This film of magical heists and mystery looked like just a fairly fun outing from the trailers, and I’m glad to say that is what I received. Now You See Me has a great cast of talent that delivers, a script that is smart enough, and a premise that maintains your interest to see where the next twist will take you. It’s not brilliant, but it is well designed to entertain.
An elite FBI squad, led by Agent Dylan Rhodes (Mark Ruffalo), is pitted in a game of cat and mouse against “The Four Horsemen,” (Jesse Eisenberg, Isla Fisher, Woody Harrelson, David Franco) a super-team of the world’s greatest illusionists who a year ago were mere street performers. “The Four Horsemen” pull off a series of daring heists against corrupt business leaders during their performances, showering the stolen profits on their audiences while staying one step ahead of the law. Their sensationalistic crimes also ensnare the attention of Thaddeus Bradley (Morgan Freeman) who now debunks and exposes the tricks of magicians for his own gain. As the Horsemen’s grand game of misdirection and slight of hand escalates towards their grand finale, it’s a cunning game of wits for all to pull the curtain back to unveil the hidden truth behind it all.
Indeed, what sells this film in general is the excellent acting talents involved. Morgan Freeman is surefire as this former magician who now seeks to debunk the best in the business for higher fortune. He keeps the riddles twisting around the audience leading us on, but never fully revealing the next step. How he deconstructs how the Four Horsemen executed their tricks and heists is smartly done. Freeman does a wonderful job here bringing his usual intellectual savvy to this perceptive character.
The Horsemen themselves are vibrantly portrayed with Jesse Eisenberg being the strongest of them as J. Daniel Atlas. He really projects some smart, quick witted savvy that demonstrates Daniel’s leadership, and his humorous banter with his co-stars is quick and sharp. He definitely feels like the guy who could outsmart anyone in the room, and do it with style. Isla Fisher plays nicely off of Eisenberg as Henley and Daniel have some romantic fallout between them, but it’s kept light and smart. Woody Harrelson puts in a real good performance showing Merritt McKinley to be a very intuitive personality from his skills as a mentalist. He can read people up and down, inside and out to pull little hints of information from them, and Harrelson uses that to solid comedic effect. Dave Franco might seem like the weak link in the team, by design, but he eventually gets his moments to shine as street hustler Jack Wilder. Altogether, this is a great foursome of sharp talents that never upstage one another, but instead, complement each other in a cohesive fashion. They’re very fun to watch.
And of course, Mark Ruffalo is a charming treat as Dylan Rhodes. Ruffalo brings charisma and a rough edge to Rhodes, but maintains him as an enjoyable, smart guy that you can connect with. He is always portrayed as a competent and solid FBI Agent, but you see him trying to deconstruct all of these theatrics with regular investigative work. So, it’s a fun ride to see him weave through it all dealing with Thaddeus Bradley as well as French Interpol Agent Dray, who you’re given reason to suspect as being not entirely as she seems. Ruffalo has decent chemistry with Mélanie Laurent. There are never sparks flying between them, but it’s an honest and sweet pairing that has its light humor and genuineness. Basically, if you liked what Ruffalo did as Bruce Banner in The Avengers, I think you’ll enjoy the humor, heart, and charisma he brings forth here.
The visual effects throughout the film are very excellent. They sell the flash and style of the Horsemen’s illusions with stellar results. There might be one or two moments where the CGI isn’t as good as it is elsewhere, but in the vast majority, this is seamless and awesome work. It gives the film its visual flare and style. And it is an exceptionally well shot movie. Director Louis Leterrier really knows how to put together a visually solid movie as I did very much enjoy The Incredible Hulk, and the integration of visual effects into live action is superbly done under his direction. Leterrier beautifully utilizes all the rich talent he has at this disposal here, and executes this script with smart direction that kept me engaged and guessing.
And while I expected fun and flashiness, I was pleasantly surprised that the film had some nice action sequences. There’s a decently well stage foot chase through the crowded streets of New Orleans with some clever beats. Later on, when the FBI is closing in on the Horsemen, we get an extremely impressive and acrobatic fight scene with Franco and Ruffalo. There’s some great, fast, and fluid moves in this that just stunned me from Dave Franco. He’s combating people with swift actions like that of a ninja, and this sequence showcases smarts and sharpness in every second. Following this, there’s a really good car chase through Manhattan, New York. All of this action is very well done with only a few minor moments of shaky cam, but it ultimately came out to be very pleasing. The film’s climax isn’t really action based, but focused on the story and motives behind this elaborate magic trick. It unfolds nicely with fine dramatic beats, but surely, I won’t be spoiling any of these well written and executed reveals to you at all.
How the mystery all plays out is engaging and intriguing. I kind of view the movie, going in, as The Prestige crossed with Ocean’s Eleven, and that’s generally how to look at it in concept. It doesn’t match the brilliance of either of those films, but as I said, it’s a fun, entertaining experience. It is the twisting and turning puzzle that the Horsemen are constructing that make it interesting. You don’t know what the next trick will be, but it’s about even more than that. It’s not just the magic that they perform and how they did it, but the motives behind it keep you guessing. It’s cleverly designed through and through. How it’s all setup with a mysterious benefactor bringing together and enabling this foursome, even the Horsemen don’t know the full truth, and so, there is a layered mystery at hand. The FBI is just interested in catching these performers in the act of the crime, and Bradley is interested in burning them down for his own self-serving fame and fortune. So, everyone has their motives, and they all nicely interweave into the reveals at the film’s end. The ultimate twist is something I’m a little divided on. I liked the moment of the reveal as it is dramatically and beautifully played, but it wasn’t quite setup in the film. All of the other pieces are there to assemble the motives and interwoven storylines together. As a magic trick played on a grand canvas, this film does a really excellent job of doing that. The ultimate reveal just felt like it needed a little more punch. Something like a Keyser Söze reveal where the clues were there the whole time, but you couldn’t pick up on them. Something subtle, something between the lines that would strike you at just the right moment. I could figure out the why, but not entirely who amongst this cast or beyond would be the Horsemen’s ultimate benefactor. It’s far away from being a poor ending, but it could’ve benefitted from a little more setup.
Frankly, I think Now You See Me is just a fun time to have at the movie theatre. I’m sure if you went into it with a critical mind you could nitpick it apart, and see how really unbelievable the plot is in all its little nuances. Thankfully, I was enjoying myself consistently throughout this movie, and was able to sit back, relax, and just have a pleasant time with it. Just like magic, you have to let your mind go and just allow yourself to be entertained by the cleverness and spectacle at hand. The film is smartly written overall, in my opinion, and I found that there was plenty of subtle setup and pay-off for practically everything in here. This film captures the spirit of magic very well, and it’s almost refreshing to see a film of so many vibrant characters without a real villain in the mix. Everyone is enjoyable in their own ways, and next to no one is tinged with villainy. It’s just a fun ride that I think essentially anyone can enjoy if they’re willing to just embrace it.
The original superhero blockbuster was an epic task to achieve in the late 1970’s. Richard Donner was the director given the main task of helming this ambitious project, but the true strength of bringing Superman to the silver screen lied within one man who remains, for so many, the quintessential embodiment of the Last Son of Krypton. Christopher Reeve would carry this icon to soaring heights, and capture the hearts of audiences worldwide.
When the premier scientist of the planet Krypton, Jor-El (Marlon Brando), rightfully predicts the destruction of his peaceful planet, he sends his only son in a spacecraft to the planet Earth. There, he is adopted by the kindly Kansas couple the Kents, but they quickly discover young Clark Kent possesses powers beyond that of any human. As he grows to maturity, Clark (Christopher Reeve) learns of his alien heritage, and comes to Metropolis as a reporter for the Daily Planet. However, when a perilous helicopter accident forces Clark to reveal his powers to the world as Superman, he becomes the target of criminal mastermind Lex Luthor (Gene Hackman) who launches a diabolical plan to destroy the west coast and kill Superman.
When this film was being made, comic books weren’t taken very seriously, and so, these filmmakers intended to make a serious impression with Superman. While this didn’t break the floodgates open for comic book movies to be produced, this laid the groundwork for things to come, especially 1989’s Batman. Even though the tone isn’t consistently serious and epic, it never degrades the integrity of Superman. That’s something I can at least say about all of the Christopher Reeve outings, regardless of how bad, cheesy, or stupid they may have gotten – Reeve maintains Superman as an icon of integrity and dignity. However, he is not the only incredible acting talent on display in this epic blockbuster.
Casting Marlon Brando as Jor-El was a brilliant idea. For those first twenty minutes of the movie, he carries it effortlessly bringing compassion, strength, and wisdom to this pivotal character. No one could ever discount Brando’s talent, and he establishes a solid impression with just a few introductory scenes. In addition to that, Glenn Ford really has only two scenes here as Jonathan Kent, but the substance of his talent and performance rings through purposefully. It has weight and poignancy. Both of these fathers are the moral building blocks of who Clark Kent becomes, and they are the men that forge the strength and virtue that are key to Superman. Brando, in particular, sets a wonderful, heartfelt tone when he returns as this projection in the Fortress of Solitude to guide his son. The film’s extended edition adds in another scene between Clark and Jor-El which is beautiful and touching.
And since Superman and Superman II were plotted out and conceived at the same time, we have an excellent setup at the beginning of this film with Terrence Stamp’s General Zod and his fellow conspirators. Stamp makes a powerful impact in that one scene with a cold, tyrannical presence where he leaves Jor-El with a prophetic threat that pays off in the following film.
