Alive (1993) Film Review: Survival To Its Fittest...

 

Survival films, fictional and non-fictional, are both easy and hard to watch. They are easy, since they don't need to worry too much about creating fleshed-out characters, complex narratives or settings that have to connect to each other. They are hard to watch however, because these survival films can gruelling to endure due to how stressful the situations can be and also evoke a heavy sense of realism, which is mainly because a lot of these films are based off real events. "Alive" chronicles the crash of Uruguayan Air Force Flight 571, whose survivors were left for dead as search parties gave up only after nine days. The survivors, for more than seventy days, continued to live in the harsh Andes climate by finding ways to stay warm, rationing the little food they have, and eventually having to deal with the hard choice of eating their dead associates in the hope that they can either fix the radio or leave the mountains entirely. The story jumps straight into the incident with no set-up or background for the characters and their intended journey, which kind of helps making humanize them in a way in that they have genuine reactions and outbursts. What makes the story so well-done is that it perfectly offers the viewer both small signs of levity and hope and huge amounts of despair throughout the runtime. For a two-hour movie, you tend to feel like you spent months with the survivors on top of that mountain. The tone itself reflects the mood-swings as characters might joke or even share some cheesy moments, but the chances of survival diminishes every so slightly a day. It's the definition of an emotional rollercoaster.

I'm not going to go too in depth with the cast as, frankly, there's way too many to list and it doesn't help that a lot of them look or behave similarly to each other. The most notable star would be Ethan Hawke as Nando Parrado, the man who would bring up the ideas to both leave the mountains and eat the dead in order to survive after the death of his mother and sister. While I'm not a huge fan of Hawke as an actor, I do think his performance as Nando is one of his better ones due to the amount of drama he puts into the role. Josh Hamilton plays Roberto Canessa, a young medical student who starts to become emotionally shut off due to the increasing dead and how he feels like he can't do anything to save others. Hamilton is probably the best actor in the film in that he expresses a lot of human emotion and reaction in his position and survival. The last character to note would be John Newton as Antonio Tintin Viztini, the captain of the rugby team and self-appointed leader of the survivors who is attempting to keep people's hope alive despite various factors hindering his group. Again, Newton is doing a really good job in how he's a questionable leader in such an unforgiving situation. Aside from the main trio of actors, the huge side cast is also well-acted and give off both characterizations of their personalities and beliefs as well as showcasing emotional outbursts of excitement and anguish. The only issue with the cast is a very noticeable one. The majority of the Uruguayan survivors are played by American and Canadian actors with very few exceptions. You can say that this is to be expected for an Hollywood production, but films like "The 33" had more Hispanic actors and actresses in a South American event. Still, that's not a huge issue as all of the cast members do a fantastic job in either playing these real-life survivors or make you believe that they are in this life-threatening event.

Frank Marshall is a legendary producer who is known for his collaborations with Steven Spielberg and his partner, Kathleen Kennedy. However, his work as a director isn't that reflective to his lengthy credits. In short, he has only made four films in his career, with most of them being either forgettable or just straight up bad. "Alive" might just be his best film to date, but at a minor cost. Considering that Marshall has little or no distinct directing style or motifs, it kind of makes the film feel like it doesn't have a unique voice on the chair. With that said though, it doe help at making the film feel much more real because there's no trademark visual or directorial flair attached to it. The film was shot in British Colombia, but the Purcell Mountains feel just as high and outer-worldly as the Andes. The daytime sequences are bright and reflective with the snowy landscape, while the nighttime shots are dark and visually cold and empty. The wreckage of the plane doesn't feel like a prop or set, it looks very much like it's the real deal and the various actors are legitimately freezing up there. The snow around the plane gets progressively dirtier, which makes sense given the large amount of survivors and the lack of toilets around. The only prop that looks fake would be the human meat that is seen in the first scene where the group cuts up a corpse's buttocks and grabs flesh for consumption. The flesh looks too much like ham or prosciutto however, which does lower the level of how gross and sickening it is to watch. Later scenes do improve the look of the meat and even throw in some bloodied skeletons in the background. The cinematography by Peter James is extremely effective at either showing how small or distant the survivors are in their environment or have some visually beautiful shots of the survivors hiking in the hopes to reach the tail or get help. It feels a bit like a documentary film at times and it makes the mountains so alien in how isolated it is to the rest of the world. The score by James Newton Howard is far more on the somber side. Howard mainly plays into the hopeful beats or emotional bearings of the story that are meant to not overpower the onscreen performances and scenario, which really works and the film does tend to use ambient sounds far more than the music to add to the dire situation. The use of Ave Maria in the end credits also adds to Howard's score and helps end the film on a bittersweet experience. While there's not too many effects used in the film, the opening utilizes a great-looking miniature and green-screen to recreate the devastating crash. Marshall clearly knows how to direct and create an effective film from his longtime experience, he just really needs to put his efforts on well-written projects.

"Alive" is a top contender for the best survival film of the genre. Although the cast is extremely white-washed and Marshall's directing doesn't offer a distinct flair, it's all the issues the film carries. From a great story and coverage of the real-life event, a tone and narrative structure that affects the viewer's mood in the positive and negative onscreen moments, Hawke, Hamilton, and Newton do great jobs for the central survivors, the large supporting cast are also well-acted and depicted despite their ethnicities, the camerawork by James might be his best in showcasing the beauty and horrors of the mountain environment, Howard's score is somber yet effective in playing up the hopeful and devastating sequences, the opening crash sequence offers some well-done visual effects in a very physically-shot film, and Marshall perfectly captures the harsh environment of the Andes and the crash site being so real that it can pass as a snuff film. What makes the film so memorable is that it's not just pure misery and depression, but inspiration and hope that is constantly shown, stomped out, and eventually prevail by the end of it all.

Verdict: 9/10. A brilliant film that serves both as an effective recreation of the infamous event, yet serve as a beautiful reminder of hope and preservation the human body can achieve. Watch if you can stomach the drama and cannibalism.  

You Don't Mess With The Zohan (2008) Film Review: You Can't Make A Movie Like This Anymore...

