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Scooby-Doo and the Cyber Chase (2001)
Fun futuristic fantasy
"Scooby-Doo and the Cyber Chase", the franchise's fourth direct-to-video animated film, is a family friendly and true to form adventure that sees the iconic team of sleuths take on a new threat sourced within the reaches of the digital realm. As one might expect, the characters (both returning and new) are the central driving force behind the mystery; the mixture of simplistic and complex personalities allowing for multiple interpretations to arise throughout the runtime before notions of the true culprit become more pronounced. Altogether, it's a zany and fun rollercoaster ride that manages to entertain audiences young and old by merit of its whimsical aesthetics, timeless charm, and utmost respect for its own source material.
Concerning the plot, the story opens to an experiment-gone-awry as a sinister electricity monster is temporarily released upon the world during the testing of a science fair endeavor. Arriving shortly thereafter at the behest of their acquaintance, Eric, the Mystery Inc. Crew are soon pulled into the enigmas surrounding his video game project and the appearance of the "Phantom Virus" that had materialized from within it. No sooner having racked up a decent list of suspects (including the campus security guard, Eric's mentor, and Eric's best friend), the project's futuristic laser device seemingly turns itself on and fires at the Scooby gang, teleporting them inside the game. What then follows is the main action and high jinks of the story as the team must solve and survive the increasingly difficult levels in the hopes of escaping their digital prison and unveiling the source behind the menace of the Phantom Virus.
Accompanying the story at every turn is a stylish and comic-like animation that augments the appeal of the film even further, which in turn is boosted by an appropriately charming soundtrack. As both tools succeed in elevating the appeal of each character and the scene they are in, there is little time wasted within the tight seventy-five minute runtime. Of course, the voice talents behind the screen go a long way into making the film enjoyable as well. The only downside in terms of plot composition are the numerous contrivances that crop up whenever the gang find themselves in trouble, but most can be reasonably argued away due to the nature of the video game logic present.
All things concerned, "Scooby-Doo and the Cyber Chase" is a breath of fresh air within the children's realm of movies largely in part to its complete lack of the crass and cringe-inducing type of humor seen in so many other offerings within the genre, especially in the modern day. While it isn't a masterpiece in terms of intrigue and presentation, it doesn't need to be in order to succeed in gifting its audience with a fun and memorable experience. Whether you're a long running fan of the Scooby-Doo franchise or not, this entry is an easy recommendation.
No Time to Die (2021)
No Time To Cry
Due to a combination of plot, character, and narrative highs and lows, "No Time to Die" is a muddled film from start to finish. Though its primary draw may stem from its status as the final chapter of the Craig-era Bond films, it feels more like a long-winded and unnecessary epilogue to the previous film "Spectre" than a worthy final entry to cap off the series. Despite the assistance of some reasonably engaging action pieces and thematic music scores, at the end of the day it still struggles to raise itself above a par level of enjoyability.
Concerning the plot, the story picks up right where the previous film left off with Bond and his now recently-married wife Madeleine Swann traveling to the location of the grave of Vesper, Bond's first love. After an attempt on his life is made, Bond promptly breaks off ties with Swann through lingering suspicion that she may have betrayed him. After a time jump is made and a secret genetic bio weapon is stolen, Bond is tracked down by both his replacement 007 agent, Nomi, and later his former acquaintance Felix Leister of the CIA to look into locating the traitorous scientist linked to incident. Upon stumbling into a "secret" meeting of the entirety of the world spanning organization, Spectre, the bio weapon is deployed with lethal efficiency and Felix is killed shortly after his partner Ash betrays him for the sake of the movie's true antagonist: Lyutsifer Safin. Safin, who was motivated to exact revenge on Spectre after one of its agents killed his family, then manipulated Swann into positioning herself in a situation where the Spectre boss (Blofeld) could be killed. After Bond and Swann begrudgingly reunite for the sake of communicating with Blofeld, Safin's plan comes to fruition. Swann and her daughter are then kidnapped shortly after, and Bond and Nomi are tasked with infiltrating Safin's island lair to rescue the two and put an end to threat the weapon poses (as Safin is apparently interested in utilizing it further). After the decisive climax wraps up, an extremely swift resolution finishes the film.
Without a doubt, one of the biggest detriments to the movie storywise is its nonsensical attempt to bring closure to every loose end the series has cultivated when it didn't have to. A striking example of this is the convenient manner in which Spectre, the massive threat built up (albeit sloppily) from the previous four films, is wiped out in an instant without the possibility of any contingency plan on their part. The other major issue being that this film wasn't even needed after the ending the last film brought about; creating more of a funeral for Craig's iteration of Bond than a suitable send-off. Had the plot been foreshadowed and built up from its previous entries, then this might have been a different story.
Concerning the characters, Daniel Craig's final outing as Bond was shaky. Though he incorporated some more of the humor seen previously in the role and took part in some engaging fight scenes, it was evident through his acting that he was phoning the part in. Lea Seydoux's (Madeleine Swann) was consistent with her previous rendition of the character, being reasonably likable overall though with the detriment of having to navigate a new backstory. Rami Malek's (Lyutsifer Safin) was decent for a Bond villain driven by revenge, though the plausibility of the character's motivations fell through the floor in the final act (wherein it becomes difficult to determine what exactly he's after. Is he in it for the money? Is he mentally deranged? Or is he following some level of self-important morality?) The updated roles of the MI6 characters M, Q, and Moneypenny depreciated even further from their position in the last film, with M almost resembling more of a villainous role than the actual villain. Lashana Lynch's (Nomi) could have made for an interesting rival for Bond if not for the direct stabs the film takes at Bond through her role as the "new" 007, and Dali Benssalah's (Primo) made for a reasonable (albeit forgettable) head henchman.
Altogether, "No Time to Die" ultimately hits different beats depending on entry investment. If you've never seen the past films (or Bond in general) then it can be a decent popcorn action flick so long as you don't think too hard on its measures (or lack thereof) of continuity, and the degree of the convenient contrivances that pop up throughout the extensive run time. However, if you are a fan of the Bond franchise, then you likely won't come out of it with any higher satisfaction than what might have been felt at the conclusion of "Spectre".
Spectre (2015)
A ghost of its potential
"Spectre" is something of a disappointing addition to the 007 cinematic franchise, as the film's story and presentation are wrought with exceedingly noticeable shortcomings that are hard to remedy. While the overall presentation is far from being an unwatchable collection of nonsensical scenes and overbearing characters, the chemistry between said characters and the narrative depth of its story leave much to be desired; a frustrating sentiment since the spy flick had enough moving components going in its favor to be so much more.
Concerning the plot, the film begins where the last film "Skyfall" left off with Bond on the trail of an unknown adversary; an exchange that ends with the MI6 agent causing a great measure of seemingly-avoidable collateral damage. After finding himself at odds with his new boss and placed under house arrest for the careless execution of his unsanctioned mission, Bond is forced to take more covert actions with the begrudging assistance of Q to fulfill the former M's final request. After several more run-ins with the shadow organization calling themselves "Spectre", Bond locates former adversary Mr. White to learn as much as he can about the society's intentions. Meanwhile, MI6 is drawing out its own conflict with an intelligence merger that threatens to shelf its existence for the sake of a state-of-the-art information monitoring initiative: Nine Eyes. Upon being tasked to find White's daughter (Madeleine Swann) just before White ends his own life, Bond tracks her down with minimal effort and ends up whisking her away from the clutches of harm just as Spectre plays its hand. After some more action and some nonsensically-hastened romance, the two find themselves up against the head of Spectre, Ernst Blofeld, who is more than just a little interested in taking out Bond for a personal (albeit petty) motivation of his own. Following a decent two-part climax that resolves both Bond's and MI6's troubles, Bond is restored to his former capacity and drives off into the proverbial sunset with Swann at his side.
While the overreaching narrative was better fleshed out than the likes of "Quantum of Solace", and the villain presented felt more formidable than the previous one seen in "Skyfall", the underlying issue that prevents "Spectre" from elevating itself above normality is its supreme lack of polish in all aspects. For example, the head goon in Spectre that spends half the movie pursuing Bond is flatter than a board; seemingly only there because most past iterations of Bond also had an antagonist under the primary villain for him to lock horns with. Additionally, the lack of proper set-up sabotages the potency of the threat Bond faces, as both Spectre and Blofeld's connection to him felt fabricated and rushed to make them relevant for this film. Had the previous three films given Blofeld and his puppeteering subtle buildup, then this likely would not have been a problem.
