ESCAPE PLAN

by Paul Gibbs 
 
ESCAPE PLAN
Grade: C+
Starring Sylvester Stallone, Arnold Shwarzenegger, Jim Caviezel, Sam Neill, Amy Ryan
Directed by Mikael Hafstrom
There's a very fine line between good B-movie schlock and "so bad it's good" cinema. Escape Plan, the new geriaction thriller starring 1980's action superstars Sylvester Stallone and Arnold Schwarzenegger, toes that line constantly, easily ranking as one of the silliest, most nonsensical movies of 2013. But in its own gonzo way, it's actually kind of entertaining.

Stallone stars as Ray Breslin, a security expert who has made a career out of being imprisoned then busting out to find the weaknesses in prison systems. Breslin and his partners are approached with a proverbial offer they can't refuse: $5 million for Breslin to attempt an escape from "The Tomb", a top secret cross between Gitmo, Shawshank and Rura Penthe. Of course things don't go as planned and Breslin quickly becomes a genuine prisoner of this hellhole, teaming with a mysterious prisoner (Shwarzenegger) to escape from the evil, sadistic warden (Jim Caviezel).

A lot of the fun in an escape movie comes from the ingenious plan hatched by the prisoners for their escape. But, while Stallone is capable of being a better actor than he is often credited with being, he's always at his most effective playing simple but sincere characters, not the sort of tactical genius he plays here. Of course, the script gives him convoluted, nonsensical escape plans that don't exactly help create the impression of Breslin being a genius. Still, Stallone's tough guy persona continues to work surprisingly well, and he manages to have his usual star preseence here. But the real fun comes from Shwarzenegger, who is clearly having a blast getting the chance to steal the film in a scenery chewing supporting role, including a lengthy, oddly hilarious sequence where he speaks German and emotes like Al Pacino (Arnold is credited with a drama coach, probably for this scene). It's both a welcome return to form and a refreshing change of pace for the aging ex-governor. It's not great acting per se, but it's a delightful movie star turn that will likely entertain anyone who has fond memories of The Terminator, True Lies or other Shwarzenegger vehicles. The least successful piece of casting is Caviezel. He doesn't have the presence the role requires, and while I hate to promote type casting, there's something that's just wrong about watching Jesus torture Stallone (perhaps being tortured by Mel Gibson gave him a deep-seaded resentment of action stars).

In the end, the fun of seeing Stallone and Schwarzenegger teamed up, along with a certain charm to the goofiness of the film, and thankfully brisk pacing, makes Escape Plan a guilty pleasure, and a fun movie to riff on. While I have never been an ardent fan of Stallone or Schwarzenegger, I do have a fondness for them in some of their films, and that's almost certainly necessary to enjoy Escape Plan. My critical/analytical side is adamant that the movie isn't good, and that it has a positively absurd number of plotholes The part of me that has a fondness for silly, schlocky B-movies thinks it's weirdly fun.

Escape Plan is rated R for profanity, violence, and couple of painful sequences of Stallone trying to be funny.

RUSH

RUSH
GRADE: A
Starring Chris Hemsworth, Daniel Bruhl, Olivia Wilde
Written by Peter Morgan
Directed by Ron Howard
Rated R
Reviewed by Paul Gibbs

I have never been a car enthusiast. Not that I have anything against cars, I've just never been one of those guys who is in love with anything on wheels. And I'm not a huge fan of competition, which I believe is always more likely to bring out the worst in people than the best. So a movie about the intense rivalry between two 1970s Formula 1 auto racers holds about as little inherent appeal to me as I can imagine any movie could. However, when he's really on, director Ron Howard has a gift for immersing his audience in a particular world or subculture, and for shooting and staging it in ways that thrill us and engage our senses. Howard may not be one of cinema's most revered visionary autuers, and he has definitely given us some unfortunate misfires (The Davinci Code, How The Grinch Stole Christmas). But he is on  he 's really on, and his visual and technical skills, as well as the fluidity of his storytelling prowess, can be dazzling. Happily, Rush is one of the times Howard is really on, and he makes a very strong case for a third Best Director nomination (technically he only has two, but I refuse to accept his snub for Apollo 13).  As he did with his two best film, Apollo 13 and Frost/Nixon, he puts on the edge of our seats for a story where we know what is going to happen. And he pulls us inside an auto race here the way he pulled us inside a fire in Backdraft.