 

It's a clear fact at this point that Adam Sandler, despite having clear talents for acting and comedy, is popular by his comedies that are known to be either offensive or just straight up bad either due to bad humour or just being somewhat of a vanity project for the comedian. Despite this, I think everyone has at least one movie that they enjoy from the actor aside from "Uncut Gems" and although there are a few films I actually get some laughs of, his best is perhaps his most offensive and ambitious comedy to date. Zohan Dvir is an Israeli Commando that can't be beaten in combat against the Palestinians while being a popular and womanizing local celebrity in his country. While it seems like a great life, Zohan has grown fed up with the never-ending conflict between the two countries and dreams to travel to the U.S and become a hairstylist, despite his parent's judgement and assumption that he's gay. After faking his death by his Palestinian rival, Phantom, he manages to live his dream, albeit in a small-run salon owned by a Palestinian woman named Dalia. Despite her judgements in regards to Zohan's skills and eccentric personality, she does get won over by the reputation he gives to the salon and his charm. However, Zohan's dream might be ruined once local Palestinian residents learn about Zohan's status and attempt to contact Phantom to finish the job. If you think that this is all the story offers, you'd be wrong. From a side-plot regarding an racist landowner trying to kick the Middle Eastern tenets out of the neighbourhood, to Zohan staying with a dude that does nothing in the story, to the blossoming romance between Zohan and Dalia, to Zohan's sexual appetite to his clients who are older woman, there's a lot that happens in the story and it's honestly an issue, since some plot elements and scenes just feel plopped in all of a sudden and elements such as his friendship with the American that lets him stay over at his place and sleeps with his mother bloats the movie as a result. Despite the overflowing amount of story elements and scenarios, I think the premise and comedic exploration of the conflict between the Jews and the Arabs actually works, both because it hits home for my background and that it just makes the joke about how the two are similar and that the real enemy are the right-wing trash and racist businessman. Honestly, I'm kind of glad that the film exists, because quite frankly there's no way a major studio will ever greenlight a movie with this political agenda and viewpoint can come out during this time. Speaking of jokes, the film is also very funny in that it hits the over-the-top zany nature you'd come to expect of Sandler's productions while also having some dark comedy sprinkled in. In fact, the film really pushes the PG-13 rating with all of the swearing, ass, and sexual activity that occurs in a film that acts so juvenile at times it seems like it was a family film. Whether it's just the meta of how this is very much a vanity project to make Sandler look like a womanizing badass or the racial stereotypes that he depicts Middle Eastern people of, the majority of jokes actually work when you're in a mood to laugh.

Sandler as Zohan is both a blessing and a curse at times, despite him being authentically Jewish. On the one hand, it's so in your face that Sandler chose to play this part just to get hot girls to fawn at him while being this unstoppable fighting machine. On the other hand, Sandler knows exactly that people will think this way and will make Zohan both ridiculed at and too over-the-top and gross that only Sandler would be able to play the lead. I think that if the film were made by someone else, it could really shine at being more serious or balanced in tone and comedy, but considering that it is a Sandler film, it's just the right amount of vanity and charm. John Turturro as the Arabic terrorist known as "Phantom" is fantastic as always in chewing up the scenery and just having fun. Phantom is just an enjoyable rival to Zohan with Turturro being quite convincing as the Palestinian egomaniac. Emmanuelle Chriqui as Dalia looks great for the part and works as the grounded individual who has to deal with the energetic Zohan, but it doesn't makes sense to cast a Jewish actress to play a Palestinian woman, especially considering the political background the film surrounds itself in. Nick Swardson as Micheal, Zohan's roommate and new friend in New York, is good in playing this guy that has to deal with living with Zohan constantly sleeping with his mother, but I feel that he's extremely underused in the film. Last to mention in the main cast would be Rob Schneider as Salim, a Palestinian taxi driver who discovers Zohan being alive and well in New York. Regardless of Schneider's reputation both as an actor who is known for playing stereotypical portrayals of whatever ethnicity and his controversial political views, I actually liked Schneider in this role due to the tone and comedic nature of the film. The side characters are too many to list and mention, but I will say that all of their performances were just the right level of over-the-top and grounded to not overtake Zohan or Phantom. From Micheal's supportive mother, Zohan's various Israeli friends in the city, Salim's Palestinian friends who try to expose Zohan, the gay co-worker that Zohan is oblivious towards, the aforementioned racist businessman and his hired rednecks, the clients of Dalia's salon who lust for Zohan, and the various cameos from well-known celebrities and Sandler's longtime SNL friends, the side cast really helps add to the film and can be enjoyable just enough that they don't overtake the film or the lead characters. One thing to mention of course is that the film is obviously poking fun at a lot of people, specifically the Jews, Arabs, right-wings, and even a few jokes at homosexuals. If you find yourself offended by these portrayals, this clearly isn't the film for you. But if you can clearly take the otherwise harmless jokes and performances, it shouldn't be a problem for people, especially for the aforementioned Jews and Arabs as they are actually handled with a sense of irony and humour that it doesn't overly criticize both sides. 

Dennis Dugan is known for directing a ton of comedies starring Sandler and considering their reputation and style, what you see is what you get. Dugan is by no means a bad director, but it's very paint-by-the-numbers for comedy filmmaking. The issue is that all of Dugan's films look the same and have little to no style. It's just the typically bright, almost saturated yet muted look and tone you'd come to expect for not just Sandler comedies, but a large portion of the comedy genre as a whole. The cinematography by Micheal Barrett is also flat and uninspired for the most part, aside from the few action sequences being a bit more flashy to look at. Despite the film costing $90 million, it still looks fairly cheap and standard. The score by Rupert-Gregson Williams is completely forgettable as it's just typical Middle Eastern-sounding music or generic comedy beats you'd come to expect. However, the licensed soundtrack is really good as it not only contains some recognizable songs such as Rockwell's "Somebody's Watching Me" and Mariah Carey's "Fantasy", but a large selection of the film uses songs from Israeli artists and bands that give the movie a distinct identity in the music compared to the usual Sandler comedy. The last thing to mention would be the action sequences and the accompanied effects. Considering that this is a comedy, the action is not meant to be taken seriously, considering that Zohan and Phantom apparently have wacky powers and durability with no reason as to why. Sandler is also not an actor known for his physique and stunts, so the action either makes Zohan incredibly fast, beat people up with his green-screened-in feet or even resorting to having a stunt double during a long parkour tracking shot. Aside from the first action sequence where Zohan is tracking Phantom and the aforementioned parkour scene, the action is not very exciting, since it's mainly a comedy first. As for the effects, well it can be pretty bad at times with the worst effect being Zohan green-screened so he can fall on his feet behind Phantom. It's laughably cheesy and poorly done, but it's sort of adds to the charm and the overall humour that comes from the film being a Sandler vanity project to the point that he can't do simple stunts.

