Hollywood has a difficult relationship with science fiction. Whether they're translating classic sci-fi stories into brainless action movies or too caught up in the otherworldly details there's always something they can't seem to get right about the imaginative genre.
Looper defies the odds by fleshing out a unique future world while honing in on a specific story with real people at the center — a balance that defined works by greats like Bradbury Asimov and Dick. Joe (Joseph Gordon-Levitt) is a Looper an assassin for the mob bosses of the future who use illegal time travel to send back their targets for disposal. It's an easy lucrative life — one that affords him a party lifestyle of fancy cars and drops (drugs taken through the eye) albeit with the added knowledge of a definite grisly end. Eventually the mob "closes the loop" on its employees finding the Looper in the future and sending them back to be offed by… themselves. When it's Joe's turn to end his own life he's outsmarted his future self (Bruce Willis) escaping Joe's grasp. Driven to fulfill his duties as a Looper Joe goes on the hunt to kill himself.
Director Rian Johnson's Kansas City of 2044 feels appropriately lived in and extended from present day. When Joe's not blasting people away shrouded by the stalks of a cornfield he's dining on steak and eggs at a local diner. It's only the casual presence of hovercycles mutant telekinetics and the occasional visitor from the future that would give away the action of Looper isn't happening today. The realism gives Joe and the metropolis around him a necessary grit — there is danger and violence and pain in this world and when Johnson rouses up an action sequence there's something on the line.
Looper's greatest flaw is that it steps away from the confrontation between Young and Old Joe sending the two in different directions as they pursue answers to the film's spoilerific MacGuffin. On a farm away from the city Young Joe crosses paths with single mother Sara (Emily Blunt) who may hold the key to what Old Joe needs to survive. After being introduced to an ensemble of delightfully wicked characters — including Looper coordinator Abe (Jeff Daniels) Young Joe's sleazy coworker Seth (Paul Dano) and hotshot marksman Kid Blue (Noah Sagan) — plus Young Joe's stripper with a heart of gold confidant Suzie (Piper Perabo) Looper takes a sharp left turn leaving most of the cast in the dust. The interesting sci-fi mosaic slows down and enters a new chapter and it's rarely as engrossing as the first half.
When Willis and Gordon-Levitt are at odds Looper is simply magic. Nathan Johnson's industrial score pounds away as the two fight to stay alive all while grappling with the implications that come with glimpsing into your own future. One riveting sequence follows the timeline that played out before Old Joe tinkered with the space-time continuum a roller coaster through the years after the events of the film that see Gordon-Levitt evolve into Willis. The montage is a playground for Johnson's visual style. He never misses a beat.
For sci-fi nuts Looper corrects the past with an understanding of what makes the genre more than just an array of tropes and iconography. There are shaded characters duking it out in Looper's chaotic web of time travel logic and while their arcs fizzle out without much pay off they're a joy to watch.
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Maintaining the fantastical but dropping any semblance of whimsy Snow White and the Huntsman transforms the classic fairy tale into a bleak Lord of the Rings-esque hero's tale full of sword fights monsters and forces of evil bent on wiping out humanity. Instead of creating a unique world or conflict for its revamped characters to explore SWATH plays it safe and sticks to the familiar beats coming off like an amalgamation of every fantasy film that's ever graced the silver screen. Director Rupert Sanders sticks to flashy special effects (some of which are truly stunning) over his greatest asset: the charismatic cast. Kristen Stewart Charlize Theron Chris Hemsworth and eight familiar-faced dwarves try their best to elevate the thin material on display but the film is under a sleeping spell — and no one steps in to wake it up.
Once again an evil queen manipulates her way into the castle and heart of a widower king only to cut his throat and throw his beautiful young daughter Snow into the tower to rot. Years later a magic mirror reveals to the wicked Ravenna (Theron) that the now-of-age Snow White (Stewart) is the answer to her waning magic and wrinkly skin. But as Ravenna's slimy brother Finn comes knocking at Snow's door the imprisoned princess pulls a fast one escaping and opening the door for a large-scale adventure through the forests mountains and swamps of the mystical kingdom.
SWATH's action feel particularly shoehorned in each set piece drifting by without any weight or purpose. After fleeing the tower Snow takes shelter in The Dark Forest (there wasn't a better name? or a name at all?) where she's tracked by the Queen's freelancer The Huntsman (Hemsworth). A few fleeting character moments later the two are on the run together duking it out with otherworldly trolls and joining forces with a group of pint-sized ex-gold miners who believe Snow White is "the one." The epic speak commonplace in fantasy films plagues SWATH — without any details as to how or why the world works the way it does most of the dialogue amounts to characters screaming about "destiny." The lack of specifics filters into the journey too: at one point Snow White stumbles upon a forbidden forest bustling with fairies moss-covered turtles and an antlered creature that's never been seen by humans. The beast is a sign that Snow is savior of their world. Why? Anyone's guess.
