Speed (1994).

Review #1115: Speed.

Cast: 
Keanu Reeves (Officer Jack Traven), Dennis Hopper (Howard Payne), Sandra Bullock (Annie Porter), Joe Morton (Lt. "Mac" McMahon), Jeff Daniels (Officer Harry Temple), Alan Ruck (Doug Stephens), Carlos Carrasco (Ortiz), Glenn Plummer (Jaguar owner), and Richard Lineback (Sgt. Norwood) Directed by Jan de Bont (#812 - Twister)

Review: 
At long last, Speed. I never intended for the Upcoming Features to have the film listed for so long (roughly a year or so), but it took a while to find time to do this one. Hope you enjoy.

Speed is an accomplishment in its execution of action and energetic nature that has numerous assets to achieving its goal as a popcorn thriller. This was the directorial debut of de Bont, a Dutch cinematographer who was responsible for numerous films such as Die Hard (1988), The Hunt for Red October (1990) and Basic Instinct (1992). Graham Yost, who had written for television shows such as Hey Dude prior to this movie, was inspired by his father Elwy telling him about Runaway Train (1985), which was about a train speeding out a control that had been based on an idea by Akira Kurosawa. Yost's original script was set entirely on the bus, with the sequence involving the bus looping around being at the parking lot of Dodgers Stadium instead of an aiport. Josh Whedon was brought in to do (un-credited) work prior to main production beginning, with Yost stating that most of the dialogue was written by Whedon, adding "We were very much in sync, it's just that I didn't write the dialogue as well as he did." In any case, having the film not having all of its time on the bus, such as the elevator sequence or parts involving the police (such as Daniels) outside the bus do make the action come off well in not being overwhelming nor sluggish in its 116 minute run-time.

The main three of Reeves, Hopper, and Bullock all manage to stand out well, doing great in their own ways. Reeves proves to be a capable lead hero, having an edge of vulnerability alongside an air of resourceful nature that makes him interesting to watch, whether when jumping a bus or trying to adapt to the situation of the plot. Hopper makes for an entertaining villain, having the right sense of timing with his lines that carry weight with the motivations written without resorting to being generically evil or chewing too much of the scenery, having a sardonic charm to him. Bullock holds her own well, proving to be a capable one to pair off with the action and Reeves, for which they have a fair amount of chemistry with each other. The others also do fine in their time on screen, such as Daniels, Morton, or Ruck, who both pull off their respective mannerisms and motivations well. The bus members don't have too much particular time to really shine, but they are believable people who don't come off as too annoying or too painfully generic.

The movie is a thrill ride from start to finish, having a consistency to what it wants to execute on screen that rewards the eyes without assaulting it. It isn't the kind of movie that wants to challenge the viewer too heavily, but it sure will give them something to behold in terms of what could and what does happen without being insulting to their intelligence or pushing things too far, having its share of fun moments. Arguably the most notable moment of the film is the bus jump scene. California Interstates 105 and 110 were used for a majority of the freeway sequences in the film, and while de Bont was scouting the area he noticed that there were missing sections and was inspired to add the sequence. Not to spoil too much about the stunt itself (or the feasibility of doing said stunt), but the sequence as a whole is breathtaking to watch, having a certain excitement that never falls prey to feeling too unbelievable. On the whole, the film works on a level of consistency that can be appreciated and aspire to after over two decades. It is the kind of movie you can appreciate on a technical level, where it even received Academy Awards for Best Sound Editing and Best Sound Mixing. There is enough suspense to make for an incredible time for viewers, especially ones with action in mind.

Overall, I give it 8 out of 10 stars.

Animal House.

Review #1114: Animal House.

Cast: 
John Belushi (John "Bluto" Blutarsky), Tim Matheson (Eric "Otter" Stratton), John Vernon (Dean Vernon Wormer), Peter Riegert (Donald "Boon" Schoenstein), Thomas Hulce (Lawrence "Pinto" Kroger), Stephen Furst (Kent "Flounder" Dorfman), Bruce McGill (Daniel Simpson "D-Day" Day), James Widdoes (Robert Hoover), Douglas Kenney (Stork), James Daughton (Gregory "Greg" Marmalard), Mark Metcalf (Douglas C. Neidermeyer), Kevin Bacon (Chip Diller), Verna Bloom (Marion Wormer), Donald Sutherland (Professor Dave Jennings), Karen Allen (Katy), Sarah Holcomb (Clorette DePasto), DeWayne Jessie (Otis Day), Mary Louise Weller (Mandy Pepperidge), Martha Smith (Barbara Sue "Babs" Jansen), and Cesare Danova (Mayor Carmine DePasto) Directed by John Landis (#328 - Trading Places, #410 - Coming to America, and #513 - Spies Like Us)

Review: 
Fellow readers, the following review has a bit of history involving the production intermixed with the normal parts you would see in a normal review - whether you read it or not is up to you, but I feel it is necessary to have it alongside the review (located in the second paragraph) for context. Thank you and enjoy. 

