Tag Archives: film critic

“Dark Tower” movie review

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A paint-by-the-numbers “epic” story with a prolific number of Stephen King references. Adapted from the Dark Tower series of novels by Stephen King, Dark Tower introduces movie audiences to one of King’s masterpiece works of literature. Unfortunately, the movie takes place in the middle of the series and fails to leave audiences wanting to see more. For the most part, it offers up little more than an enhanced SyFy Channel original movie or a one-time HBO film. With a powerhouse leading cast consisting of Idris Elba and Matthew McConaughey, it constantly feels that the actors were held back from that which we are normally accustomed. That is, not to say that there aren’t enjoyable parts of the movie–certainly seeing all the King references are fun and it is a great premise. I only wish the story and characters had been allowed to develop over the course of three films. Although there is sufficient evidence to suggest that some movies in the recent past that have been forced into a trilogy instead of a strong, concise single film, this is an example of a one-time film that truly needed the room of three films to develop and emotionally connect with audiences. There is never a dull moment in the film, nor an opportunity to become bored because the film is incredibly rushed and turning points are forced into place.

At the center of the universe stands a massively tall dark tower that keeps the bulk of evil forces at bay. Under attack by Walter (McConaughey), the last gunslinger Rolland (Elba) must destroy Walter and his following before they destroy the dark tower and wreak havoc on Keystone Earth and the other planets in the universe. Harvesting children with “the shine” from earth, to use their minds to destroy the tower, is the method employed by Walter and he has his eyes on a child whose shine is greater than any other. After Jake (Tom Taylor) evades capture by Walter’s henchmen, he finds himself on Mid World where he meets gunslinger Rolland. Under constant siege by Water, Rolland and Jake must make a arduous journey to Walter’s headquarters where he is mounting his attack against the tower. With the fate of the universe at stake, Rolland, Walter, and Jake face-off in an epic battle of good versus evil.

There is not much to dissect here. One thing is for sure–and I have not read the books–BUT, from what I know of the books, fans of the literature will not like the film because it takes what happens over the course of “King” sized novels and condenses it down to little more than a short story turned 2hr film. Not having read the books, I was not set up for disappointment. That being the case, I enjoyed the film for the most part. But it was obvious that it was incredibly rushed and there was little if any development in plot or character. No emotional investment to be found. It’s a shame; the premise of the film is fascinating and I think there is a high degree of probability that I would have enjoyed following the franchise had it been more than one film. The way the movie ends does lend itself to possible sequels, but after the very “television” feel of this one, it is going to have a hard time convincing future audiences to invest time and spend money on it. If anything, this film does prompt me to read the novels upon which it is based. One argument that could be made in the film’s defense is the same one that can be made when looking at many of the films based upon King’s works. His novels are so dense, internally driven, and detailed that is is difficult to successfully translate effectively from page to screen. Obviously, there are exceptions to this trend (i.e. the upcoming IT theatrical release).

If you are a fan of fantasy and adventure films with a hint of science-fiction, then you will likely enjoy this movie. If you love the series of books, I feel fairly confident that you will not like this adaptation. Perhaps this film will inspire a network to spearhead an epic television series. I think that is where this story will be best shown.

Written by R.L. Terry

Edited by J.M. Wead

“Dunkirk” film review

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Journalism meets cinematic visual storytelling. Christopher Nolan’s war epic Dunkirk provides audiences with a different kind of war movie experience. Different in that the narrative is nonlinear and highly experimental. From a technical perspective, the film is flawless. The cinematography, sound design, and score all work together to create an immersive experience in which that fourth wall is nearly removed. One of my friends that I saw the film with last night described it as being a fly on the wall within each timeline. With little dialog, the focus is on the various groups of the army, air force, and civilians. The stylistic film reminds me of photo/video journalism. Dunkirk demonstrates that an emotionally satisfying experience can be delivered without conventional storytelling. In many ways Norma Desmond would be proud of Nolan’s film because “[he] didn’t need dialog, [he] had faces.” Dunkirk invites audiences in for a rare glimpse into the reality of war, and the reality of not only the armed forces but the civilian assistance that truly made the difference and just why this particular war story is so remarkable. Be sure to brush up on your knowledge of the events of Dunkirk before watching the film. You’re definitely going to need to have a base of knowledge of the theatre before becoming the proverbial fly on the wall.

