Mission: Impossible- Rogue Nation is the fifth installment of the silver screen series (that's impressive considering the original film came out in 1996 and even more so seeing is we're living in the golden age of reboots). What's funny to me (as well as disappointing) is that the latest entry seems a bit too protocol, especially coming off the hot heels of a great film called Ghost Protocol.
Don't misunderstand me. Christopher McQuarrie's (Jack Reacher) Rogue Nation is a solid installment: it's got the action, the humor, the gadgets, and the wit we've come to expect from the tenured tent-pole. It just doesn't have the new spy car smell like most of its predecessors, especially after a sequel that was brimming with new ideas: Benji passing his field test; introducing Jeremy Renner, dissolving the IMF; and not to mention the largest, most visually striking set pieces in the series to date.
Tom Cruise returns as renowned IMF agent Ethan Hunt, proving once again why he is the definitive action star of the past two decades (and that age really is just a number!). This time Ethan and the disbanded IMF are the only thing standing between global anarchy and a specially-trained shadow organization, lead by Sean Harris' delightfully devious Lane.
Simon Pegg, Jeremy Renner, and Ving Rhames return as Ethan's trusty crew and all do solid work. The always enjoyable Alec Baldwin gives his "likeable jerk" routine as head of the CIA, Alan Hunley. However, the real intrigue of the story comes in the form of the mysterious Isla Faust, portrayed by the talented actress Rebecca Ferguson (of BBC's The White Queen).
For most of the film we're not sure of her true motives. Is she a double agent? Triple agent? Quadruple agent (are those even a thing?)? Although we've seen this mystery play out many times in a lot of movies like this, once Faust's true motives are revealed, you can't help but feel a little empathy and understand why she feels such a strong bond with Cruise's Hunt.
With not a whole lot of new ideas to offer and a runtime totaling over two hours, Rogue Nation does tend to overstay its welcome. However, we only get one impossible mission every few years or so, so I can't complain too much.
Ethan Hunt himself, Tom Cruise, has confirmed that Mission Impossible 6 (I'm Getting Too Old For This Shit) begins production next summer. With a relatively short turnaround, here's hoping that J.J. and company have enough time to pull together a reinvigorating script.
Grade: A-
Thursday, July 30, 2015
Saturday, July 18, 2015
5 Faves: Movies of 2015 (So Far)
I know it's hard to believe it, but we are more than halfway through 2015 already, which means we have seen half of the movies that 2015 has to offer. To be quite frank, it's been a pretty good year for movies. We've seen many box office records broken as well as two films entering and exiting the top five highest grossing films of all time list: Avengers: Age of Ultron and Jurassic World. To boot, a lot of these films have been fun! Sadly, as much as I'm enjoying a lot of movies this year, there's only so much room in my list...
5. Kingsman: The Secret Service
Yet another successful comic book adaptation from director Matthew Vaughn (X-Men: First Class). 'Kingsman' is a quirky, exciting send-up of the James Bond films of old, starring a delightful cast and a "thene thtealing" villain portrayed by the one and only Sam Jackson. It's funny, action-packed, and the start of what could be a great spy franchise.
4. Predestination
This film may be one of the greatest "Holy S***!" movies in a long time. Ethan Hawke plays a temporal agent who skips through time looking for an elusive terrorist known as The Fizzle Bomber. Sarah Snook also gives a star performance as Hawke's new recruit. Even if you see the ending coming, it's still going to blow you away. Don't miss this one!
Some critics hailed It Follows as one of the greatest as an instant classic, even going so far as to call it one of the best horror films ever made. Don't let the hype fool you. David Robert Mitchell's minimalistic horror flick is not quite a game-changer, but it is a well- crafted, well-acted slow burn that starts you off uneasy and gradually terrorizes you as it drags its protagonists through an unrelenting, hellish nightmare. The score is brilliant too.
