The Raid: Redemption

I'm not going to waste time here: The Raid (I don't acknowledge the Sony-placed "redemption") is the best action film in at least twenty years. In terms of martial arts, it's on the level of Unleashed, Kung Fu Hustle, and Bruce Lee. Oh yeah, I went there. The Raid doesn't try to be serious or cerebral, it is just pure awesome for 90 minutes. It's cranked to eleven from the start and never looks back. Move over The Matrix, step down Jason Bourne; all hail The Raid. Rama (Iko Uwais) is an expectant father who is one of twenty elite Indonesian cops sent to take down a ruthless crime lord (Ray Sahetapy). Their target lives in a thirty-floor building full of wanted criminals who pay in exchange for protection. Early on, the team is caught on camera, and learnt that the mission was a way for a corrupt lieutenant (Pierre Gruno) to cover his tracks, and they're without backup. When the crime lord broadcasts a message promising permanent free stays to every person who brings him a dead cop, Rama and the others are caught in a storm of violence and survival. There's a moment in The Raid where you realize that it isn't going to develop characters well or have a deep story. It happens early on and the film is very clear that it doesn't care. The Raid knows what it wants to be: freaking awesome, and it it is all the way to the end. Director Gareth Evans shoots the fight scenes with the complexity of a Jet Li film and the brutality of a UFC match. Seriously, Silat is one of the most intense and bloody fighting styles I've ever seen, and the frenetic action sequences are so brutal you feel every pung. The fights are fantastically choreographed, and each one is unique; you never see the same kick kicked twice. Ok, I have to admit The Raid isn't perfect. I sometimes wanted more story, and the score by Mike Shinoda is appropriate rarely. Also, it is basically a live-action videogame. But so what? The Raid is an adrenaline shot straight to the heart of action cinema. There hasn't been an American action flick this nuts in ever, and I truly believe it will be remembered. Just...wow. You can probably tell by now that I'm running out of ways to describe how great The Raid is. I just had so much damn fun watching it, I don't know how else to talk about it. If this film is playing in your town, see it immediately. Even if you have to run across town to make it, even if it's playing in the worst theater in the area, just go.

21 Jump Street

This is my least kind of film to review. It's just hard to review a good comedy. I really don't want to give any of the jokes and gags away, and all I can do then is praise the stuff nobody cares about. Well, I will also mention that 21 Jump Street is the best 80s reboot ever made, and that it's the funniest movie since Hot Tub Time Machine. Actually, this is easier than I thought. Let's talk about a hilarious movie, shall we? In high school, the nerdy Morton Schmidt (Jonah Hill) was constantly tormented by popular jock Greg Jenko (Channing Tatum). By coincidence the two end up at police academy together, and bond over helping each other with their weaknesses. After failing to read the Miranda Rights to their first perp, Schmidt and Jenko are transferred to the 21 Jump Street program. Because of their youthful looks, the two are placed undercover at a local high school to take down the supplier of a dangerous new drug. When Schmidt becomes popular with the new Hipster ruling clique, the roles are reversed and hijinks ensue. As I have mentioned in the past, the best adaptations keep the spirit of the source material while doing their own thing. They tell their own stories in an established universe, if you will. Luckily for this film, the spirit of the original 21 Jump Street rests in the basic concept of the show. The writers of this movie know that, and they have turned that concept into a raunchy, violent, and profane comedy that is very, very funny. 21 Jump Street is very well made. The acting, writing, and direction all manage to keep the film fresh in each new scene. I was really surprised. When you consider the individual elements of 21 Jump Street, it really is a surprise that the movie is so funny. First, Channing Tatum is the star, and his track record isn't so great. But, he's hilarious here. Second, it's an 80s reboot/remake, and those suck. But as I said, this is the first really good one. Third, the trailers weren't great. But, it turns out it's way smarter than a dumb stoner comedy. There needs to be a serious improvement in marketing this year. First John Carter got totally shafted, then 21 Jump Street gives the wrong impression. Come on guys. My first R-rated movie was Caddyshack. Not only was it a classic, brilliant comedy, but it was a great childhood experience. I'm glad there are still movies like that. 21 Jump Street made me feel like a kid watching the funniest thing ever. Sure it has an R-rating, but anybody can enjoy it. That isn't often scene in our world of ultra political-correctness. Go see 21 Jump Street, it's a ton of fun.

