Posts Tagged ‘tom hardy’

h1

April 2020 Movie Reviews

May 2, 2020

Check out my profile on Letterboxd if you want to follow along as I write my reviews throughout the month and also because the site/app is amazing for film lovers. April was a pretty sad month because of the pandemic. Theaters are closed all throughout the United States and movie studios are pulling all their films from their original release dates. Even when theaters reopen to the public, they are talking about selling out at 50% capacity and what studio is going to want to release their tent pole films in a climate like that? I’m really curious when the next time I watch a new film in theaters will be.

Onward (2020, Disney+)

Pretty cool of Disney to release this on their streaming platform less than a month after it came out in theaters (shoutout to Covid-19). I can’t say Onward is top tier Pixar, but it was plenty good and managed to tug at my emotions like pretty much all their movies do. Amazing animation, solid voice work from Chris Pratt and Tom Holland, and enough laughs to keep me entertained the whole time. Not Pixar’s strongest work, but their middle tier is still really good stuff.

7/10 (Highly Enjoyable)

Tiger King: Murder, Mayhem, and Madness (2020, Netflix, Documentary)

Crazy stuff, but wildly entertaining. I don’t think it’s an all-time great documentary, but it was definitely a lot of fun. All the major players are scummy though. Does anyone that watched this actually think that Carol Baskins is an animal rights hero?

Probably a must see documentary, but I’m going to rate it just a notch below that.

7/10 (Highly Enjoyable)

Bombshell (2019, Netflix Blu-Ray rental)

I’m not even remotely into politics and I spend none of my time watching news coverage, so my knowledge of the FOX News infrastructure and its relationship to the various political parties is nonexistent, but that didn’t stop me from enjoying Bombshell. This movie is more about sexual harassment than politics anyways. In fact, these women bringing down FOX CEO Roger Ailes was the first domino in what eventually became a movement that sparked the Me Too hashtag. I think that story is well told here and shows the struggle of fearing those in power and wanting to protect your career or… calling a public figure a monster.

Looking at pictures of Megyn Kelly on Google images, I can see why Bombshell won the Oscar for makeup and hairstyling. Theron is virtually unrecognizable here, but she looks exactly like Megyn Kelly. It’s uncanny. John Lithgow also looks like he spent a lot of time in the makeup chair.

This movie had some great acting from pretty much everyone. Theron and Robbie were both Oscar-nominated with Robbie giving the best performance of the movie, in my opinion. Lithgow is also at his slimy best and I’m a bit surprised his role didn’t get more attention. This movie has a strong supporting cast as well.

Bombshell is well acted and entertaining and definitely worth a watch.

7/10 (Highly Enjoyable)

Jumanji: The Next Level (2019, Netflix Blu-Ray rental)

This review may contain spoilers.

Well, this series jumped the shark pretty quick. I actually liked the first reboot sequel and was pleasantly surprised by it. I thought it was a fresh, modern take and I liked the cast. But this? I was tuned out within 30 minutes, already wishing it was over, and there was 90 minutes left! Why is a Jumanji movie 2+ hours??

Anyways, the climax of this movie takes place on an ice fortress… and there’s a blimp… and a flying horse. Remember when Jumanji was a board game about jungle animals? I guess the more sequels you make to something like this, the further away from the original concept you have to get to keep things interesting. Well, consider me uninterested.

There are a couple of funny parts in this, but I’d be lying if I said this wasn’t painful for me to watch.

3/10 (Bad)

Personal Shopper (2016, iTunes Store digital rental)

This is another one of those times where I go into a movie knowing nothing about it except that at some point in time something sparked me to put it on my watchlist… probably some best films of 2016 lists. A movie about mediums, the afterlife, and ghosts was about the last thing I was expecting and the content kind of knocked my socks off. I wouldn’t go as far as to call Personal Shopper riveting, but it was compelling and never lost my interest despite the fact that it is a really slow burn and Kristen Stewart’s character spends a good portion of the running time shopping, trying on clothes, and sending text messages. Speaking of which, did it drive anyone else nuts that she put a space in between her sentence and the question mark ? Like that ? Every single time.