2. Mad Max: Fury Road
There's no school like the old-- Oh, you get it. Back in 1981, an Australian medical doctor-turned-filmmaker defined the term "action-packed" with a little film called Mad Max 2: The Road Warrior. Thirty years later, Miller does it again with his quasi-reboot Mad Max: Fury Road. With Miller's emphasis on live-action stunts, 'Fury Road' makes films like Avengers: Age of Ultron look like a screen saver. Exciting vehicular warfare charges this NOS-injected action thriller while tender dialogue and character moments distinguish Miller's movie from other "just enjoyable" thrillers.
1. Ex Machina
It is not very often we get a sci-fi flick that transcends the action-thriller banalities which have long plagued the genre. After last year's mesmerizing Under the Skin, starring Scarlett Johansson, science fiction spoils us again with Ex Machina. Oscar Isaac and Alicia Vikander both give Oscar-level performances as creator and creation, respectively. Isaac plays a scientist who invites a nobody computer programmer to his house to run a Turing Test on his newest A.I. However, Ava (Vikander) may be more human than anyone could have ever imagined possible. Ex Machina is a gripping, intriguing cautionary tale about the dangers of playing God. Also, it's my favorite movies of the year so far.
5. Kingsman: The Secret Service
Yet another successful comic book adaptation from director Matthew Vaughn (X-Men: First Class). 'Kingsman' is a quirky, exciting send-up of the James Bond films of old, starring a delightful cast and a "thene thtealing" villain portrayed by the one and only Sam Jackson. It's funny, action-packed, and the start of what could be a great spy franchise.
4. Predestination
This film may be one of the greatest "Holy S***!" movies in a long time. Ethan Hawke plays a temporal agent who skips through time looking for an elusive terrorist known as The Fizzle Bomber. Sarah Snook also gives a star performance as Hawke's new recruit. Even if you see the ending coming, it's still going to blow you away. Don't miss this one!
3. It Follows
Some critics hailed It Follows as one of the greatest as an instant classic, even going so far as to call it one of the best horror films ever made. Don't let the hype fool you. David Robert Mitchell's minimalistic horror flick is not quite a game-changer, but it is a well- crafted, well-acted slow burn that starts you off uneasy and gradually terrorizes you as it drags its protagonists through an unrelenting, hellish nightmare. The score is brilliant too. 2. Mad Max: Fury Road
There's no school like the old-- Oh, you get it. Back in 1981, an Australian medical doctor-turned-filmmaker defined the term "action-packed" with a little film called Mad Max 2: The Road Warrior. Thirty years later, Miller does it again with his quasi-reboot Mad Max: Fury Road. With Miller's emphasis on live-action stunts, 'Fury Road' makes films like Avengers: Age of Ultron look like a screen saver. Exciting vehicular warfare charges this NOS-injected action thriller while tender dialogue and character moments distinguish Miller's movie from other "just enjoyable" thrillers. 1. Ex Machina
It is not very often we get a sci-fi flick that transcends the action-thriller banalities which have long plagued the genre. After last year's mesmerizing Under the Skin, starring Scarlett Johansson, science fiction spoils us again with Ex Machina. Oscar Isaac and Alicia Vikander both give Oscar-level performances as creator and creation, respectively. Isaac plays a scientist who invites a nobody computer programmer to his house to run a Turing Test on his newest A.I. However, Ava (Vikander) may be more human than anyone could have ever imagined possible. Ex Machina is a gripping, intriguing cautionary tale about the dangers of playing God. Also, it's my favorite movies of the year so far. Review: "Ant-Man" stands tall
Marvel topped off Phase Two of their cinematic universe in small fashion, introducing the hilarious Paul Rudd as their newest Avenger, Scott Lang, otherwise known as the Ant-Man.
Given the production issues: Writer-Director Edgar Wright leaving the project after a decade due to creative differences with the studio and Marvel not replacing him till near principal photography, Ant-Man is an impressive feat. That said, Ant-Man may not feel as fresh as recent Phase Two entries, such as Guardians of the Galaxy, but Director Peyton Reed's (Yes Man, The Break-Up) film is just as funny and equally endearing. This film is a testament to Marvel's keen sense about their audience and the relentless expectation put upon them to deliver time and again.