Richard Donner and his cinematographer Geoffrey Unsworth do a remarkable job with the visuals here. Krypton has its epic visual scope, but also, this intriguing utopian alien aesthetic. The crystal structures are unlike anything that had been seen before reflecting a culture vastly different from our own, and the journey of Kal-El’s spaceship to Earth is wonderfully cosmic. The scenes in Kansas are sprawling and picturesque. They evoke that Norman Rockwell heartland of America feeling. They use the landscape to stunning effect giving the film visual scope in distinct ways. When the film shifts to Metropolis, it looks more standard with less visual flare. More urban grit with locked down shots and less graceful camera movements. The whole film also has this soft focus glow that I feel really works well.
Must I even say that John Williams’ score is amazing? The man specializes in amazing. However, what he does here I think is even more special. No other theme in all of cinema, to me, reflects such hope, heroism, and inspiration as his theme for Superman. It has lived beyond this continuity of films to be iconic with the character himself through all media and generations. It is usually a surefire way to choke me up, especially with the right imagery, and it encapsulates Superman in the most epic ways possible. The overall score is equally as stunning, and stands as one of Williams’ finest accomplishments.
This was a film of ambitious special effects as never before had the image of Superman flying through the air appeared convincing. Largely, I do think many of these visual effects are still great. They still work beautifully, but every once in a while you get a shot that looks quite dated and less than convincing. However, the use of miniatures for certain shots, and every trick they used to make Superman fly is stellar. Oddly, I really like the scene where he stops the car burglar from scaling the skyscraper, and you see Superman fly down across frame as the burglar falls. It’s a simple shot that required no visual effects. The opening shots on Krypton are stunning too especially after Zod and his cohorts are sentenced to the Phantom Zone, and we see that massive dome opening up. It’s all about visual scope, and this film captured it with epic results. In general, this film was an amazing achievement in visual effects that earned this team an Oscar.
Now, while this excellent special effects team made you believe a man could fly, Christopher Reeve made you believe in Superman. That helicopter rescue scene remains possibly my favorite Superman moment of all time. His moments at the end of that scene speaking with Lois are magical to me. The confidence he projects with a glimmer in his eye is the moment I believed in the power of Superman. Overall, Reeve brings the heart, humanity, compassion, and charm of the Man of Steel to brilliant life. He even shows moments of emotional depth speaking again with Jor-El at the Fortress of Solitude after revealing his existence, and especially so opposite Lois. But it’s the genuine kindness and earnest humbleness in Reeve’s performance that sells everything. You can see that this is a character that believes in the best in humanity, and is truly a beacon of hope to all. Later in life, we saw that Christopher Reeve naturally embodied these qualities in his struggle with paralysis, and because of his undying hope, he became one of the greatest inspirations in life to me. He was a real life Superman.
Now, while the first fifty minutes of the film are very serious, dramatic, and vast in scope, the latter bulk of the movie shifts tones. It delves more into a somewhat campy comic book tone. You’ve got the charming yet bumbling Clark Kent creating a little bit of physical humor here and there. Then, the introduction of the villains pushes the proverbial envelope. Ned Beatty’s Otis is not to be taken seriously at all. He’s an obvious dimwit, and Miss Teschmacher is not much better. It almost seems like Lex Luthor surrounds himself with morons in order to make himself look like a genius in comparison.
Now, I am not a fan of this portrayal of Lex Luthor. He’s little more than a ruthless con artist and a real estate swindler with bad fashion sense and maniacal aspirations. I will give credit that he is a sociopath willing to exterminate countless lives for his own greed, and that does make him a serious threat. However, regardless of the sort of silly characterization, Gene Hackman still puts in a damn fine performance. The humor of Luthor is expertly done with sharp conviction, but what sells him as a villain is really the vile intellect. The entire “greatest criminal mind of our time” thing does come off comically, but we do see moments where Luthor has a dangerous intelligence. He can setup a cunning trap for Superman, but I’d love to be able to take the character seriously on a consistent basis. I truly believe Hackman could have done a wholly serious, villainous performance, and done it awesomely. Unfortunately, it really is the bumbling fools that surround Luthor which make him cartoonish for most of his screentime. I don’t think the film needed silliness in any degree. Regardless, Hackman is a magnificent actor, and his talent regularly shows here even if the material is a little goofy.
And the remainder of the supporting cast is exceptionally solid. Jackie Cooper gives us a great, hard edged Perry White. He’s a newsman who has gusto and aggression who motivates his people firmly. Margot Kidder is indeed a stellar Lois Lane giving us both the assertive, ambitious journalist who will do whatever it takes to get the best story, but also, shows us the feminine vulnerability. We see her genuine affection for Superman, and Kidder has solid chemistry with Reeve in both of his personas. The scenes of tender heart and warmth are genuine while the bumbling Clark scenes have a nice contrast of humor and Lois’ aggressive nature. It’s fantastically handled by two amazing talents, and honed by a great director.
This is a solid origin story and a colorful, vibrant film. I do like the pacing of this movie because it is consistent even if it is slower than your modern day superhero epic. Yes, Kal-El’s early life is kind of done in a Cliff’s Notes version as it just briefly touches on the largely important parts. Then, when Reeve makes his appearance as the adult Clark / Superman, the pacing is more lax allowing for things to be stretched out further. I did watch the expanded edition for this review as I like the extra content with Jor-El on Krypton, and Lex Luthor’s gauntlet that he lays out to test Superman. There are a number of added segments throughout, but I do think they are mostly substantive and worthwhile. The film has no overarching plot, and the extent of one is simply foiling Luthor’s crazed plan to blow up the west coat to make way for his real estate scam. So, this isn’t a film of thematic material and heavy subject matter. Yet, it accomplishes its goals – bring Superman to glorious life on the big screen in an epic sized adventure. There’s really only two real action sequences – the helicopter rescue with a crime-fighting montage afterwards and the climax as Superman attempts to stop the missiles and save people from its destructive consequences. The ending is rather ridiculous by most standards. Reversing the Earth’s rotation to turn back time is a very cheap idea, but also very much in the style of the Golden / Silver Age of comics where logic didn’t figure into science. So, given the time this was made, I can let it pass, but if a movie today did it, I’d cry out for someone to knock some sense into the filmmakers.
While it might be entirely perfect, Superman: The Movie was the wonderfully produced and directed film it needed to be. It keeps things simple enough without sacrificing emotion and drama, but adds in touches of humor later on for a generally fun and enjoyable superhero film experience. It set the foundation for where the franchise could go from here, and while directors, tones, budgets, and qualities would change, Christopher Reeve maintained the steady confidence of Superman through each film. Here, there was no question that he was indeed the Man of Steel brought to cinematic life, and Richard Donner’s high quality direction with a great eye for visual scope made this a stunning success. Add in the sweeping, epic, and iconic score of John Williams, and you have the greatest superhero of all time taking flight in a great and satisfying way.
And so, the story of vampire bloodlust and creatures of the night lurking in shadowy Romanian locales from Full Moon Features continue! As with all the sequels in this franchise, this film picks up exactly where the second one ended, and was designed that way with both the second and third films being shot back-to-back. Bloodlust: Subspecies III continues to build upon its characters and arcs with fantastic success. Where the second film had essentially all the setup, this film has a lot of pay-off, but does feel a little lacking since it is focused more on resolution than development. Yet, it would not be the final sequel.
Radu (Anders Hove) has been destroyed, and Michelle (Denice Duff) has been captured by Radu’s vile mother, Mummy. Mummy uses sorcery to bring Radu back to life, then magically transports them back to Castle Vladislas to escape their mortal pursuers: Michelle’s sister Rebecca (Melanie Shatner), Mel Thompson of the US Embassy (Kevin Blair), and Lt. Marin of the Bucharest police (Ion Haiduc). Radu’s obsession with Michelle undermines his power over her. She manipulates him into teaching her the secrets of vampire existence and how to harness her vampire powers. Once she learns to survive on her own, she intends to destroy him, but Michelle’s plan is put into jeopardy when Rebecca and her allies plan to storm the castle to rescue her from Radu’s clutches.
This film definitely amps up the horror factor a little in interesting ways. It mainly stems from Michelle’s further seduction to her vampire bloodlust which is beautifully orchestrated by Radu. She begins to embrace being a vampire, but is unable to fully sever her humanity. She feasts on the blood of the innocent, but cannot condemn her own sister to a similar gruesome fate. Denice Duff beautifully portrays the painful inner turmoil of Michelle as her emotions are ripped and pulled in so many directions. She looks gorgeous, sexy, and seductive as this femme fatale vampiress, but it’s that vulnerability which seeps through that makes her compelling and heartbreakingly sympathetic. While she does seem like an inconsistent character going back and forth from subservient to adversarial, it sort of works with all that confusion and inner turmoil she’s dealing with.
Unexpectedly, the film gives us this peculiar moment of depth between Michelle and Radu. Near the break of dawn, she wants to see the sunrise, and she inquires about what can kill a vampire. She does so because she wants to die. Radu then offers his creepy, undying love to her, but she scorns him with her eternal hatred. She hates what he did to him, but there remains a constant struggle within her. She hunts and quenches her thirst for blood, but she loathes what she has become. Some of this sounds kind of odd because Radu is the furthest thing from a romanticized vampire. That role was more akin to his now dead brother Stefan, but in the context of the film and series, this is a surprisingly ambitious moment. The film could exist without such a scene, but it adds extra layers of depth and emotion to both characters that I really admire.
And Anders Hove is given even more depth and material to expand Radu with. There’s this almost tragic quality to him by now in what he’s done to his entire family, and Michelle is now all that he has left to claim as his own. Yet, Hove still delivers the ghastly horror and nightmarish creep factor superbly. I just love how he continually tempts Michelle with indulging her vampire urges and desires. Despite showing more emotional qualities, he is still a ferocious, bonafide evil vampire which is the core of his appeal.
