Film Review: Mission: Impossible – Rogue Nation (2015)

Also known as: Mission: Impossible 5 (working title), MI5 (informal title)
Release Date: July 23rd, 2015 (Vienna premiere)
Directed by: Christopher McQuarrie
Written by: Christopher McQuarrie, Drew Pearce
Based on: Mission: Impossible by Bruce Geller
Music by: Joe Kraemer
Cast: Tom Cruise, Jeremy Renner, Simon Pegg, Ving Rhames, Alec Baldwin, Rebecca Ferguson, Sean Harris

TC Productions, Bad Robot Productions, Skydance Media, Paramount Pictures, 131 Minutes

Review:

“I can’t protect you, that’s why I need you to leave.” – Ethan Hunt, “That’s not your decision to make, Ethan! I am a field agent, I know the risks! More than that, I am your friend, no matter what I tell the polygraph every week! Now you called me because you needed my help! And you still do! So I am staying! And that is all we are gonna say about that!” – Benji Dunn

Man, I was a fool for quitting this series after the pretty terrible second film. Each movie since then has gotten better and better and frankly, I’m incredibly impressed by these stupendous movies! I shouldn’t have ignored the hype, I should’ve bought in and just enjoyed these on the big screen. Well, thankfully there are two more installments currently being filmed.

Getting into this particular chapter of the franchise, all my favorite surviving members of the series are back and it’s great seeing them pick up where the fourth film left off while also adding in Alec Baldwin and Rebecca Ferguson, who I absolutely fucking loved in this. I’m glad they chose to let her stick around for more films after this one, as she hit it out of the park and became the best female in this series almost immediately. Although, I was curious about Paula Patton’s absence and hope that her character appears at some point again, in the future.

This chapter also establishes a great villain and villain group that our heroes have to face. It’s sort of like Ethan Hunt having to face his own version of James Bond‘s SPECTRE but a lot less hammy and a bit more scary, as these film’s tend to veer more towards realism than the classic SPECTRE stories in the earliest Bond movies.

And while this might easily be brushed off as a rehash of that idea or other similar stories with villainous, secret terrorist groups like Hydra or Cobra, this group feels more plausible in the real world.

As is customary with these awesome flicks, the movie is full of incredible stunts and action sequences. While I think the previous film edges out this one in that regard, this is a slightly better movie, overall. That has a lot to do with the story but also in how this expands the mythos in a cool new way while building up from the franchise’s very strong foundation (excluding M:I-2 of course).

In the end, this was near-fucking-perfect for what it is. It gives me hope for the sixth film, which I still haven’t seen, as well as the two sequels yet to come. If the series maintains its quality beyond this chapter, it may become my favorite franchise of the modern era, post-2000.

Rating: 9.5/10
Pairs well with: the other Mission: Impossible films.

Film Review: BlacKkKlansman (2018)

Also known as: Black Klansman (working title)
Release Date: May 14th, 2018 (Cannes)
Directed by: Spike Lee
Written by: Spike Lee, David Rabinowitz, Charlie Wachtel, Kevin Willmott
Based on: Black Klansman by Ron Stallworth
Music by: Terence Blanchard
Cast: John David Washington, Adam Driver, Laura Harrier, Topher Grace, Corey Hawkins, Robert John Burke, Nicholas Turturro, Alec Baldwin, Harry Belafonte

Blumhouse Productions, Monkeypaw Productions, 40 Acres and a Mule Filmworks, QC Entertainment, Legendary Entertainment, Focus Features, 135 Minutes

Review:

“Darn tootin'” – David Duke

For the most part, I enjoyed this movie. I have to get that out of the way because it’s probably going to sound like I’m overly critical of it, as I continue on in this review.

First and foremost, it was a solid, interesting story with actors that I thought handled the material well. In regards to Adam Driver, this was the first thing that I have seen him in where he wasn’t Kylo Ren or that stupid Logan Lucky movie that made me want to burn the theater down. I really got to see his legit acting chops on full display and I was impressed. He lived up to what other people have told me about him. Well, mostly girls that wanted me to watch Girls. No thanks.

