Review: 'Spy' (2015)

Twentieth Century Fox

Power couple? I wouldn’t go that far but the relationship between Paul Fieg and Melissa McCarthy and their comedic collaborations at the cinema in recent years have gained plenty of attention. Fieg has seem to find his go to as his first three directorial efforts now have featured McCarthy in a big way and his Ghostbuster reboot is also set to have her involved. But for now, Spy is the duos latest project. Even though Spy, a spoof on the espionage genre, maybe be Fiegs most outlandish effort yet it still shows a level of reserve and resistant’s to being an all-out mockery of something but instead choosing to focus more on its lead character, allowing McCarthy to take charge as a result.

McCarthy’s Susan Cooper is technically the title character but things do not start out this way. Susan is an agent for the CIA, working under humorless director Elaine Crocker (Allison Janney), but only at a computer, feeding important information into the ear of a field agent. The field agent she assists is Bradley Fine (Jude Law), a sleek, confident and skilled agent. It is not until Agent Fine is killed on a mission and the fear that other agent’s identities, including Jason Stratham as Agent Ford, are blown that Susan becomes a field agent for the first time as she attempts to finish the mission that Fine started.

Susan is no slouch when it comes being a respectable agent but the fact that she is embarking on something that she has little experience at like what comes with being a field agent makes this a fish-out-water type of story. Spy, while an obvious spoof on the genre that it shares its name with, chooses to focus more on aspects of its lead character and her journey within the story rather that making a point to constantly remind you that this is a satire of the genre.

Susan is thrown into a situation that she must be quick on her feet or think outside the box. When this takes place, things are at their most refreshing point. Even though Susan is doing things she has never had to do before as an undercover agent, a strong and smart individual still comes through. At the same time though she is grieving but also redeeming Fine and in the process realizes that she wasn’t as special to him as he was to her. Feig weaves these character aspects through his humorously toned atmosphere seamlessly; never weighing things down with sentimental mush but adding just enough heart and soul to the character and story that helps contain an otherwise outlandish experience.   

McCarthy in role is allowed to take over the picture unlike never before and once again Feig gets a highly entertaining performance. What makes McCarthy such a valuable comedic actor is how she is able to be the self-cautious or confident character and bring the same level of humor either way. With Spy’s Susan she is able to showcase this range as the role requires her to be the ‘fish out of water’ but also the one in charge when she is undercover. Because of this, she has no trouble completing the task of moving the film along in a way that you have no problem seeing what is in store next for Susan scene after scene.

With that said though, it would be unfair to Jason Statham and Miranda Hart to say that McCarthy does it all. Statham as the disgruntled Agent Ford, strongly disagreeing with the decision to put Susan in the field, gives one of his more humorously entertaining performances. Ford makes it clear that his way of doing things is always the extreme and as he often explains his methods and past experiences with great detail and Statham gives each of these explanations the right level of anger and frustration charged energy needed. However, it is Hart that brings the most energy as Nancy. Nancy is to Susan as Susan was to Agent Fine. As Nancy, Hart plays loose to McCarthy’s straight (if you can believe that) and it couldn’t work out better. Whether it is 50 Cent falling for Nancy or her non-work related commentary when guiding Susan, Hart in the role never lets up on the gas with the her bubbly persona, making the funny things she says even better.

With Spy, Feig makes it clear, if he hadn’t already, that the projects he takes on are going to feature a central theme. Leading the way in a Feig picture is a funny but also a strong and smart woman or women and while I do not need to tell you how great this is, it is noteworthy considering this is happening within the comedy genre. In a genre dominated by men and their buddy cop premises (a subject Feig has already took on), to see women given these chances to not just prove how funny they can be but absolutely crush it at times is as meaningful as the jokes they are landing which says a lot.                          

