Let me take you back to an older time. A simpler time. When smoking was cool and airplanes didn’t have covered-glass cockpits. Before all missiles were laser-guided and computerized. When a ship-mounted anti-air gattling gun took 3 people to operate. When those “damn dirty Japs” sunk our battleships as they idled in sunny Pearl Harbor.
Reminder: I’m not endorsing racist slurs, I’m merely quoting the sentiment of the time, that point in history, so stop taking everything so seriously and read with CONTEXT.
One of the main takeaways from this film, for me, is how ploddingly slow war combat was in the 1940s. Compared to anything from this century, the difference is mind-boggling! The technology feels like another world, another lifetime. Which it IS, in fact. Most of those who were alive at that time, at least those involved with the war, have passed on. And this film is, in many ways, a tribute to them, their bravery and sacrifice, and their heartbreak. Roland Emmerich is certainly qualified to handle this material.
Oh look it’s Ajax from Deadpool! Yes, folks, that’s up-and-comer Ed Skrein, probably most famous for playing the tropefully-British-accented villain in our favorite anti-hero movie of the past decade. It’s interesting hearing him do an American inflection now… it definitely sounds less natural. Obviously, since his native tongue is the Queen’s English. Gotta respect the man’s work, though.
Speaking of actors.. Dennis Quaid really doesn’t pull this off well. Perhaps its the way they wrote the character, but I just don’t believe it. I believe most of the others, including Woody Harrelson’s Nimitz (which was a tough sell). I don’t know, maybe it’s just me. Nick Jonas ain’t winnin no prize either.
Do one thing and do it well
But overall, Midway accomplishes its goal. It doesn’t focus unnecessarily on Pearl Harbor itself, but presents the tragedy with enough gravitas that we feel the motivation of our fallen brothers to seek righteous vengeance upon those who perpetrated it. It gives adequate treatment to the intelligence side of the equation — the “code breakers” — as well as the combat side. It even presents the Japanese forces and officers in a neutral and respectful light; in fact, it comes off as much less of a “rah rah, ‘Merica!” nationalistic stars-and-stripes-fest than many of its kin. So I respect that. Sure, it’s still an American film, but it doesn’t beat you over the head with patriotism.
One of the first films I’ve seen this year that was actually released this year. I think. Well, put it this way. One of the newest films I’ve seen this year after the theaters closed due to the pandemic. God I miss the movies.
Anyway. Let’s chat, shall we?
Unlike the H. G. Wells novel that inspired it, the antagonist here is a charismatic and insanely wealthy gentleman, whose fortune and status owed to his brilliance in the field of ‘Optics’, which is to say, vision and sight-related technology, like cameras and image processing and light manipulation. The protagonist is his battered, controlled, and (at first) entirely victimized girlfriend. Of course, she realizes how bad her situation is and makes a daring escape from their compound-like home (which apparently doubles as his optics lab, I guess.. when you have enough money, you just merge your work and living space into one bougie-hipster-fest of a mansion?).
She holes-up with a good friend of hers, sees her sister, and starts trying to live a normal-ish life. Douche-optic-sci-guy dies and leaves her a ton of money. His brother, a sniveling lawyer with a little too-convenient story of their own strange relationship, serves up the will. She celebrates with some well-placed generosity and seems to be doing well.
Great, I’m with it so far.
The Plot Thickens
But. Always a but. She starts sensing a presence. An unseen entity pulls off her bed-covers while she sleeps, and a pair of foot imprints, seemingly standing on the edge of the blanket as she pulls it back, jump-start the insanity.
So this is not what I’d call “pure horror”, but it’s more of a horror-thriller hybrid. And it’s very well-done. The characters are developed, the story moves at a good pace, and the building sense of fear and psychosis is demonstrated with the right amount of visuals, musical cues, and dialog. Some of the best bits are when Cecelia simply converses with the empty space in front of her, knowing it’s not truly empty, but unable to find even the slightest crack in the facade to prove otherwise.
We could draw some comparisons to Hollow Man here (first R-rated movie I ever watched, no joke!), with similar pacing and action. Although in terms of the targets of affection, I think Kevin Bacon got the better deal by far — Elizabeth Shue AND Rhona Mitra? Yes plz. (I might have mentioned her before.) That’s not fair of me, though — Elizabeth Moss is fine too, but her character here is supposed to look like she’s been through hell, because she has!
