Movie Review ~ The Mummy (2017)


The Facts
:

Synopsis: An ancient princess is awakened from her crypt beneath the desert, bringing with her malevolence grown over millennia, and terrors that defy human comprehension.

Stars: Tom Cruise, Sofia Boutella, Annabelle Wallis, Jake Johnson, Courtney B. Vance, Russell Crowe

Director: Alex Kurtzman

Rated: PG-13

Running Length: 110 minutes

Trailer Review: Here

Review: You’re going to hear from a lot of people that The Mummy, Universal’s first entry in their new Dark Universe franchise, is a baffling bomb.  Those people aren’t totally wrong but they’re not completely off the mark either.  The worst thing a movie can be is neither good nor bad but just mediocre and too much of this new take on The Mummy straddles that fence, stubbornly refusing to slump into schlock or get its ass into a higher-quality gear.  It’s not a total wash but the potential was there to take a fun step forward and the studio is too, uh, wrapped up in their quest for a new charter film series that they’ve lost sight of the here and the now.

As most of these creature-features often do, The Mummy opens with a little history lesson concerning an ambitious Egyptian princess (Sofia Boutella, Kingsman: The Secret Service) seduced by evil forces that promise her eternal life.  Clearing her way to the throne in a bloody rampage, she’s eventually captured and buried alive in a deluxe sarcophagus within an ultra-complex underground prison.  Remaining hidden for thousands of years, she’s unearthed by two unscrupulous soldiers (Tom Cruise, Oblivion and Jake Johnson, Safety Not Guaranteed) looking for antiquities to sell on the black market in modern day Iraq.  Once released from her prison, she wastes little time in bringing down a plane transporting her to London and proceeding to suck the life out of anyone that gets in her way, turning them into the walking dead for good measure.  It’s up to Cruise and a pretty prehistorian (Annabelle Wallis, Annabelle) to end the madness, a task made more difficult when our Mummy Princess sets her sights on making Cruise her eternal mate.

The framework of plot supplied by a screenplay written by David Koepp (Jurassic Park), Christopher McQuarrie (Edge of Tomorrow), and Dylan Kussman (Flight) has potential to it but director Alex Kurtzman (People Like Us) never fully trusts the material, opting instead to let Cruise take up too much space and pushing others to the sidelines.  Let’s not forget that in addition to the above brief outline, Cruise is introduced to the Prodigium, a secret group dedicated to hunting supernatural baddies and beasties.  Led by Dr. Henry Jekyll (yep, the one and only), look closely during a visit to Prodigium’s lab for a few familiar creatures that may pop up in future Dark Universe entries.

I get the feeling that when the script for The Mummy was sent to Cruise, it was with the intent he consider taking on Dr. Jekyll (played here by a twinkle-eyed Russell Crowe, The Water Diviner) but Cruise missed the memo and just assumed he’d be the lead.  Clearly written for a younger actor, everyone in the film at one time or another looks at Cruise (who’s still in fine shape and loves a good stunt sequence) and clearly is thinking, “You’re too old for this role!”  His chemistry with both of his leading ladies is strained and it becomes the Cruise show the moment he arrives onscreen with the titular character taking a frustrating back-seat to the A-list star.

Crowe seems keen on having some fun and while his storyline could be excised from the film entirely, he at least has the right idea of what his contributions are.  Knowing that Universal plans to craft a new franchise from their Stable of Scary, I wonder if the whole Prodigium business was folded in late in the game to tee up the Dark Universe.  Poor Wallis has a role that is entirely exposition, I don’t think she’s given one line that isn’t specifically meant to explain or clarify so the performance feels like the appendix it was written to be.  The true star here is Boutella and whenever she’s onscreen the film starts to crackle and pop only to be muffled by Cruise’s overbearing presence.  I like Cruise quite a lot but even I must admit he’s been given too much room to play.