I think Kevin Blair gets a little stronger material to work with this time out. He gets to be more physically involved in the action, and be more assertive and proactive in the plot. It’s still not a great performance by any means, but Mel becomes a more purposeful character in this film than the last one. And of course, Melanie Shatner continues on in a nicely solid performance as Rebecca Morgan. She was such a strong and enjoyable part of these two films that it is a terrible shame that both hers and Kevin Blair’s characters were unceremoniously written out of the fourth film.
However, in this film, I really came to enjoy Lieutenant Marin. Regardless of any ADR work done on him, Ion Haiduc does a very entertaining and quirky job with the police investigator. He’s got some light-hearted chemistry with Blair and Shatner. Marin is a bit of a pesky detective keeping a tight watch on Becky and Mel throughout the film, and having some lightly humorous interactions. It’s not one of those performances that takes you out of the seriousness of the film. Marin isn’t quite convinced that vampires are prowling Romania, and so, he has a bit of a preposterous perspective on the events that are unfolding. Yet, he is persistent in his investigation if only due to the peculiar nature of everything that’s occurring.
Now, with these two sequels being shot back-to-back we get a very consistent technical quality with make-up effects, cinematography, and production values overall. So, it would be a little redundant to discuss them here, but in short, it’s all very solid stuff. This sequel seems to be even visually darker with more heavy shadows, and fewer daylight scenes. That is further enhanced by the great remastering job on the new DVD and Blu Ray releases. And in the effects department, we are treated to the most elaborate and pleasing “demise” of Radu yet as our heroes attempt an escape at dawn, but of course, a resurrection is hinted at before the end with the appearance of the Subspecies themselves.
Writer and director Ted Nicolaou did a very fine job helming this franchise and steering it into a fascinating and entertaining direction. These could’ve easily just been dry, low grade fare, but genuine effort was put into these films to make them enjoyable, creepy, and interesting. The crux of it all really is the evolving dynamic between Michelle and Radu. It is what drives the stories forward, and the actors in both roles put their all into it. While the supporting cast is not all as great as Duff and Hove, there’s still decent qualities in the stories and characters to keep the movie entertaining. Full Moon really loved their franchises, and were always leaving enough of a door open for another direct-to-video sequel. Michelle’s story is not fully resolved in this film, but it would take a few extra years before we were treated to another sequel.
Watching these films again makes me realize that while there is bloodletting and ghoulish, artistic visuals, the Subspecies movies aren’t designed for high fright factor, but more for entertainment value and atmospheric, moody creepiness. They are fun vampire films with some well executed emotional depth and interesting vampire lore that are beautifully shot and set in the heart of Romania. The addition of a slightly humorous CIA specialist helping Becky and Mel storm the castle ended up being less than important to the plot, and more of a facilitating element to get Mel inside Castle Vladislas as Radu’s captive. So, it has throwaway elements here and there, but in general, Bloodlust: Subspecies III really pays off everything pertinent that the series has built up at this point. I will get around to a review of Subspecies IV: Bloodstorm, but that is quite an unusual film with peculiar quirks to it.
The advantage of a sequel, sometimes, is to take what you did the first time and refine it. You can build upon the ideas and story you established in the first outing. That is the case with the Subspecies franchise. The first film was good, but fairly basic in its story, technical quality, and ideas. Starting with this first sequel, we have a wider expansion on all of this with superior production values, and a building of characters and storylines that make this a far more fascinating world to explore.
The centuries old conflict that has plagued the villages of Transylvania explodes into bloodshed. The mad vampire Radu (Anders Hove) becomes obsessed with Michelle (Denice Duff), who loves his half-mortal brother Stefan. In his quest to possess Michelle and the sacred relic, the Bloodstone, Radu destroys Stefan as he sleeps. Michelle steals the Bloodstone and escapes from Radu’s castle. She finds a lair beneath a theatre in Bucharest and stalks the streets in torment, torn between her fading humanity and her growing thirst for blood. She phones her sister Rebecca (Melanie Shatner) and begs her to come to Bucharest to help her. With the aid of Mel Thompson (Kevin Blair) of the US Embassy and Romanian policeman Lt. Marin (Ion Haiduc) she hunts for Michelle in the shadows of the sinister city. Radu, desperate to regain the Bloodstone, seeks help from his monstrous mother, the ageless sorceress Mummy, who demands that he destroy Michelle before she destroys him. Rebecca becomes Radu’s unwitting pawn in the race to find Michelle and the Bloodstone.
The superior quality of Bloodstone: Subspecies II over its predecessor is obvious right from the opening scene. What were low quality video composite effects before are vastly superior visual effects that integrate much smoother with the live action elements. The Bloodstone itself is also given a higher grade revamp. The make-up effects are more refined giving extra texture and detail to Radu’s ghastly visage. And we get Radu’s severely decayed witch mother that creates a very creepy visual that nicely complements Radu himself. These are a gruesome pair that reek horror throughout the film. While I don’t have facts to reference, it would seem that Full Moon put some extra money behind this sequel to give it a little more polish and technical enhancement. Even the score is more impressive. It has more haunting qualities that forge a mysterious atmosphere. The use of synthesizers feels more natural and high quality compared to the first film. Overall, it’s just a more lush, richer score that really envelopes the film nicely.
The cinematography of Vlad Paunescu is a marked improvement here with many more camera moves adding to the film’s dramatic quality. He still uses the Nosferatu-esque silhouette of Radu stretching across buildings to great effect. There’s plenty of creepy, moody, atmospheric lighting in abundance here as Radu lurks in the shadows. They highlight such an excellent, chilling presentation for these creatures of the night. Plus, there’s just great use of subtle angles to give a sense of scale to the Romanian landmarks and practical locations. Instead of being confined to a small, quaint eastern European town, Subspecies II delves us into Bucharest with a lot of gorgeous scenery to envelope the film in, and the visuals take advantage of that substantially.
In the role of Michelle, there was a casting change to Denice Duff, and I feel she was a very good fit for where these sequels took the character. She’s a much more vulnerable, troubled, and emotionally shaken character after having been turned into a vampire. This creates a compelling weakness in contrast to Radu’s bold, frightening, and powerful presence. She might seem like the token cowering female in a horror movie, but the dynamic we get between Michelle and Radu becomes very interesting. This character we care so much for is pulled into the sway of the villain, and is unable to break free of it. While Laura Tate’s Michelle was portrayed as a much stronger woman, I don’t have a problem where Ted Nicolaou took her here. As the film progresses, Duff’s Michelle Morgan succumbs to her vampire nature more making it increasingly difficult to resist the bloodlust. And of course, as she descends into the sway of the vampire, she becomes a very beautiful, alluring sight.
In turn, the role of a stronger female is given to Michelle’s sister Becky, portrayed by Melanie Shatner who is indeed the daughter of William Shatner. She has confidence, spirit, and courage which allows her to become a solid, assertive protagonist. While Michelle struggles with her own vampiric compulsions and temptations, Becky attempts to find a way to save her alongside a small group of characters. Kevin Blair, who was Nick in Friday The 13th, Part VII: The New Blood, does a fairly solid job as Mel. He holds his own just fine, but doesn’t have an opportunity to standout amongst the crowd.
And again, Anders Hove delivers a wickedly excellent performance as Radu. He seemed to up his game a little bit here now that Radu had a stronger storyline to follow. He’s still as skin crawlingly creepy as ever, but seems more forceful, more powerful than before. The presentation of Radu from a cinematography standpoint is far more stunning and ghoulish than before, and its only further aided by the improvements in his make-up design.
Now, this sequel is not heavy on the horror and bloodletting, but instead, focuses more on the mood and atmosphere while building up its story. We do get some moments of horror and gore sprinkled throughout, and there is a very prominent air of mystique and lurking horror through most of the film. However, Bloodstone: Subspecies II was designed to be one half of a whole as it was shot back-to-back with Bloodlust: Subspecies III. I think the story and script Nicolaou put together is very good giving us enough emotional investment to carry us forward on both Michelle’s and Becky’s journeys. It has a bit tighter pace than the first film, and more plot elements to propel the 87 minute film forward.
Following suit with their twentieth anniversary release of Subspecies, Full Moon has done a high definition remastering on the first two sequels, and the improvements are immediately noticeable. This is a beautiful widescreen presentation where the heavy shadows are now deep blacks with solid contrast that still allows for a lot of detail to show through. While the film has a limited and grounded color palette, the amber glows of daylight and fire are rich and strong. I have the DVD release, and this is a very clean print that still looks like 35mm film. I’ve read that the Blu Ray releases for both sequels are even superior to that of the first film, likely much to do the higher production values of both movies.
Director Ted Nicolaou also took over screenwriting duties for the sequels, and did take things in a bit different direction with characters and plot. While it required a little bit of a concept change here and there, I think it was for the better. Bloodstone: Subspecies II feels like the overall strongest film of the franchise. While it doesn’t have the pay-off that the next film will have, by design, the building of plot and character elements make this more interesting than the first film, and that allows for more to be going on in the film than we get in the third movie. The fourth movie, which I will review once that gets its remastered home video release, has many peculiar qualities to it, and so, if asked which Subspecies film appeals to me the most, it’s likely Bloodstone: Subspecies II.
This is a film that I didn’t love, but also, I didn’t hate. It is a very entertaining, exciting movie, but has a number of downfalls mainly stemming from the rehashing of old ideas and characters while doing nothing to make them fresh or new. For a franchise that was just rebooted with the last movie, this seems like filmmakers with a dry well of ideas when they should be going warp speed ahead into bold, new directions.
