Now You See Me review

Courtesy of Lionsgate/Summit

Now You See Me
Directed by Louis Leterrier 
Written by Ed Solomon, Boaz Yakin, and Edward Ricourt
Stars Jesse Eisenberg, Woody Harrelson, Isla Fisher, Dave Franco, Mark Ruffalo, Melanie Laurent, Morgan Freeman, and Michael Caine
MPAA: Rated PG-13 for language, some action and sexual content
A Summit/Lionsgate Release

*1/2 (out of four)

"Look closely, because the closer you think you are, the less you'll actually see."

Courtesy of Lionsgate/Summit

This is the tagline for Louis Leterrier's magician heist flick Now You See Me, and they're not wrong. When you stop and think about this film, you'll realize that you are not close to it at all, because the talented cast are not giving performances, only on-the-nose lines of dialogue to move the plot from point A to point B. Even if you don't see the twist coming, you'll be more numb than wowed when it arrives.

Four street magicians (Jesse Eisenberg, Woody Harrelson, Isla Fisher, and Dave Franco) are brought together by a mysterious group known as "The Eye" to perform the ultimate illusion. On the way, however, their grand shows involve robbing banks and giving money to the crowd. This not only irks a hot-headed FBI agent (Mark Ruffalo) and a magic-believing Interpol agent (Melanie Laurent), but also a former magician (Morgan Freeman) who makes a fortune on his Ancient Aliens-type show where he exposes magicians and their faulty tricks.

Courtesy of Lionsgate/Summit

Are you with me? It's okay if you're not, because I wasn't after the first ten minutes. It bums me out when I have to look at a film with such a talented ensemble cast and have to worry that it won't be good. Premise-based Hollywood pictures with ensemble casts don't tend to succeed (save for the rarities like Soderbergh's Ocean's Eleven) because with too many people they pay more attention to moving the plot around than an actual rapport with the cast. In those first ten minutes, our four magicians build a nice little back-and-forth, but they're hardly on screen. We get more screen time with Ruffalo and Laurent, who couldn't be more flat characters if they tried, and the fact that they try to throw in a romance between them is just pitiful.

Even old pros Morgan Freeman and Michael Caine, as the magicians' promoter, cannot weave past the expository dialogue and ludicrous plot twists. With Eisenberg and Harrelson, I was hoping for a fun Zombieland reunion. I didn't get it. I was hoping that Fisher would build upon the comic talent she flaunted in Wedding Crashers. She doesn't. I was hoping that Ruffalo and Laurent would give more depth like in their roles in Zodiac and Inglourious Basterds, respectfully, than phoning it in for a quick paycheck. They don't.

Courtesy of Lionsgate/Summit

It could have been a hell of recession-era tale using magic as a fun twist, but even the sociopolitical commentary about greed in big corporations is lost because the four magicians are just as greedy as those they're taking down. At one point, Harrelson even says "I'm only in it for the pot of gold at the end of the rainbow." Talk about barking falling on deaf ears. I should have known that Leterrier, the over-kinetic filmmaker of the first two Transporter films and the dreadful Clash of the Titans remake, would not be subtle enough to deliver anything more than a rush. There's even a lengthy hand-to-hand combat scene followed by a car chase. Yawn!  My buddy leaned into me and said "I feel like I'm watching The Bourne Identity." Too true. Now You See Me is a textbook case of "star-studded crap," and the extra half-star for this review is for the fact that - no matter how idiotic they are - all the twists come together nicely without any holes. Not an easy feat in this type of film. Problem is you won't care when it gets to that point. Now You See Me's biggest trick is going to be trying to make money disappear from your wallets. Don't be fooled.

Star Trek Into Darkness review

Courtesy of Paramount Pictures

Star Trek Into Darkness
Directed by J.J. Abrams
Written by Roberto Orci, Alex Kurtzman, and Damon Lindelof; based on "Star Trek" created by Gene Roddenberry 
Stars Chris Pine, Zachary Quinto, Zoe Saldana, Karl Urban, Simon Pegg, John Cho, Benedict Cumberbatch, Anton Yelchin, Bruce Greenwood, Alice Eve
MPAA: Rated PG-13 for intense sequences of sci-fi action and violence
A Paramount Pictures Release

***1/2 (out of four)

The gauntlet for Summer 2013 has finally been thrown. Star Trek Into Darkness - J.J. Abrams' follow-up to his 2009 origin story and one of the best Trek films period - has finally arrived, and dares the rest of the summer epics to step up their game. Like its predecessor, Into Darkness pays its respect to the foundation built by Gene Roddenberry while creating a fresh new take all of its own.