I am not a Kristen Stewart fan at all. Prior to watching this, I had seen seven movies she’s been in and five of them have been part of the miserable Twilight franchise – movies I’ve seen because my wife wanted me to watch them with her. I’m on record calling Bella Swan one of the worst characters of all-time, so my distaste for Kristen Stewart is not much of a surprise and probably not even fair to her as I’ve seen less than 20% of her filmography. Well, this is easily the best work I’ve seen from her. She’s good in this movie!

Personal Shopper is unique, with a strong performance from Stewart and some surprisingly cool visual effects. I enjoyed it quite a bit and recommend to anyone that’s into ghost stories and doesn’t mind a deliberate pace.

7/10 (Highly Enjoyable)

Tusk (2014, Netflix)

I’m trying to think of anything at all that I liked about this movie and I’m coming up empty. I guess the, uhm, “walrus” makeup/costume was… interesting? Also grotesque. Possibly appalling. Kevin Smith just sucks now. I was a pretty big fan up through Jay and Silent Bob Strike Back, but I’m pretty sure I wouldn’t be impressed with that movie in 2020 and the only film I’ve enjoyed of his over the last 20 years was Zack and Miri Make a Porno. That’s a long stretch of crap. Granted, I’ve skipped almost all of it, but I trust the word of mouth. Still, Red State comes to a streaming service in April 2020 and I have the Jay and Silent Bob reboot on my watchlist, so I’ll probably watch both of those eventually. This is the kind of stuff I throw on late at night when I feel like I can stay up for another 20 minutes or so and then I watch it over the course of a few days because I don’t want to show that kind of disrespect to a movie I actually want to see.

One more thing, Johnny Depp is brutal. What happened to him? There was a point in time where I thought he was one of my favorite actors working and now I can’t stand the guy. He tries so hard to create unique and weird characters and lately he’s been failing miserably. His character here seems like something Sacha Baron Cohen would try to make a movie out of and Hollywood is like, “uhm, no.” Depp is no longer a draw for me… he’s an autoskip.

2/10 (Horrible)

Crystal Lake Memories: The Complete History of Friday the 13th (2013, YouTube)

I rated this documentary higher than any film in the actual franchise, but I guess it makes sense. This is 5+ hours of awesome interviews, behind-the-scenes stories, and unreleased (and cut due to MPAA wimpiness) footage from a franchise I’ve loved since I was… wait, let me look up when Jason Lives was released… 5 or 6 years old? I remember my first exposure to Jason Vorhees being that opening scene from Friday the 13th VI: Jason Lives when he’s brought back from the grave (literally) and maggots and worms are crawling around on his face. I watched it on home video… at a neighbor’s house… so I’m guessing it was probably a year or two after its theatrical release. I’ve been in love with the franchise ever since and I still watch them periodically and hope they never stop making them, no matter how bad some of them are.

This is a must see for anyone that’s a fan of the Friday the 13th franchise. It’s super long, but if you’re like me, you’ll enjoy every minute of it.

Not recommended for non-fans obv.

The only place I could find this documentary was on YouTube. Check it out.

8/10 (Must See)

Locke (2013, Netflix)

98% of this movie is Tom Hardy driving in a car and talking on his mobile phone via bluetooth. If that sounds awesome to you, well… you’d be right! Ivan Locke is a construction foreman on the eve of the biggest cement pour in European history when he receives a voicemail from a woman he had a one night affair with and learns that she is giving birth to his child. The rest of the movie is Hardy talking in an amazing Welsh accent while trying to coordinate the job he won’t be attending the next day and telling his wife the bad news.

For a film with one actor that takes place entirely in a car, I was kind of blown away. It doesn’t hurt that Tom Hardy is that actor because he can be absolutely brilliant and I think he’s on that level in Locke. The movie actually has some top level supporting talent in Olivia Colman, Andrew Scott, and Tom Holland, but they all phone it in. Literally.

I wish Tom Hardy wasn’t doing Venom. I wish he was doing more stuff like this. He is elite.

