Captain Fantastic

A father (Viggo Mortensen) raises his six children in an unconventionally holistic way away from modern society in the forest.  Upon the news of his wife's death, their journey to come to terms with that and how they are living is met with humor and heartfelt moments.  Captain Fantastic is that fascinating journey by writer and director Matt Ross and it is quite a gem of a unique film that is quite engaging in it's simple moments.

The 13th

Director Ava Duvernay's The 13th is a powerful and insightful documentary that explores the modern day incarnations of racism, particularly in the U.S. penitentiary system especially toward African American males.  It also importantly and intelligently shows the true historical origins and evolution of that sort of racism and how it continues to breed that in policy, procedure, and perception for all Americans. On that note, I think every American should see this film.  There's a real and growing divide in this country and lack of understanding our different historical experiences and how they shape our perceptions and actions/inactions, that only serve to threaten us as a whole.   The 13th looks at this for African Americans and the seemingly recent, racist biased violence that has ensued of late; and explains the systematic, economic driven strategy that allows it to flourish in different forms. 

Money Monster

I really wanted to like this, but all along it seemed flat as fuck.  Guess what, it was flat as fuck. George Clooney and Julia Roberts yeah ok, they are a good acting duo sure.  Jodie Foster is a good director, too.  I mean all the right people were here, but...  Probably the story.  White guy loses his money after a stock investment tip from tv's Money Monster show host Clooney and takes over the studio demanding accountability and truth.  Along the way, the police and people seeking the truth scramble.  Somewhere along the way, it loses much steam and just trails off the tracks....

In The Heart Of The Sea

Ron Howard and Brian Grazer's latest, In The Heart Of The Sea, is a true life story about an event in the sinking of the Essex whaler ship that helped to inspire the writing of Moby Dick. It stars Chris Hemsworth, Cillian Murphy, Benjamin Walker, and Tom Holland.  Howard and Grazer seem determined to expand Hemsworth's range beyond Thor in their now second collaboration following Rush.  They'd be right, as Hemsworth is an obvious choice in fitting the bill for this role as seafaring whales man.  The rest of the cast is good and it's a great and fascinating story of survival.  The story is like Titanic, told thru the eyes of a young survivor.  What jumps out more to me were the rich visuals in the settings, set decoration/design and the mere story itself.

Hardcore Henry

This is a very fresh and unique international film full of surprises.  The action is like the title pretty bombastic and told from a first person camera point of view.  So if you like first person shooters, like me, you'll love it. I also give it a B effort for actually making pretty good sense in having the story plot match the what and why of it all.

Race

Race is a solid Jesse Owens biopic that focuses on the few years leading up to his gold medal victory leading up to the 1936 Olympics in Berlin prior to World War 2.  It stars Stephan James, Jason Sudekis, and Jeremy Irons.  The performances are really good.  Sudekis is really good at drama, too.  Like many other biopics, however, the story of the man gets a bit lost in all the other stories on it's importance and implications to the countries at the time.  I can understand that to a degree, but I also think it gets lost on an audience as a whole even in the title, as the obvious meaning of holding an important race is overshadowing the issue of race in the world.

Eye In The Sky

Eye In The Sky is one of Alan Rickman's last performances and it is a commendable one.  Also starring Helen Mirren and Aaron Paul, it explores the complexities of intelligence gathering and the implications of drone warfare in the modern age.  A single mission that this film represents is played out and explored in a thoroughly engaging and thrilling edge of your seat manner that demands its audience think rather than satisfy the need for mindless action.  That is the true merit of this film, because ironically we are watching the major players be the engagers and audience alike.

Triple 9

You've got a great cast in Casey Affleck, Chiwetel Ejiofor, Anthony Mackie, Woody Harrelson, Aaron Paul, and plenty of other equivalents.  I mean the cast is great and it's a noir about corrupt cops, Russian mafia,  and bank robberies.  It's certainly watchable with that talent, but the story never quite rises up to equal the star power and performances and so falls rather flat.

Miles Ahead

You gotta give it up to Don Cheadle's performance as an actor and his film directorial debut in Miles Ahead.  Given his talent which is obvious and needless to say, he goes beyond not disappointing. The life of jazz musician Miles Davis is told with the exploration of a reference point in his life when he wasn't active in music and from there are the dizzying flashbacks to pivotal points in his life that shaped him to that moment and beyond.  Cheadle both in front of and behind the camera constructs and deconstructs the man to come out projecting the very meaning of the title in a way that truly honors one of the greatest musicians of America.  It's not conventional storytelling for sure, but that is also one of the very points of the exploration and ultimate homage. Kudos to Miles Ahead for it's unique tapestry.

