Snowpiercer (2013/2014)

Director: Joon-ho Bong

Writers: Kelly Masterson and Joon-ho Bong

Starting:

Chris Evans (Cellular)

Jaime Bell (Tintin)

Kang-ho Song 

Luke Pasqualino 

Ewen Bremmer (Jack the Giant Slayer)

Ah-sung Ko

John Hurt (Alien)

Tilda Swinton (Narnia)

Allison Pill (Scott Pilgrim)

Octavia Spencer (The Help)

Ed Harris (Truman Show)

Chris Evans proves his leading man capabilities yet again in Joon-ho Bong's refreshingly strange tube tail. Its The Day After Tomorrow but with balls. The familiar post apocalyptic trope is shaken up and spun out is a new setting allowing for magically kinetic action to be filmed with stellar camera work.

During blistering sequences of intense violence, the camera focuses in on a single motion that leaves you breathless. Luke Pasqualino as the character of Grey was the prominent showcase for Joon-ho's flashy train zooms. All that flair provides the already unique story with visual thrills to match. 

Another atmospheric element brought to the film is the use of color. The plot allows for color to be part of the story. It becomes a character lingering in the background, shifting with every new train car,  a new palette, each one a stark contrast to the bright white snow that surrounds the outside world.  

The ending causes a but of a stir but this is a movie that doesn't play to mainstream sensibilities. It's one of those rare Yes Movies made by people who embrace any and every idea. They display it in a way that defies cliches because of how much the entire team believes in that philosophy of Yes. The destination here felt honest and unyielding. 

Besides, in addition to being a Yes Movie, the Zach Snyder Rule is also in effect. The rule states that all story hiccups can be forgiven if the cinematography, SFX, and stunt are magnificent.

To clarify, I did enjoyed the overall story here. That said, a character or two felt underused, but that's only because the screen time they were given was completely consumed by them and they made a real lasting impression. Luke Pasqualino, as mentioned earlier was phenomenal, as was Jamie Bell's Edgar.  

That compact energy and unflinching action presented here is quite memorable and Snowpiercer holds on strong during its fleshed out runtime. A mature Sci-Fi classic joining the ranks of Moon, Sunshine, Source Code, and Gattaca. 

9 out of 10

Fury (2014)

Written and Directed by David Ayer (Street Kings)
Staring:
Brad Pitt (Fight Club)
Shia LeBeouf (Holes)
Michael Peña (Silver Linings Playbook)
Jon Bernthal (Eastwick)
Logan Lerman (3:10 to Yuma)
Jason Issacs (Harry Potter and the Chamber of Secrets)
Xavier Samuel (New Moon)
Scott Eastwood (Clint Eastwood's Facewrinkle)
Alicia Von Rittberg (Debut)

As much as Logan Lerman can't hold a screen, like Noah earlier this year or 3:10 to Yuma a while back, he sure know how to be the whiner in all the right movies. Fury is a depressingly gruesome tale told with unrelenting honesty by David Ayer, whose track record is spotty at best. Street Kings and Harsh Times were a waste of time and talent, but he did helm End of Watch and write Training Day (neither of which I've seen but whose worth can't be denied by ignorance).

Brad Pitt performs as expected, one review had his performance pegged as a toned down version of his Inglorious Basterds character Lt. Aldo Raine, which is not wrong. But the most memorable stints come from Bernthal and LeBeouf (who apparently was so true to character that he didn't shower during the shoot). Notable names in the cast are peppered throughout the film and, like John Wick, no small role is wasted. In the vein of another Jason-Issacs-cameo war film, Black Hawk Down, it would't be surprising if Eastwood or Samuel went the route of a, lets say, Tom Hardy or Orlando Bloom and use this film as a platform to greater fame.

The details of tank warfare Ayer manages to display is a blistering success. It's ground that hasn't truly been spotlit before. "Best job I ever had," the catchphrase repeated by the characters, holds remarkable power in the hands of the performers and the in the context with which it is delivered. Before now, tanks were slow and fearful, but this film gives them a personality. A soul. Although Ayer focus' only on the tank Fury, it wouldn't have hurt the film to give some spotlight to the other crews and not just their versions of Pitt's character.