8/10 (Must See)

Watchmen (2009, personal collection, third viewing)

I already posted a review for this over ten years ago, but the HBO series has made me revisit both the graphic novel and this 2009 film adaptation. I heard I would appreciate the HBO series substantially more if the graphic novel was fresh in my mind and I decided I might as well watch this movie for the third time.

I actually don’t think the acting is as bad as I thought it was a decade ago. For instance, Jeffrey Dean Morgan and Patrick Wilson are actually pretty good casting as The Comedian and Nite Owl, respectively. The only choice I truly didn’t like was Matthew Goode as Adrian Veidt. I just don’t buy him as “The Smartest Man in the World” and his confidence just comes across as phony to me. Jackie Earle Haley is great as Rorschach. Not only is his portrayal top notch, but when he’s unmasked, he really does look exactly like the Walter Kovacs from the graphic novel.

This is such a faithful adaptation. It’s basically a scene-for-scene translation and so much of the dialogue is lifted unaltered directly from the comic. And yet… something is off. I said in my previous review that this movie has a bit of a “hokey” feel to it. I don’t know if I can explain it any better now, but I just watched the first episode of the HBO series (which I will write about when I’m done watching all of it) and the difference in quality is stark. This movie is cheesy by comparison. Maybe I just hate Zack Snyder’s style?

Fans of the graphic novel shouldn’t be too disappointed with this movie – it’s definitely enjoyable – but I’m much more interested in what the HBO series has to offer myself.

6/10 (Recommended)

Out of Sight (1998, HBONOW, second viewing)

I’ll probably end up doing a run through of Steven Soderbergh’s entire filmography at some point, as I’m doing with Scorsese now, but I’ve been itching to rewatch Out of Sight and it’s leaving HBO NOW at the end of the month.

This is a really fun movie. The sharp banter and charismatic characters – especially George Clooney’s Jack Foley – make watching it a really enjoyable experience. You can see the Soderbergh style that became so popular in the Ocean’s 11 trilogy. Speaking of which, I’ve missed Clooney. He’s underrated as a leading man and I haven’t seen a new movie he’s starred in since Gravity in 2013. J-Lo and Clooney have great chemistry in this movie and I think that’s probably the biggest reason this film works so well.

I only remembered one thing about Out of Sight: the scene where something really surprising happens to a rather minor character. I’m sure if you’ve seen the movie, you would know what I’m talking about. Maybe that scene has stuck with me all these years because I referenced it in my music some twenty years ago.

Smart, funny, and fast-paced, with strong lead performances from Clooney and Lopez, Out of Sight was a solid revisit and one of the better films in Soderbergh’s catalog.

7/10 (Highly Enjoyable)

Tootsie (1982, Netflix)

Tootsie got an astounding 10 Oscar nominations, including Best Picture, Best Director for Sydney Pollack, Best Writing and acting noms for Dustin Hoffman, Jessica Lange, and Teri Garr. Alas, only Lange was able to take home a statue for her supporting role.

I thought this was great. Dustin Hoffman is wonderful in one of the best performances of his career. I’ve only seen Jessica Lange’s later work, but she oozed natural charisma in the early 80s also. You watch a movie like Sleepaway Camp and see all this horribly corny acting and think that it’s just a reflection of the times (and the genre), but then you watch something like Tootsie – also released in 1982 – and, well, there was probably plenty of great acting happening back then. It’s probably not fair to compare a campy slasher flick with one of the most highly touted movies of 1982, but the contrast is so stark that it makes me wonder if I was just watching all the wrong movies while I was growing up. I just find a lot of the acting from the 80s really cheesy and the performances in this movie are just all so good.

Hoffman’s character gets in really deep pretending to be a woman, finding huge success on a popular soap and becoming extremely close with Lange’s character. I kept wondering how he was going to get out of this pickle and I have to say this film’s resolution was outstanding. I absolutely loved the ending.

Tootsie is a must see film from almost four decades ago. Check it out if you never have!

