Kiss Kiss Bang Bang

Review #2375: Kiss Kiss Bang Bang.

Cast: 

Robert Downey Jr (Harold "Harry" Lockhart), Val Kilmer ("Gay" Perry van Shrike), Michelle Monaghan (Harmony Faith Lane), Corbin Bernsen (Harlan Dexter), Dash Mihok (Mr. Frying Pan), Larry Miller (Dabney Shaw), Rockmond Dunbar (Mr. Fire), and Shannyn Sossamon (Mia Frye (Pink Hair Girl) Directed by Shane Black (#396 - Iron Man 3)

Review: 

"I have always assumed that in a very over compensatory way that I will come back tomorrow and the treasures will be gone. Then you have those days when you have not written for a while, you are a bit rusty and you think the vault is empty. Eventually you have to take a leap of faith. But I have never been too big on faith. Deep down I hope I have this overall positivism within. I have faith in life’s ability to provide terrific crescendos but there is also this nagging certain that what awaits me are these horrible pitfalls."

It sure has been a while since we talked about Shane Black. The UCLA Drama School graduate rose to prominence with a spec script he manage to sell to Warner Bros... which ended up being Lethal Weapon (1986). Well, okay, that isn't the whole story. For one, the Pittsburgh native actually had an interested in hardboiled fiction from his printer father before he went to UCLA for film, and while he liked to write from a young age, it was his friend Fred Dekker who inspired him to go for a living in the film industry by showing him a script he was doing. He worked as a typist and in data entry before his "The Shadow Company" script had gotten an agent and executives to basically guide him to do something for them, and, well, Lethal Weapon (among other observations)*. His first draft for the sequel (which was darker in tone that basically is referenced here) was not accepted, and he had lingering doubts in his confidence, but he followed this with scripts that got turned into movies with The Last Boy Scout (1991), a re-write of Last Action Hero (1993), and The Long Kiss Goodnight (1994). The relatively quiet reception to that script led to Black being disillusioned for a number of years. When he decided to try and write a script different from his usual stuff with a romantic comedy, he asked James L. Brooks for advice (Brooks apparently told Black that he "always pictured [Black] doing something like Chinatown which was character driven with a lot of twists") but found that the only way to solve his problems with the script was to make it a movie about a murder with detectives. The script, which was inspired by the 1940s novel Bodies Are Where You Find Them by Brett Halliday, ended up at Warner Bros. with Joel Silver (already familiar with Black in previous ventures) as producer; with a budget of $15 million, the movie wasn't a big hit at the time, but Robert Downey Jr called the movie "my calling card to Iron Man". Black would next direct (and write) with Iron Man 3 in 2013.

Admittedly, it is a shaggy type of neo-noir that balances its 103-minute runtime with varying levels of humor and enjoyment that comes from such a curious ensemble and style on screen. Far from just being a namedropping tribute (note the titles for its "chapters"), it goes and coasts in shrouding mystery and sharp amusement that may not be a great movie at first glance but sure is at least a good enough time to possibly encounter again anyways. Downey Jr** in particular seems to be having a fun time as a crook that is wrapped up in the growing hijinks that arise in overbearing people and situations and handles it with worthy timing (it helps to narrate the movie at times to general chuckling). We roll along with things just as Downey does in being quick on one's feet to make for a delightfully clumsy guy to follow along with. Apparently, it was Kilmer who suggested that his character should be gay (with Black being fine with a character that is going to kick the door down, gay or not). Obviously, Kilmer knew what he was doing in terms of matching Downey in pace and timing that has passion for what he does in terms of results that breezes through the film in a way that buddy films could only dream to have. Monaghan accompanies the proceedings with peppy charm that has enough of a curious rapport with Downey Jr to balance the movie out beyond the procedures that come in mystery without needing to go to all of the obvious romcom things. Bernsen lurks in the ground probably not nearly as much one might want to see, but he lingers enough to sell the trick that comes in looking past appearances and smiles while Mihok and Dunbar make for useful henchmen to pop in and out as well. In general, the movie does coast along with charm that eventually levels its machinations for a suitable enough climax with fair closure that at least lets the audience have the satisfaction in being on the ride without throwing out on their end, if you know what I mean. As a whole, Black's debut as a director works out the best in having enough charm from its main cast in hardboiled chuckles to make this a worthwhile recommendation for those looking for a little bit of everything.

Overall, I give it 8 out of 10 stars.

*Okay, there was also The Monster Squad and acting but blah blah blah, get on with it, right?

**Noted at the time for slowly making his way out of addictions rather than say, previous noirs like The Singing Detective (2003) or his Academy Award nominated role in Chaplin.

MaXXXine.

Review #2227: MaXXXine.

