Saturday, 13 July 2013

the lone ranger





Release Date: July 2, 2013 (7 p.m.) 
Studio: Walt Disney Pictures
Director: Gore Verbinski
Screenwriter: Ted Elliott, Terry Rossio, Justin Haythe
Starring: Johnny Depp, Armie Hammer, Tom Wilkinson, William Fichtner, Barry Pepper, James Badge Dale, Ruth Wilson, Helena Bonham Carter
Genre: Action, Adventure
MPAA Rating: PG-13 (for sequences of intense action and violence, and some suggestive material)
Review: 5.5/10 rating | 5/10 rating | 7/10 rating
DVD Review: Not Available
DVD: Not Available
Movie Poster: One-Sheet | Johnny Depp Poster | Armie Hammer Poster | Tom Wilkinson Poster | Helena Bonham Carter Poster | Poster | Ruth Wilson Poster | William Fichtner Poster | Teaser

Plot Summary: From producer Jerry Bruckheimer and director Gore Verbinski, the filmmaking team behind the blockbuster "Pirates of the Caribbean" franchise, comes Disney/Jerry Bruckheimer Films' "The Lone Ranger," a thrilling adventure infused with action and humor, in which the famed masked hero is brought to life through new eyes. Native American spirit warrior Tonto (Johnny Depp) recounts the untold tales that transformed John Reid (Armie Hammer), a man of the law, into a legend of justice—taking the audience on a runaway train of epic surprises and humorous friction as the two unlikely heroes must learn to work together and fight against greed and corruption.

Cast:
Johnny Depp as Tonto
Armie Hammer as John Reid / The Lone Ranger
Helena Bonham Carter as Red Harrington
Barry Pepper as Captain Jay Fuller
William Fichtner as Butch Cavendish
James Badge Dale as Dan Reid
Ruth Wilson as Rebecca Reid
W. Earl Brown as Stache
Tom Wilkinson as Latham Cole
Mason Cook as Will
Harry Treadaway as Frank
Timothy V. Murphy as Fritz
Bryant Prince as Danny Reid

Directed by Gore Verbinski

Summary:
"The Lone Ranger" has some good action and some fun elements thanks to Johnny Depp, but portraying John Reid as a bumbling dandy and a feuding relationship between the Lone Ranger and Tonto prevents the film from living up to its full potential.

Story:
When John Reid returns to Texas after attending law school, he finds his former hometown changed. The railroad is breaking through Comanche territory to connect the East Coast to the West Coast and his brother, Dan Reid, is now a tough, no-nonsense Texas Ranger.

Dan is hot on the heels of a recently-escaped outlaw by the name of Butch Cavendish. Feeling partly responsible for Butch's escape, John joins the posse as a deputized Texas Ranger. Little do they realize that they are walking into a trap. Soon enough the entire group of Rangers is ambushed and killed…or are they?

An eccentric Comanche outcast by the name of Tonto, who has long been hunting Cavendish, finds John still alive. Convinced he's a ‘spirit walker' who cannot be killed, Tonto joins the lone surviving Ranger on a mission to hunt the outlaw down and bring him to justice. But the duo will soon find that the task is easier said than done.

"The Lone Ranger" is rated PG-13 for sequences of intense action and violence, and some suggestive material.

What Worked:
On paper, "The Lone Ranger" has all the elements you could want for a fun film. It reteams the original "Pirates of the Caribbean" cast and crew. It features a longtime pulp hero prime for a comeback. And, of course, it features Johnny Depp who is always a pleasure to watch. Yet, for a variety of reasons, it simply didn't work for me. But let's first focus on what did work.

The movie starts out rather unexpectedly in 1933 San Francisco. That's not exactly where you would expect to see a Western begin, so it immediately pulls the audience in. At a carnival, we meet an elderly Tonto who proceeds to tell a young boy about his adventures long ago. It's a fun way to frame the narrative and it's interesting to see the contrast with Tonto in his prime. The way they created the elderly Tonto is also quite impressive. I don't know if it was prosthetic effects or computer animation, but it was very effective. I'll be interested to hear more about how they accomplished it later.

The action in "The Lone Ranger" is the main reason to watch this film. There are some impressive sequences early in the movie involving John Reid and Tonto chained together on a runaway train. You've probably seen it in the trailers. In fact, you've probably seen almost all of the action sequences in the trailers. They spoil many of the highlights of the film. Still, they're worth seeing in their entirety on the big screen.

