film review – Page 3 – Spinning Platters

Film Review: Moana

Moana is beautiful, adventurous, and musically gifted.

Animated Moana gives a miraculous multi-dimensional performance.

Yesterday I watched Moana. Today I listened to the soundtrack about eleven times through. Yesterday I questioned the benefit of seeing films in 3D. Today I feel that a film can truly benefit from non-gimmicky 3D. Yesterday I wondered when there’d be a new Disney song, besides “Let It Go”, that I’d welcome getting stuck in my head. Today I’ve had three Moana songs stuck in my head and love’em all. Do you catch my drift? Disney has delivered a beautifully animated film that holds true to the traditional spirit of Disney animated feature canon while adding new depths to characters and story structure. Moana is a cinematic gift — a film that is accessible and enjoyable to all audiences, re-watchable, boasts a stellar soundtrack, sets a new standard for animated environments (though I feel like I say that every six months), and has one of the most admirable female heroes ever put on screen. Yup, I mean it, too.

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Film Review: Allied

Polished, pulpy WWII tale how they used to make’em, for better or worse.

Like reading a dime novel from off the shelf of your local supermarket, Allied supplies a quick dose of melodrama, suspense, humor, and twists. It’s similarly digested easy, immediately emotional, and just as quickly forgotten. Director Robert Zemeckis has delivered his fair share of sensationalism, from Romancing the Stone to Forrest Gump to The Walk, and many memorable films in between (trust me, you’ve seen a lot of them). My semi-belabored point is, Zemeckis is no stranger to managing exaggerated storylines and overly dramatic plots. In Allied, he sets each scene like a stage play, without any noticeable complexity or vagueness. The complexity is left up to the characters. Yes it may be subtle, but while creating a blatant sense of the time period, the old school art direction also compliments the twists at the heart of the story — after all, this is an elaborate spy game. Pitt and Cotillard bring their serviceable ‘B’ game (not their best work but far from their worst), inflicting just enough charm and charisma into the plot to carry the somewhat nonsensical and ultimately forgettable story forward.

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Film Review: Arrival

Arrival arrives at just the right time to make us pause and think.

Amy Adams thinks about things, as we do, in ARRIVAL.

It feels like it’s been quite some time since a thought-provoking science-fiction film has come along — one that makes you really think. Now, before you come to the conclusion that “more thinking” equals “less entertaining”, think again! Arrival is a spectacular blend of drama, suspense, intelligence, and engaging visuals. Arrival also employs sound and music in an interesting way, aiding in the gradual fusion of the viewer experience with that of the characters. Once you emerge from the 118 minute cinematic trance you’ve been pulled into, you’ll realize that you’ve sat through one of the better films of the last year. And that realization, somehow, will be the same whether you loved the film or hated it.

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Film Review: Jack Reacher: Never Go Back

Reacher reaches, finds Hallmark sentimentality and TV crime thriller predictability.

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I found myself chanting ‘blood from a boot’ in my theater seat as I anticipated the start of Jack Reacher: Never Go Back. Yes, that’s how excited I was to witness the surprising return of Tom Cruise’s take-no-prisoners/take-no-sh*t former military police investigator. Unfortunately, Never Go Back never does go back to the violent charm (if there is such a thing) of the first film. Instead, an overly predictable plot and forced sentimental subplot strip the young franchise of the addictive macho humor and Taken-esque one-man-army action that brought it off the pages of author Lee Child’s work into cinemas.

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Film Review: Kubo and the Two Strings

‘Kubo’ is a visual masterpiece!

Beetle, Kubo, and Monkey looking high... — Beetle, Kubo, and Monkey looking high…

I’ve never seen stop-motion animation as inventively crafted or as embedded in the storytelling as I saw in Kubo and the Two Strings. Laika, the animation studio behind Coraline, ParaNorman, and The Boxtrolls, releases their most ambitious film yet with Kubo. Part parable and part fantasy epic, Kubo has a bit of everything, and though it gets a little over-indulgent in the final ten minutes, the film never feels overcrowded. Credit is due to first time director Travis Knight (son of Phil Knight, of Nike), who does a solid job of executing on an intelligent script by Marc Haimes and Chris Butler. The filmmakers infuse Kubo with unique action sequences, family-friendly humor, some nightmarish chills, and strong emotional themes. When these aspects are woven together with solid voice acting and stunning visuals, Kubo becomes a memorable cinematic tapestry.