The story has tangents which take you away from the action and its fault is that it focus' too much on the moral complexity of its characters. It's not that the scenes with the poorly juxtaposed romance is unbearable to watch, in fact, it has it's emotional high points, it's just that it has no real purpose other than adding something that appeases the audience Logan Lerman brought in. That was a poor decision, we already know that he is the POV for the audience, there is no need to soften his character up that much. That said, the ending, which I won't mention, wasn't unwelcome.

All in all, this is a modern day war classic. The gore is gory, The blood is bloody. And death surrounds you the entire time. Each character is morally compromised and there's enough humor that you don't succumb to depression while watching it. Ayer's success here makes his involvement with DC's Suicide Squad all the more interesting.

8 out of 10.

John Wick (2014)

Director: David Leitch and Chad Stahelski (former Keanu stunt double on The Matrix)

Writer: Derek Kolstad

Starring: 

Keanu Reeves (Bill and Ted's Bogus Journey)

Michael Nyqvist (Mission Impossible: Ghost Protocol)

Lance Reddick (Fringe)

Adrianne Paleki (Supernatural)

Allie Allen (Game of Thrones)

Dean Winters (30 Rock)

John Leguizamo (Mario Brothers)

Bridget Regan (Legend of the Seeker)

Willem Defoe (Spider-Man)

Toby Moore (Legend of the Seeker)

Bridget Moynahan (The Recruit)

Randall Duk Kim (Aka "hey wait a second, is that the Key Maker from the Matrix? Yes it certainly is.")

Take Constantine's style, add in Jack Reacher's fight choreography and mythos, throw in a hint of Thomas Jane's Punisher, and mix in a bit of Gun-kata and you get John Wick.

Keanu proves his lasting power is just as strong as Tom Cruise. He may have very little diversity in his roles, but good golly does he play the part perfectly. In a rare non-sequel, non-adaptation, albeit to some degrees a conventional actioner, the plot of John Wick unexpectedly plunges you deep into a world of assassins and mobsters that spits out one brutal gun fight after another.

First time director Chad Stahelski squeezes every ounce of mayhem and beauty out of each individual shot involving a gun. The motivation of the character himself is handled swiftly and clearly so it doesn't take anything away from what's too come, which is precision violence. The opening is deliberately calm but once the bullets start flying, the real ride commences.

The music thumps throughout setting an appropriate mood. One that's on-edge but confident, like Wick himself. Such a combination of sound and style fuels an exhilaration that builds as the story progresses. 

Another detail they got right was the humor. Characters know each other and they react in a way that tells us something deeper is at play, a history visible through expressions and reactions. Those reactions also catch us off guard to the point that the theatre was downright laughing because each of us got the joke.

The characters felt diverse and whole. Given that there were a healthy amount of characters, the movie's ability to make you care for each one is an achievement. While the main villain, which is only a circumstantial role for this story and whose real role in the world of the film is only hinted at, isn't ruthless, but in this situation he doesn't need to be. The bad guys are helpless and that's the playfulness of the plot. We know who to root for while simultaneously not hating the people who we know don't stand a chance. Then there's also the unresolved history of John Wick himself. For all we know, he may have been the most ruthless villain of all, we just don't see it in the frame of the story. The past that was constructed leaves all these possibilities open and keeps you thinking long after the credits role.

That depth may have been a hindrance for a single film were it not for one key element the movie got right. This is a purpose driven film and that purpose is vengeance. To truly be enjoyed, revenge needs a clear purpose and the vengeance must be satisfyingly delivered. The real triumph of this move, above all its layers, beyond the bloodshed, is the clarity with which we see everything for what it is, the camera work coupled with the tight scope which the story focuses on lets us soak it all in. Yeah there's this whole mythology to explore, but they are telling a specific story in that world.

One last shout out to the blistering cast. So many names and each one delivering a standout performance. No role was wasted. Glad to see Bridget Regan on the screen, too. Many of the best talents from television showing they can hold the big screen and all brought forth by a pristine debut film from Stahelski. 

John Wick is a strong candidate for top film of 2014. Stiff competition from Lego Movie and Edge of Tomorrow still lingers so we just have to see if the adrenaline rush lasts.