         Howard is also helped tremendously here by the return of Frost/Nixon screenwriter Peter Morgan, whose clever dialogue, brisk pacing and vivid characters is a huge asset in telling the story of James Hunt (Chris Hemsworth) and Niki Lauda (Daniel Bruhl), whose rivalry largely defined both of their racing careers. Another help is that Hemsworth and Bruhl are outstanding here.  Hemsworth's Hunt is the fun guy everybody wants to hang out with. He may be arrogant and reckless, but people like him. Bruhl's Lauda is the cold as ice outsider.  Just as arrogant as Hunt, he has boiled the thrill of racing into a sterile mathematic equation: Every time he races, there's a 20% chance he could die. If it goes to 21% percent, the risk is too much. Lauda is brilliant and talented, but nobody likes him. Hemsworth breaks out of his Thor persona a bit and really shows us why Hollywood seems to want to cast him in everything these days, giving an extremely engaging star turn that pulls us into caring about and even sometimes rooting for an often unsympathetic character who seems to care little about anything other than his own fun and glory. And Bruhl (best known to U.S. audiences for Inglorious Basterds) shines in the more complex role. Lauda is as abrasive as Hunt is charismatic, and just as prone unsympathetic behavior in his own way, and adding a great deal of nuance to the biggest dramatic developement of the film. It's a testament to the tremendous skill of everyone involved that, when the third act climax rolled around, I found myself so pulled into both characters that I was genuinely torn on which one I wanted to see emerge victorious, while at the same time feeling that I probably should dislike both of them. By the end of the film, I had found relatable qualities to both characters, and actually found merit in both of their philiosphies (while definitely not sharing either of them).

         But maybe the best work comes from Howard's longtime editors Mike Hill and Dan Hanley, who for me rank right behind living legends Michael Kahn and Thelma Schoonmaker as possibly the best in the business today. Here they do their most impressive work since their Oscar-winning effort on Apollo 13, creating an exhilirating, kinetic pace from them crazy ammount of gorgeous coverage Howard and cinematographer Anthony Dodd Mantle have given them, and yet somehow still eschewing MTV style hyperactivity.  The racing scenes are a masterful achievement from director, cinematographer and editors.

                Rush  will likely not turn out to be the most meaningful or important film of the year, but it is one of the most compelling, and unquestionably one of the most skillfund its visual excellence is complimented by terrific writing and acting. After a summer wherein so many movies didn't really live up to what I wanted them to be, Howard earns top marks for making a film that far surpassed my expectations. The veteran director has given us one of his best films, and reminded us just how good he can be.

THE GREAT GATSBY

Reviewed by Patrick Gibbs

GRADE: A+

Leonardo DiCaprio, Tobey Maguire, Carey Mulligan, Joel Edgerton, Isla Fisher

Screenplay by Baz Luhrman and Craig Pearce

Directed by Baz Luhrman 

The works of F. Scott Fitzgerald hardly seem like prime fare for 3D summer blockbusters - it almost seems like something you'd see on The Simpsons.  It is, to say the least, unusual. But so is Baz Luhrman.

The man responsible for a hyper active Romeo+Juliet set in "Verona Beach" and dancing waiters singing "Like A Virgin" in Moulin Rouge! may not be everyone's cup of tea, but love him or hate him, you have to acknowledge his  unique vision. When the song "My Way" was written, it might as well have been dedicated to Baz.

Nick Carraway (Tobey Maguire), a Yale graduate and WW I  veteran, is a depressed and disillusioned alcoholic staying in a sanatorium for treatment. When he struggles to articulate his thoughts, his doctor suggests writing it down, since writing is what brings him solace.

We flashback to the summer of 1922, where Nick moves to New York, where he takes a job as a bond salesman. He rents a small house on Long Island in the (fictional) village of West Egg, next door to the lavish mansion of Jay Gatsby (Leonardo DiCaprio), a mysterious business magnate who holds extravagant parties. Nick drives across the bay to East Egg for dinner at the home of his cousin, Daisy Buchanan (Carey Mulligan), and her husband, Tom (Joel Edgerton), a college acquaintance of Nick's, who is more than a bit of a cad and makes no secret to Nick that he has a mistress (played wonderfully by Isla Fisher.).. 