The generic quality brings down the talent on screen namely Theron's delightfully wicked Ravenna who goes full on Joan Crawford/Mommie Dearest as she pulls strings to entrap Snow White. Naysayers of Kristen Stewart will have plenty of fuel after SWATH but it's the material that fails to serve the actress in this case. The actors in the film barely get to smile — the drab overcast look of the movie clouding even the performances — but the moments when Stewart's Snow brightens up things suddenly come alive. Hemsworth lightens the mood too showing off a sliver of his comedic prowess from Thor. Between the movie's instance for doom and gloom the patchwork script and Sanders' overuse of up-close-and-personal shakycam there's rarely a moment for the actors to do their thing. It's barely worth mentioning the handful of British character actors who pop up as the Dwarves who hobble around mumbling unintelligible quips. They quickly form a bond with Snow White — or so the movie strong-arms us into believing.
Snow White and the Huntsman is stuffed with imaginative spectacle but the artistry is lost on a hollow story. Crystalline mirror shard warriors the Queen's youth-sucking powers or landscapes that look like live-action Miyazaki animation — it all looks amazing but they're never more than spiffy special effects. The movie wants to be above the visuals teasing a smart tough Snow White but the potential is squandered by never allowing the heroine to stride beyond the conventional world. If Snow White's tale is a shiny red apple then modern tropes of fantasy are the poison.
Power producer Neal Moritz’ (Green Hornet Fast & Furious) company is called Original Film which is ironic because he hasn’t made a truly unique motion picture in some time. His latest effort Battle: Los Angeles isn’t groundbreaking by any stretch of the imagination but packs enough punch to leave you saying “Thank you sir may I have another?”
Jonathan Liebesman (The Texas Chainsaw Massacre: The Beginning) directs this massive movie about a race of aliens colonizing our planet but as the title suggests the action is centered on the City of Angels. Instead of watching the world at war we witness the American military’s last stand on the West Coast by following a single squad of soldiers on the ground as they fight their way through the city to pick up scattered civilians before the Air Force levels Los Angeles. 2nd Lt. William Martinez (Ramon Rodriguez) leads the troop but is too young to be calling the shots in a cataclysmic event like this. Thank heavens Squad Sgt. Michael Nantz (Aaron Eckhart) was called back in for one last mission because it doesn’t take long for the rest of the battalion to realize that the reluctant hero is their best chance for survival.
It’s a good thing that Liebesman and his technical crew are on the top of their game in Battle: LA because most of the other aspects of the production are just downright foolish. Writer Chris Bertolini took the framework from a handful of classic war movies and applied them to his script resulting in highly predictable scenarios and a pace that marches to the beat of past genre entries like Independence Day and Black Hawk Down. His dialogue filled with military jargon and 5th grade humor is quite literally laughable at some points while the thinly crafted characters are all token “team members” that you’ve seen before in films like Jarhead from the soon-to-be-father who’s not sure if he’s going to make it back to his wife to the new recruit/virgin who’s too young to die to the guy with the chip on his shoulder. We get brief glimpses of their back-stories in the first twenty minutes of the movie but as Nantz says during his Bill Pullman moment when the tide begins to turn “none of that matters now.”
What does matter is that Battle: Los Angeles is a roaring thrill ride that barely lets up from start to finish. From the moment the soldiers hit the streets they’re thrust into a tense and gritty survival situation that vaguely mirrors the urban environments in which our Marines are currently engaged in the Middle East. Liebesman uses handheld cameras and close-ups to capture the calamity of combat giving the picture a documentary quality that helps it find some semblance of individuality. Though his actors aren’t required to do much acting (save for Michael Pena whose small role as a dedicated father stands out) and the script as stated is noticeably sub-par capturing their facial expressions as hovercrafts blow fighter jets out of the sky brings out emotion that most of them wouldn’t be able convey in a more traditional performance.
As I continue to heap praise upon the film’s technical achievements I must also note editor Christian Wagner’s chaotic cuts that heighten the soldier’s state of paranoia and the overall sound design of the picture. Until we get up close and personal with one of the aliens Liebesman doesn’t show us much; we have a hard time seeing them because they move so fast but we can hear their quick movements and the affect is quite unsettling much like the performances from Michelle Rodriguez Ne-Yo and a slew of the films co-stars.
Whether or not the filmmakers originally intended on making a movie that was more than the average alien invasion flick is neither here nor there. Is it a rehash of the most exciting moments in War of the Worlds or Red Dawn? Sure it is but it’s also an electrifying film that manages to be engrossing and entertaining in spite of its flaws.
