Suicide Squad (2016) ***1/2

Let’s face it. The main question that everyone had going into Suicide Squad was whether or not this film would resurrect a fumbling DC movie universe. Will this be the film where they burst everything wide open and take over the world or would this be another questionable entry in the Warner owned property. In many ways this film is a bit of a gamble. How would an audience accept a comic book film where the heroes are villains and the villains are, in some not too distant past, would have been considered heroes or good guys. In this film there is no one riding in dressed in white. There are levels of morality between our group of villains.

The film is set in the aftermath of Batman v. Superman where the federal government fears of other supermen. Paranoia fills the air as the thought of metahumans that do not hold the beliefs of Clark Kent could overrun the world. Amanda Waller (Viola Davis) has a creative idea where she creates an elite unit using super powered beings and extremely talented humans as a reactionary group in the event of an overpowering enemy. Yes, this idea lends a lot to The Dirty Dozen in that there is no coming home from an incomplete mission. The group consists of Deadshot (Will Smith), an assassin that never misses. Harley Quinn (Margot Robbie) an acrobatic psychopath who happens to be the better half of the Clown Prince of Crime The Joker (Jared Leto), who plans on breaking his baby out of her dilemma. Jay Hernandez is Diablo, who literally holds the power of fire in his hands. Killer Croc (Adewale Akinnouye-Agbaje) brings a raw power to the group… and the ability to roam the sewers. Boomerang (Jai Courtney) rounds out the squad as an Aussie villain looking for a way out and using fellow members to do it. The ground baby sitter is Rick Flag (Joel Kinnaman), who reminds the squad throughout the film that he is the final say on the ground, only answering to Waller. He is also romantically involved with the witch possessed June Moone (Cara Delevingne), causing the typical problems when a hairy situation arises and that situation is that when the witch called Enchantress escapes, she decides to destroy humanity with a machine like the ones humans worship. Initially the Suicide Squad’s mission is basic, but balloons to the regular “save the world” motif.

Suicide Squad cuts straight to the point, showing the history of these characters via flashbacks. It would have been nice to explore these characters a little deeper, but we only have 2 hours and if this makes enough money… We get the situation set up quickly with very little baggage, other than Leto’s Joker and that baggage is most welcome. When her appears it’s a great performance that takes Ledger’s take on the character and adds the over the top comic book dimension that this film employs. I’m looking forward to Leto getting more screen time in the upcoming films. Will Smith and Margot Robbie really run with their characters and seem to enjoy the playground they’ve been given to run around in. This is one of Smith’s best performances in a long time and, even though he has become an iconic actor, gets lost in the role of Deadshot. For Robbie, this film will push her to super stardom. All around the film has a wonderful cast that are having fun, which shows in the film and lets the audience in on the good time.

David Ayer treats this film as his own child and it shows. There is a care to not lampoon the characters and it delivers a genuine feel to the film that wasn’t in Batman v. Superman. I cared about these characters, some of whom I had very little interaction with. Batman v. Superman, featuring some of the most iconic figures in fiction made me not care about characters that I had grown up with. Been born with practically. Be it due to acting, editing, or direction I had a stake in the Suicide Squad. Batman v. Superman didn’t give me that. For that, we have to give David Ayer some credit in nor letting the DC ship capsize.

Not that the film is without issues. The most glaring one is that the villains in the film are weak. Very weak. I couldn’t pinpoint where on Cara Delevingne’s portrayal of the Enchantress was it too much ham and too much holding back. It was both. She is just there, with her CGI brother, sprouting out countless CGI henchmen. Nameless CGI henchmen like a video game. It is an old saying that I’ll throw out there, your film is only as good as its villain. That is the big stumbling block of this film. What is a great journey stumbles in the final act, leveling what could have been a great film down to a little above average. Yes, Enchantress is that bad of a villain.

So what’s the verdict? Suicide Squad does run much better than Batman v Superman. As a whole the film makes me feel better about later entries in the DC Universe, but it is not the all out blow the competition away film that they really need right now. There was major stumbling in the third act that holds the film back. The scenes that are the Squad are wonderful. When you throw the weak villain in, it grinds to a halt. Overall, it’s a good film. Not great, but not mediocre. As an entire piece I rate it ***1/2, the same as Batman v Superman. BVS rating was shaky, but solidified with the extended cut. SS is a fine, fun film with a lackluster villain and a meh finish. Good, but not great.

Finding Dory (2016) ***1/2

To start with, I’m going to be perfectly honest. Pixar, that company that 10 years ago was practically infallible, has developed a poor record with sequels. Other than the Toy Story follow ups, the sequels they have produced have been empty shells of their predecessors. Monster’s University is a lackluster film that doesn’t really capture the feel and magic of the original film. Cars 2 was a miserable follow-up. So after all of these years, we have the sequel to Finding Nemo titled Finding Dory, a film that starts strong, but derails during its final act.

