Thursday, July 19, 2018
Monday, July 16, 2018
Skyscraper Movie Review
SKYSCRAPER IS A SERVICEABLE ACTION VEHICLE FOR A CHARMING DWAYNE JOHNSON, BUT EVEN HE CAN’T SAVE IT FROM REPETITIVE SET PIECES AND A STALE STORY.
Skyscraper is the fifth directorial effort from Rawson Marshall Thurber, who kicked off his career behind the camera with the Owen Wilson and Ben Stiller sports comedy DodgeBall: An Underdog Story. Starring Dwayne Johnson, Skyscraper marks the second occasion the actor and director have worked together, with the first being 2016's Central Intelligence. That film paired Johnson up with comedian Kevin Hart, before the duo went on to star in Jumanji: Welcome to the Jungle together. Now, the ever-busy Johnson re-teams with the Central Intelligence filmmaker on a solo actioner that was written and directed by Thurber. Skyscraper is a serviceable action vehicle for a charming Dwayne Johnson, but even he can’t save it from repetitive set pieces and a stale story.
Johnson stars in Skyscraper as Will Sawyer, a former FBI Hostage Rescue Team Leader and army veteran. Ten years prior to the main events of the film, Will leads his team on a rescue mission, but it goes sideways and he's severely hurt. The resulting injury leads to Will having one leg amputated, and he meets his future wife, Sarah (Neve Campbell), while in the hospital. In the current day, Will, Sarah and their children - Georgia (McKenna Roberts) and Henry (Noah Cottrell) - are visiting the tallest skyscraper in the world, The Pearl in Hong Kong, as Will conducts a safety assessment for the building's visionary, Zhao Min Zhi (Chin Han). Will was recommended for the job by his close friend and former FBI Hostage Rescue teammate (Pablo Schreiber), who also bears scars from the mission gone wrong.
However, while conducting a part of his security assessment of The Pearl that takes place offsite, something goes wrong in the skyscraper itself and Will returns to find it ablaze. Although the building has security measures in place to keep the fire contained, there's an issue that causes the fire to spread, and Will's family is just a few floors above the danger when it begins. To make matters more difficult, Will is being framed for the fire blazing in The Pearl and he must dodge the Hong Kong police if he wants to get to his family and get them to safety. As a result, Will must contend with a number of obstacles if he's going to get into The Pearl, find his family above the fire line, and save them from the burning building - and it's unclear if he'll be able to do it.
The concept of Skyscraper is interesting enough, setting this action thriller in the tallest building in the world - one that has everything its residents could possibly need from a park and health center to a movie theater and shopping mall. And, throwing a wrench in what's essentially meant to be a modern wonder of technology is a compelling enough premise to explore in a film. However, Skyscraper never really capitalizes on the premise of something wrong in a building that's meant to exist as its own society removed from the rest of the world. The security assessment Will conducts for Zhao Min Zhi is for the insurance company, and the building must be insured before anyone can move into the residential section of The Pearl. So, Will and his family are the first to actually live in The Pearl, but that also means they're the only ones in danger when The Pearl catches fire. The resulting movie puts a focus on Will and his family, but Skyscraper sacrifices a great deal of potential (in terms of exploring its concept) for a routine action premise.
Further, the story of Will and his family largely feels like the loose connective thread tying Skyscraper's action sequences together. Unfortunately, the action set pieces aren't particularly innovative. Certainly, Skyscraper plays with the tension of Will attempting death-defying feats thousands of feet in the air, and it works in certain scenes, as audiences hold their breath to see if he'll be able to survive. However, that tension wears thin as the movie goes on, so that the threat of Will falling to his death becomes dimmer and dimmer as he manages to save himself just in the nick of time, again and again. Undoubtedly, Skyscraper needed to strike a balance of set pieces that focused on the threat of the building's height and the fire blazing inside, and the movie's final fight sequence does feature something different. However, because the last big action set piece doesn't capitalize on the building's height at all, it's like even the movie gets tired of hanging Will and his family high above the ground or above the fire to make a scene thrilling. The balance and organization of action set pieces in Skyscraper leaves something to be desired, especially when looking at how much potential there was in the concept of The Pearl being its own, separate society.
But, though Skyscraper seemingly chooses to focus on its hero and his family to the detriment of exploring The Pearl as a fully realized setting, Will's arc is ultimately thin as well. It's a story premise we've seen in action films for decades: the hero's family is put in danger and he'll do whatever he can to save them. Like The Pearl, there's plenty of potential for Skyscraper to mine for true drama, like Will being an amputee and his aversion to guns after the hostage rescue situation gone wrong. However, after being established, Will's prosthetic leg is only ever revisited when it can make for a more thrilling action scene, or in the case of Will's aversion to guns, it's vaguely alluded to briefly in certain moments, but not enough to have any kind of impact. Instead, Skyscraper focuses on the tried-and-true theme of the genre, a hero going to extreme lengths to save his family - though their characters aren't particularly well developed, so this arc doesn't have the weight it deserves, either.
Like many other Dwayne Johnson vehicles, Skyscraper does successfully showcase the star's charm as he brings some levity to the film. The balance of when these moments arrive and the jokes Will cracks doesn't quite work, though, causing the scenes to come off like cheap imitations of classic one-liners from other, similar action movies (specifically, Die Hard). Still, Johnson has enough charm and charisma to make them work as well as he can. His performance is enjoyable enough as he shifts from earnest family man to wise-cracking action hero, even if the story and the script don't offer much in the way of a compelling arc. It's a fairly typical role for Johnson, and he offers a solid performance that is neither out-of-the-box nor revolutionary.
Skyscraper had the potential to be a fresh and fun summer blockbuster, with Johnson bringing his charm to help set it apart from similar action/thrillers, but the movie ultimately falls short. The action set pieces never truly capitalize on the potential of Skyscraper's unique setting, and instead become repetitive as the film goes on. Further, since the emotional core of the movie is underdeveloped, there's very little weight to the action, which highlights the mindlessness of those set pieces. As a result, Skyscraper might be fun summer popcorn fare for Johnson's die-hard fans (no pun intended), but it doesn't offer much beyond that.
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Skyscraper is the fifth directorial effort from Rawson Marshall Thurber, who kicked off his career behind the camera with the Owen Wilson and Ben Stiller sports comedy DodgeBall: An Underdog Story. Starring Dwayne Johnson, Skyscraper marks the second occasion the actor and director have worked together, with the first being 2016's Central Intelligence. That film paired Johnson up with comedian Kevin Hart, before the duo went on to star in Jumanji: Welcome to the Jungle together. Now, the ever-busy Johnson re-teams with the Central Intelligence filmmaker on a solo actioner that was written and directed by Thurber. Skyscraper is a serviceable action vehicle for a charming Dwayne Johnson, but even he can’t save it from repetitive set pieces and a stale story.
