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Movie Review: ‘Rogue One’ Indulges the Darker Side of Star Wars

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Rogue One Movie Review MovieSpoon.com

How does Rogue One: A Star Wars story stack up to the legendary Star Wars franchise? Find out by reading our movie review:

[dropcap]R[/dropcap]ogue One is the first Star Wars movie to open without the booming John Williams score or the expository text crawl. I braced for the silence of the credits to be obliterated by that familiar theme, but was surprised that it never came. The opening sentence of placing the setting a long time ago in a galaxy far away is still present, but the movie still makes itself clear as not being a normal Star Wars story.

Without the baggage of adhering to strict Star Wars plots and characters, director Gareth Edwards is able to take this franchise in a radically new direction for this one-shot prequel that plays as anything but predictable. This is the Star Wars universe we know, but not the same old Star Wars formula. No expected pluckiness, no required lightsaber duels and no guarantee that every hero will live.

Rogue One Movie Review MovieSpoon.com

Some of the main ‘Rogue One’ characters.

Taking place before the events of Star Wars: A New Hope, the planet-destroying weapon of the Death Star, sometimes mistaken for a moon, is nearly completed and the Empire is eager to give their new toy a test. But the Rebellion forces that oppose the Empire are still in the dark about what this weapon is and what it is called.

They decide to enlist the help of the troublesome criminal Jyn Erso (Felicity Jones) seeing as how her father (Mads Mikkelsen) was working on the Empire’s secret projects. She hasn’t seen him since she was a child, but the Rebellion still believes her to be an asset given her more recent interactions with rebel fighter Saw Gerrera (Forest Whitaker), an aged cyborg that has lost his legs and his mind.

She’s not alone in her tough mission of infiltrating the Empire. The Rebellion allies her with risk-taker Captain Cassian Andor (Diego Luna) and his smart-mouthed droid K-2SO (voiced by Alan Tudyk), but she acquires more comrades in her travels. The blind and Force-spiritual Chirrut (Donnie Yen) and his trigger-happy pal Baze (Jiang Wen) make a capable pair of warriors in combat, both close and distant. A defecting Empire pilot provides the perfect in for helping Jyn and her pals evade security and infiltrate Imperial strongholds.

They’re a colorful bunch that work together as well as any ragtag group of outlaws banding together for a common good, but they are also focused enough to not rely on punctuating quips or emotional mistakes. We don’t delve too deep into these characters’ pasts, but perhaps we don’t need to. There’s not enough time to be charismatically comical or forlornly nostalgic when Stormtroopers are shooting at you with their entire armada. And their weapons are most certainly not set to stun.

As Jyn gains more followers in her mission, it isn’t long before the entire Rebellion armada joins her in a grand battle to snatch the plans for the Death Star from a heavily guarded planet. The Death Star itself is being finished by Director Krennic (Ben Mendelsohn), dressed in a cape-touting white uniform, whom Jyn has known since childhood. He’s become bitter and frustrated with his project that has been undermined and stolen by the likes of Grand Moff Tarkin.

Rogue One Movie Review MovieSpoon.com

‘Rogue One’ gets right into the thick of the battles.

Tarkin, you may recall, was the strict no-nonsense Death Star director played by Peter Cushing in Star Wars: A New Hope, which adds a whole new dimension of sinister to his character. With Darth Vader also breathing down Krennic’s neck (in addition to choking it), there’s enough to warrant the evil nature of this villain who is struggling to hold any level of authority within the Empire.

The problem with any prequel is the question of how to raise tension and excitement when we know how certain events will transpire. We know the Rebels will acquire the Death Star plans and that a handful of familiar characters (most notable being Darth Vader) will survive this ordeal without harm. But Rogue One avoids the predictability plotholes by featuring original characters and ramping the stakes so high that you really do start believing the heroes will not succeed. The only downside is that most of the familiar characters are reduced to cameo roles which, while not annoying, felt unneeded in a picture that stands well enough on its own. Must C3PO and R2-D2 be in every Star Wars movie? Haven’t they earned a break by now?

Director Gareth Edwards was best known for his sci-fi pictures Monsters and Godzilla, two films where he kept the special effects mostly hidden or saved them up for a few money shots. Edwards pulls out all the stops with his take on Star Wars, staging large-scale battles on land and in space, never crowding the screen too much or shaking the camera to the point of being a constant blur. He wants to show us how cool it is to see AT-AT walkers on a beach or squadrons of Y-Wings disable a Star Destroyer. And because there is so much going on, without so much as a breath of a comic relief scene or a romantic subplot, the action never feels as though it’s fulfilling a mandatory beat or acting as flashy filler. There’s a little more tact required for this mission than just blowing something up – though there are plenty big balls of fire to be had in Rogue One’s take-no-prisoners climax.