Concerning the characters, Daniel Craig delivers a so-so performance in his fourth go around under the mantle of James Bond. Though he isn't nearly as despondent as he was in the prior two films, his mannerisms and charisma still felt lacking and a bit stiff. Likewise, Christoph Waltz's (Blofeld) felt underwhelming in the long run, though a poor motive and backstory didn't do his acting any favors. Lea Seydoux's (Madeleine Swann) was reasonably decent for this film's "Bond girl", but the rushed plot surrounding her and Bond cut her opportunities to nurture a plausible romance with him short. The MI6 group (Moneypenny, Q, and M) all stayed about the same in performance to their introductions in the last film, though M came off as being overly strict for the sake of plot necessity. Lastly, Dave Bautista's (Mr. Hinx) was fairly entertaining action-wise as Spectre's chief muscle, but his aforementioned lack of any character development likened his role to the same level as a disgruntled gorilla in a suit.
In terms of action sequences and quality of music, the film doesn't disappoint, which in turn helps to camouflage some measure of plot shortcomings. If nothing else, they help to make the nearly two and a half hour runtime bearable.
In conclusion, "Spectre" is a middling experience that is worthy of a watch from fans or newcomers alike, but not much beyond that. Had several more coats of polish and fine-tuning been applied to the narrative, this penultimate Craig/Bond film could have been a surprisingly entertaining addition to the franchise's lengthy collection of titles. Unfortunately, what was ultimately presented was a ghost of the movie's potential: nothing more, nothing less.
Skyfall (2012)
Down, but not out
"Skyfall" is a plot-driven espionage film that is, in most regards, a solid chapter in the 007 franchise. Despite being a continuation in the Daniel Craig arch of the Bond movies, it resembles more of a soft reboot than another sequel which allowed for a more fresh experience after the events of "Quantum of Solace". Though there are issues involving Craig's depiction of the iconic MI6 agent that can easily sully the character for long-running fans of the series, the theme of this entry does a decent enough job of concealing it behind a mask of plausibility: more on that later. Character-work otherwise is decent, and with the boost of an exceptional soundtrack and third act, the experience lands reasonably well.
Concerning the plot, the story starts off at a full sprint as Bond and fellow agent Eve are pursuing an enemy target with little success; a stalemate which concludes with their boss "M" ordering Eve to take a sniper shot that inadvertently knocks Bond out of the scenario. After meandering in downtime for several months (prompted on by a bitterness that his performance was called into question) Bond returns to MI6 and "M" after the MI6 headquarters was hacked internally and bombed from an unknown adversary. In order to get Bond back into the field and on the trail of their assailant, "M" fakes Bond's exam results which themselves call into question if he still has his edge; a reoccurring theme of movie. Upon tracking down the tech-savvy ringleader, Raoul Silva, it is revealed that Silva was a predecessor of Bond's who had survived the ingestion of a cyanide pill after having fallen into captivity. Spurred on by a deep-seated drive for revenge, Silva's plans escalate against "M" which in turn leads Bond to lean into old-school spy-craft to keep her one step ahead as he in turn is forced to face the lingering shadow of his past.
The smaller stakes (as opposed to the threats of war and orbital death-lasers seen in previous iterations) are refreshing in light of the overarching "old vs. New" theme present throughout the story. Though Bond is the recipient of several "relic of the past" jabs, he is allotted the opportunity to prove his critics wrong on several occasions, which were excellent high points to an otherwise dour series of events. Also of note is that the pacing is on point for a 143 minute runtime with little noticeable drag; thanks largely in part to the latter portion and climax of the film.
Concerning the characters, Daniel Craig's third outing as the legendary agent James Bond was fairly well executed for the given scenario, with the primary caveat being his down-and-out attitude. While it plays decently in the face of the "espionage is dated" message prompted by several other perspectives, it does call to question the sincerity of Bond's loyalty if a single misplaced bullet could derail his willingness to serve his country. Judy Dench's "M" on the other hand was tonally consistent with her past portrayals (always being firm, yet tender with Bond) and remained a positive draw in her final performance as the boss of MI6. Javier Bardem's "Silva" was a strange addition to the long line of Bond villains, as he came off as more of a watered-down version of GoldenEye's "Alec Trevelyan" with awkward mannerisms than the intimidating counterpart of Bond that the story necessitated. Lastly, Ben Whishaw's stab at the beloved role of "Q" felt hit or miss, while Albert Finney's "Kincade" and Naomie Harris' "Eve" were more grounded and respectable by comparison.
As mentioned previously, the soundtrack for this Bond outing was inspiring, with the traditional music video at the title sequence being among the best in the series. And as expected of the genre, the action scenes didn't disappoint and delivered much needed adrenaline to Craig's presentation.
In conclusion, while "Skyfall" suffered from minor inconsistencies off and on, the movie as a whole was satisfying. If taken as a standalone spy film outside of the 007 universe, it succeeds in creating a dynamic story that emboldens the old adage that "sometimes the most tried and true methods are the best". And while Craig has had his share of criticism for his take on the role, this particular entry of his is certainly worthy of a watch.
Gojira -1.0 (2023)
Absolute Domination
"Godzilla Minus One" is something of a rare instance wherein predetermined expectations were shattered for the better, as the overall tone of the film was nowhere near what may have been expected coming from the long-lived Kaiju series. The gripping narrative combined with its well-cast and fully developed characters create a compelling story that blow many other iterations of the Godzilla franchise out of the water. Additionally, the compact length of the film, concise pacing, and excellent execution of its pivotal action set pieces create a polished experience that never drags and leaves the viewer wanting more.
Concerning the plot, the movie opens up in the final days of World War II and follows the actions of kamikaze pilot Koichi Shikishima as he encounters an unknown monstrous terror upon fleeing a scheduled battle engagement out of fear. This same fear paralyses him from taking action when confronted with the adolescent form of the creature the locals call "Godzilla", leading to the deaths of all but one of the mechanics posted at the island he stopped at. Upon returning home post-war to the ruins of his destroyed town, he encounters a woman named Noriko who herself took up the task of raising an infant, Akiko, who was orphaned by aerial raids that similarly claimed the lives of hers and Shikisama's parents. After agreeing to let both of them stay at his house, Shikisama finds a lucrative position as a minesweeper to help support them, all the while wrestling with an ever-consuming survivor's guilt that only intensifies after encountering a mature Godzilla once again. After tragedy strikes in the wake of the devastation wrought by the monster upon making landfall in Japan for the first time, Shikisama is faced with a final ultimatum that would shape the fate of his entire homeland: either lay down his life in an attempt to kill the scourge of his nightmares, or accept a willingness to live for the sake of those he found family and companionship with.
As the film keeps levity to an acceptable minimum, the weight of Shikisama's journey is front and center to the conflicts he and the supporting characters face, which sets a degree of tension that carries over with each brief appearance of Godzilla. As the movie progresses, you begin to feel more and more connected with them; their fates becoming more palpable as the severity of the threat escalates. All of this builds into an extremely satisfying climax that, thanks to solid set-up and logical storytelling, leads to a powerful resolution in the final act.
As mentioned previously, a large amount of credit for this film's successful composition comes from its characters. Kamiki Ryunosuke's "Shikishima" was the heart at the center of the story; his post-war trauma and battle to recovery translated well through the actor's line delivery, subtle mannerisms, and chemistry with those around him. One criticism could be made that he, alongside some other characters, overacted at high-tension moments. This is true, though it did not take away from the overarching gravity of those moments. Minami Hamabe's "Noriko" also portrayed her role exceedingly well alongside Shikisama, with the budding-yet-troubled romance between the two creating a heartfelt catalyst for events to unfold late into the story. The three members of Shikisama's minesweeping crew, "Yoji", "Kenji", and "Shiro" each progress along their own story archs which compliment each other and set up multiple payoffs toward the end of the film. Lastly, both the lone surviving mechanic "Sosaku", and Shikisama's initially-antagonistic neighbor "Sumiko" play transformative roles that reflect the progress of Shikisama's own struggles.
Presentation-wise, the graphics and effects are spectacular, especially considering how humbling the budget for the film was at around $15 Million. The music scores, though selective in number, are all powerful and efficient in their ability to aid in the emotive goals of the scenes they are placed in. Sound quality is top-notch, with each roar and explosion hitting home. Lastly, the set design was so incredibly realistic that you never could have guessed that an actor in a suit was tearing up anything but actual buildings. Needless to say, the lack of poor, over-embellished CGI is exceedingly welcome.
In conclusion, "Godzilla Minus One" was a colossal surprise in terms of both quality and format. The war-movie genre it embodied fit like a glove, and allowed its gripping narrative to build over time rather than to have been wasted on excessive monster scenes for the sake of having more action crowbarred in. This was, without a doubt, the best movie of the year at release; a film that is absolutely deserving of a watch whether you are a fan/familiar with the Godzilla franchise or not.
Uncharted (2022)
Uncharted: Tarnished Legacy Edition
"Uncharted" can best be described as a lackluster adventure film that doomed itself into mediocrity by sitting on the fence between being an adaptation of the video game franchise, or just being its own thing. Incredibly poor casting choices for the majority of the characters compound the difficulty of finding it entertaining, and a lethargic and contrived storyline drives home the final nail.