"You Don't Mess With The Zohan" is perhaps Sandler's best comedy by far, which is saying a lot given his reputation and other projects. It has its issues to be sure with a bloated story, questionable casting decisions, some characters having limited screen-time despite their story and comedy potential, Barrett's bland camerawork, Williams's unmemorable score, the action is underwhelming aside from the first sequence, Dugan's average comedy directing, and the film clearly one of Sandler's most offensive in regards to the stereotypes and subject matter. However, these problems don't harm what good the film has. From the fun premise, clever, if silly, commentary on the tension between the Israelis and Palestinians, the comedic moments and lines hitting the right spot majority of the time, Sandler as Zohan being just the right balance of self-indulgent vanity and charisma, Turturro as Phantom being perhaps the best character in the movie due to the actor's charm, the side characters are quite enjoyable and performed by the various actors and actresses, the soundtrack as a whole is one of the best in a Sandler film due to the various songs and contributions by Israeli artists, and the effects being so obviously fake that it's unapologetically comedic. The enjoyment to be had really depends on your viewpoints of both Sandler and the subject matter he is parodying. If you can't stand Sandler or find the film offensive, you have the right to hate it for what it is. But, if you can give the infamous comedian the benefit of the doubt and you love offensive and dark humour, there's a lot you can get out of this Sandler comedy.

Verdict: 6/10. Above-average comedy, but a fantastic Sandler comedy. Watch if you enjoy his humour or if you want a lighthearted and over-the-top depiction of the Israeli and Arabic conflict.

Ed Wood (1994) Film Review: Sad, Comedic And Inspiring Biopic About A Filmmaker Who Made Bad Movies...

 

Being a filmmaker is an extremely hard venture for many. Not only does it require plenty of creativity and dedication, but the biggest obstacle that any wanna-be filmmaker struggles with is of course funding and production. It's hard enough trying to be a filmmaker today, but imagine trying to be one in the 1950's with the independent market not fully realized and a very judgemental industry that won't give these people a chance. "Ed Wood" follows the titular filmmaker who struggles to finance and complete various passion projects. Although he has the spirit and probably the potential to be a good director, budget and time is really the factor that makes him be viewed as one of the worst working in the industry. However, he refuses to back down thanks to the support from his friends, cast and crew, and his lifelong idol and washed-up actor, Bela Lugosi. The two hour film mainly goes over Ed's turbulent troubles making three of his most infamous productions, "Glen or Glenda?", "Bride of the Monster" and of course, "Plan 9 From Outer Space". It's by no means the most accurate biopic in regards to some fictional events, altered personalities to Lugosi, and having Ed be seen as more sympathetic. Despite the laughable and almost embarrassing films and production, the film is by no means a straightforward comedy. It can be both quite emotional in regards to seeing this troubled filmmaker be laughed and ridiculed upon while also offering some inspirational moments and words of advice that inspiring filmmakers would love to hear, particularly in that you must fight for your vision, regardless of what others would think.

Johnny Depp as Edd is one of his best performances in his lengthy career. It seems fairly standard for the charismatic actor as the character offers both heart and zaniness to the real-life filmmaker, but it's really the more dramatic moments that makes Depp shine. However, as much as Depp is great as the lead, the late Martin Landau as Bela Lugosi is even better. While the portrayal of Lugosi has been debated as inaccurate in regards to his overall financial state and profanity, Landau puts so much talent and heart into the once-beloved actor who has been reduced to an angry, desperate, yet sincere companion to the young Ed. It was this sincere and heartbreaking performance that earned the actor his only Oscar for Best Supporting Actor. Aside of Depp and Landau, the rest of the cast is very enjoyable and fit in the various people they were based off of for the most part. From the late George "The Animal" Steele as Swedish wrestler/monster actor, Tor Johnson, Bill Murray as Ed's transvestite friend, Bunny, Lisa Marie as the iconic personality known as "Vampira",  Jeffery Jones as the phoney psychic known as "The Amazing Criswell", Max Casella as the happy-go-lucky assistant, Paul Marco, Patricia Arquette as Ed's future wife, Kathy O'Hara, amongst many others. The only character and performance that is the most questionable is Sarah Jessica Parker as Dolores Fuller, Ed's former girlfriend and co-star. While Parker is doing just as good of a job on par with the cast, the portrayal of Dolores is perhaps the most inaccurate as the film makes her out to be a horrible and selfish partner in regards to her thoughts on Ed's cross-dressing fetish. In real life, it's mainly due to Ed being an alcoholic and it's clear that the film just altered her personality to play to the conventions of the film. Regardless, all of the cast members are great in their performances and giving these real-life people enjoyable quirks, although Depp and Landau as Ed and Lugosi are fantastic and one of the best on-screen friendships I've seen in a movie.

Tim Burton is widely known for his distinct visual flair, gothic atmospheres, and protagonists who are outsiders in their own world. Burton not only continues to add his three trademark aesthetics to this biopic, but tones it down enough to almost mask that he's directing this film. The black-and-white look is an obvious give-away and done mainly to mirror the look of Ed's films with nice use of contrast and shadows. It's both a smart aesthetic choice as well as a thematic one as it can be viewed as a world Ed lives in, where the colour is muted and sucked out to match the brutal reality of being a filmmaker in the 50's. Speaking of the 50's, Burton also manages to have the film feel like it's set in the time period, while also not exaggerating or forcing the culture and aesthetic. This is done to make the story and struggles of Ed as a filmmaker much more relevant no matter the time period. Burton also managed to make the film feel like it was made in that era, so not only does it fit said setting, but it doesn't allow the more over-the-top visual design and gothic aesthetic that is accustomed to Burton. The cinematography by Stefan Czapsky is really good in making the film appear like it was filmed in the 1950's in regards to the zoom-ins, close-ups, and tracking shots. The score by Howard Shore is one of his more underrated works. He incorporates both the music one would expect to hear in B-movies during the 1950's while also having his trademark orchestrated tracks be powerful in how booming and emotional it can be. Shore also uses pieces of music from "Swan Lake" and "Glen or Glenda" that tie into sad and happy moments with Lugosi and Ed respectively. Despite being one of the more traditionally-shot films in his resume, Burton has stated that this is his personal best he has ever made, to which I respectively agree.

