Star Trek: Beyond Review

Star Trek: Beyond

Dir: Justin Lin

Starring: Chris Pine, Zachary Quinto, Zoe Saldana, Anton Yelchin, Simon Pegg, John Cho, Karl Urban, Sofia Boutella, and Idris Elba

“Space, the final frontier”. Gene Roddenberry’s contribution to science fiction in the form of “Star Trek” made a cultural impact that has spawned numerous television shows, film adaptations, conventions, and undoubtedly some of the most loyal fans of any genre property. The “Star Trek” film franchise has been fairly consistent since the first installment, “Star Trek: The Motion Picture”, in 1979. The longest break between films being the seven year gap between 2002’s “Star Trek: Nemesis” and the rebooted J.J. Abrams helmed “Star Trek” in 2009. The new films, which have taken liberties in restructuring the established world of “Star Trek”, have been met with a mixed bag of emotions from purists and tourists of the franchise. Many claiming that qualities, such as tone of the narrative and look of the film, don’t resemble the films or television shows that have come before it. Still, there is an excitement that came along with the rebooted films. J.J. Abrams crafted the first two entries with high energy and flair, both lens and style, and the results were fun popcorn films that transcended other rebooted properties. “Star Trek: Beyond” continues the expedition of the Starship Enterprise and crew with a new director, Justin Lin who last helmed 2013’s “Fast and Furious 6”, taking the franchise in a somewhat new direction.

In this installment the crew are in their third year of a five-year expedition in deep space, exploring new worlds for new life and new civilizations. Capt. Kirk (Chris Pine) and Spock (Zachary Quinto) are contemplating their futures and whether or not their position on the Enterprise is where they should be. Kirk is celebrating a birthday, bringing about memories of his family; Spock finds out that Ambassador Spock (played by the late Leonard Nimoy) has died, this forces Spock to think about his Vulcan people.

Before any decisions can be made by the two the Enterprise stops for maintenance at a massive space station. While there a distress call is made from an incoming ship asking for help, the Enterprise is tasked with providing assistance. Blindsided, the Enterprise is attacked by a ruthless alien named Krall (Idris Alba in extensive makeup) and his swarming army.  

This is where the story gets interesting. Up to this point you can feel new hands at work, especially in the design, but everything is still functioning similarly to the films done my Mr. Abrams. However, once Krall attacks and the crew of the Enterprise is separated, fleeing to Krall’s planet, the structure changes. Instead of this functioning as a Kirk and Spock film, “Beyond” gets the rest of the crew involved in the action. Kirk teams with Chekov, played by the gone-too-soon talented Anton Yelchin, to hunt Krall. Spock and Dr. McCoy (Karl Urban) argue amusingly with one another while trying to find the remainder of the team. Scotty (Simon Pegg, who also co-wrote the script here) joins forces with a new character named Jaylah (Sofia Boutella) who is also looking for revenge against Krall. Even Uhura (Zoe Saldana) and Sulu (John Cho) are given time to escape and evade while being imprisoned. This character dynamic is reminiscent of the original television show but so is the story in some regards, instead of trying to compose a new origin story or absurdly interconnect past stories, “Beyond” simplifies everything and focuses instead on the well-established characters telling what may be described as a high-budget television episode. There is even a moment early in the film when Kirk describes the journey as “episodic”, nice touch writers.

The cast has created a distinct chemistry in this new franchise and Mr. Lin exploits it as much as possible, a very smart move. In particular seeing Dr. McCoy and Spock banter back and forth was especially entertaining. Unfortunately not everything works as smoothly as the characters. The photography is many times a mess of chaotic movements that becomes a distraction, some of the late narrative choices feel pointlessly forced, and a few of the special effects setups in regards to the 3-D presentation are poorly composed.

It’s hard to maintain and transform the film elements enough to keep things interesting three films into a new franchise. While “Star Trek: Beyond” doesn’t always operate as smoothly or energetically as the two films before it, the decision to incorporate influences from the past and focus on the exceptional characters established keeps the franchise boldly rolling.

Monte’s Rating

3.50 out of 5.00

Lights Out Review

Lights Out

Dir: David F. Sandberg

Starring: Theresa Palmer, Gabriel Bateman, Alexander DiPersia, Maria Bello, and Billy Burke

Who’s afraid of the dark? It’s a fear that still motivates a genre of writers and filmmakers to create all manner of ghost, monster, stalker, demon that are living under the bed, inside the closet, or outside the front door. It motivated director David F. Sandberg to make one of the best short films in some time, a film that functions on the simple premise of lights on and lights off. “Lights Out” was the name of the short film and remains the name of the feature length studio film hitting theaters this weekend. And it’s sure to make a whole group of people think twice before they turn the lights out.