Courtesy of Paramount Pictures

The terrific ensemble cast returns, with Chris Pine front-and-center as Capt. James T. Kirk, whose rule-breaking decisions are getting him in trouble with Admiral Pike (Bruce Greenwood) and questioned by his logic-led second-in-command Spock (Zachary Quinto). Greater than Kirk's arrogance, however, is a new threat to Starfleet in the form of John Harrison (Sherlock's Bennedict Cumberbatch), a one-man army who attacks Starfleet directly and flees to a remote Klingon planet. Kirk, in vendetta mode, requests to take the Enterprise crew up to take him out.

There's plot twists that those only familiar with Abrams' new vision won't understand, but faithful to a legion of Trekkies who may be reading, I'll stop the plot summary for any more would approach spoiler territory. Abrams and his new Trek film succeeds where Iron Man 3 failed: grounding the spectacle in real human (or Vulcan) emotion. Pine is once again outstanding as Kirk, who will break any rule, big or small, to guarantee the safety of his crew. Possibly even more impressive is Quinto as Spock, who nails the task of balancing the raging human emotions and Vulcan logic that boil inside him. While the relationship between Kirk and Spock is laughably bromantic at times, Abrams and screenwriters Alex Kurtzman and Roberto Orci (his Fringe co-creators) and Damon Lindelof (his Lost co-creator) never forget to make us feel for them at every turn.

Courtesy of Paramount Pictures

Same goes for the rest of the cast. Karl Urban does gruff that would do DeForest Kelley proud as Dr. "Bones" McCoy. Just wait for his "Dammit, Jim" moment. Just wonderful. The great Simon Pegg gets major laughs as engineer Scotty, and John Cho shows some raging flair as helmsman Sulu. Zoe Saldana is great as always as Uhura, but the relationship between her and Spock takes a backseat to his relationship with Kirk, which is one of the film's only flaws. What's not a flaw, and that I can't stop raving about, is the cheerfully venomous performance by Cumberbatch as the villain whose slow-burn and ability to talk circles around everyone will earn him a spot as one of the best Trek villains of all-time.

The respect for the series is evident throughout the entire film. The events are timely to what's going on in the world today, and the face-off between starships are more a battle of wits than a battle of brawn. Don't think Abrams doesn't skimp on the spectacle, though. There's more than a few moments worthy of a "wow," none more worthy than the attack of the U.S.S. Enterprise (hope that's not a spoiler, it's in the trailers/poster). Spectacle, real feeling, wonderful sense of humor, and great performances as the cogs that make this sleek vehicle turn. What more can you want in summer? What Abrams and Co. is doing with this franchise has me looking forward to the next voyage, and if we keep getting Trek films of this caliber, then may this series live long and prosper.

Fast & Furious 6 review

Courtesy of Universal Pictures

Fast & Furious 6
Directed by Justin Lin
Written by Chris Morgan; based on characters created by Gary Scott Thompson
Stars Vin Diesel, Paul Walker, Dwayne Johnson, Michelle Rodriguez, Jordana Brewster, Tyrese Gibson, Chris "Ludacris" Bridges, Sung Kang, Luke Evans, Gina Carano
MPAA: Rated PG-13 for intense sequences of violence and action and mayhem throughout, some sexuality and language 
A Universal Pictures Release

*** (out of four)

Fast & Furious 6 is something of a rare bird: a sixth entry into a franchise that is actually good. Wait, scratch that, Fast 6 is even rarer than that: a sixth entry into a franchise that is the best of the lot. Say what? How can a decade-old franchise centered around underground street car racing keep roaring strong without running out of gas?

Courtesy of Universal Pictures

I thought it had, which is why Fast 6 and its immediate predecessor - Fast Five - made such a surprise impact. The first Fast & the Furious film in 2001 - essentially Point Break with street cars - embraced its campy, B-movie spirit and became a sleeper hit, which Universal thought they could squeeze a franchise out of. It worked for film number two - 2 Fast 2 Furious - even without leading man Vin Diesel. While the film was a hit, it was also an incredible bore, and though Tyrese Gibson and Ludaris gave it their all, they cannot counteract the bland that is Paul Walker, nor the asinine plot.