The plot of the film is that Dory (Ellen DeGeneres) has suddenly started to remember segments of her childhood and realizes that she does have a family and goes on a journey to find them. Marlin (Albert Brooks) and Nemo (Hayden Rolence) accompany her as she makes her way to an oceanic institute where she was born and her parents may still be waiting for her to arrive. As with the first film, they encounter numerous characters with various personalities that help or hinder their progress.

Finding Dory is an amazing looking film that visually can be paired with Finding Nemo and the feel from the first film goes along. Hopefully Pixar has learned from their mediocre sequels (prequel) that trashed the concepts of the original films for a dull, sophomoric premise. It’s a wonderfully created universe that pulls you in, revisiting memories from the first film and delivering new ones along the way. The story is also strong with another long journey looking for family. I was enthralled by the story as Dory pieced her way to her goal, almost reminiscent of a detective story. This film would have probably been a much better film if it wasn’t for the third act. I’ll try not to spoil it, but the film becomes so over the top that it slams the brakes on the story, pulling you right out of the film. And you never get it back. I know there were some over the top situations in Finding Nemo, but this film really drove that idea over the edge. A good film becomes a slightly above average film.

Pixar is an animation juggernaut. This is the company that caused the entire industry to revert to computer animations and they are still the pinnacle of the business. When it’s an original story they are geniuses, developing a world that immerses you. Their work is amazing. Unless it’s a sequel. It seems that a company that rarely did sequels until a few years ago has not been able to repeat (except for Toy Story) any kind of continuation of the original film. Finding Dory comes close. I enjoyed the film, but the ending really kills the film and you find yourself wondering why they didn’t finish it simply instead of the over the top conclusion that could almost be considered animated disaster. This is a good animated feature with a huge anchor dragging it down.

Captain America: Civil War (2016) ****1/2

As the comic book juggernaut (pun not intended) continues to grow, there are going to be numerous comparisons between movies as they come out and how much better this film was over that one. A film should be allowed to stand on its own (even though I am going to be writing a special comparison between this film and the clash film from the “other” publisher). After the mediocrity that was Age of Ultron, Captain America: Civil War has the ability to continue the greatness of The Winter Solider. It doesn’t have to stand on the remains of the film before it, even though Civil War plays more like an Avengers sequel, this is Captain America’s story.

As the film begins the world is angry after the massive collateral damage that’s occurred in the battles of the Avengers. Tony Stark (Robert Downey, Jr.), faced with the real life cost of their wars, spearheads the idea of the Avengers to be monitored and controlled by the government. Of course this splits the Avengers into two camps, which is going to happen when such a revolutionary idea is placed upon a group of people. This is coupled to the fact that Captain America (Chris Evans) has the added stress of finding and helping his friend Bucky Barnes (Sebastian Stan) a.k.a. The Winter Soldier. As the story progresses we learn that there is a puppet master pulling the strings on the situation, continuously driving a wedge between the already fractured Avengers. 

Civil War is what a great movie should be. The film takes the audience for a ride, literally and emotionally. We travel the world as this characters, many of whom we grew up with since we were children, build for their cause. It's these same characters that cause us as an audience to finally choose a side in the ultimate confrontation that builds throughout the film. It's an experience that sucks you in and involves you in the action that's happening up on the screen. A hallmark of any good film. In a world flooded with comic book films this film will be one that stands out.

This film has everything in place and gels in every way and is currently the one stand out in a summer movie season that seems to be more about malaise than masterpieces. Obviously there will be more films and Civil War makes me want to see them. The film made me want to go back and check out what I missed (Ant-Man- review coming soon). A stunning film in a bloated market.

Author! Author (1982) **

Sandwiched between the controversial Cruising and the controversial Scarface lies this Al Pacino vehicle that finds him as a dysfunctional play write, juggling a dead marriage, a house full of kids, and a fully backed play perpetually looking for its 3^rd act. AP stars as Ivan Travalian, the atypical New York writer who comes home one day to find that his wife (TW) has left, leaving kids from various marriages throughout the house.  Hilarity ensues as Ivan struggles to maintain a household, a career, and figure out whether or not he still loves his wife or the star of his play (DC).

Author! Author! feels like a sitcom. I mean it really feels like a sitcom to the point that you’ll be in hysterics at the title theme song. Pure Friday night on ABC drivel that doesn’t really go anywhere, just spinning around in circles. The only thing that progresses in this film is the play. Everyone is in the same place as they were in the film, with Pacino epiphany being unheralded and lacking everything. Tuesday Weld plays her role as sympathetic to start, then you just don’t care about the selfish…. Dyan Cannon is the rebound and pretty much disappears when her part of the story is over, which is sadly the best part of the film. If they could have dove into their relationship and how another adult deals with the offspring of another it would have made this film much more interesting. But it abandons that idea half way into it.

