Month: October 2018

Among avid cinema enthusiasts, commonly known as “geeks,” it is often believed that, save for The Empire Strikes Back (1980), sequels are never as effective as their predecessors. Though Avengers: Age of Ultron is in many aspects a thoroughly enjoyable movie, it indeed follows the movie tradition of not quite living up to the hype that the original created.

Released in May 2015, Age of Ultron needed to successfully continue the Avengers saga while also setting the stage for future films in the Marvel Cinematic Universe (MCU). Given its release date, this film was very much a sort of “bridge” to the 2016 hit, Captain America: Civil War, and more importantly, this year’s mega-hit, Avengers: Infinity War. 

My principal concern with Age of Ultron is that it does not stand concretely on its known; more simply put, it is not enough of an independent entity. Fans wait months, if not years, for the next Avengers films, and Marvel Studios is well aware of this. With its nearly $460 million and over $1 billion gross totals domestically and worldwide, respectively, Age of Ultron clearly capitalized on its loyal audience. However, as evidenced here, the fact that a film carries the Avengers brand does not guarantee it is a masterpiece or chef d’oeuvre.

Tony Star/Iron Man (Robert Downey Jr.), Steve Rogers/Captain America (Chris Evans), Thor (Chris Hemsworth), Natasha Romanoff/Black Widow (Scarlett Johansson), Clint Barton/Hawkeye (Jeremy Renner), Bruce Banner/Hulk (Mark Ruffalo), and Nick Fury (Samuel L. Jackson) all return in wholly respectable performances for each of the aforementioned actors. New additions Wanda Maximoff/Scarlet Witch (Elizabeth Olsen) and Pietro Maximoff/Quicksilver (Aaron Taylor -Johnson) also shine in their first MCU stints.

Director Josh Whedon, returning from 2012’s original The Avengers, lends Age of Ultron a degree of originality by humanizing his heroes. Viewers discover that Hawkeye is married and has a family, and Whedon lends the team an unforeseen vulnerability.

In the end, however, something feels forced. A brewing romance between Banner and Romanoff attempts to portray the pair as outcasts for the sake of emotional development. However, the interactions between characters are not as natural and seamless here as in the original, in which they all first met. In Age of Ultron, the Avengers are a cohesive unit, and they throw a party. Humorous one-liners and jokes are aplenty, and while they do serve their purpose well, they are almost too frequent, and sometimes out of place.

The film’s action set pieces are the most captivating.  A highway chase in South Korea involving Cap and Black Widow is among the episode’s most entertaining scenes. The final battle against sentient robot, Ultron, who replicates himself numerous times to form his own army, is also exciting and action-packed. The battle, as well as the creation of Ultron himself, are straight out of Marvel comic books. Each hero receives his or her elegant costume upgrade, and the production and set design are excellent. The film’s special effects are also technically sound and extremely on-point – I never believed that a floating city could be made to look realistic! Thus, as purely a comic-book movie, Age of Ultron is fairly satisfying.

Though it is by no means a poor movie, Age of Ultron has too many moving parts, and when I saw it in theaters, I felt that, for fans such myself, it was not completely worth the painstaking wait. The fantastic Downey-Evans-Hemsworth trio could save any movie, and Age of Ultron greatly benefits from their performances. As evidenced by its box office showing, the film is entirely marketable thanks to the Avengers name. Unfortunately, from a story and plot standpoint, Age of Ultron is not sufficiently captivating, prompting me to dub it underwhelming, and ultimately, as in the above title, “mediocre.”

Final rating:

2.5 out of 4 stars

Image Credits (in order of appearance):

1.)https://www.cleveland.com/entertainment/index.ssf/2015/04/how_avengers_age_of_ultron_set.html

2.) https://comicbook.com/2014/10/23/avengers-age-of-ultron-first-teaser-poster-released/

3.) https://www.boiseweekly.com/boise/avengers-age-of-ultron-scores-second-biggest-opening-in-history/Content?oid=3465535

4.) https://www.codeproject.com/Questions/458976/How-can-I-apply-the-half-star-rating-control-with

One might wonder, how is it possible to convey an astronaut’s true emotions during a flight or launch? In the Neil Armstrong biopic, “First Man ,” director Damien Chazelle, who also directed the likes of “Whiplash” and “La La Land,” makes the answer blatantly clear — the emotions lie in the eyes.