Johnson stars in Skyscraper as Will Sawyer, a former FBI Hostage Rescue Team Leader and army veteran. Ten years prior to the main events of the film, Will leads his team on a rescue mission, but it goes sideways and he's severely hurt. The resulting injury leads to Will having one leg amputated, and he meets his future wife, Sarah (Neve Campbell), while in the hospital. In the current day, Will, Sarah and their children - Georgia (McKenna Roberts) and Henry (Noah Cottrell) - are visiting the tallest skyscraper in the world, The Pearl in Hong Kong, as Will conducts a safety assessment for the building's visionary, Zhao Min Zhi (Chin Han). Will was recommended for the job by his close friend and former FBI Hostage Rescue teammate (Pablo Schreiber), who also bears scars from the mission gone wrong.
However, while conducting a part of his security assessment of The Pearl that takes place offsite, something goes wrong in the skyscraper itself and Will returns to find it ablaze. Although the building has security measures in place to keep the fire contained, there's an issue that causes the fire to spread, and Will's family is just a few floors above the danger when it begins. To make matters more difficult, Will is being framed for the fire blazing in The Pearl and he must dodge the Hong Kong police if he wants to get to his family and get them to safety. As a result, Will must contend with a number of obstacles if he's going to get into The Pearl, find his family above the fire line, and save them from the burning building - and it's unclear if he'll be able to do it.
The concept of Skyscraper is interesting enough, setting this action thriller in the tallest building in the world - one that has everything its residents could possibly need from a park and health center to a movie theater and shopping mall. And, throwing a wrench in what's essentially meant to be a modern wonder of technology is a compelling enough premise to explore in a film. However, Skyscraper never really capitalizes on the premise of something wrong in a building that's meant to exist as its own society removed from the rest of the world. The security assessment Will conducts for Zhao Min Zhi is for the insurance company, and the building must be insured before anyone can move into the residential section of The Pearl. So, Will and his family are the first to actually live in The Pearl, but that also means they're the only ones in danger when The Pearl catches fire. The resulting movie puts a focus on Will and his family, but Skyscraper sacrifices a great deal of potential (in terms of exploring its concept) for a routine action premise.
Further, the story of Will and his family largely feels like the loose connective thread tying Skyscraper's action sequences together. Unfortunately, the action set pieces aren't particularly innovative. Certainly, Skyscraper plays with the tension of Will attempting death-defying feats thousands of feet in the air, and it works in certain scenes, as audiences hold their breath to see if he'll be able to survive. However, that tension wears thin as the movie goes on, so that the threat of Will falling to his death becomes dimmer and dimmer as he manages to save himself just in the nick of time, again and again. Undoubtedly, Skyscraper needed to strike a balance of set pieces that focused on the threat of the building's height and the fire blazing inside, and the movie's final fight sequence does feature something different. However, because the last big action set piece doesn't capitalize on the building's height at all, it's like even the movie gets tired of hanging Will and his family high above the ground or above the fire to make a scene thrilling. The balance and organization of action set pieces in Skyscraper leaves something to be desired, especially when looking at how much potential there was in the concept of The Pearl being its own, separate society.
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Watch Free Online : http://bit.ly/2KMrp82
Like many other Dwayne Johnson vehicles, Skyscraper does successfully showcase the star's charm as he brings some levity to the film. The balance of when these moments arrive and the jokes Will cracks doesn't quite work, though, causing the scenes to come off like cheap imitations of classic one-liners from other, similar action movies (specifically, Die Hard). Still, Johnson has enough charm and charisma to make them work as well as he can. His performance is enjoyable enough as he shifts from earnest family man to wise-cracking action hero, even if the story and the script don't offer much in the way of a compelling arc. It's a fairly typical role for Johnson, and he offers a solid performance that is neither out-of-the-box nor revolutionary.
Skyscraper had the potential to be a fresh and fun summer blockbuster, with Johnson bringing his charm to help set it apart from similar action/thrillers, but the movie ultimately falls short. The action set pieces never truly capitalize on the potential of Skyscraper's unique setting, and instead become repetitive as the film goes on. Further, since the emotional core of the movie is underdeveloped, there's very little weight to the action, which highlights the mindlessness of those set pieces. As a result, Skyscraper might be fun summer popcorn fare for Johnson's die-hard fans (no pun intended), but it doesn't offer much beyond that.
Sunday, July 8, 2018
Sorry To Bother You Movie Review
BOOTS RILEY'S SORRY TO BOTHER YOU AMBITIOUSLY PUSHES THE ENVELOPE OF THE SCI-FI AND COMEDY GENRES FOR A WHOLLY UNIQUE, REFRESHING AND HILARIOUS FILM.
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Sorry to Bother You is set in an alternate present-day Oakland, California, and follows Cassius "Cash" Green (Lakeith Stanfield). Cash is living in his uncle Sergio's (Terry Crews) garage and gets a job as a telemarketer to make rent - and help his family pay for their home. However, Cash struggles to get people to listen to him over the phone and is unable to make any sales. An older telemarketer named Langston (Danny Glover) tells Cash that he needs to start using his "white voice" in order to make sales. Cash discovers he excels at using his white voice to land sales and he aims to become one of the company's "power callers" alongside Mr. Blank (Omari Hardwick).
Meanwhile, Cash's coworker Squeeze (Steven Yeun) starts organizing efforts within the telemarketing office to unionize, recruiting Cash and Cash's friend Salvador (Jermaine Fowler). Cash's girlfriend Detroit (Tessa Thompson) also joins their movement when she gets a job at the company. However, when Cash starts making strides thanks to his white voice, his ambitions are revealed to be at odds with the unionization efforts of his friends. All the while, Cash and his friends' lives are set against the backdrop of an economy bolstered by WorryFree, a company that offers housing and food for life in exchange for labor, run by Steve Lift (Armie Hammer). With different aspects of his life in conflict with each other, Cash must decide where his priorities lay and what he'll do about them.
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Sorry to Bother You is equal parts dystopian sci-fi and uproarious comedy, with a sharp message about the state of race, labor and capitalism in modern America. Riley pulls together these seemingly disparate threads for a movie that's smart, stylish and wholly enjoyable. In his directorial debut, Riley demonstrates a unique eye that brings a great deal of freshness to the film, ensuring the director has now established a name for himself in the realm of auteur filmmaking. And, along with cinematographer Doug Emmett, Sorry to Bother You features a richness of color that brings the world of Cash, especially the numerous background elements marking the film as a dystopian alternate-present, to life with a great deal of vibrancy, all while finding beauty in the everyday.The story of Sorry to Bother You is incredibly sharp, with Riley taking it in directions that are entirely surprising and, at times, surreal. Sorry to Bother You may not be the first film to deal with the conflict that arises when the American Dream of moving up in the world conflicts with a character's morals, but Riley's film does so with a sense of irreverence so complete that Sorry to Bother You stands wholly apart from any other film tackling the same themes. In fact, at certain points there's a ridiculousness to the directions in which the story progresses that's almost unbelievable, but Riley folds it into Sorry to Bother You in a way so that these developments still fit into the slightly off-kilter world he's created. The story of Sorry to Bother You is smart, but it's also an undeniably wild journey and viewers may simply want to strap in and enjoy the ride.