On July 28, 1978, Animal House premiered in theaters, the brain child of its three writers, Chris Miller, Douglas Kenney, and Harold Ramis. Each were involved in some capacity with National Lampoon prior to the creation of the film. Miller was one of the writing talents for the magazine, and it was his own experiences in the Alpha Delta Phi fraternity at Dartmouth College being an inspiration for the film. Kenney (a graduate of Harvard University) was one of the co-founders of the magazine (alongside Henry Beard and Robert Hoffman), with contributions including the satirical short story Bored of the Rings (alongside Beard) and being involved in editing capacity in the magazine from 1970 to 1976. Ramis had starred (along with Belushi) in the comedy radio show The National Lampoon Radio Hour. He utilized ideas from a treatment he had written (named "Freshman Year") that had been based off his experiences at Washington University in St. Louis. The director with the task of directing a project was John Landis, whose work on The Kentucky Fried Movie (1977) helped get him the job for this movie. It was Landis that assisted with casting certain actors, wanting unknowns and character actors for the parts, such as originally wanting Jack Webb (of Dragnet fame) to play the Dean, although the rejection by Webb led to Vernon being approached for the role. The movie was shot in 32 days in Eugene, Oregon (the location for the University of Oregon) on a budget of just $2 million.

With all of the praise (or occasional criticism) and history one could read on this film, it's amusing to list all that for something that is an energetic and unapologetic piece of comedy that never relents on its assault of humor in its 109 minute run-time, most of all coming from Belushi, who manages to generate numerous laughs from his expressions that balance the fine line between noise and overbearing, reminding me in some way of silent film comedians. Incidentally, Landis told Belushi to play the character as a mix between Harpo Marx and the Cookie Monster. The result certainly seems to be a success, with some of his lines falling into memorability, such as the toga sequence for example or the scene near the climax. Matheson is also a fine highlight, showcasing a fair degree of charm to along with a share of amusement. Vernon proves entertaining at being the adversarial straight man to everything that goes on, playing to the rules that you would expect each time he is on screen. Riegert proves fairly refreshing, and his scenes with Allen (who along with Bacon was making their film debut) have their share of charm. Hulce and Furst don't have too much time, but they each make for a few laughs at times. Other members of the main amusement group such as McGill and Widdoes also prove effective with their time on screen. Daughton and Metcalf prove to effect contrasts with the other members. Other highlights include Sutherland and Bloom, who prove to be cool delights in their respective time on screen. It has an episodic nature to its narrative, but it is an interesting experience to go through in part because it never really lets go of just having fun with the gags and lines that it throws at the audience, including some fun music, with highlights being "Louie Louie" from Richard Berry and "Shout" by Otis Day and the Knights (which has its own scene for great effect). There are numerous highlights, and it would be a shame to spoil the fun for the viewer, but one particular favorite part of mine is the cafeteria sequence, ending in the messy way you might expect with help from Belushi. There is a pitch and execution to everything that goes on that makes this one of the most enjoyable comedies to watch to this very day.

The film was a huge success at the box office, making over $100 million while being one of the top ten grossing films of 1978 (alongside other films such as Superman). A year later, the major three networks all tried to make their own sitcoms inspired from the film, such as Delta House on ABC, which retained some of the cast such as Vernon and Furst. However, the raunchy humor (along with other things) did not make the transition to television, and fights with the network doomed the show after 13 episodes. The attempt by CBS (named Co-ed Fever) lasted one episode before cancellation. NBC's attempt with Brothers and Sisters also proved unsuccessful. You can see the influence the film has had with raunchy coming-of-age films, such as Porky's and American Pie - with varying quality. In any case, Animal House is a film best enjoyed through watchful eyes and ears for each semblance of unfettered amusement that still endures after four decades since its release.

Overall, I give it 9 out of 10 stars.

The Twonky.

Review #1113: The Twonky.

Cast: 
Hans Conried (Kerry West), Janet Warren (Carolyn West), Billy Lynn (Coach Trout), Edwin Max (Television Deliveryman), Gloria Blondell (Bill Collector), Evelyn Beresford (Old Lady Motorist), Bob Jellison (TV Shop Owner), and Norman Field (Doctor) Directed by Arch Oboler.

