Category Archives: Action

‘The Spy Who Dumped Me’ Wastes its Cast in Bland Action-Comedy

I am dangerously close to giving up on Kate McKinnon, she seems unable to find a quality role in a good movie to save her life.

“The Spy Who Dumped Me” stars Mila Kunis and Kate McKinnon as two friends who must go on the run from assassins across Europe after one of their ex-boyfriends turns out to be a hunted CIA agent. Justin Theroux and Sam Heughan also star as Susanna Fogel directs.

The action-comedy is a film genre as old as time so unless someone were to really think outside the box there isn’t a storyline or thematic approach that could be taken to be radically different. “The Spy Who Dumped Me” is more than comfortable hitting all the familiar notes from a dozen previous (and better) films, and along the way loses sight of any and all goals, whether they are comedy or action-related, it originally set out with.

I like Mila Kunis and used to really like Kate McKinnon, but they both rarely seem to choose projects that are worthy of the quality of work they have shown they’re capable of. Kunis is fine as second-fiddle in “Ted” and solid in “Bad Moms” but is not in/wasted in each respective sequel and also in whatever the hell “Jupiter Ascending” was. Here Kunis gets to do all the lifting alongside McKinnon and when she is actually given a joke that works, it lands; the problem is the script gives her almost no jokes that work. McKinnon, brilliant on SNL, has never been in an objectively good film, simply doing weird exaggerated voices and facial expressions through the likes of “Office Christmas Party,” “Rough Night” and the “Ghostbusters” reboot. Fans of hers will love her overreacting and random riffs here but those who are growing tired of the one-note act will again roll their eyes and/or cringe. The two have modest chemistry together but I can’t imagine anyone will be clamoring to see them star in another vehicle anytime soon.

So the comedy isn’t very good, but what about the action? Well, it’s a bit of a mixed bag. There are actually some incredibly fun and creative moments including one tracking shot where the camera follows a character who jumps out a window and rolls off a truck (it actually prompted me to say “that was cool” out loud). There are also a few entertaining shootout sequences that are shot quite competently. However there are also a lot of over-the-top deaths simply for the sake of being over-the-top and gory and they create this conflicting tone; half the time this plays like a breezy buddy romp and then suddenly it turns into something out of “Saw.”

By the end of the film the plot becomes practically incoherent, with underdeveloped (or completely unexplained) motivations, lazy writing (a character gets shot and is completely healed mere hours later) and a bad guy organization that is introduced in the third act. The pacing and editing also has some issues, with the film feeling as if it is building towards the climax for about 45 minutes.

“The Spy Who Dumped Me” is one of those movies that is not inherently *bad* but it is bland yet just competently made enough that you wish it was better. Kunis and McKinnon try their best and as a director Fogel seems to have an eye for action, but the script she co-wrote with David Iserson lets everyone down. There are funnier comedies, better action films and more intriguing spy pictures out there (Melissa McCarthy’s “Spy” checks all three of those boxes) and there is little reason to recommend this to all but the least-demanding filmgoer.

Critic’s Grade: D+

Lionsgate

I’m Surprised How Much I Didn’t Mind ‘The Equalizer 2’

It’s amazing that even in these “throwaway” roles, Denzel Washington still manages to show why he is one of the greatest actors the world has ever known.

“The Equalizer 2” is the sequel to the 2014 film, which was in-turn based off the 1980s TV series of the same name. Denzel Washington stars as Robert McCall, a retired CIA agent who now works as a Lyft driver while helping out the defenseless people. When one of his oldest friends (Melissa Leo) is killed, McCall sets out on a path of revenge. Pedro Pascal, Ashton Sanders and Bill Pullman as Antoine Fuqua returns to direct.

I really did not enjoy the first “Equalizer” film. I thought it was too self-serious, had horrible pacing and was visually too dark and just ugly to look at. So needless to say I was not looking forward to this needless sequel (the first of Washington’s esteemed career) with any sort of anticipation; and maybe those low expectations had something to do with me enjoying this film a surprising amount.

Fresh off years with back-to-back Best Actor nominations for “Fences” and [sighhh] “Roman J. Israel, Esq.” it is more than fair/expected that Denzel would do a paycheck movie where he doesn’t have to break as much of a sweat. That being said, he doesn’t mail in his performance here and actually is given a surprising amount of emotional range to play with. From grieving the loss of his friend to those classic Denzel-isms like that devil smile or low-grumble voice, this may not be an Oscar-caliber role or performance but Denzel makes sure moviegoers will get their money’s worth of him.