Of course, Sorry to Bother You also assembles an all-star cast of both established stars and buzzworthy up-and-comers. After supporting roles in Straight Outta Compton and Get Out, Stanfield steps easily into the leading role as Cash, helping viewers to empathize with the character and follow him on his wild ride through Riley's world. Thompson, Yeun, Glover and Fowler put in compelling enough supporting performances, helping to round out and deepen the world surrounding Cash. It's Hammer, though, who stands out the most after Stanfield, offering an especially fun turn as WorryFree CEO Steve Lift. Further, the "white voices" of the various characters - played by the likes of David Cross, Steve Buscemi, Patton Oswalt and Lily James - bring a great deal of humor to the movie. It's undoubtedly a surreal aspect of Sorry to Bother You, but between the actors' and voice actors' performances, they help to ground this bizarre element and make it not only believable, but hilarious.
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Sorry to Bother You is unlike anything else in Hollywood at the moment. Certainly, other filmmakers are producing sharp social satires, tackling race in modern America, and blending genres to push the envelope. Still, Sorry to Bother You stands apart as something so completely unique and forward thinking that it defies comparison to anything else. While that means Riley's vision won't necessarily appeal to every moviegoer, it does touch on universal themes - and, to be sure, it is hilarious. The summer release date suits Sorry to Bother You well since it's an irreverent comedy with a great deal of silliness to balance its more grounded themes. Plus, it's fantastic counter-programming to the mainstream action-heavy fare and family-friendly animated movies typical of the season.Ultimately, Sorry to Bother You lives up to the Sundance hype, providing a refreshingly wild ride through Riley's alternate-present as the filmmaker introduces Cash and the world around him. There is fun to be had in the silliness of Cash and the other characters' white voices, as well as the twist and turns in this sci-fi/comedy, while also contemplating the film's satirical message about labor and capitalism. Undoubtedly, Sorry to Bother You won't be for every viewer, but it is a film to keep an eye out for this summer.
Wednesday, July 4, 2018
Sicario: Day of the Soldado Movie Review
DAY OF THE SOLDADO IS A COMPETENT THRILLER BUT, WITHOUT THE ORIGINAL SICARIO'S ARTISTIC FLOURISHES AND SUBSTANCE, IT'S SOMEWHAT FORGETTABLE.
Sicario: Day of the Soldado is a quasi-sequel/spinoff to Sicario that's missing several key ingredients from director Denis Villeneuve's original crime/thriller. Emily Blunt did not reprise her role as FBI agent Kate Mercer for the followup, nor did Villeneuve, director of photography Roger Deakins, or the late composer Jóhann Jóhannsson contribute behind the camera on the film. Moreover, with Kate out of the picture, Day of the Soldado shifts its focus squarely onto U.S. government agent Matt Graver (Josh Brolin) and his deadly "asset", Alejandro Gillick (Benicio del Toro). Unfortunately, this approach results in a film that doesn't feel like a particularly necessary continuation of the Sicario franchise. Day of the Soldado is a competent thriller but, without the original Sicario's artistic flourishes and substance, it's somewhat forgettable.
Day of the Soldado's narrative is set in motion when the U.S. government discovers that the Mexican cartels are (seemingly) smuggling terrorists across the border. The CIA thus reaches out to Graver, who has an idea for a solution that will require him to get his hands truly "dirty". Namely, Graver wants to kidnap Isabela Reyes (Isabela Moner), the teenaged daughter of infamous cartel head Carlos Reyes, and blame it on another major cartel, in order to instigate a war between them. After being given the green-light, Graver reaches out to his old pal Alejandro, to help him carry out the mission.
At first, everything goes according to plan, leaving Isabela clueless about her kidnappers' true identity. However, nothing is that simple, and eventually the mission goes off the rails, separating Isabela and Alejandro from Graver and the rest of his team. This in turn forces Alejandro to make a choice: either carry out his new orders like a good "Soldado" or help Isabela - the daughter of the man who took everything from him.
Day of the Soldado, like the first Sicario, was written by Taylor Sheridan and blends pulpy crime genre tropes with neo-western elements and social commentary on the unending cycle of violence at the U.S./Mexico border. However, unlike the first Sicario, Day of the Soldado doesn't have a simple yet clear throughline guiding it, nor does it weave together its various story threads (including, a subplot about a teenaged boy who starts making a living by smuggling people across the border) in a seamless manner. The film is certainly more ambitious than the average thriller in its storytelling intentions, but it lacks precision when it comes to actually making a clear statement. As a result, its grueling violence and brutality doesn't pack much of an emotional punch, and comes off as being exploitative more than meaningful.
Similarly, the Sicario sequel/spinoff is a noticeable step down from the first movie in terms of craftsmanship. Director Stefano Sollimo (A.C.A.B., Suburra) does a solid job overall, yet none of the film's set pieces or action scenes are especially memorable in terms of their design. Dariusz Wolski's cinematography is similarly respectable, but is far less striking visually than Deakins' work on the first movie, and also lacks the sharp color palette that Wolski used to bring the U.S./Mexico border to life in Ridley Scott's The Counselor. Day of the Soldado further draws on its predecessor's iconography, though without the sense of atmosphere and deliberate pacing to lend them equal dramatic weight. It's still a perfectly decent-looking film on the whole - just one that fails to reach (much less clear) the bar set for this franchise.
Since they don't have to share screen time with Blunt, del Toro and Brolin get to explore new aspects of their respective characters in the Sicario followup, and their roles here are better fleshed out for it. Moner as Isabela gets some development as well, and the young character is typically authentic when it comes to her emotional behavior - though the bond she forms with Alejandro never fully rings true. Day of the Soldado's supporting cast also includes seasoned character actors like Catherine Keener, Shea Whigham, and Matthew Modine (along with Sicario actor Jeffrey Donavan), all of whom do their part to elevate the sequel. Problem is, they tend to be stuck playing paper-thin cliches that serve to keep the plot rolling along, but not much beyond that.
On a deeper level, the main problem with Day of the Soldado is that it already feels a bit outdated, even arriving just three years after the first Sicario. The film simply doesn't have much to add to its predecessor's sociopolitical observations - which some critics found to be questionable and dubious, even back in 2015. Day of the Soldado does steer clear of on the nose references to real-world developments and politics (with one exception), as it aims for something less specific and more universal with its political subtext. However, in a time when the world seems to be changing faster than usual, the Sicario sequel needed to be more forward-thinking, if it was going to add something relevant and challenging to the bigger discussion it's tapping into.