Review: 
With a title like The Twonky, what can you really expect? For me, I expected nothing. The movie is based off a 1942 short story of the same name from Henry Kuttner and C. L. Moore, a science fiction writing couple that used the joint pseudonym Lewis Padgett. I imagine that this worked best as a short story in part because there probably wasn't as much ineffective humor and clunky satire. The latter category comes off as a surprise to me, seeing as I assumed that it would be a silly sci-fi comedy. However, the result is a mess of a movie that is never too funny or interesting to look at, minus the times involving the television "walking" around. I wonder if this would've fit for television, but the real question is why a movie that only lasts 84 minutes feels so long. Conried, who had previously had minor roles in films for years before having a starring role here, seems okay, but he can't make this sitcom material feel anything other than plodding. Nothing says exposition like having it being delivered by a football coach character played by a plain Lynn - take that for what you will. He even explains what a "twonky" is - "something that you don't know what it is". Gee, I wish I could make a story with such a random word like this and come up with a justification like that, like..."Lynzer" or something. Despite the billing, Warren doesn't have too much time on screen, aside from the climax (and some brief segments), and she doesn't leave too much impression. None of the actors are particularly energetic to make this material feel anything other than fluff. The movie likes to use gags involving the television zapping things, which gets old pretty quickly, with the lowest gag involving Conried's character saying nonsense during a lecture under the control of the "twonky" thing. I feel that more emphasis on the device and the implications of what it really is beyond minor splotches, or if this was anything other than a light fantasy. This is a film that was shot in 1951 but not released for two years, and it's not too hard to see why. It is a hunk of junk that will will bore people trying to patient with it and irritate ones wanting something more than the rotten cotton candy that this film turns out to be. The only thing that is amusing from this movie is a production story told by Conried, where he expressed worry to Oboler (who also served as writer of the screenplay and producer) about the film possibly not being successful at the box office (which proved correct), and Oboler said to Conried with this reply: "That's all right. I need a tax write-off this year anyway." Skipping this would be helpful, unless you have a fondness for movies that are light on plot but also light on fun.

Overall, I give it 4 out of 10 stars.

Pi (π).

Review #1112: Pi.

Cast: 
Sean Gullette (Maximillian "Max" Cohen), Mark Margolis (Sol Robeson), Ben Shenkman (Lenny Meyer), Samia Shoaib (Devi), Pamela Hart (Marcy Dawson), Stephen Pearlman (Rabbi Cohen), Kristyn Mae-Anne Lao (Jenna) Directed by Darren Aronofsky.

Review: 
Simply put, there is nothing like this movie. Pi (stylized on screen as π) is an unsettling yet clever gem of a movie that is an achievement in film-making even after twenty years since its release. This was the feature film debut of Darren Aronofsky, who had attended Harvard University and the AFI Conservatory along with directing a few short films earlier in the decade. It was made on a budget of roughly $60,000, with donations of $100 from friends and family of assisting in funding (with a promise of receiving $150 back if the film was successful - which it was, making $3 million despite having a limited release). The story was written by Aronofsky, Sean Gullette, and Eric Watson, with the former also writing the screenplay - and it is something that comes off as highly original in its concept while working as a thriller in its own right. There is just something about the way that the movie operates with showing paranoia with some interesting imagery. It isn't the kind of film that moves from point A to point B in the standard matter, but it generally is a movie that feels rewarding to sit through without ever falling prey to lingering for the sake of doing so. At 84 minutes, it feels like an acceptable amount of time worth viewing this story through. This is a weird movie, but it is one with an atmosphere worth checking into.

The film moves along on its own terms, offering a main lead in his descent into madness and an obsession beyond numbers itself. Gullette does a fine job in carrying the movie with the right sense of timing in paranoia and anxiety that makes him a brilliant unreliable narrator to go along with, never becoming someone too off the mark that we can't follow with in some capacity, where his detached reality becomes our detached reality (of sorts). Margolis also does a fine job, showing a close parallel to the pursuit that drives the movie, and he lends himself to making interesting scenes whenever he appears, such as when he relates the story of Archimedes and his discovery of density, and why it relates to the current pursuit without feeling contrived. The other members of the cast have brief moments to make an impression, but they do well enough with what they are meant to do for the film's benefit. Of note is the use of Snorri-Cam in certain scenes, where a camera was hooked up to Gullette in order while he was walking, showing some sort of separation between him and the world he moves around him, which certainly seems successful. The way that it is shot by Matthew Libatique (in his movie debut) is also unique, as it was filmed on high-contrast black-and-white reversal film, which creates a look that works well with the intent of the world that Aronofsky wants to show. The music from Clint Mansell (also in his film composing debut) is also fairly top-notch at times. The best way to view the movie is to just watch it with an open mind, where the film will certainly lend itself a good deal of questions worth looking over to the movie's credit, whether during watching it or after.

