their own families ever love them again?

David Evans’ What Our Fathers Did: A Nazi Legacy deals with this dilemma, focusing on two sons of high-command Nazi leaders, Niklas Frank (son of Hans Frank, who served as Nazi appointed General-Governor of the occupied Polish territories) and Horst von Wächter (son of Otto von Wächter, who served as the Nazi appointed Governor of both Krakow, Poland and Galicia, Ukraine). This simple documentary, expertly narrated and explored by renowned legal scholar Philippe Sands, views the Holocaust through a unique and deeply troubling lens. It unlocks the profound emotions surrounding the sons’ attitudes toward their fathers and highlights the contrasting ways in which they confront their fathers’ crimes: Niklas’ absolute rejection and Horst’s delusional loyalty.

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In the Spotlight

Lance and Maggie are here to discuss Spotlight, a historic-thriller about investigative journalism and the evils of an institution. Named after a team of investigative reporters on The Boston Globe dedicated to the most intense and complex stories, Spotlight shares the riveting account of the team’s early 2000s investigation into Boston’s Roman Catholic Church. What starts as a piece on a single Catholic priest molesting children becomes a revelatory look into the repeated abuse of children by multiple priests in the Boston archdiocese, a tragedy made possible by the Church’s systemic cover-up.

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A Very (Un)Murray Christmas

Ah, the Holidays. A time to indulge in stale cookies and bad eggnog, and watch endless reruns of tired Christmas classics. This year, in the same spirit of mediocre holiday entertainment, comes A Very Murray Christmas. The Christmas special, recently released on Netflix, is directed by Sofia Coppola, and stars, of course, Bill Murray. Murray, along with a gaggle of famous friends, try to recreate old timey holiday variety shows, with a contemporary spin. Unfortunately, this star-studded affair lacks any Christmas magic. Continue reading A Very (Un)Murray Christmas

The Two-Minute Smile

“What. Do. You. Call. A. Three. Humped. Camel?” We’ve all walked into the Department of Motor Vehicles, and then left some life force behind when we emerged hours later. So I must say it’s more fun to watch the suffering than to personally experience it. And I, for one, love watching animated sloths smile at stupid jokes it took way too long for them to tell.

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The Coen Brothers’ Roman Forum

When Josh Brolin’s character tells you that, “an army of technicians, actors, and top-notch artistic people are working hard to bring to the screen our biggest release of the year,” you cannot help but think he is not just talking about a fictional movie production. The Coen Brothers’ latest film Hail, Caesar! creates a glamorous world of nostalgia for the Golden Age of Hollywood, but is the film self-deprecating or self-indulgent?

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For Sale (Cheap): Lovely Manor with Minor Ghost Problem

As much as Crimson Peak loves to tell us exactly what is happening, there is the one instance where the movie doesn’t describe itself accurately. “Beware of Crimson Peak.” Only a few minor scares dot this movie; most of the work director Guillermo del Toro does focuses on the lighting and set itself, which make the movie look complex and beautiful, but unfortunately not very scary.

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The Big Short: calculated bet or casino gambling?

Hollywood seems to love the financial collapse of 2008 and Princeton alum Michael Lewis. In the last five years, we’ve watched Margin Call, Too Big to Fail, and Inside Job explain the complicated financial meltdown to the average moviegoer. In the last five years, we’ve also watched screenplays adapted from Michael Lewis’ books, including Moneyball and The Blind Side. The Big Short, a movie about the housing bubble collapse adapted from Michael Lewis’ book of the same name, combines both of the industry’s love affairs.

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Touched with Fire: The Insanity Behind Art and Love

When you watch the trailer for Touched with Fire, it’s easy to feel lost. It presents parallel mental breakdowns of a young woman and man, who recite pieces of poetry as they frantically write, draw, and stir a sense of confusion and anxiety in those around them. The hollow beat in the background grows louder as the trailer cuts sporadically from one image to the next, creating a crescendo effect that absorbs you into the panic as well. Everything blends into a fast blur of voices and images—and then it all stops. Suddenly, the pace of the trailer slows, and we see the same woman and man in a mental hospital trying to negotiate their way out. Continue reading Touched with Fire: The Insanity Behind Art and Love

Paul McGuigan’s Monster

Since the Edison film short Frankenstein back in 1910, Mary Shelley’s masterpiece has been adapted for the big screen countless times (most recently I, Frankenstein in 2014). Every time, the question is the same: how will this film distinguish itself from the ever-growing plethora of Frankenstein movies? Victor Frankenstein, directed by Paul McGuigan, wisely approaches the story from a fresh angle, presenting the life of Victor Frankenstein (James McAvoy) through the eyes of his assistant Igor (Daniel Radcliffe), a character who doesn’t even exist in the original novel. While Victor’s and Igor’s characters are well developed, Radcliffe’s problematic voiceover, McAvoy’s shockingly inconsistent performance, and the film’s genre identity crisis make it unlikely to stand out from the crowd.

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