Amidst a bunch of hokum happenings and a screenplay that’s pretty pokey, there are a handful of slick moments of fun that hint at what the movie could have been had it found a better focus.  A mid-air disaster is staged with edge-of-your-seat excitement and an underwater chase managed to make me hold my breath as Cruise and Wallis try to outswim a horde of the undead.  Being released in 2D and 3D formats, I caught it in 3D and since so much of the film is set at night or in dark underground lairs I’d advise going for a 2D screening which might produce clearer visuals.

There’s nothing I look forward to more than a good old-fashioned monster movie.  I don’t need flashy special effects or 3D gimmickry to get on board, just give me a good creature, a decent plot, and invested performances and I’m happy.  While Universal’s reboot of The Mummy doesn’t consistently hit any of the above specifications, it grazes them long enough to produce a somewhat enjoyable but ultimately misguided first step into a new franchise involving their classic catalog of monsters.

The Silver Bullet ~ The Mummy (2017)

mummy

Synopsis: An ancient princess is awakened from her crypt beneath the desert bringing with her malevolence grown over millennia and terrors that defy human comprehension.

Release Date: June 9, 2017

Thoughts: If you didn’t know any better, the first few moments of this first look at Universal’s 2017 reboot of The Mummy may feel like you’ve fallen into another Mission: Impossible entry.  There’s Tom Cruise looking quite Cruise-ish in a cargo plane carrying the remains of an ancient princess.  Before they can even get through customs (or land the aircraft) trouble brews with Cruise (Jack Reacher: Never Go Back) winding up in a body bag.  What’s so nice about this thrilling teaser is that is leaves you with more questions than answers.  Where the 1932 original was a classic horror, its 1999 reboot owed more to Indiana Jones than to its source material.  This new take on The Mummy, however, looks to blend the best of previous incarnations.  With Russell Crowe (The Water Diviner) and Annabelle Wallis (Annabelle) along for the adventure under the direction of Alex Kurtzman (People Like Us), look for this one to be unwrapped in a prime summer slot.

The Silver Bullet ~ The Nice Guys

nice_guys

Synopsis: A private eye investigates the apparent suicide of a fading porn star in 1970s Los Angeles and uncovers a conspiracy.

Release Date: May 20, 2016

Thoughts: Nearly twenty years since they appeared together in the Los Angeles set noir classic, L.A. Confidential, Russell Crowe and Kim Basinger (who nabbed an Oscar for her work) are back on screen for another mystery set in the famed city.  Looking like a wise-ass mix of L.A. Confidential and (gulp) 2014’s Inherent Vice, The Nice Guys might be the shot of adrenaline Crowe needs after a string of badly reviewed performances/movies (his singing in Les Miserables, Winter’s Tale, Noah, and my worst film of 2015, The Water Diviner).  Teamed with the always interesting Ryan Gosling (The Big Short), Crowe looks pretty perfect for the gruff tough guy tasked with finding Basinger’s daughter whose disappearance might be related to a murder private-eye Gosling is investigating.  From Shane Black (Iron Man 3), I’m pulling for this early summer release to be dark fun in the California sun.

Movie Review ~ The Water Diviner

water_diviner_ver5

The Facts:

Synopsis: An Australian man travels to Turkey after the Battle of Gallipoli to try and locate his three missing sons.

Stars: Russell Crowe, Olga Kurylenko, Jai Courtney, Steve Bastoni, Ryan Corr, Yilmaz Erdogan, Cem Yilmaz

Director: Russell Crowe

Rated: R

Running Length: 111 minutes

TMMM Score: (2/10)

Review: There’s a moment in Ron Howard’s 1995 space drama Apollo 13 where, in trying to find a solution to the problem the stranded astronauts are facing, NASA technicians dump boxes of equipment onto a table and one of them says “We’ve got to find a way to make this fit into the hole for this using nothing but that.” I mention this particular scene because it kept playing through my mind while watching director/star Russell Crowe’s tedious drama, The Water Diviner.