Instead of a plot synopsis, here is what Wikipedia has as a summary of the history of Dunkirk Evacuation. This is definitely going to be helpful prior to watching the film.

During the Second World War (1939–1945), in the May 1940 Battle of France, the British Expeditionary Force (BEF) in France aiding the French, was cut off from the rest of the French Army by the German advance. Encircled by the Germans they retreated to the area around the port of Dunkirk. For years, it was assumed that Adolf Hitler ordered the German Army to stop the attack, favouring bombardment by the Luftwaffe. However, according to the Official War Diary of Army Group A, its commander, Generaloberst Gerd von Rundstedt, ordered the halt. Hitler merely validated the order several hours after the fact. This lull in the action gave the British a few days to evacuate by sea and fortify defences. Winston Churchill, the British Prime Minister, ordered any ship or boat available, large or small, to collect the stranded soldiers. 338,226 men (including 123,000 French soldiers) were evacuated – the miracle of Dunkirk, as Churchill called it. It took over 900 vessels to evacuate the Allied forces and although over two-thirds of those rescued embarked via the harbour, almost 100,000 were taken off the beaches. More than 40,000 vehicles as well as massive amounts of other military equipment and supplies were left behind, their value being less than that of trained fighting men. The British evacuation of Dunkirk through the English Channel was codenamed Operation Dynamo. Forty thousand Allied soldiers (some who carried on fighting after the official evacuation) were captured or forced to make their own way home through a variety of routes including via neutral Spain.

If you are approaching Dunkirk from a desire to see a Saving Private Ryan, then you may want to rethink going to see this film. With little convention in the storytelling, this film puts you on the beach, in the air, or on the sea alongside the civilians, pilots, soldiers, and officers. The focus is not on the characters, special effects, or the bloody atrocities of war, but focussed on highlighting a significant event in WWII history that has largely gone unknown except for those in France and the UK. You are very much like a journalist who is capturing the imagery with your camera. It’s a snapshot of war, not necessarily the story of war. War history buffs, this IS a film for you!

“It Comes at Night” movie review

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The Doore of Red Death. A24’s highly anticipated horror film It Comes at Night by writer-director Trey Edward Shults looks beautiful and beckons for attention, but fails to live up to the storytelling and payoff of A24’s The Green Room. Another A24 film in the vein of It Comes at Night is 2016’s The Witch, which was ultimately a failed attempt to capture the magic of a horror/mystery film and leave audiences with too many unanswered questions. The only “terrifying ambiguity” (to quote The Huffington Post), in this film, is just how terrifying it is to realize you just dropped money on a film that works better for Netflix, and the ambiguity comes from the plethora of underdeveloped plot elements. Essentially, It Comes at Night reminds me of a bad M. Night Shyamalan film (before he made his outstanding comeback with The Visit and Split) and after the successes of The Sixth Sense and Lady in the Water. Like the aforementioned era of ehh Shyamalan films, the wind up is excellent but the delivery lacks any emotional impact and you’re left with realizing that you never truly cared about any one of the characters. Character development is lacking, and the third act is incredibly weak. However, there is something in particular that I find very interesting; and after reading other reviews, it seems to be something that has escaped most (if not all) the critics at this point. That is the striking similarities between this film and the timeless classic short story The Masque of Red Death by the brilliant Edgar Allan Poe. From the painting on the walls of the house depicting the bubonic plague to the ominous red door, there are quite a few parallels between It Comes at Night and The Masque of Red Death.

Nestled deep in the woods is a secluded boarded up house belonging to a family of three seeking refuge from an unknown threat. Whatever has caused this family to live off the grid and fend for their very survival is tasteless and odorless. Forced to wear gas masks whenever venturing out into the woods and even around their own home, the family is forced to take drastic measures to ensure there ability to avoid coming into direct contact with the disease. With only now way in or out of the house guarded by a red door, the family has stopped at nothing to protect themselves. One night, the family’s house is broken into and they must decide what to do with the man and his family. Having dispensed with courteousness and generosity in order to guard against any and all possible threats, the family must decide whether to listen to the man or kill him right then and there. Their decision will spark a fire that spreads into their deepest fears.

*spoiler alert* But, the analysis is fascinating.