One major thing about this film is that it is based on a true story, the biographical account of these events by the real Ron Stallworth, the main character in the film. The problem, which happens with many Spike Lee movies, is that the director takes some tremendous liberties and sort of uses the real story as a basis to weave his films the way he sees fit, whether honest, accurate or not.

One major moment in this film is the big jab at the end where Stallworth calls David Duke to reveal that he was a black man the entire time. This never happened and Duke wasn’t ever privy to Stallworth being black until it was revealed to him in an interview in 2006.

Another issue I have with the film is that it works perfectly as its own tale but once you get to the end, it immediately switches to real world footage of the 2017 Charlottesville incident. I understand the parallels, everyone does, this film does a great job of painting the picture that Spike Lee needs to get his message across but the switch to modern real world footage is jarring. I know that it is supposed to be jarring but it isn’t jarring because of the incident itself, which is still very fresh in the public’s mind, but because it cheapens the film from an artistic standpoint. It’s heavy handed and forcibly shoehorned into the film in a way that cheapens the effect of Spike’s own picture, basically saying, “Hey, if you don’t get the message after this 135 minute beautiful film I did, than here’s a hammer to the face just to make sure you got it.” Spike Lee is talented enough to make films that speak for themselves and can lead his audience where he needs to without the hammer to the face. And this also looks like he has a lack of confidence in his own storytelling abilities; he shouldn’t. This worked without the exclamation point.

Additionally, this movie was released almost on the one year anniversary of the incident, which means it was already being made and Lee decided to tie it into Charlottesville after the fact or that it was made as a response to it and rushed out, which gets into some of the technical problems the film had.

Most of the film flowed well but there are some key points where I noticed clunky editing and transitions as well as bad audio management. Sometimes it felt as if something got cut from the film, it jumped to the scene after and the transitions were already done so they didn’t really bother to smooth out and polish the later cuts from the film.

Another thing that bothered me was Lee’s apparent lack of environmental awareness. I’ll give two examples.

One, when Stallworth is following the Klansman on a dark country road at night, the Klansman is able to see that a black man is behind him. I’ve driven on dark country roads. You can’t see the face of the person behind you, all you can see is their headlights. It wouldn’t be such a big deal if it weren’t made into a somewhat important plot point that had an effect on three different scenes.

Two, when Stallworth is watching the Klan meeting towards the end of the movie, he’s watching from a second story window overlooking the meeting room. He is in direct view of David Duke, who is on the stage giving a speech. Every time they show the back wall with the windows you can see the silhouette of Stallworth’s head with it’s large afro. There’s no way that Duke wouldn’t see this while pontificating out to the crowd and while probably paying attention to his surroundings, as he has had threats and is under police protection.

I’m not sure if Spike Lee just doesn’t care about these details, as just telling the story is most important, or if he just didn’t think these scenes through. Again, maybe the film was rushed to try and get it out on the anniversary of Charlottesville.

Another thing that I disliked and it isn’t just in this film, it’s in a lot of films, is that it portrays the vast majority of KKK members (and general bigots) as buffoons. I’m certainly not defending those scumbags but I think in doing that, it dumbs them down in a situation where you need to show how much of a threat they actually are to all people and society as a whole. Are many of them dumb rednecks? Most likely, but playing some of them up for comedic value just makes them bumbling idiots and doesn’t really display them as beacons of pure evil. Granted, I thought Topher Grace did a good job in the role of David Duke and the local president of the KKK also played the role straight but they were the only two.

However, why the hell did Spike Lee cast Nicholas Turturro as a KKK member? Turturro is Italian as fuck and I am also part Italian and I’m pretty sure the Klan didn’t like us either. I guess Spike always needs a Turturro in a movie but this wasn’t the right spot for him and he stuck out like a sore thumb talking and jiving like a Little Italy gelato shop owner.

But enough griping.

I really enjoyed John David Washington as the star of this film. He hasn’t done much but he proved that he is an actor more deserving of bigger roles. Also, Laura Harrier was fantastic and the only other thing I’ve seen her in is Spider-Man: Homecoming. This role was a big jump for her but she knocked it out of the park and hopefully, gets more prominent roles after this film. I also might be crushing hard on her after this.

