Broken City

Man of Steel

As other superhero franchises have recently established themselves as powerhouses (Batman, Iron Man), the venerable Superman franchise seemed like an afterthought.  Brandon Routh is somewhere salty as hell.  You’re probably like, who the hell is that?  Exactly.  Routh wore those famous blue tights only once in 2006’s Superman Returns, and now he’s a distant memory.  It seemed like Superman was lost in the iconic days of Christopher Reeve…until now.

Once Christopher Nolan (The Dark Knight Rises) was attached to the project, I think people were amenable to giving it a chance.  Just conjuring images of The Dark Knight franchise gets me excited, and Nolan brought instant credibility to the film.  The addition of director Zac Snyder (300, Sucker Punch) also ensured a fresh departure from the last Superman attempt.  The movie begins on Krypton, with a frantic Lara and Jor-El (Russell Crowe, Broken City) facing the destruction of their planet.  General Zod (Michael Shannon, Mud) has attempted an unsuccessful coup and been subsequently banished to an intergalactic prison.  Krypton and its inhabitants will become extinct as the planet comes to a tumultuous, destructive end.  Anticipating such an apocalypse, Jor-El and Lara planned to send their newborn Kal-El to another planet where he will thrive and ensure the survival of his race.

As the familiar story goes, Kal is given the name Clark and raised by the Kents – the couple who discovered him (and the vessel that brought him) on their farm.  However, after leaving Krypton the movie shifts to Clark’s adult life, as he grapples with finding his place on Earth, given his otherworldly abilities.  Nolan’s influence was apparent, as he offered a non-linear approach to Clark’s story.  Instead of following his upbringing chronologically, the movie flashes back to key events in Clark’s childhood that shaped his current existence.  We’re introduced to him as an adult, a nomadic laborer of sorts who lives in relative obscurity.  Clark consistently struggled with the two distinct messages given to him by both fathers.  Jor-El believed that he was special and could be a symbol of hope to many people.  Conversely Jonathan Kent (Kevin Costner, The Company Men) cautioned his son that people will fear what they don’t understand, and that mankind would reject him.

When General Zod is released from his interstellar prison, he locates Kal on Earth and pursues him there, spelling dire consequences for humanity.  This new development is what forces Clark into action, causing him to confront his obligation, if he even has one.  I’ve purposefully omitted a lot of plot details, because I don’t want to spoil the movie for you, plus I think they are inconsequential to my discussion of the film.  There was an earnest quality to the film, though not quite as dark as the Batman movies for which Nolan is known.  This subtle restraint in storytelling made the interpretation unique, and I can say that Man of Steel was not like The Dark Knight or any of the Iron Man movies.  Whereas Batman seems affected by external forces, Superman’s struggle is largely an internal one – at least in this first edition of the reboot.  The structure of the movie was flawless, and the viewer feels as if he or she really understands Clark’s conflicting duality – revelation vs. obscurity.  Couple that with a lifelong feeling of being the only one of your kind, and it’s easy to see why Clark felt confused and alone.

In addition to the storyline and character development, I thought the casting was also effective.  Henry Cavill (Immortals) is perfect as the new Superman.  He looks the part and he is believable.  Those are big tights to fill, and I’m sure the role is his for a while to come, especially since Man of Steel 2 has already been announced.  The casting of Amy Adams (Trouble With the Curve) as a more intrepid Lois Lane was also successful.  Russell Crowe is incomparable; you already know this.  What more can I say?  The movie was nearly flawless.  In fact, the only criticism I have is minor and probably misplaced.  I’m no expert, but I had a small quibble with the editing.  I thought a few scene transitions were not seamless – but again, what do I know?  The special effects were incredible, and no self-respecting movie buff would go more than a week or two without seeing this movie.  What are you waiting for? Grade: A

 

Snitch

I think there can be many ingredients to a successful movie, and there are a variety of ways to end up with an entertaining film.  A movie with a hackneyed plot can still be salvaged with good performances from a gifted cast.  Similarly, a highbrow concept can compensate for trite dialogue.  In Snitch, director Ric Roman Waugh presents a direct but effective story of a man who will exhaust all measures to protect his son. I don’t think Waugh had any great artistic aspirations with this movie, but it was enjoyable in its simplicity and straightforwardness.

Dwayne “The Rock” Johnson(Fast Five) stars as John Matthews, a recently divorced father of two.  His teenaged son Jason lives with his mother (Melina Kanakaredes, CSI: NY) while John resides with his second wife and their young daughter on a large estate.  A small business owner, John’s job occupies him most of the time.  Perhaps it is this inattention from his father that leads Jason to a very poor decision to get involved with illegal drugs.  He foolishly agrees to allow a friend to mail him ecstasy pills, with the understanding that the friend will pick them up later.  The package is intercepted from Jason’s friend, who agrees to implicate Jason for a reduced penalty.  Ultimately Jason is arrested after he accepts the package, devastating his parents and jeopardizing his promising future.