Don't get me wrong, Ant-Man is structured like any run-of-the-mill origin story as it hardly deviates from the path long traveled by the superhero genre since Sam Raimi's original Spider-Man flick back in 2002. However, unlike most superhero movies, Ant-Man is lite on action, which means, like 'Guardians,' this film relies heavily on its talented cast and character relationships. And in the end, that's the film's strength.
Michael Douglas highlights the film as an aged Dr. Hank Pym, a scientist whose serum shrinks the distance between atoms of any object; in other words, it makes things smaller. When Dr. Pym's protégé, Darren Cross, played to menacing perfection by Corey Stoll (of the American House of Cards), recreates the serum for Hydra, Hank recruits Professional Burglar and Ex-con Scott Lang (Rudd) to steal it back. Even Evangeline Lilly (LOST) gets her fair share of screen time as Hope, Hank's estranged daughter whose caught in a love triangle between Darren and Scott. These four have well-developed, complex relationships with one another that evolve as the story progresses, leading to many heartfelt, heart-breaking, melodramatic moments. This is where Ant-Man stands tallest.
Did I mention the film's funny, too? Given the final product, it's easy to see why Marvel wanted a director and a lead with backgrounds in comedy. Peyton Reed brings an impeccable sense of comedic timing to most of the jokes, particularly the physical gags that take advantage of the ant men's changing sizes, while the endearing Paul Rudd charms us with his signature wit. We want Scott to win over the bad guy and to mend the broken relationship with his own daughter and family.
Don't get me wrong, Ant-Man is structured like any run-of-the-mill origin story as it hardly deviates from the path long traveled by the superhero genre since Sam Raimi's original Spider-Man flick back in 2002. However, unlike most superhero movies, Ant-Man is lite on action, which means, like 'Guardians,' this film relies heavily on its talented cast and character relationships. And in the end, that's the film's strength.
Michael Douglas highlights the film as an aged Dr. Hank Pym, a scientist whose serum shrinks the distance between atoms of any object; in other words, it makes things smaller. When Dr. Pym's protégé, Darren Cross, played to menacing perfection by Corey Stoll (of the American House of Cards), recreates the serum for Hydra, Hank recruits Professional Burglar and Ex-con Scott Lang (Rudd) to steal it back. Even Evangeline Lilly (LOST) gets her fair share of screen time as Hope, Hank's estranged daughter whose caught in a love triangle between Darren and Scott. These four have well-developed, complex relationships with one another that evolve as the story progresses, leading to many heartfelt, heart-breaking, melodramatic moments. This is where Ant-Man stands tallest.
Did I mention the film's funny, too? Given the final product, it's easy to see why Marvel wanted a director and a lead with backgrounds in comedy. Peyton Reed brings an impeccable sense of comedic timing to most of the jokes, particularly the physical gags that take advantage of the ant men's changing sizes, while the endearing Paul Rudd charms us with his signature wit. We want Scott to win over the bad guy and to mend the broken relationship with his own daughter and family.
Monday, March 30, 2015
Review: It Follows (2015; Rated R)
*NOTE: This review nixes most story details in order to minimize spoilers and consequently maximize viewing pleasure. Enjoy!
David Robert Mitchell's stalker film It Follows is a deliberately crafted, disturbingly potent pastiche of suburban horror. Don't let the reviews fool you, it isn't the scariest film in years nor does it break any new ground for the genre, but what it does is effectively make the familiar feel grossly unnerving in a way that will linger with you long after the lights flicker on.
From the opening shot, It Follows establishes a menacing sense of nostalgia: Midwestern suburbia, fall. A high heel studded teenager bolts out of her house and down the street, chased by an unknown entity nobody else can see. Nearby adults look on, dumbfounded by this girl as she runs around. Sound familiar? That's because It Follows owes a huge debt of its bone-chilling success to the classic suburban horror flicks of the 70s and 80s: A Nightmare On Elm Street among the most obvious.