There are a handful of sideplots, including McCall being a mentor to a young man in his apartment complex (Ashton Sanders, best known for “Moonlight”). Denzel, who in real life has spoken up that it is a man’s job to be in the home and be a part of his child’s life, acts as the father figure to Sanders and while the plotline itself is only there to be filler en route to a last minute climatic scene, it holds a nice message at its core.

And I suppose that is one of the film’s issues, is that for the first half there are a lot of tiny “missions” that McCall has to do and none of them really seem important or even get a resolution until the very end of the epilogue. One of them is to show McCall’s mentor side, the other is really just an excuse for the filmmakers to get a manipulative (albeit admittedly effective) heartstring tug, and they really just seem useless in the grander scheme of things. The actual plot, the one sold in the trailers and why people would pay to see an “Equalizer” film, is a little more straightforward than the first film and I enjoyed it, although I have a soft spot for CIA coverups.

The action is much more clean-cut than the first film, too. Whereas that climax took place in a dark Home Depot, this one is set in a seaside town in the middle of a hurricane (where I imagine much of the film’s $62 million budget went). There are some cool kills and moments of tension and I really do think that all but the most demanding junkies will enjoy it.

“The Equalizer 2” is great escapism even if it won’t be memorable. I personally found it to be an improvement on the first installment and continue to appreciate getting to see a legend like Denzel Washington on the big screen every chance I get. There is a small lull in the middle of the film (basically when the sideplots end and the main one comes into focus) but aside from that I was never bored, and think that you’ll find enjoyment in it, as well.

Critic’s Grade: B-

Sony Pictures

‘Ant-Man and the Wasp’ is a Predictably Lightweight but Fun Marvel Romp

Given the cultural significance of “Black Panther” and the sheer scope of “Avengers: Infinity War,” I feel this one was always going to play small-scale third fiddle…

“Ant-Man and the Wasp” is the sequel to the 2015 film “Ant-Man” and features Paul Rudd and Evangeline Lilly reprising their roles as the title characters. Michael Peña, Bobby Cannavale, Judy Greer, Tip “T.I.” Harris, David Dastmalchian, Abby Ryder Fortson and Michael Douglas also return as Walton Goggins, Hannah John-Kamen, Randall Park, Michelle Pfeiffer and Laurence Fishburne join the cast. In the film, Ant-Man and the Wasp must hunt down a stolen piece of technology in order to try and save Douglas’ wife from being trapped in the quantum realm (in layman’s terms, she shrunk so small she has been stuck between two atoms for 30 years). Peyton Reed returns to direct.

I wasn’t the biggest fan of the first “Ant-Man” film and actually think it is one of Marvel’s weaker outings. It just is never as inventive, clever or funny as it thinks it is and plays out like an “Iron Man” remake on a lesser scale. I wasn’t expecting too much from this sequel, even if Marvel is on a streak right now of putting out films that are changing the superhero landscape for good (“Thor: Ragnorok” and the aforementioned “Black Panther” and “Infinity War”), but maybe it was those low expectations that made “Ant-Man and the Wasp” pretty enjoyable.

Paul Rudd is perfect in most everything he does and is really one of the only actors who could pull off a superhero like Ant-Man. He is funny and reluctant yet brave and loyal and is able to have natural chemistry with anyone he is sharing a scene with. Michael Peña, a fan favorite from the first film, returns and again has some standout moments of ADD energy while Michael Douglas is given a few more chances to earn some laughs while also carrying the film’s more emotional scenes. Newcomer Randall Park was probably my favorite addition playing the FBI agent assigned to keep an eye on Rudd following his house arrest, and he without a doubt provides the film with its funniest moments (side note: get me a Park and Rudd “Odd Couple” spin-off show now, please).

Aside from Park, all the newcomers to the cast feel like useless additions that are only there to push the plot. Hannah John-Kamen is the film’s main antagonist but her goals almost feel like a side quest and really only exist to give the film a faux sense of urgency, while Michelle Pfeiffer and Laurence Fishburne portray people from Douglas’ past that, while the mention of their characters is important to the plot, their actual presence is not.