Then, the film's third entry - colon Tokyo Drift - was made even without Walker, and featured only a brief cameo from Diesel. Without its leading men, Drift became the lowest-grossing entry in the franchise, and Universal decided it was time to reignite it, which brings us to 2009's Fast & Furious, which brought back Diesel, Walker, Michelle Rodriguez, and Jordana Brewster. It opened to an eye-popping $70 million (a big debut for April), but faded fast. Why? Because it was the worst one besides Tokyo Drift, also containing a ridiculous plot line, wooden acting, and clunky action sequences.

Courtesy of Universal Pictures

I realize that I keep dissing the bombastic plots and hollow acting in these films. In reality, they all have that, but where two, three, and four falter is that they are practically humorless and expect us to take this material seriously. Universal knew that just bringing the original cast back wasn't going to work again, so, they took a different approach. They brought back every main player from each film, brought in Dwayne "The Rock" Johnson for new-age appeal, embraced the horrible plot lines, peppered the film with hilarious banter, and turned it into a blue-collar Ocean's Eleven heist flick, and the final outcome was Fast Five, the franchise's highest-grossing (over $200 million domestically) and most critically-acclaimed (78% Certified Fresh on Rotten Tomatoes) entry yet. Obviously, a sequel was inevitable, and I doubted that lightning could strike twice for the Fast & the Furious franchise, but I was quickly proved incorrect, for Fast 6 improves on its immediate predecessor with even more humorous banter, a sustainable plot, and self-knowingly ridiculous (but creative) set pieces.

The film picks up where Fast Five left off. Dominic Toretto (Diesel) and Bryan O'Conner (Walker) are racing along the coast of Spain to make it in time to witness Toretto's sister, and O'Conner's girlfriend, Mia (Brewster), give birth to her and Bryan's child. Cut to Britain, where Agent Hobbs (Johnson) and a new team member, Riley (Haywire's Gina Carano), discover a successful heist by an international arms, drugs, and car smuggler, Owen Shaw (Luke Evans). In order to take down Shaw, Hobbs enlists Toretto and his crew to aid in the capture of Shaw. In order to convince Dom, Hobbs has security footage from a week prior that depicts Letty (Michelle Rodriguez), Dom's love who allegedly died in part four.

Courtesy of Universal Pictures

The gang from Fast Five is all back, and I say the more the merrier. Tyerese and Ludacris are easily the highlights on the comic front, and even Johnson lights up a bit and delivers some humorous moments. As always, the set pieces defy the laws of physics, but they keep coming up with new, creative (albeit shamelessly bombastic) ways to keep the car chases interesting. The final chase that takes place on an airport runway defines white-knuckler.

While story and character don't count for much in these types of films, it's nice to see when a series like this at least tries to give a reason for existence. The moments between Dom and Letty are unabashedly sentimental, sometimes corny, but it gives the film some sort of anchor. Evans is very entertaining as the villainous shaw, something this series definitely needed. He and Carano are certainly welcome newcomers, as Carano, as always, kicks some major butt.

I only have a few nitpicks at this otherwise flawlessly-entertaining vehicle. Letty is given amnesia, which I feel is a cheap plot device (a la Harry Osborn getting it in Spider-Man 3), but in a film where plot is fairly irrelevant, it's okay. Some of the hand-to-hand fight scenes, even for being over-the-top, are preposterous, especially when it looks like Diesel and Johnson are flying like Superman. Speaking of Johnson, and while he does do solid work here, it is distracting that he seems to be a walking billboard for Under Armour. I'm about 90% sure he wears the same outfits that he did to the set of G.I. Joe: Retaliation.

Courtesy of Universal Pictures

But, back to the positives, Fast 6 also delivers crisp, coherent, and creative action sequences, which is always welcome. On top of that, the film, like its predecessor, is a throwback to the entertaining action films of the 80's and 90's where plenty of one-liners are traded and the film knows not to take itself too seriously. I've always wondered why action movies nowadays are so self-serious, but thank God there are films like Fast 6 to restore faith in what action films should be all about. And, in a summer where franchises are feeling fatigued (Iron Man 3, anyone?), it's nice to see a sleek, funny, and roaring sequel ready to deliver solid popcorn entertainment. Fast 6 is your ticket to pure fun. Step right up.