Look Ma, No Hands!
As we build toward the climax, a couple things go wrong. First, the injuries that C. inflicts on herself should have been much more life-threatening. Second, once we learn how the invisibility suit actually works, it stands to reason that it being shot with multiple bullets would cause some serious malfunctioning, not this half-baked “self-healing” technology that seems to keep our killer both lead-proof AND eye-proof without a flinch. But hey, maybe I’m behind the times.
Despite me “calling it” before the last “mini-twist” was revealed (I’m trying to emulate K. here, but her gift for foreseeing story elements, plot-twists, and endings was absolutely astounding), I still enjoyed the fact that they went there. It helped bump C. over that last little ledge of neurosis, while giving her the motivation she needed to start actually fighting back.
That Ending, Tho…
But really. For all we’ve learned about Adrian, can we really believe for a second that he wouldn’t suspect her of being wired while they converse awkwardly over a reunion dinner? Or that he’d just LET her wander off alone to “freshen up”? Come on.
I did administer a few self-fives for predicting dialog just before it was said, so that was entertaining.
Reader! It’s been too long. I figured that I should get back to what I’m good at… watching, and subsequently reviewing, MOVIES!
“Good at” is debatable.
Shut up, voice-in-the-head. Nobody asked you.
Anyway, today we’re talking about the 2005 nearly-a-box-office-flop dystopia-action flick The Island. Let’s dive in!
But wait. If you wanna be REALLY entertained, just go read this review. It’s bonkers. In the best possible way. It made me laugh way more than I laughed at myself while writing this.
Wow, you’re really shootin’ for the stars there, huh?
On paper, this movie has a lot of good things going for it. The cast, for one — eye-candy ScarJo & EwanMcG, the incomparable Sean Bean, the gravitas-laden Djimon Hounsou. Okay I guess that’s mostly it. No, wait… why does this guy look and sound so familiar? This friend of Ewan’s character, in the lab with the tubes. With the almost-comically-large nose. His mannerisms, his speech… it’s like something out of my teenage years. OHMYGOD it’s frickin’ Neelix! From Star Trek Voyager! I KNEW that guy was familiar. Ha! Neelix…
The problem is, these two incredible (-ly good looking) lead actors are asked to play these very naïve, child-like humans in this artificially homogenized semi-futuristic environment, but they can’t quite make it seem real. And I’m sure it’s not entirely their fault — Michael Bay isn’t known for being a master of eliciting pure emotion, so much as he is for making big stuff go boom. But the dialog often feels stilted and off-beat. I could forgive it if it were consistent, because that would actually suit the narrative and the plasticity of the utopian environment; but there are contrasting moments that sort of take you out of the immersion and make you remember “Oh, right, these are actors. Acting.” I’m not saying that’s wrong, just that it should happen less.
Let’s talk about the plot. I mean, if you’ve heard of a book called “Never Let Me Go”, or been at any point exposed to similar dystopian stories — heck, even if you saw the trailers for this movie — you’d kinda have an idea of where things are going. It’s not that complicated. But you watch because you want to go on that journey — you want to be teased a bit, to experience a touch of mystery and a glimmer of uncertainty.
But you kinda just know, from the moment the camera pans past a classroom of fully grown adults reading “Dick and Jane” aloud as if they’re actually learning it for the first time, that something’s very Soylent-Green here. You get the tease, sure, and you’re supposed to be in shared-suspense with Lincoln as he questions all the delicate order and pristine-ness of his proverbial ivory tower. But by the time he crawls up that ventilation shaft…
It’s always a ventilation shaft, isn’t it?
And by the time he watches in horror as the new mother is injected with death-serum as her baby is carried off to another mother who looks exactly like her, waiting in a neat little room with her handsome husband and some well-appointed paperwork… You already knew. You saw it coming. At least, you did if you were paying any attention. And again, when you watched with disgust along with the computer technician (who IS in-the-know, of course, but doesn’t change the fact that he’s not thrilled with everything his employer does) — and by the way why does he need to be so gross and greasy? I mean really, talk about your stereotyping. Anyway, where was I? Oh yes, watching in disgust, as they cut open the waterbed-sized embryonic sac to reveal a “newborn, fully-grown” human. Even that, you should have seen coming. Oh, did I mention spoiler-alert? Right. Spoiler-alert!
