Silver Screen: The Score Card, August 27, 2015 Edition
> opening this week in Carbondale.
< leaving Carbondale this Friday.
Bryan Miller unless otherwise credited.
American Ultra (R, **1/2): A stoner burnout (Jesse Eisenberg) struggling to maintain his modest lifestyle with his saintly girlfriend (Kristen Stewart) discovers he’s a decommissioned government assassin outfitted with amnesia and a series of psychological tics to keep him in line. When his old bosses come to kill him, he must draw on skills he never knew he possessed. The film, written by Max Landis, is attempting a strange tonal mashup— something like The Bourne Lebowski— but there was confusion somewhere between his script and director Nima Nourizadeh’s execution. The movie is fitfully entertaining but can’t find a balance between the dark, dry humor of Eisenberg’s predicament and the broad genre parody of the scenes pitting his antagonist, a sleazy bureaucrat (played by Topher Grace) and his trusty former handler (Connie Britton). It’s a movie equally difficult to love or to hate. Eisenberg and Stewart, reteamed after the underrated Adventureland, drum up some emotional investment in the leads, and bit players Walton Goggins, Tony Hale, and John Leguizamo find a few laughs, but the disparate elements never come together. Like an improperly rolled joint, it looks sturdy but burns unevenly, crumbles in the middle, and generates a lot of smoke with little effect.
Ant-Man (PG-13, ***1/2): Original director Edgar Wright (Shawn of the Dead, Scott Pilgrim versus the World) ushered this improbable B-list superhero onto the big screen only to depart the project prior to filming. The screenplay (credited to several different writers) still bears his name, and traces of his influence remain. But too often the movie veers away from a zanier tone in favor of increasingly tired conventions of the Marvel superhero universe. Star Paul Rudd makes for an appealingly distinctive superhero. His Scott Lang is neither a soldier nor a concave-chested geek chosen by fate. He occupies neither side of the power fantasy divide, and instead is a sort of kindhearted underachiever whose criminal status gets him mixed up in a tech war between brilliant scientist Hank Pym (Michael Douglas) and Pym’s former student Darren Cross (Corey Stoll). Cross wants to hijack his old mentor’s revolutionary shrinking formula, so Pym convinces cat burglar Lang to steal it and keep it safe. Once in possession of the super-shrinking formula and matching suit, Lang is transformed into Ant-Man. This is far more lighthearted than the other Avengers-related films, with the exception of the superior Guardians of the Galaxy, which was allowed to embrace its own weirdness. Ant-Man is goofy, smirking fun except when it has to pause for obligatory fights with a generic villain (no fault of the talented Stoll). Replacement director Peyton Reed injects several scenes with real verve, but it’s tough to imagine Wright helming any action sequences as stodgy and formulaic as some of this movie’s more familiar fisticuffs. Ant-Man is still refreshing in the era of increasingly dour, destructive blockbusters, breezing along on its charming cast and good humor. Also featuring Evangeline Lilly, Michael Peña, and Bobby Cannavale.
Fantastic Four (PG-13, 1/2*): One of the worst superhero movies in years manages to transform the story of Invisible Girl, Fire Guy, Rock Man, and Stretch Armstrong Ph.D. into a grim, uneventful slog. Science nerd Reed Richards (Miles Teller) finds a way to transport matter— and eventually his friends— to another dimension. A misbegotten secret trip to that other dimension leaves Reed and his pals with superpowers: he can stretch, Sue (Kate Mara) turns invisible, Johnny (Michael B. Jordan) can fly and emit flames, and Ben (Jamie Bell) is transformed into a hulking rock monster. But the movie takes an hour to get there, dragging out the prologue without stopping to add insight to the characters or chemistry to their non-existent relationships. When at last the movie starts, well, moving, it doesn’t last very long, skipping around in time to hurry toward a rushed, visually uninspiring showdown with fellow scientist Victor Von Doom (Toby Kebbel). The appealing young cast fails to shine, not due to a lack of talent, but because the glacially paced incoherence of the project drains everything in its orbit of joy or excitement. This is brazenly cheap, massively defective filmmaking, perhaps the fault of director Josh Trank (Chronicle), who claims his allegedly erratic behavior was the result of constant studio interference. Regardless, the movie is destined for year-end worst-of lists in this dimension, and possibly other ones as well.
The Gift (R, **1/2): Actor Joel Edgerton makes his debut as a feature writer/director in this thriller that takes a little too long to twist its familiar premise into something more interesting, but the simmering suspense takes on real urgency in the second half. A married couple (Jason Bateman and Rebecca Hall) are menaced by an old high school chum (Edgerton) who wants to be friends again and won’t take no for an answer. Edgerton toys with the stalker/home-invasion horror plot in order to pose more disturbing questions, and he succeeds with the help of his talented cast, which includes bit players Allison Tolman (Fargo), Busy Philipps (Freaks and Geeks), and Wendell Pierce (The Wire). Alas, he takes one twist too many, and the movie’s Twilight Zone-inspired reveal is a little too implausible and deplorable to sit right. The gender politics at play turn out to be pretty ugly, but the error is more haphazard and driven by the narrative than it is rooted in sinister ideology. The end does ruin the fun, but there’s fun to be had before that, and despite its unevenness, the film suggests that Edgerton might well turn out to be a much better-than-average filmmaker.