Read more to get the rest of the movie review for Rogue One: A Star Wars Story

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Review: “Skyscraper” Lumbers With Thrills Pulsating and Passive

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Dwayne Johnson can work wonders on a lackluster script, but there’s only so much he can do in a Die Hard retread. There’s nothing inherently wrong with taking from such an iconic source and weave something thrilling out of that foundation. But when that irresistible Johnson charm can’t break through the towering theatrics, all we’re left with is a spectacle that is more big and loud than bright and exhilarating, never fully embracing the silliness of scaling a ludicrously built tower.

Johnson plays Will Sawyer with a unique backstory but little personality. He was once an FBI agent that lost his leg in a hideous hostage situation. Now he has taken a safer job as a safety inspector for China’s most massive towers due to open upper residential floors, bringing along his family for a working vacation. Johnson’s brighter smile and warm presence don’t come through as well this time, due in part to his character having a darker past and a tougher time getting around with an artificial leg. Fair enough, but when the tower is set aflame by gun-toting terrorists, I really wished that giddier Dwayne could come out and play, past some pleasing pulsations of his muscles jumping great distances and fighting the bad guys.

The setup to the grand showpiece of Dwayne clinging to windows and narrowly escaping explosions is fairly pedestrian, casually concocting all the elements and never harping on them too long, lest we be drowned in cliches. Chin Han plays the wealthy builder of the structure, concealing a secret and a MacGuffin that the villain want so badly they’ll cause a public scene to get it. The lead terrorist is played by Roland Møller with a sinister look and a Scandinavian accent, so blandly conceived it’s no wonder he works for someone higher up. Even more bland is his female cohort (Hannah Quinlivan), kicked to the curb of the tower excitement with her tight black outfit and sexy looking hair dangling off the side of her face. There’s also a cowardly English investor (Noah Taylor) and a long-time pal of Will played by Pablo Schreiber to fill out the twist fodder.

This is a film that really does require your brain to be shut off given how much lost potential and generic action-movie-isms crowd the screen. The first act is the biggest slog, holding the hand of the audience for everything that will follow. Will stresses to his wife that the easiest way to fix a smartphone is to turn it off and on again. I fully expected this to play a role in the climax but hoped Neve Campbell wouldn’t literally say those words. Chris Han shows off his holographic room that is little more than a hall of mirrors; seems like a good place for a disorienting shootout. As Hannah Quinlivan watches a hired hacker sabotage the tower’s fire suppression systems, the hacker states boastfully that only he can shut it down from that point forward. Take a wild guess what Quinlivan will do next when she hears this information.

Okay, but that’s all the plotty stuff and, let’s be honest, nobody is watching this picture for a stirring thriller about criminal bank accounts and tracking software. They want to Dwayne do stunts, and he delivers plenty, from jumping off a crane to swinging like Tarzan to escape a blaze. That’s all well and good, but we know Johnson is capable of these impressive theatrics, including some brutal fights that lead to much smashing. We also know he can be charming and has a great personality. So why is he strangely silent during these sequences? He seems to only talk when he has some forgettable one-liner to sling, making commentary on fixability with duct tape and telling himself he’s crazy for crawling along windows. This role feels as though it would be better suited for a beefy actor with more muscle than speech; not someone who can exude enthusiasm with more than enough wit to match his strength.

Neve Campbell surprisingly gets to do quite a bit more than cowering in corners with the kids. She takes charge in scenes where’s she’ll stab terrorists, smack them with car doors, and get in some good kicks and punches. While it’s fun watching Campbell take charge, I questioned where she learned all these stellar fighting skills for having previously been a surgeon. Perhaps Johnson inducted her in his action hero training program, coming standard with their marriage.

Skyscraper is sufficient as mindless summer entertainment but it does little more than that when I know it could do more. Johnson has the smarts to be a more charming hero than a mindless brute that can hoist himself across a building or literally hold up a crumbling bridge with little more than his buff arms. A massive tower with thousands of technological features could lead to an array of astonishing action sequences, but the most we see is a gripping dash through a burning wildlife enclosure. If there only a few more fun bits of dialogue, more outlandish stunts, and a braver embrace of the dumb, this big blockbuster could have been more audacious than obligatory.


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Incredibles 2 Blast Box Office Records of Animated Film

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It may have been 14 years since the first Incredibles movie, but its impression has remained. The appeal was strong enough to make its sequel not only the #1 movie of the weekend but one of the most profitable animated film on its debut. For its premiere weekend, Incredibles 2 ranked in an astounding $180 million. This makes it one of Pixar’s best openings, easily dwarfing the previous film’s opening take of $70 million. With a considerable lack of family films in the next few weeks, expect Incredibles 2 to linger for quite some time for boasting such a powerful opening.

The rest of the debut films were left in the dust. Tag, an ensemble comedy based on a never-ending game of tag, only made $14 million, coming in at #3. The modern remake of blaxploitation classic Superfly premiered to a low $6 million debut. And falling outside the top 10 at #12 is Gotti, the based on true events drama starring John Travolta that made headlines for ridiculously low critic scores.

