The first half of Tomorrowland is a fun romp that will delight kids of all ages. Unfortunately, the second half is an abundance of ideas that, a few great action beats aside, will go over the heads of a large portion of the movie’s intended audience.
George Miller has done something genuinely impressive with Mad Max: Fury Road – he’s made Max part of an ensemble – and not even the biggest part of the ensemble – and it works. Brilliantly!
Fury Road is thinly plotted – a tyrant’s five breeding wives are taken to freedom by a formerly trusted female war chief – but its energy, ferocity and just plain gonzo goofiness take it up so many levels that you might have trouble breathing up there.
It’s not often you get a sequel that surpasses the original, but it’s happened with the aca-frikkin’ awesome Pitch Perfect 2.
Written by Kay Cannon (who wrote the first one) and directed by first-timer Elizabeth Banks, PP2 is sharper edged, more focused and has refined the vulgar-to-sweet ratio to a tee.
In look, feel, and tone – as well as subject – The Connection is a companion piece to William Friedkin’s classic The French Connection as it follows former juvenile magistrate Pierre Michel (Jean Dujardin) from dealing directly with young victims of the drug trade to actually being in a position to fight the organized crime behind it.
Sofia Vergara and Reese Witherspoon plays the wife of a would-be snitch and the buttoned-down cop sent to escort her to trial. When two different pairs of assassins kill the husband, the two women go on the run.
Despite terrific chemistry between Vergara and Witherspoon (whose production company developed the film), Hot Pursuit only hits on about one gag out of every eight and runs some of its most unfunny jokes into the ground. Continue reading Hot Pursuit: Not Quite a Female Midnight Run!
Morning, and the NPR announcer is filling in the details of the day ahead – new outbreaks of something called the Necroambulist Virus are down 30%. A young girl is stopped by police for missing curfew. Later we see a man, Wade Vogel, driving an old truck into town and visiting a quarantine area.
We learn he’s spent the last two weeks looking for his daughter, Maggie, and has been told she’s there. With its eerie score and slightly slower than deliberate pacing, this movie doesn’t seem to fit its star – Vogel is played by Arnold Schwarzenegger – but this is not an Ah-nuld movie by any stretch of the imagination.
Three years ago, Joss Whedon’s Marvel’s The Avengers blew everyone away by taking a group off characters who should never have been in the same room together and making us believe that they could save the world together. It was fresh and new and shiny.
Avengers: Age of Ultron is not fresh and new and shiny – but it is a fresh look at why these characters should, in fact, be in the same room even as cracks appear in the team that foreshadow less happy things to come.
The Age of Adaline is an old-fashioned romance – in every sense of the word. There’s a love story, of course, but also adventure and the two weave together in unexpectedly delightful ways.
Adaline Bowman was 1906’s New Year’s baby. When she was twenty-nine, a confluence of events made her immortal. She married, had a daughter and was widowed by the end of World War II and narrowly avoided becoming a lab specimen. For decades, she moved and changed her identity every ten years. Then, she met Ellis.
While We’re Young may not be Noah Baumbach’s best film (I can’t quite decide between Margot at the Wedding, Frances Ha and The Squid and the Whale), but it is certainly his most enjoyable – and commercially viable.
It’s the story of a fortysomething couple who begin hanging around with a twentysomething couple and learning some things about themselves.
The Forger is, as they say, in select theaters and on VOD beginning today. It’s a variation on a story we’ve seen before – an ex-con is manipulated into doing one more job.
In this case, the ex-con is an art forger and the manipulation is the favor he owes the man who gets him out of prison early so he can spend time with his dying son.
On the anniversary of Laura Barns’ suicide, several of her friends are skyping online when they notice a curious, anonymous participant logged into their call. One of them receives a text – allegedly from Laura – and things get real weird, real quick.
If you’re not comfortable with texting, Facebook and Skype – and not too sure about email – then this is not the movie for you. If you are conversant with all things internet and cyberspace, you are Unfriended’s audience and you will probably really enjoy it.