8/10 (Must See)

Mean Streets (1973, iTunes Store digital rental)

I liked Mean Streets a lot, but I think it falls short of greatness. I do love the soundtrack in this movie though. The song selection is elite and I love how The Marvelettes “Please Mr. Postman” plays during the awesome fight scene in the bar. The soundtrack feels like a great use of classic old school songs, but every song in this movie was 40 years fresher when it came out! Robert De Niro is absolutely fantastic in this movie. He’s completely unhinged as the wild and constantly disrespectful Johnny Boy. I’m not sure I’ve ever seen De Niro so loose in his whole career, but it’s been a while since I watched Taxi Driver. He’s just wonderful and you have to wonder how he didn’t get an Oscar nomination. I’m tempted to watch all the roles that got nominated over him and see how wrong they got it (I actually did add 1973’s Bang the Drum Slowly – also starring De Niro – to my watchlist).

Mean Streets was a lot of fun. You can see Scorsese getting his feet wet here with the mafioso type content he would eventually become famous for with Goodfellas and Casino. The characters and story are just so much better in those later films. This is a good movie though and I actually strongly considered watching it again before my 48 rental period expired. I can see myself revisiting it when I get through the rest of Marty’s filmography. Mean Streets is a huge leap forward from Scorsese’s first two films, but I’m still hesitating to call it his first great one. Maybe I’ll change my mind the second time I watch it.

7/10 (Highly Enjoyable)

Boxcar Bertha (1972, iTunes Store digital rental)

Martin Scorsese’s second feature film doesn’t establish him as a future great, but I thought it was fun, despite some issues I had with it – mostly what seems to be a serious passage of time that goes almost entirely unaddressed. I’m not sure what kind of movie this is. A western? Reviews I’ve read have called it an exploitation film. There’s a lot of harmonica in it. It’s also supposed to be a revenge movie, but I’m not sure how well that revenge was realized. David Carradine (the future Bill of Kill Bill) is charming in his role. Barbara Hershey is naked a lot in this movie which is kind of weird because she looks 15 years old (she was 23 or 24). She does a fine job acting though.

I don’t think Boxcar Bertha was necessarily a good movie, but I enjoyed watching it. This film is not one you have to see in Scorsese’s catalog unless you want to watch them all… like I do.

5/10 (Decent)

h1

Venom (2018)

October 17, 2018


Director: Ruben Fleischer (Gangster Squad, Zombieland)
Starring: Tom Hardy, Michelle Williams, Riz Ahmed

Venom was a mess long before it hit theaters, so I’ve never really thought it was going to amount to much of anything. This movie has been in production since before the Sam Raimi Spider-Man franchise died and rumors of Spidey-related spinoffs abounded after the series rebooted with Andrew Garfield. So after Disney and Marvel reacquired the film rights to Spider-Man and Sony decided to plow forward with a Venom movie anyway, well, I just didn’t see how that could end well.

I actually thought this movie had nothing to do with the current Marvel Cinematic Universe, but after doing some digging it looks like I could be wrong. Maybe? As late as June 2017, Marvel’s president Kevin Feige said that Venom is solely a Sony project, but the Sony side of things have claimed that their new universe will be “adjunct” to the MCU and that Tom Holland’s Spider-Man may even appear in future films. I’m not an expert Venom historian, so I don’t know if it’s possible to pull off a Venom movie without Spider-Man and not piss all the fans off, but I imagine DC trying to do a Joker movie without Batman and – wait… that is actually happening.

Then they cast Tom Hardy as Eddie Brock and I was officially bewildered. Was there actually hope for this movie? Well, the trailers looked awful and critics were crucifying it, so heading into my viewing of Venom I was expecting to to be absolutely terrible.

Honestly, I didn’t like it much, but I have definitely seen worse. The first hour or so of Venom is brutally boring. We are introduced to Eddie Brock’s world and watch as everything quickly crumbles around him. I actually thought three different people were going to tell him to “have a nice life” in a 10 minute span, but somehow the screenwriters resisted the urge to have Michelle Williams say it during their breakup scene. Basically, the first hour of the movie is a sequence of moments that you can already imagine Eddie Brock getting redemption for in the third act. It’s very formulaic and not at all interesting.