Grade: B

Review: 'Tomorrowland' (2015)

Walt Disney Pictures

If Tomorrowland was to transfer even just half of the effort it puts towards staying in a neutral gear over to it’s story, we would probably be talking about one of the best adventure movies of the year, possibly beyond that. But were not. Instead the focus on Tomorowland is how it refuses to movie forward, staying in one spot, never making any progress in plot or message. Even if the chair your in is the most comfortable in the world, wondering when things are going to get started time and time again, even an hour and a half in, gets old. What’s worse though, is when things finally do start moving, Tomorrowland finds it’s self in reverse, rolling to a finish line that has been stripped of most of its value.

It may be valuable to know that before watching Tomorrowland, all trailers, T.V. spots or any other marketing should be disregarded. I don’t want to say it’s all wrong compared to what the movie actually is but it’s close enough to make sure that no stock should be put into it. For starters, marketing suggest that the primary setting of Tomorroland is Tomorrowland but in reality, earth is the backdrop for a strong (really strong) majority of the film.

It is on earth, Florida to be more specific, that the audience is introduced to Casey (Britt Robertson), an optimistic teenager who believes that the future is something that can changed for the better. Even though surrounding opinions drastically vary from hers, including teachers and even her ex-NASA engineer of a father (Tim McGraw), Casey is determined to keep a spirit of exploring and discovery alive. This means attempting to single handily stop the deconstruction of the launch pad at Cape Canaveral.

Her attempt doesn’t go unnoticed as Casey is arrested by authorities. Also noticing Casey for her actions but more her motives and mindset is Athena, a robot disguised as a young girl from Tomorrowland, a place located in another dimension filled will creative and optimistic individuals attempting to invent devices that have the capability to make the future a better place. Because she sees similar traits in Casey as the individuals in Tomorrowland, Athena places a round pin looking device in Casey’s motorcycle helmet as an invitation to Tomorrowland. When she touches this pin, she will instantly be in this out of the ordinary place.

Noticing that this description of the films set up, or one part of a very long set-up, offers no mention of George Clooney, you are probably asking yourself “Isn’t Clooney the star of this show?”. In another case where marketing has not been totally honest, Clooney as Frank Walker, once an individual that was a part of Tomorrowland but now just a cynical middle aged man, doesn’t show up until after half way through the film. In fact, Thomas Robinson as a young Frank Walker may be in the film just as much.

Clooney enters when Casey and Athena need Franks (George Clooney) help to stop Nix (Hugh Laurie), a major figure at Tomorrowland with a pessimistic view of how people approach the need for change. Because of this mindset, Nix wants to use Tomorrowland to end the world. When the three finally reach Tomorrowland together, the hour and a half plus set up technically comes to a close. Sure this first ¾ of the film has some entertaining moments such as the group of robots, under Nix’s authority, arriving at Franks house guns blazing but for the most part it accomplishes very little in a very large amount of time, never moving forward until they are face to face with Nix.

This refusal to get things moving along earlier in its showing could be forgiven with a finale that pays off but instead things just get bad in a hurry. For starters, Nix is a poor excuse of a villain. A villainous character can’t be expected to make much of impact if he only appears in the films climax, which in this case is the finale also, and make some statement how to many people wait for somebody else to start change because it’s not urgent to them in the present. While it is interesting point and his monologue is intriguingly stated at times, because it’s unearned and has little support, it just can’t make much of an impact.

Maybe what hurt’s Tomorrowland the most is how it’s message of how dreamers and optimist can make the future of the world we live in much better than we think it will be is never really given any reality. Of course, these ideas can be presented in the way of fantasy and spectacle like Tomorrowland is but there has to be a component that can be related. Director Brad Bird initially does this through the character of Casey but once encounters with Tomorrowland, Athena and Frank begin, it is put to the side.

Maybe this is one for optimistic eyes only. Maybe like the pin in the film, Tomorrowland is an invitation for dreamers only. Dreamers or not, I will say however that Tomorowland is clearly for a younger audience so maybe the message at hand is perfectly catered for a young demographic. This comes as a surprise though as Bird, with his trio of animated classics, has proved that he can skillfully attract both audience of young and old. Even if Tomorrowland is directed towards the youngsters in the crowd, it still fails to make for anything that haven’t seen before, causing for more of reaction of boredom rather than awe.