The Great Gatsby review

Courtesy of Warner Bros. Pictures

The Great Gatsby 
Directed by Baz Luhrmann 
Written by Baz Luhrmann and Craig Pearce; based on the novel by F. Scott Fitzgerald 
Stars Leonardo DiCaprio, Tobey Maguire, Carey Mulligan, Joel Edgerton, Isla Fisher, Jason Clarke, Elizabeth Debicki 
MPAA: Rated PG-13 for some violent images, sexual content, smoking, partying and brief language 
A Warner Bros. Pictures Release

*** (out of four)

"You can't repeat the past? Why, of course you can." Early reviews are siding with Mr. Jay Gatsby, meaning they're saying Baz Luhrmann's take on F. Scott Fitzgerald's universally-loved masterpiece, like the adaptations before it, is underwhelming. Regal Cinemas have been showing trailers for The Great Gatsby that includes interviews from the cast and director Luhrmann, who said "Everyone has their own version of The Great Gatsby in their minds." He's absolutely right, and that is why there will be people who come out of this film unenthusiastically. However, the material fits Luhrmann like a glove, for he, like the novel's title character, is a master showman who resorts to big, elaborate spectacle to tell a story.

Courtesy of Warner Bros. Pictures

And that story is faithful to Fitzgerald's language, so faithful, in fact, that it carries the only flaw that the book has. But more on that later. You know the story: New York in the "Roaring Twenties." The economy was booming, and the ban on liquor backfired, and everyone was looking to stake their claim. One of those somebodies is Nick Carraway (Tobey Maguire), a midwestern World War I veteran who attempts to sell bonds. His connection in New York is his cousin, Daisy (Carey Mulligan), who's married to a wealthy man named Tom Buchanan (Joel Edgerton), who has a mistress named Myrtle Wilson (Isla Fisher) whom he constantly visits.

Nick's next-door neighbor is a man named Gatsby (Leonardo DiCaprio), a mysterious man who throws parties so large that all of New York shows up uninvited. Nick, however, is the only person who receives an invitation to one of the parties, and instantly takes a liking and fascination to Gatsby, listening to stories of this honorable war hero and self-made businessman. Though, through all the parties, all the booze, and all the money, only one thing has remained on Gatsby's mind: his love for Daisy Buchanan.

Courtesy of Warner Bros. Pictures

While the film's ending omits a few details from the book, it still captures the gist of Fitzgerald's themes of tragic love and the moral decline that comes with money and power whom one is not used to having. While Luhrmann's spectacle - especially the parties at the Gatsby mansion - is a sight to behold, it occasionally undermines the drama and provokes moments of unintentionally hilarity. For example, there's a scene where Gatsby, Nick, and Daisy are the only ones dancing in Gatsby's ballrooms, and there's easily over a hundred candles lit for absolutely no reason.

However, what stays grounded is the two lead performances. DiCaprio has top-billing as the title character, and no one plays a tragic romantic better (Romeo + Juliet, Titanic, Shutter Island, Inception, J. Edgar), but, like the book, the story's main character is Nick, who Maguire plays to perfection as an observing outcast to the parties, corruption, and debauchery. The other standout is relative newcomer Elizabeth Debicki, who is perfect (and gives the film some subtlety) as Jordan Baker, a pro golfer who takes an interest to Nick who basically gives no interest back.

Carey Mulligan and Joel Edgerton are fine actors, and they do just fine as Daisy and Tom, respectively, but because Daisy is a damsel in distress of sorts and Tom is a fairly flat character, they come up a bit short compared to the others. While there is a love between Gatsby and Daisy, the heart of the tale is two men - one successful and one not so much - who remain hopeful and uncynical in a world of moral decay.

Courtesy of Warner Bros. Pictures

As for the film's major flaw, it shares that with the book, and that is that the first half zips along at breakneck pace. Unfortunately, when it reaches the midway point and the wall that surrounds Gatsby's mystery starts to be broken down, the pace slows down drastically, as the dramatic heft is saved for the second half. Luckily, Luhrmann and the actors are able to maintain our rooting interest. It's not necessary to rush out and see the film in 3D, but it does provide some impressive depth rather than shove stuff in your face. Simon Duggan's digital cinematography is mostly admiral, except for a few moments where it's obvious that the camera's ISO was turned way up, which gives those moments a hard-to-ignore graininess.

The Great Gatsby certainly isn't a perfect adaptation, but maybe it's because it's not the movie the plays in my head when I read Fitzgerald's novel. The movie is occasionally bombastic, and too long at 143 minutes, but it's sure to clean up the Costume Design and Art Direction Academy Awards. Subtle it is not, but true to Fitzgerald's themes and peppered with solid performances and some breathtaking moments it is. Gatsby is clearly Oscar-bait, and the Academy probably won't bite in the above-the-line categories, but approaching this film as a summer blockbuster for adults, I say sit back and enjoy, old sport.

