Top Gun: Maverick Review

Top Gun: Maverick

Dir: Joseph Kosinski

Starring: Tom Cruise, Miles Teller, Jennifer Connelly, Jon Hamm, Glen Powell, Monica Barbaro, Bashir Salahuddin, Charles Parnell, Lewis Pullman, Danny Ramirez, Greg Tarzan Davis, and Ed Harris

2h 11m

 

In the opening of director Joseph Kosinski’s “Top Gun: Maverick,” a sequel to the beloved 1986 film, the iconic theme plays over scenes of a fighter jet prepping for takeoff. And as the engines explode and the jet booms into the sky, Kenny Loggin’s “Danger Zone” pumps through the speakers. In these first few minutes of the film, without a single line of dialog spoken, it’s clear that “Top Gun: Maverick” targets the cinematic nostalgia of the late 1980s. 

 

Tom Cruise returns as Navy pilot Pete “Maverick” Mitchell, upgraded from Lieutenant to Captain but still arrogantly brazen with the higher-ups looking to ground him once and for all. Times are changing, drones are making the top aviators obsolete, and Maverick realizes that his time in the sky might be coming to an end. Stationed at a test facility in the Mojave Desert, Maverick defies orders from an Admiral (Ed Harris) and pushes an advanced jet to Mach 10 speed. Things don’t end well. The Admiral, in response to Maverick’s final plea against droned pilots, tells him, “The future is coming, and you aren’t in it.” 

 

“Top Gun: Maverick” is a sequel, but it feels more like a reboot. From a story perspective, the framework is similar, in some ways identical, to the original film. Scenes feel pulled from the 1986 movie, updated with new faces, and reintroduced for modern times. Tom Cruise chases a jet on a motorcycle, shirtless sports are played in the sand, and one character swaggers and taunts other pilots in the Top Gun program with smirking, blond-haired similarities of a past character. It’s lazy storytelling, but something in the charming tone, purposefully old school style and action-packed pacing hides the faulty parts. 

 

Lieutenant Bradley “Rooster” Bradshaw (Miles Teller), whose late father Nick “Goose” Bradshaw was Mavericks wingman from the original film, is recruited to an elite squad of pilots to fly a top-secret mission with parameters that seem impossible for an average pilot. After being saved from court-martial by Admiral Tom “Iceman” Kazansky (Val Kilmer), Maverick is ordered back to the Top Gun academy to teach and prepare the pilots for the mission. 

 

The addition of Rooster offers a nice conflict to the story, and Teller is more than capable of holding his own against Cruise. While Rooster’s story plays just a small piece in the film, it helps connect the dots between Maverick’s unresolved emotions from the past and the resistance he exhibits moving into the future. The death of Goose and the failure Maverick feels in being a father figure to Rooster are quickly examined but do a decent enough job of introducing internal conflict that requires resolve. 

 

The more superficial conflict is examined through the lens of zooming jets in combat in the sky. The action is exceptional throughout the film, with most scenes featuring the actual actors twisting, turning, and being placed in situations with the immense forces exerted on their bodies. It’s exciting filmmaking to watch, adding another element to blur the lines between the special visual effects and reality, a trait is has become a calling card for any Tom Cruise fronted adventure. 

 

“Top Gun: Maverick,” with its purposeful nostalgic callbacks and familiar storytelling design, is a delightful movie. Watch it on a giant screen and prepare yourself for a popcorn movie of the highest cinematic gratification of recent years.  

 

Monte’s Rating

4.00 out of 5.00

 

Only The Brave Review

Only The Brave

Director: Joseph Kosinski

Starring: Josh Brolin, Miles Teller, Jeff Bridges, Jennifer Connelly, James Badge Dale, Taylor Kitsch, Andie MacDowell, Geoff Stults, and Ben Hardy

The story of the Granite Mountain Hotshots is tragic and heroic. It’s a story that displays the consistent, and often underappreciated, bravery that firefighters demonstrate while battling some of the biggest fires in the country. 19 Granite Mountain firefighters gave the ultimate sacrifice on June 30th, 2013 in Yarnell, Arizona, in one of the deadliest wildfires in recent U.S. history.

