Sequel takes place five years after the events of Godzilla 2014 with Godzilla keeping a low profile and being monitored diligently by the Monarch organization. Other creatures, or "Titans" have been discovered across the globe and the military wants them all destroyed, while Monarch believes they represent a balance in nature. Eco-terrorist Colonel Alan Jonah (Charles Dance) feels the Titans should all be freed to restore that balance and plans to steal the Orca…a device capable of communicating with, and possibly controlling the monsters…to accomplish this. He kidnaps Orca creator Dr. Emma Russell (Verga Farmiga), her daughter Madison (Millie Bobby Brown) and her invention and thus sends Monarch and Emma's estranged husband Dr. Mark Russell (Kyle Chandler) in hot pursuit. But Jonah gets more than he bargained for, when he uses it to release the three-headed space monster Ghidorah from his icy prison and the beast challenges Godzilla for the title of King of the Monsters. Add in the Queen of the Monsters Mothra and the fire demon Rodan and earth soon becomes a monster sized war zone.
Trick r Treat director Michael Dougherty takes over from Gareth Edwards and seems to have a far better grasp of the material. He also does script duties along with Zach Shields, from a story by they and Max Borenstein. What we get is far closer to a Toho Godzilla film than the 2014 flick and one that is a lot more fun. Sure the plot is a bit goofy, but no goofier than an alien race building a robot Godzilla or a creature created completely from pollution. It's filled not only with tons of fun references to Godzilla flicks of the past, but we get all the traditional story elements like devious villains, stalwart scientists, brave military types and a smarter than the adults kid. Not only are all the tropes proudly paraded out for those familiar with the series, but it has some of the most spectacular monster battles ever presented, as Godzilla, Ghidorah, Rodan and Mothra all converge to duke it out and destroy everything in their paths. The final showdown in the city of Boston is absolutely amazing and Yankee fans might even get a giggle over Godzilla and Ghidorah throwing down in the middle of Fenway Park. It's also a true popcorn blockbuster, so even those not too familiar with the Big G and his 65 year history, can still enjoy the flick on a purely entertainment spectacle level and monstrously entertaining it is. Not to mention, the film's final image is something every Godzilla fan has wanted to see from day one. On a technical level, the SPFX are amazing, the monsters are truly titanic and majestic and their destruction is on a totally massive scale. The score by Bear McCreary is far more fitting than Alexandre Desplat's ho-hum score for Zilla 2014 and delightfully mixes in some of Akira Ifukube's classic Godzilla themes to add a nice touch of nostalgia to the film.
The cast are good and all of them get the material. They play it seriously…but not too seriously. Leads Farminga, Chandler, Brown and Dance all do well in essaying their roles. Vera Farming as the scientist with a personal reason to get involved, is solid and helps us understand her decisions, even when they are the wrong ones. Chandler is fun as the father and husband trying to get his estranged family back. He's a good lead and his old fashioned character fits this kind of movie well. Charles Dance is impeccable as ever as the villainous Alan Jonah, who like Thanos, thinks he is doing the right thing by trying to unleash these creatures. Millie Bobby Brown is especially endearing as Madison and in many ways is the emotional center of the flick. The supporting cast are all good, too, especially Ken Watanabe returning as Dr. Ishirō Serizawa and Zhang Ziyi playing Dr. Ilene Chen, a character who pays tribute to a familiar Mothra trope in a very fun and clever way. A good cast that even give some very corny dialogue a little dramatic weight.
Overall, this was a really fun and action packed sequel to a film widely criticized for skimping on the monster action. It has monster battles to spare, but still gives us some people time along with a very Toho-esque storyline. Michael Dougherty keeps the 132 minute flick moving very fast and pays loving tribute to the classic Godzilla flicks in some fun and very clever ways. Stay through the credits for not only an end credits scene, but for some amusing interwoven news items that echo what is to come. A gargantuan blast of a good time!
Another classic in the original Godzilla series. This entry returns to a lighter, more kid friendly tone but, thankfully doesn't get too silly as some of the later sequels would. This chapter introduces one of Godzila's all time favorite foes, the three headed King Ghidorah and features more top notch FX from Eiji Tsuburaya and solid direction from Inoshiro Honda. The story involves the coming to earth of the space monster Ghidorah and the efforts of Japan's three biggest monsters, Godzilla, Mothra and Rodan to expel the invader despite their own differences with the human race. The sequence where Mothra tries to convince Godzilla and Rodan to stop fighting each other and defend the earth is very amusing especially when the twin Mothra faires translating become shocked at Godzilla's use of bad language. No, not as dramatically strong as Godzilla vs Mothra but really entertaining and loaded with nostalgic charm. Trivia: The gold colored Ghidorah was originally supposed to be red as he was meant to symbolize Japan's fear of their neighbor Communist China.
Thriller opens with pretty Lindsay Pittman (Alex Essoe from Starry Eyes and The Neighbor) tied to a chair and gagged with duct tape. Then we go back a few hours to find out how and why she's there. Driving home from a New Years Eve party, down-on-their-luck couple Lindsay and Jeff (Dylan McTee) hit a man on a remote road in the woods. The man appears to die before they can get help and the couple take the body home, concerned with the consequences of the man being dead and that they both were drinking. That's when things start to go wrong. The man is not dead, has a gun and after surprising Lindsay's sister Hannah (Perla Haney-Jardine), is really killed when she gets hold of his weapon. Even worse, when going through his things, Jeff, Lindsay and Hannah find their home was the gunman's objective all along. And thus begins a tale of hidden money, betrayal, double-crossing and murder.
Flick is well directed by Julius Ramsay from a script by Alston Ramsay and is a solid thriller. Film sets up a tense enough situation with a couple already facing hard times, thinking they killed a man and not wanting to deal with the consequences. Things get worse as they find the man had a gun and their address in his wallet. Who was he and why was he heading to their home? The story slowly unfolds, as thrillers like this traditionally do, as Police come knocking at their door, a mysterious detective (Ward Horton) shows up soon after and a cache of cash has everyone turning guns, duct tape and other household torture devices on each other. It's well done and while not quite as gripping as hoped, it is still solid entertainment that offers up some nice betrayals, twists and some horror movie level violence, murder and bloodshed. By it's satisfying conclusion all secrets are revealed, questions answered and a fitting trail of bodies left. To say anymore would be to spoil some deviously entertaining moments.