Jason’s crime subjects him to mandatory minimum laws that require a mandatory sentence for a particular crime, even if it’s the accused’s first offense.  Thus, Jason will be sentenced to 10 years in federal prison, unless he cooperates with the authorities and “snitches” on one of his friends in order to reduce his sentence.  Refusing to betray one of his friends, Jason remains silent, with no hope of release.  With Jason’s refusal to cooperate, John offers to stand in his son’s place and act as an informant for the U.S. Attorney (Susan Sarandon, Cloud Atlas).  If he can help them ensnare someone higher up the “food chain,” Jason’s sentence will be reduced to 6 months.  Snitch is inspired by true events, but this part of the story seemed implausible to me.  I’ll overlook its dubiousness, since I know it is just a vehicle by which to set up the major premise of the movie.

After John gets the green light from the Feds, he enlists the help of one of his employees (Jon Bernthal The Walking Dead), an ex-con who can provide the entre into the underworld that he needs.  The bulk of the movie follows John as he moves closer to landing a major cartel player in order to save his son.  The movie was action-packed and tense, and Johnson’s portrayal of a devoted father was convincing.  He showed a subtle tenderness in a few scenes, displaying the right mix of intensity and restraint in the role.

However, there was virtually no character development.  The movie was very linear, and it reminded me of the old “B movies” of the 1980s.  Despite being straightforward, I appreciated its commentary on the criminal justice system.  Waugh closes with an astonishing statistic that mandatory minimum laws often result in greater sentencing for drugs than rape and murder.  The movie humanized the war on drugs in a thoughtful, simple way.  The only other observation I’d make is that I was surprised by the quality of the cast.  In addition to Susan Sarandon, Barry Pepper (Broken City) and Benjamin Bratt also make appearances, and I thought Waugh was lucky to have them in such ordinary roles.  Simple yet illuminating, Snitch was a fairly good way to spend an afternoon at the movies.  Grade: B

This article first appeared at Poptimal and was reprinted with permission

Side Effects

Known as the “master of suspense,” Alfred Hitchcock is considered a true pioneer of the contemporary thriller.  He popularized the idea of the “femme fatale,” a woman whose beguiling attributes rendered men helpless, often with deadly consequences.  So, when someone references Hitchcock or describes a film as “Hitchcockian,” I’m curious to see the supposed hallmarks of one of my favorite directors.  When I heard one of the stars of the new movie Side Effects describe it as reminiscent of Hitchcock – I was convinced to give it a look.

Side Effects is Steven Soderbergh’s (Contagion, Magic Mike) latest addition to a prolific career.  I’m a fan of his slick cinematography and the occasional languid feel of some of his movies, and Side Effects was no exception.  The movie features Channing Tatum (The Vow, Magic Mike) and Rooney Mara (The Girl With the Dragon Tattoo), as Martin and Emily Taylor, a young couple trying to rebuild their lives after Martin’s release from prison for insider trading.  Separated for five years, the couple is eager to reunite, and they seem very loving and loyal to each other.  Emily appears devoted, having stood by Martin during his fall from grace.  However, soon after his release Emily falls into an inexplicable depression.  I suppose some jittery anxiety is normal, as the pair hasn’t been intimate in quite some time.  Yet Emily’s mood doesn’t comport with what should ostensibly be a very happy time in their lives.  After she commits a dangerous act that shall remain nameless (you’re welcome), she comes under the care of Dr. Jonathan Banks (Jude Law, Sherlock Holmes: A Game of Shadows), a psychiatrist who believes she may simply be feeling overwhelmed by Martin’s return.  Eventually he gives her a prescription, but she continues to deteriorate both rapidly and publicly.  She melts down at a black-tie party in front of their friends, and she needs consolation from a co-worker at her job.

Throughout her struggle, Martin remains patient and understanding as Emily listlessly goes through the motions of everyday life.  She tries one prescription pill after another, as nothing seems capable of snapping her out of her funk.  People suggest different medicines to her, and Banks gives her a sample of a drug called Ablixa (http://www.tryablixa.com/) after consulting briefly with her former psychiatrist (Catherine Zeta-Jones, Broken City).  What follows is a series of events that will leave you shocked and scratching your head.  The movie really shifts gears about halfway through, and I understand the Hitchcock comparisons.  There was an intimate, dream-like quality to the film that made it feel mysterious and slightly foreboding, and I appreciated that aspect of the movie.

Despite the intriguing plot and expert cinematography, I found a lot to be desired when it came to performances.  To be fair, it was only Channing Tatum that left me underwhelmed, yet again.  I think he’s very good-looking and charming.  According to some, he’s even the ‘sexiest man alive.’  Unfortunately for Tatum, this was a trait that served him better in Soderbergh’s last film, Magic Mike.  Here I found him serviceable, at best.  There just never seems to be much beneath the surface, with him.  By no means do I think he’s unintelligent, but his performances always strike me as one note, failing to resonate.  Rooney Mara, on the other hand, was convincing as a troubled, unstable young woman.  Perhaps it’s her diminutive stature, but she always seems vulnerable, and I thought her physical make up served her well in the role.  Her character required a duality that she ably conveyed.  Lastly, Jude Law was effective as the well-meaning doctor who genuinely wants to help Emily but is clueless as to what deeper issues may be bubbling under her troubled veneer.  The pacing was a bit slow in certain spots, but this was remedied by the final act.

I’ve tried to reveal as little as possible, but I’ll leave you with a solid recommendation for this tense thriller. Side Effects was sexy, mysterious, and suspenseful.  Amidst a sea of Oscar contenders currently in some theaters, I thought it was a welcomed reprieve.  Grade: B+