Turning the story of these men and their specialized work into a film is a daunting task, especially when it comes to creating a biography that engages and honors the memory of these firefighters. Director Joseph Kosinski, who tacked the science fiction films “Tron: Legacy” and “Oblivion”, may not seem like the most likely choice. However, “Only the Brave” operates as a film that aims to pay tribute to the memory of these firefighters first and foremost.

“Only the Brave” takes its time telling the story of the Granite Mountain team, watching them progress towards certification as the nation’s first municipal firefighting team with elite status as “hotshots”, which is the title given to firefighters who specialize in wildfire suppression tactics. Leading the team from Prescott, Arizona is Eric Marsh (Josh Brolin), a tough supervisor who is haunted by dreams of a bear engulfed in flames. Eric and his wife Amanda (Jennifer Connelly) have a strained relationship due to the prolonged hours Eric works. Preparing for their certification opportunity, Marsh hires a new recruit named Brendan McDonough (Miles Teller) who is trying to turn his life around. McDonough earns his place within the team, “the family” as many of the firefighters describe it.

“Only the Brave” operates differently than other films like it. Take for instance a film like “Blackhawk Down” where much of the story is told through an action vehicle lens, “Only the Brave” rarely utilizes fire as motivational force. Instead the film steadily focuses on the characters and the drama that takes place away from actual firefighting, at home and during the down time. Mr. Kosinski utilizes these moments to provide insight into the lives of the firefighters, we see them with their families and watch them bond as teammates. Whether it’s taking care of an infant with a high fever, arguing with a significant other about life’s problems, or hanging out a barbecue, the film displays the ordinary and everyday lives of these men away from their heroics inside a dangerous fire. While this has a tendency to single out certain characters, it’s important to remember that all these men have a story to tell, it never undervalues the brotherhood these men have with one another. 

The cast is a group of recognizable faces. Josh Brolin plays Eric Marsh as a tough but fair leader. James Badge Dale plays Jesse Steed, the second in command to Marsh, with loyalty and an unwillingness to let his team be anything but the best. Miles Teller plays Brendan McDonough with empathy, portraying a young man doing his best to make good on a second chance. Jennifer Connelly plays Amanda Marsh with compassion; she is a woman who must share her husband with a career. Connelly and Brolin have good chemistry even though they are stilted with some unfortunate dialog. 

It’s impossible to honor each of the 19 men equally, even within the 133 minute running length of the film. While some of the specific stories and characters are singled out for dramatic storytelling purposes, the emphasis remains on the aspect of honor and bravery. Regardless of whether you are familiar with the story, everyone knows the tragic and devastating outcome; and trust me it’s one of the most heartbreaking scenes you’ll see in the cinema this year. These were real people, with real families, who made a real sacrifice for public safety. “Only the Brave” may not be the most unique title but it’s the perfect phrase to describe the men in this story.

Monte’s Rating

3.75 out of 5.00

Bleed For This Review

Bleed For This

Dir: Ben Younger

Starring: Miles Teller, Aaron Eckhart, Katey Sagal, Ted Levine, and Ciarán Hinds

Vinny “The Pazmanian Devil” Pazienza is a boxer with an unbelievable story. It’s not unbelievable because of the amazing fight he had with Roger Mayweather. It’s not unbelievable because of the WBA World Title he won against Gilbert Dele. And it’s not unbelievable because he stood toe-to-toe with one of boxing’s greatest champions, Roberto Duran, and was still standing when the final bell rang. No, it’s because Vinny Paz beat the odds after a terrible car crash, one that nobody in the boxing world thought he would come back from. Vinny Paz broke his neck, refused to stop fighting, and worked diligently to make a return to the ring.