All in all, Siario: Day of the Soldado is a middle of the road offering that never really justifies turning Sicario into a franchise, from a storytelling perspective. The violent world of Sicario isn't any friendlier in the followup, yet its ability to shock has diminished in Day of the Soldado. Those moviegoers who really enjoyed Villeneuve's film should find enough to appreciate about Sollimo's sequel/spinoff, but for those who walked away from the first Sicario feeling like they had spent sufficient time in that universe, the second chapter isn't mandatory viewing. That said, there are tentative plans to make Sicario 3 and Day of the Soldado does leave the door open for that to happen. Here's to hoping the potential trilogy concluder has something fresher and more unexpected to bring to the table.
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Day of the Soldado's narrative is set in motion when the U.S. government discovers that the Mexican cartels are (seemingly) smuggling terrorists across the border. The CIA thus reaches out to Graver, who has an idea for a solution that will require him to get his hands truly "dirty". Namely, Graver wants to kidnap Isabela Reyes (Isabela Moner), the teenaged daughter of infamous cartel head Carlos Reyes, and blame it on another major cartel, in order to instigate a war between them. After being given the green-light, Graver reaches out to his old pal Alejandro, to help him carry out the mission.
At first, everything goes according to plan, leaving Isabela clueless about her kidnappers' true identity. However, nothing is that simple, and eventually the mission goes off the rails, separating Isabela and Alejandro from Graver and the rest of his team. This in turn forces Alejandro to make a choice: either carry out his new orders like a good "Soldado" or help Isabela - the daughter of the man who took everything from him.
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Similarly, the Sicario sequel/spinoff is a noticeable step down from the first movie in terms of craftsmanship. Director Stefano Sollimo (A.C.A.B., Suburra) does a solid job overall, yet none of the film's set pieces or action scenes are especially memorable in terms of their design. Dariusz Wolski's cinematography is similarly respectable, but is far less striking visually than Deakins' work on the first movie, and also lacks the sharp color palette that Wolski used to bring the U.S./Mexico border to life in Ridley Scott's The Counselor. Day of the Soldado further draws on its predecessor's iconography, though without the sense of atmosphere and deliberate pacing to lend them equal dramatic weight. It's still a perfectly decent-looking film on the whole - just one that fails to reach (much less clear) the bar set for this franchise.
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On a deeper level, the main problem with Day of the Soldado is that it already feels a bit outdated, even arriving just three years after the first Sicario. The film simply doesn't have much to add to its predecessor's sociopolitical observations - which some critics found to be questionable and dubious, even back in 2015. Day of the Soldado does steer clear of on the nose references to real-world developments and politics (with one exception), as it aims for something less specific and more universal with its political subtext. However, in a time when the world seems to be changing faster than usual, the Sicario sequel needed to be more forward-thinking, if it was going to add something relevant and challenging to the bigger discussion it's tapping into.
Watch Now FREE : http://bit.ly/2KMrp82
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Content Source : https://screenrant.com
Ant-Man & The Wasp Movie Review
ANT-MAN AND THE WASP IS A HILARIOUS RETURN TO THE SHRINKING HEROES, BUT WITH ELEVATED ACTION AND A HEARTFELT STORY, IT'S A WELL-ROUNDED MARVEL SEQUEL.
After languishing in development for quite some time - and seeing a director change from Edgar Wright to Peyton Reed - Marvel Studios' Ant-Man released in theaters in 2015, closing out Phase 2 of the Marvel Cinematic Universe. Since then, Paul Rudd has returned as Scott Lang aka. Ant-Man in 2016's Captain America: Civil War. But the character was conspicuously absent from this year's massive team-up event, Avengers: Infinity War. Now, fans find out why exactly Ant-Man sat out the Avengers' fight against Thanos - and it pertains to Scott still dealing with the aftermath of his actions in Civil War. Ant-Man and the Wasp is a hilarious return to the shrinking heroes, but with elevated action and a heartfelt story, it's a well-rounded Marvel sequel.
Ant-Man and the Wasp picks up in real time after the events of Captain America: Civil War, with Scott close to completing the two years of house arrest that were part of his deal to get out of prison after violating the Sokovia Accords by helping Steve Rogers. However, days before his house arrest is up, Scott reconnects with his former associates Hank Pym (Michael Douglas) and Hope van Dyne (Evangeline Lilly), both of whom are wanted by the FBI and have been on the run for the past two years. During that time, they've assembled a lab where they've been building a Quantum Tunnel in an attempt to rescue Hank's wife and Hope's mother, Janet van Dyne (Michelle Pfeiffer). Janet went missing in the Quantum Realm about 30 years prior, back when Hank believed it was impossible to return - before Scott proved it was possible in Ant-Man.
However, Hank and Hope's work is coveted not only by criminal Sonny Burch (Walton Goggins), but by the mysterious entity only known as Ghost (Hannah John-Kamen). As a result, Scott, Hank and Hope find themselves running from more than the FBI and they turn to an old associate of Hank's for help: Bill Foster (Laurence Fishburne). All the while, though, Scott tries not to sabotage the new life he's built for himself, starting a security business with his friends Luis (Michael Peña), Dave (Tip "T.I." Harris) and Kurt (David Dastmalchian) and continuing a better relationship with his daughter Cassie (Abby Ryder Forsten), ex-wife Maggie (Judy Greer) and her new fiancé Paxton (Bobby Cannavale). But, as all the forces who want to get their hands on Hank and Hope's lab come closer to doing so - putting their mission to rescue Janet more and more in danger - Scott must decide whether to protect his reformed life or suit up again as Ant-Man.
Reed and Rudd return for the continuing adventures of Scott Lang in Ant-Man and the Wasp, and both establish the character as a hero within the MCU who can truly lead his own franchise alongside Thor, Captain America, Iron Man, Spider-Man and Black Panther. Ant-Man is, of course, a different kind of hero, one with a sillier sense of humor. The script for Ant-Man and the Wasp - written by Rudd, Chris McKenna and Erik Sommers (Spider-Man: Homecoming), and Andrew Barrer and Gabriel Ferrari (who did uncredited work on the first Ant-Man) - aims to balance that silly humor with the more serious aspects of the movie, particularly the surprisingly jargon-filled scientific moments and the more grounded rescue of Janet. Reed additionally helps to bring that balance, incorporating sight gags at appropriate times, but letting the audience dwell in more dramatic moments when necessary. And Rudd, who's well known for his comedic chops, brings all the charm associated with one of his performances and shines as the film's co-lead.