Meanwhile, Riz Ahmed’s character is a super rich science type that has acquired a bunch of symbiotes and he’s trying to figure out how to unite them with a host so that he can… honestly, I don’t remember what he’s trying to do. He probably plans to sell them as some sort of super soldier.

The movie does pick up once the Venom symbiote finds Eddie Brock. It gets very slap-sticky and starts to feel like a buddy film and the humor elevates enough that it made me laugh a few times. Most importantly, the pace and action are picked up significantly.

I think Venom looks terrible in this movie. For 2018, the CGI is awful. Venom looks incredibly fake and the climax of the movie literally looks like two giant wads of silly putty doing battle with each other. It is absurdly terrible. The special effects in this movie are a total embarrassment.

Venom managed to exceed my expectations, only because they were very, very low. This is not a good movie. All the characters are stale and uninteresting, Eddie Brock isn’t really someone you want to root for, and the performances are very uninspired. Tom Hardy is okay, I guess, but Michelle Williams’ talent is totally wasted and I’ve seen Riz Ahmed in some great roles (Nightcrawler, “The Night Of”), but he is straight up laughable in this movie. You think these things might be salvaged a bit when Venom is on screen – and to some degree they are – but the Venom personality is actually kind of stupid and annoying. Plus he looks really cheesy.

But what do I know? This movie has a 7.1 rating on IMDB and an 88% audience score on Rotten Tomatoes, all while breaking October box office records. It’s an absolute smash hit and the general public seems to really like it, so… maybe you will too.

Replay Value: The thought of sitting through the first hour again sounds painful, but I could do the second half.

Sequel Potential: It looks like this will reach $250 million domestically so a sequel is inevitable. I don’t have much interest in Sony’s superhero movies and their history doesn’t suggest they are going to step their game up.

Oscar Potential: Zero.

Dina Meter: Dina might enjoy this more than I did, but I would be surprised if she watched it and said “that was good!”

3/10 (Bad)

h1

Dunkirk (2017)

July 26, 2017

Starring: Harry Styles, Tom Hardy, Mark Rylance, Kenneth Branagh
Director: Christopher Nolan (The Dark Knight trilogy, Inception, Memento)

Bottom Line: This is not “the best film of Christopher Nolan’s career” or “one of the best war films ever” like many critics have made it out to be – it’s not even as good as last year’s Hacksaw Ridge, which hit me right in the feels. I’m shocked at how well received Dunkirk has been because it is absolutely hollow. Dunkirk made me feel nothing. Nolan is still a master at making beautiful films – Interstellar and The Dark Knight Rises were both very easy on the eyes – but this is now the third straight film of his where I’ve left the theater thinking “eh” because of his writing.

Set during World War II in the city of Dunkirk, France, Allied forces are trapped on the beach and surrounded by German troops. The story has three different timelines: one takes place over a week following a group of soldiers on the beach, a second takes place over a single day following a man and two kids from the British Empire on a boat headed towards Dunkirk to help out, and a third takes place over the course of an hour, in the air, following a couple of pilots in dogfighters. The problem with these intertwining stories is we are completely immersed into the action, from the very first scene, and there is virtually no character development so you never really care about what happens to anyone or what is at stake. Maybe just knowing this is a true story and a number of real people were in a similar situation is enough to make some people feel something, but watching a movie, following certain characters, I want to feel something about them – and I never did.

Mark Rylance does a very fine job as the ordinary British man that sails into battle and his story is definitely the most interesting. In contrast, Tom Hardy plays one of the pilots and that entire story arc is completely devoid of any investment from the audience. How can you possibly care about someone when you can’t understand a single line of dialogue they say the entire film? That’s another issue I had with Dunkirk. Even though everyone is speaking English, subtitles felt like a requirement, particularly during the flight scenes – the sounds of the jets are so loud you can’t hear anything that is being said. While that might be authentic, the audience isn’t equipped with a headset like the pilots are. I suppose Harry Styles does a fine job as one of the soldiers on the ground, but again, I wasn’t invested in his story and even though the script follows a select group of soldiers it isn’t particularly easy to tell them apart, especially since I wasn’t familiar with the actors.