Concerning the plot, the movie mixes an "original" story with set pieces from the games in an awkward attempt to create an origin story for its main protagonist, Nathan Drake. While this might land decently for inattentive viewers not familiar with the source material or caring about the jumbled narrative, it creates a very confusing and irritating conundrum for those who know about Drake's past adventures and cannot reason why familier scenarios are playing out supposedly years earlier than the first game. Ultimately, this leaves the viewer with little choice but to relegate the movie into its own universe, which in turn frames the film as an inferior counterfeit in all aspects by comparison.
The narrative in question follows Drake as he sets off on a journey to locate his long lost brother after having been found by a past associate of his, Victor Sullivan, and enlisted into locating a fabled treasure. After the two meet up with Sullivan's "partner", Chloe Frazer, the team has to contend with both a rival team chasing after the same fortune and wrestling with each other over trust issues that arise each time one of them stabs the other in the back. When the treasure is eventually discovered in a haphazard manner (the puzzle in question having two solutions that the plot conveniently sorts out), the climax creates a scenario that is equal parts inventive and logically ludicrous; but primarily underwhelming given the poor character development and portrayal of all the characters present. Needless to say, while the story isn't wholly unwatchable, its habit of skipping around and dragging between action sequences kills any semblance of intrigue the film has.
By far the greatest detriment to movie, however, is its casting choices. Tom Holland's portrayal of Nathan Drake came off clunky and unbelievable, thanks largely in part to his youthful and naive appearance. Even if he wasn't compared to the characters's video game counterpart, which is impossible not to do for anyone who has seen him, his mannerisms lack any semblance of the maturity that the role calls for. Likewise, Mark Wahlberg's "Sully" was less of a rough-edged man of the world, and more resembling of a peddler of snake oil whose dignity was always kept at an utter minimum. While Sophia Ali's rendition of Chloe and Antonio Banderas's Santiago were both somewhat entertaining, both suffered removal by the time the final act came around: making their appearences in the film negligible in the long run. Lastly, Tati Gabrielle's Braddock fell completely flat in terms of overall threat, which in turn made the final conflict she appeared in bland and underwhelming.
In conclusion, "Uncharted" might best be praised for being an excellent cure for insomnia, as it's meandering and tasteless plot threads command little to no merit when placed side by side with films within the same genre. Worst still is the fact that it actively pillages from its own source material without commiting to either being something new outside of the franchise, or something that takes place within it. While it certainly isn't a terrible film outright, its poor casting, middling plot composition, and tedious pacing leave much to be desired. Compared to the original trilogy of stories, or even taken as a stand alone tale, the only treasure its viewers will find is a pile of insubstantial Fool's Gold.
Quantum of Solace (2008)
Just average
"Quantum of Solace" suffers a number setbacks that land it reasonably between being middling and fairly-enjoyable, so long as some mental cognition is switched off. While it contains several action sequences that land well enough and decent character development across the board, it lacks any degree of polish and gravitas to allow it to stand out from an ocean of other run-of-the-mill action flicks by comparison. As being a continuation of a story, rather than a new adventure (as per the norm of the franchise to this point), the "sequel curse" effected a myriad of points that made it's predecessor "Casino Royale" a much more enjoyable film by comparison, including and not limited to: a compelling narrative, an intimidating villain, and character interactions that incentivized investment. Unfortunately, as this film is lacking in all of those departments, it ultimately ends up dragging down the positive elements that are brought to the table to create an unfulfilling, middle ground experience.
Concerning the plot, the story picks up where it left off with Bond desperately trying to nail down the mystery organization that perpetrated the loss of his love, Vesper. After a close call in an interrogation that nearly took the life of his boss, "M", he finds himself quickly in between a rock and a hard place when he is swept into the dealings of Dominic Greene...an entrepreneur and head of an environmental group. After saving the life of a purported victim of Dominic's, Camille, Bond is quickly suspended from duty after his killing of suspects (a running theme in this film) lands him in hot water with the upper echelons of power. Undaunted, Bond refuses to return before his mission is complete, which leads to a MI6 employee losing her life after a connection is made between them, and a returning character from the last film, Rene Mathis, losing his in turn. Pushing onward with Camille, whose past also connects her to an affiliate of Greene's, the two rush into a somewhat fulfilling climatic ending with the environmentalist after his true scheme is coincidentally brought to light.
Perhaps the greatest detriment to the momentum of the story is the awkward positioning the film places Bond in, with one step moving forward and two steps moving back; locked in place by the events of the last movie and the baggage of Bond's previous iteration as acted by Pierce Brosnan. This is highlighted at the midpoint of the film wherein Bond sleeps with a woman named Fields, whose only role is to attempt to bring Bond back after he is recalled, and is promptly killed thereafter. "M" uncharacteristically blasts Bond for this, claiming it to be the result of his romantic infatuations, despite the fact that Daniel Craig's Bond was far less reckless in these mannerisms than seen throughout Brosnan's era. This in turn creates a form of tension-for-the-sake-of-tension between these two characters, and is especially undermining to Bond's role in this film, as the narrative requires him to be invested in Vesper's recent loss.
Overall, Craig's Bond did enough in the film to hit a gray area of decency, which was a letdown from his first outing. Judy Dench's "M" suffered a bit from her unmerited criticisms of Bond, but wasn't wholly insufferable. Olga Kurylnko's Camilla was decent overall, and Giancarlo's brief reprisal of Mathis was actually a standout. Mathieu Amalric's Dominic Greene, on the other hand, was laughably unopposing when compared to many of Bond's past rivals primarily through his lack of presentation and underwhelming ambitions.
All in all, while "Quantum of Solace" struggles to stagger into the realm of enjoyability, it can still be watched and taken at face value for what it is; a sequel film that forwards the overall story. If viewed without a critical lens, it still entertains: just not as much as it could have had more attention and care been given to the characters as they were established.
Casino Royale (2006)
A Full House
"Casino Royal" is a return-to-form, suspense-driven Bond film that delves deeper into the series' inherent spy-craft roots more so than a number of previous entries, albeit with a touch less of tech and gadgets. The transition between the last version of Bond, played by Pierce Brosnan, and the latest iteration acted by Daniel Craig, is a bit jarring; though not to the detriment of the character. Craig's more serious and business-before-pleasure take on the iconic MI6 agent lends itself well to the increase in espionage presented throughout the film, which in turn allows for the more grounded storyline to flow seamlessly. This, combined with a solid cast, an exceptional line of music scores including a breathtaking intro, and a number of action sequences that hit all the right beats make the film a must see for fans of the franchise and newcomers alike
Concerning the plot, the movie centers around a new 00 agent, James Bond, as he attempts to shut down a terrorism-funding scheme. Right out the gate, the film wastes no time is displaying Bond's brutality against his opponents, though with the caveat that he is still prone to making logical mistakes; a point he is reminded of by his boss "M", and one that goes on to haunt the character. After identifying a connection to the ringleader, a man who goes by the name of Le Chiffre, Bond utilizes a brief romantic fling to obtain information on one of his underlings. Upon neutralizing the target and preventing another from destroying a state-of-the-art plane, thus derailing Le Chiffre's initial plot to obtain the money he needs to keep his head, he and a woman named Vesper Lynd are sent into a high-stakes gambling scenario that would be seeing a number of wealthy contenders all playing for an enormous prize. With the pressure on Bond to win to prevent the proceeds from directly funding terrorism, the uphill battle and subsequent climaxes see more than just his wit and resolve tested as Le Chiffre pulls out all the stops to secure victory at any cost.
One unfortunate setback to mention is the awkward pacing of the storyline due to its over-commitment on a series of surprises within the final act. Admittedly, this is primarily an issue for the first watch of the film, as subsequent viewings (being aware of the ending) will likely run better with the subterfuge cleared; but it still creates an unnecessary hurdle that could have been prevented with a few changes to the plot. This is unfortunate, too, as the wealth of set-up for the "true" ending is easy to overlook and wasted without the knowledge of what is actually taking place.
As mentioned earlier, one major boon to the story is its focus on creating suspenseful situations, such as the pivotal card game, that play to both the strengths and weaknesses of Bond's character. Since the relationships he forms with other characters, Vesper in particular, carry throughout the film in plot-relevant ways, the investments to those relationships feel all the more palpable when compared to a number of shallower past "romances" the character has had in previous entries (such as Dr. Christmas Jones from "The World is Not Enough").
Concerning the most notable characters, Daniel Craig's performance as Bond in this film was a masterclass from start to finish for all the aforementioned reasons. Eva Green's Vesper was one of the best "Bond Girls" to date through merit of her juxtaposing warm vulnerability and matter-of-fact banter that never reaches the obnoxious level of snark that certain modern female roles employ. Mads Mikkelsen's Le Chiffre was a well-rounded antagonist that felt competent and formidable throughout, especially in the torture sequence late into the runtime, and Judi Dench's "M" managed to improve upon her role even further from the last several outings of the character.