Cast: 

Mia Goth (Maxine Minx), Elizabeth Debicki (Elizabeth Bender), Moses Sumney (Leon), Michelle Monaghan (Det. Williams), Bobby Cannavale (Det. Torres), Halsey (Tabby Martin), Lily Collins (Molly Bennett), Giancarlo Esposito (Teddy Knight, Esq.), Kevin Bacon (John Labat), and Simon Prast (Ernest Miller) Written and Directed by Ti West (#1893 - Pearl and #2133 - X)

Review: 

"My goal is to put you in the era and to put you in the aesthetics of that, so that way it feels end-to-end created."

X (2022) was a neat time for those who like films with a touch of familiar sleaze to go with their horror movies, one that was a "ballad of sex and violence". Pearl (2022) was, well, delightful in its bloody charm that I seem to mention either too much or not enough in charming horror features that included a teaser for "MaXXXine". As with the last two, West serves as both editor, co-producer and director/writer. The film (if you didn't already know) is set in 1985 around the time of The Night Stalker murders, who had a spree of murders and offenses in the state of Calfornia prior to his capture on August 31, 1985. Evidently, MaXXXine may not be the capstone of an "X trilogy" but instead just the third wheel of a well-oiled pastiche machine, which actually seems to be a compliment when it comes to worthwhile slasher fun that looks around at just how people get influenced by cinema (such as perhaps the kind of folks that can recite Hollywood Boulevard [1976] or The Day of the Locust [1975] when thinking about slime in the belly of the filmmaking beast). Or at least a film in the journey of self-actualization with an ending that happens to be a bit different than expected.

Sure, it is a glossy pastiche that is a notch below the last two films. But the enjoyment of the film for me makes it pretty easy because it seems pretty evident that when it comes to genres of film, horror is the easiest to spotlight and defend at the same time. B-movies and slasher films, when entertaining, still manage to get crap from people who either think horror is supposed to be "dignified" or wouldn't know entertainment if it bit them in the ass. People like to get spooked just as much as they like to absorb a film trying to play familiar dress up. This is a delightfully vapid and occasionally gruesome movie that I enjoyed most of the time that really does show just how cheap thrills really do provide worthwhile intervention when executed well enough. The driven nature of the main character was pretty unnerving in each of the previous two films, and while it may not be as prominent this time around, there are flashes of just how craven one really can be when driven to get the life they believe they deserve, even if it means stomping away (literally) at would-be saboteurs. Goth manages to maintain that strange sense of unnerving confidence that is alluring in all of its weird charm that straddles the craven line that comes in someone that really could be called an antihero in the best of ways. There are a few scenes that could stand as a highlight, but I think the one where she finds herself stuck in a chair with makeup all over spooks me the most (well, a stomping one might be spooky for others too, but staging terror is a matter of pride when it comes to horror). Being wrapped up in a murder mystery while others try to play A-values into a B-movie production makes for a few chuckles with Debicki or with Sumney (playing the other side of movie-connected folks, a man of the video store), but it is pretty evident that Bacon steals the show with such smarmy confidence befitting of his natural energy that comes out (accent and all). Monaghan and Cannavale provide familiar procedural chuckles that roll right in for my tastes because, well, familiarity always wins the day if it is committed. Eventually one sees where Esposito and Prast make for homely touches of where the film really will go within gruesome truths, particularly with the latter. The eventual reveal is probably not hard to see coming after a certain amount of time, but I appreciate the circular logic that comes in wanting to make a statement about the nature of Hollywood by making a film themselves. In the end, the intervention that arises for its climax (if you haven't seen it, it sounds like a dumb joke, but...) serves the film enough as a hodgepodge of gloss and blood for an engaging time that will surely make West's next idea a worthwhile one to look forward to.

Overall, I give it 8 out of 10 stars.

Mr. & Mrs. Smith (2005)

Review #1256: Mr. & Mrs. Smith.

Cast: 
Brad Pitt (John Smith), Angelina Jolie (Jane Smith), Vince Vaughn (Eddie), Adam Brody (Benjamin "The Tank" Danz), Kerry Washington (Jasmine), Keith David (Father), Chris Weitz (Martin Coleman), Rachael Huntley (Suzy Coleman), and Michelle Monaghan (Gwen) Directed by Doug Liman (#1064 - Jumper)