Keanu

Keegan and Peele are some wickedly funny and conscious actor-comedians and this is so obvious in the absurdly hilarious Keanu.  What I really enjoyed about this film is how that absurdity, now a staple in mostly white films, can be adopted to a Black film, with the same humor and charm and all the while taking on the issues of race within the Black community and in this country.  These guys did it and did it well, while being Black.

The Infiltrator

Too bad this didn't get much traction at the theaters, because The Infiltrator is one nice almost sleeper like of a hit.  I say almost, because it should be obvious in the cast of Bryan Cranston, John Leguizamo, Benjamin Bratt, and Diane Kruger that the promise of stellar performances was sold. Cranston plays a U.S. Customs agent who infiltrates the organization of Pablo Escabar. Yes, the Breaking Bad star has obviously done this type of role before and it's no great stretch and yes, it's like Miami Vice taking place in the 80's and in Florida.  But in reality, it's a true story that is wholeheartedly interesting, thrillingly tense, and filled with interesting characters.  In recent years, there is much of a void in films or at least the film industry has been very much trumped by this golden era of high quality television series. When one of the best television actors takes the lead in a motion picture of this stature and similar genre of what he's most famous for, and still uniquely nails it, it's something to witness.  It would be easy to say Cranston was typecast and simultaneously naive to deny he helped to greenlight The Infiltrator, but it would also underestimate what he really brings as an actor to this role.  The film is certainly in good company with Donnie Brasco or a Carlito's Way in quality crime dramas.

The Magnificent Seven (2016)

Antoine Fuqua and Denzel Washington return to collaborate on this remake of the classic, The Magnificent Seven (a remake of Seven Samurai).  It also stars Ethan Hawke, Chris Platt, Vincent D'Onofrio,  and Byun-Hun Lee as part of the magnificent seven with Peter Sarsgaard as the nemesis. Seeing Hawke (Training Day) collaborating again with Washington was certainly a treat and great performances by the aforementioned along with D'Onofrio and Sarsgaard were acting highlights. Fuqua's remake certainly doesn't trump the originals, but it's a great effort with a talented cast and it's certainly obvious that they were having fun with the western genre. Fuqua excels in directing the action scenes and there's no denying that in this film.  Understandably so, it's a challenge in developing the characters and unique subplots, but The Magnificent Seven was in competent enough hands with writer Nic Pizzolato (True Crime). There are deficiencies in the film for sure, but it's mostly the type of film to entertain with the sheer star power and action scenes.  That, it does.  

SPL 2: A Time For Consequences

Supposedly, Sha Po Lang: A Time For Consequences (Kill Zone 2), the sequel to the 2005's Sha Po Lang though the recurring cast of characters are rearranged like musical chairs and the story is an exercise in melodramatic cinematic hyperbole gone awry.  Director Wilson Yip seems to be using the SPL vehicle as an excuse for bringing back an updated mix of actors and action stars. Returning in different roles are veterans Simon Yam and Wu Jing, but now with the addition of Tony Jaa (Ong Baak film series) and Zhang Jin (The Grandmaster). I must admit that is an exciting mix of folks, for sure.  For the most part, their respective talents do standout in the action sequences, especially as one would expect from martial artist Tony Jaa, Zhang Jin, and Wu Jing. It's Hong Kong meets Thai action, though action director and co-star Ken Lo certainly could have left out some of the fucked up wirework.  The story itself, strives to live up more to the mantra of Sha Po Lang in the story of a dying protagonist in Jaa's daughter and antagonist in gangster Louis Koo, both in need of medical transplants under the most extraordinary and ironic circumstances.   This is where it starts off murky in figuring out what the hell was going on in the first place.  So by the time there is some semblance of understanding amidst the action, I hardly cared anymore about the unbelievable nature in plot and character.  Just get to the action and finale. There is brilliance in SPL 2: A Time For Consequences somewhere because it is entertaining in the diverse combination of cast.  It has the right ingredients in that and even story arch.  However, it feels more like an unfinished sculptor lacking much refinement and direction.  Wilson could have thrown us a better bone after a decade.