But of course, Rudd is the co-headliner of Ant-Man and the Wasp, since the film fully introduces Lilly's Hope as a superhero with as much - if not greater - skill as Scott Lang. Marvel Studios creatives emphasized Wasp's status as the first female superhero to co-headline an MCU movie, and Ant-Man and the Wasp doesn't disappoint, with Hope getting (at least) an equal number of action scenes as Scott. The dynamic between the two also helps balance the film's comedy, with them on equal footing and Hope acting as the straight man to Scott's more comical antics. And, with the additional features on her suit - the wings and blasters - Wasp is able to provide more dynamic action than Ant-Man, which helps to elevate the sequel's set pieces above what viewers saw in Ant-Man. Plus, Hope is at the center of the emotional arc of the movie, since it's a rescue mission for her mother, and Lilly is able to carry off that dramatic storyline as well as the action portions of the sequel. Altogether, the film effectively establishes Wasp as another major superhero within the MCU, and the film is all the better for it.
Beyond Rudd and Lilly, Ant-Man and the Wasp is rounded out relatively well by the supporting cast and villains. While the film does suffer from some of the same recurring problems in MCU movies - particularly underdeveloped villains and hordes of minions for the heroes to fight with little emotional weight - Ant-Man and the Wasp does try something interesting when developing the character of Ghost. Ultimately, it pays off insofar as John-Kamen's villain is a somewhat well-developed character and has a different arc from many Marvel movie villains. Still, she unfortunately has to share the spotlight with Sonny Birch and the FBI as antagonists to Scott, Hope and Hank - though that's played to great comedic effect in one specific instance that makes it almost worth it. However, with so many villains in the movie and much of the focus going to Ghost, both Sonny Birch and Randall Park's FBI agent Jimmy Woo get the short end of the stick, offering little more than unmemorable forces to battle against the film's heroes or comedic relief.
With so much else going on, the film's supporting players don't get much more than a few shining moments in Ant-Man and the Wasp. Of Scott's friends and family, Peña and Forston especially stand out as Luis and Cassie, respectively. Luis has one particular scene that carries on the joke of the character's fast-talking, superfluous nature to great effect, elevating and expanding on the gag from the first Ant-Man. And Forston has a sweet dynamic with her on-screen dad that paves the way for Cassie Lang to become the superhero she's known to be in the Marvel comics. Ant-Man and the Wasp explores a number of father-daughter dynamics throughout the film, and the one between Scott and Cassie works as an emotional anchor for Scott's character - all while showcasing how he can move forward as both a good father and a superhero. Of course, as the supporting characters in a story about Scott and Hope, the rest are largely relegated to the sidelines.
All in all, Ant-Man and the Wasp represents Marvel Studios at its best. The movie balances exciting action, well-timed humor, and a heartfelt emotional storyline to great effect, letting the heroes shine in their own unique way while also tying the movie into the larger MCU. After the weighty and stuffed team-up that was Avengers: Infinity War, Ant-Man and the Wasp provides a return to form for Marvel. It operates as a reminder of how well the studio works on a smaller scale, even as fans may be more interested in Marvel's loftier goals of tying together a decade's worth of movies for a grand event. Certainly, no one outside Marvel knows where the franchise will go once Avengers 4 wraps up the first three phases of the MCU, but Ant-Man and the Wasp is another good indicator that the studio nails installments in its solo hero series and there's a great deal of potential for more superheroes to step into the spotlight come Phase 4. Whether that includes Scott Lang and Hope van Dyne (and, maybe, Cassie Lang) remains to be seen, but Ant-Man and the Wasp certainly makes a case for the future viability of this particular Marvel superhero sub-franchise.
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Ant-Man and the Wasp picks up in real time after the events of Captain America: Civil War, with Scott close to completing the two years of house arrest that were part of his deal to get out of prison after violating the Sokovia Accords by helping Steve Rogers. However, days before his house arrest is up, Scott reconnects with his former associates Hank Pym (Michael Douglas) and Hope van Dyne (Evangeline Lilly), both of whom are wanted by the FBI and have been on the run for the past two years. During that time, they've assembled a lab where they've been building a Quantum Tunnel in an attempt to rescue Hank's wife and Hope's mother, Janet van Dyne (Michelle Pfeiffer). Janet went missing in the Quantum Realm about 30 years prior, back when Hank believed it was impossible to return - before Scott proved it was possible in Ant-Man.
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Reed and Rudd return for the continuing adventures of Scott Lang in Ant-Man and the Wasp, and both establish the character as a hero within the MCU who can truly lead his own franchise alongside Thor, Captain America, Iron Man, Spider-Man and Black Panther. Ant-Man is, of course, a different kind of hero, one with a sillier sense of humor. The script for Ant-Man and the Wasp - written by Rudd, Chris McKenna and Erik Sommers (Spider-Man: Homecoming), and Andrew Barrer and Gabriel Ferrari (who did uncredited work on the first Ant-Man) - aims to balance that silly humor with the more serious aspects of the movie, particularly the surprisingly jargon-filled scientific moments and the more grounded rescue of Janet. Reed additionally helps to bring that balance, incorporating sight gags at appropriate times, but letting the audience dwell in more dramatic moments when necessary. And Rudd, who's well known for his comedic chops, brings all the charm associated with one of his performances and shines as the film's co-lead.
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Beyond Rudd and Lilly, Ant-Man and the Wasp is rounded out relatively well by the supporting cast and villains. While the film does suffer from some of the same recurring problems in MCU movies - particularly underdeveloped villains and hordes of minions for the heroes to fight with little emotional weight - Ant-Man and the Wasp does try something interesting when developing the character of Ghost. Ultimately, it pays off insofar as John-Kamen's villain is a somewhat well-developed character and has a different arc from many Marvel movie villains. Still, she unfortunately has to share the spotlight with Sonny Birch and the FBI as antagonists to Scott, Hope and Hank - though that's played to great comedic effect in one specific instance that makes it almost worth it. However, with so many villains in the movie and much of the focus going to Ghost, both Sonny Birch and Randall Park's FBI agent Jimmy Woo get the short end of the stick, offering little more than unmemorable forces to battle against the film's heroes or comedic relief.
With so much else going on, the film's supporting players don't get much more than a few shining moments in Ant-Man and the Wasp. Of Scott's friends and family, Peña and Forston especially stand out as Luis and Cassie, respectively. Luis has one particular scene that carries on the joke of the character's fast-talking, superfluous nature to great effect, elevating and expanding on the gag from the first Ant-Man. And Forston has a sweet dynamic with her on-screen dad that paves the way for Cassie Lang to become the superhero she's known to be in the Marvel comics. Ant-Man and the Wasp explores a number of father-daughter dynamics throughout the film, and the one between Scott and Cassie works as an emotional anchor for Scott's character - all while showcasing how he can move forward as both a good father and a superhero. Of course, as the supporting characters in a story about Scott and Hope, the rest are largely relegated to the sidelines.