The Ramsays have a fairly good cast to support their script and direction. Alex Essoe once again proves she's an actress to watch with a solid performances as Lindsay. Mrs. Pittman seems to be caught in the middle of all this and Essoe gives her some life, depth and resourcefulness as we watch a woman toughen up and try to turn things in her favor in an increasingly disturbing situation. She's a good actress and can play both sympathetic and strong very well. Dylan McTee was efficient as Jeff, but could have used a bit more intensity. Maybe it's just that his character is not at his best when our story begins and is, when all is said and done, not as strong as his wife. He's not a wuss, but his character could have used a bit stronger presence. Perla Haney-Jardine is solid as Hannah. She's not new to trouble and it's no surprise that some of the Pittman's current woes might have Hannah's fingerprints on them. Finally we have a malice laced performances by Morristown, N.J. native Ward Horton as the mysterious Detective "Smith". Let's just say he's not a nice guy and his being a detective may be questionable, too. Horton makes for a slimy and charismatic villain which always benefits movies like this.
Overall, this was a solid and entertaining thriller that rolled out the story nicely and deviously. It could have used a bit more intensity, but was still a well done movie with some nice backstabbing and other kinds of stabbing to keep us in our seats. There were some good performances, especially from lead actress Alex Essoe, which enhanced the characters and thus the effectiveness of this blood-soaked thriller. Recommend for a night of noir-ish thrills and entertainment on the couch.
Korean epic is a bit long but I was never bored. There is action, drama and beautiful cinematography to keep one's interest. If all else fails it does have Ziyi Zhang. I liked the characters and the sense of nobility they carried even in the face of certain death, and the story involves a part of Asian history that I knew little about. If you like Asian period epics I recommend this. A very good movie.
At this point the makers of the Underworld series aren't even trying to lure in new viewers, just keeping the loyal fan base of this franchise interested and happy. But even the most loyal viewer would have to admit that with this entry, entertaining as it may be, the saga is starting to run out of gas. Blood Wars finds vampire hottie, Selene (Kate Beckinsale) having abandoned her daughter to keep her safe and now being pursued by Lycan and Vampire alike. The wolves want her hybrid daughter's blood to become more formidable, to tip the scales in their war with the vampires. Vampire councilwoman Semira (Lara Pulver) wants the latex covered Selene's powerful blood so she can overthrow her coven leaders and take over. Selene's only allies are Vampire Elder, Thomas (Charles Dance) and his hunky son, David (Theo James), who gained heightened abilities when given some of sexy but dour Selene's blood in Underworld: Awakening. Still with me? Of course new Lycan leader Marius (Tobias Menzies) is out eradicate the vampires once and for all and has some bloody secrets of his own to help him accomplish this and poor, curvy, quick-triggered Selene is caught in the middle of it all. What a bloody mess!
Fifth go-around is competently directed by newcomer Anna Foerster from a script and story by Cory Goodman and Kyle Ward and is entertaining enough to pass the time. You have to be a fan of this series to appreciate the theatrical melodrama mixed with bone crunching action, but even then, it's getting far too familiar to really set this new chapter apart from the last one...or any of the others. The filmmakers have realized this stuff has more of a cult audience and this flick has half the budget of the previous flick and thus is smaller scaled and delivers far more of that melodrama than some of the previous entries. There is still a decent amount of action, though it is fairly by-the-numbers and is nothing beyond what we expect from this series by now. It's in the Twilight-esque moments that the film is weakest, thought, thankfully, those moments are usually bookended with some blood-spattering as the rapid fire editing keeps things from stagnating and us from thinking too much about how silly it all is. That is also one of the film's weaknesses as there is little time to let dramatic plot points resonate and sometimes the movie jumps forward a little too quick for it's own good. Selene's final confrontation with Marius is a good example, it's just over too quickly to have impact, despite a shocking reveal in it's midst. The editing can be choppy in spots, as if there was an effort to get to the action more quickly and the opening chase is hard to follow as a result of being a bit too rapidly cut...much like the opening chase in the James Bond epic A Quantum Of Solace. Foerster seems to have a good visual eye and the snow set scenes are especially eye-catching, but if the series is to continue...and there are indications it is going to...they need to really shake things up a bit and give the series some new blood...pun intended.
The cast all take this stuff very seriously and it helps us do the same. Beckinsale can basically play Selene in her sleep at this point and the story has her a bit more sullen than usual. Pouting over her lost daughter and love Michael (played in flashbacks by both original actor Scott Speedman and stand-in Trent Garrett, who looks nothing like him) Selene is quite the sourpuss here, although she still looks stunning in latex and seems to cheer up when blasting Lycans or ripping out their spines. Theo James is a fine hero as David. The actor does the vampire heartthrob thing adequately, although the character does seem to only have been added to lure in the Twilight crowd who have nothing new to watch. Charles Dance is regal and noble as Thomas. A class actor giving the role strength beyond the simple script. Tobias Menzies is menacing enough as Marius, though he could have used a bit more charisma and Lara Pulver gives leading lady Beckinsale a run for her sexy money as vampish vamp Semira.
Overall, the movie did entertain, but only for fans who have enjoyed the previous flicks and are forgiving to the familiar material. Even so, the series needs some freshness injected into it or it may start to lose even it's most loyal followers. Perhaps have Beckinsale's Selene pass the torch to her wayward daughter and let mom's latex covered buns only cameo, because, to be honest, we'd miss those latex covered buns if they were gone completely...after all bullets, blood and buns is why we watch these movies.
Shin Godzilla...meaning "true" Godzilla...is a reboot of the classic Godzilla series from Toho Studios and the imaginative minds behind Neon Genesis Evangelion, Hideaki Anno and Shinji Higuchi. In this new incarnation, Godzilla starts out as a mysterious tadpole-like creature that appears in Japanese waters causing structural damage to it's Tokyo Bay Aqua-Line before making landfall. It cuts a path of destruction as the Japanese government flounders over what to do. As they struggle over how to handle this unprecedented event, the creature mutates growing larger and more destructive as it does. Worse still, this beast, the prying U.S. government calls "Godzilla", is a walking nuclear reactor heading into the heart of Tokyo.
In this new incarnation of the long enduring classic character, Godzilla is a true monstrosity as it has the power to mutate itself at will, as it returns to Japan, no longer content or satisfied with feeding on the nuclear waste the Asian nation dumps into it's oceans. There are hints that he is a nuclear created amalgamation of all sorts of sea and other life that now has formed into an ever changing leviathan in search of nuclear fuel. The creative duo also use the creature as a metaphor for the recent earthquake and typhoon disasters that struck Japan in 2011 and the Japanese government's mishandling of it, due to being mired in bureaucratic red tape and politics. They also take some jabs at the United States prying into Japanese affairs and being a bit of a bully towards the island nation in bending to it's will. This works for the most part, though if the film has an achilles heel, it's that it allows it's political satire to get a bit heavy-handed and overloaded in the second act, while we wait for an immobile Godzilla to recharge after battling a U.S. bomber attack with it's new version of the atomic heat ray. The film does drag a while before it's impressive but over-too-quick climax, at a point where it should be ramping up. Having Godzilla dormant for a good chunk of time after a fairly action-filled first half, really slows the film's momentum. That and the points made here were pretty much the same made in the first half and it starts to get redundant. On a technical level, the FX are mixed. There are some truly spectacular sequences of destruction unlike any seen in a Godzilla film, including the multimillion dollar American flick from 2014. In contrast, there are some weak CGI FX that hinder the impact of some scenes, such as Godzilla's creepy amphibious first form and some shots during his overall impressive unleashing of his new nuclear capabilities. Tonally, the film takes itself fairly serious, though there is some humor and plenty of satire. The last half could have used more tension instead of talk and after a spectacular battle with U.S. B2 bombers, it's off-putting to see Godzilla just stand there for so long, allowing Japan to re-group. The traditional Godzilla gave little rest for the weary. Fans will be pleased that the film does use some of Akira Ifukube's classic Godzilla music for mood and nostalgia and there is also an effective score from Shir? Sagisu as well.