Mud review

Courtesy of Roadside Attractions

Mud
Written and Directed by Jeff Nichols 
Stars Matthew McConaughey, Tye Sheridan, Jacob Lofland, Reese Witherspoon, Sam Shepard
MPAA: Rated PG-13 for some violence, sexual references, language, thematic elements and smoking
A Lionsgate Films/Roadside Attractions Release 

**** (out of four)

It surprised (and delighted) me at first when I found out that Mud - the latest film from the skillful Jeff Nichols (Shotgun Stories, Take Shelter) - was rolling out in over 300 theaters its opening weekend. A buzz-worthy film of this type generally opens in a platform release in four theaters in New York and Los Angeles and then slowly builds momentum. After seeing this beauty of a film, it's easy to see why they took the gamble. Nichols, a Twain-inspired, Arkansas-born filmmaker who has recently blasted Hollywood for their stereotpyical portrayal of the South, has crafted a film that has a little bit of everything, and successfully blends them together. A coming-of-age tale with a modern-day Tom Sawyer and Huck Finn, brimming with humor, romance, mystery, and suspense.

Courtesy of Roadside Attractions

Newcomers Tye Sheridan (The Tree of Life) and Jacob Lofland (in his film debut) are stellar as Ellis and Neckbone, two Arkansas teenagers exploring and staking their claims of whatever treasures flow down the river. They head to an island just across the river to claim their latest find: a boat that is stuck up in a tree from a high flood. When they climb up into the boat, however, they find fresh groceries, discovering that someone is living in the boat.

That someone is Mud (Matthew McConaughey), a tanned, tatted drifter who is on the run for a crime he his committed to protect the love of his life, Juniper (Reese Witherspoon). Mud relies on two things for protection: his shirt and his handgun. In exchange for helping him get the boat out of the tree and act as his liaison to the real world, and provide connection to Juniper, he will give them the handgun.

Courtesy of Roadside Attractions

Ultimately, Mud is about love, what it feels like to be in love, what you would do for the person you love, and the isolation one feels when the mutual feelings of love disintegrates. Mud has followed Juniper all his life, out of love, even when she doesn't return it. Ellis' parents (Sarah Paulson and Ray McKinnon) are falling out of love, and hope that Ellis will be the glue that keeps them together. Ellis also has feelings for a high schooler (Bonnie Sturdivant) that are as strong as Mud's for Juniper, which gives them a spiritual connection as lost boys still finding their way.

Mud pays careful attention to the relationship details, be it love, or family. Mud's father figure (Sam Shepard) disapproves of his obsession with Juniper, whereas Neckbone's uncle (Nichols regular Michael Shannon) warns Ellis that he looks up to him, and to not get him in trouble. I hope I'm not giving too much away, for I don't want to ruin the many gifts that Mud has to offer. As with Nichols' other directorial efforts, he doesn't rely on gimmicks, no flashy visual style, just an honest story about Southern life that tells itself.

Courtesy of Roadside Attractions 

In addition to Nichols' script of bone-deep honesty and gorgeous cinematography from Adam Stone, the performances rival those in The Place Beyond the Pines to take this year's top honor so far. McConaughey continues his winning streak as the wandering, lovelorn title character, giving a depth and vulnerability that I knew he was capable of, but have never truly seen until now. If there isn't an Oscar nomination at the beginning of next year, I will be sorely disappointed. Sheridan and Lofland should have very long careers ahead of them, for they are terrific as lost boys making their way through a less-than-stellar life. The moments Ellis shares with either of his parents are some of the film's most winning moments, for it's nice to see the parents actually communicating rather than scolding, talking-down, or condescending their children in a film.

Witherspoon, too, gives a fairly quiet, but layered performance as Juniper, who truly loves Mud but knows their life together cannot be nothing more than a fantasy. Sam Shepard is gruff in ways you expect him to be, but there's an unexpected tenderness from Mud's father figure. Mud runs for a dense 130 minutes, and feels it, but watching this beauty unfold is part of the experience. Nichols isn't worried about politics, social commentary, or cynicism towards any particular subject. What he merely does is craft an honest, funny, thrilling, and touching film that puts his native Arkansas in a realistic light, and offers a true crowd-pleaser that's impossible to dislike. The summer movie season is about to pummel us with sound and fury, but Mud is a delightful calm within the Hollywood storm.