Based on the book by James R. Hansen , “First Man” – released on October 12, 2018 – is an intimate account of Armstrong’s tumultuous life as a NASA astronaut, and ultimately, as the first man to walk on the moon during the renowned Apollo 11 mission.

For all the unabashed heroism and patriotism of space films past — see classics “The Right Stuff” and “Apollo 13 ” — this film’s greatest virtue is its grounded storytelling. Indeed, Chazelle strips his story of all idealism and he understands that unglorified realism is the only proper method of cinematically recounting a true story.

“First Man” boldly takes viewers to a place few would expect from the space exploration genre. The film’s cinematic reinvention revolves around two entities that are inherent to space travel, darkness and most notably, silence. These themes become most prevalent in the film’s climax, a lunar sequence with almost no dialogue.

The film is simultaneously intense and genuine in its portrayal of the dangers and personal costs of space exploration. The opening sequence immediately thrusts the viewer into the action.

It features Armstrong, played by Chazelle’s “La La Land” star Ryan Gosling , in the cockpit of the X-15, a high-altitude rocket plane , with no heroic theme song to accompany him; it is only a man and his ship. During each launch and mission, Chazelle utilizes extreme close-ups of Armstrong’s eyes to showcase the physical struggle and mental fortitude required of an astronaut.

Another scene that showcases the film’s brutal intensity is the incredible, gravity-defying “Agena spin” sequence during Armstrong’s second mission to space. A clip from this sequence can be viewed here.

While “First Man” depicts Armstrong’s rise to international prominence through NASA’s Gemini and Apollo programs , the film is incredibly grounded and it humanizes Armstrong almost to a fault. Though apt and realistic, Gosling’s overly stoic and introverted portrayal of Armstrong emphasizes the astronaut’s meticulous — and at times, emotionless — mastery of his complex craft. Gosling’s performance is excellent, but it needs a bit more flavor.

       Gosling as Armstrong in the cockpit of the Gemini capsule.

Meanwhile, Claire Foy, known for her role in “The Crown,” is perfectly cast as Armstrong’s wife, Janet . Foy’s genuine performance as the de-facto family leader amidst her husband’s frequent absences seamlessly compliments Armstrong’s relentless devotion to his post. Foy easily replaces her real-life British accent with a distinctly southern inflection that adds independence and fierce determination to Janet’s character.

Jason Clarke, an Australian actor , is also indistinguishable and superb as Armstrong’s Gemini peer and best friend, Edward White. Both Ed and Janet offer moral support to the oft-impenetrable Armstrong. In addition, Corey Stoll turns in a humorous yet convincing performance as Buzz Aldrin, Armstrong’s more extroverted Apollo 11 comrade.

Throughout the film, Chazelle’s up-close-and-personal, shaky-cam style is extraordinarily effective in conveying Armstrong’s palpable emotions directly to the viewer. This cinematography style is especially apparent in the interactions between Gosling and Foy, a pair with undeniable chemistry.

Gosling an Foy in an emotional scene from First Man.

An example of Chazelle’s intimate directorial style can be viewed in this New York Times breakdown.

Chazelle’s choice to shoot First Man on 16 mm film is beautifully original and very effective. This technique grants the movie a more narrow and multicolored 60s-like gradient that blends in quite well with the Space Age time period.

The vivid yet succinct presentation of the Apollo 1 fire that killed three astronauts further exhibits the impact of Chazelle’s directorial choices, many of which were inspired by fellow director Christopher Nolan. Chazelle reunites with composer Justin Hurwitz , his Harvard classmate and Oscar-winning “La La Land” partner, to craft the film’s stunning soundtrack and sound mixing. The realism of launch and ignition sound effects is innate and immersive, and they greatly contribute to the viewer’s firsthand experience.

In addition, masterful set design enables the film to recreate the NASA space capsules with extreme precision and to the nearest dial.

The film’s greatest homage to Armstrong’s legacy is its emphasis on the characters’ emotions and facial expressions, rather than on its own script. As a blockbuster, “First Man” significantly strays from the status quo by humbling its hero. However, as a unique, wholly entertaining cinematic masterpiece or chef-d’oeuvre, as Chazelle, a native of France, might say, the film exceeds all expectations.