The drops for the weekend were somewhat predictable, with the superhero epic Avengers: Infinity War descending the least with a 26% drop. It’s also sitting at a total domestic gross of $664 million, edging closer to toppling Black Panther’s immense numbers of $699 million. It’s going to come down to the last few days in theaters to see if Black Panther will finally reach $700 million, considering its home video release and quickly-descending theater count. And, unfortunately, Hotel Artemis is pretty much a dud, descending 70% to place it well out of the top 10.

View the full top 10 below:

Incredibles 2 ($180,000,000)
Ocean’s 8 ($19,555,000)
Tag ($14,600,000)
Solo: A Star Wars Story ($9,081,000)
Deadpool 2 ($8,800,000)
Hereditary ($7,026,000)
Superfly ($6,300,000)
Avengers: Infinity War ($5,296,000)
Adrift ($2,100,000)
Book Club ($1,850,000)

Next weekend will find superheroes battling dinosaurs as Incredibles 2 weathers the storm of the upcoming summer blockbuster, Jurassic World: Fallen Kingdom. The sequel to Jurassic World, starring Chris Pratt and Jeff Goldblum, will be premiering in the same amount of theaters as Incredibles 2. And considering how insanely profitable Jurassic World ended up being, it’ll be interesting to see who takes the weekend and by how much.


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Review: “Jurassic World: Fallen Kingdom” is Lost in its World

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The tagline for Fallen Kingdom revises the previous film’s tagline of “the park is open” to “the park is gone.” Okay, now what? With the global public now fearful of dinosaurs after the massacre at the park, it’s a whole new world of possibilities. Some activists want to preserve dino life, tycoons who want to buy them for military purposes, and governments that shrug in confusion at what to do next. All these aspects give the movie plenty to do with its prehistoric showcase; so much that it forgets to put a little heart and brain in with its dinosaur romp.

There’s an even greater distance from the human characters this time, lost in their doubling plot arcs and love of dinosaurs. Owen (Chris Pratt) and Claire (Bryce Dallas Howard) return from the last film but are now on a break in their relationship. Why they split up is briefly addressed, and their inevitable rekindling is even more rushed as they race towards the action. Clearly, Owen’s more defined relationship is with the raptor Blue, this time given even more background and tenderness. There’s rarely a moment of romantic tension between Pratt and Howard but place Pratt next to a wounded raptor, and you have some emotion fit for a blockbuster too tedious for tears.

In the battle between good dino doctors versus bad dino doctors, and eventually good dinos versus bad dinos, there are supporting characters that provide little support past quips and kills. There’s an intern duo of the meek screamer Franklin (Justice Smith) and the wise and snarky Doctor Zia (Daniella Pineda). They’re not quite young enough to fill that Amblin brand requirement, so there’s an English orphan of an aged, sage, and wealthy businessman (James Cromwell). There’s the cold Eli Mills (Rafe Spall) that is trying to build an empire off dinosaurs. You can probably guess his fate. And you certainly don’t need a crystal ball to see things are not going to work out for the violent poacher (Ted Levine) who can’t resist pulling the teeth out of captured dinosaurs.

If that seems like too many humans in a film about dinosaur action, worry not. Director J. A. Bayona crowds the screen with many species romping, stomping and chomping about. Too many that there’s a scene of prehistoric creatures crammed into a tight space, fighting for screen time. When they’re not caught in stampedes, there are a few impressive moments of adventure and terror. Easily my favorite sequence features the human heroes fleeing from a hungry dinosaur that corners them in a room flooding with lava, a shimmering wall of red and orange separating the two species. Another stellar shot is one where a newly bred hybrid dino slowly extends its claws to a girl cowering in her bed, horror movie style.

Part of what made the first Jurassic World so engaging was the simplicity of its adventure. A park full of dinosaurs goes awry, and there’s a mad dash for the exits, with some military involvement and cloning controversy peppered into the run. Fallen Kingdom has far too much going on that none it resonates enough to make Pratt’s tender touch during raptor surgery stick. There’s commentary on everything from government silence to environmentalism to war-hungry investors to cloning gone too far. But it’s all so rushed that several of these twists come crashing in at the last minute and struggle to strike with shock and excitement. The movie doesn’t have time to slow down for everything, leaving the secret villain of Doctor Wu (B.D. Wong) and the experienced Doctor Malcolm (Jeff Goldblum) in the dust.

Jurassic World: Fallen Kingdom has its moments of thrills that resonate enough to be pleasing popcorn entertainment, as with Chris Pratt narrowly avoiding a volcanic flood and a rich snob that gets a deserving munch by two dinosaurs. Sadly, it’s all so muddled and forced into theatrics that even Pratt’s reliable charm can barely make a dent in a script too dense with set pieces and cliches. I remember I enjoyed Jurassic World for being a pleasing throwback to Jurassic Park, returning that same wonder I had as a child. Fallen Kingdom replicates the familiar disappointing sensation of Park’s sequel The Lost World. It’s a mistake that I’m sure Doctor Malcolm would criticize for the producers who were so preoccupied with making a blockbuster sequel to the profitable Jurassic World, asking if they could rather than if they should.


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