"Ed Wood" is amongst one of the best biopics to date and one of my favourite films of all time. Although the inaccuracies of certain portrayals and events can be fairly criticized, myself included, what biopic doesn't have inaccuracies? From the unique story of one of the most infamous filmmakers in the industry, a unique tone that blends comedy, drama and inspiration in the otherwise serious and gloom genre, Depp as Ed is such a charming and innocent performance for the esteemed actor, Landau as Lugosi is simply a marvel to watch in how much you get wrapped in him and Ed's friendship, the various side characters are all nicely performed and uniquely portrayed by their respective actors and actresses, Czapsky's camerawork nicely feels in spirit to the filmmaking of the 1950's, Shore's musical score plays both into the campiness of Ed while offering his emotional beats, Burton's direction has the black-and-white aesthetic both in nature to the setting and low-budget filmmaking while also tying it in with both his and Ed's own thematic traits, and the moral that is constantly lifted up from the film by Depp and Burton's talents that the filmmaker should always fight for their vision and that any inspired filmmaker should pursue their dreams, no matter the obstacle. Regardless whether or not Ed was a talented filmmaker or not, he as well as any filmmaker in the business would love a film that speaks to their dreams and passion.

Verdict: 9.5/10. Aside of a few questionable inaccuracies, this is practically a masterpiece. Anyone who wishes to be a part of the film industry should watch and grow from it!

The Mask of Zorro (1998) Film Review: A Nice Reintroduction To A Classic Character...

 

The "Zorro" character has been around for more than a hundred years and has also been an inspiration/predecessor to the superhero genre. So, it felt right for a big-budget adaptation of the character to be made after many serials and shows and even parodies. Don Diego de la Vega is Zorro, a Spanish noble who fights for the oppression of the Mexican people in California. When his long-time enemy, governor Rafael Montero, finally captures de la Vega, the vigilante is thrown into prison after his wife dies and his infant daughter taken as Montero's own daughter. Twenty years later, de la Vega escapes from prison upon learning of Montero's return from Spain and plans to get his revenge and reunite with his grown-up daughter. In the process, he plans to pass the mantle of Zorro to a young thief named Alejandro whose brother was killed by a captain working under Montero himself. The story is both a revenge drama along with a classic comic book-esque origin. Both narratives surrounding the two Zorros actually balance out well, which is mainly thanks to the characters. The story is cliche at times, but it's not a huge factor seeing how the tone is meant to be far more on fun and thrills. It's very much like a prototype to "Pirates of the Caribbean" in regards to the swashbuckling adventure.

Antonio Banderas makes his career-defining role as Alejandro/Zorro, a performance the actor constantly parodies and emulates in many of his films. Banderas plays Alejandro as the reluctant, but eager hero who at first only wants to seek revenge, but later learns about Montero's plan and abuse to his people that turns him into an honourable Zorro. Anthony Hopkins is quite good as de la Vega, considering his lack of action or campy roles. Even though Hopkins is far from being a convincing Spaniard, he slays the physicality and the mentor needing someone to carry his mantle. Catherine Zeta-Jones plays Elena, the daughter of de la Vega and the love interest for Alejandro. Zeta-Jones is decent for what is a rather cliched and shallow role. She can be enjoyable at times mainly when she's onscreen with Banderas or Hopkins, but the character of Elena is a bit awkward in regards to her lust for Zorro and a weird moment where Alejandro cuts off her clothing for PG-13 nudity. Stuart Wilson as Montero is pretty convincing as the Spaniard governor and although a rather generic villain, Wilson plays it with both a sleaziness and bit of humanity. The last character to mention would be Captain Harrison Love, the historical lawman who killed Alejandro's brother, played by Matt Letscher. Again, Love is a rather generic villain who serves as Montero's muscle and commander, but it's Letscher's slimy performance that sells both his evil nature and as a great rival for Alejandro. Also, he has one of the best death scenes of the 90's to boot. While the characters themselves are on the more campy/cliched side, but the actors are giving it their own both by the stunts and their charming charisma they lead onscreen, especially to the likes of Banderas and Hopkins.

If there's one thing that you can take away out of Martin Campbell as a director, it's that he's a talented action director that also has a sense of scale and epic feel to them. The fact that Campbell chose to shoot entirely in Mexico shows that he takes both the aesthetic and Spanish nature of Zorro seriously. The daytime scenes feel hot and dry, while the nighttime scenes feel cool and relaxing. The set design is also aesthetically gorgeous as it offers tons of lavish and detailed interiors and locations from Zorro's lair to Montero's palace. The cinematography by Phil Meheux is pretty good with the use of tracking and panning shots with clever angles here and there. It's not the most ambitious or striking aspect of the film, but it's still good, especially during the action sequences that captures the theatrics of the titular character. The score by the late James Horner is mainly just various Spanish/Mexican beats that fit the appropriate tone, whether it's action, romance or drama. It clearly works for this type of movie, but it's by no means Horner's best work. The action sequences are as engaging as it can be for a PG-13 swashbuckling venture. It's very much helped by the stunts and choreography from the main characters. The swordplay with Zorro and the various people he fights with are energizing, the horseback sequence is clever and well put-together, and the climax offers not only a great villain death from Love, but also a lot of pyrotechnics and on-screen explosions. I still think the best action Campbell has done is in "The Foreigner", but this is a close second in regards to scale and technique. 

"The Mask of Zorro" is just a really fun movie at the end of the day. It's not perfect as the story and characters can be too cliched or underdeveloped for some with Elena being a good target for some, but I think it's a really effective action-adventure flick. From the dual narratives of Alejandro and de la Vega, the lighthearted and over-the-top tone that allows comedy to flow naturally with the characters and action, Banderas as Alejandro is iconic in its own field, Hopkins offering a nice change of pace with his performance as de la Vega, the villains being just hammy and despicable that the viewer wants them dead thanks to Wilson and Letcher's performances, Meheux's camerawork is good, Horner's Spanish-inspired music perfectly fits the film's setting and tone, the action sequences are filled with energetic stunts, swordplay, and explosions, and Campbell's direction allows the film to offer the aforementioned action while also showing off the Mexican landscape and lavish set and production design to the film. If you are a fan of superhero/comic-book movies or even just the swashbuckling adventure epics that have yet to make a grand return in recent years, "The Mask of Zorro" will quench that hunger.