All in all, "Casino Royale" is a perfect introductory film for anyone looking to jump into the franchise for the first time, and a solid watch for those already familiar with it. Though it loses a degree of playfulness in trade for a more gritty atmosphere, it delivers in spades on the action and intrigue that have always been with the series.
Die Another Day (2002)
It flew too close to the sun
"Die Another Day" is a middle-of-the-road Bond film that delivers a solid overall experience despite drifting at times into a realm of cartoonish logic for its major plot points. Boasting of a cast that hits a decent amount of beats, and highlighted by imaginative action sequences that land reasonably well overall, the movie had the potential to be a substantial entry in the franchise if it had only taken the time to smooth its edges. While the narrative is easier to follow than its predecessor, "The World is Not Enough", it stumbles over including a few reiterations of past story threads (such as a backstabbing, femme fatale) that are easy to see coming, which thereby spoils several sequences of set-up.
Concerning the plot, the film creates more of a revenge-based angle for James Bond to pursue after he is captured behind enemy lines in North Korea due to an unknown traitor. Upon his escape, he sets to tracking down the war criminal, Zao, who has had his hands involved in numerous past underhanded dealings. After locating him shortly after crossing paths with a mysterious and alluring woman named Jinx, Bond is unable to secure Zao or any information leading to his true target save for a connection between a diamond in Zao's possession and a tech-based philanthropist, Gustav Graves. After looking in on Graves and becoming romantically invested in his secretary, Miranda Frost, Bond learns of Gustav's "gift" to humanity; a sun-absorbing satellite code-named "Project: Icarus". Several plot-twists later, and it is up to Bond to prevent the true mastermind from using the satellite and its death-laser from paving the road for North Korea's march on the South.
While the pacing of the events was fluid and the rising action and climax felt entertaining to watch unfold, the aforementioned copied story beats sabotaged the stakes overall. That is to say that, while using a suspected "Bond Girl" as a double agent is clever, the identity of that double agent is immediately recognizable once the viewer picks up on the subterfuge. Another element weighing down the investment of the stakes is the cartoonishly-outlandish nature of the super-weapon: Icarus. Though it is an interesting concept on the drawing board, the plausibility of such a device is well outside of the realm of the typical Bond universe, and likewise would have been better placed in a spin-off or spoof espionage series, such as "Spy Kids" or "Austen Powers". And on the same note of outlandish tech that removes any precedent of the film being grounded in reality, look no further than the invisible car.
As for the cast, Pierce Brosnan's final bow as Bond was decent, though not comparable to past performances in titles such as "Goldeneye" and "Tomorrow Never Dies". Halle Berry and Rosamund Pike as Jinx and Miranda (respectively) played well into the "Bond Girl" role, with the former being more believable and well-written than the latter. Toby Stephens as Graves and Rick Yune as Zao were fun to watch for what they were, with Graves' character interestingly mirroring the iconic animated super-villain Syndrome from Pixar's "The Incredibles"; suggesting (to this reviewer) that Syndrome might have been patterned after Graves and expanded upon. John Cleese's "Q" was also entertaining, though not quite to the level that the character's former actor, the late Desmond Llewelyn, brought.
All in all, had the filmmakers crossed every "t" and dotted every "i" in terms of the overall writing composition, "Die Another Day" could have easily stood out and have been a highlight within the long-running franchise. This is not to say that it still can't be watched and enjoyed even with its layers of on-and-off nonsensical reality, so long as common sense and reasonable intuition are left at the door. In many ways like "The World is Not Enough", the failed potential of greatness is the greatest crime overall.
The World Is Not Enough (1999)
The Plot is Not Enough
"The World is Not Enough" is a run-of-the-mill Bond entry that lands squarely within the territory of a middling presentation. While there are a number of facets that keep the film from sliding too far from grace, such as its' solid casting and engaging music scores, there also are quite a few hindrances that keep it from becoming anything noteworthy when compared to its predecessors (including and not limited to a muddled plot line, the waste of character potential, and a complete lack of tonal consistency). Though the film can likely be enjoyed as background entertainment if taken at face value for the niche and campy product that it is, those attempting to rationalize the movie on a more comprehensive level will likely have their work cut out for themselves.
Concerning the story, T. W. I. N. E. Sets its stage by placing James Bond within a terrorist strike that wounds the iconic agent right out of the gate. Following the death of a prominent oil tycoon, Bond is swiftly introduced thereafter to the tycoon's daughter, Elektra King, and tasked with keeping her safe after prior attempts to do so ended poorly. After another attempt is made on her life and intel is gathered from King and a past "associate", Valentin Zukovsky, Bond heads after the primary suspect of the incidents; a man by the name of Renard. After confronting him and surviving the destruction of the facility alongside nuclear physicist Dr. Christmas Jones, the two set out to prevent Renard from using the Plutonium he obtained. After a major plot twist turns a certain character against Bond and places his boss, M's, life on the line, the climax sees his endurance and wit put to the test as the clock ticks down to the destruction of Istanbul and the inevitable fallout of all the major oil pipelines connected to it.
Though simplistic at first glance, the film itself doesn't go out of its way to pave the road of the plot for its viewers. Unfortunately, for the sake of the pivotal twist two-thirds into the run time, certain details such as the identity of the true antagonist and their admittedly underwhelming motives are left unspoken until the big reveal. While this could have worked had more attention to detail and nuance been granted to the core story elements that preceded it, as it stands upon the first time watching the film, the events and suspense that follow the twist felt rushed, unearned, and lacking in gravitas.
As for the characters, Pierce Brosnan's Bond worked well within his usual guise, though fell victim this time around to the same tonal inconsistencies that plagued the rest of the film; more on that later. Sophie Marceau and Denise Richards' Elektra King and Dr. Jones (respectively) both lended well to the "Bond Girl" staple, despite a decisive lack of backstory, especially on Jones' part. In that same light, Robert Carlyle's performance as Renard was also undercut by the mismanaged plot he was given, though this didn't wholly stifle his ability to make the character intimidating when he had the chance. Alternatively, Desmond Llewelyn's "Q" was a breath of fresh air, and in as much as this was the final time he would play the role of the quirky gadget designer, his brief appearances in the film concluded his place within the franchise on a high note. Lastly, Judi Dench's "M" was acted with respect and dignity overall, and Robbie Coltrane's Valentin was a delight to watch from start to finish despite the odd turn of events his character faced towards the end of the movie.
Another negative point to include here is the film's waste of certain characters that could have added more layers to the plot if given a chance. This would include both the assassin that ends herself after getting caught at the beginning of the film, and a subordinate of Renard that is seemingly brought into the limelight for a significant purpose, only to be promptly offed shortly thereafter.
Perhaps the greatest thorn in the side to this particular outing of Bond's, however, is the aforementioned tonal inconsistencies that riddled the film with little to no break. On one hand, there are sequences of action and dialogue that feel as solid and palpable as to be expected from the franchise; all of which setting a serious tone. Yet on the other hand, there are goofy and ludicrous scenes depicting haphazard and nonsensical combat and gadgets (such as the outlandish ball-suit) that introduce comedic beats strong enough to suggest a lighthearted atmosphere; killing any tension that might have been built up. Though previous Bond films have been no stranger to mingling in a spot of humor here and there, the degree in which this movie employs it likens it more to a modern superhero film than an espionage-driven set piece, which in turn makes it hard to take seriously.
All in all, while there are elements to be enjoyed in "The World is Not Enough", the combination of its disonant plot threads, squandered potential and chaotic tone make it a challenge to get invested in beyond a casual watch to kill time.
Tomorrow Never Dies (1997)
A Solid Tomorrow
"Tomorrow Never Dies" is a serviceable entry in the 007 franchise that excels in setting up an interesting scenario for James Bond to navigate; placing him in the crosshairs of a looming world war in opposition to an influencial madman. Though it stumbles a bit with a number of contrivances, the presentation as a whole draws in a fair measure of intrigue due largely in part to the on screen chemistry between the actors and the concise pacing of the story.
Concerning the plot, the film introduces a curious angle wherein the main antagonist, Elliot Carver, weaponizes his news organization to spread misdirection and fallacies in the hopes of sparking a war between China and the Western world. With time running short before both sides are at each other's throats, Bond is tasked with gleaning information from Carver's wife; coincidentally an old flame of his. After her demise at the hands of Carver's henchmen, however, Bond must swiftly alter his plans to accommodate this film's "Bond Girl" Wai Lin, an agent of similar status within the Chinese government who crops up whenever the story decides that she should. After the two eventually team up to take down Carver and his lackeys aboard his formidable stealth ship, a final act occurs that is satisfactory overall.