As the summer progresses, Nick receives an invitation to one of Gatsby’s parties. Upon arriving, he learns that none of the guests at the party, though there are hundreds, have ever met Gatsby himself, and they have developed multiple theories as to who he is. Nick meets Gatsby, who is surprisingly young and rather aloof, in person. Gatsby seems to take a liking to Nick and the two become mutual friends.  Nick later learns that Gatsby knew Daisy from a romantic encounter in 1917, and is still madly in love with her. He spends many nights staring at the green light at the end of her dock, across the bay from his mansion, hoping to one day rekindle their lost romance. Gatsby’s extravagant lifestyle and wild parties are an attempt to impress Daisy in the hopes that she will one day appear at Gatsby's doorstep. Gatsby now wants Nick to arrange a reunion between himself and Daisy. Nick invites Daisy to have tea at his house, without telling her that Gatsby will be there also.

If you've read the book, you know where things fo from here, and if you haven't, I'm not going to spoil anything.  Suffice it to say, with both Fitzgerald and Luhrman, it's at least a much about the lourney as the destination. Luhrman's sumptuous visual style mixes perfectly with Fitzgerald's lyrical writing style, and it's a match made in heaven. The use of modern music, ranging from hip hop to a remix of U2's "Love Is Blindness" is used to great effect; Luhrman wishes to capture the decadence of the Jazz age and by mixing modern elements makes it feel edgy and exciting in the way it was then, rather than the cleaned up, seemingly stodgy portrayal that comes in most modern portrayals. This also applies to the 3D, which is used to great and often genuinely beautiful effect, and we experience the excitement of the era in a way that I would argue captures the feeling much better than a more literalist take ever could hope to portray.

The performances are strong all around, with Mulligan shining brightly as Daisy and making it easy to see what it is that captivates Gatsby. But the triumph here is DiCaprio, and his portrayal of the classic character is nothing short of definitive, and should be remebered at Oscar time (a much better use of the great young actor than we've seen in recent years.).

The other advantage of the 3D is that it forces Luhrman to hold back just a little on the more frenetic elements of his visual style, and this may be his most successful over all film. This is not a movie for everyone, but I found it to be genuine work of art and believe it will stand as one of the summer's very best.

The Great Gatsby is Rated PG-13 for violence, language, and sensuality.

STAR TREK INTO DARKNESS

Reviewed by Patrick Gibbs

GRADE: A

Chris Pine, Zachary Quinto, Bendict Cumberbatch, Zoe Saldanna, Karl, Urban, Bruce Greenwood, Peter Weller and Alice Eve
Screenplay by Roberto Orci & alex Kurtzman & Damon Lindelof
Directed by J.J. Abrams

For once, the geek out movie of the summer is is not about a superhero.

 As many of us saw in the ten minute teaser before The Hobbit: An Unexpected Journey, the latest chapter of the quintessential science fiction franchise begins as t he USS Enterprise has been sent to a planet in the Nibiru system to observe a primitive civilization, and Spock in trapped inside a volcano which is about to erupt. Captain Kirk violates the Prime directive in order to rescue Spock, and is therefore demoted and ordered back to the academy. However, Admiral Christopher Pike (Bruce Greenwood), reinstated as commander of Enterprise in Kirk's place, talks his superiors into offering Kirk the position of first officer of the Enterprise.

The two attend an emergency meeting at Starfleet Command to discuss the bombing of a secret installation in London, part the top covert agency  Section 31 (familiar to fans of Deep Space Nine.). The bombing appears to have been perpetrated by former a Starfleet agent named John Harrison (Benedict Cumberbatch, the star of the BBC's Sherlock.). After a second attack, the crew of the Enterprise are sent to hunt down Harrison, who is hiding on the Klingon homeworld of Kronos.