Point Break

Gosh, where to begin here....  Point Break was such a mess of what should have been, at the very least, decent. Almost 25 years after the original, it makes the original look like a masterpiece.  Limp and unmemorable cast.  Enough keystrokes already wasted.

Jason Bourne

In one of the most highly anticipated sequels of the summer, Matt Damon returns in the latest installment Jason Bourne, directed and co-written by Paul Greengrass.  To get straight to the point, it's mediocre at best.  The story or more specifically, the lack of development of the story is a real problem.  Greengrass and Damon, in an effort to expound upon a once freshly proven formula that takes in the best moments from the previous Bourne movies, end up settling on a generic refabrication of those elements.  Essentially, Jason Bourne becomes a shell of itself, regurgitating nothing an audience can get behind in plot, barring the excellent action scenes.  In all fairness, it's been 9 years since Damon and Greengrass last teamed up for The Bourne Ultimatum.  In reality, the series that changed the game and forced other films of the same genre to step it up, is a bit of a distorted parody of itself, resting only on the laurels of its visceral action sequences, fight choreography, and cinematography.  It's a damn shame, too.  It's got a great cast in originals Damon and Julia Stiles with equally good newcomers in Vincent Cassel, Tommy Lee Jones, and Alicia Vikander.  Partial spoiler alert here.  The fuckin' cast is just wasted, particularly Julia Stiles who precipitates the whole story.  Jason Bourne of course comes with great expectations and I'm certainly not saying it's the worst film.  Even this is better than most action films to be sure and the push the limit action sequences and exotic locations are still all there for sure.  But it lacks conviction in the flat ass story and character development of Bourne to justify this after being away for so long.  While other movie franchises have gotten increasingly better as a result of The Bourne films (think Mission: Impossible Rogue Nation or Skyfall), the last 2 Bourne films have seemed to echo the opposite.

The Revenant

This is a real movie and mirroring the meaning of it's title, a return to the essence of real film making in the talented hands of director Alejandro Inarritu and actors Leonardo DiCaprio and Tom Hardy. Equal if not better, in acclaim should be given to cinematographer Emmanuel Lubezki (The Tree Of Life and Gravity) for superbly capturing the stunning landscape scenery using natural light.  I really admired the indie film making spirit in which Inarritu approached The Revenant, irregardless of it's large budget.  As if this incredible story of survival and revenge being historically based on real events weren't fascinating enough, it captures an impressive mixed bag of themes and symbolism throughout, that don't feel contrite in that usual accustomed Hollywood sort of way when approaching an ambitious project.  It's a large ambition that's worthy of a big screen's lens, soundtrack, performances, and ideas in telling the journey of a man and much more.  The Revenant is one of the few period films (set here in the 1820's) I can remember seeing beautifully captures the essence of humanity and nature. It's storytelling at it's best, demanding more than one viewing (and not on a fucking small ass device) and that storytelling is utterly captivating with plenty for the senses and mind to engage in and reflect upon.  Good films linger with you like that.  

Eating You Alive

Bridge Of Spies

Steven Spielberg and Tom Hanks reunite along with the Cohen brothers as screen writers for Bridge Of Spies, a historical account of the spy exchange during the Cold War.  This was a larger than life movie with set pieces fitting the bill and it was expertly directed and conveyed by the above mentioned along with the rest of the cast and production.  Bridge Of Spies has the feel of that old school Hollywood film making and Hanks has always exemplified that old school, everyman, acting feel in his performances.

Carol

I will literally watch anything Cate Blanchett is in. She's a very first rate actress that conveys so much in her roles.  Pairing her with the talented Rooney Mara is a fine cocktail indeed.  The story of a young innocent Rooney (think Audrey Hepburn) finding her sexuality in the sophisticated and older Blanchett in the 1950's, Carol is full of great performances.  As in The Danish Girl, the cinematography interplays with the acting and beckons the audience with that grainy, 16mm, limited color spectrum seen in many pictures of the era.  It's a mesmerizing look coupled with mesmerizing performances for many scenes seemingly so simple.  In many ways, these elements remind me of Wong Kar Wai's In The Mood For Love. It's a great exercise in minimalism for maximum effect.

