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Review: “Death Wish” is a Clunky Mess of Guns-Gushing Insanity

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I always admired Death Wish more as an oddity than a genuinely great action picture. It’s a little hard to become invested in a film series known for gratuitous amounts of graphic violence and rape, many times in the same scene. And while the Death Wish remake thankfully avoids become the exploitation mess it could have been, the film is still just as odd for its unusual mix of commentary and comedy amid bullets and blood.

Bruce Willis now plays the role of Paul Kersey, appearing with far less hair on his head, now a Chicago surgeon as opposed to a New York architect. He has to witness day after day multiple patients with gunshot wounds rushed into the ER. It’s draining work, but he can still have fun at his lovely home with his beautiful wife and college-bound daughter. Surely nothing terrible will happen to them because they’re so carefree and all smiles. They’re built up to be such a sugary family that the inevitable beating the wife and daughter receives only occurs after they decide to make a birthday cake for Paul secretly.

I will give Eli Roth credit in that the expected inciting incident that sets off Paul is not as hard to watch as the original. Rather than draw out a long and uncomfortable rape of a mother and daughter that leaves one dead and the other in a coma, the scene is kept tense with the tease for a sexual assault that doesn’t get very far and gunshots quite subtle. That being said, Roth doesn’t disappoint in the rest of the violence that becomes just as cartoonish as it does gory. Blood will splatter, neck cracked, and one unlucky thug has his skull crushed as his brains spill out.

Roth’s film is one that’s hard to love for its seesawing of gritty drama and over-the-top violence. You can probably guess which category he excels at best. When Willis is going on the hunt and making snarky remarks, he’s in his element. When he’s trying to look sad and depressed with contemplating losing his family, however, the heart isn’t there, and his acting becomes downright awkward to watch as he stumbles through his quieter scenes. Almost of mercy, the film is aware enough of these shortfalls and slowly steers the focus away from the dramatic elements. It’s a smart move, but it would have been an even better move if Rothe embraced more of the crazy than the relatable.

Several aspects of Paul’s crusade come with consequences, but they’re rarely explored. There’s no point made in bringing up the dangers of copycat vigilantes that are gunned down in the street if Paul ignores, turning off a news report and then never addressing it again. Why even bother having morning radio debates on the slippery slope of Paul’s revenge spree when they’re just as quickly swept under the rug? Rather than dig deep into these issues or cut them out for the sake of campy violence, Roth decides to dance around them, taunting the audience with his film being culturally relevant, but not really.

And it can’t be ignored how poorly timed this movie was with the current state of arguing about gun control. While the film had reportedly been pushed back because of the Vegas shooting, now it has the uncomfortable awkwardness of coming out after the Parkland shooting. I don’t want to hold that against the film, but it should be noted that this film was pretty much a love letter for the NRA. This film doesn’t just showcase a lot of guns; it loves firearms to a ridiculous degree. When Paul becomes inspired to go out and buy one, he’s greeted in the gun shop by a bouncy blonde that perkily sets him up with a form and dismisses how tough gun safety classes are to pass, reasoning that anyone can qualify. This type of attitude would set off red flags about gun access in Chicago, but all Paul gathers from that visit is “Man, it sure takes a lot of work to get a gun. Better go steal one of a gangster.”

Death Wish has its demographic down for targeting middle-aged Americans who love guns and want to take a bite out of the next generation with their dentures. Willis is a snarky anti-hero who loves shooting young punks, Vincent D’Onofrio is an all-American guy gunning for a union job, Dean Norris is a pursuing detective that thinks gluten-free foods are yucky, and the soundtrack boasts top hits of classic rock. All it’s missing is a Make America Great Again hat, Willis fumbling with a smartphone, and a preachy rant about how lazy millennials are to be the elderly audience movie of the year.

And I honestly would have been okay with this over-the-top presentation if Roth decided to keep this film where it firmly belongs in cartoony gore land, going so far as to have a goon killed by a bowling ball falling off a shelf. But when he ventures outside this territory, into the world of gun violence, being a real issue with dire consequences, the cracks in the entertainment value become uncomfortably thick, as if Tarantino meshed footage of Schindler’s List into Inglourious Basterds. I wanted to like Death Wish for being a bullet and blood bonanza, but not when it tries to make a point of all this madness, only to trail off into another silly segment of Willis getting in an ouch-inducing kill. Such inconsistencies made me wish this tired franchise had stayed buried, coming out as the wrong film at the wrong time.

[author title=”About the Author” image=”http://popstermedia.com/wp-content/uploads/2015/07/mark_mcpherson-300×221-150×150.jpg”]Movie Reviewer Mark McPherson has been all about movies since working at a video store in his youth. His talents range from video editing to animation to web development, but movies have always been his passion to write about.[/author]


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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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