What Didn't Work:
The biggest problem with "The Lone Ranger" is how they portrayed John Reid. He is whiny, wimpy, bumbling, and generally unlikable. You keep expecting to see him evolve into the hero he eventually becomes, but there's almost no transition whatsoever. He fumbles around, acts scared, and even refuses to shoot a gun, then he abruptly becomes a supremely competent hero in the big final action scene. It doesn't work. Now, I like Armie Hammer and I think he's a good choice as John Reid, but the script and director Gore Verbinski lead him in the completely wrong direction for his character. They needed some shred of likability in him and there is none.

The other problem is the relationship between the Lone Ranger and Tonto. It is more akin to Bert and Ernie than, say, Batman and Robin. The two constantly feud and never have a moment where you could see them actually bonding and becoming the team we know and love. Like Bert, John Reid is tightly wound, prone to panic attacks, and is constantly chiding his partner. Like Ernie, Tonto is laid back, eccentric, has an obsession with a bird, and puts up with John's freak-outs in a good-natured way. But unlike Bert and Ernie, this pairing doesn't work.

This film also goes out of its way to be politically correct with respect to guns. That's easy to understand in light of the fact that this is a Disney movie and it comes in the wake of various shooting tragedies, but it doesn't seem true to the character of the Lone Ranger. For example, John Reid is about to ride into a canyon as part of a posse and they are aware they could be ambushed by outlaws….and he refuses to take a gun to defend himself. It's pretty stupid. And while they're tap dancing around the gun issue, we see one character rip out a man's heart and eat it, another man get scalped, and other horrific acts. "The Lone Ranger" can't seem to make up its mind with respect to violence. But returning to the Lone Ranger himself, the film seems to opt to trash everything that makes the character unique. He refuses to use a gun throughout the film and when he eventually does accept it, he does so reluctantly. That's like taking away Luke Skywalker's lightsaber or Batman's batarang. I think it could have been handled better. In fact, the movie feels like it goes out of its way to strip from the Lone Ranger everything that sets him apart. He doesn't use guns, he's a wimp, everyone makes fun of him for wearing the mask, and he is even ridiculed for saying "Hi-Ho, Silver!" What's left for Lone Ranger fans?

As for Johnny Depp's Tonto, for 80% of the film his performance works perfectly. Tonto brings a lot of comic relief to the movie and much needed life. (As the movie points out, "tonto" in Spanish means foolish, silly, or dumb.) But there are times when it feels like he's trying a little too hard to be silly. There's a running gag of him trying to feed the dead bird on his head which is run into the ground. Then he does a few other things that start making him feel more like Captain Jack Sparrow in Native American attire than an entirely new character. It just overall feels like he never fell into the final groove with Tonto.

The tone of "The Lone Ranger" is all over the place, too. For example, the Lone Ranger's horse Silver is initially portrayed as some supernatural symbol of the spirit world. Yet later we see the horse in a tree wearing a hat. (No, I'm not kidding.) There are other times in the film where it seems like they are going to throw some supernatural elements into the story since Tonto keeps talking about nature being out of balance. We even see hissing, seemingly possessed rabbits attack scorpions and each other in a cannibalistic fashion. Yet by the end of the film, there is no supernatural element whatsoever. It's like the story runs down one path, changes its mind, then runs down another path.

But besides that, the overall story just doesn't work. It's a very clichéd plot with the evil railroad baron, the damsel in distress, and the hero saving the day on a runaway train. Using clichéd stories can be perfectly OK, but you have to bring some unique twist to it all. Johnny Depp alone is not enough to bring that needed twist.

The Bottom Line:
Overall, I was pretty disappointed by "The Lone Ranger." It didn't live up to its potential. However, it's still worth checking out at some point as a rental or on TV.

pacific rim movie Review



Release Date: July 11, 2013 (10 p.m.; 3D/2D theaters and IMAX) 
Studio: Warner Bros. Pictures
Director: Guillermo del Toro
Screenwriter: Travis Beacham, Guillermo del Toro
Starring: Charlie Hunnam, Idris Elba, Rinko Kikuchi, Charlie Day, Ron Perlman, Robert Kazinsky, Max Martini, Clifton Collins, Jr., Burn Gorman, Larry Joe Campbell, Brad William Henke, Diego Klattenhoff
Genre: Action, Sci-Fi
MPAA Rating: PG-13 (for sequences of intense sci-fi action and violence throughout, and brief language)
Review: 9.5/10 rating | 6.5/10 rating | 8.5/10 rating
DVD Review: Not Available
DVD: Not Available
Movie Poster: One-Sheet 2 | One-Sheet 1 | Poster | Comic-Con Poster