Poor Matt Villa. As the editor for this missed opportunity of a film I can imagine Crowe depositing the dailies on his desk and commanding Villa craft a movie out of Crowe’s lugubrious and bloviating   historical shoulda-been-better epic. It’s not like Villa couldn’t do it…this is the guy that brought some sense of order to Baz Luhrmann’s The Great Gatsby in 2013 so I can only place the blame squarely at Crowe’s hulking feet and a narrative-less script form two Andrews (Knight and Anastasios).

I’d purposely avoided watching any trailers for The Water Diviner because as of late movie previews in general seem to favor more spoilers than ever before but I was interested to see what Crowe would do with the true-ish story of a man from Down Under that travels to Turkey and the post-wartime shores of Gallipoli as he searches for his enlisted sons he believes are dead. There’s a good movie at the heart of The Water Diviner, which makes it doubly depressing that it’s such a clumsy and yawn-inducing affair.

Running under two hours but feeling three times as long, Crowe doesn’t bother with any kind of character introductions…which is all well and good until full understanding of the characters becomes a necessity to figure out what the hell is going on. Though the three sons play a pivotal role in the latter half of the film and it’s clear we’re supposed to feel some sort of fatherly bond that drives Crowe’s character to follow his quest, there’s precious little onscreen that gives us any indication why we should be invested in Crowe getting the answers he came for.

There’s a lot of sand and dust to trek through and cinematographer Andrew Lesnie (an Oscar winner for The Lord of the Rings: The Fellowship of the Ring) captures the period setting nicely…until Crowe revs up the action and it appears Lesnie tied the camera to the end of a string and started lasso-ing it above the heads of the actors. Production design is generally spot-on, from Tess Schofield’s (The Sapphires) costumes to David Hirschfelder’s tonally observant score.

If only the script and performances had matched the art direction. Crowe (Noah, Man of Steel) never met a character he couldn’t grunt through but he seems particularly lost at sea here. Perhaps pulling double duty left his character development as an afterthought, but you’d be hard pressed to remember that this guy won an Oscar and has been nominated for two more. For a man that’s worked with some of the best directors in Hollywood and abroad, it’s truly amazing how little craft is displayed as both director and actor of The Water Diviner. This had the potential to be an epic drama but just winds up being epically boring.

That’s really the main problem with the film…it’s so surreally uninteresting that I was gob smacked to read that it won Australia’s equivalent of Best Picture (well, it tied with The Babadook) and netted a host of nominations. I chalk it up to hometown devotion for Crowe but it’s quite undeserved. I feel for talented actors like Olga Kurylenko (Quantum of Solace), Jai Courtney (Jack Reacher), and an impressive Yilmaz Erdogan who are saddled with thankless roles. Kurylenko in particular should have just worn a sign around her neck that says “Obligatory Feisty Female Character Desisted to be a Random Love Interest in 5…4…3…2…1” for her cliché-ridden role.

The film is all over the map. One moment it’s like an Aussie spin on Saving Private Ryan and the next it’s Zero Dark Thirty Down Under before incredulously turning into a Casablanca no one asked for. Near the end of the film there’s a bonkers scene where Crowe teaches his would-be adversaries the rules of cricket in a rusty old train car minutes before a slaughter erupts and Crowe has only, you guessed it, a cricket mallet to defend himself. Then there’s the scene where Crowe magically locates a grave he couldn’t possibly know was there…sure he’s a water diviner (a gift shown in the first five minutes and never mentioned again) but now he’s a body diviner? Gulp. Next please.

A movie that thinks so highly of itself it doesn’t make any effort to explain, well, anything is one that is ultimately hard to swallow and should be discarded. So many things in The Water Diviner just happen “because” that it all begins to wash over you and renders you numb by the time the credits blessedly appear. I even hated the font used for the titles and subtitles…

Movie Review ~ Noah

noah_ver2
The Facts
:

Synopsis: A man is chosen by God to undertake a momentous mission of rescue before an apocalyptic flood destroys the world.