10 out of 10

2011: Film Rankings

A fine crop of films this year included these well-received selections that didn't quite reach the upper echelon: 

Tinker, Tailor, Soldier, Spy (Adaptation) 

The Help (Adaptation)

Immortals

Captain America: The First Avenger (Adaptation)

Sucker Punch

Sherlock Holmes: A Game of Shadows Sequel Adaptation)

Goon

Fast Five (Franchise)

The Girl with the Dragon Tattoo (Adaptation)

Moneyball

Rise of the Planet of the Apes (Reboot)

The Artist

Thor (Adaptation)

Midnight in Paris

Warhorse 

Bridesmaids

The Muppets (Reboot)

Horrible Bosses

Super 8

And now for the pyramid's tip, the top 11. 

11. Mission Impossible: Ghost Protocol (Franchise)

Taking the franchise to new heights. 

10. Drive

A gorgeous blend of colors and talent for a unique, taciturn thrill ride. 

9. Hanna

Brutality meets innocence doused in a finely crafted score by The Chemical Brothers. 

8. Limitless

Stylish, simple, and well acted. 

7. The Adjustment Bureau (Adaptation)

Inventive and freeing in its story and direction. 

6. Hugo (Adaptation)

Profound emotional depth for an era of live action children's film that lacks such well executed stories. 

5. 50/50

Immemsely likable and winning performances all around. A striking balance between sorrow and joy.  

4. Attack the Block

Small scale scifi action delivered that gave the world John Boyega. 

3. Source Code

Duncan Jones does it again. 

2. X-Men: First Class (Prequel)

Stunning casting, uplifting score, presented in a totally immersive style by Matthew Vaughn. 

1. Fright Night (Remake)

With an opening theme that sucks you in and David Tennant and at his best, all the pieces fall beautifully in to place. 

The Dawn of Jason Clarke

Anyone who was lucky enough to watch The Chicago Code's lone season on FOX was witness to the powerful and absorbing debut of Jason Clarke in America. 

Early trailers for the show had him tough guying around, but his no name face labeled him to me as the "guy who looks like a serious Matthew Perry." So much so I thought for at least two days that Perry was going dramatic. 

It wasn't the premise of the show that drew me in. I couldn't care less about Chicago cops, (know that because I did, Chicago PD would have some kind of appeal) and in fact, I find procedurals to be a dreary affair. It also wasn't the stars. Clarke was unheard of. I'm not a lesbian nor was I nearing my 40s so Jennifer Beals hadn't the slightest draw. 

No, the real pull came from a writer. Firefly and Wonderfalls' Tim Minear. When your name features on Firefly, you get a second look. 

(Following this show, there seems to be a trend where unheralded Fox shows are more likely to be hidden gems than shows on other networks.)

Anyway, the show was killer. The full run favored serialized plot over procedural, it was stylized, brutally realistic and filled with quirky characters and a gripping plot. It had some negatives (needless romantic plot twists and an unbearable actor here and there) but they were nothing compared with the positives. You can't overlook a show that kills characters with no mercy in way Game Of Thrones would go on to popularize. And that Billy Corrigan theme song was perfectly moody and intense. 

Back to Clarke. His Jarek Wysocki stole the show from the get go. Tough, cocky, and abrasive yet on the path of justice to clean up his city. It was astonishing and the show, while canceled after a phenomenal season due to lack of audience, spawned someone who is now on the cusp of stardom. 

While he has been finding steady roles since Code, his stand out supporting roles pump energy into ensembles that have benefitted a few key films. 

He roared at terrorists alongside Jessica Chastain in the acclaimed Zero Dark Thirty. 

He popped up in Lawless (as the non Shia Labeouf, non Tom Hardy Bondurant brother) and The Great Gatsby as an angry husband.  

My personal favorite is a film that isn't so fondly perceived. I have a bit of a soft spot for ruthlessness and his turn as the villainous Stenz in the laughably plotted White House Down carried that movie into being rather captivating (while he was on screen at any rate).  

All that brings us to now. Clarke, a stealthy Australian native who masterfully hides his accent, is the human anchor in Dawn of The Planet of The Apes. A seemingly out of nowhere choice if you're not familiar with his trajectory. 

Sure Andy Serkis deserves all the praise for this film but that's a different issue What audiences want is a human lead and Clarke takes over for an über celeb in James Franco. 

While Dawn features capable and powerful turns by Gary Oldman, Keri Russell, Kirk Acevado, and every mo-capped Ape (hot damn if Toby Kebbell isn't the next Jason Clarke), this film was about Caesar and Malcolm. Serkis and Clarke. A no name duo that everyone should know the names of. 