The cast, for the most part, perform well with lead Hiroki Hasegawa standing out as Rando Yaguchi, a young Deputy Cabinet Secretary who sees the flaws in the system and how they are negatively effecting Japan, especially in a crisis. Beautiful Satomi Ishihara plays Kayoko Ann Patterson, a U.S. born senator's daughter who is the envoy to Japan during Godzilla's attack. She could have been a bit stronger in a smug role and the fact that her english is terrible, doesn't bode well for her playing a U.S. born character to an American father. Other than that, the cast all get the tone of their parts and balance the satirical humor with the more serious facets of the story fairly on-point. As for Godzilla, he is for the first time really creepy. He has nuclear energy glowing from points under his skin, like the burning Godzilla from Godzilla vs. Destroyah and actually evokes Hedorah, The Smog Monster, in the way it evolves from a disturbing reptilian-slug thing to a creature that resembles a giant walking, grinning zombie dinosaur. It is a startlingly original take on this iconic beast and his new way of unleashing his nuclear power was shocking and impressive. Too bad a few shots suffered from weak CGI as this sequence was one of the most powerful in the film.
Overall, this was a very interesting, entertaining and sometimes disturbing new incarnation of one of film's most classic characters. It is still the Godzilla we know, yet with some daring new characteristics and a more contemporary origin. The film is more moderately paced than these movies usually are and comes with a lot of political commentary on Japanese government and it's relationship with the U.S. It does stumble a bit with a very talky second half and by getting a little too heavy-handed with it's messages, though it does recover somewhat with an impressive, if not a bit too quickly resolved finale. A bold new start for a franchise and a character that has endured for over 60 years and one of the most unique films in the series.
Babysitter from hell flick opens with a young girl being kidnaped, so we know from the first frames that something is wrong and it sets the mood. When the Thompson family's regular babysitter Maggie (Elizabeth Jayne) can't make it, the couple (Susan Pourfar and Chris Beetem) chooses a girl named Anna to watch over their three kids during their anniversary dinner date. But 'Anna' is actually Emelie (Sarah Bolger), who not only encourages the kids to misbehave, but does disturbing things like putting on their parents sex tape for the kids to watch and feeding little Sally's (Carly Adams) hamster to older brother Jacob's (Joshua Rush) pet snake. As Jacob realizes the new sitter has a few screws loose, he must find a way to protect Sally and youngest sibling Christopher (Thomas Bair) from her increasingly dangerous behavior. But Emelie has a far more sinister agenda and no one, not even Jacob's parents, might be safe.
Directed by Michael Thelin, with a script from Richard Raymond and Harry Herbeck, the film is nothing new, but still very effective as it puts some likable kids in the path of a very disturbed young woman. It also isn't afraid to break boundaries on a creepiness level by having Emelie not only show underaged kids a sex tape of their own parents, but giving the coming of age Jacob a first glimpse of lady parts. Obviously the deranged young woman has no problem putting little kids in harm's way, or killing to get what she wants...and what she ultimately wants is a bit chilling once revealed. This isn't a new story, but the filmmakers do make it work, especially when Jacob locks into protective older sibling mode and goes on the offensive against Emelie. It's suspenseful and fun to watch the tween take on the psycho sitter and while it's outcome may not be unexpected, we still cheer for him as he turns the tables on the pretty predator. The pacing is a bit more moderate here, but that serves the story as Emelie's behavior slowly evolves from rebellious to scary and the kids realize the fun new babysitter is someone to be feared. There is also some violence and bloodshed which, while not unexpected, is used sparingly and effectively. Thelin knows how to generate tension and suspense and that helps make a familiar story work and work well and the script, in a clever way, gives us enough information about Emelie to understand how she got this way. This gives her a little backstory, so she has a bit of depth and isn't just a random psycho without a purpose.
The cast is first rate. Sarah Bolger is very convincing as first, the girl-next-door babysitter, than full blown psychopath when her true nature is revealed. For a petite young woman she can be very intimidating and scary, especially towards the kids. Joshua Rush is really good as Jacob. He gets to play a wide range here as first he pretends to be dismissive of the new sitter...then when she teases, he reacts with budding and clumsy sexual attraction...then fear when she goes all Joan Crawford...and finally courage when comes time to fight back. Good work from the young actor. Carly Adams also is cute and likable, so we feel bad for her when things get ugly and little Thomas Blair is a typical hyperactive four-year-old and we also care when he is put in jeopardy. The kids are all good and avoided annoying kid syndrome. Susan Pourfar and Chris Beetem are effective as the unsuspecting parents and Elizabeth Jayne is couragous and feisty when original babysitter Maggie comes to check on the kids and visit 'Anna'. Also stars Randi Langdon as the real Anna who, obviously, has little to do.
Overall, this thriller worked despite the familiarity of the story. The filmmakers made the most of the premise and weren't afraid to put the kids in some disturbing and uncomfortable situations, as well as, physical danger. The cast are all good in their parts, both young and adult, with Bolger and Rush standing out strongly as psycho-sitter and protective sibling respectively. Another example of filmmakers taking a familiar scenario and making it work effectively. Not a classic but got the job done.
The much anticipated match-up between the two greatest comic book characters of all-time is a mess, no doubt about it, but there is a lot to like here, too. The story picks up 18 months after the battle in Metropolis between Superman and Zod and the world is starting to sour over the notion of a man with god-like powers running around of his own volition. Two men particularly being unhappy about it are billionaire Lex Luthor (a completely miscast Jesse Eisenberg) and billionaire Bruce Wayne (Ben Affleck). I guess rich people hate Superman. The Dark Knight saw many Wayne Enterprises employees die in Metropolis and starts to wonder if Superman (Henry Cavill) can be trusted and Lex Luthor is more than happy to give both men a push in the confrontational direction. Will The Bat of Gotham and The Man Of Steel go head to head...and will the world survive it?