The greatest strength to the story overall is its palatable narrative and smooth pacing, as Bond's romantic flings are kept to a reasonable minimum with some logical merit within the story. The greatest weaknesses, however, are the aforementioned contrivances that riddle the plot. These primarily include the character of Wai Lin showing up inexplicably multiple times with no direct through line, and a lack of consistency with Bond's car's armor and performance, alongside it happening to contain some abstract gadgets that would have stopped the agent cold in their absence. Though they didn't destroy the tone completely, they were distracting nonetheless and begged further questions that could have been avoided with better writing.
As for the characters, Pierce Brosnan's James Bond brought an enjoyable level of wit and humor alongside his debonair mannerisms that fit the role like a glove. Furthermore, this meshed well when placed against the eccentric and megalomaniacal tendencies of Jonathan Pryce's Elliot Carver, who managed to hold up an intimidating (albeit stereotypical) villainous presence whose greatest downfall stemmed from his penchant for monologueing. Michelle Yeoh's Wai Lin was fun and competent in equal measure, though could have used a dose of polish to fully flesh out her role within plot, which goes the same for the head goon - Stamper - whose Schwarzenegger-esque performance was only undercut by his lack of backstory. As always, gadget maker "Q" was a treat in his brief appearance, and Bond's boss "M" was serviceable in her balance of intellect and responsibility for her position without appearing overreaching.
In conclusion, "Tomorrow Never Dies" is a solid entry within the franchise that lends enough plausibility for its streamlined plot and dynamic action sequences to work well alongside each other. Though a tolerable degree of suspension of disbelief is required to enjoy the film for what it is, it doesn't detract too much from the experience being fulfilling for fans of series and newcomers alike.
GoldenEye (1995)
Groundbreaking
"Goldeneye" is a fast-paced action/espionage flick that sees the renowned agent James Bond engaging in his next venture to protect England from powers that would seek its destruction. In the aftermath of the Cold War, a new threat emerges from the husk of the Soviet Union that puts Bond's quick wit and adaptability to the test when placed alongside old and new allies alike. Though the film as a whole can be admittedly difficult to get into for viewers outside of the "007" fanbase - more on that later - it still delivers a compelling story that manages to be a solid watch should a number of elements be overlooked.
Concerning the plot, the film starts off with a bang as Bond performs a dynamic bungee jump from atop an enemy dam; teaming up with ally agent Alec Trevelyan soon after to clear out the Soviet facility. When fortunes turn for the worse and Alec is struck down, Bond fulfills the mission and manages to escape. Some time later, after the mysterious destruction of a Soviet lab, Bond is sent to rescue the lone survivor of the incident, Natalya Simonova, before she can be silenced by its perpetrators. Upon coming face to face with a malevolent ghost from his past, the one responsible for orchestrating the plot against himself and England, James is eventually forced into teaming up with Natalya to neutralize the puppeteer once and for all. This ultimately sets the stage for a satisfying final sequence that is easily the high point of the film. Unfortunately, a number of contrivances manage to slow the narrative down, but not to the point of breaking the plot. A few examples of which include the exceedingly happenstance utility of a certain exploding pen, and Bond's use of a Tank to race and halt an enemy train.
As for the characters, most of the cast were likable overall. Pierce Brosnan's James Bond contained all of the traits that followers of the franchise would come to expect. Sean Bean's Trevelyan was acted out excellently for what his role entailed, Judi Dench's "M" performed well in simultaneously reigning in and supporting Bond, and Izabella Scorupco's Natalya lended an air of plot relevance to the "Bond Girl" role that was only undercut a bit by the degree of plot armor she wore throughout the run time. The characters of CIA agent Jack Wade and Soviet General Ourumov also added a welcome polish to the film, alongside the brief but enjoyable appearance of gadget facilitator "Q". The same could not be said for the likes of femme fatale Xenia Onatopp, however, whose character role was so sensually obnoxious and distracting that it made Bond's romantic ventures throughout the film tonally tolerable by comparison.
Aesthetically speaking, the film draws in quite a number of accolades by means of its memorable soundtrack and dynamic stunts, though the latter of the two adds difficulty in appealing to viewers not accustomed to the traits of the franchise. To put it mildly, a heavy dose of suspension of disbelief must be applied throughout Bond's escapades to enjoy them for what they are; cool concepts that are fun to behold but defy the laws of reality. The most glaring example of which being the means of escape he employs at the Soviet facility, which saw him casually skydive into a free-falling, unoccupied plane no worse for wares.
In conclusion, "Goldeneye" is the perfect example of a film that delivers on its franchise's expectations. As it is a curious blend of serious and non-serious narratives, it can reasonably be described as "Mission Impossible" meets "Fast and Furious": a marginally-campy spy joyride that treats fans of the genre with a full-course meal, though is certainly not for everyone.
Red Eye (2005)
A Gripping Thriller
"Red Eye" is an engaging thriller that chronicles the psychological dilemma of a young woman who must choose between saving her father from imminent peril, or protecting a government official mixed in the crosshairs of a terrorist agenda. Throughout the film, the overarching tone is tense enough to promote a sense of ongoing dread without becoming too mentally exhausting. In addition, the subdued pacing allowed for a multitude of interconnected plot lines to be set up and fully fleshed out, thereby granting each member of the tight cast of characters a valid role within the story.
Concerning the plot, the story follows Lisa Reisert as she gradually becomes caught in the machinations of a diabolical terrorist: Jack Rippner. Trapped on a late-night flight with the clock ticking, Lisa is tasked with delivering a phone call to the hotel she manages in order to switch the rooms of a prominent Homeland Security figurehead. With her father's life on the line should she decline, and each failed attempt to circumvent the situation thwarted by Rippner, the tension continues to build until Lisa must finally decide to confront her tormentor or submit to his will. The final act does an exceptional job in following her decision to its logical conclusion - albeit with a number of interesting twists - and the film ends on a satisfying note for all the set-up that was put in motion since the starting scenes of the film.
Where the presentation easily shines the most is in it's meticulous detailing of all the characters involved, with every individual the story makes a point of highlighting later going on to play a significant role. This does wonders in keeping the runtime concise and the primary focus where it should be without running the risk of admitting random filler for the sake of filler. There is also something to be said about the choice in casting for the leads: with Rachel McAdams' acting bringing life and urgency to the role of Lisa, as Cillian Murphy - perhaps most well known for playing Scarecrow in "Batman Begins" - adds all the sinister undertones needed to make Rippner a formidable foe.
The somewhat minimalistic soundtrack spikes in intensity at just the right moments to elevate the atmospheric fear Rippner brings to the table, which mirrors well with the numerous close shots from the camerawork and positioning of the characters in the seemingly-claustrophobic environment of the plane; all of which selling the tension and soft-horror vibes that the narrative called for. As mentioned previously, the surgical amount of precision that went into crafting the character interactions and legitimate foreshadowing was impressive; leading to a favorable amount of rewatchability.
In conclusion, "Red Eye" is a must-see for any fan of suspense-driven genres. As a film less than an hour and a half in length, it thankfully wastes no time on needless fluff or loose ends; instead presenting it's audience with a gripping narrative that rewards every ounce of investment given.
Flightplan (2005)
A proper adaptation
"Flightplan" is a suspense-driven thriller that adapts the plot of the 1953 film "Dangerous Crossing", with its primary deviation altering the setting from an ocean vessel to a semi-futuristic aircraft. It follows the plight of a recently-widowed plane engineer as she attempts to uncover the whereabouts of her young daughter upon being separated shortly after their flight departs. As skepticism from the passengers and crew begins to grow concerning whether or not the daughter exists - due to mounting facts that would suggest otherwise - the film does a solid job at presenting the viewer with the same question. Ultimately, this builds into a satisfying climax that is best experienced firsthand without any further spoilers.
Concerning the characters, Kyle Pratt (Jodie Foster) is the main focus throughout the story since her psychological dilemma is at the core of the film's narrative. Though a bit abrasive at moments, her mannerisms and acting worked overall in highlighting the desperation and dread a parent in her shoes would be dealing with. Additionally, her logical decision-making enhanced the maneuverability of her role, as it forced the story to progress through the lens of a smart individual who would eventually struggle to believe in their own convictions. As for the other notable passengers and members of the crew, each follow a similar pattern that the film is careful to establish early on: that they can and can't be trusted. This much is expected and necessary to perpetuate an element of tension, since one could view each of them from two separate vantage points and both would be equally plausible until the latter portion of the film begins to hint at the truth. Compound this with numerous Red Herrings and an articulate use of set-up and pay off, and the stage is set for a palpable mystery.
Concerning further positive aesthetics, the use of camerawork was on point from start to finish. Through the utility of close shots mixed with tunnel-like vantage points, the atmosphere of the plane was allowed to evolve as Kyle's slow spiral into despair increased. The music was also serviceable in this regard, alongside the creative use of visual scene transitions and an overall pacing that was breathable.