When the crew of the Enterprise is called back home, they find an unstoppable force of terror from within their own organization has brought the fear of war and destruction to the Federation. With a personal score to settle and sanctioned by the resilient Admiral Marcus (Peter Weller), Captain Kirk (Chris Pine) leads a manhunt to a war-zone world to capture a one man weapon of mass destruction known as John Harrison (Benedict Cumberbatch). As our heroes are propelled into an epic chess game of life and death, love will be challenged, friendships will be torn apart, and sacrifices must be made for the only family Kirk has left: his crew.
Now, I did not like the 2009 reboot movie. I thought it was shoddily written with a lot of plot holes, big holes in logic, a weak villain with narrow-minded motivations, a style over substance approach, and a tone that did more to poke fun at these classic characters than show serious, due respect to them. If the marketing campaign for this film wasn’t so good, I likely would not have been ensnared into seeing it. However, despite my best resolve, I was compelled to check out spoilers after a spoiler-free review hinted strongly enough at a certain aspect of this film that I was not agreeable to in rumors. There will be a spoiler section later to address that, but simply said, if I went into this film clean, without spoilers, I’m sure I would have at least been angry with the movie. Instead, having foreknowledge of many pertinent aspects of the film allowed me to enjoy it more, and go into it with an open mind instead of a resistant one. I was willing to let the movie change my mind, and to an extent, it did in how well the general plot is written. However, there are several problems with story, characters, and concepts that I will address shortly.
On the upside of things, firstly, Star Trek Into Darkness has some stellar and exciting action sequences. While the physical action with chase scenes and fights is not very traditional Trek, it is still very enjoyable stuff done with remarkable talent evident in all aspects. It is a little hard to accept Spock running around in an action centric role during the climax since that’s always been Kirk’s role, but Quinto is at least more than capable of the task. I did especially like the encounter with the Klingons where Harrison unleashes a one man barrage. We see only one unmasked Klingon, but he does resemble the forehead ridged versions with a slightly different sleekness. The starship battles are few, but feature excellent visual effects and rousing, perilous action. The whole sequence with the Enterprise spiraling out of control, and Kirk and Scotty are running through the corridors as the gravity is spinning them all around is also fantastic. J.J. Abrams, beyond anything else, knows how to create an exciting, action-filled movie aimed to entertain.
Now, the hardest part of assessing Chris Pine’s portrayal of James Kirk is that his version has so many changes to his back story that he’s ultimately not Shatner’s Kirk. You don’t get that wit, cunning, and confidence that defined Shatner’s performance early on. Instead, we have a young, brash, impulsive Kirk who does let his emotions get the better of him. I do like that the film addresses one thing I didn’t like about the first movie. Fresh from Starfleet Academy, off of one successful mission saving Earth, Kirk is given the Captain’s chair without having earned it through years of exemplary service and hard earned experience. At one point here, his command is taken away from him due to his lack of respect for the Captain’s chair and Starfleet regulations. He had the Enterprise given to him without having earned it, and now, he’s sort of put into the position where he has to make tough decisions and earn his command. He has to challenge authority instead of dismissing it, and I think this element is handled rather well. On the whole, I think Pine is a good actor, but I don’t think the writing and development of Kirk has yet to match his strengths. His fiery emotions don’t resonate as strongly as Cumberbatch’s chilling, menacing presence. Once again, Kirk does feel a little weak to me in this Abrams universe. It’s that essential element of maturity and confidence of Kirk that’s missing which always made him interesting, and I hope that’s where these filmmakers are pushing him towards. His arc in this film seems to suggest that, but I do feel it doesn’t get the forefront time it deserved to be properly poignant.
Zachary Quinto is given a rather meaty chunk of material in developing his Spock. There’s a good weight of emotional insight we are given into him as he explores the ideas and fears of death. Quinto reflects that depth immensely well, and the building of the Kirk-Spock relationship towards something more familiar is excellent in my view. However, I do feel the whole Uhura relationship is still unappealing to me. I’m glad they gave her more to do than operating the communications station, but I don’t see any major potential for that relationship. In general, all of the regular crew members are given a stronger role here. Sulu is given a taste of command, which I really loved as a subtle hint at him becoming Captain of the Excelsior in the original continuity. Even Chekov, who I’m still unsold on the portrayal of, is given the run of engineering having to keep the ship intact in the absence of Mr. Scott.
This time out, I feel Simon Pegg did a far more faithful and solid Montgomery Scott. In nearly every instance, he felt genuine from James Doohan’s original series portrayal. He had more dramatic weight to carry, and had a bit of a subplot of his own to deal with. He has justifiable conflicts with Kirk’s mission, and smartly weaves his way back into the thick of the plot by the third act. I was far more satisfied with everything Pegg did here which still had moments of humor, but felt respectable overall. With this character, it thrived from smart writing and a really good acting job by Pegg.
And continuing to prove my insistence that he’s one of the most solid and reliable actors around today, Karl Urban beautifully channels DeForest Kelly as Dr. McCoy. He feels so authentic to the character while still feeling natural and passionate in his own right. As with Kelley, Urban gets some of the best lines in the movie to the point where I’d love to just see a Dr. McCoy movie. I really, wholeheartedly believe that Karl Urban is just on the verge of a major career breakthrough. I’ve yet to see him do anything less than excellence in every role he’s taken on. Urban just needs that one high profile leading role, and I cannot wait for that day. He is the perfect successor to Leonard “Bones” McCoy.
Even Peter Weller does an excellent job as Admiral Marcus, who sanctions Kirk’s mission to take out Harrison, but the plot methodically reveals a lot of subversive dealings in Starfleet. There’s even a great Deep Space Nine reference in regards to that. What Weller delivers when those revelations occur is damn good, and fills a very solid part in this plot. Also, Alice Eve does a nice job as Carol Marcus, the Admiral’s daughter, and strikes a small spark of chemistry with Chris Pine. However, it doesn’t amount to much at all. Also, I was rather confused as to why Carol Marcus now has a British accent when her Wrath of Khan counterpart did not, and nor does her father. It was a distracting arbitrary choice that doesn’t really enhance the character in anyway. It’s just peculiar.
Now, what really compelled me the most leading up to this film was indeed Benedict Cumberbatch’s performance. That chilling deep voice with his intimidating, foreboding presence is so captivating. His villainous character is intriguing with an air of mystique. He has his secrets to keep and strategically reveal as his own agendas and plots unfold. He’s written very intelligently, and we even get moments of emotional depth and pain in one scene. His John Harrison character is certainly more than what he seems to be at first, and has many surprises in store for the crew of the Enterprise and Starfleet. I really think, on a performance level, he’s one of the best villains this franchise has ever had. He’s certainly the best movie villain since General Chang in Star Trek VI. Cumberbatch is clearly an immensely talented actor, and he really owns this movie with a complex and rich portrayal. However, there is a very important aspect of this character that I have to take issue with that can only be done in the spoiler section of this review. Many loyal Star Trek fans may indeed find this to be intensely objectionable.
However, before we get to that, the problems of this movie are that it feels like a modern day remake of a vastly superior film. How it rehashes old ideas that come off as second rate carbon copies that do more to remind you of how they were done better thirty or forty-five years ago are exactly reminiscent of creatively devoid remakes from unoriginal filmmakers. Star Trek Into Darkness attempts to have original ideas such as Kirk dealing with failure and humility, but they are rapidly overshadowed by the plots involving Harrison and Admiral Marcus. This theme with Chris Pine’s Kirk is never given enough time to flourish and take a solid foothold in the film when put in opposition to all of these retreaded characters, dialogues, and concepts. These were likely intended as homages, but they come off as lazy, unoriginal writing. The screenwriters couldn’t put together a wholly original screenplay with unique concepts, or at least, utilize smart enough writing to take solid ownership of what it does with these revisited elements. Considering the majority critical opinions of them, I’m not sure what most should expect from the co-writers of Transformers: Revenge of the Fallen and the screenwriter of Cowboys & Aliens and Prometheus. Frankly, I thought the purpose of rebooting the franchise with an altered timeline was to take these classic characters into bold, new directions with fresh ideas. Instead, they just do the same old thing only not done remotely as well. They are free and open to do whatever they choose, and they choose to do next to nothing new at all. This makes it seem like they’ve already hit a dry well of ideas, and that doesn’t bode well for the future of this franchise.
Now we come to the SPOILER paragraphs. So, if you don’t want to get a full disclosure of plot turns and revelations, please, jump beyond the next two paragraphs to remain free of such knowledge. You have been given fair warning to avert your eyes. Your temptation is your own, and I know the temptation of spoilers is indeed intense. So, here we go.