So yeah, Dunkirk is visually great, as all Nolan’s films have been, but the script falls short. Even though the movie is riveting and Hans Zimmer’s score adds lots of tension, the script doesn’t invest you in the story and there is simply no emotional payoff. Maybe I will change my mind when I watch it again but I can’t say I’m exactly excited about a second viewing. I appear to be in the minority in not loving this film, so take this review with a grain of salt and go see it for yourself, but I can promise this much: there is no way my wife, a casual film watcher, would have enjoyed Dunkirk.

Replay Value: I didn’t love Interstellar or The Dark Knight Rises the first time I watched them but I did see them again. I think a second viewing of Dunkirk would be more laborious, however.
Sequel Potential: None.
Oscar Potential: I would be appalled if Dunkirk was the film that finally got Nolan an Oscar statue, but the praise being heaped on it makes it a pretty strong contender for things like Best Picture and Best Director. I would have no problem with Dunkirk being nominated for Best Cinematography or and visual categories though.

Grade: 5/10 (watchable)

h1

The Dark Knight Rises (2012)

December 19, 2016

Starring: Christian Bale, Tom Hardy, Anne Hathaway, Michael Caine, Gary Oldman, Marion Cotillard, Joseph Gordon-Levitt
Director: Christopher Nolan (Interstellar, Inception, The Dark Knight)

Bottom Line: It’s taken me nearly four years to come to terms with this film. Back in 2012, leading up to The Dark Knight Rises‘ release, my expectations were through the roof and unrealistic – and yet they weren’t. I had similar feelings about The Dark Knight and somehow Christopher Nolan managed to exceed my impossible expectations by making what is still what I consider to be the best superhero film ever – a film so good it changed how The Oscars approached the Best Picture category, increasing the number of films that could be nominated in the future.

But when I walked out of The Dark Knight Rises all I felt was a tremendous amount of disappointment. I was thrown by the fact the film took place eight years after The Dark Knight. It seemed like Batman was barely in the movie, which was fine in Batman Begins when Bruce Wayne is discovering his calling, but I wanted more Dark Knight in this. I suspected that Marion Cotillard and Joseph Gordon-Levitt were secretly cast as Talia Al’Ghul and Robin, respectively, long before the film’s release, so even though the Nolans do a good job of misdirecting, I wasn’t surprised in the least when the true identities were revealed. Finally, I hated the fact that Bruce Wayne becomes a shut in because his friend/love interest Rachel died. Let me get this straight: the man that pushes himself to the brink of human capabilities to protect his city from the kind of people that murdered his parents is going to disappear from society and whittle away in his mansion because his girlfriend died? For eight years?! During his peak crime-fighting years?! Uh, no. That’s not Batman. It’s such a departure from the character of Bruce Wayne that it’s difficult to shake.

But it’s been four years since The Dark Knight Rises came out and I’ve seen it a few times since then, including as recently as a week ago and well, it’s not so bad. In fact, it’s quite good. I mean there are some flaws – as previously noted – plus some intense magical rope healing (huh?), but I actually really enjoyed this last viewing of it. It  wraps up Christopher Nolan’s trilogy in great fashion, bringing the League Of Shadows back into the mix and allowing Bruce to move on with his life, while allowing The Batman to remain a symbol of hope in Gotham. I can live with the lack of Batman on screen in the film now too. It fits the story. Christopher Nolan has been more interested in making great films than in making a good superhero movie and he continues to approach his Dark Knight series in that fashion with this movie. It’s an incredibly bleak film, but the big theme is hope – first crushing it and then rising up from the abyss to overcome. Batman doesn’t need to be on screen because he’s retired when the film starts and then he’s beaten to a pulp in the middle of it – and that makes his ultimate return that much more powerful.