Grade: C-  

Review: 'Pitch Perfect 2' (2015)

Universal Pictures 

Pitch Perfect 2 is exactly what you would expect from a sequel to a movie that doesn’t really need a sequel. Everything Pitch Perfect did its follow up not only does but does it bigger. There is more music, more harmless humor and even more of a gooey-soft message about friendship than before. Because of this, if Pitch Perfect was your thing then this up sized version of it called Pitch Perfect 2 will not have much trouble entertaining.

This time around, the Bella’s, now all seniors at Barden University, find themselves catching heat for a performance at the Kennedy Center for President Obama that featured an exposed Fat Amy (Rebel Wilson) after a major wardrobe malfunction. So, as a result the University prohibits the singing sorority from bringing in new members. In addition to this, the a cappella association that they belong to, led by commentators John and Gail, with John Michael Higgins and Elizabeth Banks (also directing for the first time) reprising the roles, have suspended the group from competition unless they can win the upcoming world championship.

The penalty handed out by the University  doesn’t keep the Bella’s from finding loop holes, leading them to allow Emily (Hailee Steinfeld), a freshman whose mother (Katey Sagal) happened to be a Bella herself, to be a part of the group. While Steinfeld plays a big role in both the story and singing portions, it is again Anna Kendrick as Becca that is given the biggest work load. Looking ahead to post-graduation life, Becca is struggling to balance time with the Bella’s and as an intern at a recording studio. With not much of a surprise, Keegan-Michael Key as Becca’s boss provides a few laughs especially when it comes to him constantly belittling another employee.

It is of course though Rebel Wilson as Fat Amy that is given the duty of handing out a strong majority of the humor and in the process valiantly rivaling Kendrick for the most screen time. Wilson, hugely successful and a pleasant surprise to most the first time around, cannot quite connect with the jokes here but they never feel awkwardly out of place and at least aren’t totally recycled like marketing suggested.

Unlike before though, Fat Amy is more than just comic relief, as she is one half of the films romantic storyline (even if that storyline could be considered comic relief itself). Already having a ‘friends with benefits’ or really just a ‘benefits’ type of relationship, Bumper (Adam Devine) finds himself wanting more than just that with Fat Amy. Due to this, DeVine is given some decent screen time which is always a plus.

Like the first installment though, Pitch Perfect 2’s main focus is competitive singing and like the Treblemakers once were to them, the Bellas biggest threat in competition is Das Sound Machine, a German based a cappella group. Machine seems to be a fitting description for this group as they physically move completely in sync while doing the same vocally. As these sequences are more technically complex than when other groups are performing, they feature nice camera work that along with the vocal talent involved make them a joy to watch. If the Bellas and Das Sound Machine aren’t enough for you though, even the Green Bay Packers get in on the singing. In a sing off in the basement of David Crosses a cappella obsessed character, Clay Matthews and a handful of teammates go up against other groups, turning out to be the film’s most entertaining scene.  

A lot of enjoyment to be had when it comes to Pitch Perfect 2 relies on not just if you like the first but more what kind music your into and watching others dance and sing this music. If you’re like me and enjoy pop or hip hop music than it’s hard not to enjoy this experience. There are some classics scattered into the mix but for the most part, the musical numbers are based in pop, hip hop or both.   

Regardless of why you have enjoyed Pitch Perfect 2 or the franchise as a whole, if you find yourself fond of what is being done, your in luck. With box office returns on this second installment coming up big, a third go around for the Bellas, even though it has been suggested that the group is moving on with their life’s, is more than likely to happen sooner than later. Looking beyond that even, the musical format that this franchise has used allows them to keep things fresh when it comes to song selection and even presentation, meaning that the Pitch Perfect brand will go on for some time. Things may not end well down the road, resulting in lack luster theatrical releases or even straight to video releases like we have seen with Step Up and Bring It On series’ but for now it is alright to just set back and enjoy two solid first acts. 

Grade: B-

Review: 'Mad Max: Fury Road' (2015)

Warner Bros.