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Uncle Drew Movie Review
UNCLE DREW ISN'T A GREAT SPORTS COMEDY, BUT IT'S HIGHLY ENTERTAINING THANKS TO NAILING THE RIGHT TONE AND THE CHEMISTRY OF ITS LEADS.\
Inspired by the Pepsi advertising campaign that saw NBA star Kyrie Irving portray the same character, Uncle Drew looks to take the concept of the television ads and expand it to a full-length feature. In the past, several basketball players have attempted to make the jump to Hollywood, but the results are decidedly mixed at best. Because of the genre's questionable track record, there were some doubts about whether or not Uncle Drew would be able to rise above similar titles and deliver something a little more satisfying. Fortunately, it does just that. Uncle Drew isn't a great sports comedy, but it's highly entertaining thanks to nailing the right tone and the chemistry of its leads.
Dax (Lil Rel Howery) is a down-on-his-luck street ball coach desperate to make a splash at the annual Rucker Park tournament and win the $100,000 purse that comes with it. His dream of securing financial stability takes a hit when his best player, Casper (Aaron Gordon), jumps ship to join Dax's rival, Mookie (Nick Kroll). Dax tries to recruit a new roster before the tournament begins, but is turned down by everyone he asks.
About to give up, Dax's fortunes change when he sees an older man teach a "young blood" some basketball lessons on the court. Discovering that this is street ball legend Uncle Drew (Irving), Dax convinces Drew to take one last shot at Rucker Park glory. The only condition is that Drew gets to use his former team, who dominated the blacktops for years before a falling out. Dax and Drew embark on a road trip to find Preacher (Chris Webber), Lights (Reggie Miller), Boots (Nate Robinson), and Big Fella (Shaquille O'Neal) and try to win the tournament.
Fortunately, Uncle Drew knows exactly what it is, and doesn't ask the audience to take things too seriously. Director Charles Stone III maintains the proper tone throughout its brisk running time, keeping the proceedings extremely fun. The humor of seeing a bunch of septuagenarians play on the court never really wears thin, and Stone smartly makes sure Uncle Drew's team isn't always portrayed as an unstoppable force (see: a sequence where they go against a team of teenage girls). As enjoyable as Uncle Drew is to watch, however, its script (written by Jay Longino) is hamstrung by a thin story that follows a somewhat predictable trajectory. Additionally, many conflicts introduced are resolved in a matter of minutes, making any dramatic moments come across as forced. This approach is appreciated to an extent (Uncle Drew never gets dragged down), though some plot points are merely filler.
Characterization is a mixed bag as well. None of the roles have much depth to them, which hurts in crafting the dynamic between Drew and his teammates. Drew's relationship with Big Fella is given the most development due to their shared history, but the other players mainly exist to provide laughs and round out the team. Early on, the screenplay is a bit at odds with itself, placing an emphasis on how great Drew was in his prime, which minimizes the unseen contributions of his supporting cast. As a result, certain sequences that are meant to have significant weight feel a bit flat, since so little time is dedicated to showing the tight bond the group had back in the day. To their credit, the actors do the best they can to making Drew's squad feel like old friends torn apart by time, getting together for a final run. Their interactions are among the highlights of the film.
While Uncle Drew is the titular character, the emotional core lies with Dax. Howery is strong in the role, grounding the proceedings with a relatable everyman who's easy to root for. He makes for an hysterical audience surrogate, frequently commenting on the absurdity that surrounds him with funny one-liners. Howery plays well off of the pro players that make up Uncle Drew's ensemble. Obviously, none of them are world-class thespians, but they don't have to be. The likes of Irving, Miller, Webber, and O'Neal are clearly having fun with their parts, which makes it easy for audiences to buy in and go along for the ride. The infectious energy they inject Uncle Drew with helps viewers get invested, especially as the tournament revs up.
In terms of the supporting cast, Kroll is the definite standout as Mookie, an over-the-top villain moviegoers will love to hate. There's no denying the part is a caricature dialed up to cartoonish levels, but Kroll still has some hilarious moments as he torments Dax. The women of Uncle Drew aren't as lucky, as Tiffany Haddish's Jess (save for a laugh or two) isn't much more than a material woman who loves to rack up the credit card bills. The film also attempts to give Dax a new love interest in Erica Ash's Mya, though there frankly isn't much to that subplot to warrant its inclusion in the film. A shoehorned romance doesn't really have a place in Uncle Drew, despite Stone's best intentions.Considering this movie stemmed from a soft drink commercial, Uncle Drew is much better than it has any right to be. Stone and his team deserve credit for finding a story (however clichéd) about the love of basketball and overcoming past mistakes. Nobody is going to regard Uncle Drew as the new gold standard for basketball movies, but NBA fans are going to have a blast watching it. For audiences who are looking for a break from the typical summer tentpole fare and want to see a breezy, feel-good comedy, Uncle Drew is a good choice.
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Dax (Lil Rel Howery) is a down-on-his-luck street ball coach desperate to make a splash at the annual Rucker Park tournament and win the $100,000 purse that comes with it. His dream of securing financial stability takes a hit when his best player, Casper (Aaron Gordon), jumps ship to join Dax's rival, Mookie (Nick Kroll). Dax tries to recruit a new roster before the tournament begins, but is turned down by everyone he asks.
About to give up, Dax's fortunes change when he sees an older man teach a "young blood" some basketball lessons on the court. Discovering that this is street ball legend Uncle Drew (Irving), Dax convinces Drew to take one last shot at Rucker Park glory. The only condition is that Drew gets to use his former team, who dominated the blacktops for years before a falling out. Dax and Drew embark on a road trip to find Preacher (Chris Webber), Lights (Reggie Miller), Boots (Nate Robinson), and Big Fella (Shaquille O'Neal) and try to win the tournament.
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Characterization is a mixed bag as well. None of the roles have much depth to them, which hurts in crafting the dynamic between Drew and his teammates. Drew's relationship with Big Fella is given the most development due to their shared history, but the other players mainly exist to provide laughs and round out the team. Early on, the screenplay is a bit at odds with itself, placing an emphasis on how great Drew was in his prime, which minimizes the unseen contributions of his supporting cast. As a result, certain sequences that are meant to have significant weight feel a bit flat, since so little time is dedicated to showing the tight bond the group had back in the day. To their credit, the actors do the best they can to making Drew's squad feel like old friends torn apart by time, getting together for a final run. Their interactions are among the highlights of the film.
While Uncle Drew is the titular character, the emotional core lies with Dax. Howery is strong in the role, grounding the proceedings with a relatable everyman who's easy to root for. He makes for an hysterical audience surrogate, frequently commenting on the absurdity that surrounds him with funny one-liners. Howery plays well off of the pro players that make up Uncle Drew's ensemble. Obviously, none of them are world-class thespians, but they don't have to be. The likes of Irving, Miller, Webber, and O'Neal are clearly having fun with their parts, which makes it easy for audiences to buy in and go along for the ride. The infectious energy they inject Uncle Drew with helps viewers get invested, especially as the tournament revs up.
