Film Review: The Good Dinosaur

The animation bar has been raised! (even as the story bar is lowered)

Arlo reenacts a scene from Avatar.
Arlo reenacts a scene from Avatar.

It has always been said that (nearly) every Pixar film raises the bar for animated storytelling. Other studios had a hard time keeping up with the incredible stories and emotional journeys Pixar kept churning out. The bar for animated storytelling was raised to unimaginable heights with this year’s Inside Out. Unfortunately, the same can’t be said for Pixar’s second offering of 2015, The Good Dinosaur. What can be said is that The Good Dinosaur features the most jaw-droppingly gorgeous, photo-realistic animated environments ever put on screen. The groundbreaking animation, along with a reliable blend of adult and kid humor that only Pixar can expertly balance, help carry along a serviceable (if not weak) story to ensure the delivery of a well-rounded family film.

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Film Review: The Night Before

It’s a (stoner) holiday miracle!

The spirit of Christmas is alive in these three "gentlemen."
The spirit of Christmas is alive in these three “gentlemen.”

I feel like its been a while since the last raunchy comedy, which I think was Trainwreck back in July. That’s not to suggest that I wish there were more R-rated comedies flooding the market, but I do think I was primed for a movie like The Night Before. I wanted a stupid, profanity-filled, drug-trippin, buddy comedy (in this case, a threesome bromance) and I wasn’t disappointed. Sprinkle in a bit of holiday cheer for good measure and add a pinch of well-timed celebrity cameos for extra zest! The Night Before is 70% unadulterated stoner comedy, 20% heart, and 10% holiday spirit, and I enjoyed 99% of it! (the other 1% was a very disappointing final 60 seconds).

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Film Review: Spectre

Bland, James Bland

Bond, like us, is waiting for some excitement.
Bond, like us, is waiting for some excitement.

I’m a Quantum of Solace defender. I think that film, which was Daniel Craig’s second as James Bond, gets better after repeat viewings and was highly underrated when it came out, and still is today. And so maybe you can take extra caution that even I, a Quantum of Solace supporter, think that Spectre falls short of the previous 3 Bond films. Don’t worry, it’s still better than Die Another Day. Spectre relies heavily on plot points from the previous three films, trying to tie all loose-ends together that didn’t need any tying. The movie also feels like a 150 min homage to classic Bond tropes—and it gets tiring when there’s no real purpose except to wink at the audience. It’s a pity so much talent and hype got mismanaged. It may be a pretty film, and distractingly thrilling during its handful of ridiculous action sequences, but its otherwise aimless, oddly unfulfilling if not dull, and ultimately less rewarding than superior actioners like Mi5: Rogue Nation, The Dark Knight and even Skyfall (all from which Spectre seems to be borrowing…or copying).

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Film Review: Bridge of Spies

Spielberg + Coens + Hanks = Better than your average storytelling.

The lawyer who became a negotiator. The negotiator who united three empires.
The lawyer who became a negotiator. The negotiator who united three empires.

Thomas Newman seems to be doing his best musical imitation of John Williams throughout the former’s original score for Bridge of Spies. The reason I started with this opinionated tidbit is because it’s probably the weakest part of the movie. The score isn’t among Newman’s finest (American Beauty, Road to Perdition, Finding Nemo) and it’s far from capturing the spirit of Williams’ finest (Star Wars, Munich, Lincoln, basically everything…ever). The music in Bridge of Spies is the weakest, though still serviceable, mixed result in a movie production full of interesting mixes. Bridge of Spies represents the first time the Coen brothers have written for Spielberg, the first time Spielberg has employed a composer other than Williams for a feature film in lord knows how long, and judging by the number of production companies listed in the beginning, probably the first time Spielberg has needed the aid of a half dozen independent companies to help a production out. Sure, it’s also the fourth collaboration between Spielberg and Hanks, so there’s that. However, point being that Bridge of Spies had a lot of award-winning talent working together, and the results are infectious, if not odd, but totally worth our while. Embracing the tonal patchwork that comes from great minds working together, Bridge of Spies is a tense, fascinating true story of courage during the Cold War.

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Film Review: Fantastic Four

Fantastic Four is short and to the point, but pointless.

Four horsemen of the apocalypse, without the horses, and with one woman.
Four horsemen of the apocalypse, without the horses, and with one woman.

If you were clamoring for a reboot of the Fantastic Four movie franchise ever since 2007’s Fantastic 4: Rise of the Silver Surfer, you can probably assume that you’re in a small minority. I can safely say that not many people were interested in a new Fantastic Four movie, nevermind watching an attempt to relaunch the franchise in a more dark, gritty, and “character driven” storyline, a la X-Men: First Class and just about every superhero movie these days. Not all super hero movies need to follow the same exact formula again and again and again. It’s getting tiresome. The new Fantastic Four is no different. Even considering its weak editing and laughable story structure, it still manages to fall victim to comic book adaptation formula. I will concede one small victory to it—a reasonably short running time of 1 hour 45 minutes. It was nice to see a comic book film stay under 2 hours, though it was quite apparent that the F4 editors had no idea how to keep the pace and plotline efficient within that timeframe. In the end, Fantastic Four is not strong enough to stand on its own few merits, nor is it able to push a disappointing franchise forward.

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Film Review: Mission: Impossible – Rogue Nation

Rogue Nation keeps the pedal to the metal to deliver exhilarating action, while losing some of its franchise identity.