Altogether, the film does an excellent job in reworking an older story into an updated environment. Aside from a somewhat rushed and confusing intro, the movie as a whole offers up a compelling experience that captures its audience and doesn't let go.
The Super Mario Bros. Movie (2023)
A Firm Foundation
"The Super Mario Bros. Movie" is an outstanding film that the entire family is bound to enjoy. From the on-point representation of Nintendo's flagship characters to the spectacular animation style and incredible soundtrack, both fans of the franchise and newcomers alike will be captivated and left wanting more. Though a few nitpicks can be made here and there, such as the instances of slow motion that are spread throughout the runtime, most can be rendered negligible when compared to the sheer amount of positive entertainment that the movie puts forth.
Concerning the plot, the narrative as a whole is simple and concise, with the film only running for about an hour and a half. It can best be summarized as a hero's journey for the titular plumber Mario as he finds himself swept into a magical land and separated from his brother, Luigi, in the process. After joining Princess Peach on a mission to protect her kingdom from the clutches of the tyrant, Bowser, Mario's own quest to rescue and reunite with his brother sees his resolve and fortitude tested time and again. Though the movie doesn't hold back on slapstick situations that constantly put him on the back foot, his determination to always get back up no matter the odds carries him all the way into the finale; where it ultimately falls to him to save the Mushroom Kingdom.
One factor that helps this basic plot to unfold well and feel like a grand adventure is the respect taken to ensure elements are properly set up. For example, the strong bond between the brothers is reinforced several times early in the film both before and during their separation to drive home the point that Mario will never give up on Luigi, no matter how many insults and bruises he has to endure. Another point is that the narrative never drags with needless, indulgent filler for the sake of dropping Easter Eggs not pertinent to the plot. In fact, the multitude of novel references placed into the film are positioned as such to seamlessly accommodate the world building and environment; thereby succeeding in appealing to fans while also expanding upon the experience.
As for the key characters, most were represented exceedingly well. As mentioned previously, Mario's commitment and loyalty to his younger brother is out at the forefront of his motivations. This, combined with his tenacity to always go another round create a sympathetic main character that everyone wants to cheer for: making his triumphs all the more enjoyable. Likewise, Luigi's depiction as a timid follower struggling to find his courage lended itself well to the scenario's he found himself in; setting up an inner conflict that was rewarding to watch unfold. As for Princess Peach, there is a bit more nuance in fully understanding her role. At first glance, her actions early in the film seem to paint her as an overconfident warrior-princess who can be the best at everything she puts her mind to just because the plot needs her to be; though that cursory form of analyses doesn't hold up for long. Her mildly bitter first encounter with Mario is laced with enough touches of sympathy to allow for a more genuine reflection of her true intentions, and her rigidity overall declines rapidly soon after as she maintains the role of a team player that is not immune to making mistakes. That is all to say, she never outshines Mario. Bowser, on the other hand, comes close to stealing the show due to his equal measures of goofy, romantic inclinations and hair-trigger rage; an iconic juxtaposition he is known well for within the series. Additionally, there is never a point where his feelings for Peach undercut the threat he poses when crossed. This leads to him ultimately being a villain that is both enjoyable and humorous, though also worthy of testing the protagonist's strength when the time comes to throw down the gauntlet. Lastly, Donkey Kong made for a decent addition overall, though Seth Rogan could have done more to bring his presence to the screen. Compared to the outstanding job Chris Pratt did for Mario, Jack Black did for Bowser, and Anya Taylor-Joy did for Peach, it left much to be desired.
The quality of the animation and soundtrack was phenomenal from start to finish, and it was evident how much time was taken to properly bring the unique facets of the Mario universe to the silver screen. As an additional point of praise, Illumination withheld placing any of it's oft-seen Minion's humor into the film. Though comedy is mostly subjective, and many young audiences enjoy that form of levity, it would have been completely out of place and the film would have likely suffered for it. Instead, the humor feels more in line with how it is handled in the Mario spin-off games, which made the overall presentation feel more authentic.
In summary, the movie best succeeds in it's appeal to all applicable audiences. Adults who grew up with the earliest Mario titles will savor and appreciate the nostalgic elements that were carefully woven into the film, while children and other audience members not familiar with the Mario Bros. Franchise will still enjoy the experience for what it is.
Adventures in Babysitting (1987)
A Series of Unfortunate Events
"Adventures in Babysitting" is an awkwardly amusing movie centering around the many mishaps and pitfalls that occur when a single session of the movie's namesake spirals out of control. Though simple in principle, this narrative is ultimately the film's greatest make-or-break point, as it can be challenging to rectify at times what couldn't be described as anything less than a series of exceedingly unfortunate and coincidental events. As a feel-good flick that doesn't take itself seriously in this slightest, it still has an inherent degree of charm, however; especially for those who have a taste for the 80's aesthetic. At the end of the day, if enough suspension of disbelief can be granted, it is a solid watch for a more mature audience.
Concerning the plot, much of what happens after the main character, Chris, accepts a babysitting job can be best summarized as one hurdle after another; each requiring a leap of logic to clear, albeit with differing degrees. After receiving a distress call from her friend Brenda, Chris is subsequently blackmailed by the subjects of her sitting, Brad and Sarah, into taking them with her as she sets off for the city with neighboring acquaintance Daryl also in tow. One flat tire later, and the narrative slowly begins to unwind as it sends the four skipping from one tense scenario into the next; from the revenge plans of their tow driver and a den of chop shop criminals to a blues joint and a confrontation between rival gangs on a train, the fast and loose storytelling is a masterwork in plausible mayhem. This, for better or worse, sets an awkward tone in general as character interactions are generally lighthearted on one hand while the imminant death from the crime boss and his goons looms ever-present on the other. Though the pacing and flow of the scenes helps to hold the viewer's attention away from considering the odds of each new pitfall that occurs, it is still difficult to validate the story on a surface level when it comes down to it. This, combined with several contrivances that bail the group out of various predicaments make for a peculiar experience that feels both frustrating on a logical level and oddly relatable in terms of real-world applicability. Aside from one instance of jarring, unnecessary language and a repetitive use of crass innuendo, the overarching tone is overall enjoyable.
As for the characters, Chris was easily the highlight of film, due largely in part to the degree of maturity presented through her role and the perseverance she continued to display at each turn of the proverbial rollercoaster. Brad's overall arch was decent, alongside his sister Sarah. Both of which acted their age and were refreshing to watch, especially compared to how youth is commonly depicted in recent years. Similarly, Brenda's sporadic appearances were worth waiting for, as her colorful-yet-grounded personality leaned into both the serious aspects of the film and it's underlying humor in turn. Daryl, on the other hand, was a big question mark from start to finish, especially in terms of relevance. That is to say that he never truly contributes toward moving the plot forward, and is instead the squeaky fourth wheel whose only purpose is to insert crude humor wherever he can. As this can easily undermine enjoyability of the movie depending on personal preference, it would have likely been best if his role had been minimized to a side character.
In conclusion, "Adventures in Babysitting" has the potential for being a decent-to-good watch depending on if enough tolerance can be mustered to oppose the chaotic narrative and moderate use of innuendo. At it's core, it is a simple story with reasonable stakes that asks for little investment in exchange for a high degree of suspension of disbelief. While it is not the greatest feel-good flick around the block, it is still serviceable for providing a reasonable level of entertainment.
Incredibles 2 (2018)
A Par Experience
"The Incredibles 2" is a decent sequel film that plays more of a side-kick roll to its predecessor when compared side by side. The overall presentation has difficulty landing, which can be attributed to a combination of muddled plot-lines, middling character development, and a scattered focus throughout the majority of the run time. While the narrative still succeeds in providing a reasonable level of entertainment, the film can best be described as a lukewarm experience when compared to the Parr family's first outing.
Concerning the plot, the story's focus feels like a game of "red-light, green-light" due in part to the awkward pacing between static scenes and moments of relevance. While it attempts to follow Helen Parr's campaign to bring back Super's after the family falls on hard times, it also tries to balance time with her husband Bob "Mr. Incredible" and their kids as they deal with awkwardly mundane, everyday issues. Unfortunately, this lack of cohesive focus in the overarching narrative makes the film feel more long and drawn out than it should be; dwelling on side-stories and rehashed character development that was covered reasonably in the first movie. Though the plot throws in a number of new faces, such as the mildly-eccentric Deavor's and a small group of outcast Super's, most are glossed over and exist solely for the sake of the scene they appear in. The big twist concerning the main antagonist is clever, albeit somewhat predictable, and offered a villainous master plan that was mixed parts ambitious and ludicrous; particularly the latter in how it was carried out. This led to a climax that felt forced and underwhelming, and was only salvageable by merit of the action sequences highlighting the entire family working together.