That’s really what makes Buscemi’s character so incredibly unnecessary. I mean sure, he befriended Lincoln (for some strange reason) — probably seems him like a son he never had — but there’s absolutely no need for his over-expository recital of the movie’s key premise to the characters who are sitting on his couch dumb-founded as if they didn’t just experience exactly what he’s telling them. I mean, I get that they’re immature, but are they really THAT dumb? Are WE? I’d like to think not. Yet this scene just kinda felt like an unnecessary condescension to the viewer, as if the filmmakers were saying “Here, we were just SO CLEVER, but we’re gonna get you caught up now so you REALLY know what’s going on.”
Now, the point of a dystopian story is always to turn the mirror on its audience, to ask “How far will you let science/technology/ideology/etc. go?” To present us with a grim picture of the future where some thing, in this case genetic science and biotech, is taken to the Nth degree for selfish reasons by the world’s wealthy elite, and ask us the proverbial question, “Was it worth it?” So we get that. It may be shoved down our throats just a bit, but we do get it. The film makes a noble effort to enunciate its message without sounding terribly absurd or preachy. Is it effective? Eh.
So we’ve made it this far without actually explicitly stating the plot. Ready? Are you sure?
They’re cloning humans to use as organ donors, so the wealthy original humans (who the clones are made from) can live longer and overcome things like liver cancer, heart disease, etc. Gross, right? But also… kinda neat. In theory.
Now of course we could get into the typical questions like “But do they have a soul?”, “Do they feel love?” etc. It’s all very dramatic and existential. Great. But remember, this is Michael Bay. The Mister Torgue of movies. Which means this movie was about 40 minutes too long, and the second half was largely a mish-mash of gunfire, large explosions, vehicular manslaughter, and bad dialogue screamed over LOUD NOISES. But hey, at least you get to see John Coffey wake up from open-chest surgery and go on a brief rampage.
Length does not work in this movie’s favor. I was actually hoping it would end on a cliffhanger — and I don’t generally enjoy cliffhangers — but it would have felt justified, in this case. Like, the star-crossed clone lovebirds suit-up to go back to the compound and wreak havoc and try to free their soulless brethren, and maybe we get up to their dramatic re-entrance to the surgical facility with the suddenly-turned-sympathetic black merc at their side, and we freeze-frame with guns drawn and cue the music. But no, instead we have to endure another 20 minutes of explosions, running around chasing people, and this incongruous City of Angels conclusion with all the clones in their white track-suits staggering out onto the hilltop with the sun blazing on the horizon.
But obviously, we had to kill Sean Bean. So there’s that.
I thought you said you were done.
Now you might have read all that and thought, “Wow, you really disliked this movie, huh?” Not at all! In fact I quite enjoyed it. I just had lots of thoughts and words. So I had to get them out and share them. Would I recommend the movie? Yeah, if you’re into this sort of thing, absolutely. Would I watch it again and again? No, probably not. It’s not like Gladiator or Forrest Gump. It’s a popcorn flick. The fact that I didn’t actually consume popcorn while watching notwithstanding.
PS: The product placement was SO laughably awful, I almost didn’t even want to go there. I mean seriously, it’s ridiculous. iMacs, Xbox, Michelob, Cadillac, and MSN. Just… wow. And MSN was like, an important thing IN the plot. I mean sure they called it the “Information Directory”, but, good lord. Pathetic. In hindsight, at least. 2005 was a long time ago, maybe Google wasn’t really the colossus it’s become. My memory’s a little hazy, that was college.
Anyway. Cheers! And welcome back to movie-time. =)
I’m back baby! And I finally understand those memes. Yes indeed, I’m talking about the one, the only, 1997 socio-political commentary disguised as big-budget sci-fi xeno-war Starship Troopers! And it did not disappoint.
Do you want to know more?
Let me just start by saying the interjected propaganda bits are pure gold. It’s part of what elevates the film from your standard, near-B-grade sci-fi, to a legitimate topical satire. It doesn’t hurt that Barney Stinson is one of the scientists bandying about bug brutalization and badassery.
Look closely at how frenzied the mother is as she watchers her kids stomping on cockroaches. Or how the mobile infantry recruitment tactics bear a striking resemblance to decades-past American armed forces ads. This isn’t a movie about noble humans fighting evil bugs. This is a movie about runaway big-militarized-government and ruthless imperialism, with a dash of blind nationalism for good measure.