And that is really the film’s biggest issue, that there is no urgency or real weight. The entire plot takes place over about a day and there are certain characters that feel added for the sake of runtime or because the producers wanted to see a tiny car turn into a big car and hurt some bad guys.

That being said, the action sequences are cool (as far, few and in between as they sometimes seem to be) and the going from big-to small-to big again gag is still amusing form the first film.

“Ant-Man and the Wasp” was never going to mean as much, have as much to say or be as charismatic as any of Marvel’s other tentpoles but that’s OK. Watching it is more often than not a blast and even if it fades quickly from mind a little (no ant pun intended) mid-summer distraction to hold us over until “Avengers 4” isn’t so much of a bad thing.

Critic’s Grade: B

Walt Disney

‘Sicario’ Sequel is a Step-Down on Most Every Level

Jim Carrey’s 1994 is usually accepted as the hottest year an actor has ever as he starred in “Ace Ventura: Pet Detective,” “The Mask” and “Dumb and Dumber.” I’d be willing to bet that history will look upon Josh Brolin’s 2018, between “Avengers: Infinity War,” “Deadpool 2” and now this, with equal amounts of praise.

“Sicario: Day of the Soldado” is a sequel to 2015’s “Sicario,” a film that starred Emily Blunt, Josh Brolin and Benicio del Toro and received critical praise and three Oscar nominations. Brolin and del Toro return here as they get sanctioned by the US government to launch a false flag operation in order to start a war between the Mexican drug cartels. Stefano Sollima takes over directing duties from Denis Villeneuve while Taylor Sheridan returns to write the script.

I enjoyed the first “Sicario” film. Shot by now-Oscar-winning cinematographer Roger Deakins (it feels so good to say that) it looks gorgeous and features several brilliantly directed sequences including the border bridge scene (which has to be one of the most YouTube’d movie scenes in recent years). No one really felt a follow-up was necessary, although they tossed out the idea of del Toro’s hitman Alejandro Gillick getting a spin-off, yet here we are three years later. And does “Day of the Soldado” justify its existence? I mean, not really.

I like Taylor Sheridan as a screenwriter and after some felt he was snubbed for his work on the first “Sicario” he earned an Oscar nomination for 2016’s “Hell or High Water;” I also really enjoyed his (“not”) directorial debut last year with “Wind River.” His scripts are all pretty straight-forward and based in reality, with tension and a take on the modern Western that engross the viewer and drop them into the world, whether that is dusty Mexico, the wide plains of Texas or the snowy northern US. This is his first script that doesn’t really have his staple on it, as the first act jumps around from Mexico to Kansas City to Africa and then back to the U.S. all in about ten minutes. So much is happening and it is easy to get lost, which like I said is unusual for a Sheridan script and it feels either he mailed this thing in as a sequel cash grab or the studio just accepted his first draft without polishing it.

The film is sold as, and starts out with, Josh Brolin’s CIA agent Matt Graver being tasked with turning the Mexican drug cartels against each other after the US labels them as official terrorist organizations. This may seem cool and interesting but once he and del Toro kidnap the daughter of a cartel leader (Isabela Moner) the film becomes something else entirely. I really think watching the CIA team continue to commit staged attacks and assassinations would have been a much more interesting (and exciting) film but instead most of the time is a “Logan”-esque road trip.

“Soldado” just feels like inferior to its predecessor in every way, like a student who loved “Sicario” wanted to pay homage to it as their final project. Not to say the quality is poor but the score by Hildur Guðnadóttir (who collaborated with the late/great Jóhann Jóhannsson on the first film) features a lot of the “Inception” style “BWONG!” sound effects but not much of the tension. While Deakins’ shots looked gritty yet beautiful Dariusz Wolski’s is just grim, which I supposed matches the tone and outlook on the world that the film is trying to depict. Neither of these are hindrances as a whole but in a film that so desperately wants to be compared to what came before, they can’t help but feel like steps down.

“Sicario: Day of the Soldado” is a well-crafted and well-enough acted and in some sense its bleak and brutal depictions of violence and the current immigration situation are to be commended. It is just sad that the film takes way too long to figure out what it truly wants to be and that creates some pacing issues. The first film was slow but it had a building sense of tension as the noose got tighter; here, it doesn’t build to much which just leaves the audience feeling bored. There are a few sequences I’m sure I’ll YouTube in the future and the least-demanding action-thriller fans may get their money’s worth, but by most accounts this is just a letdown of a film.