Overall, I give it 9 out of 10 stars.

Spirited Away.

Review #1111: Spirited Away.

Cast: 
Rumi Hiiragi (Chihiro Ogino / Sen), Miyu Irino (Haku), Mari Natsuki (Yubaba / Zeniba), Bunta Sugawara (Kamajî), Takashi Naitô (Akio Ogino), Yasuko Sawaguchi (Yûko Ogino), Akio Nakamura (No-Face), Tatsuya Gashûin (Aogaeru), Ryûnosuke Kamiki (Bô), Yumi Tamai (Rin), Yô Ôizumi (Bandai-gaeru), Koba Hayashi (Kawa no Kami), Tsunehiko Kamijô (Chichiyaku), and Takehiko Ono (Aniyaku) Directed by Hayao Miyazaki.

Review: 
It is amazing to note that this film was released only seventeen years ago - July 20, 2001, in fact. There is a certain pride that one can have when watching something as entertaining as this - especially when this is the first Japanese animated film you've seen, made by famed director Hayao Miyazaki, who had done seven other films prior to this such as Princess Mononoke (1997). There is a certain depth and magic one can see in each scene, a certain beauty to how things are drawn but also to how things are played out in its tone and movement. With world cinema, there can be a great enjoyment in seeing how a movie plays itself out through the eyes of people in countries different from one's own, with animation being an outlet for great imagination that anyone can enjoy when done with the right hands, as is the case here. It may interest you to know that the film was made without a finished script; Miyazaki described his process in an interview in 2002 in that the story develops when he starts drawing storyboards (with production starting soon after), adding that "We never know where the story will go but we just keep working on the film as it develops", which certainly makes for an interesting manner to showcase the vision of a creator on screen - which I can respect, obviously. There are numerous scenes I could highlight, but one that I particularly appreciate is the one involving a stink spirit, which has a few laughs but it also resonates well due to where it ultimately plays out - where it actually is a river spirit filled with a bunch of junk. Another interesting scene that I like is the one involving Hiiragi and Nakamura's characters are traveling by train near the end of the film, and there is just something the silent nature of how it plays out that makes it more absorbing than if it had been shown as frentic or with unnecessary noise. There is a Japansese word for such negative space depicted by Miyazaki that applies for this scene - ma, where the emptiness is done intentionally that this film uses to take a moment to absorb itself and the figures that encompass the vessel that the character inhabit to their respective destinations.

A movie as striking to watch play out on screen must have a good cast of voices to carry it through, and this one is successful with its row of actors, particularly from Hiiragi. She plays the main role with the kind of grace and care that you would expect from a young hero that is always watchable and always one to root for. Irino does a fine job as well, using his time on screen to make someone worth following without detracting from the experience the film wants to show with its main character. Natsuki stands out well in her role as twin sisters, conveying noticeable differences and quirks that make for a riveting showcase whenever either role is on screen. Other highlights include Sugawara and Nakamura, both of which being interesting people to follow with their time on screen in a film that basks in fantasy such as this. One year later, an North America release came out, under the supervision of John Lasseter for an English language translation, featuring voice actors such as Daveigh Chase in the lead role and others such as Suzanne Pleshette (in her last film appearance). Subsequently, the movie won an Academy Award (among several other awards) for Best Animated Feature. Whichever version you see, it is evident that Spirited Away is a great piece of cinema that I highly recommend for everyone. There really isn't anything like it, and the vision showcased on screen is one that proves to be great entertainment - whether for kids or adults. I'll end with a quote from Miyazaki about his intent for the film, and let you ponder if he succeeded with that goal: "I wanted to make a movie especially for the daughters of my friends. I opened all the drawers in my head they were all empty. So I realized I had to make a movie just for 10 year olds, and 'Spirited Away' is my answer."

Overall, I give it 10 out of 10 stars.

American Pie.

Review #1110: American Pie.

