Better than its predecessor, for a couple of reasons: the perfunctory heartless, nasty corporation is not in the mix, the film is not saddled with the herculean task of presenting James Franco as a scientist, and we spend more time with the apes than the humans. The apes, led by Caesar (Andy Serkus), are decidedly more interesting, having created a thriving, peaceful colony outside of San Francisco. Since this sequel is set only 10 years after the apes escaped their Bay area zoo at exactly the moment mankind became afflicted with a disastrous plague, it appears the simians got right down to the nasty, because there are a shitload of monkeys hiding out in Muir Woods. But man comes a calling . . .
Action/Disaster
Snowpiercer – 2 stars

Mankind is threatened by global warming, and in an effort to turn the tide, introduces a cooling agent into the atmosphere. A deep freeze results and the only survivors live on a train run on perpetual motion that circles the earth, said train having been developed by a prescient bazillionaire (Ed Harris). The poor, led by Chris Evans (Captain America), eat mushy protein bars in the last car, while the rich are pampered with sushi, drugs, saunas and opulence in the front. Evans leads a revolt and the proletariat move from car to car to get control.
This is high concept, ambitious dystopia, but it is also unsubtle, mostly ridiculous, high concept dystopia, inadequately explained (a perpetual motion train?) and saddled with an unwieldy end (Harris shows up, like the wizard behind the curtain, to explain all). I’m all for ambition, but this is several trestles too far.
The film also contains a simplistic Have v. Have Nots political theme, which probably accounts for its appearance on so many top ten lists. For an example of the film tickling the right funny bone, one need go no further than The San Francisco Chronicle’s Mick LaSalle and his juvenile conclusion: “It’s a film that, in its own peculiar way, forces viewers to question their values and ask themselves how much they’re willing to sacrifice for a functioning society, and how much is too much.” If it takes the likes of Snowpiercer to force LaSalle to question his own values, I’m surprised he didn’t join a monastery after The Hunger Games.
The picture is also unwisely reliant on Evans, who lacks the gravitas of a dark, brooding action hero and the chops to handle the big, tortured soliloquy at the end. We’re supposed to be dazzled, but like most products of graphic novels, it’s a slick, empty endeavor with a few interesting parts. Tilda Swinton is also very funny as a bucktoothed toady for Harris.
Die Hard – 5 stars