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Incredibles 2 Movie Review
INCREDIBLES 2 CAPTURES MOST OF THE FUN OF PIXAR'S THE INCREDIBLES, BUT FEELS SOMEWHAT OUTDATED IN THE MODERN HOLLYWOOD LANDSCAPE OF SUPERHERO MOVIES.
Incredibles 2 is the long-awaited sequel to Disney-Pixar's The Incredibles, the animated superhero movie written and directed by Brad Bird. Released in 2004, The Incredibles introduced the Parr family, lead by Bob and Helen Parr, a pair of former superheroes. After public opinion turned against superheroes, Bob and Helen were relocated and raised their three children to live non-superhero lives in suburbia - though they, and their kids, had to become superheroes in order to defeat a supervillain. Now, Incredibles 2 picks up shortly after the events of the first film. Incredibles 2 captures most of the fun of Pixar's The Incredibles, but feels somewhat outdated in the modern Hollywood landscape of superhero movies.
At the start of Incredibles 2, superheroes are still illegal, but the Parr family breaks the law together - suiting up to save their city from any would-be supervillains. However, when Bob/Mr. Incredible (Craig T. Nelson), Helen/Elastigirl (Holly Hunter), Violet (Sarah Vowell), Dash (Huck Milner) and baby Jack-Jack make a mess when trying to stop the Underminer's plans to rob a bank, they're arrested. Public opinion of superheroes seems to be at an all-time low, with the government officially shutting down the program that helped the Parrs keep their identities secret. However, Frozone (Samuel L. Jackson) is approached by wealthy businessman Winston Deavor (Bob Odenkirk) about a plan to bring superheroes back.
Along with his sister Evelyn Deavor (Catherine Keener), Winston plans to change the public perception of superheroes so that people don't only see the destruction they cause, and instead see the lives they save. With Elastigirl as the face of the program, the Deavors set out to get the public on board with supers once again in order to make the heroes legal - though one villain, the Screenslaver, may prove to make that goal impossible. Elsewhere, with Helen gone, that leaves Bob to run the household. That includes dealing with Violet's dating troubles, helping Dash with his math homework, and contending with the onset of Jack-Jack's powers - which include a wide range, from turning into a monster to teleporting to another dimension. With both Helen and Bob facing new challenges, they'll have to figure out how to move forward in order to create a future in which their kids don't have to hide their powers.
Incredibles 2 offers the continuation of the Parr family adventures that fans have been waiting for since the first film arrived in 2004. Though the sequel arrives 14 years after the original movie, Bird returned to the property to write and direct Incredibles 2, ensuring it's the followup most likely to honor the original. For the most part, it returns to the world of The Incredibles for a storyline that will no doubt please many fans of the original movie, combining the family-oriented themes of the first film with a great deal of superhero fun. Plus, with the introduction of plenty of new superheroes - Voyd (Sophia Bush), Krushauer and Helectrix (Phil LaMarr), just to name a few - Incredibles 2 also expands on the world of The Incredibles in some compelling ways.
With that said, the dynamics played out in the Parr family come off as extremely outdated. While Incredibles 2 attempts to take a step forward by putting Elastigirl front and center, this storyline is executed with extremely tired stereotypes about family dynamics, essentially forcing the movie three steps backward. Much of the movie sees Bob jealous of Helen for being the one chosen to lead the Deavors' project, especially as he struggles to take care of his own children. It's undoubtedly reminiscent of the era of media the Incredibles franchise has drawn inspiration from. But rather than offer some kind of update or commentary on that kind of husband-wife dynamic, Incredibles 2 is more or less a "family-friendly" regurgitation of it, which, considering how much media has evolved since that time (and since 2004), makes the movie feel incredibly outdated.
Further, while Jack-Jack's burgeoning powers provide for a number of fun sequences throughout the movie - especially one involving a raccoon - Violet and Dash's arcs largely exist to serve Bob's own storyline about learning to take care of the household. Violet's particular story had a great deal of potential, insofar as exploring how a child with superpowers growing up in a world where superheroes are illegal could affect her sense of self. But instead, her arc is boiled down to either focusing on her dating life or providing a challenge for Bob to overcome. Dash receives less screen time, and even less development as a result, with him providing little more than comedic relief. Considering how much fans enjoyed watching the adventures of the Parr family in The Incredibles, it's somewhat of a letdown to see them ill-served by the sequel.
There is adventure to be had - and enjoyed - in Incredibles 2. The animation of the Pixar sequel is undoubtedly beautiful to behold, especially with the retro influence of the Incredibles' world. There are a number of exciting action sequences in which Elastigirl, Violet and Jack-Jack especially get to demonstrate their visually compelling superpowers. Plus, with the addition of new superheroes and their variety of powers, Incredibles 2 takes advantage to create actions scenes that a studio would never be able to pull off in live-action, no matter how evolved visual effects have become. Incredibles 2 set out to offer even more ambitious and visually striking action sequences, and the movie undoubtedly delivers on that front (one particular fight between Elastigirl and Screenslaver especially stands out).
Ultimately, Incredibles 2 may provide fans of the original movie with another exciting adventure of the Parr family. But in the overall landscape of animated movies and superhero films in Hollywood, Incredibles 2 feels outdated and out of touch with modern audiences. The sequel employs too many tired tropes and stereotypes to truly feel fresh, and doesn't offer strong family dynamics to give the stunning visuals any depth. It's a mostly fun and enjoyable summer family movie - though, with a nearly two-hour runtime, some children may struggle to stay engaged. Still, considering the strong and forward-thinking films Pixar has produced in recent years, Incredibles 2 is a sequel that arrived a decade too late.
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Incredibles 2 is the long-awaited sequel to Disney-Pixar's The Incredibles, the animated superhero movie written and directed by Brad Bird. Released in 2004, The Incredibles introduced the Parr family, lead by Bob and Helen Parr, a pair of former superheroes. After public opinion turned against superheroes, Bob and Helen were relocated and raised their three children to live non-superhero lives in suburbia - though they, and their kids, had to become superheroes in order to defeat a supervillain. Now, Incredibles 2 picks up shortly after the events of the first film. Incredibles 2 captures most of the fun of Pixar's The Incredibles, but feels somewhat outdated in the modern Hollywood landscape of superhero movies.
At the start of Incredibles 2, superheroes are still illegal, but the Parr family breaks the law together - suiting up to save their city from any would-be supervillains. However, when Bob/Mr. Incredible (Craig T. Nelson), Helen/Elastigirl (Holly Hunter), Violet (Sarah Vowell), Dash (Huck Milner) and baby Jack-Jack make a mess when trying to stop the Underminer's plans to rob a bank, they're arrested. Public opinion of superheroes seems to be at an all-time low, with the government officially shutting down the program that helped the Parrs keep their identities secret. However, Frozone (Samuel L. Jackson) is approached by wealthy businessman Winston Deavor (Bob Odenkirk) about a plan to bring superheroes back.