Verdict: 8/10. About as good as even modern superhero films can get, save for some specific beats and tastes. Give it a watch, especially if you love the first "Pirates of the Caribbean" movie!

Do The Right Thing (1989) Film Review: Still Relevant More than Thirty Years Later...

 

As BLM protests and recent murders of African-Americans by the hands of corrupt, racist cops still continue to plague the U.S, I would like to review a film that continues to hold up to this day. It's the hottest day of the summer and a black neighbourhood in Brooklyn is experiencing it all. The colourful and unique residents of the block are either trying to make a living or have a good day. The title, "Do The Right Thing", is a piece of advice offered by the drunk, humble bum known as Da Mayor to the young pizza delivery boy named Mookie. However, as the day and film goes on, it appears that none of the characters, aside from Da Mayor, seems to want or do the right thing. There's not really a story per se. Yes, there are characters who have motivations and goals, but the narrative is tied brilliantly by the title and moral of the film, which is to do the right thing and always deescalate any conflict. It all boils down to the chaotic ending, which I won't spoil even though it can easily be figured out. The tone, for the most part, is actually quite upbeat and fun to an extent as the characters are very energized. However, the dark undertones rise when you realize both the flaws of the characters and how their ignorance and refusal to do the right thing spirals out of control. There's humour to be had, but there's also a strong message and severe consequences that will show up.

Although it seems like Spike Lee's Mookie is the central character, I actually think Ossie Davis as Da Mayor is the true protagonist of the film. Not only Davis is such a charming actor in making you want to spend time with Da Mayor, but the character is the only one to show some sense of morality and good will despite his reputation and sad past. It's also sweet to see Ruby Dee as the bitter Mother Sister who begins to open up to the Da Mayor and his good will, despite initial disgust. What really works about the cast and characters is that they are all relatable and human and aren't seen as good or bad, save for the otherwise despicable police. Mookie is a young man who works in a dead-end job and just wants to get paid and spend time with his nagging girlfriend, Danny Aiello's Sal is an arrogant business owner, but still likes being around his loyal customers and otherwise warm neighbourhood, Giancarlo Esposito's Buggin' Out is a customer-turned enemy due to poor service and wanting some African-Americans on Sal's "Wall of Fame", John Turturro's Pino is the racist son of Sal who simply doesn't like having to work in a neighbourhood that he's not comfortable in, Bill Nunn's Radio Raheem likes listening to his music on his boombox that people of his colour don't mind, but others do, the list goes on. There are so many side or minor characters that all have some sort of depth that I can't even begin to name or go over, yet they are all related to the theme that they can't do the right thing, aside of Da Mayor, Mother Sister, the mentally-challenged Sammy, and eventually a work-in-progress Mookie. Another thing I love about the cast are the multiple then-unknown actors and actresses from Espositio, Samuel L. Jackson, and Martin Lawrence. Overall, the characters are excellent in how they are connected to the overall theme of the film and although they can be a bit over-the-top, you can still get behind them as people.

Spike Lee is one of the most under-appreciated filmmakers in the industry, as only recently did he win his first Oscar for the screenplay of "BlacKkKlansman". Despite this being only his third film at the time, Lee shows that he's one of the most gifted directors working in the industry today. Using a few blocks of the Bed-Stuy neighbourhood not only makes the location have character in and of itself, but it also keeps the Brooklyn/New York setting low-key so that the events and characters feel like they can exist in your own community. The use of colour is also nice and subdued by the clothes and accessories of the characters, allowing the late 80's setting and summer weather to pop off the otherwise brown and grey setting. The cinematography by Ernest Dickerson is excellent in the ambitious tracking and panning shots that is seen throughout the film. Dickerson's best work is seen in the middle of the film as a long tracking shot following Mookie as he crosses the street to go to his apartment while capturing all of the major African-American characters that are featured in the film, whether or not they talk to Mookie or not. It's actually dumbfounding that he wasn't even nominated for an Oscar that year as he clearly put so much effort and time for some of the camera movement. The score by Bill Lee, Spike Lee's father, is on the more softer side as his son tends to not overpower the film with music in every scene. Bill offers some nice jazz pieces in the subtle moments, mainly for an establishing shot or when Mookie or Da Mayor is contemplating or talking with their loved ones. The soundtrack also includes a few licensed songs from the rap and hip-hop genre with Public Enemy's "Fight The Power" being the most frequent song played throughout the film as it's featured in the opening credits and is the only song Radio Raheem seems to play. 

"Do The Right Thing" is an important masterpiece for such an often bleak world. The story is minimal yet universal thanks to its themes of racism and ignorance, the tone is both upbeat yet intense, the large cast of characters are reasonably portrayed and developed in regards to the film's moral, the actors/actresses involved are so engaging to watch by their talents and their early performances prior to stardom, Dickerson's inventive cinematography, Bill Lee's jazz score, the licensed songs and the use of "Fight The Power", and Spike Lee's direction allowing both warm colours and creative personality given to just a few blocks on a neighbourhood. Honestly, there's barely a flaw with the film, aside of a really long credit sequence and an odd edit or cut here and there. The film is both extremely entertaining and powerful at the same time, which makes its lack of Oscar buzz or nominations at the time both ridiculous and poetic.

Verdict: 10/10. Spike Lee's own timeless masterpiece. Check it out as it's the right thing to do!  

Dawn of the Planet of the Apes (2014) Film Review: Two Steps Forward, One Step Back...

 

With "Rise of the Planet of the Apes" performing well, a sequel was quickly greenlit to release three years after. Although it caused the director, Rupert Wyatt, to leave the franchise, the sequel managed to not perform better than the first film critically, but has managed to even become the highest-grossing film of the entire franchise. Taking place ten years after "Rise", Caesar is ruling over his colony of apes outside of San Francisco after a deadly pandemic. The highly-intelligent ape is surprised to learn of a human colony that still thrives inside the ruined city and are actively searching in the forest to power up the city via a dam. While the tension between the two species is high, Caesar and a human negotiator hope to hold some peace as they try to activate the dam. However, Caesar's ally, Koba, still holds a hatred towards human for torturing him years ago and plans to unleash conflict between the two colonies. The story doesn't carry head-smacking plot holes or moments of stupidity compared to the previous film and it does a good job in painting the world, the tribes of apes and humans, and their overall feelings and grudges toward one another that has occurred all these years ago. When it focuses on the tension and eventual conflict between the two species, it's great. However, the story suffers in regards to some of the human characters and their relevance in the narrative. I will go over more in the character section, but it does affect the plot to an extent. The tone is much more mature than the previous film, while also retaining a few moments of humour and drama.