The script by Chris Terrio and David Goyer is simply all over the place and a lot of it doesn't gel. The reasons for Superman's alter ego Clark Kent to suddenly become so concerned with the activities of The Batman in Gotham is never really clear, as it also doesn't really completely work that Wayne would develop such an intense hatred for Superman, since he has done a lot of good. The first hour of the film bounces back and forth between a bunch of story-lines, including one about a possible conspiracy to frame Superman for death's he's not responsible for and a mysterious woman (Gal Gadot) that keeps popping up in Bruce Wayne's life. It's very fractured and takes over an hour to settle into a grove. Zack Snyder is a brilliant visual director, but I never felt he was a strong storyteller and with a very weak and fractured story, it is all the more obvious. The film wanders back and forth without much purpose in the first act when Snyder has little going on that he can turn into spectacle. There is some solid action within the film, though and some nice personal moments, too, but it all comes crashing down when Snyder delivers an even more overblown finale than with Man Of Steel. At that point the overlong film is already getting tiresome, we get an apocalyptic battle with Doomsday and then the film goes on for another 15 minutes, or so, for a very morose conclusion. The battle between Bats and Supes was starting to turn the film around somewhat, then Snyder throws in Doomsday and the film collapses under the weight of more bombastic destruction with a generic CGI monster that generates no menace, whatsoever. Throw in a somber and mopey Superman, some pointless dream sequences and the totally miscalculated portrayal of a creepy Lex Luthor by Eisenberg and it basically is a mess with a few shining moments.
So, what was there to like about it...and surprisingly there is a lot to like. First off, Ben Affleck makes an awesome Bruce Wayne and Batman. While story-wise I wasn't really sold on his intense hatred for Superman, the character itself was different than we have seen previously, yet really nailed the darkness and the whole Bat persona. His action scenes also really rock and capture the ferocity of a man working out his own inner turmoil. Another very pleasant surprise is Wonder Woman. Gal Gadot isn't the strongest actress, but when she wades into battle during the climax, she steals the show. Another character the film nails and she was a lot of fun to watch and really lays into Doomsday like a badass. As for the battle between Superman and Batman, it was the highlight of the film and here Snyder showed some surprising restraint. Also we get to really see Batman's ingenuity and preparedness come to bare as he battles someone who could squash him easily. It's a shame they had to sully the moment by going into extra innings with Doomsday...though they did need a reason for the World's Finest to unite. It's just too bad it's back to over-the-top and out of control. Obviously the FX are top notch, the film looks great and there is another solid score by Hans Zimmer and Junkie XL.
The cast are a solid except for you-know-who. Cavill is good as Superman, but the script has him pouting and grimacing in anger most of the time and it's disappointing that we see so little of the hope Superman is supposed to bring. Affleck is great as both Bruce Wayne and Batman. He portrays a man starting to show the effects of aging, who has his own demons and bitterness to deal with and which also motivates him. As Batman, he is truly intimidating and his fight scenes are really nasty and intense like they should be. As his loyal butler Alfred, Jeremy Irons is impeccable and gives us a man who we believe can actually take care of and assist both Bruce Wayne and The Dark Knight. He has a subtle smart-ass quality that really worked. Gal Gadot is a little wooden in her dialog sequences as Diana Prince, but when Wonder Woman joins the fun, she gives her the fire and spirit of a true amazon warrior. She really does steal the scenes she's in, once she is in battle. Now the big question...Jesse Eisenberg as Lex Luthor, what were they thinking? Not everything he does is bad and his part is badly written, but he was more Renfield or Gollum than super villain and his Luthor seems too unhinged to be in control of a multi-billion dollar empire. He comes across as that weird uncle that makes everyone uncomfortable, not a formidable opponent for our heroes. Amy Adams is good again as Lois Lane, but isn't given much to do but be a damsel in distress. The same goes for Diane Lane. A waste of both their talents as is the same for the barely seen Lawrence Fishburn as Perry White.
So, the eagerly awaited meeting and mash-up of the World's Finest is a bit of a mess and a mixed bag. On one hand, it delivers a great new Batman, a scene stealing Wonder Woman and a well-done battle between The Dark Knight and The Last Son Of Krypton. On the other hand it's way too long, gives us a creepy and far too eccentric Lex Luthor, has a really muddled first act and follows up the Bats/Supes battle royal with a ridiculously overblown orgy of destruction featuring a generic CGI monster. There is a lot to like here, but, overall, this dream match is more of a dream mess.
It's been a decade since the last Star Wars movie Revenge Of The Sith, but the beloved franchise is back, powered by Disney and J.J. Abrams, who wonderfully rebooted the Star Trek series in 2009...sadly, he is not quite as successful here.
The story begins decades after the events of Return Of The Jedi with Luke Skywalker disappearing into self-imposed exile after losing one of his star Jedi pupils to the dark side with disastrous results. From the ashes of the fallen Empire come The First Order, who are basically Empire 2.0 complete with Sith Lord leader, his metal masked lackey, Kylo Ren (Adam Driver) and yet another destructive super weapon...will they ever learn? A droid named BB8 is entrusted with a map that divulges the location of Skywalker (and who made this map if no one knows where he is?) and The First Order wants it in fear his return would bring back the Jedi and halt their evil plot. A young scavenger named Rey (Daisy Ridley) and an ex-stormtrooper named Finn (John Boyega) find the droid and try to return him to his owner, resistance pilot Poe Dameron (Oscar Isaac) with the help of a crotchety old Han Solo (Harrison Ford).
One of the biggest problems that The Force Awakens suffers from...aside from being about 15 minutes too long...is that it feels more like an expensive fan film than an actual Star Wars movie. J.J. Abrams certainly incorporates a lot of the elements we expect from this series, but the spirit seems absent. It feels like an imperfect imitation much like his Super 8 felt like a slightly-off copy of a film Steven Spielberg might have made in the 80s. The magic isn't there. Another thing is the script by Abrams, Lawrence Kasdan and Michael Arndt is weak and offers a thin plot that Abrams stretches out over two hours. There is also a disturbing amount of conveniences that move that plot along, like characters who just happen to bump into each other in the vastness of space or characters who just happen to have crucial information that saves our heroes from doing any real work to get it. If you thought the Empire had crappy security, wait till you meet The First Order. Too many characters are also in the right place at the right time too often. Yet another problem is that while I admire Abrams' decision to use as much practical effects as possible, the lack of enhancement for the settings makes them remain very Earth-like and I never felt it was in a galaxy far, far away. Aside from the actual scenes taking place in space, the film always looked like it took place on earth. Lucas created some interesting worlds even in the worst of the prequel flicks, here it always looks like exactly where it was shot and some of the sets actually look cheap without a little matte painting or cgi background help. Like them or hate them, the prequel flicks had an epic look and feel. This feels like a TV show sometimes. Even John Williams delivers quite possible the weakest of his Star Wars scores with very little memorable aside from the classic marches and themes.