Okay, now I know that the preceding paragraph describes what should be a brilliant horror film, but the problem lies in the greatly flawed poor storytelling, development, and realization. Lack of connection to any one of the characters is also partly responsible for the lackluster experience of watching this horror-thriller with a hint of mystery and dystopia. The only saving grace the film has is the connection to elements of Poe’s Masque of Red Death. For starters, the camera draws the audience’s (and diegetic POV) attention to a painting of a depiction of the bubonic plague (or black death). At first, I was puzzled as to why this painting. Then as I go through the movie, I realize why. Between the constant reference to and runtime spent on talking about and showing the red door, it hit me that this film reimagined Poe’s short story and set it in a dystopian or post-apocalyptic time and place. If you are unfamiliar with The Masque of Red Death, then I encourage you to read it or watch it on YouTube. It is allegory on the inevitability of death no matter how  hard you protect yourself, how much money you have, or how powerful you are. It also contains allusions to the seven deadly sins and the fate of those who party in the wake of mass death among a lower class of people. Although I find the short short to be a stronger narrative than Shults’ variation on this reimagination of the classic tale.

Both the short story and this film contain people hiding out in a fortress. Whereas The Masque of Red Death‘s Prince Prospero is held up ins abbey with his wealthy and noble friends while the red death is killing off the rest of the kingdom, A24’s It Comes at Night features a typical American family living off the land and secured in their rather tutor-looking mountain lodge. Like in Red Death, the family in It Comes receives an uninvited guest one night. Here’s where we see some difference. In Poe’s story, the guest is dressed to attend the masquerade ball and in this film, the guest attempts to break into the home. Although both stories take different approaches to the second act, once thing is in common. And that is the taking in of an outsider. All through the second act, there are hints at something not being right–a constant uneasiness. That apprehension and anxiety regarding the unknown works in the respective stories favors. The emotional impact and psychological payoff differs between the short story and film. Yes, the endings are very similar but feel incredibly different. You’ll just have to read The Masque of Red Death and watch It Comes at Night to know for yourself.

If you’re searching for a thriller to watch this weekend, as it is rain in many parts of the country, then perhaps you should watch Universal Pictures’ The Mummy instead. However, if you are curious about how well It Comes at Night parallels Poe’s short story, this definitely check it out. Not entirely sure why it’s rated R, but in case that’s important to you. To quote Dr. Ian Malcolm, “well, there it is.”

“Pirates of the Caribbean: Dead Men Tell No Tales” movie review

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Of all the tales that the depths of the ocean contain, this one is quite shallow. Disney’s latest installment in the swashbuckling franchise Pirates of the Caribbean: Dead Men Tell no Tales proves that neither changing directors, writers, nor the inclusion of an undead Javier Bardem, can bail enough water out of a sinking ship. No doubt the next chapter in the life and times of Jack Sparrow was one to be anticipated by fans, but sadly the writing was not strong or developed enough to carry the waning film series. This film reminds me of the Child’s Play franchise. What??? That is likely what you’re saying. But hear me out. After the first two Chucky films, the studio realized that the series was not working as a hard horror film, so the studio went the camp route and capitalized on the ridiculousness of the characters and the situations. Dead Men Tell No Tales contains many camp elements such as completely ludicrous antics and escapes that are even too much for a Mission Impossible movie. Although there is an attempt at some closure between characters at the end of the film, it plays out as forced and on-the-nose. Still, there are moments that will mildly tug at your heartstrings during the showdown, but it’s not enough to add any dimension to this flat tale. One thing that this Pirates movie has going for it is the impressive visual effects. Both the editing and score are pretty outstanding, and certainly add to the experience of the film. However, if you watch the movie in 3D, as I did because there wasn’t a 2D option at the earliest showing, some of the magic of the undead pirates will be lost due to noticeability of editing. Over all, Disney’s Pirates of the Caribbean: Dead Men Tell No Tales is a great popcorn movie and a fun one to watch with friends or the family. Be sure to stay after the credits for a sneak peek at the next (and hopefully last) one.