Review: 
What can you really expect from a summer blockbuster like this one? Perhaps it is good that I didn't have many expectations for one aimed to deliver action and laughs, as it makes the disappointment over the final result less awful to bear. If I actually felt something of interest over these characters when it comes to the action scenarios or the sitcom-level atmosphere besides it, this could actually fit just fine as a neat gem to eat popcorn with. As is, it i's just a mediocre product that feels like it should be much better, headlined by a cast that seems like it wants more to do. Sure, you could say that Pitt and Jolie make for a decent team, but they just seem stuck in something more pale than Lethal Weapon 4 - at least that film's highlight wasn't a dance between its main two characters. Chemistry is one thing, but how about a script with something more substantial to go with it? This is especially apparent when it comes to the scenes beside the action sequences, where there isn't really anything too funny or charming, where the lines feel like they want to be yukked out on a sitcom than an actual film. Even the therapy scenes seem bereft of something interesting to write something about. The action sequences are alright, but nothing too special to really write home about. I never really feel that either of them are in any actual danger, especially for its climax. Obviously they aren't going to hunt each other down, so why would I think a bunch of spies are going to finish the job for them? It just seems ridiculous to begin with that they could actually hide this sort of info from each other for years - actually, what exactly is the film's endgame if their agencies went to go take them down but failed the first time? An episode of Get Smart probably has more personality with their agency than this film, honestly. Vaughn gives off a few laughs in the brief time he shows up; Brody is essentially an afterthought until he has to deliver a key plotpoint before the climax. Washington and David aren't too particularly involved with things too much to make highlights of. On the whole, the film likes to talk a big game with trying to mix action and comedy, but it sure comes up flabby in the final result - it fits more for background noise than something really put on for involvement. I would say that this should be expected from someone who gave us Jumper (which can also be said for its writer, Simon Kinberg), but this actually was the film done by Liman three years prior. Imagine going from this to Jumper. If you have to make a mediocre product that will make a bunch of money and being just okay, this is probably a decent example of that scenario.

Overall, I give it 6 out of 10 stars.

Mission: Impossible – Fallout.

Review #1119: Mission: Impossible – Fallout.

Cast:
Tom Cruise (Ethan Hunt), Henry Cavill (August Walker), Ving Rhames (Luther Stickell), Simon Pegg (Benjamin "Benji" Dunn), Rebecca Ferguson (Ilsa Faust), Sean Harris (Solomon Lane), Angela Bassett (Erica Sloane), Michelle Monaghan (Julia Meade), Alec Baldwin (Alan Hunley), Vanessa Kirby (White Widow), Frederick Schmidt (Zola), and Wes Bentley (Patrick) Directed by Christopher McQuarrie (#1117 - Mission: Impossible – Rogue Nation)

Review: 
For a film series that has lasted 22 years and six films, one would wonder if the Mission: Impossible series would ever seem to be slowing down in its execution and quality, and then I realize that Cruise, like the films themselves, seems to be more durable than ever. After all, how can one not be impressed by someone who insists on doing their stunts for a film that showcases a HALO jump and numerous chase sequences to the point where one said sequence led to him breaking his ankle? Stunts aside, this is a film that certainly sticks out from the other installments in the series in more ways than one. For instance, McQuarrie returns to direct and write once again for the series, and he certainly makes a great follow-up to Rogue Nation, amping the stakes and action while not sacrificing the spirit of what makes these engaging films to watch, particularly since each one has improved on the last one since the third one twelve years prior. This one manages to have a story that piles itself with motivations and turns that certainly try to keep up with the action sequences thrown in from time to time, which is helpful for a movie that lasts 147 minutes but never manages to come off as plodding or too long. Some of its beats and motivations with its adversaries may feel a bit obvious before the movie wants to show its hand, but there isn't anything too complicated or insulting to the film's detriment.

The cast all do a fine job with what they are meant to do. Cruise has a talent for enduring as long as he has as an action hero by being adept at his feet along being adept at being incredibly easy to follow, never letting the audience down once. Cavill does a fine job, playing his role with a raw sensibility that has a blunt consistency that plays well against Cruise. It is nice to see Rhames and Pegg again, proving fine character moments once again while serving well with whatever the plot wants to throw with them and not just being put aside. Ferguson proves capable to the task given for her, having a charm and energy to her that zips with everything neatly enough. Harris (the first recurring villain in the series) manages to still have a menace to his performance that works enough for the time given without feeling stale. Monaghan does fine with her time on screen, being interesting to see again. Bassett and Baldwin make for capable authority figures in their own ways. Kirby is fairly refreshing with her brief moments with Cruise, having a casual but crucial nature that is sold well. The film has a good deal of intensity with its suspense while trying to not cheat its audience with computer trickery while not going overboard too much. The action can be brutal at times, but there is never a point where the lines become blurred or too unsettling to enjoy, confident in what it shows without risk. The best action sequence is the climax, involving helicopters that certainly has a good deal of air to it, being the peak of excitement. Ultimately, I found this to be an enjoyable piece of entertainment with enough action and charm that one can expect from the series that sets the bar as high as it has ever been for the franchise but also likely for action films as a whole. It is a thrill ride from start to finish that accomplishes everything it sets out to do for its audience and more that I think makes it the best Mission: Impossible film yet.

Overall, I give it 9 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.