Stars: Russell Crowe, Jennifer Connelly, Ray Winstone, Emma Watson, Anthony Hopkins, Logan Lerman, Nick Nolte

Director: Darren Aronofsky

Rated: PG-13

Running Length: 139 minutes

Trailer Review: Here

TMMM Score: (3/10)

Review: With the recent religious releases Son of God and God is Not Dead! doing surprisingly good box office business, I’m sure the studio heads at Paramount were breathing a tad easier as the release date for Noah crept ever closer. Buzz had been that the execs weren’t very confident in director Darren Aronofsky’s cut of the film so they screened several of their own versions to audiences to gauge their reaction. In the end the director’s cut won out, leaving me to wonder how bad the other edited versions were.

Honestly, I don’t think it matters much which version ended up being released because the whole film is such a meaty hunk of expired baloney that it may not have been salvageable in any form.

It’s hard to know exactly how to take Aronofsky’s Noah. Most people plunking down coin to see the epic will be expecting a re-telling of the Old Testament story about a man, an ark, and lots of animals trotting up two by two to avoid a massive flood that will wipe out civilization. What these people won’t be expecting, however, is a bloody and violent film featuring formerly A-list stars playing infuriatingly stubborn people that you wouldn’t want to spend 40 minutes on a boat with, let alone 40 days in torrential rain.

After a brief opening that covers the first few passages of the Bible, the film goes its own way by introducing mystical snake skins and stone creatures that one minute want to destroy man and the next are helping Noah and his brood build the ark. Looking like castoffs from The Hobbit: The Desolation of Smaug, these iff-ily rendered creatures supposedly are fallen angels encased in rock after they landed on earth in a fiery storm.

The threat of the destruction of civilization isn’t enough, though, so Aronofsky and co-screenwriter Ari Handel throw in another villain of the human kind in the form of a descendent of Cain. More extraneously inconsequential than interesting and played by the gruff Ray Winstone (Snow White and the Huntsman) as if his life depended on it, the character falls into high camp early on when we see his flowing locks of blonde hair that would make Rapunzel drool.

With about 50 minutes of actual material to work with, the film is stretched to a punishing 139 minutes by including lots of grandiose speechifying from nearly every main character…almost as if they had it in their contracts to be given their moment to shine. So we get lots of introspective musings and preachy pontificating on man’s inhumanity to man. Not wholly or outwardly religious, the film tries to make the issue of a wicked society not so much a Biblical idea but a atheistic one.

I’ve been a fan of Aronofsky’s work for a while now, though the only film of his I can bring myself to revisit is Black Swan, his brilliant psychological drama from 2010 that won Natalie Portman an Oscar. That film was a hallucinatory and riveting journey into madness and though Aronofsky tries to get inside the head of Noah in a similar fashion, it doesn’t the same effect.

Though he may have made a good Noah on paper, Russell Crowe (Man of Steel) seems so out of touch with the kind of roles he should be playing that it’s becoming pretty fascinating to see the jobs he’s taking on. For my money, he should have played Winstone’s part and let someone like Michael Fassbender or Christian Bale (both were offered the role and declined) have the role. Aronofsky has imagined Noah as so devout to his Creator that he is willing to do horrible things…and something about Crowe’s wild-eyed approach comes across more zealot than pious.

Co-starring with Crowe for the second time in 2014 (the first being February’s lame-o Winter’s Tale), Jennifer Connelly makes some headway with her underwritten role, though it comes late in the game with an impassioned speech that leaves her face awash with tears and snot. With her hair never much out of place and her teeth gleaming white (Noah’s family clearly had a good dental plan), Connelly brings a kind of precision to the role that works in her favor.

Another pair of co-stars re-united, The Perks of Being a Wallflower’s Emma Watson (The Bling Ring) and Logan Leerman are part of the Noah pack and while it’s appreciated that Watson continues to stretch her wings outside of the Harry Potter franchise, this role seems to get away from her. As the only other major female in the film, she delivers every important speech Connelly can’t be present to give herself.