And it’s surprisingly relevant, even today.
Welcome to the Roughnecks!
If you start paying too much attention to the visual FX, you’ll probably say it looks a bit dated. Now, this was 1997, 1 year later than Independence Day, for example, so you may be onto something. But remember, too, that this was only the late 90s. So I would say, actually, go back and watch other sci-fi from around the same time, and you’ll find that it actually fits right in.
The war-time scenes, both in training camp and actual combat, are average at best. There is a decent amount of guts and gore, mixed with some tongue-in-cheek humor and interpersonal drama, and sprinkled with the standard lead-character heroics. However, you get frustrated with lack of tactical sense and storm-trooper-level firearm competency (that is to say, very little, for those of you who’ve never seen Star Wars). But again, this actually screams ‘parody’ to me, as though they did it this way on purpose to show how laughable most sci-fi action really is.
The characters are, generally, a bit one-dimensional. But some of the actors play it so well that you’ll forgive them for it. Like the drill sergeant and the stump-arm commander. Make no mistake, a lot of the acting IS quite bad. But is it bad.. on purpose? Think about it.
The enemy cannot push a button, if you disable his hand!
And can we just take a moment to acknowledge how incredibly forward-thinking this society was in one very small yet very significant way? Gender equality! The football team, the infantry, the co-ed showers. I mean, there was literally NO friction caused by the fact that men and women were completely equal in these environments. Hats off to that, my friends, hats off to that.
Here’s the main problem I had with the character arcs and story. Right from the jump, Dizzy is framed as a strong, kickass woman who knows what she wants, and doesn’t put up with your crap. She proves it in bootcamp, and again in the field. And yet, spoiler-alert, her death scene is just so terribly weak. I mean sure, she also played up the silly schoolgirl crush on Rico, but she definitely wasn’t the lovelorn doe-eyed damsel. Maybe I’m reading the character wrong. But COME ON. “It’s OK, because I got to have you”?? PLEASE. And your competition is literally in the front seat, maybe even within ear-shot.
If I were to see this movie remade, and I had any input, this scene would be my rewrite. Oh don’t get me wrong, she’d still die horribly. But ol’ Carmen would be close enough to hear Diz’s very last words, which would be something to the effect of, “But hey, Rico, I rocked your goddamn world!”, sending that metaphoric knife-to-the-heart for Ibanez. And she would NOT beg that candy-ass of a man to “hold me” or anything as she drew her last breath.
Come on you apes! You wanna live forever?
Two thumbs up, but beware the dated CGI and bad acting.
PS: OMG is that freakin Father Gabriel from The Walking Dead!?! IT IS!! Hah. Oh I can not see him as a soldier. But he tried, God bless him, he tried. =)
Sure, it’s called ‘International’, whatever. It’s still the 4th one.
Make no mistake, I’m a fan of the series. The original was, like many Will Smith blockbusters of the late 90s, a force to be reckoned with. The elegance was in the simplicity — Smith at his standard boyishly charming cocky rookie game, Jones as the weathered old wise master, taking on a big bad with the unexpected help of an innocent-victim-turned-almost-femme-fatale. Overseen by Rip Torn at his finest. And Vincent D’whateveryoucallit amped up the ick to 11.
5 years later, we get a surprisingly decent sequel. Nearly a full cadre of the original actors, and some fresh blood like Rosario Dawson added a healthy ‘oomph’ to the second step in the series. Plus it’s always fun to see Puddy do something ridiculous. Now don’t get me wrong, it was far from perfect, but overall there’s more to like than dislike.
Another decade, another sequel. The third installment was.. passable. Again, lots of positives. Josh Brolin, Emma Thompson; the touching story of how K first discovered J as a child [spoiler alert!]. A bit more negatives, though — the villain, for one thing. I just couldn’t get past his.. everything. I mean, ‘ick’ is one thing; ‘just plain gross for gross’ sake’ is another. But the “I can see all future possibilities at once and it’s made my brain a little frappuccino-y” dude was really cute, and as I said, the timeline intersection subplot was worthwhile. So would I watch it again? For sure. Would I watch it more than a couple times? Ehhh… maybe, but I wouldn’t be ecstatic about it.