The human characters are sadly what's truly holding the film back from being excellent. Jason Clarke plays Malcom, the co-leader of the human colony and is the one who's trying to befriend Caesar in the hopes to both get power back to the city as well as avoid any future conflict. Malcom is by far the weakest human character in the trilogy simply due to how he acts like a perfect angel in trying to be this all-good hero. If he was replaced by Will from the first film, it would be far more natural and even emotional as it reconnects the chemistry between the two. But I find it so cheesy when Malcom and Caesar talk about how close they were at being friends. Keri Russell as Ellie is extremely pointless and only serves as a plot device due to her status as a nurse, and Kodi Smit-McPhee as Malcom's son is also an odd addition because he doesn't even interact with Caesar's son. Aside from the forgettable side characters in their group that simply vanish in the third act, the only human character that I managed to get behind is Gary Oldman's Dreyfus. He's the leader of the human colony that has suffered from losses in the past and is doing his best to just save his people from the apes. Oldman does such a good job at playing this reasonable, but cautious leader of the scared humans. I think the film should have been rewritten to have Dreyfus be the human protagonist while keeping the moral-grey nature of his leadership as the film paints him to be a bad guy at the end for trying to blow up the tower the apes are residing in. You can still have the events play out in a similar fashion, but rather than Malcom and his family be negotiating, it will be Dreyfus as he slowly learns what's going on with the apes and the conflict. Despite the disappointing human characters, the apes are still characterized wonderfully by the motion-capture. Caesar, voiced by Andy Serkis, is now a hardened leader that seems cold to the humans, but does want to give them a chance due to his upbringing with Will. Koba, voiced by Toby Kebbell, is such a great villain. You understand his deep hatred for the humans and how he can never trust them compared to Caesar, but you feel such pain when he and Caesar begin to lose each other's trust in the process and his full dark shift to an aggressor. Blue Eyes and Maurice, performed by Nick Thurston and Karin Konoval, are also good at playing otherwise mute characters that speak a lot from their body language and eyes. So, the apes are still good characters, but the humans are completely wasted due to how bland, unrealistic or underused they are despite otherwise great actors behind them.

Matt Reeves takes over from Wyatt as the director for the final two films of the trilogy and as much as I think he's a great action director, I actually prefer the genre-bending direction that Wyatt offered in "Rise". While I do like how Reeves portrays the settlement the apes construct in the woods, Sans Francisco is frankly uninspired as it's just a bit rusty and some overgrown weeds. I also think that Reeves barely spends any time in the human colony in regards to how their new society works or why we should care for the humans. The sequel spends so much time in the ape colony that the only reason they made for the viewer to care about the humans is that there are women and children there. Again, I really like Reeves as a director, but what made "Rise" so effective was that we care for both the human and ape characters, whereas Reeves spends too much time on the apes and barely on the humans or even creating good characters that are human. The cinematography by Micheal Seresin is really great though with some nice tracking, wide, and establishing shots of the environment and characters. One of the best moments Seresin offers is a 360 wrap-around one take when Koba hijacks a tank as it crashes into the front gate of the human colony alongside the sequence where the camera tracks Malcom frantically evading being seen from the apes in the human colony. The score by Micheal Giacchino is fairly good at drawing out the suspense and intensity of the tone and film, particularly with the action and emotional beats. The visual effects have actually improved from the first film, thanks to the larger budget and the ability to render multiple apes with realistic textures and movements. Obviously, the apes that are motion-captured look better than the non-motion-captured apes, but it's not as jarring as before. Despite the marketing and trailers, there's surprisingly not that much action in the film. There's really only two big action sequences along with smaller skirmishes. The first action sequence is when Koba launches an attack on the human colony. It's so over the top with the various explosions and Koba duel-wielding LMGs while riding a horse, but it's frankly so satisfying to watch and even cheer on the villainous ape. The climax involving the showdown between Caesar and Koba on top of a tower under construction. It's decent, but it's only memorable with the final moment of Caesar dropping Koba with Giacchino's somber score in the background. Overall, Reeves does a great job, even if there are things he can learn from Wyatt's work.

"Dawn of the Planet of the Apes" is a sequel that manages to improve on the first, but does fail in making the human characters likeable, the minimal world-building, or even making the viewer care for what becomes of the human survivors contrast with the previous film. Still, the story is far tighter than before, the tone carries the suspense and dread of the impending conflict, the human cast do a good job despite their poorly-used characters, the apes are fully characterized and fleshed out thanks to their performers and motion-capture effects, the camerawork by Seresin offers some of the best tracking shots of the 2010's, the score by Giacchino helps add to the drama and intense action, the CGI on the apes adds much needed detail and fluent motion and the few action sequences present are quite memorable in their own right thanks to Reeves's direction. Honestly, if they just rewrote the film to have Dreyfus be the protagonist and just spend a bit more time in the human colony for us to care, this might have been the best film of the trilogy. As is, it's still better than "Rise" thanks to the tighter writing, but it's just barely better.'

Verdict: 8/10. Great, but the human element completely sinks the film from being an all-time classic. Still a strong installment in the franchise. 

Wonder Woman (2017) Film Review: Finally, A Good Female-Lead Superhero Movie!