What has been rumored over the last several months that I ultimately took issue with is this. The villain of this film, portrayed by Benedict Cumberbatch, is actually revealed to be Khan Noonien Singh. Now, the screenwriters integrate him well into the story, weaving all the motivations around him very soundly, and the explanation of his presence absolutely makes sense. It all ties into the themes of war and Admiral Marcus’ motivations in regards to that by having Khan help Starfleet develop new weapons of war including the Dreadnaught class warship that nearly kills the Enterprise and her crew. However, we have already had our definitive Khan story with Star Trek II: The Wrath of Khan, and the original series episode Space Seed is still a stellar piece of work. I don’t discount the possibility that another great Khan story could be made, but this one falls behind both of those previous outings. Furthermore, making Cumberbatch be Khan actually diminishes the quality and potential of what Cumberbatch does here. Instead of being viewed as a strong, amazing performance of a brand new, fresh villain, he is going to be eternally compared back to Ricardo Montalban, which is a gross disservice to Cumberbatch. Also, the fact is that his performance bares no resemblance to the Khan we knew. Khan was a man of passion and regal self-image. He viewed himself as a Prince bringing order to humanity. This new Khan comes off like an ice cold, menacing shark of a murderer, a man almost devoid of passion. The original Khan was a conqueror, a ruler and leader of men. This Khan is more of the terrorist persuasion acting alone, and really succumbing to the will of others to strike out from underneath their oppression. Straight up, Khan would never bow to another person’s will, no matter the level of force that opposed him. In Space Seed, Khan frees his people almost single-handedly, and takes over the Enterprise nearly killing the entire crew in the process. I could never see Khan acting the way he does in this film. He was never a lone wolf seeking to terrorize. He was a proud, cultured man seeking power and stature. Surely, he wasn’t hesitant to bloody his hands, but him becoming a terrorist against Starfleet doesn’t fit for Khan. He wanted more to be respected than simply feared. He was also a man quick to exercise his superiority over others, especially Kirk. The story works, and the motivation is sound, but the personality is simply not Khan. Not to mention, Cumberbatch bares no physical resemblance to Khan with his Caucasian complexion and English accent. I cannot see the character that Montalban originated in Space Seed fitting into the context, personality, and methods of the Khan we see in this film, regardless of how differently events unfolded in this new future timeline. Everything that Khan was before his resuscitation from cryo-sleep remains the same as it was in the original continuity, and so, he wakes up as the same man in this continuity as in Space Seed. Thus, I don’t feel there’s enough leeway to allow for Khan’s personality and methods to change so drastically.
Also, the film quotes lines verbatim from The Wrath of Khan, and in the climax, there is a reversal on Spock’s death scene where it is Kirk who rushes into the radiation chamber to restart the engines to save the ship and her crew. It becomes distracting when Pine and Quinto speak practically the same dialogue that Shatner and Nimoy did back in 1982 only with the roles reversed. The scene is well acted, but you lose every bit of emotional investment and poignancy of the scene because it is such a blatant carbon copy with no fresh life of its own. Again, you can’t help but remember how brilliant and powerful it was in The Wrath of Khan when you see this lazy, plagiarist writing realized on screen. And of course, in poor, unearned fashion, the scene is punctuated with Zachary Quinto’s Spock yelling the infamous line of “KHAN!!!” to very weak effect. It was done perfectly once, but since then, any other use has always been done in comedic context. Here, it feels borderline lame because it’s not an original idea for a genuine reaction. Ultimately, Kirk is revived because Khan’s blood now has some entirely unexplained regenerative properties. It is setup twice in the film, but it could still be a contentious issue for many. And literally, it is never explained at all. It’s just there as a plot convenience, and factors into nothing purposeful enough but to bring Kirk back from death.
Veering towards the technical side of the film, the cinematography of Dan Mindel is very, very good. He really knows how to use that wide frame to give you a strong cinematic visual with the use of great color schemes, and the action sequences are competently done. There might be a couple shots that I wasn’t all that keen about due to the more rugged camera work during the space battles or the like, but they were fleeting. The lens flares are toned down a hell of a lot from the previous movie, possibly due to the intended post-conversion 3D effect. From a few sources, they say the post-conversion is very good. And the score by Michael Giacchino is also quite good, but I really would’ve liked to have heard that Alexander Courage theme before the last minute of the film. Just a hint of it somewhere would have gone a long way.
Overall, I did feel like the story here was a little less than what it could have been despite being well conceived and executed. It felt like a setup of ideas and scenarios for another film, which would likely deal with a Federation-Klingon war. It’s setting up this climate of inevitable war from the Klingons encroaching through space and perceived heightening tensions. Everything is built on that fear of war, and while it is a very good idea which builds upon the events of the previous movie, it didn’t feel like an idea that was used to boost the strength and foundation of this film. It all felt like the setup for something larger, and in doing so, it partly dismisses this story as a stepping stone. If the focus was on this story, and doing everything possible with it, including injecting original ideas and dialogue into it fully, this would be a stronger movie.
In short, I think Star Trek Into Darkness will please general audiences, but the loyal Trek fan might have more than a few negative things to say about it. My apprehension about J.J. Abrams helming the next Star Wars movie is evident here in that he does favor style over substance, and even what substance he has is fairly minimal and not well conceived. Maybe working with a new screenwriter will resolve these issues, but the last thing that franchise needs, as well as Star Trek, is more creatively disjointed outings that favor flashy visuals over a good, solid story. Neither franchise will have vibrant, flourishing futures based on work like this. Again, I did enjoy this movie, especially more than the 2009 film, but I was a long way from loving it. I was really hoping for fresh, new ideas and an original villain that could stand on his own, but unfortunately, I really didn’t get either. I do recommend seeing it if you are not apprehensive about some contentious issues with revisited characters and ideas from far superior Trek stories.
Ridley Scott’s Alien is a remarkable classic that was kind of hard for me to appreciate fully until now. I did see the director’s cut screening in October of 2003, but it didn’t have the intended effect at the time. However, thanks the Cinemark theatre chain, I was given the chance to see Alien in its original theatrical cut. I went into the screening consciously putting myself into the proper mindset intending to experience it the right way. I have always appreciated the filmmaking and artistic talents of the movie, but now, I can connect with it on a level of beautifully crafted horror and suspense.
When commercial towing vehicle Nostromo, heading back to Earth, intercepts a distress signal from a nearby planet, the crew are under obligation to investigate. After landing on this hostile planet, three crew members – Captain Dallas (Tom Skerritt), first officer Kane (John Hurt), and navigator Lambert (Veronica Cartwright) – set out to discover the origin of the signal which Lieutenant Ripley (Sigourney Weaver) and the ship’s computer soon decipher it as not a distress call but a warning. Onboard a derelict alien spacecraft, Kane discovers a chamber filled with thousands of alien eggs, and in investigating too closely, he is attacked by a parasite. When he is brought back to the Nostromo, the crew has no idea the danger they have brought upon themselves as this parasite soon gives birth to a vicious organism that is bred for only one purpose – death.
The strongest quality of this film that struck me was indeed the structure and pacing. While for a modern audience it might be too methodical, Scott makes every slow burning moment count for something. It’s all building towards something while establishing mood, atmosphere, character, or story. The best result from this structure is that there are segments where Scott gives the audience a sense of false security. This is best reflected in both after the facehugger dies and relinquishes its hold on Kane, and when Ripley has safely escaped aboard the shuttle at the end. You feel as if the danger has past, but especially with the former, you feel like another shoe is waiting to drop creating this lurking uncertainty. There’s still a long way to go in this film, and you know something much more threatening is waiting to emerge. When the ship ascends from the planet, it’s signaling the elevation in threat for these characters and the audience. And this film repeatedly elevates things to a new, unexpected level.
Scott also does an amazing job immersing an audience into the subtle sense of isolation and unsettling calm of the Nostromo. This has as much to do with the cinematography as it does the amazing sound design. The ship always has this ambient sound of probably the power running through it, which further unnerves an audience. And when things get loud, it gets very loud to evoke the terror and visceral rawness of the moment. This all creates a contrast of audio where Scott makes things extremely low and quiet when he wants to engage your attention and put you on the edge of your seat. Then, he blasts something onto the soundtrack to jar you out of your seat. I don’t find this to be jump scares. This is an excellent manipulation of suspense and tension to effectively and skillfully scare an audience. It’s putting you right in there with the unnerving feeling these characters are experiencing.
How Alien is shot is perfect in its use of wide compositions to reflect scope and solitude early on, especially during the excursion to the derelict spacecraft, and later on, how the cinematography moves in closer to highlight the claustrophobic nature of the Nostromo. Even more intense is when Scott has the shot get right into the actor’s faces during the peak of fear and terror to where you can see every bead of sweat on their skin. There’s some great and beautiful camera work from the large movements revealing the Space Jockey and using steadicams for sweeping movements. Yet, I also love the subtle handheld work that creates a sense of unease and rawness at times. The lighting schemes also create the signature Ridley Scott noir mood and atmosphere. Light and shadow are used to stellar effect enhancing all the unnerving, heart pounding sequences, and Scott is known for immersing his films in thick darkness. As the immediacy of everything reaches its apex as the self-destruct is counting down, the blasting exhaust vents and flashing lights intensely reflect the chaotic nature of the third act. It’s shocking to me that director of photography Derek Vanlint has an extremely short filmography shooting only six films over a thirty-four year span. Apparently, the bulk of his career was spent on television commercials. What he did here would make you believe he had a largely notable film career because it was indeed the work of a master cinematographer.
Ridley Scott was very much inspired by the sort of “used future” production design of Star Wars. Instead of the clean and polished aesthetics of a 2001: A Space Odyssey, he wanted something that felt gritty, textured, and lived in. The Nostromo is a very utilitarian craft with very few sleek designs. It was created to be functional and practical to maintain a sense of relatable realism for the audience. It has the feel of a factory, oil rig, or submarine with all of its enclosed tight spaces and metal gratings. And the design of the alien spacecraft and all things related to the Xenomorph by H.R. Giger are truly alien in all aspects. It has a dark, gothic elegance to it. Giger always meshes together this sexualized aesthetic with his fascinating and twisted designs, and it creates this unsettling undercurrent of sexuality to all of these creatures that victimize our characters. Many have read a lot into these elements, but for me, it simply makes for a frightening and completely unique biology. The Alien feels threatening in every way with all of its fanged teeth, exoskeleton design, and ultimately, it’s black as night sheen. This is a creature meant to inhabit the darkness as an animalistic hunter. How Ash describes it as the “perfect organism” has always struck me powerfully selling every single-minded quality about it. It will use you to breed, and then, the others it will kill. It has no other purpose to exist but to destroy. I also love how the film constantly takes you by surprise as we witness the Alien’s life cycle. First, it’s this tiny little creature, but next time we see it, it’s seven feet tall! There’s an added shot in the director’s cut that I always liked when Brett goes looking for Jones the cat, and while he’s cooling himself off with the dripping condensation, there’s a shot of it hanging from the chains above. This is before we know what the Alien now looks like, and so, you wouldn’t pick up on it unless you already knew. Now, it did take a little bit of effort to put Prometheus out of my mind just to experience the originally intended mystique and fascination with the Space Jockey, but I was able to get there. I still enjoy Prometheus, but I wanted to experience Alien in its purest form.