I just saw this on the AFI big screen with Will and my nephew in from Spain, Julian. A great holiday classic.
John McClain (Bruce Willis), a NYC cop who is flying to LA to spend some time with his kids over Christmas, drops by his estranged wife’s (Bonnie Bedelia) holiday party in the gleaming high-rise, Nakatomi Plaza. Unfortunately, he arrives just when the party is crashed by a terrorist gang led by the slick and debonair Hans Gruber (Alan Rickman). The terrorists had the perfect plan, but they did not foresee a rogue cop picking them off one by one.
When I first saw Die Hard, I was impressed such an efficient, commercial, cop-against-the world shoot ’em up could be so deft and clever. Most contemporary blockbuster cop pictures were devoid of humor; featured laughable, deadly serious male leads spouting leaden dialogue and women relegated to looking 80s video hot; invariably starred Sylvester Stallone, Arnold Schwarzenegger or Steven Seagal; and sucked. The only outliers were vehicles for established comedians (Beverly Hills Cop) or buddy pics (48 Hours and Lethal Weapon).
Willis, in his first big role, is winning. When the terrorists strike, he is in his wife’s private office bathroom, shoeless and clad in pants and a wifebeater. He’s vulnerable, put-upon and even giddy, and his charm is infectious. He’s the perfect guide.
He’s assisted by an intricate, charming villain. Rickman eschews stock heavy, opting for an amused persona that hides a deeper ruthlessness :
The film also features numerous secondary characters who resonate even with limited screen time. Reginald VelJohnson is the patrolman first on the scene and McClain’s link via walkie-talkie to the activities on the ground, with a tragic backstory of his own; Alexander Gudonov is the number 2 for the terrorists, infuriated because McCalin has killed his brother; Bedelia becomes the de facto leader of the hostages and has a few nifty exchanges with Rickman; and William Atherton (the haughty EPA investigator in Ghostbusters) is a convincing slimy television reporter. Most notable is Hart Bochner, the coke-snorting LA cool cat who works for Bedelia. I always thought Bochner would be a big star and the scene where he tries to “negotiate” McClain’s surrender damn near steals the picture.
Finally, Jeb Stuart’s writing is fresh, cynical and all the more surprising given this was his first picture. Stuart writes for all characters, providing great, unobtrusive repartee.
John Wick – 4.5 stars
Terrific shoot ’em up, mindless yet smart, thrillingly violent yet tasteful. John Wick (Keanu Reeves) is a retired hitman, at least until the snot-nosed son of New York City’s crime boss steals his car and destroys the last gift given to him by his beloved, deceased wife.
Oh, and then it’s on. The film sports sixty to eighty beautifully choreographed deaths (the co-directors are seasoned stunt coordinators), a few funny lines, and a clever depiction of a criminal underground with its own rules, parlance and neutral Switzerland. Reeves plays Wick straight and dead serious, so we are not tormented by smirks, tag lines or witty asides. And the bad guys are, as they should be, the most interesting characters in the film. If there is a criticism, it’s this: whatever the final count, it’s about 20% over the killings the film should have. Nobody can employ that many henchmen in this economy.
Sin City: A Dame to Kill For – 0 stars
This movie is more than bad. It’s an affront to genre, consistency and common sense. It also represents the end of film as art, the shape of things to come. Just as novels will soon give way to comics, movies will give way to . . . . comics.
The sequel pretends at noir but it has no kinship with it save for a string of laugh-out-loud, hard-bitten lines. The worst of the bunch: “I was born at night. Not last night.” Every single line is like that, played deadly straight, as if writers Robert Rodriguez and Frank Miller concluded, “You know! The same idiots who have substituted, you know, books for serialized comics are, like, the ones coming to this stupid movie, so why would we try and, you know, make the dialogue anything more than the drivel in the picture book?”
There are three story lines, each more boring than the last. Joseph Gordon-Levitt is a hot shot gambler who crosses mean Senator Powers Boothe. Jessica Alba is a stripper who crosses mean Senator Powers Boothe. In between, Josh Brolin (taking over for Clive Owen, who screwed the pooch turning down James Bond but made the right call here) gets double-crossed by his ex-wife, Eva Green. Gordon-Levitt beats 4 Kings with 4 Aces and then, ah, who cares? Alba and Brolin enlist madman Mickey Rourke to get them out of jams. That’s the whole of it, except Lady Gaga pops up as a clichéd waitress, following in Madonna’s footsteps yet again. Blood spatters, bodies are dismembered, the ominous score thuds along, and yawns are stifled.
Nothing makes sense. While Rourke blows up an estate, the guards remain unalerted, the easier to chop their heads off. Green seduces a cop (Christopher Meloni) and enlists a crime boss (Stacey Keach, made to look like an ambulatory Jabba the Hut) to invade the part of Sin City run by armed whores clad in Frederick’s of Hollywood because the girls are hiding Brolin. Both entreaties are awkwardly dropped shortly after their introduction. Brolin, healed by the whores, comes back with a newly reconstructed face to exact revenge, except he looks just like he did before, only with a sprightly toupee.
It’s a nasty, stupid, senseless movie. It’s also a little frightening. The first Sin City was a modest success, grossing $70 million domestic on a $40 million budget. It had the benefits of being unique and a little humor. Almost ten years later, they churn this dour turd out, and the budget is $70 million.
Maybe there is hope in the fact that it is getting killed at the box office ($11 million and trickling) but something tells me the Chinese will bail it out.
Death is just like life in Sin City. It always wins.
Actual line.
Noah – 1 star
Noah is a modern day environmentalist/pacifist who is also a vegetarian, fights the rape of the land, and communes with Transformer-like monsters/fallen angels (it was quite a shock to learn that Optimus Prime was so critical to the Old Testament). God tells him to save the innocent; the animals. He complies.
Unfortunately for us, neither God or Noah cannot save this dreary and ponderous story nor can they remedy Darren Aronofsky’s leaden direction. I was surprised by James Gunn’s ability to handle a broad and sweeping epic in Guardians of the Galaxy given his prior experience with smaller films. In Noah, Aronofsky, who also has little experience with big films, does not surprise. He is completely lost visually, primarily relying on a slow backward tracking shot to say BIG! Some of the CGI, and there is a lot of it, looks as silly as Harry Hamlin-age Clash of the Titans. The script, which Aronofsky co-wrote, is a repetitive mix of New Age blather (birds arrive and Crowe intones, “it begins”) and mundane domestic drama. The performances are rote, good actors intuiting “this is biblical” which they apparently perceive as solemn.
On the plus side, the making of this film means at least one less Aronofsky ode to masochism and sadism (although Aronofsky does let Russell Crowe sing again).
You also get the sense Aronofsky feels the film is getting away from him, so he relies more on Noah’s trippy dreams and his story of creation (a psychedelic light show and some stop-action photography), and indeed, they are welcome respites from the numbing dialogue.
And the flood is pretty damn cool.
Guardians of the Galaxy – 5 stars