Critic’s Grade: C

If ‘Fallen Kingdom’ is the Best They Can Do, Maybe it’s Time to Let ‘Jurassic Park’ Go Extinct

To paraphrase Jeff Goldblum from the first “Jurassic Park” film: “the executives at Universal were so preoccupied with whether or not they could make a “Jurassic World” sequel, they didn’t stop to think if they should.”

“Jurassic World: Fallen Kingdom” is the sequel to the 2015 blockbuster that confirmed Chris Pratt as a leading man and (for a time) owned multiple box office records. This time around, with the island of Isla Nublar set to fall victim to a volcanic eruption, Owen (Pratt) and Claire (Bryce Dallas Howard) must return to the abandoned theme park to try and rescue the remaining creatures. J. A. Bayona takes over director duties from Colin Trevorrow (who returns to write the screenplay with Derek Connolly) as Rafe Spall, Justice Smith, Daniella Pineda, James Cromwell, Toby Jones and Isabella Sermon all join the cast.

I really loved the first “Jurassic World.” It was a fun summer surprise (that I saw three times in theaters) and really thought it captured the fun and thrills that a film of that genre should. Yet despite that, I really wasn’t looking forward to this sequel all too much. The trailers did nothing for me and as we got more and more of them it just seemed like they were struggling to find new places to take the franchise. And after seeing the actual film, it is obvious they are struggling to find new places to take the franchise.

Let’s talk about the good first. There are brief moments throughout the film that play almost like a horror movie and I think that is when director Bayona felt most comfortable, which makes sense since his breakout film was “The Orphanage” in 2007. Dinosaurs are killing machines, there shouldn’t really be a scene in the entire film that doesn’t have a sense of threat surrounding, and Bayona makes good use of shadows and sound to convey that fear.

Chris Pratt is too good for us and he is too good for movies like this, but he tries his best to make the best of a weak script. Occasionally his charm bleeds through and he gets one fight scene to flex his muscles but most of the time you can see the embarrassment in his eyes and the “this is paying for your beach house” in his line delivery. Isabella Sermon, who plays the young granddaughter of James Cromwell (who in-turn is playing an old partner of Jurassic Park founder John Hammond), does alright keeping up with the likes of Pratt and Howard, although her character adds nothing to the story save for one twist that is eye-rollingly dumb. Also Sermon, an English actress, speaks only half of her lines in American so they literally added a scene where her nanny is struggling to teach her how to speak with an English accent to try and cover for it. It’s funny to realize but lazy by the filmmakers.

The first “Jurassic World” had its moments of cringe humor but it also had some comedic moments that worked (“I was with the Navy, not the Navajo!”). Here near everything is a swing and a miss, from the jokes to the over-the-top acting (mainly by a shrieking Justice Smith). There are moments of possible tension that are ruined by “jokes” and while that is a problem that plagues many Marvel movies, those jokes are at least actually funny and they’re characters we’d expect it from (including Chris Pratt’s Star-Lord). The script here just felt like a first draft, with unpolished dialogue and numerous conveniences, and they clearly assumed this thing would crank out a billion dollars no matter the quality.

What truly hinders this film, however, is just that we’ve seen this all done before and it has either been done better or are parts of previous “Jurassic” films that people noted as not liking. Take the dinosaurs off the island? Didn’t work in “The Lost World” but let’s try it again here. Create a super dinosaur with a grab-bag of powers that work for the plot? Really annoyed some people in the last film but that made $1.5 billion so what do people know? And so on.

“Jurassic World: Fallen Kingdom” is a massive letdown and wastes a great director and charismatic star. There are a handful of thrills and exciting moments, as well as those darker bits I mentioned, but they just never mesh and the sense of “been there, done that” is more powerful now more than ever. As Jeff Goldblum is asked during a senate hearing, “should these be left to die?” and if they’re talking about the “Jurassic Park” franchise then to that I say, maybe it is time.

Critic’s Grade: C–

Universal

‘Superfly’ is SuperFine Enough

As far as remakes of 20^th century movies go, this has to be one of the more obscure choices…

“Superfly” is the updated telling of the 1972 blaxploitation film “Super Fly” and stars Trevor Jackson as an Atlanta drug dealer who tries to set up the infamous “one last job” before getting out of the criminal underworld. Jason Mitchell, Michael K. Williams, Lex Scott Davis and Jennifer Morrison also star as Director X, best known for helming music videos, makes his directorial debut.