Plot Summary: When legions of monstrous creatures, known as Kaiju, started rising from the sea, a war began that would take millions of lives and consume humanity's resources for years on end. To combat the giant Kaiju, a special type of weapon was devised: massive robots, called Jaegers, which are controlled simultaneously by two pilots whose minds are locked in a neural bridge. But even the Jaegers are proving nearly defenseless in the face of the relentless Kaiju. On the verge of defeat, the forces defending mankind have no choice but to turn to two unlikely heroes—a washed up former pilot (Charlie Hunnam) and an untested trainee (Rinko Kikuchi)—who are teamed to drive a legendary but seemingly obsolete Jaeger from the past. Together, they stand as mankind’s last hope against the mounting apocalypse. 

Cast:
Charlie Hunnam as Raleigh Becket
Idris Elba as Stacker Pentecost
Rinko Kikuchi as Mako Mori
Robert Kazinsky as Chuck Hansen
Max Martini as Herc Hansen
Charlie Day as Dr. Newton Geizler
Burn Gorman as Dr. Hermann Gottlieb
Clifton Collins, Jr. as Tendo Choi
Ron Perlman as Hannibal Chau
Ellen McLain as voice of the Jaeger AI
Robert Maillet as Lt. Aleksis Kaidanovsky
Heather Doerksen as Lt. Sasha Kaidanovsky
Diego Klattenhoff as Yancy Beckett

Review:
Who doesn't like giant robots? That is the deep, philosophical question at the heart of Guillermo del Toro's "Pacific Rim." If the answer is yes, then it is definitely the movie for you. If you need a little bit more …

Years ago, giant monsters (Kaiju) started to arise from an interdimensional portal in the depths of the Pacific Ocean to ravage human cities. When traditional armies proved unequal to the task, the governments of the world combined to build equally giant robots (Jaegers) designed to give the people of the world the choice between having their cities destroyed by giant monsters or giant robots.

The main point of this thing is to get giant robots fighting giant monsters as often and violently as possible and that is where all the effort in the making of it has gone. And gone to good effect. By his own admission, Del Toro is only good at making two things, scary monster movies and action monster movies and "Pacific Rim" is clearly one of the latter not just in outlook but in execution with a quality level reminiscent of "Hellboy II" and "Blade II," and a similar mix of world-building and action.

As quickly as the Jaeger program is built up, it is just as summarily shut down so that we can have our self-described "rock star Jaeger pilots" quickly reduced to has-beens forced to scrounge parts where they can or work construction on the "Life Wall" humanity's survivors intend to hide behind.

That way, we can have our rock star heroes be the underdogs big budget action films tend to require, focusing on two underdogs in particular—Raleigh Beckett (Charlie Hunnam), once one of the program's best and brightest until his brother was killed before his eyes, and Mako Mori (Rinko Kikuchi), a Jaeger expert with reasons of her own for wanting to fight monsters. Because it takes two pilots working in tandem to handle such a machine, the pilots must share their thoughts and minds, potentially even their personalities, completely. It's an intriguing notion, one opening up all kinds of possibilities for character interaction and conflict.

And one almost completely ignored, barring its ability to allow backstory exposition, in favor of far more clichéd meanderings that have wandered over from a repeat of "Top Gun." There are those who call cliché's battle-tested storytelling devices, and fair enough, but at a certain point they just become repetitive and if you've ever seen another action movie before, there is nothing new or interesting about the people who live in the "Pacific Rim" universe Del Toro has so meticulously created. And that's the ones who actually get to speak - most of the robot pilots are defined entirely by their look and the country they come from.

It's abundantly clear what everyone is most interested in are the robots and the robot fighting. The colorful battles and fantastic visuals courtesy of cinematographer Guillermo Navarro and the wizards at Industrial Light & Magic are excellent, though they might give you epilepsy, particularly the fight in a downtown Asian metropolis.

But for all the sturm und drang, the robots can only remain on screen for so long and when the people show up the lack of depth or humanity drags "Pacific Rim" way down. It's particularly disappointing from a director like Del Toro who has frequently shown a preference for developing well-rounded, often surprising characters to inhabit his intricately-detailed worlds.

But not this time. This time it's all about the giant engines of destruction pounding on each other – like the recent torture porn craze of horror films expanded to city level scale – covered over by elements pulled from dozens of other movies. It's enjoyable enough on a visceral level—Del Toro is too skilled a craftsman for it to be otherwise—but underneath all the destruction, there's very little to "Pacific Rim" at all.

