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Summer Movie Series

Mad Max: Fury Road (2015)

Rated R

madmax_fr

Warner Bros. Pictures

Mad Max: Fury Road is told almost entirely in terms of action. It’s an extended chase from Point A to Point B and then back. That director George Miller elevates this chase to visual, sonic and kinetic elegance proves that you can turn nearly any story into a great film if you know what you’re doing.

In the BloghouseHow many car chases have we witnessed in action films? At this point, what can be done to distinguish a good car chase from all others? I’d say distinctive style, which Miller has in spades, harkening all the way back to 1979’s Mad Max.

The character Max Rockantansky has been reimagined for a new generation. Tom Hardy is even less chatty than Mel Gibson’s iconic version, who had three films of his own. We meet this new Max as he’s eating a live lizard and repairing his supped up ’73 Ford Falcon “Interceptor,” a holdover from the original film. We know he’s lost his family because of the fleeting images that haunt him. And while he’s ostensibly the hero, the film’s about Charlize Theron’s Imperator Furiosa (get used to names like that, the film’s loaded with them). Her haunted eyes, prosthetic left arm and branded neck tell us she’s endured things beyond belief. In a post-apocalyptic world we’ve known from the previous films, Furiosa lives in one corner, The Citadel, ruled by Immortan Joe (Hugh Keays-Byrne) who uses women as chattel (for milk, pleasure and breeding), while hoarding a water supply from the dusty, dirty masses. He’s supported by his War Boys henchmen, also dusty and dirty but better fed and given vehicles.

Furiosa takes a stand and escapes with Joe’s five wives, two of whom are pregnant. Hiding the women within a tanker, Furiosa turns a supposed fuel run into an escape agenda to her homeland—and the chase is on. During the run she crosses paths with Max and Nux (Nicholas Hoult), one of Joe’s cancer-addled War Boys.

The rest is Miller magic. The post-apocalypse has never looked so bleak yet wonderful. Miller reminds us he’s a visionary. Masterful, whether he’s packing the frame with visual puns and throwaway imagery or dazzling with beautiful wide-angle vistas. One haunting scene shows humans lumbering on stilts across a dried-out, poisoned landscape like giraffes on a bombed-out Africa veldt. And the colors! They explode from flames and flair-gun tendrils and blowing sand and dust from cascading rocks. The chase takes us through canyons, across sinking fields, along bone-dry wastelands, past a grassy oasis and into impossible sand storms.

To say nothing of the people inhabiting this world: wiry and muscled, sun-blasted and chalked-up, mutated post-nuke hellions and soft-skinned beauties. The inhabitants are scarred with brandings and tumors and tattoos, and festooned with tribal paint, leather and furs.

Miller’s vision extends to the vehicles, which are basically characters themselves. We have motorcycles and tractor trailers, customized dune buggies and sedans and retrofitted trucks with cranes and scoops, and double-decker wagons. Machinery is fetishized with artifacts and spot welded into hybrid monstrosities, adorned with banners and long flexible poles that support swaying War Boys; even moving scaffolding support huge bass drums that set the pace, and a heavy-metal guitarist whose riffs spew dragon-fire.

Water, food and foliage may be scarce, but not gasoline. These big-wheeled vehicles boom and zoom through vast desert and salt flats with abandon, heedless of fuel or repair needs.

Forget over-the-top, this film is custom made to rev us up and beyond, around, underneath and through its chase-plot by any means necessary.

Any character development we get is through sorrowful gazes or crazed expressions or primal screams or knowing grunts; Miller’s a pro at this. Amid the chaos he knits in his themes: vengeance, solidarity and finally redemption. I remember again his skill at sketching dozens of characters—and vehicles—from corky traits, blunt visuals, and above all, action.

This movie totally succeeds in its agenda. It’s action-packed, visual astounding, simply plotted and completely contained. Every moment works.

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Summer Movie Series

Avengers: Age of Ultron (2015)

Rated PG-13

avengers-team

Marvel Studios

The tyranny of Ultron, from its inception to its final battle with a reorganized Avengers team, seems to last only a few days. Hardly an age, but the title is the least of this film’s problems.

Everything seems right on paper: Booming, action-packed scenes, moments of character development, humor (always in supply in Marvel films—take note, DC!), dire global stakes, shifting alliances. But something about the whole affair seems disjointed. Maybe it’s because you can only expect so much return on this superhero investment. Most of the heroes have already had two or three movies to themselves, plus their grouping for the first Avenger’s film (2012). Maybe it’s finally too much of a good thing.