Now, despite this being a serious film of horror and atmosphere, the interactions of these characters portrayed by this excellent cast create some much needed moments of levity. I constantly found what Yaphet Kotto and Harry Dean Stanton were doing to be immensely pleasing and funny. Parker and Brett are these two jokers who maintain the ship’s functions, and feel quite underappreciated for their hard work who try to leverage that out with some delightful exchanges. Kotto and Stanton have a great chemistry that brings some rich personality into the fold.
Tom Skerritt is very solid as Captain Dallas. He has that sense of authority and responsibility which clearly has him stand out as a leader. Yet, he’s fallible making decisions out of passion instead of adhering to regulations, but also, owning up to those decisions and errors. At the end of it all, he’s just a guy who wants to do his job and get home, but is forced to deal with something beyond his experience that ultimately does terrify him.
Then, we’ve got Sigourney Weaver who was an unknown talent at the time, and that played to an audience’s surprise. This one person that they are unfamiliar with in the cast is actually the heroin of the piece, and Weaver shows her stellar talent every moment she’s on screen. She holds her own opposite everyone very well projecting authority, strength, conviction, and decisiveness as Ellen Ripley. Yet, of course, the absolutely soul shattering terror that Ripley experiences is powerful through Weaver. She is vulnerable, but she can fight through it for her own survival.
This is unlike the constantly panicked Lambert who paralyzes with fear in the face of the alien, but her fear is entirely genuine and real with Veronica Cartwright’s fantastic talents making it something other than a potentially annoying character. Many would find themselves reacting like Lambert does, and it’s a testament to the characters that are able to keep their fear and emotions in check to carry onward.
Ian Holm’s performance is brilliant. It’s one of those things where you pick up on more in repeat viewings after you know the twist of Ash. You see the sinister probing eyes that observe a situation like it’s some lab experiment. Once you know who Ash is and what his purpose happens to be you can see his secret intent, especially during the chestburster scene. This twist is carefully setup throughout the movie in how he repeatedly enables the safe passage of the alien aboard the ship.
The great thing about these characters is that, despite the futuristic setting on a spacecraft, these are relatable people. They seem plucked straight out of our time and lives as rugged, blue collar space truckers. They’re regular people just doing a regular job, but it’s only that they’re towing ore across interstellar space instead of a highway or the like. They have realistic relationships such as Parker and Brett having some friction against the bridge officers because they get paid less even though the ship wouldn’t work without them. These people all have conflicts, friendships, and complicated dynamics between them, and this is further aided by very realistic and honest dialogue. The film surely doesn’t take time to explore the depth of these characters, but it is their behaviors and interactions that inform us of all we need to know about each one of them. That’s really how you write an ensemble movie, much like John Carpenter’s The Thing. You don’t need to get their life stories, you just need fully realized characters portrayed by great, suitable actors. And I would be remised if I didn’t mention John Hurt here. While he has the shortest screentime of anyone here, he puts in a solid performance that has a few moments of levity, but overall, is as authentic and strong as anyone else here.
The late Jerry Goldsmith seemed to regularly have conflicts with the filmmakers he worked with on how his scores should be crafted. Oddly, I find that in these cases, what it is that he’s pushed towards creating is ultimately the better choice for the film overall. Here, we get some great cues with the main theme being the best which exudes an aura of mystery, intrigue, and spookiness. It’s a subtle melody that does a lot to make things feel lightly ominous and dangerous without ever being overt. Simplicity can sometimes do so much in conjunction with how a film is shot and plotted. The music that Goldsmith composed here is exceptionally effective even if how most of it was used went against how he thought it should be.
Usually, when you know a horror film well enough, knowing where the scares are coming and everything, it tends to become less effective. However, upon this theatrical screening, many moments were still startling and scary. I really feel that experiencing Alien in the immersive environment of a movie theatre is the best way to do it. Maybe if you have a large HDTV and a stellar surround sound system, you could achieve that effect, but seeing all of the visual mastery on that large cinema screen was more than I could have imagined. It just gave me the amplified experience I was looking for with this movie, and why I was compelled and excited for this experience. Now that I’ve had that experience, my home viewing experience will be richer and more engaging.
It is undeniable that Alien is an eternal classic, but now, I am able to hold it up to that level of awe and recognition myself. Scott took what was a B-movie horror idea and turned it into an A-grade picture full of masterfully crafted artistry in all aspects with the cast being a glowing example. Ridley Scott is known for taking great care in creating immersive worlds not just on film, but for the actors and crew to live inside of. He locks you into this enclosed maze of a dark spaceship where the Alien could be hiding anywhere, and you feel the claustrophobic tension eating away at you. It can be a haunting, disturbing film for many, and while it has violence and blood, it is strategically used to intense effect. The same can be said about the Alien itself – only seen it shadows, in pieces. Scott only once or twice gives you a full fledged look at it. He keeps it like a startling nightmare – brief glimpses that horrify, much like Jaws. Unlike Jaws though, it wasn’t out of a necessity of the creature not working or being well designed, it was an artistic decision that worked brilliantly. There’s a lot of crap that was spawned from this film with bad sequels, poorly conceived crossovers, and a prequel that has proved divisive for many. Still, I can watch this film as a self-contained entity, and when done so, you can immensely appreciate that Ridley Scott and his vast team of highly talented artists and filmmakers made a stunning and iconic piece of science fiction horror.
I did see this movie in theatres, but it was a week after release and I didn’t have much ambition to write up a review. Now that it’s out on home video, I can put my thoughts together on this very well made thriller that, yet, still lacks a certain memorable quality. Jack Reacher is based on One Shot by Lee Child, and while the movie does some significant departures from the 6’5″ towering blonde character with the casting of Tom Cruise, on its own merits, there is an enjoyable film to be had here from a very capable director with a fresh style.
In an innocent heartland city, five are shot dead by an expert sniper. The police quickly identify and arrest the culprit, former U.S. Army officer James Barr (Joseph Sikora), and build a dead bang guilty case. Regardless, Barr claims he’s innocent and delivers only one message to the police, “Get Jack Reacher.” A former Army Criminal Investigator, Jack Reacher (Tom Cruise) sees the news report and turns up in the city, but comes only to condemn Barr based on past history. However, Barr’s attorney, Helen Rodin (Rosamund Pike), pulls Reacher into her investigation in order to get to the truth, but he will only do so if she looks into the lives of victims so to gain an objective, moral view of Barr’s alleged crime. Reacher sets out to confirm for himself the absolute certainty of the man’s guilt, but comes up with more than he bargained for as he uncovers a seedy conspiracy of corruption.
This film is directed by Christopher McQuarrie who also wrote the screenplay. He is most well known as the screenwriter of The Usual Suspects, but this is a distinctly different style and tone of film that I do feel he handles competently and sharply. The film starts with a strong weight of drama as we see the cold, calculating, and brutal sniper killings resulting in a traumatic, jarring impact. How Reacher is pulled into the story reflects perfectly on the character himself – smart, sly, quick-witted, and unpredictable. McQuarrie is able to firmly ground the drama of this story while still offering sharp dialogue with dashes of levity and personality. We do get these clever moments of humor that are somewhat unexpected, but for whatever reason, they are very entertaining and just work surprisingly well. The balance between the serious and humorous are in the right balance. He uses the humor to add levity and entertainment value to the movie while the drama creates the narrative’s momentum. McQuarrie also knows how to solidly plot out a mystery, as The Usual Suspects demonstrated. He lays out all the facts, perceptions, and details in very intelligent ways. It never feels like a dry procedural, but a compelling web that Reacher is intricately and confidently pulling apart one strand at a time.
And it is the Jack Reacher character that makes the investigation so intriguing. How he approaches the evidence, what nags at his mind, how he perceives motive and reasoning create a fascinating deconstruction of this mystery. Tom Cruise embodies these qualities exceptionally well. I also love how he slyly bulldozes his way through a situation. He’s not a guy who suffers anyone, and is determined to get to the truth no matter who’s standing in the way. Yet, he’s not a battering ram. He uses smarts, wit, and bravado more than force which makes him intriguing to watch. Cruise harnesses a hard edged confidence and presence that creates an intense electricity in his performance. Despite his average size and build, Cruise feels formidable from how he carries himself. While the Reacher of the books is meant to be this physically large man sort in the vein of a Dolph Lundgren, I feel that Cruise’s smaller stature works to excellent effect. He’s more unassuming, more average looking. You don’t expect a brutal ass kicking from him, but that’s just what you get. In Cruise’s hands, Reacher is a skilled and intelligent man with a sort of dry yet sharp sense of humor who can assault any enemy with tactical efficiency. This has long been within Cruise’s physical capabilities between his work on Collateral and the Mission: Impossible films, and he has always been an immensely dedicated physical actor. Altogether, I feel Tom Cruise is a stellar, wicked cool fit for this role as written here, and he puts in a solid performance.