Like those movies, and most horror movies since, It Follows centers itself around a posy of young, hormone-enraged teenagers growing up in the middle-class bowls of America. Unlike most horror movies though, each of the kids have just enough personality and sense to make your emotional investment worthwhile once It starts to follow.
At the film's heart is a jaded love story starring Paul, played timidly by Keir Gilchrist, who you may or may not recognize from 2010's It's Kind of a Funny Story; and Jay, portrayed by the up-and-coming Maika Monroe, of last year's The Guest, starring Dan Stevens. These two share an awkward, though endearing long-lasting bond that grounds this otherwise Twilight Zone of a story. Credit to Mitchell and these fine, young actors for realizing a painfully truthful interpretation of the complex teenage love life.
As endearing as their apprehensive relationship may be, this film is about Jay and Maika Monroe's beautifully authentic performance. Not since Jamie Lee Curtis in Halloween has a young lead given such a subtle, sincere portrayal in a horror movie. And although Curtis and Monroe play two different characters from much different eras, the retro influence on Mitchell's film is omnipresent.
This includes the evocative, eerie synth riffs that compose much of the dread-inducing score by Disasterpeace. The soundtrack here is crucial not only to the effectiveness of the frights, but to the identity of the film in general; reminiscent of the likes of Halloween or Psycho, composed by John Carpenter and Bernard Hermann respectively. Fans of the genre should definitely check this music out.
From the slow moving camera pans to its lead-footed antagonist, It Follows is deliberately crafted in the vein of an old school slow burn. Rather than rely on booming jump scares, the film draws its tension from Jay's vulnerability. She's not safe anywhere. Even if she gets in a car and drives far away, It is always walking straight for her. This realization slowly kills Jay's soul, which in turn will kill yours. It's all part of this film's brilliant uneasiness, which sets in during the prologue and steadily perturbs towards a hauntingly pensive conclusion.
If you can, see this movie in theaters. You'll thank me afterwards.
Grade: A
David Robert Mitchell's stalker film It Follows is a deliberately crafted, disturbingly potent pastiche of suburban horror. Don't let the reviews fool you, it isn't the scariest film in years nor does it break any new ground for the genre, but what it does is effectively make the familiar feel grossly unnerving in a way that will linger with you long after the lights flicker on.
From the opening shot, It Follows establishes a menacing sense of nostalgia: Midwestern suburbia, fall. A high heel studded teenager bolts out of her house and down the street, chased by an unknown entity nobody else can see. Nearby adults look on, dumbfounded by this girl as she runs around. Sound familiar? That's because It Follows owes a huge debt of its bone-chilling success to the classic suburban horror flicks of the 70s and 80s: A Nightmare On Elm Street among the most obvious.
Like those movies, and most horror movies since, It Follows centers itself around a posy of young, hormone-enraged teenagers growing up in the middle-class bowls of America. Unlike most horror movies though, each of the kids have just enough personality and sense to make your emotional investment worthwhile once It starts to follow.
At the film's heart is a jaded love story starring Paul, played timidly by Keir Gilchrist, who you may or may not recognize from 2010's It's Kind of a Funny Story; and Jay, portrayed by the up-and-coming Maika Monroe, of last year's The Guest, starring Dan Stevens. These two share an awkward, though endearing long-lasting bond that grounds this otherwise Twilight Zone of a story. Credit to Mitchell and these fine, young actors for realizing a painfully truthful interpretation of the complex teenage love life.
As endearing as their apprehensive relationship may be, this film is about Jay and Maika Monroe's beautifully authentic performance. Not since Jamie Lee Curtis in Halloween has a young lead given such a subtle, sincere portrayal in a horror movie. And although Curtis and Monroe play two different characters from much different eras, the retro influence on Mitchell's film is omnipresent.
This includes the evocative, eerie synth riffs that compose much of the dread-inducing score by Disasterpeace. The soundtrack here is crucial not only to the effectiveness of the frights, but to the identity of the film in general; reminiscent of the likes of Halloween or Psycho, composed by John Carpenter and Bernard Hermann respectively. Fans of the genre should definitely check this music out.