Did AP lose his way after the greatness of his 70’s films? It’s hard to say, but AA is an unexcited, dull adventure into divorce

Key Largo (1948) *****

Key Largo is a film noir piece set in the Florida Keys where Frank McCloud (Humphrey Bogart) arrives to visit the family of a fellow soldier that died during the war (Lionel Berrymore and Lauren Bacall). Problems arise when the gangster Johnny Rocco (Edward G. Robinson) has holed up the hotel run by the family, waiting to sneak back into the country after being deported. Add into this the hurricane that will be making a direct hit on the south Florida island.

Whenever you get John Huston and Humphrey Bogart together you’re going to get something special and Key Largo isn’t any different. The film has a deep noir feel, yet it transplants itself from the typical locale of seedy neighborhoods of the inner cities to what was a more quiet area that becomes isolated even further by the hurricane hitting. Bogart is the reluctant hero, beaten down by the war and the post war world that wanders into this situation by accident. He’s not looking for trouble, but is prepared to deal with it if necessary. There is an attraction between McCloud and Nora (Bacall, the groomless fiancé), but nothing really comes to fruition due to the situation they’re in, giving us believably that wasn’t seen in films of this era. There’s too much going on for this people to become romantic. Other circumstances may allow it, but not this set. Of course, Edward G. Robinson playing an egocentric gangster is his calling card. He’s great in the role and plays it over the top when needed, but still has the ability to tone it down when the situation requires.

Key Largo is a movie that builds onto itself, with a kind of snowball effect that compounds itself as the film goes on. There is a sense of claustrophobia when the film begins, that opens up as the film rolls on right along as Johnny Rocco loses control of the situation. And yes, the hurricane represents a huge character in the film is the boss over all that it surveys. Huston plays this card, but doesn’t over play it, a great move by a master. Key largo is one for the ages, a great noir piece that paces great with wonderful acting. A testament to all of those involved in the film.

Class of 1984 (1982) **

In the early 1980’s high schools in the United States had a reputation of being filthy, violent places that were overrun by gangs of rebellious students that can’t be expelled for one reason or another (why these hardened criminals would want to hang out a high school all day is beyond me). Films such as Teachers, 3 O’Clock High, and others regurgitated that idea throughout the early part of the decade. Class of 1984 is another member of that genre. The formula follows and idealistic teacher (Perry King) that represents a young go getter, ready to change the world by teaching. You need a leader of the thugs (Timothy Van Patten) who gets into a conflict with the idealistic teacher and drags that person down to his level in the end. The idealistic teacher has to have a spouse (Merrie Lynn Ross) that is semi oblivious until the danger appears at the front doorstep. Finally, you must have the older, fed up teacher (Roddy McDowell) that serves as a mentor to the young, idealistic teacher, but will probably end up a sacrifice to fuel the revenge fire.

Class of 1984 is an average film from this genre. Very predictable if you’ve seen any film like this from the 1980’s. The only standout in the film is the performance by Roddy McDowell, who pushes his character beyond its generic function. Otherwise, the film doesn’t really stand out from any high school centered version of Death Wish. Class of 1984 serves its purpose more as a time capsule of the era than delivering anything new. This is a totally forgettable film.

Big Trouble In Little China (1986) ****

Big Trouble In Little China is a film where our perceived hero Jack Burton (Kurt Russell) isn’t really heroic at all. He’s actually a buffoon that’s pulled into an extraordinary situation with Wang Chi (Dennis Dun) being the true hero of the film. Jack acts like he knows what he’s doing, but he’s as clueless as anyone thrown into this situation, making a refreshing look from this fantasy/karate hybrid.

The film opens with Jack accompanying his friend Wang to the airport to pick up Wang’s love of his life. In the hectic arrival of a loaded airplane, she is kidnapped and after running into Gracie (Kim Catrall), who has some kind of involvement in the situation, Jack and Wang travel to Chinatown in an attempt to save his love, but stumble onto an otherworldly fight by Lao Pan (James Hong) to use the green eyed girl to restore his flesh. A mishmash of kung fu and fantasy follows as they attempt to stop Lao Pan’s misuse of Wang’s lady.

Big Trouble is a fun movie to watch. The film has a great flow to it, even though when examining just the plot itself leaves a kind of clunky feel as you run it through your head. John Carpenter smooths over the rough edges by giving us great visuals (even by today’s standards) and very nice acting work, particularly from Russell. As I said before, Jack Burton is not the hero of this film. He’s more of a loud mouth that is lost in this underworld of Chinatown and it’s a wonderful look at how the presumed hero may not be the sharpest knife in the drawer. It really is a great performance from Russell, cementing his trilogy of John Carpenter films.

After revisiting this film a thought occurred to me. With all of the movies that are making a return after being defunct for 30+ years Big Trouble in Little China is a film that I see that could succeed by doing something like this. After 30 years I was still left wanting more from this story and these characters. This is one of these films that makes its own kind of definition and really makes a good impression on a viewer. A fine ‘80’s ditty.