I absolutely loved Tom Hardy’s Bane. Heath Ledger’s Joker was always going to be impossible to match, but Bane is a GREAT villain in this film. There are some corny moments, like making Talia Al’Ghul a love interest, but Bane is mostly just awesome. I love the mask. I love the physique.  I love the way Hardy delivers his dialogue – and there’s plenty of great Bane quotes in the movie: “Peace time has cost you your strength. Victory has defeated you!” – “Do you feel in charge?” – “Oh, you think darkness is your ally. But you merely adopted the dark; I was born in it.” And many more! He’s smart. He’s ruthless. He’s a physical beast. You believe an out of shape Batman would stand no chance and you wonder how Batman can match him, even when he’s back in peak form. I would have loved to see what Nolan did with The Riddler or even Hugo Strange, but I’m totally satisfied with how he handled Bane in The Dark Knight Rises.

Okay, so it wasn’t surprising that Joseph Gordon-Levitt is revealed to be “Robin,” plus the character isn’t Dick Grayson or any other familiar name that takes up the Robin mantle, but Gordon-Levitt’s Detective John Blake was a great addition to this story. When everyone else has given up on Batman, this orphan turned police officer knows his true identity and pushes Bruce back into action. Plus he gets to say some great lines like “We know what’s down there, sir: the police commissioner.” He may not be Dick Grayson and his parents weren’t murdered at the circus, but it’s clear that the Nolans understand the essence of the character.

I listened to Hans Zimmer’s score many times before I saw the movie, which is pretty weird actually. You can sort of paint a picture of how things are going to unfold by listening to the score in sequential order. I mean that’s how obsessed with this movie I was. I just couldn’t resist the temptation. So when I heard the music that was playing during the scene where Batman was flying the bomb out over the bay, you get the feeling that someone important is going to die. It was just a bizarre feeling watching the movie having heard all the music already and having an idea what was going to happen. I won’t ever do it again. With that said, I love the score. Zimmer does a fantastic job of adding adrenaline to the film, especially during Bane’s reign of terror.

A few weeks ago, The Dark Knight Rises was omitted from my top 10 of 2012 list, while films like 21 Jump Street and Skyfall were still ahead of it. Having revisited the movie and deciding I’m actually quite happy with it, it now ranks in my top six of the year. The film has solid acting from its ensemble cast (Bale’s Bat-voice excluded), a great villain, a top notch score, a bunch of dialogue I love, and it looks fantastic – plus it’s a very fitting end to the vision Nolan had for his Bat-franchise. It’s one of the best trilogies of all-time, right up there with The Lord Of The Rings and the original Star Wars movies. When you talk about the best superhero movies ever, Nolan’s Batman movies will always be some of the first ones mentioned, but really, this series has produced multiple great films – not just great for a superhero movie – but some of the best films ever made.

Replay Value: It has grown on me a ton and I can always watch Batman movies.
Sequel Potential: They wrapped this trilogy up just fine, but the Batman character has been revived for DC’s new cinematic universe.
Oscar Potential: The film was totally blanked for both Oscar and Golden Globe noms, which seems a bit unfair as some of the technical aspects and the score are deserving of consideration.

Grade: 7.5/10 (highly enjoyable/must see)

h1

The Revenant (2015)

January 27, 2016

Starring: Leonardo Dicaprio, Tom Hardy, Will Poulter
Director: Alejandro Gonzalez Inarritu (Birdman, Babel, 21 Grams)

Bottom Line: The Revenant was quite easily the most beautiful movie I’ve seen all year – from the cold set locations along a wild river to the amazing cinematography, it is pretty astonishing to look at. Of course, Leonardo Dicaprio knocks another performance out of the park. Playing Hugh Glass, a legendary explorer of uncharted America, his character is left for dead by his peers after being brutally attacked by a bear and he spends the rest of the movie, barely alive already, fighting to survive through the threats of nature, unhappy Natives, and his body giving out in order to exact revenge on the two men that left him behind to die. Somehow Leo gives one of the best performances of his career while barely having any dialogue. And though I don’t think it was his best work, the Academy might finally reward him with a “lifetime achievement” Best Actor statue. Tom Hardy plays the main antagonist, part of the group of frontiersmen, one in constant disagreement with Glass and ultimately the man that tries to bury him alive after the bear mauling. It’s another fantastic performance for Hardy – one that kind of reminds me of Johnny Depp’s Jack Sparrow – and continues Hardy’s history of performances so diverse he is basically unrecognizable from role to role.