From the slow moving camera pans to its lead-footed antagonist, It Follows is deliberately crafted in the vein of an old school slow burn. Rather than rely on booming jump scares, the film draws its tension from Jay's vulnerability. She's not safe anywhere. Even if she gets in a car and drives far away, It is always walking straight for her. This realization slowly kills Jay's soul, which in turn will kill yours. It's all part of this film's brilliant uneasiness, which sets in during the prologue and steadily perturbs towards a hauntingly pensive conclusion.
If you can, see this movie in theaters. You'll thank me afterwards.
Grade: A
Monday, March 16, 2015
Review: Run All Night
Typecasting can (and usually does) spell the kiss of death for an actor's career. But not Liam Neeson's. His mainstream success has taken off in recent years as he has become the go-to man for an action-laden script. Sadly, Liam recently promised he will be giving up guns in the next couple of years. But until then, Liam leaves behind a string of mostly digestible, popcorn-munchin' fun. His latest, Run All Night, blends the mindless entertainment value of Taken with the dark, gritty tone of his recent A Walk Among the Tombstones. The result is, like many Action Neeson flicks, entertaining enough to warrant a once-thru.
What stands out about Run All Night is its interesting character work. Neeson does a wonderful job as Jimmy Conlon. Jimmy's done deplorable things as a hit-man working for his mobster best friend, Shawn, portrayed by the great Ed Harris, who now spends his life trying to drink away his demons.
After Jimmy's son Mike, played Joel Kinnaman (of The Killing and last year's Robocop remake), witnesses Shawn's son, Danny, played by Boyd Holbrook (also in A Walk Among the Tombstones), murder somebody, Mike finds himself as Danny's next target. You still with me?
Jimmy bloodies his hands yet again (speaking both metaphorically and literally here) by offing Danny in order to protect Mike. This sets in motion a tragic series of events that dismantles the life-long, brotherly bond between Jimmy and Shawn. As the body count piles up, so does the burden on their once flourishing friendship. It's a beautiful disaster to behold and both Neeson and Harris play it pitch perfect.
As far as taking away anything from this film, Jimmy and Shawn's crumbling friendship is it. The rest of the film plays out as you would expect, with little to no deviation from the classic noir, anti-hero narrative, with the talented Vincent D'Onofrio (Law & Order: C.I.) getting a few lines as the last wholesome cop in New York who holds a moral grudge against Jimmy because of the people he's killed. Disappointingly, and predictably, that subplot never leads anywhere satisfying and probably could have been dropped.
As for the action, it's well-paced throughout and never feels hyper-extended, with the exception of the one car chase towards the beginning. There's enough here that you won't get bored.
Content. That's how I felt as the credits rolled and the lights went up. I didn't feel cheated nor was I aching for more. Like most of Liam Neeson's recent pow-bang endeavors, you get what you pay for.
Grade: B-
What stands out about Run All Night is its interesting character work. Neeson does a wonderful job as Jimmy Conlon. Jimmy's done deplorable things as a hit-man working for his mobster best friend, Shawn, portrayed by the great Ed Harris, who now spends his life trying to drink away his demons.
Jimmy bloodies his hands yet again (speaking both metaphorically and literally here) by offing Danny in order to protect Mike. This sets in motion a tragic series of events that dismantles the life-long, brotherly bond between Jimmy and Shawn. As the body count piles up, so does the burden on their once flourishing friendship. It's a beautiful disaster to behold and both Neeson and Harris play it pitch perfect.
As far as taking away anything from this film, Jimmy and Shawn's crumbling friendship is it. The rest of the film plays out as you would expect, with little to no deviation from the classic noir, anti-hero narrative, with the talented Vincent D'Onofrio (Law & Order: C.I.) getting a few lines as the last wholesome cop in New York who holds a moral grudge against Jimmy because of the people he's killed. Disappointingly, and predictably, that subplot never leads anywhere satisfying and probably could have been dropped.
As for the action, it's well-paced throughout and never feels hyper-extended, with the exception of the one car chase towards the beginning. There's enough here that you won't get bored.