(Serkis and Kebbell, as I'm doing with Clarke, deserve their own breakdown of praise and prediction.)

Clarke is next portaying another more high profiled saivor of humanity, John Connor, in the upcoming rebootish Terminator film. 

Even if regular moviegoers fail to recognize him, at least Hollywood has given him their much deserved trust. 

Fargo (2014)

Written by Noah Hawley (The Unusuals)
Starring: 
Billy Bob Thronton (Armageddon)
Martin Freeman (Hitchhiker's Guide to the Galaxy)
Allison Tolman 
Colin Hanks (Orange County)
Keegan Micheal Key (Mad TV)
Jordan Peele (Key and Peele)
Keith Carradine (Dollhouse)
Joey King (White House Down)
Bob Odenkirk (Breaking Bad)
Adam Goldberg (The Unusuals)
Glenn Howerton (It's Always Sunny in Philadelphia)

Watching the original film proved to be difficult to accomplish for me. Having premiered in 96', I wasn't the choice demographic. Not a lot of 8 year olds clambering for blackmail, lies, murder, and hit men. Over the years, flipping through channels, I'd stumble across the film mid run and have no clue what was going on. The accents threw me off, the characters were annoying, and the plot seemed incomprehensible.

Cut to a film class in 2012. Structure of Story. Fargo was on the syllabus. 

The day came, the professor hit play and the gentle symphony began playing. The snow filled the projection on the screen as the drums ushered in the haunting explosion of violins and horns, without even a shred of story having unfolded, I was taken. My every cell was absorbed entirely into the beauty, the simplicity of the intro. What followed was an emphatic tornado of ruthlessness and bravery. A story that utterly shattered me. 

Two years later the FX limited series adaptation arises and at the end of it's run, the tenth of ten episodes, blood lines in the snow from every character already melting away. There I sat, alone on a sofa, completely absorbed as it was, when the final scene began, rung in by a phone call to Molly Solverson (the revelation that was Allison Tolman). As the conversation ends, she hangs up and the familiar soft twangs of the mandolin chime in bringing a smile to my face and deep comfort within my body. She walks to Gus and her stepdaughter. The drums boil up. Chills rise on my arm, my breath releases a sense of completeness that rivaled any masterpiece standalone film. Previously, there had been a slight disappointed that the film's theme was used in the premiere episode but that forgiven since the show's own score proved powerful enough that I no longer knew that I still so desperately wanted it included in the show. And there it was. Amazingly saved to the moment that served it best. 

This show, built in the spirit of the movie, drenched in brutality, an exposé of pure evil, a window into metamorphosis, had ended in the only way that it could have. That music. After teasing a similar sound that was gorgeous in its own right, they unleashed the unparalleled triumphant roar of the true spirit of Fargo. 

The shootouts (particularly the Wrench and Numbers vs. Malvo snow battle and the Malvo in Fargo rampage) were exceptionally portrayed, visually clever, and unexpectedly spectacular.   

The score within the episodes was a masterpiece, possibly the best ever for a TV series. Character themes have rarely brought this much clarity to a scene. 

The cast deserves unanimous praise. Thronton is operating full throttle. A villain that shatters expectations. Freeman's portrayal is complex and beyond what he's ever done. Adam Goldberg and Russell Harvard steal the show. And Allison Tolman can't be classified in words. Colin Hanks also deserves note as he refuses to fade into acting obscurity with this gloriously performance as a father stuck in a cocoon. 

Not to mention the supporting turns by Bob Odenkirk, Key and Peele, and Glenn Howerton in unconventional roles for the comedy savants. Keith Carradine, Kate Walsh, and Joey king also deserve mention as they hold their own despite such large characters swirling around them. 

As the awe inspiring music slowly fades, all we are left with a story magnificently told. Well done, Noah Hawley. His writing hasn't lost a step since The Unusuals was taken away so unjustly. 

10 out of 10

The Man With the Iron Fist

A movie that knows itself better than anyone can expect. No fooling around with accents here, even the Asian actors are American. (Byron!) The direction by RZA is consistently action oriented, even in scenes of emotion. Who doesn't love quick zoom in and out of the faces of romantic leads proclaiming their love?

Great job all around, RZA. A spectacularly silly mess of pure eye catching entertainment.

8 out of 10.