Director Ben Younger directs “Bleed For This” with a constant focus on the charismatic, arrogant Vinny Pazienza, played fiercely by Miles Teller. The film utilizes effectively many of the familiar themes boxing films have employed in order to display the fight of recovery Mr. Pazienza pursued. “Bleed for This” may not be as technically exciting or crowd pleasing like other boxing films, the journey for Mr. Pazienza is completely captivating.

The film begins with Vinny (Miles Teller) desperately working out on a bicycle, his body wrapped in plastic. Vinny is trying to make weight for a big fight against the famed Roger Mayweather. Many boxing insiders, including his trainer (Ted Levine), believe Vinny's career is coming to an end after the fight. This doesn't stop the boxer who quickly finds a new trainer (Aaron Eckhart), a struggling alcoholic, who moves him up a weight class and makes him a contender again. At the peak of Vinny Paz's career as a boxer a terrible event takes everything the fighter has trained for away, placing the future of his fighting career in jeopardy.

A few months ago a boxing film called "Hands of Stone", about the career of iconic Panamanian fighter Roberto Duran, was in theaters. Duran and Pazienza fought during the same time period, they also fought each other in a particularly classic match. What makes these films so different, and what highlights "Bleed for This", is the nature of the narrative. Both boxers have exceptional careers and have had classic matches but Vinny Paz has the story that feels more cinematic because it is so hard to comprehend the journey after his injury. A boxer with a broken neck makes a comeback and the first fight after injury is against an already established boxing legend, every punch has the potential for catastrophic consequences.

For boxing fans all the moments that define boxing films are here. This helps and hinders the film, it helps when the complicated characteristics of a boxer are accommodated by a fantastic performance from Miles Teller and it hinders the film when fight scenes are composed exactly like everything we've seen before.

Performances throughout the film are great, especially Miles Teller who really embodies the mannerisms and accent of Pazienza. Aaron Eckhart is also good, playing against the type that he is usually cast in. However, what makes these two performances excel isn't the fact that Mr. Teller composes a loud, brass, unapologetic character or that Mr. Eckhart is stepping outside of the comfort zone with a role, it's instead the combined relationship that the two actors compose as coach and athlete. The have an honesty with one another that is so true of the dynamic in athletics.

"Bleed for This" is better than some of the other "based on a true story" boxing films. While the film may not have the spectacle of something like "Creed", it still composes a great character dynamic accommodated by great performances from Miles Teller and Aaron Eckhart. It displays the mentality and heart of a fighter, that no matter what odds are in their path, they refuse to acknowledge defeat.

Monte's Rating

3.50 out of 5.00

The Divergent Series: Allegiant - Part 1

The Divergent Series: Allegiant – Part 1

Dir: Robert Schwentke

Starring: Shailene Woodley, Theo James, Miles Teller, Zoë Kravitz, Ansel Elgort, Naomi Watts, Octavia Spencer, and Jeff Daniels

Lionsgate

121 Minutes

“The Divergent Series” has been moving along since its lackluster introduction two years ago. Based on the successful young adult novels, told through three books by author Veronica Roth, “The Divergent Series: Allegiant – Part 1” has taken the route of other final installment films, like “The Hunger Games: Mockingjay” and “Harry Potter and the Deathly Hallows”, by splitting their finale into two films. The results of this method have been somewhat hit or miss, an attempt to build-up towards an ending that will leave you eager for the final installment that you are asked to wait for;  “Allegiant – Part 1” unfortunately doesn’t leave you wanting more and instead feels like a film franchise that has lost its way. 

The recap to this point is that the world has been destroyed and the population still living in a dilapidated, imprisoned Chicago have been divided into factions based on virtues. Tris (Shailene Woodley) doesn’t fit into any individual faction but instead holds significant power within each; she is categorized as Divergent. Along with her boyfriend Four (Theo James) the two lead a rebellion that overthrows the government system that is trying to eradicate all unwanted Divergents.