Inside Out (PG, ****1/2): Animation innovator Pixar’s latest is one of its most high-concept hits to date, but its cerebral premise doesn’t surrender any of its deeply felt emotion. Preteen girl Riley (voiced by Kaitlyn Dias) deals with her first bout of grownup stress when her parents move from a bucolic Minnesota town to cramped, unfamiliar digs in San Francisco. The real action, though, takes place inside the complex inner workings of her mind, where a literalized team of emotions— Joy (Amy Poehler), Anger (Lewis Black), Disgust (Mindy Kaling), Fear (Bill Hader), and Sadness (Phyllis Smith)— tries to guide Riley through her day. The sudden shift in environment has caused Sadness to act up, and when team leader Joy tries to reset the machinery, she and Sadness are accidentally exiled from the control room. They must journey through the deepest recesses of Riley’s mind while the other emotions struggle to maintain control. Cowriters and directors Peter Docter and Ronaldo Del Carmen’s most remarkable achievement is to make such a heady concept so accessible and intuitive. They pack an incredible number of clever ideas and brilliant jokes into an hour and a half. It’s a dizzying achievement, perhaps less visually stunning than Ratatouille or Wall-E, but more cerebral. It’s a total delight, with nifty new twists on the premise flowing right through the closing credits, and some excellent supporting voicework from a host of notables, none of whom can surpass the great character actor Richard Kind’s turn as the surreal, imaginary friend Bing Bong.
Mission Impossible: Rogue Nation (PG-13, ****): Like their improbably youthful star Tom Cruise, the Mission Impossible movies keep getting better with age. It’s counterintuitive, but somehow Cruise, as secret agent Ethan Hunt, is a more convincing action hero than ever. Here he leaps, dives, and dodges his way through a series of thrilling, complex setpieces while avoiding the unnecessary plot as best he can. All you need to know: Hunt and his team (including Simon Pegg, Jeremy Renner, and Ving Rhames) find themselves on the outside when a shadowy cabal of former international agents frames Ethan and gets the the Impossible Missions Force disbanded by a CIA bureaucrat (Alec Baldwin). Much fighting and spying ensues. Frequent Cruise collaborator Christopher McQuarrie takes over directing duties and nearly outdoes Brad Bird’s fine work in Ghost Protocol. McQuarrie wisely retains Bird’s zippy physical comedy, and his big action sequences are crisp and tightly controlled without ever feeling programmatic or mechanical. It’s pure popcorn-cinema bliss, perfect for a summer matinee, and the sort of exuberant escapism Hollywood tries so hard to capture but rarely succeeds at. Unlikely as it is, Cruise and his signature series keep getting better. Apparently it only seems impossible.
Southpaw (R, *1/2): This overheated boxing melodrama from Olympus Has Fallen and Training Day director Antoine Fuqua and Sons of Anarchy writer Kurt Sutter tries to be both an inspirational sports drama and a gritty revenge flick, but winds up indulging in the clichés of both genres without fully committing to either. Commitment is no problem for its star, though. Jake Gyllenhaal is rippled and veined near the point of grotesquerie to play our swole hero Billy Hope, a thick-headed palooka whose life is carefully managed by his brassy wife Maureen (Rachel McAdams). But when she’s gunned down in a mysterious tragedy that is curiously never resolved, Billy spirals out of control and loses custody of their daughter (Oona Laurence). To get his life and career back on track he enlists the help of wise, cantankerous trainer Tick Wills (Forest Whitaker). Gyllenhaal is terrific, and his scenes with Whitaker hint at a more interesting movie that never materializes. The fight choreography is atrocious, cribbed from either the first Rocky or the Nintendo classic Mike Tyson’s Punch-out. Fuqua and Sutter fritter away time on two or three subplots only to abandon them halfway through in favor of a big fight that’s somehow both inevitable from the first five minutes of the movie but also curiously underdeveloped.