There are definitely some pluses. The action does move, though even all these years later, tie fighters vs X-wings is getting a bit tiresome. I did like Daisy Ridley's Rey and Boyega's Finn. They show promise that when the torch is passed solidly, they may be quite engaging in their own adventures and both actors add charm in their thinly written parts. Oscar Issac's ace fighter pilot, Dameron is less successful and is kinda bland and doesn't do much. I wasn't all that impressed with Adam Driver's Vader-wannabe Kylo Ren, either. He basically seems like a Sith spoiled brat acting out and for reasons I won't spoil, that's kinda exactly what he is. As for the much hyped Captain Phasma (Gwedoline Christie), blink and you'll miss her. Harrison Ford seemed like he was having a good time returning as Han and he is one of the highlights of the film, as is Chewbacca (Peter Mayhew). It was also nice to see Carrie Fisher back as General Leia and she looks tired and weary as a character fighting a prolonged war should be. BB8 has a lot of personality as the film's main droid character and should sell a lot of toys. While C3PO and R2D2 do make appearances, they take a back seat to the new droid in town. There are other familiar faces too, but I'll leave them for you to discover.
So, overall, the new Star Wars was OK in certain ways, but disappointing in others. There is some nice nostalgia, but Abrams has a weak script and thin plot...which he is partially responsible for...to work with and stretches that thin story out over two hours. There are far too many conveniences to forgive, even when the action gets fun and the film is uneven character-wise as the heroes are engaging, yet the villains are weak and mostly forgettable. There are a lot of holes as to how we got to this point in Star Wars history and certain plot elements, some I won't reveal, just don't add up. Hopefully we'll learn more in the upcoming Abrams-less sequels and maybe that Star Wars magic can yet be revived, but for now Force Awakens is a mediocre return for this beloved franchise.
Tales Of Halloween is an amusing anthology flick that has ten stories told by ten different directors with the obvious reoccurring theme of Halloween. The stories are loosely connected by the presence of Adrienne Barbeau as a DJ, much like her Stevie Wayne character from The Fog and some shared characters.
Created by filmmaker Axelle Carolyn, this is a good idea that disappointingly has only four out of the ten stories really being successful. The tone of the stories vary with some being goofy like Mike Mendez' fun Friday The 31st, which has a Jason-like killer squaring off with an alien who possesses the body of one of his victim's and Carolyn's own creepy Grim Grinning Ghost, which has a woman crossing paths with an urban legend. Those two hit their marks, though the best stories are the opening and closing tales. Dave Parker's Sweet Tooth, begins the anthology and is another urban legend centric story of a boy that took his love for Halloween candy to a ghoulish level. The closer, Neil Marshall's Bad Seed, is a fun and gruesome story about a murderous jack-o-lantern. Darren Lynn Bousman's self-explanatory The Night Billy Raised Hell is moderately amusing, as is Lucky McKee's Ding Dong, about a strange couple. With unsettling Hansel and Gretel overtones and uncomfortable themes of spousal abuse and infertility, McKee's tale is the most bizarre one. Ryan Schifrin's The Ransom Of Rusty Rex is also somewhat amusing in it's tale of a Halloween kidnapping gone very wrong. On the epic fail side, we have Adam Gierasch's tale of murderous trick-or-treaters with a twist, Trick. It's crude and violent without being scary or funny. Paul Solet's tale of demonic revenge with a spaghetti western slant, The Weak and the Wicked, is just dull and has the least Halloween spirit while John Skipp and Andrew Kasch's tale of neighbors battling over competitive Halloween displays, This Means War, is just boring and predictable. Add that up and we have four stories that work really well, three that are pretty decent and three that basically fall flat. There are some nice homages along the way, the SPFX and make-up FX are pretty good and the visual style varies from filmmaker to filmmaker. It always has the look of Halloween, with jack-o-lanterns everywhere, even if the spirit isn't quite captured by the tale being told. This anthology's heart is in the ghoulish right place, though, if not completely successful in accomplishing it's overall goals.
The cast is rather large and even in the weaker episodes they seem to get the tone of the material and are having a good time. We have genre favorites like Lin Shaye, Adrienne Barbeau, Barbara Crampton, Lisa Marie, Caroline Williams and Clare Kramer. There are some veteran actors like Barry Bostwick and John Savage and director cameos such as John Landis, Stuart Gordon, Adam Green and Joe Dante. Then there are also familiar faces like Some Kind Of Hate's Grace Phipps, Cabin Fever's Cerina Vincent, Starry Eyes' Alex Essoe, scream queen Tiffany Shepis and Adrienne Curry as herself, to name a few. Overall a good cast that helps the stories a lot, even when they don't make the grade.
Tales Of Halloween is far from perfect and doesn't succeed as much as we'd like. The stories that work are worth watching for and the middle ground stories are amusing enough to check out, too. Even the failures aren't a complete waste of time and are short enough to be over mercifully quick. While not totally successful, it is a really good idea and hopefully next year, we get another and that one hits the ghoulish mark far more often. Not quite the Halloween classic hoped for, but when it hits it's stride it's ghoulish Halloween fun.
Crimson Peak is the latest film from Guillermo del Toro whose diverse resume ranges from the comic bookish Pacific Rim to the dark fantasy masterpiece Pan's Labyrinth. It's Masterpiece Theater meets Hammer Studios in a deliciously gothic tale of romance, mystery, murder and things that go bump in the night.
The story takes place in the 19th century with Mia Wasikowska playing aspiring American writer Edith Cushing (a homage to the legendary Peter Cushing, no doubt.) who meets and falls in love with the dashing but mysterious Sir Thomas Sharpe, who owns a massive but ancient castle in Cumbria, England. The castle is built over red clay deposits...that Sharpe hopes to mine...which seep up through the ground and stain the winter snow blood red...thus earning the land the ominous nickname Crimson Peak. Edith's widowed father Carter (Jim Beaver) and handsome suitor Dr. Alan McMichael (Charlie Hunnam) are against this romance and Carter's investigation into Sharpe's past gets him murdered and sends Edith into wedlock with Sir Thomas. Now having moved into the castle with her new husband and his odd sister, Lady Lucille (Jessica Chastain), Edith begins to see ghostly apparitions that warn her all is not right. What is really going on at Crimson Peak?...what are Thomas and Lucille Sharpe hiding?...and why are ghastly spirits warning Edith to fear for her life?