           Walking out of the theater after watching Mad Max: Fury Road, my brother, commenting on what he had just witnessed, says “that was probably the weirdest thing I’ve ever seen”. While I can’t say it’s the weirdest thing I’ve ever seen, it certainly one of the more bizarrely manic, action packed blockbusters I have seen. With Fury Road, George Miller returns the to the Mad Max world he created decades ago. This time around though, Tom Hardy steps in as the title character with Charlize Thereon by his side but it is Miller that garnishes most of the attention as he destroys any ‘out-of-touch’ thoughts or comments with this latest installment. Mad Max: Fury Road is as bizarre and loony as it is billed and equally matched with careful construction and engaging ideas.

            

            Using basically the same back story as the Mel Gibson filled role from the past, Fury Road’s Max (Tom Hardy) was once an officer of the law in Australia but now struggles to stay sane in an apocalyptic civilization that has gone completely mad. As a result of this type of atmosphere, as heard in voice over or seen in frequent flashbacks, Max is haunted by the death of his daughter. In the film’s opening scene, Max fails to escape the madness as he is captured by what are referred to as War Boys, extremely pale skinned, unhealthy soldiers for cult leader Immortan Joe (Hugh Keays-Byrne).

            

             Meanwhile, as the war boys are returning to the Immortan Joe ruled compound-like fortress with Max, Imperator Furiosa (Charlize Theron) is departing in War Rig, a large extremely durable vehicle used to transport gasoline. When Furiosa takes a left, straying off the usual path, the war boys along with neighboring communities must stop her from going any further. Used as a blood donor or ‘blood bag’ for ill War Boy Nux (Nicholas Hoult), Max, strapped on to the front of a fast moving vehicle, must also go along.

            

             While Max is forced to get into the madness for the majority of the film when violently confronted, he is otherwise rather reserved, saying few words as he attempts to battle the madding thoughts with in. When this type of Max is on screen, the audience is reminded that the right guy is filling the role. Sure, Tom Hardy can deliver a line in the most charismatic of ways (Inception or Bronson) but here he proves, if he hadn’t already, that he is just as entertaining when taking a non-verbal route.

            

             The insanity that takes over the screen, comes in the form of the War Boys and everything else that share the same motives. The War Boys, more creature-like than human, solidly represent the product of a desolate and mentally taxing world that pushes you to be in the most madding and mantic of states in order to survive as every word they utter, though hard to understand at times, is nobly stated and always seems aimed at the task at hand.  

In a film like Fury Road though, when the spectacle and strangeness are blended together to create something entirely off the wall bonkers, the bizarreness of the War Boys takes a back seat at times. Of course Immortan Joe is a sight to be seen but thoughts of ‘what exactly am I watching?’ will flood the mind when a man chained to a large vehicle plays a fire-spitting guitar along with contraptions that give stunt a new meaning quickly grab your attention.

            

            But even through all this, Miller is still able to add depth and real weight to it all. Miller’s chaotic approach represents a lot more than just a well done, action packed summer flick. The constant motion, explosion heavy, urgent and desperate atmosphere present in Fury Road’s action sequences may be fascinating to watch but it is their collective meanings and themes that make them all the better. Survival and how these sequences matches the fight that comes with it is clear but Millers story digs a bit deeper to reach a more personal level.

            

             This comes in the form of the five wives and Furiosa. With Immortan Joe’s cult, there are classification groups that individuals are put in. Max is a part of the blood donor group but there is also a breeding group that consist of the five wives of Immortan Joe, headlined by a pregnant Angharad (Rosie Huntington-Whiteley).  These five women along with Furiosa represent the pursuit for a better life for not just them but their children as Furiosa attempts to take them to a better place, her childhood home. What they must go through to get there, fighting off the forces of Immortan Joes’s, symbolizes how brutally intense and difficult this pursuit can be with imagery accompanying it that is absolutely phenomenal at times.