Basically a much better version of Mission:Impossible 2.
Basically a much better version of Mission:Impossible 2.

‘Ready or not, here I come.’ No, I’m not just quoting the classic song by The Fugees remixed for the M:I5 trailer. I’m saying this because its how the near 20 year old franchise is approaching audiences today, July 31st 2015. With so many action films coming out these days (many of which are quite sub-par), it’s hard to get super excited for another one, nevermind a fifth entry in a franchise. But here’s the thing—the folks behind Mission:Impossible-Rogue Nation know they’re delivering something better than the rest (or most of the rest). After the first ten minutes of Rogue Nation, you’ll realize how much the marketing of the movie has duped you, but in the best way possible. Director Christopher McQuarrie has created a smart action flick so loud and ridiculous that it’s hard to catch your breath. But although Rogue Nation delivers the smarts and the thrills, it doesn’t stick to the formula that has separated (and benefited) the Mission:Impossible franchise from the rest of the spy pack. While no one was saying that the Mission:Impossible franchise was dead, especially after a $209 mil domestic box office take with 2011’s Ghost Protocol, each new installment is met with speculation whether this will be the final outing or not. Rogue Nation all but directly acknowledges this speculation when Jeremy Renner’s William Brandt says, “This may very well be our last mission. Let’s make it count…” Ha! We all know you’ll be back! I’ll put all the speculation to rest—it’s not the final outing. Rogue Nation is as energetic and exhilarating as the franchise has ever been while at the top of its game.

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Film Review: Southpaw

Southpaw throws a flurry of clichéd punches

Melodrama make Jake —ANGRY!
Melodrama make Jake —ANGRY!

Southpaw was not what I expected. I believed and hoped that I was walking into a Rocky type fable, or maybe a modern day Raging Bull. There have been a few strong entries into the sport fighting genre in recent years, including Rocky Balboa (2006), Warrior (2011), and hopefully the upcoming Creed (2015). Sure, there are twice as many sub-par entries between the aforementioned titles, but with a superb cast headlined by limitless Jake Gyllenhaal and under the consistently solid (if not above average) direction of Antoine Fuqua (Training Day, The Equalizer), Southpaw seemed destined to be the strong sports drama entry that comes along every handful of years. Alas, it is not. The sure bets going into the final product still shine—Gyllenhaal is superb and Fuqua’s direction is effective—but the story is formulaic and surprisingly, subtly, unnervingly, kinda racist.

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Show Review: ‘Star Trek’ Live in Concert with the SF Symphony

Screen Shot 2015-07-18 at 9.36.49 AM

No less than 10 bursts of applause, the loudest for the opening title and the reveal of the late Leonard Nimoy. That was the atmosphere at last night’s Star Trek in concert event at the San Francisco Symphony, where the live orchestra provided the score to a screening of J.J. Abrams’ 2009 feature film reboot of the nearly 50 year old franchise. There were Starfleet uniforms a plenty in the audience, a themed “red matter” cocktail at the symphony bars, display cases with props from the film, and a pervading admiration and respect for everyone’s own personal connection to Star Trek. What better show of respect than for conductor Sarah Hicks to hold up her hand in the iconic ‘live long and prosper’ gesture before launching into the prologue.

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Film Review: Minions

Oh, so cute! Yet even more minions would’ve served Minions better.

Bob and Kevin and Stuart. Three Three (Minion) Stooges.
Bob and Kevin and Stuart. Three Three (Minion) Stooges.

I’m not going to get too bogged down with analyzing the storyline or characters here (other than the Minions). The story actually well suits a feature-length treatment for these until-now side characters: After many millennia searching and serving (and inevitably losing) the biggest and baddest bosses they could find, three Minions leave their “colony” to find a new big bad boss. Honestly, I could watch 90 minutes of these adorable yellow pill-shaped creatures reading to each other in a classroom. With a language consisting of 50% Italian, 40% gibberish, and 10% random sounds, unique personalities befitting each standardly-named individual, and an unparalleled sense of loyalty, these little guys are too cute to dislike.

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Spinning Platters Interview: Félix de Givry and Sven Hansen-Løve, ‘EDEN’

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During SFIFF58 a few months ago, I was able to catch Mia Hansen-Løve’s new musical drama, Eden. Despite not knowing much about French touch and the electronic music movement of the 90s in Paris, I lost myself in the euphoric and tragic journey of the film’s central DJ character. Eden is a movie that will etch its aura into your mind, and its 4 hr. soundtrack plays like a history of house music. I was fortunate enough to arrange an interview with writer Sven Hansen-Løve, on whose life the story is loosely based, and Félix de Givry, who plays Paul, the central character of the film. At The Social Study, I sat down with the two French gentlemen to discuss Eden:

Félix, how much did you know about French touch and the electronic music movement before signing onto this project?

Félix: I think I knew a little bit more than normal people know in France. Even more than Americans. But still I was not expert, especially of garage underground scene. I knew about French touch. ‘French touch’ the expression represents so much success that almost everybody knows about the people involved. The most interesting thing for me was to really dig into the scene and the beginning of the scene and the fact that there was so few people, say 200 or 300 people. It was kind of a black hole. It wasn’t documented by the big media at the time and there was not internet yet. Thanks to Sven, I learned a lot about it.

Sven: Yes, the fact that we had the chance to see each other many times. With my sister, too (the film’s director, Mia). It was a good thing for Félix because he could get direct documentation, in a way <<laughs>>.

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