Martin (Gabriel Bateman) is a young boy living with his mother Sophie (Maria Bello), but everything isn’t all right. Whenever Martin turns off the lights a shadowy creature appears, when he turns the lights on it disappears. Every time he does this the creature gets closer and closer. This leads to Martin keeping the lights on and not sleeping while his mother continues to grow more distant and more consumed by her depression. 

After Martin falls asleep in class, and his mother does not respond to calls to pick him up, his older sister Rebecca (Theresa Palmer) gets involved. Rebecca does not have a good relationship with her mother and wants to keep Martin away from her. Unfortunately this does not work out and Martin returns home with his mother and the closing grasp of the shadowy creature that lives in the dark.

If you are a horror movie fan there isn’t much here that you haven’t already seen, but that’s not necessarily a bad thing. This is the kind of horror film that many people will love because it incorporates much of the same material that makes horror fun for general audiences; especially those that love a summer scare. “Lights Out” is a mix of effective jump scares, it offers a story that doesn’t hide the twists and turns that are coming up, and it provides an atmosphere that continuously plays with the expectations of the viewer. Still, while these techniques work very well within this specific film, the 80 minute running time helps immensely, they are also the reasons why the film quickly becomes a monotonous caricature of other films. 

Again, this technique is nothing new in horror. Influence is important in keeping the genre fresh and finding new creative ways to make familiar material unique. The strongest influence for “Lights Out” is the simple scary movie premise of the fear of the dark and director David F. Sandberg, kudos to the production company for letting the creator of the short film direct the feature film, shows some accomplished skill in setting up a scare. A scene with a police officer shooting a gun at the creature is especially amusing and there are more scenes that are equally fun to watch. 

Unfortunately the script is filled with head shaking character clichés and unoriginal setups that grow increasingly dull as the film progresses. As the origin unravels the film progresses into a third act that loses the entire earned atmosphere and effective frights that it incorporated early in the film. While there is nothing wrong with offering an explanation in a horror film sometimes it’s better to keep the monster in the dark, to let the monster retain some of the power that it holds over the story. “Lights Out” doesn’t do this and all the time spent crafting such a good monster is lost, taking with it all the scary strength. It’s unfortunate because there is a tremendous amount of quality material that could have been utilized to deepen the fear imposed by the creature, aspects associated with maternal qualities, the connection to mental illness, and the maturing child in peril are all places the script could have emphasized to provide the film with good structure without having to explain the monster.

“Lights Out” is the kind of horror film that many genre fans love to watch, it’s also the kind of horror film that many genre fans will be indifferent about, if not outright dislike. Still, there is a place for well-honed scares that serve no other purpose than to make someone jump out of their seat. And there is something to be said about a horror film that makes you, even for a small moment, question turning off the lights.

Monte’s Rating

3.00 out of 5.00

Ghostbusters Review

Ghostbusters

Dir: Paul Feig

Starring: Kristen Wiig, Melissa McCarthy, Kate McKinnon, Leslie Jones, and Chris Hemsworth

“Awful”. "Terrible". "Disappointed". These were the overwhelming sentiments from social media and entertainment sites concerning the trailer for the rebooted “Ghostbusters” film well before it was set to arrive in theaters. Things got worse as some criticized the film’s decision to utilize an all female cast of lead characters. Cue the release of a poorly updated rendition of the Ray Parker Jr. theme song for this film, by none other than Fall Out Boy and Missy Elliot, and everything looked bleak for the reboot of the beloved 80’s film. Paul Feig’s “Ghostbusters” is far from terrible, in fact there are some really good moments supported by the cast of truly comedic women and some ingenious fan service offered throughout the film, but unfortunately it’s also far from impressive.

 

It’s not the same as the 1984 film but that doesn’t keep it from trying to be. Erin Gilbert (Kristen Wiig) is on the cusp of getting tenure at the college that she teaches at, however an early career as a paranormal scientist disrupts this. Erin is forced to visit an old friend and colleague, Abby Yates (Melissa McCarthy), after a book the two them authored surfaces under strange circumstances. The investigation of an apparition leads to the formation of a team, adding Abby’s assistant Jillian (Kate McKinnon) and a subway worker named Patty (Leslie Jones), which is quickly dubbed the Ghostbusters. 