Co-written with Matthew Robbins, Del Toro delivers a visually sumptuous feast saturated with gothic atmosphere. It's a lush tale of romance, mystery and sinister goings on in a delightfully spooky castle. There are some surprisingly violent moments, especially in the blood soaked last act and a little steamy sex here and there, too. There are also spirits in this ancient structure and if Del Toro's film has any slight disappointment it's that, despite the ghostly presence, the film is never really scary. Sure there are some spooky moments and the specters are visually unnerving, but aside from some well executed jump scares, the film never gets as chilling as say, the hallway scene in The Devil's Backbone. Del Toro does get some intensity going in the last act, but the film is a deliberately slow burn, though the mystery and intrigue do keep one interested till dark secrets are unearthed and the purpose of spectral apparitions revealed. It is an enjoyable film, the type they don't make anymore and the visual design is worth the price of a ticket alone...as is the sound design. It's just not the horror film it's being sold as and while it does qualify as a haunted house movie, that is only a part of the overall story. Those looking for funhouse style frights may be disappointed. On the other hand, if you are looking for something with class, style, intrigue and some nasty violence to punctuate it, than this film should entertain. It's very atmospheric and Del Toro is helped in that department by Dan Laustsen's (Brotherhood Of The Wolf) cinematography and Fernando Velázquez' (The Orphanage) hauntingly beautiful score. It's a very old fashioned flick, despite the sex and violence, and one wonders if today's audience will appreciate the Dark Shadows-esque (The show, not the goofy Tim Burton flick) tale he creates.
Del Toro's cast is simply wonderful. Mia Wasikowska creates an idealistic woman who dreams of being a writer and has seen spectral apparitions since her mother died years earlier. She is young, though and falls in love with the charismatic Sharpe even if things don't quite add up from the beginning. Once she is convinced something is amiss, despite her feelings, she digs deep in dangerous places to find answers. She's a strong, smart heroine and an endearing character. Tom Hiddleston is once again engaging as the charming and mysterious baron with some very dark secrets. He conveys Sharpe's emotional torment between his sinister agenda and the real feelings he has for Edith. A flawed and conflicted character and Hiddleston has the presence to make him intriguing and keep him from becoming a stereotypical bad guy. Jessica Chastain's Lucille is the true villain of the piece and she is a dragon lady to be feared and reckoned with. Her secrets are dark, deep and covered in blood and the actress really gives us a villainess worthy of a classic Disney film...though one definitely not for kids. Charlie Hunnam is a suitable hero, though much of the focus is on Edith and her efforts to uncover the truth and Jim Beaver gives Edith's father a strength and wisdom while allowing the warmth and love for his daughter to come through. A likable character for his time on screen. Del Toro regular Doug Jones also appears as various apparitions.
I really enjoyed Crimson Peak, even if it wasn't quite the horror movie I went in expecting. It is a sumptuously filmed mystery dripping with gothic atmosphere and not afraid to splash some blood or throw a little sex into it's old fashioned mix. There are some spooky moments and the ghosts are unnerving, it's just not as scary a ghost story as we'd like and the ghosts are not the central focus as the marketing would have us believe. It does deliver on the mystery, murder and even romance in a style that is rarely used in today's world of popcorn blockbusters, vulgar comedies and generic romances. It also proves once again that Guillermo del Toro is one of the most versatile storytellers around. Highly recommended, but just don't expect the horror flick it's being sold as.
As I was watching this much-hyped horror thriller for the first two thirds, I truly felt I might be witnessing this generation find it's Halloween. It's only in it's final act when writer/director David Robert Mitchell loses his grip a bit and his chiller comes to an abrupt end, that the film falls short.
The story opens with a young girl (Bailey Spry) fleeing her own house in terror and making her way to a deserted beach where she meets a gruesome fate. We then cut to pretty Detroit teen Jay (Maika Monroe) who is going out on a date with a handsome young man named Hugh (Jake Weary). The date takes an odd turn but, Jay sees him again and this time has sex with him in his car. Hugh then abducts Jay and proceeds to tell her that he has passed something on to her and it is now coming to kill her. She, in turn, must now pass it on to someone else, by way of intercourse, or die...and if she dies, it will turn it's attention back to Hugh. This entity can look like anyone it wants, can only be seen by those marked and will stalk her until it gets her...unless she passes this 'curse' on to another. He gives her a glimpse of her pursuer, in the guise of a naked woman, but, before it gets too close, he escapes with her and takes her home, leaving her to her fate. Now Jay is in constant pursuit by this being and there is nowhere she is safe and few who believe her. Can she save herself by putting someone else in harm's way? Or can she and her friends find a way to stop it...if, indeed, it can be stopped.
David Robert Mitchell knows how to build suspense and scares here. That, combined with his shot framing and the film's pulse-pounding electronic score by Disasterpeace, evokes John Carpenter and his classic chiller very often. Mitchell, knows how to use shadows and lighting to create tension along with a strong atmosphere and mood of constant dread and can build some pretty scary scenes right out in broad daylight, too. With the added skill of cinematographer Mike Gioulakis, this flick also looks great, as well as, conveys a constant feeling that something isn't right. Also like Carpenter's masterpiece, the villain here is ambiguous and stays that way and, like Michael Myers, is relentless in it's quest to kill Jay. There is almost non-stop tension and chills during this pursuit and some flat-out scary sequences. Whether you look at it as a metaphor for the fear of STDs or simply as a horror flick, the first two thirds of this movie live up to the hype. Unfortunately, though, the film falls short of instant classic status as it loses it's way a bit in the last act. Mitchell doesn't really seem to know how to wrap this story up, so, we get an intense pool-set confrontation, that ultimately goes nowhere and then an abrupt ending soon after. Granted, Carpenter's ending was a bit ambiguous, too, but, still was a satisfying conclusion that left us considerably spooked as the credits rolled. Here it's more of a head scratcher, which leaves one asking "That's it?" It's too bad, as with a third act equal to what came before it, this might truly have been this generation's Halloween. It's that scary at times. With the last act weakness aside, there is still a lot to like about this flick and ultimately I did really enjoy it. There are enough scares and tension to satisfy and even if the film lost it's grip when it should have tightened it, you still get more than your money's worth overall. I also liked how Mitchell used the suburban Detroit locations to give the film a fresh look and his young cast all did a good job, especially lead Maika Monroe (The Guest).
Between this and The Guest, I can say Maika Monroe is a star in the making. She gives us a vivacious and real young women who is plunged into a world that is terrifying and unsafe no matter where she turns. She is strong to a degree but, not having the tools to fight back, is slowly breaking her down. She also struggles with the notion that simply having sex with someone else can possibly save her but, can she do that to someone...and if she does and they die, she's back to being it's target and an innocent is dead. Monroe conveys it all very well. The rest of the cast are also strong. Keir Gilchrist is sympathetic as Paul, a friend who has been crushing on Jay for years but, she doesn't see him that way. Lili Sepe is good as her strong-willed and sometimes wiser little sister Kelly. Daniel Zovatto is solid as Greg, a neighbor who has a past with Jay and is willing to help despite his disbelief. Rounding out is Olivia Luccardi as their perky friend Yara, who has the least to do but, does it well. The entity itself is never played by the same person twice, but, Mitchell always evokes a strong threat and sense of fear from whomever is playing it.