John Carter

A studio's greatest double-edged sword is marketing. The right ad campaign can make a bad movie a hit and the wrong campaign can make a great movie a flop. For example, the ads and trailers for John Carter suddenly dropped the original "of Mars" from the title and gave little-to-no plot information. All I ever saw was a guy dressed up like Prince of Persia fighting aliens. Sure the movie looked cool, but I didn't know anything about it because of terrible marketing. When I finally saw the thing, I saw that it is in fact pretty good. Destitute Civil War veteran and general badass John Carter (Taylor Kitsch) is obsessed with finding a legendary "cave of gold." When he finally does, Carter also kills a mysterious robed attacker and takes his equally mysterious amulet. The amulet transports our hero to the surface of Mars, where he is taken in by Tarkas (Willem Dafoe) and his local green martians. As it turns out, the two main cities of human-like martians are in civil war, with the evil Sab Than (Dominic West) somehow possessing god-like luck. After saving a hot princess (Lynn Collins), Carter decides to face his destiny. John Carter's character is itself quite simple. The growly professional ass-kicker who doesn't want to get involved because of his dark past seen in everything. However the world of mars Carter fights in in the film is unique and fun. It's too bad the film doesn't explore it. After having a great time with the creative story, great action, and fun characters, I felt like I wanted more. John Carter is a classic space opera that's a bunch of fun for all ages, I just wish the universe had more detail In James Cameron's Avatar, you see every digital fold of the characters' skin as they move around and interact with Pandora. In John Carter, when the eight-foot-tall CGI Tarkas picks up Taylor Kitsch, the skin on Tarkas' thumb folds and the Kitsch's cheeks depress. When martian warriors slice each other apart and blast enemy ships to pieces, the effects and direction are incredibly exciting and beautiful to look at. Besides the princess, who is very wooden, the acting is pretty good, and the script, while silly, never gets Clash of the Titans level dumb. This review may seem a little tame compared to my other silly action movie reviews, but bear with me. John Carter is not a dumb movie. It isn't at all a great movie with it's random editing and pacing issues, but it's a great ride. There really isn't much else to say besides what I've already mentioned. The effects, story, acting, and action are all well done, exhilarating, and it never tries to be more than a blockbuster. Like Green Lantern last year, John Carter is only here to dazzle, and it succeeds.

Chronicle

Everyone wants superpowers. I'd bet that most people have at least thought about it. But what would the general population do with such power at their disposal? Unlimited, godlike power, what would you do? I believe it is naive to say that everyone has the personal fortitude to be Superman. What would that story look like? A person tries to be a hero, but can't take the pressure? Doesn't that sound like a cool movie? Too bad we got Chronicle? Social outcast/loner Andrew (Dane DeHaan) has decided to film his life, including his dying mother and his abusive father. One night, Andrew's cousin Matt (Alex Russell) drags him to a party. There, Andrew, Matt, and popular student Steve (Michael B. Jordan) go into a cave containing a mysterious glowing macguffin. As it turns out, the macguffin gives the three telekinetic powers. Their powers are constantly growing, but so are Andrew's problems, and things start to spiral out of control. Ok, first things first: to hell with "found footage" filmmaking. The Blair Witch Project is the only film to make use of the technique; the rest are just cash ins. Found footage is cheap, it's lazy, often nauseating, and an excuse not to try. It isn't edgy or stylish, it just creates a rift between the viewer and the movie and takes out out of the story. This is what happened to me with Chronicle. Because of the jerky camera and cheap production value, I just couldn't get into it. I'll give Chronicle one concession. It is well made. Besides the found-footage crap, Chronicle is well acted and directed, and has great special effects. However the film lacks coherence and any character development; most of the plot is very jumpy and silly. We aren't given a good transition from teens-with-powers to the eventual superhero chaos of the finale. The plot is very predictable and formulaic, a lot of plot points are abandoned halfway, and most of the story is filler between action scenes. About halfway through Chronicle I realized why it felt so familiar; it is the same story and basic plot progression as 1981's Akira. Only this time it's more angsty and in live action. I don't have time now, but given the proper forum I could draw parallels between at least five scenes and characters. So in the end, Chronicle isn't even original like the ads say it is. There are definitely interesting concepts in the film, but none are explored enough and I was left unsatisfied and annoyed. Maybe I'm too tough, but this is my opinion, take it or leave it.

The Lorax

Rating: 3.5/5

Global warming is real. People can deny all they want, but the science is right, and they're not. Climates are changing, oceans are rising, and most things caught in the middle are dying. Governments scramble to show each other up, but just make each other angry and stop. Of course, lots of people are making sure action is taken, though if you think that's the solution, you're mistaken. Now, I'm not here to preach, I'm not here to teach, but I do have a suggestion. If you care about the issue but are too sensitive for hard facts, treat yourself and see The Lorax.

Thneedville is a plastic city, no growth or decay. Nothing natural at all, and the people like it that way. A boy named Ted (Zac Efron) is stricken with love. For the beautiful Audrey (Taylor Swift), who he ees as an angel from above. All Audrey wants is to be brought a tree, but outside town is a wasteland as far as the eye can see. Ted knows where to start to win Audrey's heart; a visit to the mysterious Once-ler (Ed Helms). Ted hears his story of nature's lost glory, and The Lorax (Danny DeVito), who spoke for the trees. Now it's up to Ted to bring trees back from the dead, and avoid the evil O'Hare (Rob Riggle) while he' at it.

There's an early moment in the story, where the film shows man's violence without being frightening or gory. Shortly after the flashback where Once-ler kills the first tree, The Lorax appears and is shocked by what he sees. He and the animals give the tree a grave, lamenting what they could not save. It's a beautiful and heartbreaking scene, so much so my little cousin asked me "are people really that mean?" And that is the message of the film; nature is not just fuel to our kiln. The message is good, and it is told well, but The Lorax still has problems of which I must tell.

