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.