In the BloghouseBecause the first film surprised with its steady stream of humor, this time we expect to be entertained by jokes, setting up more of a challenge to be funny. Each hero gets his/her moment, but nothing that really expands these characters. We watched Tony Stark (Robert Downey Jr.) struggle morally in the last two Iron Man films with the weapons and technology he created. We’ve seen Black Widow (Scarlett Johansson, Her, Lucy) confront her shadowy past as recently as Captain America: The Winter Soldier. Jeremy Renner’s Hawkeye is given a surprising backstory that I didn’t entirely believe. The film doesn’t seem to know what to do with Thor (Chris Helmsworth), and for the first time Captain America’s earnestness and pining for the good old days seems a bit annoying. I couldn’t bring myself to invest in the Quicksilver/Scarlet Witch subplot; the super-twins (Aaron Taylor-Johnson and Elizabeth Olsen) are basically more characters poured into the mix.

There were moments to enjoy, no doubt. A highway chase/fight scene woke me up, and the team lounging after a party has a warm touch that evokes the best of the original film. James Spader lends a great voice to Ultron, the nemesis borne of Stark’s well-meaning-but-misguided attempts to protect the planet, but the character itself seems a little too self-important (Yes, I get that Ultron takes on characteristics of its maker Tony Stark; it’s still too much!) and surprisingly not the best strategist. Wouldn’t a higher level of artificial intelligence spend more time on its mission and less time jumping into futile fights with superheroes? How many battles do we need of super-people and robots who can’t really hurt each other destroying architecture for miles around? And speaking of battles, was it just me or did the cinematography and CGI seem choppy, Michael Bay-ish?

A budding romance between Hulk (Mark Ruffalo) and Black Widow seemed awkward, forced by the screenwriters. Black Widow had more chemistry with Steve Rogers (Chris Evans) in Winter Soldier. The film is cluttered with characters—Nick Fury, Maria Hill, War Machine, Dr. Selvig, Dr. Cho—although I know it was meant to be cluttered with characters. The first film seemed easily digestible, funny, exciting. This time I’m struggling to care for the crisis, surprised at the forced jokes, more surprised that the big action set-pieces underwhelmed. I will give the film credit for the awesomely executed floating city, and Vision (Paul Bettany) is a sight to behold.

Marvel’s been incredible successful at bringing these heroes to the big screen, individually and as a team effort, but I’m wondering—despite the influx of new heroes (Falcon, Vision, Scarlet Witch, Ant-Man)—if we’ve told all the stories (Civil War and Black Panther notwithstanding) that are interesting to tell. If you love superhero movies, come what may, See it; otherwise, Skip it.

 

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Summer Movie Series

The Amazing Spider-Man 2 (2014)

Rated PG-13

amazing-spider-man-2

Marvel Enterprises

Let’s see. When last we left off, Uncle Ben was murdered, as was Gwen Stacy’s police captain dad. The Lizard was behind bars. Gwen and Peter Parker’s relationship was broken but there was a spark of hope. And poor Peter was no closer to understanding why his parents abandoned him.

In the BloghouseThis sequel to the 2012 reboot answers the questions about Peter’s parents and adds several other wrinkles to his life, not including the on-again-off-again thing he has going with Gwen.

Andrew Garfield and Emma Stone return and bring their chemistry with them, and the visuals are up to snuff, but I feel like the good will and characters built in Part One are wasted in this follow-up. This isn’t a bad movie, mind you, but I don’t know why they keep overstuffing these things with bad guys and plot—that misfortune befell 2007’s Spider-Man 3.

Peter and Gwen’s relationship, his mom and dad’s disappearance and the birth of supervillian Electro (Jamie Foxx) would have been enough story. But we also get the Harry Osborn/Green Goblin subplot (which really should be main-plot material),  inconsequential villain Rhino and Sally Field’s Aunt May jockeying for position.

Nerdy, introverted scientist Max Dillon becomes Electro after getting zapped by genetically enhanced electric eels. For some reason he blames Spider-Man, despite the fact that Spidey is basically the only person who has shown him kindness. With his ability to harness electricity he fearsomely commands the city’s attention, even though his costume and uneven makeup leave something to be desired.

Meanwhile, Harry Osborn (Dane DeHaan, Chronicles) returns to the city to find his billionaire father Norman (Chris Cooper) dying from a hereditary illness, an affliction Harry discovers he shares. He reconnects with old friend Peter in a well-written and -acted scene that underscores this plotline deserved more time.