Another great performance comes from Rosamund Pike. The script gives Helen Rodin a smart set of conflicts that are both internal and external. Reacher has her get personal with the victims of this sniper attack, and it forces her to realize the impossible nature of her position as the defense attorney. It gets pushed further as the truth is unraveled by Reacher, and it becomes more and more difficult for her to trudge forward with any course of action, yet she still does. Externally, she has her own father as the District Attorney opposing her from continuing on with this case, and there are conflicts with Reacher as they battle back and forth on their ideals and viewpoints on the case. Pike gives us a character that does question herself, and struggles with these moral quandaries that Reacher puts her into. Yet, she is her own person, making her own choices, and showing her strength while still being a vulnerable, compassionate person. Rosamund Pike is purely excellent in this role giving us emotional dimension and assertive strength, and it surely doesn’t hurt that she is exceptionally beautiful to my eyes.
The film’s villain comes from a surprising source – German filmmaker Werner Herzog. He portrays The Zec, a former prisoner of a Russian gulag, now the leader of this gang perpetrating corruption in this city. He’s both a chilling, threatening presence and a darkly enjoyable villain. He’s got this pretty extreme back story of having gnawed his own fingers off to survive his incarceration, and tries to force this average street thug into doing the same to prove his worth to him. It’s a crazy moment in The Zec’s introductory scene that really sets the tone for how tough and ruthless this villain is, and I really liked it. It surely feels a little over the top, but the dead serious weight given to it sells it in entertaining fashion. Herzog certainly has done acting in the past, but it’s certainly a surprise turn in this film that succeeds in spades. And even Jai Courtney is thoroughly impressive as the more action centric villain Charlie who causes trouble for Reacher throughout the movie, and battles with him at the end. He’s got a solid presence that sells a lot of his character without him having to say much. He showcases charisma with just a sly smirk, and just feels like a sharp talent with a lot of potential in him.
And lastly, we get a fun, quirky performance from Robert Duvall as this ex-Marine that runs a gun range and ultimately aids Reacher during the climax. His chemistry with Cruise creates some great levity during the very dark and heavy final act.
On all technical levels, this is a rock solid feature. It is excellently shot by cinematographer Caleb Deschanel. The fantastic use of smart angles and purposeful compositions really enhance the intrigue and calculating aspects of the story and characters. In conjunction with the great, conservative editing by Kevin Stitt, we get a very effective thriller with solid scenes of suspense and poignant character moments. With McQuarrie’s very competent and solid talent at the helm, it really forged something that highly impresses in both technical skill and storytelling ability.
While the film has an intricately woven mystery at hand, it never overshadows the worth of the characters because without them the story doesn’t mean as much. I do love that the film does take the time to flesh out who those victims were, what their lives were like, and allows us to connect with them on a brief but strong emotional level. Christopher McQuarrie does the same thing with us that Reacher does with Rodin in this instance – have us connect with those people on a personal level. These are not just faceless victims. These were people with lives and loved ones, and they are not trivialized in this film, which is immensely commendable and really a breath of fresh air. It emotionally motivates both Reacher and Rodin to move forward in their efforts to unravel this plot and expose the truth, and it has purpose in unraveling the mystery.
And indeed, this film features one of the best car chases in recent memory. It has a very tense stare down between Reacher and David Oyelowo’s Detective Emerson after Reacher has just been framed for a murder. That stare down then explodes into this visceral 1970’s throwback car chase. It’s fantastically shot never tightening the frame too much, or shaking it all around with incompetence. We have beautiful compositions all around with an intense visceral quality fueled by the mere rumbling sounds of a muscle car engine, and solidly paced editing. That’s a page taken right out of Bullitt, and I think this chase does follow strongly in that tradition. It was a great happenstance that the Chevy Chevelle actually wouldn’t start during filming creating this great, real moment of it stalling out in the middle of the chase. This is an awesomely hard edged chase that does not overstay its welcome. It’s right to the point delivering a dose of adrenalin in the middle of the film, and the sly, clever ending to that car chase is so right for this character. The film does have very good action scenes, but it’s not proper to call this an action movie. It’s definitely a mystery thriller with solid shots of action. There are some entertaining fight scenes, and a very hard edged, very violent climax.
McQuarrie does choose an interesting tone and approach to the action scenes in that there’s hardly any score that plays through any of them. I saw this approach taken during the anti-climactic shootout in 2006’s Miami Vice, and I didn’t feel it was especially successful. Here, while I was undecided about it after my theatrical viewing, I do now feel it is rather effective for Jack Reacher. The tactical shootout in the quarry starts out with just the sounds of gunfire and some stellar cinematography and editing to make it work. However, when it moves further along, we get some suspenseful music cues, but the action itself remains raw and visceral without any music accompaniment. When Reacher and Charlie finally throw down, it’s just the harsh sounds of bones cracking and rain pouring to sell the hardened violence. The conclusion to this is very telling of the character in regards to his code of justice. It’s not really what you’d expect from an procedural crime thriller, but it is fitting overall. Now, I do feel like the ending lacked maybe a definitive sense of closure or consequence. There aren’t any actual hanging plot threads that I picked up on, but a more solid, stronger ending might have given it that extra added punch to please audiences. Reacher simply departs after all the action is done leaving others to clean up his mess which creates a feeling of an unresolved something. The ending has some poignancy and sly qualities in two separate scenes, and this ending is far from being poor in any aspect. I just think it could’ve used a stronger punctuation for the story and characters.
Ultimately, Jack Reacher is a very well directed, well acted, and overall very solidly made movie. The screenplay is very smart with a unique balance of dramatic weight and humorous levity that oddly works very well. The Reacher character is a very interesting one well embodied by Tom Cruise. He’s not explored in a lot of depth, but we get insights into who he is, what he values, and what his convictions are. How he operates, how he thinks, and what actions he takes tell us all we need to know in this story about Jack Reacher. It’s great seeing that despite Reacher having a predisposition towards Barr’s guilt, he’s able to maintain an objective point of view in his investigation. His own personal feelings against Barr never cloud his judgment. He wants the truth, no matter what that might be. These are sure signs of a very smartly written film and well developed character that is thoroughly understood by both McQuarrie and Cruise, thanks to the novels of Lee Child. Yet, despite of all this, I do feel the film lacks that extra spark that would catch on with audiences. It probably stems from the fact that this is not especially an action film, despite the marketing, and more of an intelligent thriller that doesn’t lend to a rousing, exciting experience. For everything that these filmmakers were striving to achieve, they did so with great success, but I don’t feel there’s a great demand for a franchise based on this outing alone. If the filmmakers can put together a film with more action and excitement, I think it could take off fairly well, but as it is, this film didn’t set audiences on fire with anticipation for another installment. While it’s not impossible, Cruise surely has plenty of other projects he’s quickly developing, including a fifth Mission: Impossible film, that he’s not in a major need to launch another franchise.
I must give you fair warning. A careless Facebook commenter ruined a major plot twist of this film for me before I saw the film. I was very upset by that, and it did indeed affect my experience with the film. This is why I write spoiler-free reviews of newly released movies. Regardless of that, while I did find Iron Man 3 entertaining and mostly enjoyable, I have some strong stinging points to raise against it. I do not feel it is the best of them all. In all actuality, I still prefer both of the previous films over this one. That is sad because this had the potential to be really great, but it has at least one major failing, among others, that I will avoid spoiling for you.
Brash-but-brilliant industrialist Tony Stark/Iron Man (Robert Downey, Jr.) goes against an enemy whose reach knows no bounds. When Stark finds his personal world destroyed at his enemy’s hands, he embarks on a harrowing quest to find those responsible. This journey, at every turn, will test his mettle. With his back against the wall, Stark is left to survive by his own devices, relying on his ingenuity and instincts to protect those closest to him. As he fights his way back, Stark discovers the answer to the question that has secretly haunted him: does the man make the suit or does the suit make the man?
Let’s start out with what I liked about the movie. It does a lot of fresh, inventive things with the suits. Tony being able to call upon the Mark 42 at will with some injected sensors was excellent, and many of the suiting up sequences stemming from that were fantastic. There’s even one action scene where Tony is fighting to escape captivity, and he only has one gauntlet and one leg of the suit to work with. He has to be more clever and dynamic with just these two parts to combat his enemies. I really liked that, and there’s even more awesomeness in the climax, which I’ll get to later. For most of the film, he’s stuck with this not entirely functional prototype that continually gets beaten up, requiring Tony to cobble together various resources to survive and battle his foes.
Of course, Downey still does a great job with the character. He’s lost nothing after his previous three outings, including The Avengers. There’s very good material here for him to work with that shades Tony’s story a little darker than before. He has some demons to resolve, and Downey does a fine job working with that. However, as good as Downey is, the script has its shortcomings with that material. There is the fact that Tony is struggling with these anxiety attacks, this sort of post-traumatic stress, but as the same as my gripe with Skyfall, we never see the character actually resolve this problem. It’s there and then it’s not there. This paralyzing fear that keeps striking Tony simply evaporates from his being with no resolution at all. In Iron Man 2, Tony went through an arc where he dealt with his issues, made a mends, and rediscovered his purpose and ambition. None of that effort exists within this movie. Downey handles Shane Black’s comedic writing greatly, but this is a film that could have benefitted greatly from less humor and a lot more dramatic turmoil and peril.
It is pleasing that we get a little more Don Cheadle here as Colonel Rhodes, but I still feel the character should be a lot more fleshed out by this point. Granted, this film puts him more into the thick of the action, both in and out of the suit, but I want to feel like Rhodey is more than just a supporting character. You’ve got an excellent actor here, and I don’t think he’s been used to a tenth of his potential, yet. The one thing I do like is how Tony kind of speaks for the audience in that rebranding War Machine into Iron Patriot doesn’t sound like a good idea. War Machine is who Rhodey has been in the comics, not Iron Patriot, and besides that, War Machine sounds like a guy you just do not want to mess with at all. That’s a bad ass name. Iron Patriot, not so much.