Cast: 
Jason Biggs (Jim Levenstein), Chris Klein (Chris "Oz" Ostreicher), Thomas Ian Nicholas (Kevin Myers), Tara Reid (Victoria "Vicky" Lathum), Eddie Kaye Thomas (Paul Finch), Alyson Hannigan (Michelle Flaherty), Seann William Scott (Steve Stifler), Eugene Levy (Noah Levenstein), Jennifer Coolidge (Stifler's Mom), Mena Suvari (Heather Gardner), Shannon Elizabeth (Nadia), Natasha Lyonne (Jessica), Chris Owen (Chuck "Sherminator" Sherman), and Lawrence Pressman (Coach Marshall) Directed by Paul Weitz and Chris Weitz.

Review: 
The fact that this movie (not to be confused with the catchy song of the same name by Don McLean) came out in the year of 1999 and not 2009 must say something about the progression of teen comedies involving certain body elements, or it must be more amusing that this film is nearly two decades old. I'm not surprised that it took me so long to get to this movie, but I suppose it was eventually going to happen after having seen films of its ilk such as Fast Times at Ridgemont High, Superbad along with lesser films such as Porky's and Sex Drive - and American Pie happens to fall alongside the middle, with some fairly successful laughs combined with some crude nature. Perhaps it is the fact that these characters seem interesting to follow along with that makes this a fair experience to watch, where they aren't used to just to push some gross-out gag without any sort of feel for who they are (or what they're meant to be, anyway). The main quartet of Biggs-Klein-Ian Nicholas-Kaye Thomas sure is an interesting one, having their fair share of moments together in showcasing their pact without coming off as obnoxious or too annoying to watch. Reid and Suvari prove fair in scenes with the others, making their plot-lines work to make the film run consistently without just resorting to over-stuffing itself in gags or weak plot-lines. Other highlights include Hannigan and her brief but amusingly useful time on screen, complete with spunky energy, William Scott and his arrogant but readily amusing time on screen, and Levy, who manages to play his clueless role with the right sense of tone that certainly comes off as amusing. While there are quite a collection of moments that some could consider disgusting, the film never goes completely overboard with being just a gross-out film, knowing when to spend some time to cultivate a quick plot or have the characters make a deserved laugh without cheapening itself. It's an uneven movie, but it is a movie that has enough points in its direction to come out okay. To the surprise of probably no one, the run-time for the movie is 95 minutes (while being made on a budget of just $11 million dollars), which is a fair thing to accept for anyone willing to let the movie showcase some laughs, with the crudeness working just enough to come out a winner.

Overall, I give it 7 out of 10 stars.

Mission: Impossible III.

Review #1109: Mission: Impossible III.

Cast: 
Tom Cruise (Ethan Hunt), Philip Seymour Hoffman (Owen Davian), Ving Rhames (Luther Stickell), Billy Crudup (John Musgrave), Michelle Monaghan (Julia Meade), Jonathan Rhys Meyers (Declan Gormley), Keri Russell (Lindsey Farris), Maggie Q (Zhen Lei), Simon Pegg (Benji Dunn), Eddie Marsan (Brownway), and Laurence Fishburne (Theodore Brassel) Directed by J. J. Abrams (#009 - Star Trek, #150 - Super 8, #665 - Star Trek Into Darkness, and #769 - Star Wars: The Force Awakens)

Review: 
It is interesting to look back at the first three Mission: Impossible films and look at how each stand out clearly from the previous one despite being popcorn spy flicks. It's also interesting to see the gap between these films, in that this one was released six years after the previous film (with this year's release of the new film being the sixth in the franchise that has spanned 22 years). I try to not make it a habit to compare a film sequel to the one before it every single time, but it is pretty obvious that this one is an improvement in nearly every single way from the earlier one, and it manages to improve in aspects from the first installment. Perhaps it is the infusion of different writers in Alex Kurtzman, Roberto Orci & J. J. Abrams, with the former two previously being responsible for their work on The Island (2005), while Abrams had created television shows such as Felicity, Lost, but most importantly Alias, which Cruise had watched episodes of prior to offering the directorial job to Abrams. The opening scene certainly helps spark interest with the tension that it inspires from Cruise and Hoffman, that's for sure. The parts with Cruise and Monaghan manage to come off well together, having a bit of refreshing nature to them that is different to the conventional elements in its spy nature without becoming a cloying detriment nor becoming something overtly cliche. As one would expect, it is nice to see Cruise again in the role, with a clear confidence and clear action look that you would expect from before while also seeming fresh and welcome. Hoffman proves to be a serviceable adversary for the moments that require it, with his motivation being at least somewhat clear to breeze through. The group of Rhames-Rhys Meyers-Maggie Q are fairly useful to watch paired up with Cruise in the plot, being capable in any scene (action or small moments of interaction) for comfort. Monaghan does fine for the part written. Crudup plays his role quietly, but it serves the job alright. Russell and Pegg each don't have much time, but they make fair impressions ultimately. Fishburne rounds out the cast with a fairly watchable chief role that cuts the corners you would expect. While the film may not have the highest of stakes to it, it never gets bogged down by complicating its plot or pretending to be anything that it isn't. At 125 minutes, the film runs itself at a fine pace with its action and plot by making sure that neither gets lost too far in its own excitement, being a fair piece of entertainment.