What no "giant sea pods" this time? Instead The Invasion skews the Body Snatchers scenario by making the alien invasion a virus rather than plant life. Said virus which comes to Earth via a mysterious crash of a space shuttle is transmitted by some form of bodily fluid-to-bodily fluid connection. For example throwing up into people's faces or coffee cups is a fun way to spread the disease. The end result however is the same: Once the infected person falls asleep they undergo a transformation and wake up looking the same but are unfeeling and inhuman—and ready to organize. As the infection spreads and more and more people are altered there are a few humans left fighting for their lives including psychiatrist Carol Bennell (Nicole Kidman) and her doctor friend Ben Driscoll (Daniel Craig). Carol’s only hope is to stay awake long enough to find her young son who may hold the key to stopping the devastating invasion. But we won’t tell you how. OK it has something to do with an immunity but that’s all we are going to say. Nicole Kidman has had a string of bad luck since winning that damn Oscar for The Hours. One wonders if maybe the golden statuette might actually be a curse (Cuba Gooding Jr. anyone?). Still regardless of the movie--be it Bewitched The Stepford Wives or Fur: An Imaginary Portrait of Diane Arbus--Kidman manages to turn in a decent performance. The same goes for The Invasion. Her mother bear act is quite believable as she races to find her son (played with spunk by Jackson Bond) while trying to stay awake and pretending to be cold and unemotional among the pod people--oh excuse me the virally infected people. You root for her all the way. Craig doesn’t have as much to do but still delivers when it counts. In a supporting role Jeremy Northam does a nice job as Carol’s ex-husband a CDC doctor who is one of the first to get infected. As does the always good Jeffrey Wright as a very clever genetic scientist. Even Veronica Cartwright one of the survivors in the 1978 Invasion of the Body Snatchers makes a cameo as one of Carol’s patients who tells her “My husband isn’t my husband!” Famous last words. Body snatching must be a popular water-cooler topic at the movie studios. Starting with the 1956 sci-fi classic Invasion of the Body Snatchers in which Kevin McCarthy barely escapes his small town with his life running into highway traffic screaming “They're here already! You're next! You're next You're next...” there have been at least two other versions including the above-mentioned 1978 film and the 1993 film Body Snatchers. To its credit The Invasion switches things up a bit nixing the pods and making it more relevant to our current socio-political climate. It even begs the question: Could we be better off if we didn’t have emotions? But the movie is still mired by its derivativeness and too-pat ending—and it also apparently had problems getting off the shelf. Originally wrapped in early 2006 rumor has it the studio didn’t like German director Oliver Hirschbiegel’s original cut and brought in Matrix’s Andy Wachowski and Larry Wachowski for rewrites and James McTeigue (V for Vendetta) to direct the new scenes. Again to its credit The Invasion surprisingly feels cohesive despite all the different influences. Let’s just say whoever came up with the tense car chase in which Carol tries to throw off the pod people (it's just more effective calling them that) draped all over the car kudos to them.
Heaven. Hell. Us humans in the middle. It's all very complicated. But John Constantine (Keanu Reeves) seems to have a handle on it. Born with a gift he says no human should ever have he has the ability to see what he calls "half-breeds"--angels and demons that walk the earth in human skin (and apparently there are a lot of them). Of course the horror of it is too much to bear and Constantine tries to take his own life. But he fails. Now having been to hell and back again quite literally Constantine is marked as an attempted suicide with a temporary lease on life. He patrols the earthly border between heaven and hell acting as an exorcist of sorts. Of course the guy isn't doing it because he feels empathy for the human race or anything. It's for purely selfish reasons. He hopes that if he sends the devil's foot soldiers back to the depths he'll gain some kind of redemption a free get-out-of-jail card so to speak. Constantine's attitude changes however when a skeptical police detective Angela (Rachel Weisz) enlists his help in solving the mysterious death of her beloved twin sister. They end up uncovering a twisted master plan brewing between the demons and angels which could bring about a catastrophic series of otherworldly events. Perfect.
John Constantine is a little like The Matrix's Neo--an ultra-cool but tormented man of little words with a sardonic fatalistic outlook on life who kicks a myriad of nasty-looking demons (instead of a myriad of nasty-looking machines) back from whence they came. Yes Reeves has done this before but that's because he's good at it. You can't blame him for sticking with something that works. Weisz also holds her own as the devoutly religious Angela who nonetheless has a hard time believing there are actual angels and demons running around among us. That is of course until she spends about 10 minutes with Constantine and sees just how real they are. As far as the rest of the humans in the film Shia LaBeouf (Holes) does a nice comical turn as Constantine's sidekick and protégé while Djimon Hounsou (In America) works his voodoo mojo as a witch doctor who has a long-standing if strained relationship with Constantine. The not-so-human counterparts are equally intriguing. Peter Stormare (Fargo) delivers a somewhat over-the-top but devilishly eccentric performance as Satan. Tilda Swinton (The Deep End) dons the wings of the arch-angel Gabriel to whom Constantine is always asking for a reprieve but who has got her own agenda.
Based on the DC Comics/Vertigo comic-book Hellblazer Constantine is demonic eye candy. Obviously inspired by the many music videos he's helmed in the past director Francis Lawrence making his feature film debut paints a pretty dark and moody world with shadowy wet rat-infested (or cockroach-infested) corners that hide the horrific demon half-breeds as well as all other kinds of terrible baddies. Then when we get into Hades itself where the demons and seplavites--a sub-genre of the damned who are sightless mindless soul eaters--prowl it's an apocalyptic landscape. Lovely place. Unfortunately the script isn't nearly as stimulating. It must be an arduous task adapting a series of comic books so to his credit screenwriter Kevin Brodbin does do a nice job introducing us to Constantine and his world. But Brodbin seems to have incorporated too much. As the action escalates more and more plot points and characters are thrown in complicating matters. By the time the long-winded climax is over you're exhausted.