The Lorax does two major things wrong; the first of which is generic and lame songs. Each number is rather uninspired, and each one comes off as tried and uninspired. The second fault is that it aims too low, it really is a young'un-centered show. As a result the story is predictable and thin; we know exactly who will lose and who will win. The animation is gorgeous, as is expected; the guys at Illumination are rarely bested. My final critique is that the film is too tame, unlike other eco-films I could name.

I will not lie and say The Lorax is perfect. That's not something I'll do. That would be two lies; to myself and to you. Still, the film has its heart in the right place, even if it shoves its message in our face. The voices are good, the animation is pretty, and most of the film is in fact quite witty. In terms of story and pacing it is a bit lacking, but that wasn't enough to send me packing. Now, I hope you enjoyed this review of limerick and rhyme, writing it took me quite some time. And so my friends, I bid you adieu; I had a good time with The Lorax, and so should you.

Safe House

Rating: 3/5

January and February are, figuratively speaking, the "dump months." This term refers to the fact that January and February see the most releases of bad action and horror films. A prime example was in 2010, when movies in these months included Legion, The Book of Eli, and Splice. Early 2011 featured Jonah Hex, Cowboys & Aliens, and Priest. However, not all Jan/Feb movies are bad; I'm sure there are a couple good ones. All in all, Safe House.

CIA rookie Matt Weston (Ryan Reynolds) hates his job; he's stuck inside all day watching a hardly-used safe house in Cape Town. Wishing for a promotion and more time with his hot girlfriend, Matt's life is boring. That is until the agency brings Matt his first "guest," notorious CIA traitor Tobin Frost (Denzel Washington). While waiting for a routine pickup, shadowy mercenaries break into the safe house and kill everyone but Matt and Frost. Now the two must survive Cape Town and each other.

Very few action movies also manage to be psychological thrillers. Some, like Blood Diamond and the Bourne Movies do, but most that try get lost. Thankfully, Safe House skirts between the two genres to last ninety minutes. There are still glaring problems, like no character development, too much shaky cam, and some rather boring scenes, but it's cohesive enough and never bugged me two much. Don't get me wrong, some parts are just dumb, but it's a fun ride overall.

Safe House is actually a surprisingly well made film. Even though the action scenes don't make a whole lot of sense, they are fun to watch. The acting is another story. I've seen Ryan Reynolds do a much better job in silly action movies; he just seems bored here. And Denzel Washington? Oy vey, Denzel Washington. The man has tons of charisma but he's been playing the same character for years. I wouldn't even call his character Tobin Frost, more like Denzel Washington if He Was a Secret Agent.

This is a hard review to end. The film I'm addressing today just didn't leave a huge impression. I saw it and I've moved on. Safe House isn't terrible, nor is it fantastic. It's just an action movie, more of an Under Siege than a Bloodsport. What I mean is that it won't tarnish anyone's career or be shown as part of a retrospective of classic action films. Safe House is, love it or hate it, just a goofy action movie, and that's all.

Kill List

Rating: 4.5/5

I am not the kind of horror fan who tries to show off my resistance to gore or make fun of bad horror. I do both of those things, but my core reason for watching horror films is that I like to be scared, and I haven't been really scared in a while. The last new "scary" movie I watched watched was Insidious, but even that got silly despite how fun the movie was. No, I'm waiting for a scary movie that creates suspense; one that purveys a feeling unescapable creepiness. Looks like I got my wish.

After a traumatic and disastrous job in Kiev, contract killer Jay (Neil Maskell) is having a tough time at home. Money is tight, Jay doesn't work, and he constantly fights with his wife. In an attempt to save his marriage, Jay agrees to join his friend Gal (Michael Smiley) on a "kill list" of three people. The two are given the job by mysterious and very creepy employers, but they decide money is money. However, as the job gets more and more strange and violent, Jay and Gal wonder what they've become a part of.

Complete and utter dread. That is what I feel watching my favorite horror films. Kill List does the same thing, and it is one of the scariest movies I've seen in a very long time. Director Ben Wheatley gives Kill List a nearly impenetrable texture of uneasiness and suspense; using Hitchcockian music, creepy lighting, and great mis-en-scene. Also, I've never heard of either of the leads, but wow. These two do a great job at portraying the paranoia and insanity of their situation incredibly realistically.

Now, usually the worst thing a bad horror movie can do is have an abrupt ending. This is the cheapest way to end a film without closure. But in good movies like Kill List where the whole film is scary, an abrupt ending works. The ending of Kill List leaves an impact; it is completely unexpected and very disturbing. What makes it work so well is that the film has been built up with atmosphere and well-developed characters. Jay and Gal are likable guys in a bad situation; we can sympathize with them.

I was glad to see Kill List. In a time of remakes, sequels, and Shark Night 3D, the appearance of a truly frightening film is a welcome sight. Ben Wheatley has made a well acted, written, and directed horror story that is worth seeing. Kill List will enrapture and disturb you, and it will do it well. The entire film, especially the tunnel sequence (one of the most terrifying scenes of the past fifteen years) kept me on the edge of my seat. If that isn't a recommendation, I don't know what is.