Back to Adam Driver, he was the focal point of the most challenging scenes in the film and he really steals the picture when he’s present. A lot of the material had to have been difficult but he nails it and carries the bulk of the film on his back.

Spike Lee crafted a pretty good movie, the running time was a bit long but he tends to do that. Initially, it wasn’t as preachy as I thought it would be. Well, at least until the blunt instrument to the face in the last few minutes, but the film made its point very well without him needing to spell it out in all caps like an angry twelve year-old girl tweeting about a breakup.

But, in the end, this was refreshing in a summer full of blockbuster duds.

Rating: 7.25/10
Pairs well with: Other Spike Lee movies: Do the Right ThingMalcolm X and Bamboozled.

Film Review: The Shadow (1994)

Release Date: July 1st, 1994
Directed by: Russell Mulcahy
Written by: David Koepp
Based on: The Shadow by Walter B. Gibson
Music by: Jerry Goldsmith
Cast: Alec Baldwin, Penelope Ann Miller, John Lone, Peter Boyle, Ian McKellen, Jonathan Winters, Tim Curry, James Hong, Al Leong, Joseph Maher, Frank Welker (voice)

Bregman/Baer Productions, Universal Pictures, 108 Minutes

Review:

“I’ll be there… around every corner… in every empty room… as inevitable as your guilty conscience…” – The Shadow

The Shadow wasn’t shy about what it was trying to be. It was Universal’s answer to Warner Bros. massive success with Batman and Disney’s pretty popular Dick Tracy. It is almost like a blend of the two and I guess The Shadow was the right property to adapt at the time, if you wanted to marry both of those other franchises into one thing. Granted, it also throws in some Asian mysticism but ninjas and Oriental magic were pretty popular back then too.

I wouldn’t call the finished product a big success though. This film pretty much bombed, critics didn’t like it and it felt like it was trying too hard to be those other things that it wasn’t. It’s sad because The Shadow could have actually been a really great movie. It has so many things working for it that you almost have to try to make it not work.

Granted, this film is far from terrible and I like it quite a bit more than I dislike it. It’s just that those bad elements really held this motion picture back.

For starters, Alec Baldwin was boring as hell as the Shadow. He was dry, tried to come off as overly manly and sexy and it just felt silly. His Bela Lugosi illuminated eye trick when he was using his psychic shtick just didn’t work and I’m a huge fan of that method when used correctly. But maybe that only worked well in old black and white Universal Monsters pictures. His weird facial prosthetics also didn’t work for me and just made him look strange.

I also didn’t like John Lone as the villain, who is essentially a resurrected Genghis Khan. At least I think he was, his explanation was kind of weird and confusing. He kind of sounded like Tommy Wiseau with a little Asian flourish to his accent.

I did like the rest of the cast. Penelope Ann Miller was alluring as hell, Ian McKellen was delightful and Tim Curry stole the show, as he always does.

I also liked the score by Jerry Goldsmith. It was made to sound a lot like Danny Elfman’s scores for Batman and Dick Tracy but it wasn’t a total ripoff, it had a very strong Goldsmith vibe to it.

The look of the film was nice but it really was just an amalgamation of Tim Burton’s Gotham City and The City from Dick Tracy. It was actually New York and had the iconic landmarks but the night shots used sweeping cameras weaving around building’s ala Burton’s Batman and featured gargoyles with waterfalls coming out of their mouths and other things that didn’t seem very 1930s New York.

The film did its best to be exciting but it just wasn’t. It was as bland as Baldwin’s performance and to be honest, unlike similar films of the era, I never had the urge to go back and watch this until now. I have seen Batman and Dick Tracy and even The Rocketeer a few dozen times.

Although watching it now, I really liked the sequence during the final showdown in the hall of mirrors. It was a bit hokey but it still looked beautiful and was the best visual moment in the picture.

The Shadow isn’t a complete waste of a film. It’s less than two hours and is a decent time killer, especially if you’ve never seen it and are a fan of similar pictures and 1930s style.

Rating: 6.25/10
Pairs well with: The two films it borrows heavily from: 1989’s Batman and 1990’s Dick Tracy.