Overall, I highly recommend this horror. It has a bit of a fresh look and feel, despite heavily evoking John Carpenter's classic of stalked teens and provides some downright scary sequences, especially in it's first two thirds. It does wander off the path a bit in the last act...though certainly not nearly enough to sink it...and doesn't quite wrap up in the completely satisfying way it needs to. Flaws aside, though, this is still a very effective and scary horror. So, while it falls a bit short of being the Halloween for a new generation, it's still a damn scary as hell horror flick and shows big things ahead for director David Robert Mitchell and star Maika Monroe.
"The name of the star is called Wormwood; and a third of the waters became wormwood, and many men died from the waters, because they were made bitter."- Revelations 8:11
Leave it to the Australians to give life back to the stale zombie genre with this delightful mash-up of Evil Dead and The Road Warrior. This fun and sometimes intense and gruesome flick, tells the story of brother and sister, Barry (Jay Gallagher) and Brooke (Bianca Bradey) during a mysterious zombie outbreak. Not much is given to us about the cause except for an abundance of shooting stars on the night it begins and a biblical reference to Wyrmwood, a star which falls to earth during Revelations and brings a plague of death. Barry is with his family and Brooke doing a photo shoot in the town of Bulla Bulla. Barry looses both his wife and daughter to the mysterious condition which, for some reason, spares those with A- blood. He eventually teams up Aborigine camper Benny (Leon Burchill) who lost both his brothers. Together they run into some locals and discover that while this 'situation' has rendered gas and fossil fuels inert, the zombies' blood is quite flammable and the methane-like gas they exhale works as a fuel substitute. So, they go out armed and armored to gather 'fuel' and rescue Barry's sister. Brooke, on the other hand, has been kidnaped by a sinister military group who keeps her restrained and gagged in a lab where there are performing experiments on zombie and human alike. Experiments, unbeknownst to her captors, that render Brooke with the ability to telekinetically control the living dead. Obviously the two siblings and their stories will come together...and then the bloody fun begins.
As directed by Kiah Roache-Turner from a script he co-wrote with his brother Tristan Roache-Turner, this flick is a blast of fun and a breath of bloody fresh air for the zombie sub-genre. A sub-genre made stale by an over-saturation of movies and weekly zombie TV shows. They make even the silliest aspects of the story work, and work very well. They take their story very seriously...though it is laden with that off-beat Australian sense of humor, which seems to fit in perfectly with the more gruesome aspects of this deviously twisted tale. The film has a really cool visual style and is obviously made by those who love these kind of movies and who also know what makes them work. This energetic mash-up is filled with subtle references to films like Dawn Of The Dead, Evil Dead, the Mad Max films and even a playful nod to The Walking Dead involving a Samurai sword. Roache-Turner, however, creates his own flick from all the hat-tipping, despite borrowing concepts from George Romero and George Miller and makes his homage to the movies he loves in his own style. One of the things I loved most about it was that the combination of eclectic elements is mixed so well and works far better than it sounds like it should...cause it's mixed in the right amounts and given the respect it deserves. The film is action packed but, never at the sacrifice of it's off-kilter story, or characters, and can be very intense at times. There is also a lot of gory violence, which appears to be mostly...and thankfully... well-rendered live effects, too. Abundance of action and bloodshed aside, though, what makes it really work so completely is a charming group of main characters and some delightfully eccentric supporting characters, such as a sinister scientist who prefers to listen to K.C. and the Sunshine Band while he conducts his gruesome experiments. There really is little to not like about this film, made by film geeks for the film geek in all of us. Roache-Turner is certainly a filmmaker to watch.
As for the cast, they are all engaging. Gallagher is a charming and solid hero as Barry. Despite his loses and what is happening, he is valiantly going to find his sibling, as she is all he has left. Burchill is delightful as the oddball Benny. The character is given a lot of charm by the actor and is extremely likable. He has some of the best lines and is a perfect side-kick for Barry. As Brooke, Bianca Bradey is strong and sexy and her tattooed heroine becomes quite the powerhouse once she learns to use the side-effects of the experiments against those who hold her captive. The actress spends about 75% of the movie tied up with a fetishistic gag in her mouth and has to express her emotions and thoughts in her eyes and body language and Bradey does a great job. Long before she gets free, we like her immensely and are rooting for her. The supporting characters are also an eccentric lot and help add an offbeat atmosphere to the story and film. They seem both over-the-top and yet, somehow believably human, at the same time.
What little faults the film has are minor and not really worth bringing up when the filmmakers get so much, so right. They somehow mash-up quite a few different genres worth of ideas to fuel their homage and, as such, make sure to give nods to the types of film's that inspired them. It reminded me of Neil Marshall's Doomsday in that the entire film existed to pay homage to others yet, somehow, is it's own movie. Energetic, delightfully gory and with a fast and furious pace, Wyrmwood is a real blast of George Romero meets Sam Raimi meets George Miller and yet remains very Kiah Roache-Turner. One of the year's best horrors, so far, in my book and by a filmmaking talent to keep a close watch on!
You know when Nicki Minaj is the funniest thing in a movie you have a problem. Another movie that tries to pass off vulgarity and toilet humor as wit and fails miserably. Sad as Diaz and Leslie Mann are both capable of far better material. Also sad that a movie supposedly about female empowerment languishes in stereotypes like the dumb, blonde with big boobs (Kate Upton), the clueless housewife (Leslie Mann) and the selfish, yuppie shrew (Cameron Diaz).
While Torment offers nothing new to the horror genre, it is a very well made Canadian thriller that provides some very effective chills in it's 80+ minute running time. After a grim opening at a secluded house, the film settles into the story of widower Cory Morgan (Robin Dunne), his new bride Sarah (Katharine Isabelle) and Cory's young son Liam (Peter DaCunha) who is not warming up to his new step-mom at all. Cory decides to take them to a remote, family vacation house in the woods for some time to bond. But, upon arrival, it appears there has been somebody squatting in the secluded house and unknown to the young couple, they haven't exactly left yet. Soon Liam vanishes and Cory and Sarah find themselves pitted against a trio of disturbed masked individuals in a fight for their lives and for Liam's as well.
While normally I am not a fan of the recent torture and home invasion sub-genres, Torment did have elements of both but, these familiar elements were used fleetingly and effectively. Director Jordan Baker knows not to dwell on the more brutal aspects of Michael Foster and Thomas Pound's script and thus when the shocking moments come, they are effective and we are never bludgeoned over the head with the rough stuff. Baker builds some nice suspense and tension and even successfully creates a likable little family unit that is going through a rough adjustment period and we sympathize with them and that gives us someone to care for when our mysterious intruders reveal themselves. And that, unfortunately, is also one of it's flaws. The film is a little too ambiguous about the overall purpose of it's invaders and we never really find out who they are. Sometimes ambiguity is good for a story but, here we needed a little more as to why this bunch is so happily homicidal and intent on keeping Liam. There seems to be something about building their own family, which contrasts the Morgans' attempt to bring peace to their little trio, but, a little more about this Chainsaw Massacre-ish clan would have helped. But, Jordan Baker keeps the flick moving fast enough that we don't ask too many questions while it plays out and he has a nice eye for his shots and makes good use of his rural house settings and overall, gives the film some nice atmosphere to go along with the suspense and chills. It's only once the film reaches it's conclusion that we start to realize that the whole point is kinda vague. And at that juncture we have been already been moderately entertained and spooked. Familiar material made effective by a good director's hand.