Star Trek Into Darkness moves at a break neck pace while managing to preserve not only character and story, but more than a little bit of political subtext. The Federation in the years following the destruction of the planet Vulcan is clearly post 9/11 America, and this film could have been called Star Trek Into Zero Dark Thirty, the parallels are so clear. Fortunately they are also motivated, insightful and poignant; this isn't a cheap, lazy trick like the WMD's in Prince of Persia. In fact, truth be told, in many ways this movie goes more in depth into serious and thoughful questions about right and wrong in dealing with the unthinkable than Kathryn Bigelow's Academy Award nominee, though in fairness, being not only fiction, but science fiction, it has a lot more leeway to do so.

Once again, director J.J. Abrams and his writing team have made a blockbuster action film that will please non fans of the iconic series while throwing several huge bones to die hard Trekkers. References to past films and TV episodes abound, and while the film is still pretty  fun if you don't know Star Trek, it's an absolute blast if you do. And other science fiction references can be spotted, in particular a blatant but respectful homage to Ridley Scott's classic, Blade Runner.  The cast members seem to have settled into their roles, and the interplay between Chris Pine's Kirk and Zachary Quinto's Spock is superb. Cumberbatch proves to be an extremely powerful presence, even if his ethnicity and physical build don't fit the role he's playing, and at times he really owns the film. There's no doubt he's going to get a career boost from this one. Alice Eve is charming as a character that will be familiar to fans, and Peter Weller, the original Robocop, makes a great Dick Cheney.

Star Trek Into Darkness will easily compete for the title of most entertaining film of the summer, and it's hard not to walk out of it giggling at the prospect of Abrams next directing gig helming Star Wars: Episode VII.

The film is rated PG-13 for violence, profanity and some sexuality.

IRON MAN 3

Reviewed by Patrick Gibbs

GRADE: B +
Robert Downey, Jr., Gwynneth Paltrow. Don Cheadle, Guy Pearce, Rebecca Hall and Ben Kingsley 
Screenplay by Drew pearce & Shane Black 
Directed by Shane Black

Let's be honest: at this point, MARVEL STUDIOS doesn't make movies. They make the most expensive, spectacular TV series of all time, and they release a new episode on the big screen every six to twelve months. They are in serious danger of over saturating  the market in much the same way that the Star Trek franchise did toward the end of the 90's, when it was impossible to look forward to more Star Trek because there was always a version around in one form or another.

As such, I wasn't hugely excited about Iron Man 3.  As great as Robert Downey, Jr. is in the role of Tony Stark, the character wasn't particularly engaging in Iron Man 2, which was really just a two set/commercial for The Avengers, which came just last summer. There simply hasn't been any time to miss him. And with a sequel to the megafranchise of all time coming in the near future, there's the inescapable feeling that nothing too major can happen in any of the individual Avenger character films, because they are saving the big stuff for when they get together.

However, whether it's MARVEL, or merely writer/director Shane Black (the man who created the Lethal Weapon franchise), someone hit upon the idea that if this is going to be a glorified, big screen TV series, let's have some fun with that. In the same way that individual episodes of The X Files or Doctor Who can vary wildly in tone - one week you have horror and the next you have light comedy - Black has created a departure from the norm while still maintaining largely true to the material, and the result is a wild, if frenetic, ride.

As the film opens, Tony  recalls a New Years Eve party in 1999, which plays like a Thanksgiving episode of Friends.  Tony is busy flirting with scientist Maya Hansen (Rebecca Hall), inventor of Extremis—an experimental regenerative treatment intended to allow recovery from crippling injuries - and as such has little time for fellow scientist Aldrich Killian, who offers them a place in his company Advanced Idea Mechanics. When Stark promises Killian that he will meet him on the rooftop, Killian waits on the roof but, alas, his hero never shows up, and he is faced with the sad fact that he is essentially the same character Jim Carrey played as Edward Nigma in Batman Forever, right down to the glasses and bad wig.

Years later, Stark's experiences during the alien invasion of New York are giving him panic attacks. Restless, he has built several dozen Iron Man suits, creating friction with his girlfriend Pepper (Gwynneth Paltrow.). Meanwhile, a string of bombings by terrorist The Mandarin (Ben Kingsley)  has left intelligence agencies bewildered by lack of forensic evidence. When Stark Industries security chief Happy Hogan (Jon Favreau, who directed the first two Iron Man films and shows tremendous class by showing up to play a supporting role here) is badly injured in one such attack, Stark overcomes his stupor and issues a televised threat to the Mandarin, who responds by destroying Stark's home with helicopter gunships, and as far as anyone knows, Tony Stark is killed.