Overall, I give it 8 out of 10 stars.

Ant-Man and the Wasp.

Review #1108: Ant-Man and the Wasp.

Cast: 
Paul Rudd (Scott Lang / Ant-Man), Evangeline Lilly (Hope van Dyne / Wasp), Michael Peña (Luis), Walton Goggins (Sonny Burch), Hannah John-Kamen (Ava Starr / Ghost), Michelle Pfeiffer (Janet van Dyne), Laurence Fishburne (Bill Foster), Michael Douglas (Hank Pym), Bobby Cannavale (Jim Paxton), Judy Greer (Maggie), Tip "T.I." Harris (Dave), David Dastmalchian (Kurt), Abby Ryder Fortson (Cassie), and Randall Park (Jimmy Woo) Directed by Peyton Reed (#728 - Ant-Man and #789 - The Break-Up)

Review: 
Three years ago, Ant-Man came onto the screen with a bit of production struggle but also a dynamic cast, with the final result being something that I described as one that "has fun with itself and its premise", which seems easy to still say today. With the sequel, the fear of staleness in terms of its charm and action is avoided, with a good majority of the credit being attributable to the cast, particularly Rudd and Lilly. Rudd (who is listed as one of the five co-writers of the film)does a fine job once again, having a degree of humility and amusement that is always watchable on-screen, whether when dealing with aspects of family or the main plot as a whole, and his moments with Forston are pretty neat. Lilly does fine with making her character an engaging one to see through that brims with confidence and energy (signified during her action sequences) that balances well with Rudd. If you enjoyed the trio of Peña-Canavale-T.I from the previous film, you will get a few laughs from them, particularly from Peña, and they help keep the flow of the movie go fine at times, even if they aren't as the forefront of the movie like with before. Goggins is fine, even if his adversary role is a bit standard for some tastes. John-Kamen does fine with her adversary role in showing a degree of menace but also a degree of vulnerability, and it is refreshing in some way to have one of these Marvel movies to not have a villain and their arc play out in the routine way like other films, and she is just as interesting to watch as the villain (and his arc) from the earlier one, with Fishburne being an acceptable accomplice in her sequences. Her sequences involving her power and the action scenes are also fairly well-done. Douglas is also interesting to see again, and Pfeiffer proves refreshing in her brief time on screen. The effects are to the standard that you would likely expect from these comic book films, with the highlight being the Quantum Realm sequences, and the parts involving size also prove acceptable. The plot moves itself at a fine pace, juggling itself handily without becoming too routine or having the stakes present themselves to be too low (or improbably high). It's a riveting experience that never wears out its welcome even at 118 minutes. On the whole, this is a fairly nice crowd-pleaser kind of film that improves itself from the original in small but crucial ways that will satisfy audiences looking for some neat fun.

Overall, I give it 8 out of 10 stars.

Sky High (2005).

Review #1107: Sky High.

Cast: 
Michael Angarano (Will Stronghold), Kurt Russell (Steve Stronghold / The Commander), Kelly Preston (Josie DeMarco-Stronghold / Jetstream), Danielle Panabaker (Layla Williams), Mary Elizabeth Winstead (Gwen Grayson / Royal Pain), Steven Strait (Warren Peace), Dee Jay Daniels (Ethan Bank), Kelly Vitz (Magenta Lewis), Nicholas Braun (Zachary "Zach" Braun / Zack Attack), with Malika Haqq and Khadijah Haqq (Penny Lent), Jake Sandvig and Will Harris (Lash and Speed), Lynda Carter (Principal Powers), Bruce Campbell (Tommy Boomowski / Sonic Boom), Kevin Heffernan (Ron Wilson, Bus Driver), Cloris Leachman (Nurse Spex), Jim Rash (Stitches), Dave Foley (Jonathan Boy / All-American Boy), and Kevin McDonald (Professor Medulla) Directed by Mike Mitchell (#209 - Shrek Forever After and #890 - Surviving Christmas)