Now, we come to 2019. First of all, good luck getting ANY of those people to come back for round 4. I mean, at least one of them is dead. RIP, Rip. (And yes, that was literally on Twitter.) Fair enough; I didn’t really expect to see them anyway. No, this is a departure from the trilogy. This is… well, it’s like a remodeled apartment. The same foundations, the same basic framework, but with a lot of upgrades and a fresh coat of shiny new paint.
For starters, our new headliners — Hemsworth and Thompson (Tessa, not Emma; no relation) — are pretty. But the great thing is, she (particularly) doesn’t need to flaunt it. As the thematic undercurrent alludes to, this is no longer a ‘boys club’. This is the “Men and Women in Black”. A bit unfortunately, she still goes a little schoolgirl ga-ga over him — at first. She doesn’t let it stop her from being a badass, so it all evens out. Props.
Now, the villains are immensely superior to anything we’ve yet seen, which is both refreshing and expected. On one hand, we know it’s going to take a lot more to stop them from bringing about our doom; but we kinda had to know that going in, otherwise what’s the point of another sequel? The side-story and featured NPC aliens (that’s RPG-talk for “neutral party characters” i.e. ones that aren’t the main bad-guys but aren’t necessarily at the beckon-call of our heroes either), are pretty decent.
Finally, we have this whole ‘internal intrigue’ / ‘mole in our midst’ plot. To me, it almost seemed like they wanted to make H out to be the mole, but then they wanted us to think it was C, then finally ol’ crusty boss-man. Now, this may seem like responsible mystery storytelling, right? And yes, I get it; you DO want the audience misdirected before you get to the big reveal. Obviously. But that traitor-y vibe, for me, lingered a bit too long on H’s character. I’m not sure if that’s the filmmaker’s fault or mine. Regardless, the storyline definitely does its job in taking us on the journey to a happy ending. It just felt a little too forced.
The thing I’m missing, I think, is the heart — that spirit of wonder and mystery that propelled the first film forward in a way that only truly good sci-fi does. This was more flash than function; more spark than fire. BUT! Still enjoyable. Good times.
And damn if that scene where he picks up the hammer ain’t a perfectly executed self-trolling-cameo.. I mean COME ON! You can’t not love it for at least a few seconds.
One thumb up. Have fun out there friends! ❤
Disclaimer: None of these images are mine and I never claimed any rights over/about/related to them whatsoever. 😉
Both of these actresses are fabulous. I mean, neither one is everybody’s cup o’ tea, but they have terrific screen presence and charisma. Just look at Ocean’s 8 or Pitch Perfect. There’s a lot of potential here, given the vast difference in their appearance and demeanor (as characters, specifically, but also in general). Although, let’s face it, Wilson is very much a character-actor and doesn’t have nearly the range that Hathaway does.
The trailers gave us some really good lines about women being underestimated and using that to their advantage, with some hilarious “Rebel blunders” to guffaw at. And while the premise of the master grifter teaching the amateur the art of the con is not new, it does generally make for compelling cinema, when done right. However, when you take that formula too far off the rails, you can end up in cheese-land.
The problem here is that we get too deep too fast.
That’s what SHE said!
Right, anyway. What I mean is, there doesn’t seem to be a truly compelling reason for Jo (Hathaway) to take Penny (Wilson) under her wing. We’re just kind of shoehorned into it, like “Yep, that’s the way it is now, keep that train a’rollin’!”. Similarly, the main motivator (turf war, really?) for their ultimate “gentleman’s wager” really doesn’t seem that crucial to the story. Nor does the target, the silicon valley whiz-kid. Again, taking a page from the Ocean’s trilogy, why not just compete for the sake of competition?
And then there’s the whole she-Gollum shtick, which just didn’t work for me. It’s nothing against the actors or the writing… They’re leaning too far into the whole “Rebel Wilson isn’t really attractive” angle. Right? But I get it, that’s the characterization — Jo is sophisticated high-class elegance and Penny is the opposite. I’m completely on-board with that; I merely wanted to see more variety in the cons, not the same few tropes replayed.
Spoiler alert! No, just kidding. I won’t actually tell you what happened. I will say that it wasn’t that bad. It was a little unnecessary, a little forced, sure. But overall, fairly satisfactory.
Meh. The ~48% audience-score on Rotten Tomatoes feels about right. It’s not a terrible movie! It’s just not that fantastic either. Worth a theater visit or a $4.99 rental? No, definitely not. Worth a spot on your watch-list when it comes to streaming-ville? Sure.