It's here that the film really takes off and becomes something utterly unique, as Tony's suit is severely damaged and he is forced to rely on his own ingenuity, and the help of a young boy (Ty Simpkins). The interplay between Downey and Simpkins is hilarious and is worth the price of admission alone. From here, the movie is equal parts science fiction and zany comedy, going so much wilder and sillier than the previous film that I found myself thinking of Gremlins 2 at more than one point.  There are also heavy doses of the 80's buddy cop style action formula to remind us that this is, after all, Shane Black. With this much fun going on, the movie can be afford to be a bit short on coherent plotting. If Samuel Goldwyn were alive today, he's say this film had a lousy plot but a great story, and he'd be right. The story of Tony Stark and his efforts to focus his world and face his demons, and to figure out where to go next, is truly terrific, and makes up for the rather sloppy plot of Aldrich Killian's revenge scheme.

In the end, Iron Man 3 is just another super hero movie, albeit with some delightful twists on the genre. But much like Tony Stark, the film, and perhaps the entire Marvel superstructure, finds a way to make that more than enough, and frankly, more power to them. Well, not really. They don't need any more power. Please don't give them any more power.

Iron Man 3 is rated PG-13 for a surprising amount of violence, mild profanity and sensuality.

EASTER AT THE MOVIES

By Patrick Gibbs

Generally, Easter is not as movie heavy a Holiday as, say, Christmas, or even the 4^th of July. We have some great holiday specials, like It's The Easter Beagle, Charlie Brown and Tale of The Bunny Picnic, but in terms of theatrical classics, we come up a little lean. There's the traditional broadcast of The Ten Commandments, which makes slightly more sense than watching Schindler's List,but still, it's not quite a perfect fit.

Here are a few suggestions for movies to get you in the spirit of the day.

1. BEN HUR

If you are intent on watching Charlton Heston on Easter Sunday, might I suggest this as a more appropriate choice. I'm not a huge Heston fan, but he gives an uncharacteristically low key performance here in a genuinely great film, easily one of his best (up there with Touch of Evil, Planet of the Apes and Bowling For Columbine.). Heston play the role of Judah Ben-Hur, a slave humble slave who meets the Son of God, and along the way inspires not only large sections of GLADIATOR, but also the Pod Race in STAR WARS: EPISODE I- THE PHANTOM MENACE.

 2.RISE OF THE GUARDIANS.

Released only last year, this was an underrated animated gem that was aimed targeted for a Christmas release but actually takes place at Easter, and features Hugh Jackman as the voice of t he Easter Bunny, who is for some reason a butt kicking Aussie who throws boomerangs when he is not coloring eggs. Featuring a stellar voice cast, a triumphant score from composer Alexandre Desplat, dazzling visuals and a hefty dose of Guillermo Del Toro, this is a gem that should join THE NIGHTMARE BEFORE CHRISTMAS as a yearly, multi-holiday tradition.

 3. THE PASSION OF THE CHRIST

To say that there is a lot of baggage attached to this movie who be a gigantic understatement. I truly do not think the films portrays any Anti-Semitic themes and have been a staunch defender of the idea of this point, though every time Mel Gibson is arrested and goes on a rant about the Jews taking over the world it does kind of undercut my argument. But that doesn't change the fact that this is a great film.  It's also a brutal, unflinching look at the suffering that Christ endured, and people have argued in circles over the value of seeing that portrayed so vividly. Personally, while it's for everyone, I believe that if you are a believer it's a powerful reminder, and an unforgettable experience.

5. RUNAWAY JURY

John Cusack stars as Nicholas Easter, a man who deliberately gets himself assigned to a juror in a high profile class action lawsuit against gun companies, in this adaptation of the John Grisham best seller which was originally about Tobacco companies. (Ok, fine . . . MAYBE this one is a bit of a stretch, but I liked it.).

 

6. EASTER PARADE

Judy Garland and Fred Astaire join together to celebrate one of Irving Berlin's most utterly forgettable songs. Warning: Do Not Watch This Movie While Operating Heavy Machinery.