Content. That's how I felt as the credits rolled and the lights went up. I didn't feel cheated nor was I aching for more. Like most of Liam Neeson's recent pow-bang endeavors, you get what you pay for.
Grade: B-
Monday, March 9, 2015
Circle Time: Predestination review
Predestination is the strangest, most unique sci-fi flick in recent memory and I mean that in a good way. After my initial screening, I immediately wanted to watch it again. It's that enticing.
Recent Oscar Nominee Ethan Hawke gives an understated noir performance as The Barkeeper. He's a one of eleven temporal agents who can travel through time in order to prevent crimes before they happen; however, one terrorist has eluded The Barkeeper all throughout his career-- the notorious Fizzle Bomber.
Finally, in 1970s New York, The Barkeeper corners the Fizzle Bomber, only to be horribly disfigured by one of the terrorist's titular explosives. Fast forward a decade and The Barkeeper finds himself on one, last mission, wherein he earns his credited title tending a young man who goes by the pen name The Unmarried Mother (Sarah Snook). The two hit it off, so to speak, and once the young man divulges his unusual back story, The Barkeep offers him the chance to go back and change history.
The more the story unfolds, the crazier and more remarkable it becomes. It all builds to one of the most memorable movie endings you'll ever see. What's great is that even if you see it coming, you'll still be blown away.
The Spierig Brothers give Predestination a sleek and simple visual style through a beautiful, "less is more" approach to the cinematography. Varying cool colors accent the different time periods and the sharp costume designs visually pop on these meticulously constructed sets.
Ethan Hawke suavely downplays the severity of his character's predicaments, which leaves open to interpretation his motives. This brings an edge to the Barkeeper, as his motives are never crystal clear. Opposite Hawke is Sarah Snook, who gives a breakout performance. She completely disappears into the many shades of her character and her performance is wholly genuine. We're sure to see more from this talented, young actor.
Grade: A
Ethan Hawke suavely downplays the severity of his character's predicaments, which leaves open to interpretation his motives. This brings an edge to the Barkeeper, as his motives are never crystal clear. Opposite Hawke is Sarah Snook, who gives a breakout performance. She completely disappears into the many shades of her character and her performance is wholly genuine. We're sure to see more from this talented, young actor.
Grade: A
Friday, March 6, 2015
A shell of a robot: 'Chappie' review
From the beginning, it is obvious that Chappie has District 9-level aspirations. However, poor writing and an overwhelming sense that we've seen this all before crushes those aspirations and leaves Chappie feeling like an empty vessel.
Dev Patel, who has done great work in films such as Slumdog Millionaire and The Best Exotic Marigold Hotel, but isn't given a whole lot to do here, plays Deon Wilson. He's a robotics genius who's brought the city of Johannesburg the world's first autonomous police force, called Scouts. After spending a night drinking Red Bull and yelling at his discount WALL-E robot, Deon develops the code for artificial intelligence and steals the busted body of a broken Scout to test it out on. To nobody's surprise, the code works and Chappie becomes the world's first thinking, feeling robot. O brave new world!
Before Deon even gets started with Chappie, he's kidnapped by a band of thugs and seemingly has no option but to build Chappie for these unlikable losers who, for some reason, need a robot partner to help pull of some heist. The big problem here is, up to this point, we have not spent enough time with Deon to grow to like him and now Chappie is being raised by a group of unredeemable, gun-toting miscreants who do things like leave Chappie to be tortured by Scout-hating citizens of Johannesburg, shoot human policemen, and throw innocent people from their vehicles during an overstayed carjacking montage. As a result, Chappie grows to be a shallow jerk (that's putting it lightly), which leaves nobody for the audience to root for. Any sense of endearment that should exist watching Chappie learn his first words or paint his first picture is quickly overshadowed by how unpleasant he becomes.