This new film finds Tris and Four, along with her brother Caleb (Ansel Elgort), backstabbing Peter (Miles Teller), and loyal friend Christina (Zoë Kravitz), trying to escape new leadership who seem determined on repeating the sins of the past. Escape means venturing into the unknown, beyond the confines of the wall that hold them captive. Tris, looking for hope and freedom, encounters another group of people on the other side of the wall who have been watching her entire journey from the time she was a baby.

So what’s wrong with the film? For one it’s filled with a bunch of needless, overlong scenes. And at two hours in length every repeated step is felt. The group walks through a raining nuclear wasteland, the best set piece of the film series so far, and directly into a camouflaged army working for The Bureau of Genetic Welfare. From here the familiarity takes over, the group is divided into work factions again, the community is being protected from unwanted people living outside the confines, and authority is controlled by the forceful soldiers blindly doing the bidding of their master. Sound familiar? Still, brave Tris, the strong female character established in the first two films, should maintain focus right? Unfortunately the usually keen and intuitive Tris is completely blindsided and willing to trust an obviously suspicious leader named David (Jeff Daniels). Tris, in this movie, is a difficult character to invest in, let alone cheer for when the time for action comes.

There are some good parts. Shailene Woodley continues to bring something interesting into the composition of her heroine, regardless of how hard the narrative tries to undermine her. It could be discerned that even the best heroes have moments of weakness because of their inherent pursuit for peace and hope, if so, Ms. Woodley is doing her best to display this sentiment to her character and it shines in small moments. Miles Teller is still around and still provided with welcome opportunities to let his comedic side shine, even when he is throwing a temper-tantrum about the world being against him.

“The Divergent Series: Allegiant – Part 1” is trying to extend its life, however splitting its finale into two parts may not have been the best plan. Instead of building anticipation for the final chapter of the series, the film feels unfortunately lost in its own unnecessary designs.

Monte’s Rating

2.00 out of 5.00

Fantastic Four Review

Fantastic Four

Dir: Josh Trank

Starring: Miles Teller, Michael B. Jordan, Jamie Bell, Kate Mara, Reg E. Cathey, and Toby Kebbell

A new superhero movie seems to be coming out every few months, that’s exciting for comic book fans but also a risky gamble to maintain that old mantra of “quality versus quantity”. It unfortunately would seem that the “quantity” aspect has won out with the latest comic book property the “Fantastic Four”. It’s a seemingly rushed film that lacks on numerous levels, most notably the primary reason fans flock to the theaters…because they want to be entertained.

The film starts at the beginning, with a young Reed Richards (Owen Judge/Miles Teller) standing at the front of the class telling his bewildered classmates about a science project that would allow his machine to transfer matter from one dimension to another parallel one. No one believes him except Ben Grimm (Evan Hannemann/Jamie Bell), who helps Reed complete the machine only to have it blow the power in the entire neighborhood.

Director Josh Trank, who helmed the ingenious science fiction film “Chronicle” in 2012, sets up the origin in a great way. Introducing the audience to these pivotal friends before they become supporting superheroes helps establish their bond, an emotional component that connects them beyond the conflicts that are coming. We see these two characters grow from inquisitive kids to exceptionally gifted teenagers who are targeted by a research center in Manhattan.

Franklin Storm (Reg E. Cathey) is trying to accomplish the same result as Reed’s experiment; Franklin recruits Reed to join his team that also includes his daughter Sue (Kate Mara). Upon arrival in Manhattan work begins quickly once two new members join the team. Franklin’s son Johnny (Michael B. Jordan) joins after crashing his vehicle in a racing incident and Victor von Doom (Toby Kebbell), a brooding intellect who left the research center, joins reluctantly. The team, amidst pressure from a government agency that plans to take over the project, sneaks a secret trip to the parallel dimension but things go terribly wrong resulting in unexpected powers for the team.