 

7. NIGHT OF THE LEPUS

Giant mutant rabbits terrorize the southwest. Seriously.

 

8. STAR TREK III: THE SEARCH FOR SPOCK

Leaonard Nimoy stepped in the captain's/director's chair for this exciting, in convoluted, space adventure.  

The crew of U.S.S. Enterprise illegally travels to the GENESIS system, where "life comes from lifelessness," and after much battling with Klingon bastards and trying to figure out why Saavik doesn't look like Kirstie Alley, Spock is finally resurrected.

 

9. RABBITS

David Lynch directs this story of a group of humanoid rabbits and their depressive, daily life. The plot includes Jane ironing, Suzie sitting on a couch, Jack walking in and out of the apartment, and the occasional solo singing number by Suzie or Jane. At one point the rabbits also make contact with their "leader." One of the rabbits is played by Naomi Watts. I DID NOT MAKE UP THIS MOVIE.

10. (tie) HARVEY and DONNIE DARKO

James Stewart and Jake Gyllenhall pal around with giant rabbits only they can see.

THE CROODS

Reviewed by Patrick Gibbs

GRADE: A -  
Nicolas Cage, Emma Stone, Ryan Reynolds, Cloris Leachman, Catherine Keener and Clark Duke
Story by John Cleese, Kirk DeMicco and Chris Sanders
Screenplay by Kirk DeMicco and Chris Sanders
Directed by  Kirk DeMicco and Chris Sanders

Eep (voice by Emma Stone) is a girl in a family of cavemen living in pre-historic times. Eep's father, Grug (Nicolas Cage) is a devoted, well meaning family man who keeps his his Crood brood alive by shutting them away in a cave and living in fear.  When in their cave home, Grug tells a story to the rest of the family, which includes his wife Ugga (Catherine Keener), daughter Sandy, son Thunk , and his mother-in-law (Cloris Leachman), with a character that mirrors Eep's curious nature. He uses this story to warn the family that exploration and 'new things' pose a threat to their survival. This irritates the bored and adventurous Eep, and when the family falls asleep after dark, she ignores her father's advice, and leaves the cave.

While venturing off, she meets Guy (Ryan Reynolds, minus the annoying smirk), an intelligent caveboy. She becomes fascinated with the fire he manages to create, and is eager to learn more. He tells her about his theory that the world is reaching its 'end', before giving her a noise-making horn to call him if she feels the need for help. He then abandons Eep, who is then caught by Grug, who had been frantically searching for her. Much later, he brings her back home, only to find that their cave home has collapsed from an earthquake. All the family then climb over the wreckage to discover an other-worldly land, much different from their usual surroundings of rocky terrain.Together they must set out to find a new home.

To say my expectations for this one were low is an understatement: while I tend to go pretty easy on animated films, the "modern stone age family" concept here hardly seemed like a new one, and the pairing of Cage and Reynolds, two actors who have an uncanny knack for signing on to terrible films, was foreboding.). But movie surprised me with action packed adventure scenes, eye popping visuals, genuine laughs, strong voice performances, a glorious score by Aalan Silvestri, and a lot of heart.

Cage, once one of Hollywood's finest, is in top form here, and thanks to his animated facade he looks more human than he has in years. He gives an energetic yet nuanced performance that would be hard for many actors to match. But Emma Stone, who just keeps getting more delightful with each film (the total waste of Gangster Squad notwithstanding) is pitch perfect in the role of Eep. In fact, i had no idea it was her until the film was over. She and Cage have so much chemistry is hard for me to believe they weren't in the studio recording their voices together. The whole cast fares well, and as a committed Ryan Reynolds detractor I have to admit that when I was just listening to strong comic delivery and didn't have to look at his face, I actually enjoyed his performance.

The Croods may not be up there with PIXAR's very best, but frankly it stands up well to their recent fare, and it's a further sign that DreamWorks Animation is on a roll.

I'm going to admit that my view of this movie may be influenced by watching it with my own little six year old  Eep, who howled with laughter, clutched her seat in suspense, and was moved by the emotion, but at the same time, I make no excuses or apologies; this is flat out a good film and I can't wait to see it again.

The Croods is rated PG for violence and peril, but is thankfully fairly low on the kind of humor one might fear from the title.