Legend

Tom Hardy can do everything. Nothing new here, except he's playing twin brothers who were real British gangsters.  I thought it was a comedy from the trailer, but it's an actual biopic.  The problem here is that it often plays like other British gangster films with it's over the top nature and there's nothing really to take away from it.  Even the fictional Goodfellas had a certain weightiness to it, that made you believe it could have been a true account.  It also doesn't help that half the time, you can't understand what the fuck everyone was saying, which I don't normally complain about.  But I didn't wanna have to resort to subtitles for a UK film.

The Big Short

I wasn't particularly interested in the subject matter of The Big Short dealing with the financial crisis of the 2007-8 era, but the this film made it much more palatable a narrative from the point of view of the insiders and had a great ensemble of talented actors.

The Danish Girl

The range of the actor Eddie Redmayne is really amazing and The Danish Girl certainly exemplifies that equally as well as The Theory Of Everything.  Director Tom Hooper (Le Miserables and The King's Speech) is also at his best here.  It explores the transgender story of Danish artist Lili Elbe during a time in a more hostile time and climate in the early 20th century.  Most notable in what I liked about the movie, was not just the great performances in Redmayne and Alicia Vikander (Ex Machina), but the cinematography and beautiful landscape settings that punctuates the story.

Captain America: Civil War

Captain America: Civil War is not just a great action blockbuster full of surprises, but it is also the best put together superhero movie in terms of character development and dramatic narrative. Directors Anthony and Joe Russo do a superb job of holding this 2 1/2 hr. ensemble together, albeit a bit haphazard and rushed in introducing The Black Panther and Spiderman. There's a lot, and I mean a fuckin' lot going on in this movie.  It's very easy to forget that it's a Captain America movie and not an Avengers movie.  But we are reminded with the omission of Thor and the Hulk, which actually in a way serves the movie well, dare I say.  This is because the abilities of Captain America are more scaled down than those two titans.  It's gritty, close quarters combat and athleticism and so the playing field is more even keeled with the likes of Black Widow, The Black Panther, Bucky, Falcon, and Hawkeye getting a chance to shine more. Sort of like a passing of the torch from Iron Man, Thor, and The Hulk - the originals with larger than life abilities to heroes with more relatable abilities.  The writing and directing team of Winter Soldier ain't no joke and Marvel has just really outdone itself here with plenty of film/television plots to carry on from here.

The Hateful Eight

Admittedly, the trailer to this movie didn't impress me at first. So I finally got a chance to see what all the buzz was about. The Hateful Eight is an impressive and solid Tarantino movie with the best cast of many of his previous movies.  Yes, there's significant blood and violence and unexpected moments in Tarantino fashion. But much more, it is a strongly, dialogue driven, who done it mystery with the seemingly simple premise that unravels like a ball of yarn attached to dynamite.  All the best moments of Tarantino films are there, intertwined with the usual talents of Sam Jackson, Tim Roth, Michael Madsen, Bruce Dern and Kurt Russell back at the table. Anchor this to no less impressive performances in Jennifer Jason Leigh and Walter Goggins (I'm so fuckin' glad this talented dude from tv's Justified got a chance to shine on the big screen).  I certainly wouldn't say it's the absolute best Tarantino film, but I certainly appreciate what he was trying to pull off.  The ensembles pieces of the old classic dialogue and mystery films and even what I discerned was a kind of reunion with his own earlier classics like Reservoir Dogs in particular, were what I really personally appreciated the most about The Hateful Eight.  Like, he was also going back to his own stylistic roots. It of course, has it's flaws.  The unfolding of the plot falls off a bit 3/4 of the way in and kind of erodes away the slow burn of character revelation and development, that certainly could have rounded out the overall story arch. Tarantino has certainly been guilty of that before.  I get it.  He and we as the audience are like a kid in the candy store gone wild after discipline has been sustained for too long.  As in Django Unchained, Tarantino is still flirting with the slavery and Civil War ashes of the 19th century in America and still gives Sam Jackson some of the best and funniest moments of the film (perhaps as a sort of redemption for his Uncle Tom gone wild character in the previous).