Return to the swashbuckling world of the franchise inspired by the iconic Pirates of the Caribbean attraction at Disney Parks! Many years after the encounter with Davy Jones, Jack Sparrow (Depp) is being sought out by a young Henry Turner (Brenton Thwaites)–yes, that Turner. After witnessing his entire ship’s compliment slaughtered by ghost pirates led by Captain Salazar (Bardem), Turner is even more determined to find Captain Jack. Unbeknownst to Turner, Jack Sparrow’s fortune is not what it used to be. With his luck turned sour, Sparrow is captured and Turner must free him if the ghost pirates are to be stopped and the curse of Davy Jones lifted. By sheer happenstance, Sparrow is sentenced to die alongside an accused witch named Carina (Kaya Scodelario). If that wasn’t bad enough, Captain Barbosa (Rush) has been cornered by Salazar into leading him to Sparrow as well. Other than a need to find Jack, Turner, Salazar, and Carina all share a common interest in locating the trident of Poseidon. That trident is the key to unlocking the power of the ocean and breaking curses.

Like so many franchises that have come before, Disney’s Pirates of the Caribbean appears to have suffered the same fate. Although this can’t be said of every franchise, the area that fairly consistently fails to deliver is strong writing inclusive of plot and character development. Often times it seems that story is exchanged for merchandising, impressive visual effects, or pandering in longstanding franchises. After an outstanding opening sequence that instantly hooks you, the rest of the movie just plays out so paint-by-the-numbers that it becomes nearly predictable and lacks any real substance. Sometimes franchises fall into the trap of realizing that it can no longer take itself seriously and allows the camp factor to increase significantly. That is the one word that pretty much sums up this film: camp. Whether you are talking the perpetually drunk Jack Sparrow (yes, even more than usual), unbelievable escapes that defy all logic and past precedents set is previous films, or the supernatural playing off more as a joke than a serious plot device, there are many elements in this film that attempt to cover up poor writing by going for the flash in a pan approach.

One of the down sides to the recent Guardians of the Galaxy I found was the film only focusing on Acts I and III, leaving out the chunk of story development typically found in Act II. By the same token, Dead Men Tell No Tales spends most of the time in Act II, leaving Act I and again Act III to be rushed through. The common variable in both scenarios is a weak third act. To explain where I feel that this movie should have ended and the next one begin would give away a plot spoiler, so I won’t mention it. However, there is a place in this film in which there is a great opportunity to end this story on a high note of anticipation of what is to come but it just rushes through the rest of the story. Had more time been spent on developing a solid story, then this Pirates movie would definitely have turned out much better. Sadly, it seems like more time was spent in post-production and scoring the film. Certainly, the talent behind the lead characters is excellent. Perhaps the writing is poor and the screenplay was weak, but with a lead cast of Depp, Rush, and Bardem, the movie is fun to watch. And sometimes that’s all you want–a good popcorn movie.

If you ARE looking for a good popcorn movie to watch with your family or friends over the holiday weekend, then checkout Disney’s Pirates of the Caribbean: Dead Men Tell No Tales. Can’t promise that you will enjoy the story as much as the original, but you’ll still have a good time. Perhaps the sequel to this film will be stronger and pick up where this one failed to deliver.

Written by R.L. Terry

Edited by J.M. Wead

“Alien: Covenant” movie review

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Alien: Covenant returns to its roots in horror. In 1979, Ridley Scott convinced audiences around the world that “in space, no one can hear you scream.” And the newest film in the line of prequels leading up to the terrifying events aboard the Nostromo, attempts to make up for the rejection of 2012’s Prometheus as a true prequel to Alien. Fortunately for fans of the franchise, Alien: Covenant is mostly successful at delivering what audiences loved about the original and missed in the subsequent Cameron and Fincher movies–the trademark horror of the xenomorph and facegrabbers. Starting off like Prometheus and finishing more like the original Alien, the newest film in the nearly 40-year-old franchise will have you screaming, cringing, and completely immersed in blood-curdling terror. That is, until you realize that only some questions from Prometheus are answered, and all new questions about events in this movie are generated and left unanswered. That appears to be Ridley Scott’s Achilles heal: always leaving more questions unanswered than providing closure or exposition, thus prohibiting the movie from being as great as it certainly had the potential to be. With one more film between this current installment and 1979’s Alien, perhaps there will be far fewer unanswered questions and provide the history for which fans are looking.

On a colonization mission, the complement of the Covenant is traveling into deep space towards a new planet that earth’s humans hope to make a new home. After encountering some severe spacial turbulence enroute to the destination, the crew of the Covenant intercept a transmission from an uncharted planet that, according to the sensors, appears to be a complete paradise. After some deliberation, it’s decided to head for this new planet. Most of the time, when something is too good to be true, it usually is. Led by the new captain Oram (Crudup) and first officer Daniels (Waterson). After an attack from an alien species, the crew is rescued by David (Fassbender), a synthetic android-like human, who is the only remaining survivor of the Prometheus expedition from some years earlier. Unbeknonst to the crew and scientists of the Covenant, they are about to come face to face with the most terrifying nightmare imaginable–make that–an unimaginable fight for survival when paradise turns to hell.