Straight Outta Compton (R, ****): The expansive, thrilling biopic of gangsta rap pioneers NWA is as fascinating and problematic as the group themselves. Versatile director F. Gary Gray (Friday, The Italian Job) attempts to make The Godfather of hip-hop movies, and though he bites off more than he can chew in the overcrowded second half, he has made the first rap epic. Jason Mitchell is dynamite as Eric Wright, also known as Easy-E, frontman to the now-legendary crew that included Dr. Dre (Corey Hawkins) and Ice Cube (O’Shea Jackson Jr., Cube’s real-life son). The other members are shuffled to the background to focus on the relationship between the trinity, who introduced the raw truths and social controversies of gansta rap to mainstream America and changed the face of music. What Gray gets most right is the potent blend of music, drugs, police brutality, and black subculture that provided the context from whence the group and their bombastic hits emerged. The film loses focus when it becomes overly concerned with contract negotiations between Easy, manager Jerry Heller (Paul Giamatti), and newcomer Suge Knight (R. Marcos Taylor), while Gray struggles to find time to include as much as possible from that busy, influential era of 1990s West Coast rap, including the rise of Snoop, Tupac, Death Row Records, MTV hip-hop, and the aftershocks of the L.A. riots. It’s a visceral film filled with great performances, thrilling concert footage, and more raw energy than a whole summer’s worth of blockbusters.
< Trainwreck (R, **1/2): Amy Schumer’s hit-and-miss semiautobiographical romantic comedy seems to hit the hardest when it hews closer to her real life and lose focus when it turns its attention to the demands of the rom-com genre. The movie’s biggest problem is the significant gap between the sensibilities of Schumer and her producer and director, Judd Apatow, whose conservative worldview stifles Schumer’s attempts at iconoclasm. The movie version of Amy is a boozy, pot-addled writer for a men’s magazine called S’nuff, where she’s assigned a profile of a prominent surgeon (Bill Hader) who specializes in sports medicine. She falls for Hader but has to reconcile her wild ways with his traditional lifestyle, all while dealing with the declining health of her chronically ill father (Colin Quinn). Apatow and Schumer are simpatico on the family-dramedy front, which is where Schumer’s razor-edged wit is at its sharpest. Her struggles with her ornery father and goody-two-shoes sister (Brie Larson) are both funny and emotionally raw. Wonderful though Hader is, however, the romantic comedy element threatens to swallow Schumer up, recasting her as a troublemaker in need of reform even though we like her because she’s a troublemaker. The movie’s final insult is a reverse Sandra Dee that transforms our would-be-individualist into an all-American cheerleader. Schumer’s feminism has always been clouded and confounding, but here it’s muddled all to hell in the name of cinematic conventions. The stunt casting of LeBron James, Marv Albert, and other notable athletes further overinflates the excessive running time and distracts from its star and central character.
Also in or Coming to Local Theaters
> Diary of a Teenage Girl (R): A teen girl’s sexuality awakens, sometimes in inappropriate ways, in this controversial film by first-time director Marielle Heller. Based on Phoebe Gloeckner’s graphic, semiautobiographical book and starring Bel Powley, Kristen Wiig, and Alexander Skarsgård. (Wissmann)
Hitman: Agent Forty-seven (R): The second attempt to create a film franchise from the popular videogame follows a nameless assassin (Rupert Friend) who must help a woman (Hannah Ware) uncover the secrets of her family’s past. With guns. Featuring Zachary Quinto and Ciarán Hinds.
The Man from U.N.C.L.E. (PG-13): Guy Ritchie writes and directs this reboot of the 1960s spy show about a secret multinational organization, here including Henry Cavill and Armie Hammer, as they attempt to foil a nuclear terrorism plot. Also featuring Alicia Vikander, Hugh Grant, and Jared Harris.
Mister Holmes (R): A dying Sherlock Holmes (Ian McKellen) tries to solve an old case. Directed by the great Bill Condon (Gods and Monsters, Kinsey, and, well, let’s just forget about those Twilight movies). (Wissmann)
> No Escape (R): A married couple (Lake Bell and Owen Wilson) living abroad must get their children to safety when their host country is overtaken by a coup. Featuring Pierce Brosnan, from heretofore horrormeisters Drew and John Erick Dowdle (As Above, so Below, Quarantine).
Ricki and the Flash (PG-13): Meryl Streep stars as an aging rock star who returns home to make amends with the family she left behind in this lighthearted drama from Jonathan Demme, written by Diablo Cody (Juno). Featuring Kevin Kline, Mamie Gummer, and Rick Springfield. Yeah, that Rick Springfield.
Shaun the Sheep (PG): A sheep who leads his flock astray must return them home in this claymation family comedy.
Sinister II (R): None of the filmmakers or stars from the original return for this horror sequel about a killer who makes terrifying home movies of his murders, and the family whose son is targeted next. Starring James Ransone and Shannyn Sossamon.
Vacation (R): In this sequel/reimagining of the popular National Lampoon movie series, Rusty Griswold (Ed Helms), inspired by his father Clark (Chevy Chase), takes his own family on a trip to Wally World. From Horrible Bosses team John Francis Daley and Jonathan Goldstein, featuring Christina Applegate, Leslie Mann, Beverly D’Angelo, Chris Hemsworth, Keegan-Michael Key, and Charlie Day.
> We Are Your Friends (R): Zac Efron stars as a DJ with big names looking to make it big in the electronic music scene— and make you feel old as hell. Featuring model Emily Ratajkowski and Wes Bentley.