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Film Review: Sausage Party

A profound examination of religious faith — buried deep, deep within a hilariously crude, offensive, foul-mouthed animated film.

Oh, sh*t, these foods are f**cking foul-mouthed!

Imagine if Toy Story was written by South Park creators Trey Parker and Matt Stone, and then sprinkled with a dash of Caligula. Even that probably doesn’t quite capture just how far Sausage Party goes in terms of it’s R-related language and content (supposedly it came close to an NC-17 rating, until they toned it down — yes, toned it down!). As advertised, the cast and creators of This is the End are back, this time to infuse their stoner, ultra-sexualized, black comedy into an animated feature. Sausage Party goes a step beyond just shock-value to deliver its laughs, serving a healthy does of side-splitting puns, curse-words, pop culture references, and hilarious characters. But Sausage Party is also an incredibly clever film. It disguises it’s more contemplative themes of divinity, the existence of an afterlife, and the triviality of religious tensions within the entertaining muck of a hilariously perverse one-note culinary joke — that anthropomorphic foods discover that they’re all doomed to be devoured by humans.

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Film Review: Pete’s Dragon

Recapturing that ol’ warm fuzzy Disney feeling.

For those who remember the 1977 Disney classic, Pete’s Dragon, you may wonder why an obscure title such as that one would need a remake. To be honest, the remake doesn’t answer that question. But nevertheless, the new Pete’s Dragon is a very charming family film. Pete’s Dragon has an old school magical feel to it, with similar familial themes to classic 1970s Disney films such as The Apple Dumpling Gang, Bedknobs and Broomsticks, Escape to Witch Mountain, and the original of the same name. Aside from the less-than-ideal usage of country-tinged pop songs to convey the right emotions we should be feeling, and the absence of musical numbers, Pete’s Dragon is a solidly executed and delightful adventure.

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Film Review: Suicide Squad

Suicide Squad dies a slow, painfully disappointing death.

maxresdefault-1 — More like an awkward dance than a ballroom blitz.

Watch the Suicide Squad trailer one more time. Do you feel that insane energy? Well, that same energy exuding from all the Suicide Squad trailers, posters, and marketing materials doesn’t exude from the feature film. All the hype, and true potential, of this anti-hero DC property has been damaged by over-bloated character introductions, weak villains, and a restrained take on some of the DC Universe’s most iconic psychopaths — looking at YOU, Joker! Suicide Squad could’ve been so much more, but unfortunately the DC film producers, again, trivialize a tremendous premise into an “extended trailer” for the Justice League movie, which is becoming less and less enticing with every preceding related release.

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Film Review: Jason Bourne

Jason Bourne returns for his darkest, most intense (and uncharacteristic) mission yet.

One of the consistently enticing aspects of the Bourne film franchise was the mysterious history of the title character, Jason Bourne. Slowly but surely, spread throughout three films, we learned bits about Bourne’s past and the reasonings behind his dangerous predicament with the CIA, and seemingly just about every government agency out there. After a failed attempt to handover the franchise to another actor, Jeremy Renner (The Bourne Legacy — not playing Jason Bourne, mind you), we’re back with Matt Damon as Jason Bourne in…well…Jason Bourne. Non-ironically, this film reveals the most about Bourne’s past, leaving almost no mystery left by the time the end credits roll. Perhaps a little too much mystery is lost, in fact. Jason Bourne is still intense and darkly entertaining, with a welcome return to the brooding action spy hero for Damon.

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Film Review: Ghostbusters

Ghostbusters panders then panders some more, and only delivers when embracing its own originality.

Mighty ghostbustin' foursome. — Mighty ghostbustin’ foursome.

It’s obvious, or maybe just to me, that director/writer Paul Feig was under serious pressure to cater his entire effort in relauching Ghostbusters to the fans of the original films. Possibly due to the stupid backlash against the production for casting four women in the lead roles, and for the sake of protecting a cherished 80s title, Feig decided to include an unfathomable amount of shout-outs, throwbacks, and cameos alluding to the original Ghostbusters films. The cast, and Feig, are incredibly talented. The best moments of the new Ghostbusters film happen when the original 80’s films are out of its sights, and instead, it embraces the comedic timing and inventive action that the actors and director are each capable of, respectively.

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