Ultimately, “First Man” defies Hollywood tradition in its choice to lower its hero down to human level instead of elevating him to immortality. Though Armstrong will be forever remembered, the film thrives due to its originality and fearlessness in telling a story exactly as it took place — no glorification needed.

Final rating: 3.5 out of 4 stars

Image Credits (in order of appearance):

1.) https://muropaketti.com/elokuvat/ryan-gosling-lahtee-kuuhun-talta-nayttaa-neil-armstongista-kertova-first-man-elokuva/

2.) See below –

Sea of Tranquility

3.) https://people.com/movies/ryan-gosling-claire-foy-first-man-sneak-peek/

4.) See below – (3.5/4 stars rating image)

Review: Blue is the Warmest Color (2013)

When was the last time a film’s stars were recorded singing live, rather than lip-syncing? When was the last time a renowned actor-director teamed up with a pop star? When was the last time Warner Bros. approved an actor’s lifelong passion project? When was the last time such a project amassed $75 million worldwide – in its first week?

The answer to all these questions is A Star Is Born, directed by Bradley Cooper and starring Lady Gaga, Cooper, and Sam Elliott. Released just last week on October 5, this film bypasses the traditional Hollywood brouhaha to delve more deeply into inherently flawed characters and the wonderfully soulful, purifying entity that is music.

Chief among the film’s greatest virtues are its story, emotional resonance, and jaw-dropping soundtrack. The film chronicles the struggle of Jackson Maine (played by Bradley Cooper), a skilled rock-and-roll-meets-country musician. Jackson, an alcoholic and drug addict, meets Ally (Lady Gaga), a cook by day and bar singer by night. Ally’s booming voice and elegant allure – Lady Gaga oozes stardom and showmanship from the film’s onset, even in spite of her character’s humble beginnings – soon captivate and inspire Jackson. Subsequently, Ally joins Jackson in concert and the two set off on tour.

Cooper and Lady Gaga.

From an audience’s standpoint, the film is incredibly engaging in that it reconciles themes of addiction, love, and the price of stardom. As Ally rises to prominence, she must learn to synthesize life as a celebrity with her family life with Jackson. The sincerity and authenticity of Cooper and Lady Gaga’s performances are sensational, and even the casual viewer will feel chills upon several occasions.

In the end, the three clear pillars of the film’s soundtrack are original songs “Shallow,” “I’ll Never Love Again,” and “Maybe It’s Time“. In these songs and others, the film’s original lyrics and performances are incredibly emotional. In addition, from a cinematic and directorial standpoint, its intimate, close-up filming style is extremely effective in relating the characters directly to the audience.

Supporting roles are also essential to A Star Is Born, and low-voiced southerner, Sam Elliott – recognizable as the narrator from RAM truck commercials and Coors Light ads – delivers as Jackson’s long-tenured manager. In the film, Elliott combines his signature bass with substantive, at times vulnerable acting, proving himself a powerful counterpart to Cooper’s singer. Anthony Ramos also shines in a minor role as Ally’s best friend and coworker, Ramon, remaining humorously on par with screen mainstays Cooper and Lady Gaga.

Cooper, Lady Gaga, and Elliott.

Overall, a fantastic script, excellent directorial choices on Cooper’s part, and an otherworldly soundtrack propel A Star Is Born to a new level of cinematic glory. Though the film is rated “R” for “language throughout, some sexuality/nudity and substance abuse” (Motion Picture Association of America), it strays from the conventional, large-budget, action-packed box office breakers of present Hollywood tradition. Readers beware: no spoilers here, but be sure to bring Kleenexes…

While A Star Is Born is, at its core, a remake of its 1976 predecessor starring Barbara Streisand, it does not feel as such and is wholly original. This is an absolutely excellent film that, thanks to its original soundtrack, Bradley Cooper, and Lady Gaga, not only succeeds, but thrives. If A Star Is Born is not present at the Academy Awards, I have no idea what film could be.

*See behind-the-scenes footage here.