Another plus in the flick's favor is that cast are all really solid. We have genre vet, Katharine Isabelle (Ginger Snaps, American Mary) giving a strong performance as Sarah. She conveys the young woman's desire to bond with Liam and the pain she feels when she is being rejected by him. She also presents a resilience and strength when Liam is taken and she is under siege by their uninvited guests and she fights for Liam with a strong maternal instinct despite his rejection. Dunne is also good as a man caught in the middle of a new wife and his son's grief for his deceased mom and then must fight for his and their very lives when this predatory bunch invades their already fragile family bonding vacation. Also good is young Peter Dacunha, who at 11 is already a horror movie vet having been in The Barrens and Haunter before appearing in this flick. The young actor succeeds in expressing the pain of not only his mother's loss but, his reluctance to accept his new step-mom and does so without coming across as an annoying brat. Good work kid! As for our spooky mask wearing 'family' Noah Danby as 'Mouse', Inessa Frantowsky as 'Pig', Amy Forsyth as 'Monkey' and Joe Silvaggio as 'Rabbit' all do well in conveying a sense of menace with little or no dialogue. It's too bad they weren't given more meat to their story. There is also a small role of a local cop played by vet Stephan McHattie, who is a welcome addition to any cast.
Sure Torment has it's flaws. The villains' purpose is never clear, nor do we get any background on who they are, where they came from and why they are building this disturbing patch-work family... and quite violently, might I add. But, it has a good cast led by fan-favorite Isabelle and director Jordan Barker really knows how to build suspense and thrills and has an effective but, not overstated visual style that gives this rural set flick a lot of atmosphere. The gore and violence is used wisely to maintain it's effectiveness and we are given characters to care about which goes along way in helping us overlook that we don't really know the full reasons for this vicious attack and that we've seen it all before. Not a classic by any stretch but, an effective little thriller that doesn't overstay it's welcome and shows strong potential for director Jordan Baker with a more solid story and script.
Edge Of Tomorrow is a completely derivative yet, actually pretty enjoyable Sci-Fi/Action flick starring Tom Cruise and Emily Blunt. The film is based on Hiroshi Sakurazaka's Manga All You Need Is Kill and tells the story of a not too distant future where an alien invasion force has landed and taken a strong foothold in Europe. The beings called 'mimics' seem to anticipate the united armed forces' every move until a victory in Verdun, France, led by Sergeant Rita Vrataski (Emily Blunt), gives the Earth a glimmer of hope that the enemy can be defeated. A U.S. military PR man Major William Cage (Tom Cruise) is brought in to sell the world... though not sure why the world would need to be 'sold' when the situation is so dire... on a massive armed attack on the beaches of France by covering the attack from the front-lines to which the cowardly Cage protests and even tries to blackmail his way out of. This gets him arrested and busted down to foot soldier to now to join the invasion in actual combat... where he is killed within minutes. But, Cage wakes up from death the morning before when first being sent to his new squad and relives the day till being killed again... only to awaken 24 hours earlier once more. With full memory of the previous days, he gets better and better at staying alive until he runs into Sgt. Vrataski who knows what's going on... it's happened to her too! His encounter with the blood of a special alien drone known as an 'Alpha' has given Cage the alien ability to re-set time and now teamed up with "The Angel Of Verdun" Cage must keep dying till the two successfully destroy the hidden alien power source and stop the enemy before all is lost. But, the re-set power is not permanent and one of Cage's deaths could be his last... if his own forces don't lock him and Vrataski up for being crazy first.
Sure this flick is a Groundhog Day, Starship Troopers, Battle: Los Angeles, and Aliens thrown in a blender with a bunch of other movies but, under Doug Liman's direction it's actually a lot of action-packed fun. The action is staged well and the film moves at a good, steady pace and really avoids becoming the mess it could have been with such a convoluted story. The SPFX are flawless and while the design of the film gives us little new, it is suspenseful and has enough of a sense of humor about itself to get past any familiarity. We also get some likable characters to become endeared to and they are well cast. Sure we may not like the cowardly Cage early on but, the more he grows as a soldier and a person the more we like him and are right there with him when he graduates to full blown hero. The time travel elements are also kept pretty basic and while there are always questions when time travel is concerned, Edge keeps the glaring problems to a minimum by not getting too over enthusiastic with it's use and while certain story elements will fold under too much scrutiny, the film moves fast enough to keep you from thinking too much about it. Liman also gives us some intensity but, keeps the tone of the film from getting too dark and the mix blends just right to keep things on an entertaining level. The script by Christopher McQuarrie and Jez and John-Henry Butterworth never gets too complicated and is smart enough to change up the formula about half way through to avoid predictability or monotony even though we still have a good idea how things will work out. The only real stand-out flaw is a an ending that is a little too neat and convenient in order to keep this flick a crowd-pleaser but, it's not bad enough to not go along with it or, seriously hurt the movie.
A big plus is a good cast that perfectly understand the material. Cruise has fun playing a sniveling coward for a while before transforming more into the action hero he is renown for. And once that happens he is as solid as always. Blunt is obviously enjoying being able to play such a badass but, one that doesn't loose her humanity or femininity. Vrataski is tough but, very likable and sexy and we certainly wouldn't mind a post battle celebration in her bunk after the war. We also have fan favorite Bill Paxton as a scenery chewing Southern Master Sergeant who leads Cruise's platoon of misfits into battle over and over and refuses to believe him when Cage has said he's done this before.... which leads to another small peeve, that in such a dire situation and despite how much foresight Cruise's Cage seems to have, no one ever gives him or Vrataski even the slightest benefit of the doubt that they can end the war and defeat the invaders. No matter how much info they seem to know, they are completely dismissed. True, it's a far fetched story but, the world is about to be lost you'd think someone would at least entertain their notions except for his oddball platoon, who are the ones least likely to believe him... especially when they have a physicist to back them up... but, even the physicist is cast aside despite his wealth of knowledge. Makes no sense.
But, despite it's flaws and being basically a mash-up of things we've already seen, Edge Of Tomorrow is an entertaining 113 minutes and was far more satisfying then expected. Go in not expecting much and you might actually come out surprised and having had a good time. A fun Summer movie.