Terminator Genisys

An ambitious project it surely is, not as bad as I might have thought and also not as good as it could have been. Terminator Genisys will be spawning a sequel and it is said, a television spin off; so real effort had to be put into it. It shows that effort in star power with the return of Schwarzenegger (who's actually quite good and clearly having fun), and more importantly in the storyline. However, in an attempt to return to the origins and capture the best moments of the film franchise, it trips over itself too many times with an overly convoluted plot and not enough heart to warrant it's length. This is a case where the plot basically cannibalizes itself, from something that was surely promising at the onset.  Rather than an attempt at rebooting the Terminator films, this film seems more appropriate to finally concluding the series.  Granted, there's a plethora of really good action sequences, particularly the fresh helicopter sequences. Yet, even that staple of the genre can't save Terminator Genisys from over reaching in it's ambition and settling to a mere, mildly entertaining second rate action film; though admittedly the star power return of Arnold bolsters it above the last two installments.

The Martian

Following an explosion on Mars, astronauts evacuate believing botanist specialist Matt Damon did not survive. The Martian is Matt Damon's Gravity and at the helm is director Ridley Scott.  One might actually say, that The Martian is a cross between the realism and solo acting performance in Gravity, a hint of Interstellar, and splashed with the worldwide scale and urgency of something like Armageddon.  Throughout, themes of scientific innovation, human endeavour and spirit, and universal cooperation,  are generous with the support of NASA.  Damon and the other great supporting cast throw in just enough humor (If you don't understand the title by now...) and humanity to balance this. In many ways, it's just a good old fashion film with solid everything that keeps you engaged.

Straight Outta Compton

This was most definetely an above average musical bio-pic that focused on the rise and influence of the group N.W.A.  Much credit I give to director F. Gary Gray for his vision and seasoned professionalism in film and music videos (including Ice Cube's Friday).  He also manages to skillfully focus on the impoverished and violent conditions of the era in Los Angeles that were ripe for the outcry in protest from a group that symbolized that rage.  Most of the film stays on track, however it dissipates towards the end, I thought, a bit abruptly and perhaps unevenly in also chronicling the lives of MC Ren and DJ Yella, too. Much kudos is also given to the acting for being top notch. These elements all translate into a music bio-pic possessing heart, that gives real legitimacy and relevance to a group, especially rare in the genre of hip-hop.

Chef

Written, directed, and starring Jon Favreau, Chef is a film that chronicles the journey of a middle age man refreshing the relationship with his family, friends, and career.  Rounding out the cast are the talents of Sofia Vergara, John Leguizamo, Scarlett Johansson, Oliver Platt, Bobby Cannavale, and Robert Downey, Jr.  In a nutshell, it works and has the charm of an indie film punctuated by great acting, humor, music, culture, and a road trip to boot.

Batman Vs. Superman: Dawn Of Justice

Batman Vs. Superman: Dawn Of Justice is an ambitious undertaking with a lot of expectations, as it is DC’s attempt to catch up to their Marvel rivals and boost a successful film narrative franchise. So it’s the second part of the title one has to really pay attention to in judging the film overall. The first part is really just a marketing ploy in a sense. Batman (Ben Affleck) and Superman (Henry Cavill) are now veteran superheroes who face increasing criticism from the world and this is capitalized on by Lex Luthor (Jessie Eisenberg) who orchestrates a series of events that frame them, pitting them against one another, and in the process unleashing an unharnessed foe that threatens to destroy everyone. Throughout, the emergence of Wonder Woman (Gal Gadot) is revealed as well as the existence of other superheroes. Under the direction of Zac Snyder and if you’ve seen his work in Watchmen, it should come at no surprise that the film is an excess in noir and subplots. That’s a good thing for the most part in creating the right atmosphere and realism, but the flashbacks and dream sequences are excessive overkill to keeping focused on the story at hand. Thank goodness the action is great, but it’s nothing we haven’t seen before in the last 7/8 years of high end, sophisticated movie installments. The pacing and plot and buildup are really just messy and all over the place. There’s no cohesion and the script is just awash in limpness frankly. If Snyder and say a Christopher Nolan had perhaps collaborated on this project, then I shudder to think what heights it would have achieved. The movie is heavy handed in having enough action, story material, talent, and promise of more in the films to follow; but it would have benefited far better with a more deft hand in the editing room. There are things that certainly didn’t make sense in the plot and Snyder just seemed to take too many creative leaps. There was no real noteworthy protagonist. That shit made, kryptonian, blob of a monster that a supposedly smart Lex Lugor made and unleashed with no kind of control, who looked like Tim Roth’s Hulk on steroids from the 2008 film, just seemed to be inserted to fill up time and only served to bring in Wonder Woman. They should have just resurrected General Zod (Michael Shannon) himself for a more challenging showdown. Why did we have to have a mini training sequence for the old Batman other than to show that Affleck worked out for a year? Did anyone really know or remember that both Superman and Batman’s mother’s names were Martha? Why couldn’t Superman save his mother in time, really, as he had x-ray vision, super hearing, speed, and always seemed to be there for Lois Lane (Amy Adams) no matter what he was doing? Stuffing the motivation for that particular plot point down our throats was a ginormous task that just didn’t fuckin’ sell. Personally, I was always a DC fan first, and I had a lot of expectation placed into the film. Who would win in Batman vs Superman? Superman of course, as he’s not an earth man, but Batman is certainly smarter. Snyder plays these aspects up pretty good and the performance of a weary Affleck in the role was better than expected. Yet Superman is darker than ever and just downright distorted under the direction of Snyder. I will certainly view this film again when it gets to dvd (an extended version is promised) as a lot of the back story I missed in detail. Yet the real reward for me was the introduction of Wonder Woman and just the fact that this film was finally made. It didn’t have to knock it out of park,(though it seems to have in terms of box office) it just needed to get there. Enjoyable to watch, it is. Now, they just need to take their time and make the next installments right.