Image Credits (in order of appearance):

1.) https://www.imdb.com/title/tt1517451/

2.) See below-

Oscar Voters Are Sure to Go Gaga for Bradley Cooper’s ‘A Star Is Born’

3.) https://abcnews.go.com/GMA/Culture/bradley-cooper-reveals-singing-stage-star-born-terrified/story?id=58252180

4.) https://docublogger.typepad.com/barn_movie/2017/01/film-critic-linda-cook-gives-4-out-of-4-stars-to-the-barn-raisers.html

How does one modernize spy movies? This is a question that film directors have long contemplated, largely in vain. In many respects, James Bond’s suave one-liners and Jason Bourne’s darker, shaky-cam action have aged well; however, come 2014, something was still missing from spy movies, and Kingsman: The Secret Service, directed by Bond alumnus, Matthew Vaughn (Casino Royale, 2006), summed it up in one letter: “R”.

More often than not, profanity drags a film down, and it severely limits a film’s cinematic scope in terms of audience size. However, Kingsman blows all conventional wisdom out of the water, providing the viewer with a truly enjoyable and often hilarious cinematic experience. Its “Restricted” rating from the Motion Picture Association of America grants it a heightened level of intrigue that render it all the more appealing.

Kingsman‘s uncommon watchability and rewatchability originate from its characters and its levelheadedness as a film. Grounded in reality, Kingsman follows the struggle of Eggsy (Taron Egerton), a young adult living in the poorer London suburbs. Eggsy is the son of a deceased Kingsman agent who suffers from an abusive relationship with his stepfather and local bullies. A star gymnast in his early teens and a marine drop-out, Eggsy forgoes college and a more prosperous career route to provide for his abused mother and baby sister. The film’s depiction of Eggsy’s humble beginnings tremendously engage the audience, for it incites hope and pity towards him.

Enter Harry Hart (Colin Firth), a handsome gentleman arriving to bring Eggsy’s – and the audience’s – hopes to fruition. Harry teaches Eggsy the ways of the secret Kingsman intelligence organization, an entirely inconspicuous entity that has protected England for centuries.

One of the film’s most memorable scenes involves Eggsy entering Harry’s office and reading utterly banal headlines on the front pages of newspapers on the wall. These newspapers all followed important Kingsman missions, none of which were publicly acknowledged. This scene speaks to the humility that one must adopt in order to truly become a gentleman.

Harry and Eggsy entering Kingsman headquarters.

Several epic and quite creative training scenes involve Eggsy holding his breath underwater for a prolonged period of time; skydiving with his fellow trainee, Roxy; laying on a track shortly prior to the arrival of an incoming train and having to hold his tongue about Kingsman; and being forced to shoot his dog. The sheer originality of these scenes exhibits the screenplay’s audacity, a rare virtue in modern cinema. Henry Jackman’s soundtrack is also stupendous, perfectly complementing every action set piece and gentlemanly wardrobe change.

Every successful action film pits protagonists against equally charismatic and appealing antagonists. Such is the case here. Samuel L. Jackson and Sofia Boutella offer unique performances as the villainous Valentine and the blade-legged Gazelle, respectively. Jackson’s gangster-style take on the role modernizes the typical spy villain, and Valentine’s motivation to solve climate change – albeit by committing widespread genocide – is a fairly plausible objective for such an eccentric villain.  Jackson’s addition of a lisp is also a perfect acting choice, as it humanizes Valentine.

Though Kingsman‘s character development is excellent, the film suffers from gratuitous blood and violence, most notably a church killing rampage featuring Harry. However, the film is bold and original, taking audiences – not to mention, largely traditional British theater actor, Firth – to places they have never even imagined. Ultimately, the film’s combination of action, heart, and wit is unbelievably coherent, and in spite of its “R” rating, the film truly works. Families can be wary of a few “close your eyes” or “lower the volume” scenes , but in the end, it is not a secret that Kingsman: The Secret Service is a hit.

Final rating: 

Image Credits (in order of appearance):

1.) https://www.amazon.com/KINGSMAN-SECRET-SERVICE-ORIGINAL-Version/dp/B00YX2NEZO

2.) https://www.tailoronten.com/blogs/news/17774808-the-suits-of-kingsman

3.) https://themoviemayor.wordpress.com/