There are certain things Tom Cruise does absolutely right and playing Ethan Hunt is one of them. Like him or not as a person outside of the multiplex, Cruise remains the undisputed and penultimate action star in the world today, if not in all of the history of cinema. He pushes the envelope like no one else and, as a producer in this series, he puts his money where his safety harness is. What he dares to do on-screen pays off in superior results.
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To this writer, the success of a remake, reboot, or sequel is contingent upon matching the tone of the original work to the best of its ability. If a film gets that tone right, it can be a drastic revision full of changes and updates and still feel respectfully aware and in tune with the previous well-remembered greatness the new film is trying to emulate. That's the taste test that should be put on "Vacation," the new long distance sequel/update of the 1983 National Lampoon comedy classic.
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If you've seen one boxing movie, you've seen them all. They are their own formula, cliche, and sub-genre of sports movies. If you've seen one rags-to-riches triumph or riches-to-rags-back-to-riches redemption, you've seen them all. If you've heard one trash talking villain or one sage mentor/trainer/coach jaw on their own, you've heard them all. If you've seen one smoothly-edited training montage that leads to the big, loud and predictable ending fight, you've seen the all. "Southpaw" sadly brings nothing new to the table.
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The amount of love and appreciation you will garner for "Trainwreck" will entirely depend on your taste and tolerance level for its star, Amy Schumer. The groundbreaking comedienne wrote this screenplay as a fictionalized take on herself. If you love her brash comedy and clever subversive feminism, "Trainwreck" is a star-making arrival and a triumph as rare female-centered romantic comedy. If you're not into the crassness and randomness of her act, the film is going to feel like episodic fits and starts within a flawed romantic comedy that feels like pieces from different and better films.
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Creative differences, bad PR, and terrible marketing have sunk greater and lesser films. "Ant-Man" survives each those kisses of death to be a fun, entertaining, and clever blockbuster. The creativity is more than present to veer away from Marvel's usually enormous scale of worldwide crisis-aversion and give us a true small-scale (literally and figuratively) "regular guy" hero that was missing among the billionaires, scientists, soldiers, assassins, and demi-gods Marvel has elevated so far to its cinematic pedestals. "Ant-Man" is packed with a plentiful amount of humor, spirit, and surprises that trump both the bad PR and overindulgent marketing. It was saving some aces up its sleeve.
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I watch "Minions" and I don't see anything fresh or fun. I see a bloated adventure film that steals good ideas from better films because its own originality is tremendously limited. I hear and see repeated cliches around every corner that are only played for laughs because of mild physical comedy. I see a movie so annoying that I would punch my own child in the face for wanting to watch it over and over. I'll be the one that says it. This film is terrible and we can do better with family entertainment.
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WARNING: The following picture attached this website's review is an actual image from the film "Self/less" but it may indicate what your own facial expression will look like either live while watching "Self/less" or after seeing the film in its entirety. The timing and severity of this effect will vary among each audience member, but, make no mistake, this is the end result.
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Come to "Love and Mercy" for the music but stay for the involving double-barreled saga of creative energy, new-found redemption, and growing companionship. This film relishes the understated vibe it seeks. It's not earth-shatteringly profound as a story or a film. It's not going to jump off the screen or crush your emotions. However, this film will impress you and gain your respect. That's better than 90% of the tired biographical films that hit cinemas every year. Enjoy a winner right here.
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As flashy as it is with tremendous and eye-popping special effects, "Terminator: Genisys" has created an extremely convoluted mess of merged timelines and revisionist storytelling that treads all over what made the 1984 original and superior 1991 sequel so great. This is more of an attempt of retcon than of homage. Even if you find yourself entertained by the return of Arnold Schwarzenegger to his signature franchise, you may be asking, maybe even screaming in outrage, why this revision exercise was even necessary.
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