Meanwhile, Gwen tires of Peter’s inability to commit, which is largely due to the danger he represents to her as a superhero and the promise he made to her dying father to stay away from her—again to keep her way from danger. Two good reasons in my book.

The plot lines converge in a final showdown I won’t spoil, but comics fans have seen coming since the first movie.

The first film, with its charismatic leads and reworked origin story, convinced me that I could do with another Spider-Man series; this one caused me to wonder if it might be time to give Spidey a break.

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Summer Movie Series

Captain America: The Winter Soldier (2014)

Rated PG-13

captain-winter-soldier

Marvel Studio

For me Captain America stands in contrast to the other superfolks in the Marvel film universe. For sure, Marvel’s cash cow franchise has enough to brag about. I enjoyed much of the Iron Man series and the impressive culminating effort, The Avengers (2012). The franchise has its clunkers too: Hulk (2003) and the Thor films, for my money. The Captain America movies have neither the brilliant, hedonistic, wink-wink hubris of the Iron Man series, nor the over-the-top demigod, Viking-esque, parallel universe hodge-podge structure of the Thor films. This is probably why Captain America stands out from the pack.

In the BloghouseStarting with 2011’s first film, I liked the throwback setting (World War II), the simple plot (defeat the Nazis), the quick origin-story setup and the delicate love story. Before things got intertwined with all the other superhero motives and movies, there’s earnest Steve Rogers (Chris Evans) trying to set the world right, one patriotic punch, one patriotic speech at a time.

It’s a testament to Evans’ performance and the writers that we continue to admire Steve Rogers/Captain America’s earnestness instead of mocking it.

In Winter Soldier, I liked the instant chemistry between Cap and fellow veteran Sam Wilson (Anthony Mackie) aka The Falcon. I also like the chaste chemistry between Cap and Black Widow (Scarlett Johansson). Even when Nick Fury (Samuel L. Jackson) and all the Hydra-S.H.E.I.L.D.-Avenger’s stuff starts weighing down the plot, the film finds nice touches of do-or-die matter-of-factness that lightens things up again.

The Winter Soldier himself is intriguing and coolly brutal, sprung from the Bucky Barnes character from the first film (is that a spoiler?), but I think more investment of that character in Part One would have really paid off in the pathos they attempt to wring out of this film. I didn’t remember enough of Bucky to make his sad, brain-scrambled existence very impactful this go-round.

Here’s hoping that as Marvel gears up its next round of superhero films—independent and team efforts—it keeps Cap simple and refreshing.

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Summer Movie Series

X-Men: Days of Future Past (2014)

Rated PG-13

x-men-days

Twentieth Century Fox/Marvel Entertainment

So here we are, another X-Men movie. This one’s a linking film between 2011’s look-they’re-all-young-now prequel, X-Men: First Class, and series proper, where they are old dudes and dudettes. Elements of this film were established in 2013’s standalone feature, The Wolverine.

In the BloghouseIt’s not as confusing as it seems—if you even bother to try and sort through it all. It’s enough to know that some time in the future, the human and mutant races are under siege and nearing extinction. Professor X (Patrick Stewart), Magneto (Ian McKellen) and the few remaining good/bad mutants are in a last-stand battle to stave off lab-created supermutants. These genetic robotic-mutant monstrosities can adapt to any of its foes’ varied mutant powers, making the supermutants all but invincible.

Once all seems lost, a Hail Mary time-traveling gimmick is employed that allows Wolverine (Hugh Jackman) to be mentally catapulted 50 years back in time to his younger body. Hot-headed Wolverine isn’t the best representative to send on this mission to destroy the enemy before it’s even created, but his near-indestructible Adamantium frame and mental constitution make him the only one capable of making the journey. Not only must he stop an as-yet-created enemy, he must convince now-younger Professor X (James McAvoy) and Magneto (Michael Fassbender) to assist him. That second part may be harder than the first since the two mutant leaders are respectively suicidally depressed and incarcerated in a super-prison—and hate each other to boot. (See the previous film if you don’t understand how this came to be.)

Stopping the supermutants—created through a nefarious Vietnam-era government program—involves stopping rogue mutant Mystique (Jennifer Lawrence). The last movie saw her blue-hued, shape-shifting mutant making romantic gestures with both Professor X and Magnetic. Her now-bitter character’s actions put her on a collision course with mad scientist Dr. Trask (a great Peter Dinklage), which will ultimately create the bleak future. All of this occurs at a brisk pace, is action packed and—thankfully—humorous.