The model summer movie, with perfectly distributed action, humor and homage. There is nothing original in the film – Chris Pratt as intergalactic robber “Star Lord” is a younger, hipper Han Solo, Vin Diesel is Chewbacca without the fur, and the Death Star has been miniaturized to a tiny crystal – but if not unique, it is fresh. Rather than reaching for the myth of Star Wars, Guardians opts for more humor, and the operatic sweep of John Williams is replaced by vintage pop, courtesy of Pratt’s 70s mixtape. There is sweetness (Bradley Cooper voices a surprisingly moving raccoon) and while director James Gunn’s resume’ (Slither) contains nothing suggesting an ability to handle this fare, the actions sequences are expert, comprehensible and brief, avoiding the mind-numbing excess of so many Marvel pictures. The only criticism is the short shrift given to the motives and backstory of the villains, but I assume that comes in the inevitable and welcome sequel.
White House Down – 0 stars

Dreadful. The script is so bad that after yet another disaffected, psychotic right winger (Secret Service chief James Woods) tells liberal prez, cool kat Jamie Foxx that the pen is not mightier than the sword, Prez Foxx jabs a pen in his neck (a total rip-off of a Bob Dole move), and then, just to make sure we got it, actually says, “I choose the pen.” Foxx plays the role like he has a plane to catch, and Channing Tatum, as the Secret Service presidential detail wannabe who saves the day, appears to be stifling laughter on more than one occasion. The CGI is atrocious (attack helicopters maneuver around the offices of downtown DC like Mini Coopers in The Italian Job and grenade explosions that do not knock over lecterns and desks in the rooms where they occur produce fireballs visible 10 blocks away). Finally, the double-double at the end is as implausibly stupid in construction as in resolution – both villains are the only two powerful men in Washington who still use pagers. Busted!
300: Rise of an Empire – 2.5 stars

300, but with less homoerotic tension, thanks in part to the contributions of Eva Green, a vicious, smoldering twist of an invader, who turns in one of the more ridiculous yet strangely intoxicating love scenes in the history of cinema. Before and after this scene, it’s just a lot of slo-mo spears and swords, a comic-book Spartacus-meets-Gold’s Gym.
On reflection, Eva Green’s mating style is remarkably similar in Dark Shadows:

The Hobbit: An Unexpected Journey – 0 stars
Cards on the table, I never read Tolkien, and I associate people who did (and do) with weirdos from high school who played Dungeons and Dragons and/or attend Renaissance festivals. I realize this is a blinkered view, but there you have it. I also watched the first two Lord of the Rings movies in the theater, fell asleep in both, woke up, and then fell asleep again (only two other films have elicited such a reaction – Gandhi and Passage to India – which suggests a weariness brought on by geography rather than production). I turned off the third Lord of the Rings DVD when the good guys enlisted very large trees and un-killable ghosts as their allies.
Since that time, my son has grown up, and he urged me to watch The Hobbit: An Unexpected Journey. My initial try was on a flight to LA, but after a decent setting of the scene (the dwarf king gets gold fever and a big dragon with a bigger gold fever fucks his kingdom up), the film quickly became wearying, as dispossessed dwarves arrive at the home of Bilbo Baggins (Martin Freeman), eat all his food, sing a sad song and head off on what promised to be a very long, tiresome adventure. I tried again with my son on Sunday, and we got perhaps an hour into the film when Bilbo and the dwarves run into three giants (they look like the troll in Harry Potter, but they talk about what they are going to cook and eat in silly voices just south of Jar Jar Binks). A big fight ensues. Dwarves are tossed about like ragdolls yet never injured, and the trolls are furiously hacked but never bleed. Bilbo is captured and a Mexican standoff ensues – the dwarves have to drop their weapons or Bilbo will be ripped to pieces. The dwarves drop their weapons, and in the next scene, half are being slow-roasted over a spit and the other half are trussed up for later cooking.
That was the deal these idiots made? Spare Bilbo and in return, the giants can slow roast and eat ALL of you?
I had no intention of continuing with this unexpected adventure any further. It didn’t help that my son qualified his recommendation with ”it’s a good movie if you’re in those great lounge chairs at the Courthouse theaters and you have all the Coke and candy you want and you have nothing better to do.” Or that after that very scene, he remarked, “still about 2 hours to go.”