We’ve seen music video directors try their hand of directing feature films, such as Benny Boom with last year’s Tupac biopic “All Eyez on Me,” “The Amazing Spider-Man’s” Marc Webb and even David Fincher (as you can tell, results vary). Director X (real name Julien Christian Lutz) has worked with the likes of rappers Drake and Kendrick Lamar and here he is occasionally able to show the glitz and glamor of the Atlanta nightlife. Much like “Casino,” his characters live in a world of excess so the houses are too big, the clubs too busy and the cars too extravagant; but unlike “Casino,” he doesn’t really do anything with it, nor is there the “desert scene” that shows the empty contrast when a character comes close to losing it all.

The shootouts and fight scenes all seem to be shot competently but Director must’ve gone to the Zack Snyder film of action filming because every time a character is punched or shot the film instantly shifts into slow-motion for no reason whatsoever. As we are all wise to by this point in the game, this is a move by amateur directors to try and increase tension or seem artistic but in reality drains a scene of any real momentum or style.

The performances are mostly fine, in a film that builds itself off being just that: fine. Main man Trevor Jackson, best known for his work on the very good “Black-ish” spinoff “Grown-ish,” holds his own even if it is at times hard to take him completely serious as a kingpin who knows every inch of the Atlanta streets and commands respect (his hair is constantly perfect though, so props to the makeup team). Should be two-time Academy Award nominee Jason Mitchell and actual two-time Emmy nominee Michael K. Williams both add a sense of gravitas as partners-in-crime of Jackson, even if both are given nothing to do and know exactly what sort of movie they’re in.

Meanwhile the two police characters, played by Brian F. Durkin and Jennifer Morrison, are from a completely different movie than everyone else and are total cartoons. Morrison overacts a lot of her lines while Durkin is introduced making an arrest and is talk-singing the rap song “Ridin’ Dirty” and it is full-blown cringe and he only gets worse from there.

“Superfly” is super fine, like a low-ranking drug dealer. It may have grand ambitions but has no idea how to obtain them, may have the pieces in place to rise above but seems content just getting by on good enough. The “one last job” storyline is one we’ve seen over and over since the original “Super Fly” and this film, already showing us characters we’ve seen before, seems fine with not taking risks.

Critic’s Grade: C

Sony Pictures

‘Solo’ Isn’t Special, but it is Fun

No matter how good the films are, I worry that we are creeping dangerously close to the point where “Star Wars” will lose its magic and we no longer eagerly look forward to the release of a new one…

“Solo: A Star Wars Story” is the origin story to the character of Han Solo, portrayed in the original trilogy by Harrison Ford. Here, Alden Ehrenreich takes over the reins of the character, with Donald Glover as his friend Lando Calrissian (originally played by Billy Dee Williams), Joonas Suotamo as the Wookie Chewbacca and Woody Harrelson, Emilia Clarke, Thandie Newton, Phoebe Waller-Bridge and Paul Bettany all in new roles. Ron Howard directs after taking over for Christopher Miller and Phil Lord, who were fired by Lucasfilm midway through filming.

You won’t read a single review about this film that doesn’t bring up the behind-the-scenes drama that plagued production so I won’t beat a dead horse, but in case you aren’t familiar with the situation here are the bullet points. Directors Phil Lord and Christopher Miller, best known for helming the “Jump Street” movies, were originally hired to do the film but after they encouraged a lot of improve and were getting away from the script the studio fired them and brought in Ron Howard, who in turn reshot about 70% of the movie (some even say it’s up to 90%), ballooning the budget to $250 million. No one was really clamoring for a Han Solo origin story in the first place, part of what people like about him is his mystery, but as turns out, for a film with this much going against it, it isn’t half bad.

I was very high on Alden Ehrenreich after his show-stealing performance in “Hail, Caesar!” and when he was cast as Solo I got excited. Even after his bland turn in Warren Beatty’ s ”Rules Don’t Apply” I still thought he had the charisma to play a young Han Solo. And it’s odd, because half the time here he does have the swagger, cockiness and dry wit of Harrison Ford and it makes you have flashes of the iconic character. But at other points he seems lost, timid and almost a secondary role in his own film. I’m not sure if it was the direction (/change in directors), script or pressure of the role, but it was just odd to see him give half of a good performance.

