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.