Even the terrific supporting cast is underutilized here. The great Hugh Jackman plays Vincent Moore, a soldier turned engineer who despises and distrusts artificial intelligence. Jackman's ugly side shines in a few, brief moments, but sadly Jackman's talent is suffocated by an overall lax script that reduces him to mostly scowling angrily from the shadows as he eavesdrops on Chappie and Deon. Sigourney Weaver, who made her name in sci-fi, hams up a few lines as the president of the robotics company that both Vincent and Deon work for. Her character exists merely to give Vincent the go-ahead to utilize the Moose, Blomkamp's version of the ED-209, after everything goes "tits up." She is so trivial that you can hear the "cha-ching" as she's cashing in her paycheck.
Visually speaking, Chappie is ripe with spectacle, as we have come to expect from Blomkamp's work. The motion capture animation on the Chappie character is splendidly detailed and the minimalistic approach to smoothly blending practical and top notch special effects still makes for an aesthetically satisfying experience. Unfortunately, visuals can only carry a film so far on their own.
As for substance, Chappie is pretty soulless for a film about having a soul. Instead of fleshed out, meaningful characters, Neil Blomkamp's latest South African sci-fi flick is full of irritable idiots who seem to lack any sense of decency or depth. It's near impossible to root for or even care about anyone in this movie. At this point we can only hang tight, wait for Chappie to blow over, and hope that Blomkamp's Aliens sequel does not suffer the same disappointing fate.
Grade: D
Dev Patel, who has done great work in films such as Slumdog Millionaire and The Best Exotic Marigold Hotel, but isn't given a whole lot to do here, plays Deon Wilson. He's a robotics genius who's brought the city of Johannesburg the world's first autonomous police force, called Scouts. After spending a night drinking Red Bull and yelling at his discount WALL-E robot, Deon develops the code for artificial intelligence and steals the busted body of a broken Scout to test it out on. To nobody's surprise, the code works and Chappie becomes the world's first thinking, feeling robot. O brave new world!
Before Deon even gets started with Chappie, he's kidnapped by a band of thugs and seemingly has no option but to build Chappie for these unlikable losers who, for some reason, need a robot partner to help pull of some heist. The big problem here is, up to this point, we have not spent enough time with Deon to grow to like him and now Chappie is being raised by a group of unredeemable, gun-toting miscreants who do things like leave Chappie to be tortured by Scout-hating citizens of Johannesburg, shoot human policemen, and throw innocent people from their vehicles during an overstayed carjacking montage. As a result, Chappie grows to be a shallow jerk (that's putting it lightly), which leaves nobody for the audience to root for. Any sense of endearment that should exist watching Chappie learn his first words or paint his first picture is quickly overshadowed by how unpleasant he becomes.
Even the terrific supporting cast is underutilized here. The great Hugh Jackman plays Vincent Moore, a soldier turned engineer who despises and distrusts artificial intelligence. Jackman's ugly side shines in a few, brief moments, but sadly Jackman's talent is suffocated by an overall lax script that reduces him to mostly scowling angrily from the shadows as he eavesdrops on Chappie and Deon. Sigourney Weaver, who made her name in sci-fi, hams up a few lines as the president of the robotics company that both Vincent and Deon work for. Her character exists merely to give Vincent the go-ahead to utilize the Moose, Blomkamp's version of the ED-209, after everything goes "tits up." She is so trivial that you can hear the "cha-ching" as she's cashing in her paycheck.
Visually speaking, Chappie is ripe with spectacle, as we have come to expect from Blomkamp's work. The motion capture animation on the Chappie character is splendidly detailed and the minimalistic approach to smoothly blending practical and top notch special effects still makes for an aesthetically satisfying experience. Unfortunately, visuals can only carry a film so far on their own.
As for substance, Chappie is pretty soulless for a film about having a soul. Instead of fleshed out, meaningful characters, Neil Blomkamp's latest South African sci-fi flick is full of irritable idiots who seem to lack any sense of decency or depth. It's near impossible to root for or even care about anyone in this movie. At this point we can only hang tight, wait for Chappie to blow over, and hope that Blomkamp's Aliens sequel does not suffer the same disappointing fate.
Grade: D
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