Everyone else here is fine, with Woody Harrelson being a mentor of sorts and sneaking a few funny bits in here or there, Emilia Clarke is given little to do except stand there and be a goal and reminder of Han’s past and Donald Glover (naturally) oozes charm and panache as Lando, although he’s a bit of an extended cameo.

The action scenes are solid, with two big set pieces on a snowy train and inside a jail riot, although there isn’t anything as memorably iconic as “the hallway scene” from “Rogue One” or the Obi Wan-Anakin fight in “Revenge of the Sith.” Cinematographer Bradford Young, who earned an Oscar nomination for “Arrival,” gives the film a gritty, at times gold hue and I think it does a good job making this feel like its own little film in the sprawling Star Wars universe, not being so polished.

Speaking of “Rogue One,” much like the hallway scene there is a fun surprise that fans of the franchise will enjoy and it is cool to see some of the “how did Han end with [like this]?” questions get fleshed out. That being said the rest of the film does tend to suffer from the natural problems origin stories do, meaning it fills in too many holes about the character’s past or even gives us answers we didn’t even know we were supposed to be asking.

“Solo: A Star Wars Story” is very competently made and I think does just enough to earn its place in the saga’s legacy. I can’t say that I will ever have a dying urge to see it again or that I want to see more of these spin-offs, but I do think it is worth the one-time watch. It isn’t anywhere near as ambitious as “The Last Jedi,” comforting as “The Force Awakens” or great at giving us closure to storylines like “Rogue One” but for what it had to do, and all it had working against it, I’d say things turned out alright.

Critic’s Grade: B

Disney

‘Ready Player One’ Looks Great but Lacks Story

Steven Spielberg has to be the busiest AARP member this side of Clint Eastwood…

“Ready Player One” is the adaption of the popular 2011 book by Ernest Cline (who co-wrote the screenplay here with Zak Penn). Set in the year 2045 where humanity has become obsessed with a virtual reality game called the OASIS, a young man (Tye Sheridan) tries to stop a large corporation (run by Ben Mendelsohn) from finding the keys to taking it over. Olivia Cooke, T.J. Miller, Simon Pegg and Mark Rylance also star as Spielberg directs.

The book this is based on became a bit of a cultural phenomenon because of just how many pop culture references it jammed into its 385 pages. From the Iron Giant to the DeLorean, Batman to “The Shining,” the film adaptation tries its best to include as many nods to pop culture and nerd fandom nods as possible as well. For fans of the novel and video games, “Ready Player One” may serve its purpose but for casual filmgoers there may not be enough in this film to satisfy.

The fact that 71-year-old Steven Spielberg would take on a $175 million blockbuster like this is impressive and almost feel-good, since he inspired so many of the projects that would in-turn be referenced (there are a few “Jaws” and “Jurassic Park” nods throughout). The film moves at a brisk pace, its 140 minute runtime is never felt in-full, but it never feels fully justified. I haven’t read the book but my friend who has said that this actually was majorly condensed version of it, which surprised me since the plot and character development is lacking.

If you’re going from a straight kid’s action movie perspective then I’m sure the “good guys need to stop evil cooperation from taking over the world” line will get the job done, however for a movie that sets itself up to have such a big scale and great stakes it just is a little disappointing.

The real-world events outside the OASIS are just never compelling and one could argue that that is the point, that reality has become such a drag that escaping into VR is the only out. However that clearly was not Spielberg’s actual attempt and instead he just wanted to coast by those sections in order to get back to the game.

In the OASIS there are some truly manic moments of sheer fun, including one chaotic race through the streets of New York City that includes King Kong, fireworks and wrecking balls. It’s moments like these where “Ready Player One” is at its best, but unfortunately there are only three or four sections like it.

The acting here ranges from great to serviceable, with the standout by far being Mark Rylance. The creator of the OASIS who has recently passed away, Rylance plays his role with such heart-breaking simplicity as a man who loves video games but could never figure out how to love a person. He has several great flashback scenes and adds a layer of emotion and humanity to a film that sometimes is lacking.

As the main character Tye Sheridan is fine enough but is never interesting or captivating, and T.J. Miller and Ben Mendelsohn are both just playing the same kind of characters they always do to varying degrees of effectiveness.