Grown Ups 2 movie





Distributor: COLUMBIA
Running Time: 100 mins.
Color: Color
Production: A Columbia Pictures presentation of a Happy Madison production.
Genre: Comedy
Film Width: 1.85
Sound: Datasat Digital, Dolby Digital (AC-3), SDDS


Cast:
Adam Sandler | Chris Rock | David Spade | Kevin James | Salma Hayek | Maya Rudolph | Maria Bello | Nick Swardson | Steve Buscemi | Colin Quinn | Tim Meadows | Jon Lovitz | Shaquille O'Neal | Alexander Ludwig | Taylor Lautner | Georgia B. Engel | Oliver Hudson

Credits:
Director(s) Dennis Dugan
Screenplay by Adam Sandler | Fred Wolf | Tim Herlihy
Producer(s) Jack Giarraputo | Adam Sandler
Director(s) of photography Theo Van De Sande
Production designer(s) Aaron Osborne
Edited by Tom Costain
Music by Rupert Gregson-Williams
Costume designer(s) Ellen Lutter

It would be dishonest to call Grown Ups 2 the most repellent high-profile comedy in recent memory. But that's largely because few moviegoers have memories kind enough to have already erased 2010's Grown Ups—which offered almost every loathsome quality of this installment, plus Rob Schneider. A water-treading rehash even on its own terms, the sequel is unlikely to attract an audience to match that of the first film, which was one of the biggest (if least-deserving) hits of co-writer/co-producer/co-star Adam Sandler's career. (Both films are directed by Dennis Dugan, who owes his career to Sandler's patronage.)

Sandler returns as Lenny, a Hollywood player who, since the first film, has moved his family to his rural hometown, where the kids can bike to school and Dad gets plenty of Guy Time with pals Eric (Kevin James), Kurt (Chris Rock) and Marcus (David Spade). Happily, this film's conception of male friendship is less reliant on insults and abuse than its predecessor and doesn't need to paint the men's wives as shrews in order to give the motley bunch something in common.

Which is not at all to say that the humor has matured. The opening scene, in which a deer wanders into Lenny's house, offers two separate occasions where the beast rears back on hind legs to urinate on someone; the second goes on long enough to suggest someone has a fetish to indulge. Throughout, gags are cartoonishly broad and afforded so little time for setup and delivery we seem to be watching less a story than a catalog of tossed-out material.

Set on the last day of school, the script follows as Lenny commandeers his kids' bus (the driver, played by Nick Swardson, is high on pills) and, after dropping them and their schoolmates off, makes a day of it with his hooky-playing pals. Together they pioneer new bodily functions (Eric's "burp-snarting," which may sound more amusing than it is) and fantasize about those they don't get enough of: Attending their daughters' dance rehearsal, they can't stop gawking at an educator the credits helpfully dub Hot Dance Teacher.

Soon the fellows are trying to make old bodies do what young ones never did. Visiting a favorite swimming hole so Eric can dive off the cliff he always feared, they cross paths with a band of frat boys (led by Taylor Lautner), whose collective loutishness makes Sandler & Co. look like Knights of the Round Table. A rivalry is born, though the adults don't know they're being targeted for destruction. Instead, they spontaneously decide to throw an ’80s-themed yard party, and in a couple of hours half the town arrives in costumes that would have taken a week to assemble.

Like the first film, this one is built upon the seriously misguided idea that five or ten minutes of sentimental family-values talk can coexist with an hour and a half of burp-snarting and the like. Here, Lenny must contend with the news that his wife (Salma Hayek) wants to have a fourth child; Eric, inexplicably, must keep his wife (Maria Bello) in the dark about how much time he spends keeping his elderly mother company; Marcus must make peace with the thuggish son he never knew he sired; and Kurt...well, Chris Rock gets to ad-lib one or two funny lines and spend the rest of the film waiting for something better to come along.

Sandler, whose best work tends to be his least rewarded at the box office, has never before made a sequel. (One could argue, of course, that his early hits were the same movie in different clothes.) That he would make an exception for Grown Ups says nothing good about his trajectory as an artist—at this point, even combining those five words may provoke snickers. He and Rock, more than their co-stars, may yet have good movies in them about embracing adult responsibilities after years of playing the fool. But Grown Ups 2 and a dozen other half-hearted productions suggest they won't succeed with such statements while they're trying to succeed commercially.