Now, Ty Simpkins portrays a young boy named Harley that Tony crosses paths with while trying to untangle the mystery of the Mandarin and the bombings he’s been behind. Simpkins does a stellar job trading sharp, witty dialogue beautifully with Downey. The two work wonderfully together, and I really did like and enjoy Harley. He was a great companion for Tony to have for a while that helped him along the way, and remained endearing and smart. He also gets a great pay-off at the end that was charming.
I am a big believer in the talent of Guy Pearce. I think he is an immensely talented actor that should have broken into the big time a good decade ago. His Aldrich Killian is the controller of this Extremis technology which creates nearly indestructible human weapons allowing them to regenerate body parts and repair fatal injuries almost instantly. Yet, the tech is not entirely stable resulting in some volatile reactions. Pearce makes Killian rather compelling with his charisma, air of sophistication and culture, and definitely with his underlying merciless villainy. I did find him to be an effective villain, but not a great one. Pearce certainly sells every bit of the character’s ruthless savvy and sociopathic relentlessness with just the right degree of arrogance and intelligence. In the climax, he definitely becomes a wicked bad ass that is not easy to take down. So while he’s not a villain that jumped out and stuck in my mind greatly, Killian is still a damn good one in the hands of Guy Pearce.
Now, the first thing I didn’t really care for was the Tony Stark narration at the beginning. Some months ago, I tried to watch Shane Black’s other directorial effort with Robert Downey, Jr. – Kiss Kiss Bang Bang. It was the incessant narration that turned me off to that film as well. It made the film too self-aware in a bad way, and I just couldn’t even get twenty minutes into it. The narration is not incessant here, but it just didn’t establish an inviting tone for me. It just felt like Tony was breaking the fourth wall on me, and I didn’t like that feeling. Ultimately, it really only ties into the comedic post-end credits scene, which was funny but really frivolous. That was yet another thing that was spoiled to me going into it. This is sort of a movie experience that makes me realize there’s just too much information, preview clips, trailers, and TV spots spoiling important aspects of movies today. That’s why I’m glad for the marketing of Star Trek Into Darkness and Man of Steel – they have given us fantastic glimpses of the films while spoiling nothing crucial. I’m excited for both films while still going into them knowing very little about the plot and layout of the films. Iron Man 3 just spewed out every little piece of footage and information people could get their hands on, and it terribly impacted my experience seeing this film. I’d expect a big, marketing savvy studio like Disney or Marvel to be more strategic in what they release, but apparently, that was a false perception on my part. It felt like I had watched this movie in sections on television, and was only now watching it in full for the first time. Of course, careless commenters on Facebook are beyond their control.
Now, while Guy Pearce’s Aldrich Killian is an excellent character and villain here, showcasing much of Pearce’s wonderful talent and charisma, the issue I have is hotly focused on the handling of the Mandarin. Again, I will spoil nothing about the plot twist that goes into either of these characters, but simply said, the Mandarin is horribly, insultingly wasted. In the comics, he is Iron Man’s archenemy, and this film had such a powerful, masterful setup for this revamp of this villain. Instead, they chose to piss all over that potential and flush it down the toilet. If I didn’t have this essentially spoiled for me in advance, I think I would have been pissed sitting in that theatre. Almost as pissed off as I was at the end of The Dark Knight Rises because it is just stupidity at its finest handled in the most asinine way. I have no passionate connection to the Iron Man mythos, but I do know a bad idea on screen when I see it. You have this amazing actor in Ben Kingsley portraying this menacing, threatening, foreboding, and brutal character, and you make a complete and utter insulting waste of his talent with this horrendous plot twist. Frankly, the Mandarin could have elevated this film to an astonishing height with his reign of terror, but instead, it came crashing down because of what Shane Black did with him. In the comics, the Mandarin is a genius scientist and martial artist utilizing ten power rings adapted from alien technology as his primary source of power. Shifting that to a more grounded straight up terrorist with advanced technological bio-weaponry was working immensely well in the film until it was all dashed. The fact that Tony Stark was abducted by the Ten Rings in the first film created a closed loop of storytelling here that could have worked beautifully, but we are denied any ingenuity or brilliance here. The Mandarin is reduced to a punchline that I found no humor in at all. It is the biggest black mark on this film because it presented to us with amazing, potentially stunning potential, and turned it into a bad joke.
The other thing I really didn’t like was how much this film forced itself into feeling like the final act of a trilogy. I am so sick and tired of everyone’s obsession with trilogies these days. What happened to just telling a solid, independent story? Why MUST everything be conceived as a trilogy? Shane Black drops in so much stuff, especially at the end, making it feel like Marvel is closing the book on Iron Man. That’s surely not the case, but does this film ever feel like the final act of a movie trilogy. I really don’t get what the problem is with just making another sequel that allows for an ongoing series. There’s no reason this film had to be written as if it’s some final chapter for Tony Stark when Marvel is likely, in no way, considering that. I almost guarantee you we will see Tony Stark as Iron Man in The Avengers 2, but the way this film ends, you’d think otherwise. It’s such a blatant message that really annoys the crap out of me. The Mandarin issue is indeed worse, but this further burned me as the film came to an end.
And lastly, I felt the film indulged in too much humor. I really miss the sharp, punchy comedic timing that came with Jon Favreau’s direction. He rarely ever lingered on a joke or gag. He kept it tight and to the point. Shane Black drags too many bits out for too long. The joke plays itself out, but the film keeps running with it. There’s also frivolous gags like how Happy Hogan is dressed up like Vincent Vega from Pulp Fiction in the flashback to 1999 (five years after that movie came out). There’s no reason for that. It’s just there as a gag that no one in my theatre even picked up on to laugh at. Probably because you could barely tell it was supposed to be Jon Favreau in that ridiculous getup. Most importantly, I feel the humor outweighs the drama of the story. There’s an over abundance of it with the dramatic turmoil going on is brushed aside. Almost no scene goes by without some kind of witty, funny banter between characters, and that really weakens the dramatic weight that Black attempted to inject into this film. The previous two Iron Man films knew when you shift tones and focus on the emotional or dramatic poignancy of the story. This film barely does that at all.
There is also the inevitable thought that’s going to come into the minds of a lot of people. With this terrorist threat imposing itself upon America, where are the other heroes? I mean, you’d at least expect Captain America to be called upon to combat an enemy to the American people. Even Iron Patriot doesn’t get called in until almost the last minute. At least with Thor, he’s off traveling to different worlds and realms, and the Hulk is too potentially unstable to call in on a whim. Yet, Stark shouldn’t have much hesitation in doing so considering the Hulk saved his life, and he and Banner are now close buddies. Still, even S.H.I.E.L.D. is apparently not even involved. At least in the comics, you have dozens of storylines running concurrently with all of these books being published showing what’s occupying these heroes at all times. You don’t have that luxury here. Marvel Studios is going to have to craft these films extremely carefully to explain away these issues. You can’t have a shared universe with stories that take place in a vacuum.
Now, Iron Man 3 does contain the best climax of the series, so far. The all-out assault on Killian and his Extremis soldiers was killer! The entire army of Iron Man suits greatly ties into Tony having had too much time on his hands from all his sleepless nights. Him jumping in and out of various suits throughout this sequence to escape various scenarios was an exciting, brilliant idea. It has a lot of peril and awesome action that blends together in masterful fashion. It all taking place at this shipyard with cranes and scaffolding really allowed for great dynamics to have the Jarvis-automated suits flying around attacking and being attacked. How Tony tries to jump into certain suits, only to have them blown away, or only get part of a suit added to the unpredictability and danger of it all. The battle between Tony and Killian was fantastic and bad ass. I really loved it all the way through. And while I loved the quirkiness of what Tony does after the fight with the suits, the connotation it left me with was not to my liking. Again, it’s part of that forced trilogy style close-endedness which seemed ridiculous and stupidly unnecessary.
The main problem here is that Shane Black seemed intent on making this an entertaining, humorous film with a backdrop of drama and consequence, but ultimately, did not give most of those dramatic aspects their just due. The only time he does allow any dramatic resolution is in trying to tie off all character threads at the end like it was a conclusion to a trilogy. Black also sacrifices coherent, intelligent, and solid storytelling for a few extended gags. I mean, if you’re not going to do the Mandarin justice, don’t bother putting him in the film at all. Also, don’t bother having that PTSD aspect part of Tony’s character if you’re not actually going to have him go through the process of dealing with and overcoming it. While Iron Man 2 was an over-bloated film with too many plot threads and a story that veered off track, I can still enjoy it because it at least did nothing to raise my ire. It’s a lightly enjoyable mess. This film has enough abrasive stinging points for me to say I don’t really like it. There are things in it I do like and found a lot of enjoyment from, but as a whole, those miscues and bad ideas sour me to it. After I found The Avengers to be a largely entertaining, yet hollow movie with a paper thin plot and stock villains, I had hopes that the individual sequels would be better developed and more substantive, like what had come before. While Iron Man 3 has substance, this was not at all the right script to sign off on. I’ve loved a lot of Shane Black’s work from Lethal Weapon to The Monster Squad to The Last Boy Scout, but this is clearly where Marvel Studios should have exercised more creative control, in my opinion. Maybe you won’t find these issues so objectionable upon your viewing of the film, but for me, they really drive me away from wanting to see it again. There is a lot of entertainment value to be had, but this film, for me, features more than just a few stumbling blocks. It has some rocky pot holes in its road.