Much of the success of the first film rested in the capable casting and subsequent chemistry of the leading stars of the film, Bill Murray, Harold Ramis, Dan Aykroyd, and Ernie Hudson. Mr. Feig has done an exceptional job of organizing some of the most talented, funniest women working in film today into this project. Unfortunately these exceptional women are not always utilized in the best ways, particularly in ways that make them endearing throughout the film. Melissa McCarthy has a few funny moments but is very much restrained here, Kristen Wiig is impeccably awkward in the best way possible, Leslie Jones has a majority of the best punchlines, and Kate McKinnon gives a performance that you will either love or completely hate. Chris Hemsworth is also involved, playing a dimwitted hunk of a secretary who garners some great laughs. Individually these characters would not work but strangely enough, amidst some flaws, they become the driving force that keeps everything flowing in the right direction. Regardless of how poorly composed they may be, they are consistently amusing to watch on screen.

A majority of this film is dedicated to fan service, providing enough winks and nods to the original film that all the nostalgia can come back in a positive way. While some of the subtle moments of reflection work extremely well it also feels forced at times, especially when it comes to the more obvious callbacks. Still, there are some great surprises that will undoubtedly please those fond of the original.

The narrative is a quick mix of highlight, exposition, and tech talk. Do we really know how all this technology works? No. Do we need too? Absolutely not. That doesn't keep the film from rambling along with a rhythm of science words, a nice touch dedicated to the original film. 

What hurts the narrative is inconsistency; the plot never seems to extend beyond the simple aspects of ghosts and ghostbusters, we are given one scene that provides very little background into the nature of these characters passion for the unknown, and the antagonist mumbles something about an evil vortex but never achieves any real purpose besides wanting to destroy humanity. 

These are all criticisms about a film that seems more interested in pleasing the various expectations of the viewer, to the point that as long as the film is meeting the big complaints found on the Internet everything will be okay.  Is it still entertaining? Yes. Will it stand the test of time and become as beloved as the original? Not likely. So enjoy the reboot for what it is, an entertaining escape that provides quite a few laughs and will entice you to rewatch the original film that made you love the 80’s horror comedy.

Monte’s Rating

3.00 out of 5.00

The Secret Life of Pets Review

The Secret Life of Pets

Dir: Yarrow Cheney, Chris Renaud

Starring: Louis C.K., Eric Stonestreet, Kevin Hart, Jenny Slate, Ellie Kemper, Albert Brooks, Lake Bell, Dana Carvey, Hannibal Buress, and Bobby Moynihan

I once watched my family dog, Shadow, chase his own tail for nearly five minutes. Shadow would stop momentarily to watch the reactions from the family, we were all laughing loudly, and then continue with the same act. I’m still not sure who was more fascinated with the other; in hindsight Shadow was probably wondering how long the humans would watch his foolish behavior. “The Secret Life of Pets” is the newest animated feature to hit theaters this weekend, animal lovers will be thoroughly entertained but it will also provide sufficient amusement for children and offer a somewhat satisfying time-out for parents during these longer summer days.

Max (Louis C.K.) is a friendly terrier living the good life in a Manhattan apartment complex with his owner Katie (Ellie Kemper). Unfortunately Max’s life is turned upside down when Katie brings home a new dog, a stray mutt named Duke (Eric Stonestreet) who quickly makes himself comfortable in Max’s space. Things get further complicated when Max and Duke become lost in the big city. In order to find their way home the two unlikely partners must cooperate with a group of rogue animals led by an aggressive bunny named Snowball (Kevin Hart).

There is much to like about this film. The humor is especially good, a mix of silliness for the kiddos with a few targeted jokes just for the adults. Helping this aspect is the voice cast, mostly comedians, who each offer a little of their own brand of humor to make things interesting. In the lead is Louis C.K. as Max, while the comedian's brand of dark and painfully honest humor may be significantly subdued throughout this family film, the delivery and execution of the comedic material is very much Louis C.K. Another highlight comes in the form of Kevin Hart as the fluffy, frenzied bunny Snowball. Mr. Hart is unleashed throughout this film, seemingly given freedom to develop a joke and adlib material at will. Snowball many times in the film steals the show with a mix of cuteness and comedy. 