Trainwreck

This was a rather unique and special romantic comedy written by and starring Amy Schumer and directed by Judd Apatow.   What  made me want to see Trainwreck was Bill Hader, who really is a great dramatic and comedic actor.  But there are other really great performances here, too.  Even surprisingly good performances from LeBron James and John Cena are here.  Schumer's bold and humorous vulgarity holds up well enough in just the right amounts to contrast with her range in vulnerability and ability of the narrative to move forward. It's a fun, well meaning film.

Chi-Raq

Based on an ancient Greek play and set in the violence riddled, modernity of Chicago, Chi-Raq is a ripe satire amidst the ever growing inner city crime, police brutality, and movement of Black Lives Matter. It is also a perfect cinematic vehicle for Spike Lee to re-emerge at the helm of subject matters he boldly took on 20 years ago in his classic films; or so it would seem.   This time around, as was the theme of the original play, women are so fed up with the violence of the day, that they impose a sex strike that catches fire around the world.  I so wanted to like Chi-Raq, really I  did.  Who wouldn't if you're a Lee fan?  He brings back his old notables Sam Jackson, Angela Bassett, and Wesley Snipes. He adds in fresh new faces and newcomers like John Cusack, Jennifer Hudson, Nick Canon, and the best of the bunch - Teyonhah Parris (Dear White People).  In all fairness, Wesley Snipes never should have been cast in that particular role of this gang leader going up against Nick Canon.  Shit, he's better than that and what the fuck was a limp Nick Canon even doing in a lead like that with no charisma at all?  Well, he surprisingly lent to the title track, along with Chicago native Jennifer Hudson, in addition to giving her signature dramatic tears to the role.  Now, let's remember that this was a satirical adaption to the distressing violence of our era.  But it just didn't work for me as well as it could have.  It tried to be too many things genre wise to me, that just didn't work, and then salvage a message.  In addition to mis-matched casting and performances, it just kind of felt dated; as if Spike just copied and pasted these not so new issues into his style from 20 years ago, and added new people.  More importantly and perhaps more accurately, is just that these issues have been covered before endlessly and with no apparent end in site.  But instead of Brooklyn/Crooklyn, it's the Chicago/Chi-Raq.

Ant-Man

Directed by Peyton Reed and starring Paul Rudd, Ant-Man is certainly a unique film within the successful Marvel film universe, being the most family friendly of the bunch. I was pleasantly surprised, as I certainly had my doubts and lacked enthusiasm at the mere mention of the film and cast.  It's a humorous, caper style of a film who's main characters are motivated by redemption for their families. A great supporting cast it also has, but Rudd was certainly an unexpected surprise in bringing a certain flawed and humorous every-man persona with an endearing freshness to the role. It's the unexpected charm of Ant-Man that adds a pleasant departure to the usual larger than life (pun intended), amped up Marvel franchise and simultaneously gives us arguably one of the most relatable of the Avengers.