Review: 
For a superhero flick that doubles as a family movie, Sky High proves to be average but acceptable fare as far as entertainment goes. It manages to present its premise and characters adequately with a share of laughs, while not being overly tongue-in-cheek, although it sometimes resembles fare you might see on television, which isn't too surprising given that Walt Disney Pictures was behind its production. Perhaps I should have expected more from a movie presenting the concept of a school attended by kids with superpowers, but on the whole the film does enough with showcasing numerous powered people while trying to juggle its story and its parts that you would expect from something relating to high school without becoming stale, with its action sequences being okay. Anyone looking for nuance in this film will be pretty dissapointed, but it will work out well for anybody willing to let things play out (no matter how silly it might seem). Although the occasional appearances by the adult actors can tend to stick out better than the child actors, the cast as a whole do well enough in making for engaging scenes that would've probably felt like TV movie fare with lesser actors. Angarano does a decent job, hitting his marks well enough to make the character useful to watch for the audience. Russell and Preston are both engaging to watch, playing the parent roles with the fair share of energy that you would expect from either of them. Panabaker and Winstead both do fine jobs, and the other members of the main kid core (Strait, Daniels, Vitz, Braun) all doing fair jobs. It is nice to see Campbell on screen for a few minutes, providing a fair deal of amusement alongside others such as Heffernan and Foley. At 100 minutes, this is a pretty breezy film to sit-through, and while it may be a bit routine in some of its choices, it will prove satisfactory for people (such as families) in the right mindset for it.

Overall, I give it 7 out of 10 stars.

You Don't Mess with the Zohan.

Review #1106: You Don't Mess with the Zohan.

Cast: 
Adam Sandler (Zohanelen "Zohan" Dvir/Scrappy Coco), John Turturro (Fatoush "Phantom" Hakbarah), Emmanuelle Chriqui (Dalia Hakbarah), Nick Swardson (Michael Klayman), Lainie Kazan (Gail Klayman), Ido Mosseri (Oori), Rob Schneider (Salim), Dave Matthews (James T. O'Skanlon), Michael Buffer (Grant Walbridge), Sayed Badreya (Hamdi), and Daoud Heidami (Nasi) Directed by Dennis Dugan (#045 - Just Go With It and #345 - Happy Gilmore)

Review: 
The best thing one can say about this movie is that is isn't offensive to the senses in terms of entertainment, just merely being a film freely and willfully being vulgar with only a small semblance of plot, even if I don't think it's as funny as it sure think it is. What can one expect from a movie with three writers listed in the credits in Sandler, Robert Smigel and Judd Apatow, which had apparently been written in 2000 that was based in part off the real life story of commando-turned-hairstylist Nezi Arbib. Obviously this is something that can't be taken too seriously, as evidenced by the numerous corny and predictable moments, but I'm not letting the movie slide on lazy coasting, which also applies in some part to its plot. The premise of the film gets old after a while, in part because there isn't enough to watch besides vulgar gags (or ones involving hummus) that make something interesting to hold for more than a hour for something that lasts 112 minutes. With Sandler, he can be amusing at times, when he doesn't play himself too ridiculously in dumb humor, being fairly watchable. Turturro is okay, but he isn't too particularly amusing. Chriqui does okay in playing the straight one to the assortment of situations that go on without being too far into the background. The most noteworthy person is Buffer, playing the cliche corporate guy okay for someone who is better know for ring announcing. The rest of the cast is okay at generating mild laughs. At least the film is silly enough to where it doesn't fall prey to too many broad stereotypes. It is entirely possible that this would work better as a television sketch (or perhaps a comedy video on the internet), where you wouldn't have to worry so much about crafting a story beyond a bare minimum, as is the case here. You could even keep one cameo in the film, instead of the endless ones that occur here, from Chris Rock as a taxi driver to Henry Winkler and John McEnroe as themselves and so on (with various quality in said effectiveness). On the surface, this is a movie that works best for people looking for a ridiculous time with vulgar-ness and other aspects that you would probably expect from a Sandler film. Do I hate it? I can't care about the material enough to really think of this junk as anything to say harsh words. If you can sit back and enjoy what goes on, good for you, but for me this was a pretty lame thing to sit through.

Overall, I give it 5 out of 10 stars.

Sicario: Day of the Soldado.

Review #1105: Sicario: Day of the Soldado.