 

With #RestoretheSnyderVerse trending, I should probably talk about one of the films that Zack Snyder had some involvement in the DCEU that some might not have realized. Despite not directing it, Snyder did help write and influence story elements with the first live-action outing of the most famous female heroine. Diana is born on the island of Themyscira, the home of the female warriors known as Amazons. One day, a pilot crash-lands into the island named Steve Trevor, warning the women about the Great War after a battle with German soldiers. Diana is convinced that the war is caused by Ares, the god of war, and aids Steve to finish the war by killing the leader of the German army, who Diana believes to be Ares himself. There's a lot riding on the story that really works. From the fish-out-of-water aspect of Diana experiencing the outside world, to the unique setting of WWI, the blooming romance between Diana and Steve, and the theme that explores the morality of mankind. There's one issue with the story and that's of course the climatic battle between Diana and Ares. While I personally don't hate it as much as others tend to do, the problem is that the climax ditches the established theme as well as rush the rivalry between Diana and Ares and killing off the god of war in the first film. It's been stated that this third act was added in from executives and while we may never know how the film originally ends, it was obvious that it was far better than what we got. Tonally, the film offers a nice balance of lightheartedness and grittiness. The humour, characters and homages to the 1978 "Superman" lets you know that this is a comic-book film in heart, while the setting, themes, action and dramatic consequences show how reality can change or break even the most optimistic of heroes. It's honestly a perfect balance that steers away from the Marvel formula while having everything that appeals to a variety of demographics.

Gal Gadot as Diana Prince/Wonder Woman is a good choice to play as the Amazon warrior, despite some awkward lines and thick accent. What makes her character so likeable in the film is that she's optimistic and curious of the outside world while not forcing her power or viewpoints to others. It's not like "Captain Marvel" where the heroine is so stoic and full of herself because she's a powerful woman, but rather chooses to help others and throws herself to battle because, to her, it's the right thing to do. Chris Pine as Steve Trevor is charming as the love interest who is taken back by Diana's skills while also showing her how society works for the newcomer. Pine and Gadot's chemistry helps make the romance between them both heartwarming and tragic. The villains on the other hand is pretty underwhelming. Danny Houston as Erich Lundendorff is the generic evil German general that wants to continue the fight as well as serving as the red herring because of how bad he is. While I like Houston's over-the-top performance, Lundendorff is just a really lame villain because he barely serves a threat to Diana and the sub-plot of the performance-enhancing drug is completely wasted by the time he dies. Elena Anaya as Isabel Meru/Doctor Poison, despite her performance, is also a very boring villain as the chemist who supplies Lundendorff with a very deadly gas weapon. Lastly, there's David Thewlis as Ares/Sir Patrick, the British ally who reveals to be the god of war. While I like how Ares himself isn't controlling the Germans and that he just relishes in humanity being pitted against one another, Thewlis is simply an awkward choice to play as this character. He acts fine as the identity of Sir Patrick, but he can't be taken seriously when he reveals himself to be Ares as well as wearing the comic-accurate armour while his climatic battle with Diana. The female supporting cast is really good on the other hand with Robin Wright's Antiope as the supportive aunt of Diana, Connie Nelson as Hippolyta, Diana's caring and restrictive mother, and Lucy Davis as Etta Candy, a secretary who enjoys seeing the empowered Diana. However, the same can't be said for the male supporting cast as Trevor's army friends are extremely one-note and pointless. The prime example is the "arc" for Ewen Bremner's Charle, a Scottish sniper who is paranoid and refuses to shoot due to some personal baggage. This "arc" is never paid off and the characters of Charle, Chief, and Sameer are just there for the sake of being there. If they had a far more stronger bond with Diana or were interesting like the proposed crew of various soldiers from various countries and religions, they would be really likeable. As it is, Gadot, Pine and the female side cast balance out the weak villains and male side cast.

Patty Jenkins's first outing in the action/superhero genre managed to surprise everyone for the otherwise limited filmography she had at the time. The island of Themyscira is so vivid and bright, presented as an exotic paradise. As Diana exits the island and enters the outside world during the final year of WWI, everything is grey, industrial, kind of depressing to showcase the tonal shift and misery that the war has caused. The cinematography by Matthew Jensen is fairly solid with nice sweeping and tracking shots that is akin to an epic adventure. I feel that his work really improves for the sequel, but it's still good here as well. The score by Rupert Gregson-Williams pales in comparison to Hans Zimmer's contributions in the sequel, but it's still decent for putting an emphasis on inspirational music that fits the hopeful nature of Diana as well as making a score that feels pulled out of a war film. The visual effects are fine, but pretty noticeable with the use of green-screen and CGI elements during the action. It's not bad CGI per se, but they don't have the most convincing effects. The action sequences however make up for it with some great stunts, choreography and Diana's warrior-style combat. Not only do the action sequences such as the No Man's Land, Battle of Veld, and the Ares fight show how Diana is a force to be reckoned with as a godly figure, but it almost replicates Snyder's style and visualization such as the signature slow-motion. Jenkins shows that she's a worthy director not only by making a good superhero film, but also one that feels both in nature and distinct to the DCEU Snyder built up from his previous films. 

"Wonder Woman" is a good, but flawed, installment that could have made due with a rewrite or two. Despite the issues regarding the climax with Ares, the villains being generally weak, and the male side cast being fairly pointless for the lack of chemistry or pay-off in their involvement, the film still shines in various ways. The story is strong as the character of Diana is challenged by the reality of the outside world, the tone is a very nice balance of lighthearted fun and a gritty war film, Gadot captures the naivety of the titular hero in a way that feels genuine, Pine as Trevor is a nice romantic lead who bonds with Diana as well as being a capable fighter, the female supporting characters are nicely acted and portrayed to work off of Diana's personality, Jensen's cinematography does capture the boots-on-the-ground warfare with a hero disobeying these "rules", Gregson-Williams's score works in regards to the inspirational and war themes alongside Zimmer's theme for Wonder Woman, the effects are decent for what it is, the action sequences are kinetic with the visceral combat and Snyder's inspired shots and style, and Jenkins's direction offers both the warm colours that the kind-hearted hero is known for, while also dominating said colour by the gritty war-torn Belgium and miserably-crowded London. Although both this and its sequel are kind of tied quality-wise, I actually prefer the sequel more so than the first, even though both films are balanced by their pros and cons.

Verdict: 7.5/10. Pretty good installment, but could have been better if they stuck the landing and made the villains more compelling. Still the best, stand-alone, female-lead superhero film to date!

Godzilla: King of the Monsters (2019) Film Review: Monsters Galore, But A King Of Them It Is Not...