As for the characters, the original cast feels about the same as they were depicted in the first film, with a few caveats. Bob still does his best to protect his family, though he is also presented as being uncharacteristically conceited through the first half of film when Helen is chosen for the big P. R. project instead of him. Violet is also more abrasive in general, though it didn't help matters that she was given the same arc that she already overcame in the first film. While Helen received a little more polish overall thanks to her larger presence in the spotlight, there were moments where her ego felt a bit more grating than was necessary. Similarly, Jack-Jack's increase in screen time is only justified by the random shenanigans his powers create, which the film utilizes primarily for comedy and plot contrivance. Lastly, though antagonists Underminer and Screenslaver brought a balance of levity and tension, both seemed underutilized in the long run. For example, even though Screenslaver's backstory is the sole purpose in turning them into the main threat like with Syndrome, there are levels of nuance surrounding the details of the mentioned past events which cheapen the strength of the argument.
The most definitive point against the film, however, is its writing which often felt rushed and unfinished. While the first movie also had a number of events taking place simultaneously like this one, the overall focus was grounded and far easier to connect with. Cause and effect were key. In this movie, the family needs the P. R. gig because they can't afford to move again, which only works because Helen is coincidentally chosen for it. This is already flawed from the first film, since the family was well-off financially thanks to Bob's new "job". Additionally, though it made logical sense for Bob to be disqualified from the P. R. project, no reason was given for why Frozone wasn't selected. Finally, and most egregiously, is the family not knowing Jack-Jack had powers despite being able to clearly see them at the end of the first film. Since several key plot points have to occur from the family not knowing about them, this makes the story fall apart if the events that should have taken place are accounted for.
Altogether, despite the aforementioned negatives, "The Incredibles 2" isn't a bad movie. A good amount of the humor lands, most of the action sequences are enjoyable, and the story is fairly engaging if no critical lens is applied and is taken with a grain of salt. At the end of the day, however, the film ultimately had the potential for greater praise if only some more care had been given to its overall construction.
The Incredibles (2004)
Nothing short of Incredible
"The Incredibles" is a clever play on the classic Super-Hero story that excels in appealling to the entire family. While the colorful animations and action-packed sequences will capture the eye of younger viewers, the multilayered storytelling and down-to-earth portrayal of the characters will easily welcome a mature audience as well. In a film that could have simply leaned toward established tropes or a base interpretation of the Hero's Journey for it's content, Pixar instead crafted a memorable and unique spin on the genre that still impresses to this day.
Concerning the plot, the movie leans more toward a spy-thriller aesthetic than a traditional action-focused approach. The narrative follows Robert "Bob" Parr as the dynamic Mr. Incredible, a renowned "Super" forced to adapt to a more normalized life alongside his wife Helen and their kids after an act of heroism forced all "Super's" into giving up their roles by mandate of the government. Endeavoring to balance his yearning for the glory days with the genuine love he has for his family, Bob's impulses for justice eventually cost him his job and force him into leading a double life; ultimately landing him in the clutches of the vengeful mastermind, Syndrome, as the rest of his family sets out to find him. Aside from several contrivances in the final battle alongside a finale that wrapped up rather swiftly, the story's pacing is exceptional overall: especially for an animated feature totaling nearly two hours in length. There is also something to be said for the feeling of risk toward the main characters, as most enemy combatants target with the intent to kill; additionally making several of their on-screen deaths permissible.
By extension, another striking feature of the film in regards to it's story is the prioritization of set-up and pay-off. Many of the early scenes and events, such as the day of Bob and Helen's marriage and the "No Capes" discussion Bob has with an old acquaintance, attribute to two or more foundational aspects that carry over into later material. Overall, this strengthens the movie as a whole, while lending a satisfying air of revisit value that can be difficult to achieve with more shallow and predictable writing.
As for the characters, most of the key players are fleshed out to a surprisingly relatable degree which prevents them from falling into cookie-cutter stereotypes. For example, even though he is tempted, Bob is never too desperate to reclaim the mantel of "Mr. Incredible" that he would abandon his family. Likewise, though Helen adapts to a family life easier than her husband, she still has struggles in balancing her headstrong personality with the ability to listen to others. Though their older children, Violet and Dash, have significantly reduced arc's in the overall picture, they still overcome the hurdles set before them in a satisfying manner to earn their place in the film. Long-standing friends of the Parr's, Edna and Frozone, attributed much to the humor with their catchy dialogue. The mysterious Mirage plays an excellent femme fatale, and perhaps most iconically, there is Syndrome. Rather than touting a stereotypical world-domination approach toward his grand designs, he spearheads two juxtaposing goals that are equal parts understandable and sinister: fulfilling his childhood dream to become a Super Hero in his own eyes and dismantling the very ability of "Super's" by flattening the playing field via his high-end gadgets and tech. Concerning the latter of these two ambitions, much of his dialogue is on point and menacing, including his iconic quote, "And when everyone is super, no one will be." Though the film reveals enough of his past to promote some lingering traces of tragedy toward his motives, it also undercuts any sympathy that can be granted by showcasing the diabolical extent of his methods front and center; ultimately creating an intimidating archenemy and foil for Bob and his family.
In terms of aesthetics, some points must be awarded for the memorable soundtrack that is equal parts low-key espionage and bombastic jazz. Almost twenty years later, it is still easily recognizable and attributable to this film.
In conclusion, the combination of strong writing, clever humor, and smart implementation and balance of kid-friendly and mature topics make this movie an excellent experience for young and old. Though a degree of polish could have been applied to the latter half of the film in terms of avoiding contrivances, and a more fluid pacing at the climax would have ramped up the tension even further, most nitpicks and mild grievances are ultimately overshadowed by a presentation that is nothing short of incredible.
Moneyball (2011)
Foul Ball
"Moneyball" is a "based on" sports flick that endeavors to bring the Oakland A's 2002 season to the silver screen, via the perspective of its general manager Billy Beane. While the story manages to convey the injustice of high-budget teams owning the game by proxy of their wealth, the story's execution of Beane as a character compounded with a number of awkward thematic choices put the film several runs behind.
Concerning the plot, the narrative follows Billy around as he struggles to fight against a system that is perpetually rigged against him and the team he manages: one in which the "best" players go to the teams with the deepest pockets. After stumbling upon Peter Brand, a Baseball enthusiast who judges a player's worth solely upon their statistics, Beane concocts a plan to create a winning team made up of unwanted and undervalued players that have been overlooked for any number of reasons. Ultimately, Billy and Peter fail to bring the A's the victory they were hoping for, but the film closes with a reminder that the strategy they employed would later go on to revolutionize the game and bring a World Series championship to another team that later used it. While this works for the overall story the film is trying to convey, there were a few points of focus that failed to connect in terms of the bigger picture. For example, the movie uses up a considerable amount of screen time covering the A's iconic twentieth-in-a-row victory that established a new historical record. This victory is immediately undercut by Billy, however, who laments that it wouldn't matter how many games they won should they still lose the World Series. The film subsequently follows this up by showing the game that lost them the season for all but a few seconds. In essence, the writers glossed over the point in the journey that should have been the emotional climax for a game that the main character himself disregarded as being insignificant.
In terms of the characters, most are average and enjoyable. Peter maintains an optimistic perspective through much of the film, the misfit players who were given screen time were fun to watch more often than not, and Billy's daughter brought a positive atmosphere into the scenes she took part in. Unfortunately, the same cannot be said for Billy. His actor's portrayal depicts him as an insufferable, brooding idealist in the beginning of the film and he maintains this persona through to the end. Additionally, his penchant for throwing frequent tantrums, and subsequently the nearest object in the room, likened him more to petty child than a struggling and sympathetic adult. Lastly, the overall contempt and disregard he showed toward others that stood in the way of his vision was nothing short of grating. An example of this would be his actions around the A's downtrodden coach, Art, who's bid for a decent contract and vote of confidence are ignored and upon who's lap the controversial group of players are dropped with no warning; effectively setting him up to fail should the experiment fall through. Though the film tries to paint Beane as a sympathetic victim through his failures in the past to perform as a player, it disregards following up on the point that he still made the decision to become one regardless of the scouting error that gave him the choice. Had his presentation been toned down a few notches, this might have been less noticeable and more forgivable in the long run.
In conclusion, "Moneyball" is the middling result of a solid concept with poor execution. Sitting at over two hours in runtime with a number of scenarios that could have been reworked or integrated elsewhere, the pacing felt patted out rather than concise. Though it can doubtlessly still be watched as a "feel good" film to scratch that baseball itch, it remains a big swing and a miss from what it had the potential to be.
Bumblebee (2018)
A cut above the rest
Right out of the gate, "Bumblebee" sets the stage for an exciting action-driven experience by visiting the Transformers' home planet and displaying their civil war first-hand. Throughout the run time of the film, the strife between the two factions is ingrained into narrative, which is both a relief and a departure from the human-centric focus of the prior films. Though the plot stumbled at points and could have streamlined its focus by pruning unnecessary scenes in favor of developing some of its side characters, the film overall is a cohesive thrillride from start to finish.