Cast: 
Benicio del Toro (Alejandro Gillick), Josh Brolin (Matt Graver), Isabela Moner (Isabela Reyes), Jeffrey Donovan (Steve Forsing), Manuel Garcia-Rulfo (Gallo), Catherine Keener (Cynthia Foards), Matthew Modine (Secretary of Defense James Riley), Shea Whigham (Andy Wheeldon), Elijah Rodriguez (Miguel Hernandez), Howard Ferguson Jr. (Troy), and David Castaneda (Hector) Directed by Stefano Sollima.

Review: 
Apologies for the delay, I had some things I needed to get done in the past few days, so this review was delayed from its intended day of Wednesday. Hope you enjoy regardless.

Sicario was a movie that I described as a "tense and brutally effective thriller", with the main three leads of Emily Blunt, del Toro and Brolin proving to be dynamic to watch in how striking each are in dealing with what transpires on screen, and it was a film that had a sense of purpose and intent to what it showed on screen. This time around, the filmmakers decided to not have Blunt back, stating that the "moral guidance for the audience" that she provided in the first movie did not fit with the tone of the sequel. Perhaps the fact that she is not featured alongside del Toro and Brolin that makes this feel a bit unnecessary for some, and your mileage may vary on how this film succeeds at churning up points to exist. However, one important that is retained from the first one is Taylor Sheridan as writer, and he does a fine job once again in giving these characters a fair bit of depth and interest to them. It is in the depiction of the action and in the main three of del Toro-Brolin-Moner that the film works best, with parts in the story being the biggest detriment. The two movies stand out in their levels of moral complexity, with the first one being the one with more of it. It doesn't click as well with showing the pursuit of some sort of greater good crashing into the nature of what it takes to make for said "greater good" that occurred with the earlier film, but its the sequences with del Toro and Moner that make it seem fairly worth it. Brolin also does a fine job with making his (fairly) amoral character work in not having his plotline come off as stale. The other members (including a returning Donovan, who I had forgotten about) do decent in the time they get on screen. The action this time around is pretty rough, with occasional moments of shock but manages to not come off as repetitive or dull. If you compare the two Sicario movies, it is evident which is better pretty quickly, but it shouldn't get in the way too much of how the sequel manages to succeed on its own terms just enough to make a winner. Although it is a bit eager to set itself up for a sequel moreso than the original, I am curious to see where the story will lead itself from here.

Overall, I give it 7 out of 10 stars.

Stepfather II.

Review #1104: Stepfather II.

Cast: 
Terry O'Quinn (Jerry Blake/Gene F. Clifford/The Stepfather), Meg Foster (Carol Grayland), Caroline Williams (Matty Crimmins), Jonathan Brandis (Todd Grayland), Henry Brown (Dr. Joseph Danvers), Mitchell Laurance (Phil Grayland), and Miriam Byrd-Nethery (Sally Jenkins) Directed by Jeff Burr.

Review: 
It is evident from the get go that this film (also known as Stepfather 2: Make Room for Daddy - no that is not a joke) is a step down from the original, with its leap in logic and minimal instances of suspense, with its one saving grace being O'Quinn once again. It isn't much of a horror film, but it will prove to be a time-waster at 93 minutes if you like that sort of thing. The original intent was to release this as a direct-to-video sequel (with a budget of $1.5 million and a shooting schedule of roughly four months), but the producers were impressed by the result enough to have it be released into theaters. In any case, there aren't too many moments of actual scares or slasher elements that you wouldn't have already seen in the first film. If you enjoyed the original, you will be pretty disappointed to see how there isn't much to the story this time around, whether in its setup or even to its main character, especially the first sequence involving the mental ward (after showing the last scene from the other film). How much guff can you give for something that was made as a cash-grab? O'Quinn proves to have the best performance once again, having a fine degree of range in showing the nature of this character in kind moments and intense times, with a few moments of amusing moments such as when he drives the car around in a junkyard while smiling. Foster (and her striking blue eyes) proves to be a mild counter-lead to O'Quinn, for better or worse, not being too particularly interesting (although that isn't much of a difference from the lead in the other film). The other members are mild stand-ins, but they do their job just fine. The death sequences and the climax feel a bit routine at times but also feel inconsistent in being effective. You may be wondering about the blood shots in certain scenes, which look a bit awkwardly placed. This is a result of fake blood being added in later in re-shoots due to studio executive complaints about the lack of blood, although O'Quinn was not involved in these shots. Ultimately, this is a bland sequel that proves to be a drag in terms of expectations for horror, disappointing people wanting something more from the first one while also disappointing anyone wanting more than just mild moments of excitement - whether to mock or not.

Overall, I give it 5 out of 10 stars.