The film feels like one long, exaggerated introduction. It’s hard to call it an origin story because it takes nearly half the movie to finally explain how this team gained the super powers displayed in every trailer for this film. The film drags along after the quick introduction of the characters as children, before the top billed cast takes over acting duties, which is when the entire tone of the film stalls completely. The first ten minutes displays promise, only to then lose grasp of the narrative movements and linger aimlessly towards the wrap-up. You’ll wonder to yourself, once the villain returns, why there is nothing intimidating or threatening about him. It’s because nothing has been earned, a quality that unfortunately exists with a majority of these characters.

“Fantastic Four” is a missed opportunity to make up for past incarnations of the comic book super team. Other superhero films have made even secondary comic characters completely interesting and entertaining, the same attention should have been given to these iconic characters in the Marvel comic book universe.

Monte’s Rating

1.50 out of 5.00

Whiplash Review

Whiplash

Dir: Damien Chazelle

Starring: Miles Teller, J.K. Simmons, Melissa Benoist, and Paul Reiser

106 Minutes

Rated R

Names like Miles Davis, Art Tatum, John Coltrane, and Charles Mingus introduced me to the world of jazz music. “The Monster” by Gene Krupa and Buddy Rich, two of the best jazz drummers of all time, was the song that enlightened my ears towards percussion lead jazz music. Buddy Rich's solo in “The Monster” is something impressive, just like director Damien Chazelle’s film “Whiplash”. The fitting title describes in more ways than one the tonal quality of the film, which is harsh, unexpected, and at moments painful. Lead by impressive performances from both Miles Teller and J.K. Simmons, Chazelle has crafted a standout film.

Andrew Neyman (Teller) is an aspiring student at a prestigious east coast music conservatory. He is introduced playing his instrument of choice, the drums. Andrew is a first year student, relinquished to turning sheet music for older students and practicing countless hours in wait for his opportunity to showcase his skill. Opportunity ferociously comes in the form of Terence Fletcher (Simmons), an abrasive instructor of the top jazz ensemble at the school who utilizes terrifying methods of education. Fletcher sees potential in Andrew and challenges him through vehement verbal abuse and all-around intimidation. Andrew, wanting to be the best, becomes obsessed in the search for perfection.

How do we motivate each other? Positive reinforcement or supportive words of encouragement are two ways? If kindness and heartfelt sentiments, amid a swell of uplifting music, are what you are looking for in ‘Whiplash”, then you may have watched the wrong trailer because the closest you’ll come to any of those qualities would be heartfelt sentiments…meaning obscenity laced shouting from the heart and felt forcefully across the face with a slap sentiments. J.K. Simmons gives R. Lee Ermey’s “Full Metal Jacket” character, Sergeant Hartman, a run for his money as the vicious, some may utilize bullying, instructor Terence Fletcher. With motivations that are never fully explained or completely identified, the viewer is left to examine the critical methods of abuse for purpose. Is a certain amount of unrelenting push needed to reveal potential?  Or is it simply the flawed shortcomings of a miserable man? These questions prove an interesting dichotomy when matched against a character, Andrew, whose talents boast unmatched potential but whose character also craves acceptance and reward. Chazelle handles this aspect exceptionally in many of the scenes between the two figures.

Miles Teller continues to impress. His performance displays the progression of his characters consuming obsession. Practicing to the extent of bleeding and cutting off relationships before they have chance to develop. Andrew wants to be remembered as one the greats, which he points out aggressively in one scene during dinner with friends and family. Chazelle does a fantastic job of playing Fletcher and Andrew off against each other; the tension is near unbearable in parts. Even before we see Fletcher in full profanity laden, homophobic and racially charged assault, the viewer is offered acknowledgement of his control through a scene that shows his intimidation by the expressions of a class full of students who stand with heads down in silent fear and anticipation. J.K. Simmons is terrifying and fantastic.

Familiar themes are present however, where other films would offer predictable setups and conclusions, “Whiplash” keeps an unstable narrative tone. Though conventions inevitable take over and the abuse becomes so over-the-top it feels far-fetched, Chazelle still maneuvers the film with skillful guidance accompanied by exceptional performances, making “Whiplash” as bold and confident as the jazz music that supports it.

Monte’s Rating

4.50 out of 5.00