Along with his sister Evelyn Deavor (Catherine Keener), Winston plans to change the public perception of superheroes so that people don't only see the destruction they cause, and instead see the lives they save. With Elastigirl as the face of the program, the Deavors set out to get the public on board with supers once again in order to make the heroes legal - though one villain, the Screenslaver, may prove to make that goal impossible. Elsewhere, with Helen gone, that leaves Bob to run the household. That includes dealing with Violet's dating troubles, helping Dash with his math homework, and contending with the onset of Jack-Jack's powers - which include a wide range, from turning into a monster to teleporting to another dimension. With both Helen and Bob facing new challenges, they'll have to figure out how to move forward in order to create a future in which their kids don't have to hide their powers.
Incredibles 2 offers the continuation of the Parr family adventures that fans have been waiting for since the first film arrived in 2004. Though the sequel arrives 14 years after the original movie, Bird returned to the property to write and direct Incredibles 2, ensuring it's the followup most likely to honor the original. For the most part, it returns to the world of The Incredibles for a storyline that will no doubt please many fans of the original movie, combining the family-oriented themes of the first film with a great deal of superhero fun. Plus, with the introduction of plenty of new superheroes - Voyd (Sophia Bush), Krushauer and Helectrix (Phil LaMarr), just to name a few - Incredibles 2 also expands on the world of The Incredibles in some compelling ways.
With that said, the dynamics played out in the Parr family come off as extremely outdated. While Incredibles 2 attempts to take a step forward by putting Elastigirl front and center, this storyline is executed with extremely tired stereotypes about family dynamics, essentially forcing the movie three steps backward. Much of the movie sees Bob jealous of Helen for being the one chosen to lead the Deavors' project, especially as he struggles to take care of his own children. It's undoubtedly reminiscent of the era of media the Incredibles franchise has drawn inspiration from. But rather than offer some kind of update or commentary on that kind of husband-wife dynamic, Incredibles 2 is more or less a "family-friendly" regurgitation of it, which, considering how much media has evolved since that time (and since 2004), makes the movie feel incredibly outdated.
Further, while Jack-Jack's burgeoning powers provide for a number of fun sequences throughout the movie - especially one involving a raccoon - Violet and Dash's arcs largely exist to serve Bob's own storyline about learning to take care of the household. Violet's particular story had a great deal of potential, insofar as exploring how a child with superpowers growing up in a world where superheroes are illegal could affect her sense of self. But instead, her arc is boiled down to either focusing on her dating life or providing a challenge for Bob to overcome. Dash receives less screen time, and even less development as a result, with him providing little more than comedic relief. Considering how much fans enjoyed watching the adventures of the Parr family in The Incredibles, it's somewhat of a letdown to see them ill-served by the sequel.
There is adventure to be had - and enjoyed - in Incredibles 2. The animation of the Pixar sequel is undoubtedly beautiful to behold, especially with the retro influence of the Incredibles' world. There are a number of exciting action sequences in which Elastigirl, Violet and Jack-Jack especially get to demonstrate their visually compelling superpowers. Plus, with the addition of new superheroes and their variety of powers, Incredibles 2 takes advantage to create actions scenes that a studio would never be able to pull off in live-action, no matter how evolved visual effects have become. Incredibles 2 set out to offer even more ambitious and visually striking action sequences, and the movie undoubtedly delivers on that front (one particular fight between Elastigirl and Screenslaver especially stands out).
Ultimately, Incredibles 2 may provide fans of the original movie with another exciting adventure of the Parr family. But in the overall landscape of animated movies and superhero films in Hollywood, Incredibles 2 feels outdated and out of touch with modern audiences. The sequel employs too many tired tropes and stereotypes to truly feel fresh, and doesn't offer strong family dynamics to give the stunning visuals any depth. It's a mostly fun and enjoyable summer family movie - though, with a nearly two-hour runtime, some children may struggle to stay engaged. Still, considering the strong and forward-thinking films Pixar has produced in recent years, Incredibles 2 is a sequel that arrived a decade too late.
Content Source : https://screenrant.com
Jurassic World: Fallen Kingdom Review
Fallen Kingdom picks up three years after the events of Jurassic World, with the theme park on Isla Nublar having been deserted by humans, leaving the dinosaurs to run free. However, the long-dormant volcano under the island has become active again, and those around the world are deciding what to do about the dinosaurs - should the U.S. government interfere and save the de-extinct creatures, or should humans allow the act of God to once more wipe out the animals? Claire Dearing (Bryce Dallas Howard) is now head of the Dinosaur Protection Group and refuses to let the dinosaurs be killed by the volcano.
Bayona steps into the director's chair on Jurassic World: Fallen Kingdom, working from a script by Trevorrow and his Jurassic World co-writer Derek Connolly. Having previously helmed a horror film in The Orphanage, a disaster thriller in The Impossible, and a fantasy drama in A Monster Calls - among other films - Bayona has a unique skillset to bring to the Jurassic World sequel. In Fallen Kingdom, Bayona balances horror with action and adventure for some of the more thrilling sequences in the entire Jurassic Park franchise. The director skillfully directs a scene so as to wring as much tension out and keep viewers on the edge of their seats - or hands over their eyes, preparing for the scare, as the case may be. Further, Bayona infuses plenty of fantastic horror imagery in Fallen Kingdom, again utilizing beautiful visuals to eke out as much emotion from a scene as possible.
Bayona, along with screenwriters Trevorrow and Connolly, also bring a great deal of heart and tragedy to the world, especially when it comes to the dinosaurs. Fallen Kingdom showcases the wonder and amazement of seeing dinosaurs made real through de-extinction, while also balancing it with the true cost of what it means - not only for humans, but for the creatures who now exist in a modern world. One of the biggest strengths of the Jurassic Park franchise, both the original series and the new trilogy kicked off in Jurassic World, has been the concept of de-extinct dinosaurs and how humans would co-exist in modern day with these creatures. While Jurassic World relegated the dinosaurs to its titular theme park on Isla Nublar, Fallen Kingdom takes the next logical steps to build out this alternate universe - and those steps lead toward a very different and very compelling reality that will be further explored in Jurassic World 3.
Certainly, some aspects of Jurassic World: Fallen Kingdom are retreads of previous Jurassic Park films, with even the movie's Indoraptor repurposing the basic concept of Jurassic World's Indominus Rex - making a man-made dinosaur the main antagonist. Undoubtedly, these issues arise from Trevorrow and Connolly's script, which is weak at times. Fallen Kingdom feels like much more of a fully realized idea and application of the Jurassic World concept. But, the back half of the movie isn't quite as tightly woven as the first, with the script setting up a number of interesting threads and struggling a bit to pull them all together by the third act. Still, it's an entertaining enough third act that sets the stage for Jurassic World 3 to take the franchise somewhere new.
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