I felt like The Revenant was the full package – it’s the sort of movie you really just have to go see in theaters. Great performances, amazing cinematography and camera work (that bear scene though!), and possibly the best score I’ve heard all year. Director Alejandro Gonzalez Inarritu is developing quite the Hollywood resume as he has a very legitimate chance to follow up his Best Picture win for Birdman with another one for The Revenant. I’d be curious to know how many times that has been done in movie history.

The Revenant is a bit long and not for everyone (my wife was not very impressed), but I loved it. It’s as well rounded and enjoyable as any 2015 movie I’ve seen so far – a true must see cinematic experience.

Replay Value: This movie should look just as sexy in HD on blu-ray – I’m looking forward to seeing it again.
Sequel Potential: None.
Oscar Potential: 12 Oscar nominations including Best Picture, Best Actor for Dicaprio, Best Supporting Actor for Hardy, Best Director, and Best Cinematography. I feel like The Revenant is probably the favorite for Best Picture at the moment, but it should have some stiff competition from Mad Max: Fury Road in a lot of the technical departments, including cinematography. Not sure how this film’s score got snubbed – I’ve heard all the nominated scores except Carol and none of them were better than The Revenant.

Grade: 8/10 (Excellent)

h1

Mad Max: Fury Road (2015)

May 25, 2015

Starring: Tom Hardy, Charlize Theron
Director: George Miller (Mad Max, Mad Max 2: The Road Warrior, Happy Feet)

Bottom Line: I felt it necessary to watch the original Mad Max and it’s sequel The Road Warrior to prime myself for George Miller’s 2015 update of his defining franchise. I can assure you, these films are not essential prerequisites. I liked them okay, particularly The Road Warrior, but they have little to do with Fury Road.

Actually, Fury Road is the Mad Max world on steroids – it’s Barry Bonds. George Miller waited thirty years to update this franchise and Fury Road wastes little time establishing itself as the new bar for cinematic action. We are briefly introduced to Tom Hardy’s version of Max Rockatansky before being plunged into a chaotic post-apocalyptic world and a heart-stopping vehicle chase. Miller leaves it up to us to figure out the who and the why as the story develops… and I’ll tell you, I can’t remember being so entertained by a movie where I have almost no idea what’s going on. Fortunately, there is time to fill in the blanks later as Fury Road adds a bit of character development in between its absurdly intense action sequences.

Fury Road is big time cinema at it’s finest. Miller’s world is meticulously crafted – from the costumes, to the set designs, to the vehicles, to the score – it’s all top notch and perfectly executed. It may be grimy, but Fury Road is a truly beautiful film. No dollar in this budget was wasted. Mad Max: Fury Road may be all George Miller, but his cast does great also. Tom Hardy is good enough in the Max role to make you forget about Mel Gibson and Charlize Theron’s Imperator Furiosa is the story’s true hero and Theron knocks it out of the park.

Calling this movie a sequel or a reboot is really doing it a disservice. It pays tribute to the concept of the original run of films while improving on them in every possible way. Perhaps it’s not so bad for Hollywood to constantly rehash old ideas if it’s capable of occasionally producing something as awesome as Mad Max: Fury Road. George Miller has quite possibly crafted a modern classic.

Replay Value: I’d watch this again in theaters and it feels like a must own for the blu-ray collection.
Sequel Potential: Mad Max: The Wasteland has already been announced with Tom Hardy attached to star and George Miller writing, but if Miller isn’t directing mark me as skeptical.
Oscar Potential: Fury Road should have no problems scooping up nominations for some of the technical aspects, particularly costume and set design, sound, editing, etc., and it may have an outside chance at Best Picture and Best Director.

Grade: 8.5/10 (Excellent/Blew My Mind)