 

With "Godzilla vs Kong" out, it's time I review this long-awaited rematch... If I could. Sadly, the Canadian city I live in is in a bit of a pickle. Not only is the film not on any streaming service, but the theatres are closed as we enter a month-long lockdown. So, I guess the alternative option is for me to review one of the other films from the franchise. Despite being a highly anticipated follow-up, the sequel to the 2014 Godzilla reboot managed to become a box office disappointment and a mixed bag for the critics. But, is it deserving of this reputation? Well, the story doesn't help much. Dr. Mark Russell is approached by Monarch, an organization that studies the newly-emergent Titan creatures, as his wife and daughter have been kidnapped by ecoterrorists. Upon joining a rescue mission in Antartica, the group is shocked to learn that Mark's wife, Emma, has sided with the terrorists and has used her and her husband's invention called the ORCA to awake an ancient Titan from space known as King Ghidorah. Ghidorah's reawakening also relights a long battle between the alien dragon and Godzilla, which Monarch must relay on for both the fate of the human race and the world as they know it. The issue with the story isn't really the core narrative, but rather the sub-plot regarding the ecoterrorists and Emma Russell's motivation to release Ghidorah. Instead of just having the monster be released by human error or lack of knowledge, it's because Emma and the ecoterrorists believe that humanity should die from the Titans so that the world can thrive. Not only is it a ridiculous motivation and a lazy attempt to get some morals and themes, but the film is ballsy enough to make Emma a sympathetic character. On top of that, ecoterrorism is just simply a silly idea in concept as I find it hard to believe that people with that extreme ideology exist. Regardless, when the story focuses on the monsters and Monarch trying to figure out how to aid Godzilla, it actually works. There's a sense of dread, stakes, consequences and inner drama for certain characters that I think really works. What doesn't work is the forced humour by the lame comic relief characters. It's not painful, but it might as well not be in the film as it should be on a more serious feel akin to the 2014 film.

The characters is where things get really messy, since the majority of them are simply generic or unlikeable. The sad thing is that you can tell that all of the actors and actresses actually gave a shit about their performances, despite how one-note the characters are. First, there's Kyle Chandler's Mark Russell, the protagonist who is hesitant to aid the monster that killed his son, but later proves to be a supporter for Godzilla while also trying to get his daughter back. Mark isn't an awful character, but just a simple one. A really bad character though is Emma Russell, played by Vera Farmiga, the wife of Mark who reawakens Ghidorah and sides with the ecoterrorists. I already said enough as to why she's a terrible character, so let's move on. Millie Bobby Brown plays Madison Russell, the daughter of Mark and Emma who spends the film being rightfully pissed off at her mother for the atrocity she has committed. Brown does a good job, but there's not really much to her character. As for the side characters, it's also a mixed bag. Bradley Whitford's Rick Stanton and Thomas Middleditch's Sam Coleman are the annoying comic relief, Charles Dance does a chilling villainous performance as the unrealistic ecoterrorist leader, Alan Johan, and Aisha Hinds as Diane Foster is good at playing the typical military leader. The only characters that are actually likeable, aside from the monsters, are Ken Watanabe's Ishiro Serizawa and Zhang Zhyi's Irene Chen. These two have such great chemistry with each other as the scientists in touch with the Titans and Godzilla's role as the protector of the planet, with Watanabe being the highlight of the film just as much as his role in the 2014 film. The monsters of Godzilla, Ghidorah, Mothra and Rodan are also well characterized mainly thanks to the performance capture of their respective actors. It's really nice seeing the monsters have a sense of personality despite a lack of dialogue or subtitles, very much like the Japanese films. So, the characters are underwhelming overall, despite the strong cast and few likeable exceptions.

Micheal Dougherty takes over from Gareth Edwards as director and it's both a stylistic difference and an improvement in some cases. While I appreciate Edwards's more grounded approach with Godzilla being depicted as a natural disaster, the problem was that the film was both aesthetically ugly by how dark it is and that Edwards refused to show a lot of action with Godzilla. Dougherty ditches the grounded bystander look, adds more action and cranks up the vivid colours. Although the film is still dark in certain sequences, there's an attempt to offer more of a unique colour palette than ever before with each monster reflecting certain colours. The cinematography by Lawrence Sher is a mixed bag. While the action, adventure and suspense sequences have some great visual moments and pacing, the camerawork during conversations are just very flat and standard. The score by Bear McCreary is perhaps the best work he's done for film. From the rearranged iconic theme of the character to the foreboding, horror-esque score, McCreary nails the musical cues and additions to the franchise. The visual effects are extremely solid as well. While it never looks like the Titans truly exist on the same plane as the people, the CGI is really good in their movements and textures even though some environments do tend to look really fake. The action sequences act as a step-up from both the 2014 film and "Kong: Skull Island", but it does have a minor issue. While the fights between Godzilla and Ghidorah along with Rodan's rampage in Mexico is entertaining as all hell, the environments tend to obscure the action at times due to how dark, rainy or snowy it is. I understand that it's more of an atmospheric choice, but it can bother those who just want to see the action far more clearer. Regardless, Dougherty did a great job in covering for Edwards, with his only problem being the added humour that is well-known in his horror-comedies.

"Godzilla: King of the Monsters" is such a conflicting movie for me, much like the constant fighting between Godzilla and King Ghidorah. On one side, the main story is engaging both by the human and monster-level threat, the tone works when it focuses on the catastrophic danger that's coming, the characters of Serizawa and Chen are enjoyable along with the memorable monsters, the cast as a whole is very well acted no matter how thinly-written the characters are, Sher's camerawork during the action set-pieces are fantastic, McCreary's score is the composer's personal achievement, the visual effects are as good as they need to be, the action sequences are just as engaging as ever, and Dougherty's direction offers a more cinematic approach and vivid colours to the franchise that wasn't seen before in the previous American films. On the other side, the plot elements surrounding the ecoterrorists bog down the story to the point of stupidity, the forced humour and comic relief takes away from the seriousness of the dire story, majority of the characters are simply one-note and generic despite the talented actors and actresses, Emma Russell is, by far, the worst character in this franchise in regards to her actions and the film wanting the viewer to sympathize with her, the camerawork during the slower moments of the film can be quite mundane and bland at times, and the action sequences are always obscured by the environment. At the end of the day, it's an above-average monster flick that delivers on the kaiju action and spectacle while sacrificing the characters and aspects of the narrative. It's far from the worst "Godzilla" film, but it's nowhere close to being the king amongst them.

Verdict: 6/10. Decent, but covered in flaws. Still a blast to watch in regards to the monsters and visuals.