Crouching Tiger, Hidden Dragon: Sword of Destiny

I don't know why we had to have a sequel to a classic, ground breaking, international martial arts movie nearly 16 years later.  Crouching Tiger, Hidden Dragon: Sword Of Destiny is the name and it stars Michelle Yeoh, Donnie Yen, Jason Scott Lee, and is peppered with a mixed international cast. Poor Michelle, who still looks good and is a great performer, should not have even signed up for this. She's much better than this and Donnie has matured into roles insofar as acting, but he ain't no Chow Yun-fat and there is no chemistry in the characters, other than their generational role as martial art stars.  However, the addition of  Donnie and a returning Yuen Woo-Ping (this time as a director)  do ensure there is ample quality action (although not ground breaking).  There is also the Shigeru Umebayashi soundtrack, which I barely noticed to tell the truth.  Probably, oh I don't know, because there was the omission of director Ang Lee!  That might have something to fucking do with it, just a theory.  Lee knew how to add a classical elegance to stories and character parallel with Woo-Ping doing the same for choreographed action.  So without him, you have a story that tries hard but mostly unsuccessfully to copy and paste scenarios that continue a not needed saga with 2nd string acting.  An international cast, a partly New Zealand location, and Harvey Weinstein production with a Netflix debut attempt to inject new life into the project.  Yet without the other essential higher quality  parts of the original Crouching Tiger, Hidden Dragon equation, it falls rather flat.  All this is not to say that it's not entertaining, but that one must lower their expectations to reap these feeble benefits.  At best, it's a just good martial arts film. It deserves a title change for sure and I just feel bad for Michelle Yeoh in the lead role.  Shit, Donnie is like in every martial art film and could benefit from pacing himself between roles, less some people viewers think it's Ip Man meets Crouching Tiger. 

Sicario

Sicario is a film directed by Denis Villeneuve that takes a peering look into the murky world of the drug cartels and government and law enforcement agencies that go up against them.  Powerfully acted by Emily Blunt and rounded out in talent with the likes of Benicio DelToro and Josh Brolin, it's a film that skillfully and artfully immerses you in the conflict.  Here, and equally as power as the acting and directing, is the awesome cinematography of Roger Deakins and composer Johann Johannson, who both deliver a rich atmosphere of impending tension at just the right moments in the story. It's really good to see DelToro in a leading role that showcases his acting chops to such a degree that a sequel focusing on his character was announced.  As controversial as the political and social realities are, Sicario is an important film that serves to elevate the important realities and complicity of the drug trade on an almost equal footing with the war on terror. 

Mission Impossible: Rogue Nation

Mission Impossible: Rogue Nation is a well crafted spy movie that thanks to the writing and directing of Christopher McQuarrie, manages to be arguably one of the best in the series.  McQuarrie's script is smart, taut, and filled with just the right balance of humor and intrigue to elevate it on par with one of the better James Bond films of late.  Right away, one can see that McQuarrie's involvement is paramount.  After all, this is a man who has previously worked with Cruise (Valkyrie, Jack Reacher), can seriously write complex intrigue (The Tourist, The Usual Suspects), and can obviously handle a talented ensemble.  Speaking of which, the addition of Swedish actress Rebecca Ferguson was also a smart and fresh choice, as she more than carries her own weight against Cruise and the rest of the team. I'm not initially a fan of adding and swapping out parts to successful franchises like a professional sports team.  However, when it works, you can't really argue much against it.  So, half nod to Jeremy Renner (already a part of 3 film installments) and nod to Alec Baldwin for rounding out the talent here.  Rogue Nation is certainly the most shadowy of the MI films and the full plot is a about as complex as you can get (my only minor criticism), but it has a bit of an old school realism that carefully aligns it with the wide screen birth of Bond and the more realistic aspects of  say the Spooks/MI5 television series.  The stunts and gadgets were still cool and all, but it's in the story and performances under the direction of McQuarrie, that really shine.  Cruise and the other cast member seem to really be having fun, even moments of poking fun at the whole MI notion.

Fantastic Four (2015)

Bad, so very very bad.  Ten years after the original film and with a new cast, 2015's Fantastic Four succeeds in being even worse; and I didn't anticipate that was even possible.  The approach emphasizing the origins of the team is different, but there are too many holes, skipped over and unexplained logic, and just bad scripting that stand out even more than the mediocre special effects. Quite frankly, Fantastic Four would have even been a dud on television, as there are plenty of one hr. episodes of superhero shows that are far more engaging and smartly written than this horrendous film.  A talented actor like Michael B. Jordan needs to surely leave this one off his resume.  I waste no more words on this shit.