It’s unfortunate that the story is many times a dull, reused list of ideas taken from other animated films. The well-developed characters support the “lost animals” story angle but there are times when the narrative operates at such a sluggish pace that nothing seems interesting. There are a few scenes that invigorate the story, like a right-of-passage ceremony orchestrated by the rogue pets involving a scary animal or a chase scene in the busy New York City streets, however the film never reaches the potential the premise invites. The secret enticed in the title has already been revealed, composed better in a film that was released just a few weeks ago “Finding Dory”. 

I had the opportunity to watch this film with my 4-year-old and based on the laughing and excitement displayed during the screening it’s fairly easy to say that there is a high recommendation for this film from my little one. While there isn’t much to separate it from other films like it, the voice cast is exceptional and the laughs are enough to tolerate 90 minutes for an enjoyable summer cartoon escape.

Monte’s Rating

3.00 out of 5.00 

The Purge: Election Year

The Purge: Election Year

Dir: James DeMonaco

Starring: Elizabeth Mitchell, Frank Grillo, Joseph Julian Soria, Betty Gabriel, Edwin Hodge, and Mykelti Williamson

 Turn to any television network over the next few months and the height for political dissension in America will be at its most aggressive levels. It’s during these specific times that my frustration with the political machine turns the most negative and disheartened, making a film like “The Purge: Election Year” seem more true-to-life rather than a work of fantasy. It’s this aspect, along with a clever marketing campaign utilized during the election year, which makes this third installment in the franchise far more interesting than it otherwise might have been. 

Social commentary in genre films is nothing new, George Romero, director of “Night of the Living Dead”, has done it exceptionally well in his zombie trilogy. While “The Purge: Election Year” squanders many opportunities to provide insight through its exploitation, the moments that it does utilize connective social commentary are effectively startling and stimulating. Director James DeMonaco, who has directed all three of the films in the franchise, has grown his dystopian vision from a small home invasion film, into a full blown city of chaos, and finally into a global conspiracy at the highest levels. 

 The Purge, a night where all criminal activity - including murder - is allowed, is a coveted right for Americans but also a death sentence for those not privileged with affording protection. Senator Charlie Roan (Elizabeth Mitchell), who has a tragic connection with The Purge, is now the leading Presidential contender with a strong anti-Purge movement to follow. Leo Barnes (Frank Grillo), returning from the second installment of these films, is now in charge of protecting Senator Roan so that she can make it to election day. Members of The New Founding Fathers of America (NFFA), the people who established the annual Purge event, conspire to eliminate the Senator. This leads Leo and Senator Roan, along with a market owner named Joe (Mykelti Williamson) and his employee Marcos (Joseph Julian Soria), into the streets of Washington D.C. on the deadliest night of the year. 

“The Purge” is a cat-and-mouse home invasion film that very quickly became a by-the-numbers slasher film, the most interesting aspect of that film was wondering what the world looked like outside of the barricaded door. “The Purge: Anarchy” worked significantly better than the original film because of the expanded world that it showcased; it also embraced the more extravagant exploitive attitudes which made it feel more like something made in the 1980’s from the Cannon Group studio. “The Purge: Election Year” takes a little from both of these films while attempting to add some socially aware narrative points that most often work best when utilized as imagery rather than banter. Whenever the group is journeying across the city, the film makes a point to display the madness happening in the streets. Violent scenes that emulate the progression of violence throughout history are displayed. These depictions are unsettling because the acts are so recognizable; whether the use of guillotine in an alley way, the fighting pit of street gladiators with swords, or the hanged corpses swinging from trees, these moments reflect the bedlam of another scene involving a blood stained Lincoln Memorial. Unfortunately these effectively startling scenes are undercut by a narrative that never gets a grasp of what it wants to say but instead boldly embraces the sentiment that violence is bad only to then utilize violence to make amends. The film would have done better to completely embrace its exploitation and subsequent provoking imagery, allowing the audience to make connections far deeper than the simplified back and forth justifications of political figures, one that is yelling “peace” and another yelling “purge and purify”. 

 “The Purge: Election Year” never finds that middle ground where it can be an entertaining exploitation fantasy and also a reflective commentary on the reality that we live in. Some may contest that the latter in the previous comment is unfairly asking too much from a film like this. I may agree with that assessment because calling your film “Election Year” provokes the sentiment that one will make their decision based on external extravagance and some will make their decision based on what is being represented underneath. Happy election year.

Monte’s Rating

2.50 out of 5.00