One of the first technical elements that fans of Alien will notice is the opening title sequence. It is reminiscent of the manner in which the opening credits and title of the original were revealed in the emptiness of space on screen. I appreciated this homage to the original because it set me up to prepare for an Alien movie and not a second Prometheus. Perhaps that does not seem important to non-fans; but to make a long story short, while Scott was in the conceptual phase of a sequel to Prometheus (prequel to Alien), he was told by the studio that audiences didn’t want another Prometheus–they wanted Ridley Scott’s Alien. And now the rest is history. In order to best understand the flaws of Alien: Covenant it’s necessary to understand the similar flaws of Prometheus. One of the many diegetic and technical problems with Prometheus was the fact that there was little direct connection to Alien and it felt like a whole new franchise and not an extension of the original. This lack of connection is best represented by the number of unanswered questions dwarfing the answered ones. Essentially, audiences only learned about David’s origin and, to a lesser extent, why that particular planet. But enough about Prometheus, we are here to talk Alien: Covenant.

Although vastly improved, Covenant also leaves audiences with many unanswered questions; albeit, it is successful at making up for many of the diegetic flaws of the preceding film. To get into the questions would reveal too much about the film and perhaps hint at some spoilers, so I won’t go into specifics. But enough about the flaws of this otherwise exciting and well-produced film–just know that the writing is weak but hopefully will be better in the next installment. The most impressive elements of the movie are related to the cinematography, editing, and visual effects. From the sweeping landscape shots to intimate closeups of the xenomorph and its victims, Covenant is absolutely visually stunning. There is even a mild romantic encounter between David and a member of the Covenant crew that was shot incredibly well and strategically placed in the narrative. Where the story is weak, Scott makes up for in creating an impressive cinematic experience for long-time and new fans alike. There are even shot sequences that are taken directly out of Alien. Often times, I am extremely critical of computer-generated effects and characters versus practical effects and animatronics–and for good reason–nothing can replace the way real light bounces off real objects and is really captured by the glass lenses on a camera. Furthermore, it’s rare that a character react in genuine fear to an object, villain, or murderous alien that is not really present on set. However, the combination of CGI and practical effects in Covenant is breathtaking and convincingly real. You will almost feel the facegrabber latching onto you and the xenomorph’s wet acid-breath on your skin.

Aside from the unanswered questions still residing in the minds of those who have seen the film, Covenant fails to live up to Alien in another rather conspicuous way. For everything that this film did right and make up for (in respect to Prometheus), it lacked any memorable crew members–more specifically–this film differs from Alien by not developing Dani(els) to be the strong female character that she had the potential to be. Dani could have been Covenant‘s answer to Sigourney Weaver’s Ripley in Alien. One of the diegetic elements that is most talked about and is often the topic of horror film humanities classes is the breaking of gender roles and heteronormative expectations by Ripley in Alien. Perhaps that is why Alien is almost avant-garde in the cinematic experience whereas Covenant is impressive but does not typify the art of cinematic storytelling nor contributes to groundbreaking character-types. Beyond strong female lead, the film simply fails to leave the audience with any one memorable character period. No one will be talking about any one particular character years from now. Both the unanswered questions and the lack of memorable significant characters can be traced by to one root cause: flawed writing.

If you loved the original Alien, then you will mostly enjoy Alien: Covenant. The experience is equally terrifying as it is beautiful. Whether you have seen Prometheus or not will not affect your enjoyment factor in this film. If you have seen Prometheus, then I would suggest watching the Ridley Scott short film The Crossing because it ties Prometheus to Alien: Covenant. Think of it as an extended prologue. This short film helps audiences to make the connection between the two films in hopes that it does answer some otherwise unexplained circumstances and events. After watching this film, I have an urge to rewatch the original in order to begin making those direct connections between this one and Alien. With one more film to release to finalize the events between Prometheus and Alien, I am eager to have my remaining questions answered. Bottom line: Alien: Covenant demonstrates Scott’s newfound commitment to return audiences to the space horror that makes the original so iconic.