Fassbender, McAvoy and Lawrence bring needed dimension to the proceedings, and Jackman’s always engaging, particularly in the ’70s setting. Despite occasionally cutting back to the future, the original X-Men crew, including Storm (Halle Berry) and Kitty Pride (Ellen Page) get limited screen time.

How many more of these films can they make? I like them and the creators still find space to employ the mutant/societal outcast trope effectively, but I think the series is running out of road.

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Iron Man 3 (2013)

Rated PG-13

Iron Man 3 Tony Stark/Iron Man (Robert Downey Jr.) Film Frame ©Marvel Studios 2013

Marvel Studios

We already knew Robert Downey Jr.’s Tony Stark is a mad, snarky genius when he’s surrounded by his dazzling technology, ridiculous wealth and groupies, but darn-it-all if he’s not just as brilliant and snarky when everything’s been taken from him—money, power suit, tech toys, reputation, loved ones.

brown-blogartIn this fourth iteration of the Iron Man saga (including his appearance in last year’s Avengers), Downey and the creators of the franchise have tacked backward to move forward.

By taking away his technology and limiting the use of his supersuit, IM3 recalls the desperate, resilient Tony Stark of the first film (2008) who fashioned his prototype Iron Man suit from spare weapons parts while being held captive in a cave.

I didn’t like this go-round as much as the first film (which surprised me with Downey’s impromptu wit, breezy action and clean through-line plot), but it beats Iron Man 2 (2010) and finds different riffs on what should be getting stale by now.

Stretches of this film rely not on action and special effects, but on the emotional and physical plight of Stark. Downey’s just great at this stuff: Serious and commanding enough to sell Stark as someone not to be trifled with, but never letting things get too heavy with his lethal, endless quips and his wink-wink genius-playboy persona.

I think the small stuff works better than the big moments: When he puts together battle gear from parts he buys from a small-town hardware store; wearing a Dora the Explorer digital watch he bums off the kid sister of a boy he befriends; the panic attacks that come out of nowhere and leave Stark a quivering mess.

I’ll leave The Mandarin stuff for the fanboys to hash out, but I’ll just say I loved Ben Kingsley as both The Mandarin and the man behind The Mandarin.

Sure, this is a summer special effects action flick. That stuff’s here too: a robot army zigzagging across the sky; deadly super soldiers who burn not just with malevolence, but seemly of lava from within; the show-stopping set piece in which Iron Man must rescue 13 people as they plummet from a destroyed Air Force One; a very cool scene where he redirects his iron suit to assemble around his girlfriend to protect her as she hurls through the air after a missile attack on Stark’s Malibu mansion.

It took some level of guts to have Stark grow up and reflect that he and his suits (and the lifesaving reactor in the middle of his chest) have become codependents and it’s time to end the relationship and fully embrace the real one he has with his love Pepper Potts (Gwyneth Paltrow).

I don’t know where they go from here (Avengers 2, maybe), but if they’re done with this Downey/Stark version, this was a nice sendoff.

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Paranormal Activity 4 (2012)

Rated R

paranormal_activity_4

Paramount Pictures

I know, I know.

Any movie with the number 4 or higher at the end of its title risks automatic long-in-tooth status. And so it goes with the fourth installment of the catching-demon-terror-on-videocamera franchise.

2007’s PA’s found-footage trope terrorized with a single camera mounted in a bedroom. PA2 (2010) one-upped that film’s voyeur content by tapping into a multiple-camera surveillance system. PA3 (2011) went old-school by bringing the pain via VHS videotape. This latest film opts to zing us with up-to-the-minute digital wizardry—laptop Skyping, cellphone video, even a videogame system’s motion-tracking technology (very cool) gets in on the action.

The producers obviously see human beings getting dragged out of frame by invisible demons as a hallmark of the franchise, but I think it’s become stale.

I should be cheering a movie that prefers slow-burn creepiness over attention-deficit quick cutting, flittering shadows and hushed demonic sounds over gore. I’m continually amazed at how these movies encourage—no, command—you to scour every inch of the frame, seeking out the lurking, about-to-pounce terror even as you’re trying to look away. There are shocks to be had, but by now, it all seems so familiar. And by now, can’t we delve a little deeper into the origin of this family-obsessed demon/witch coven nonsense, or just let it go already?

As I rolled my eyes at the post-credit setup for the next one, I’ve decided then and there to heed my opening warning about titles with growing numbers.

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