“Ready Player One” was built to be in-the-moment entertainment and in that regard it is a moderate success. But it is a bit underwhelming and never as much fun as it should be, and while it pacing is often brisk enough you still can’t help but feel this could’ve been condensed into a two hour film. For a movie that cost $175 million and includes most every film and video game character known to man this should have been a culmination of pop culture and itself been referenced for years to come; the fact that it isn’t will disappoint some more than others.

Critic’s Grade: C+

‘Star Wars: The Last Jedi’ is Only OK

Like I started my “Force Awakens” review with, there’s not a review in the world that will stop you from seeing “The Last Jedi” but let’s give this a shot anyways.

“Star Wars: The Last Jedi” is the 8^th Episode of the main series and the second film in the sequel trilogy. The plot picks up with the Resistance, headed by Poe, Finn and Rey (Oscar Isaac, John Boyega and Daisy Ridley) attempting to overthrow the First Order, led by Kylo Ren (Adam Driver). Mark Hamill, Carrie Fisher, Andy Serkis, Lupita Nyong’o, Domhnall Gleeson, Anthony Daniels and Gwendoline Christie reprise their roles while Kelly Marie Tran, Laura Dern and Benicio del Toro join the cast. Rian Johnson writes and directs.

I liked “The Force Awakens.” It has its flaws and certainly feels like a $250 million fan film at times but it has exciitng action, complex characters and laid the groundwork for a great trilogy. So naturally I was looking forward to “The Last Jedi” with great anticipation. And how is it? I mean, like, it’s fine.

What worked best with “The Force Awakens” again works here and that is the characters. Rey and Kylo Ren have layers and are proving to be some of the most interesting of the entire saga. Daisy Ridley is as stunning to look at as she is at times heart-breaking to watch and is yet another name on the growing list of female action heroes (next up: Alicia Vikander in “Tomb Raider”). Oscar Isaac’s Poe is again the rugged cool guy but this time around he comes off as the wrong kind of cocky at times and seems to be going against authority just for the sake of it.

The one new addition I loved was Benicio del Toro’s thief character, a twitching and fast-talking guy who is only motivated by money. Del Toro is oozing with energy and I hope he is included in the next film.

Adam Driver once again steals the show as the film’s villain, Kylo Ren. The internet has made plenty of jokes about Kylo being a mopey emo goth kid, and how he doesn’t need his mask and is just a Darth Vader wannabe; and one of the things I liked about “The Last Jedi” is it acknowledges these jokes. He quickly loses the mask and once again has his uneven temper but that is part of his brilliant character. He is torn between the Dark Side and the Light and every time he seems to be being pulled one way something will happen that makes him question his actions; there is pain in his eyes and we feel it. If “The Force Awakens” left Kylo Ren emotionally conflicted and battle-scarred then “The Last Jedi” only doubles-down on it and I can’t wait to see just how far they will have him go in this series’ finale.

Some of the action here is the best we’ve had in the “Star Wars” film. There is one sequence were we get some sweet lightsaber action and another that was so gorgeous to look at that upon its climax it had the theater silent before the guy sitting next to me let out a quiet “wow.”

The problem with “The Last Jedi” is it has a lot going on but not all of it feels necessary. In fact there are entire subplots (in this 152 minute film) that feel entirely pointless and end up not affecting the plot at all. I won’t spoil anything but this could have been trimmed and I would be more forgiving of the long main plotlines that do work.

There are also some moments of complete cheese and/or eye-rolling silliness, like one character flying through space like Iron Man and having it never explained (my brother and I slowly turned to look at each other with a “what the hell just happened?” look on our faces). Some of the comedy works and some falls flat, but all too often the laughs that do land are in moments that should be serious, so it creates awkward tonal shifts (kind of like “Justice League” and lesser Marvel films).

“Star Wars: The Last Jedi” is not a bad film but it is a disappointing one. It just feels like a checklist of things that you expect to see in a “Star Wars” film and there is no gut punch moment like we’ve had in previous installments. It feels a lot like the prequels at time with too much CGI and cute creatures, and never feels like the second film of a trilogy. Maybe down the road I will think that this is a masterpiece (people were mixed about “Empire Strikes Back” when it was released and loved “Phantom Menace”) but as it stands right now, “The Last Jedi” is only OK and that is a crushing thing to type.

Critics Rating: 6/10

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Movie reviews from David Palmer