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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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“Captain Marvel” Retains Top Slot at the Box Office

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It’s no surprise that in its second weekend, the first Marvel Cinematic Universe of 2019 is still riding high. Captain Marvel, the latest in the MCU with Brie Larson starring as the lead, generated another $69 million over the weekend, placing its domestic total at $266 million. Tallying up the international box office, the film’s global total to date is $760 million. Despite the online controversy, the film is looking to be another strong box office smash for Disney and Marvel.

As for the premieres for the weekend, and there were plenty, they were all over the map. Just below Captain Marvel was the animated adventure Wonder Park, bringing in $16 million, another film with controversy when the director’s name was removed from the picture after sexual harassment charges. Five Feet Apart, the dying teen drama about a romance amid cystic fibrosis, only came in at #3 with a weekend gross of $13 million. And debuting the lowest in the top 10 for debuts was Captive State, a sci-fi dystopian tale, only making $3 million. The film debuted so low the little film No Manches Frida 2 was able to sneak about it at #6 with a gross of $3.8 million.

Drops were fairly low all around for the returning films, mostly because Captain Marvel was dominating the previous weekend. The only milestone worth noting is that The LEGO Movie 2, after six weeks at the box office, finally cracked $100 million. And the sun is now setting on Green Book’s post-Oscar run by coming in at #10 for the final weekend of its top 10 run over the past few weeks.

View the full top ten weekend box office results below:

Captain Marvel ($69,318,000)

Wonder Park ($16,000,000)

Five Feet Apart ($13,150,000)

How to Train Your Dragon: The Hidden World ($9,345,000)

Tyler Perry’s A Madea Family Funeral ($8,085,000)

No Manches Frida 2 ($3,894,000)

Captive State ($3,163,000)

The LEGO Movie 2: The Second Part ($2,135,000)

Alita: Battle Angel ($1,900,000)

Green Book ($1,277,000)

Next weekend, Captain Marvel may very well have some competition when Jordan Peele’s new horror film Us hits over 3,600 theaters.

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“Dragon” Continues To Soar, “Funeral” Close Behind, “Green Book” Back

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With little competition for the weekend, How to Train Your Dragon: The Hidden World, the third in the animated fantasy saga, was able to secure the box office once more. In its second weekend, the animated epic made $30 million to push its domestic total to $97 million. So far the film has done about the same as the previous film and is on track to stay in the top 10 for a few more weeks in March.

Debuts this weekend were small with one big exception. Tyler Perry’s latest Madea film, A Madea Family Funeral, naturally made a relatively big splash with its dedicated audience. Starting at #2, the film made $27 million for its first weekend. No word on the budget yet but it’s most likely on a budget as most Tyler Perry productions are, so it’s safe to call this a success, especially for debuting with a box office so close to Dragon.

The rest of the premieres were not as strong at all. Greta, the new thriller starring Chloe Moretz, debuted all the way down at #8 with $4.5 million box office. To be fair, however, the film was in a constant battle for its spot as three other films also reported earnings around $4 million for the weekend. Of note, Green Book, fresh off winning the Academy Award for Best Picture one weekend ago, splashed back into more theaters to arise even higher in the top 10 with its domestic total now sitting at $73 million. Don’t count on it remaining there long as bigger blockbusters will be swooping as we plow through the last remnants of winter movies.

Check out the full listing of the top 10 box office weekend results below:

How to Train Your Dragon: The Hidden World ($30,046,000)

Tyler Perry’s A Madea Family Funeral ($27,050,000)

Alita: Battle Angel ($7,000,000)

The LEGO Movie 2: The Second Part ($6,615,000)

Green Book ($4,711,000)

Fighting With My Family ($4,691,284)

Isn’t it Romantic ($4,645,000)

Greta ($4,585,000)

What Men Want ($2,700,000)

Happy Death Day 2U ($2,516,000)

Next weekend is once again all about Marvel as their latest superhero solo film, Captain Marvel, will be appearing in 4,100 theaters.

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Review: “Captain Marvel” is a Solidly Sensational Sci-Fi Adventure

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Captain Marvel joins the ranks of the Marvel Cinematic Universe in a much different way. She slides into the MCU via a twisty sci-fi adventure of the 1990s, before the Avengers were formed. And though the film does serve as a strong bridge picture that answers a few more questions about the Marvel universe, the film quickly becomes its own thing and gives its hero a real identity as the powerful addition to the superhero ensemble.

Brie Larson plays Carol Danvers, a woman not sure if she’s a human pilot of Earth or a soldier of the Kree empire’s Starforce. There’s little time to explore these conflicting visions she’s having when there’s special energy powers to control and a war being waged against the shape-shifting Skrull alien creatures. A detour to 1990s Earth gives her a bit of time to find out more while also hunting down some more Skrulls, leading to some interesting scenarios when combatting aliens that could look like old ladies.

Marvel Studios’ CAPTAIN MARVEL..Captain Marvel (Brie Larson) ..Photo: Film Frame..©Marvel Studios 2019

Carol’s landing on Earth leads to treading down familiar Marvel timeline territory as well as evoking plenty of dated 1990s bits. What started drawing me into the picture was how the film holds itself back from the obvious. The 1990s setting is used for some gags of video stores and Windows 95, sure, but never goes the extra mile of becoming an aggravating reference fest, keeping a certain vibe the way Guardians of the Galaxy embraced the 1970s and 1980s. And just like that film, there’s a nostalgic soundtrack to boot, with choice tracks for just the right cue.

Samuel L. Jackson pops up in the film as a younger Nick Fury with his two eyes still intact. He teams up with Carol in her intergalactic spy adventure and thankfully never goes to the booming lengths he was known for that decade. And the filmmakers could have easily made this younger Fury go full Die Hard 3 or Pulp Fiction but he never does, always keeping that cool persona he has been known for in the Marvel Cinematic Universe.

Marvel Studios’ CAPTAIN MARVEL..L to R: Att-Lass (Algenis Perez Soto), Captain Marvel (Brie Larson) and Minn-Erva (Gemma Chan)..Photo: Film Frame..©Marvel Studios 2019

But the one aspect that is never shunned and built up grandly is the aspect of female empowerment. Danvers is established as a woman who doesn’t have a clear identity or mindful nature of galactic politics and has to build herself up when she realizes she may be a very powerful pawn in a big game of intergalactic chess. Her memories are that of always being told to back off from non-traditional activities for girls and, sure enough, she rises up to become the smirking and energy-shooting hero when the final piece of her character puzzle is pieced together. It’s just unfortunate that the film spends so much time doing the building amid a twisty sci-fi spy story that Brie never gets a moment to shine as brightly as she could, despite a very enthusiastic third-act closer.

If we’re being blunt, no, Captain Marvel doesn’t quite have the same gravity to be a cultural milestone of a comic book movie. Where others have pointed to Black Panther as not the first the most insightful and cultural of black-led superhero movies, I doubt many will look towards Captain Marvel as the grandest of female-led comic book movies, making its motives known with the power and subtlety of a supernova. But, in terms of what the film is aiming towards, it doesn’t have to prove anything to anyone and that’s perhaps the point. I just wish that Captain Marvel’s astounding powers to destroy starships and aliens had a much bigger punch for a picture that wants to obliterate the glass ceiling and merely cuts a narrow hole within the MCU. It’s a nice hole, mind you, and still weaves a capable and compelling sci-fi adventure with a surprisingly more engaging finale than most Marvel solos.

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