            

             What Miller’s approach does more than anything is make it clear that escaping madness is one dangerous ride. Whether it be through Max or others, redemption and starting anew in a completely hopeless world is no easy task. Miller just happens to make this statement while also creating a visually striking experience at the cinemas. Even though it may run just a bit long, dragging in the middle at times, Mad Max: Fury Road is one of the few action films in recent memory that matches, at an extreme level I might add, it’s genre with its message, only aiding each other in the process.          

Grade: B

Review: 'Ex Machina' (2015)

Universal Pictures

Through-out its running time, Ex Machina is a film that never allows it’s viewer to just go through the motions, forcing one to feel something at all times. If I wasn’t terrified, I was laughing and if I wasn’t laughing, I was squirming in my seat. As one particular feeling changed from one moment to the next, a mesmerizing sensation accompanied all of them. Because of this, with Ex Machina, it is clear that writer and director Alex Garland has taken full advantage of the science fiction drama to create a piece of work that is wonderfully crafted and extremely thought provoking.

At the base of the story Garland tells is artificial intelligence in the form of Ava (Alicia Vikander), an A.I. created in a remote research lab by Nathan Bateman (Oscar Isaac), C.E.O. of Bluebook, the world’s largest search engine. Caleb Smith (Domhnall Gleeson), a computer programmer for Bluebook, has been selected by Nathan to perform the Turing test, a test to determine if a machine intelligently has human capabilities.

To say anything more about Ex Machina’s plot would give too much away and this is certainly a film that’s eerie but welcomed tone and atmosphere is aided by plot reveals and turns. With that said though, by no means is this a film that relies on the details or twist of its plot to be successful and while Garland’s technical approach only helps, it is the ideas within this story that constantly keep you engaged.  

Though his subject may be artificial intelligence, Garland aims directly at the human condition, only using A.I. as a vehicle to explore multiple themes regarding thought processing and emotions of a human and how it plays into instinct, reaction and even society. One of the more explicitly presented of these themes comes in the form of Nathan explaining to Caleb why A.I. needs a gender as he comes right out and addresses how gender plays a role in human characteristics. As a human, we are either male or female and we define ourselves as a male or as a female. Our gender gives us boundaries and a natural definition of who we are, therefore our sexuality becomes a major part of how we think.

Another theme explored is how we tend to treat humans as objects rather than a living, breathing species just like us. Highlighting a societal trend, Ex Machina more specifically looks at how woman are treated this way. This trend is represented by Nathan’s assistant Kyoko (Sonoya Mizuno in an excellent, nearly non-verbal performance) and how he couldn’t treat her any less human. The fact that she barely says a word makes the comparison to an object even more obvious.

The way that Nathan treats Kyoko along with his overall arrogance plays into the ‘playing God’ concept that is often weaved into A.I. storylines. While directly looking at the consequences when attempting to play God, Ex Machina takes an approach similar to a Greek tragedy. Nathan, with all his power and knowledge, becomes too comfortable in the position he is in and blind to how much stronger his creation is than him. Garland quickly pens him as the villain here and someone that must be stopped. His downfall is progressively represented in his constant drinking. He becomes intoxicated often which causes him to foolishly let his guard down.          

At its core though, Ex Machina is a tale of survival. When it comes to humans and machines or in this case A.I., desperation is something that both experience when survival is in question. The difference though, when doing whatever it takes to survive, is emotion. Machines don't have them but humans are basically made of them which, as Ex Machina suggest, as Caleb and Ava are put in survival mode due to the power of Nathan, only get in the way. This idea would appear to only regard surviving against machines but it applies to any survival situation. Trust, loyalty and companionship are a few of the things one can’t help but feel when his or her life is on the line. These are also things that can help or harm a human in a survival situation.    

Science Fiction has the capability of exploring real ideas and concepts in the most haunting but fascinating ways and with Ex Machina, Garland fully realizes this. Garland’s ability to reach the audience with a crisp but unforgettably alarming approach that explores ideas that directly relate to us as they come from the very foundations of our being. Whether it can be tied into technology or societal occurrences, Garland’s Ex Machina does so as humanly as possible, making it not just a work of science fiction but a thought provoking piece that will have no trouble relating for a very long time.

Grade: A-