Concerning the plot, the story focuses on the titular character of "Bumblebee" as he struggles to adjust to a life on Earth amidst carrying out a directive he himself has forgotten; all the while avoiding conflict with the looming threat of the military and the Decepticon forces. Joining him in this endeavor is Charlie, a budding mechanic with her own demons to conquer stemming from the loss of her father. For the most part, both of these characters play off of each other well, though not every scene in which they were together was necessary. For example, a filler scene in which they were conversing in a forest could have been trimmed and reincorporated into another scene and nothing would have been missed. Issues of that nature aside, the film does a good job at slowly building the conflict with the aforementioned antagonists through a natural progression of events. The tension between Charlie and her family is likewise fulfilled with a logical arch, eventually resolving itself with a surprising conclusion that felt unexpectedly wholesome.
In terms of the characters, "Bumblebee" is depicted as a clunky alien who must adapt to his surroundings in order to survive. This led to a number of scenes that were equal parts humorous and awkward, though built into the journey of him rediscovering his voice and his role in a conflict larger than himself. Charlie, on the other hand, adopted a more brooding and stiff persona that made it difficult to enjoy her role; though not to the detriment of being unable to sympathize with her conflicts. There was a genuine growth between her and her family in the latter portion of the film that created a good balance with what preceded it, all of which culminates in a satisfying conclusion for her role. The two primary Decepticon's that hunt Bumblebee were also quite compelling and dynamic with the only oversight in their development being that the movie strangely never identifies them by name. The greatest crime in characterization, however, comes from the acquaintance of Charlie that constantly followed her around and has an unexplained crush on her. This was frustratingly never fleshed out, as was the character himself, leaving his purpose in the story to be questionable at best. Even a simple line connecting him with the diving events of her past would have remedied this.
As far as the aesthetics were concerned, the transformation sequences were immersive and found a logical footing within the choreography of the fight sequences. That is to say, that the shift between humanoid and vehicle forms in combat felt deliberate with each combatant utilizing them to gain a distinct advantage whenever they occurred. The tone throughout the film retained a serious edge despite the goofy antics Bumblebee displayed early on, which was a notable improvement over the crass-heavy overtones of the film trilogy preceding it. Additionally, the suspension of disbelief never felt off the charts aside from Charlie's plot-armor against explosions; something that should have been polished to be more believable.
In conclusion, what made this film a good watch was its deliberate shift in focus on the series' namesake over the trivial happenings of random humans. While these side stories still existed, they never overthrew the primary narrative of the conflict between the Autobot's and Decepticon's; serving more as background elements than ramblings for the sake of ramblings. Though more fine-tuning could have been applied here and there, the overall execution was solid.
Hours (2013)
Worth every second
An innovative take on the disaster genre, "Hours" is a heart-gripping story that follows the endeavors of a father attempting to keep his newly born daughter alive in the wake of Hurricane Katrina. Throughout its runtime, every second is noticeable as he succumbs gradually to a demise that is seemingly inescapable. Though desperate in nature, it is within his struggle that the film finds a wonderful balance between futility and hope.
The minimalistic approach kept the plot grounded in an environment that at times felt like post-apocalyptic horror; something the film capitalized on to enhance the survival elements once the abandoned hospital setting was properly introduced. Even though the plot wrapped up only forty-eight hours after the hurricane concluded, not a single minute was wasted with unnecessary filler. If anything, the story should have lasted several scenes longer. This would have added some polish to one of the film's few shortcomings and gone further to provide some extra context surrounding the conclusion.
In terms of characterization, an interesting arch is applied to the father as he must weigh the sudden loss of his wife against his will to keep their daughter alive. This continues to escalate as the situation spirals out of control and he is faced with the grim aftermath of the storm; forcing the scales toward reality as he must ultimately resolve to move forward. The mechanic of the draining battery was particularly clever in this light, as it subtly increased both the tension of the narrative and the measures that needed to be taken to ensure that enough power was maintained with each manual interaction. Some flashbacks were also provided to enhance the chemistry between the main character and his wife, but they felt regrettably unnecessary largely due to the awkward timing of their placement.
Concerning the supporting cast, it was a breath of fresh air to witness some characters that felt very human in their depiction of selflessness, namely the unnamed cook and nurse. In contrast, the film also utilized several looters to depict the flip side of reality, serving primarily as hurdles for the main character to confront and overcome.
In conclusion, what allowed "Hours" to shine was the unique perspective it applied to a historical event. While the story could have followed a large group of characters struggling to survive the catastrophe as it struck, it chose to lend the focus to an individual as he fought for the survival of someone other than himself. The slow pacing, sparse-yet-powerful music, and concise acting all contribute to a larger than life experience that sets in early and lasts until the final minute is up.
The Lost City (2022)
A Solid Adventure
"The Lost City" is an interesting take on the classic treasure hunting story, as it presents itself as more of a freewheeling jaunt than a suspense-driven tomb crawler. While some moments of expected peril still persist, the film as a whole goes out of its way to assume a more subdued approach that fits with the characters and narrative.
The plot overall is concise and imaginative, though the climactic moments could have been stronger had a more serious outlook been utilized: an example of this would be the direction that was taken for the main antagonist. While their repercussions are negligible and vague, a more fitting demise that could have stemmed from their blind arrogance and drive for notoriety would have been more memorable.
The humor throughout the film acts as a good counterweight for the somber tones introduced off and on in the main character's arch, and it lands decently overall. Minus a few gratuitous moments that could have been cut, most of the comedic output meshes well with the action and storyline.
One point of dissonance that unfortunately cropped up several times involved the poor build up and execution of moments dealing with the fate of a reoccurring side character. Twice, when two different supporting characters seemingly met their end, the story presented the scenes so abruptly that they felt jarring in contrast to what came before and after - A few wisecracks one moment and a visceral gunshot immediately after - While both of these scenes could have stood out positively and led to satisfying conclusions, they ultimately felt bizarly rushed.
In summery, "The Lost City" mostly achieves what it sets out to accomplish. It's a lighthearted adventure that stumbles at times, but holds its viewer's focus through clever plot, fun characters, and a heartwarming through-line of timeless love. While not the shiniest of cinematic gems, it remains a solid experience for anyone looking for a new adventure.
Stealth (2005)
Directionless
"Stealth" can best be described as an amalgamation of bizarre camera motions, directionless plot, and a cast of characters so underwritten that only the film's A. I. computer stands out by comparison. So much of this production had the potential to create an exciting action experience, yet almost every one of those aspects went ultimately unpolished and the presentation suffered in turn.
When a main character dies unexpectedly, only a hollow emptiness is felt due to their lackluster significance in the plot. When another, better-written character is implied to have perished, the scene still doesn't hit any emotional strings thanks to the poor timing of what otherwise might have been a tragic send off. Though there are some good moments of action and intrigue sprinkled in throughout the runtime, they are unfortunately limited in number.
Since much of the plot skips around at the drop of a hat, lacking a cohesive narrative that at times feels subtly contrived, the stakes are never truly felt. A example of which is the main adversary, whose motives are frustratingly kept in the dark throughout the entire story. By never explaining the endgame of their objectives, it subsequently leads to their role getting drastically undercut by the other antagonistic forces gradually shoehorned in one after the other.
Perhaps the most jarring part of the film is at the point where a climax should occur, but doesn't. The scene drops in out of nowhere, the sacrifice made breaks logic and reason, and the movie wraps up mere moments later.
In summery, while the film is decent overall and fairly entertaining, it is sadly forgettable when placed alongside far better works.
Atlantis: The Lost Empire (2001)
A Diamond in the Rough
Often overlooked in the long history of Disney's animations, "Atlantis" presents a meticulously-crafted interpretation of its namesake. Overall, its depiction of the fall of the ancient city and its subsequent rediscovery is engaging and well executed; unfolding at a swift pace that sets the plot in motion while avoiding excess drag and needless filler.
Many of the characters are colorful in their presentation and breathe life into the story through a combination of intelligent dialogue and fine tuned visual aesthetics. Moreover, the rich, hand-drawn art manages to capture their vibrant personalities alongside the wonder and mystique of the world settings around them: from the bustling streets of the early 1900's to the foreign atmosphere of the lost empire itself.
Though the film takes on a more serious undertone by presenting death and humanity's darker tendencies in a number of its action segments, it also respects and utilizes the traits of honor, sacrifice, and a genuine element of innocence to stave off an entirely nihilistic outlook. That is to say that while "Atlantis" is a poignant departure from the more kid-friendly and blindly optimistic films that dominate the genre, it contains enough wit-driven humor and slapstick antics to still appeal to younger audiences.
In summary, if you are looking to embark on an adventure that may have slipped under the radar, or are interested in taking a closer look at a renaissance animation, you may just discover a diamond in the rough.