Then there’s Anthony Hopkins (Hitchcock), getting an early start on his yearly cinematic appearance in the “grizzled old man” role…this time playing Methuselah, Noah’s grandfather. I’m not sure Hopkins even reads his scripts anymore before signing on to a film because the Oscar winning actor has little to do but pass along useful information when needed. The animal stars of the show are entirely CGI and factor in very little to the overall scheme of things.

Visually, the film looks great in typical Aronofsky fashion. Shot in Iceland, the cinematography from Matthew Libatique (Iron Man 2) is stunning and is aided by a strong sound design layered nicely in with Clint Mansell’s (Stoker) rich score. Of particular interest is a five minute sequence halfway through the film where Crowe narrates the Genesis story, brought to life in stunning fashion. I’d recommend seeing the film (eventually when you can fast-forward it) for that segment alone.

So what’s my problem with the film? I’m not a Bible thumper or Sunday School devotee that had to have everything in perfect order and sticking to just the facts, jack. No, I’d have been totally on board with the film Aronofsky was trying to make…if I could just grasp what film that was. Though the filmmakers can suggest all day long that their goal was to keep the film non time-specific, the costume design suggests post-apolopytic, not B.C. chic.

For as visually and aurally pleasing as the movie most certainly is, the perils depicted are incredibly unpleasant to sit through. The last 20 minutes are particularly rough going and even for this habitual watch checker, I started feeling like time was going backward rather than inching closer to the end credits.

Had this film been called, say, Bernard or Jethro I think I would have been able to take it with a finer grain of salt. Slapping Noah on the film and then turning the story into a Middle Earth meets Waterworld soggy epic robs the film of its voice and robs the audience of $10. I still like Aronofsky and applaud him for having the balls to do what he’s done here…but I feel like I want to throw the Good Book at him.

Got something you think I should see?
Tweet me, or like me and I shall do my best to oblige!

Movie Review ~ Winter’s Tale

1

winters_tale_ver4

The Facts:

Synopsis: A burglar falls for an heiress as she dies in his arms. When he learns that he has the gift of reincarnation, he sets out to save her

Stars: Colin Farrell, Jessica Brown Findlay, Jennifer Connelly, William Hurt, Eva Marie Saint, Russell Crowe, Ripley Sobo, Mckayla Twiggs

Director: Akiva Goldsman

Rated: PG-13

Running Length: 118 minutes

Trailer Review: Here

TMMM Score: (2/10)

Review: Oscar nominated director Martin Scorsese (Hugo, The Wolf of Wall Street, Cape Fear) isn’t known to shy away from many projects.  This is a man, after all, that took a novel like Shutter Island which was considered to be impossible to adapt for the screen and made a perfectly good (if strikingly literal) thriller out of it.  So you should pay attention when you hear that Scorsese flirted briefly with bringing Winter’s Tale, Mark Helperin’s 1983 fantasy novel, to life only to abandon the project because he couldn’t figure out a way to make it work.

The project then fell into the hands of Akiva Goldsman, the Oscar winning screenwriter of A Beautiful Mind who took on the work as a passion project.  Laboring for years to have his screenplay produced, he finally found himself in the director’s chair surrounding by a fairly impressive cast and a celebrated production team.  How, then, can the final product be so remarkably terrible?

Well…I’ll direct you back to Mr. Scorsese who had the correct premonition that this time jumping epic love story wasn’t destined to be captured on film.  It existed best in the yellowing pages of paperback copies of Helperin’s novel stuffed away on bookshelves waiting for their owners to thumb through them in the doldrums of these wintery months.

My experience with the book is limited, having paged through it a few times over the years but never being sucked in by its storied charms.  It’s essentially a bit of romantic whimsy with prose that helped inspire some imagination of the people, places, and flights of fancy Helperin laid out.  I can’t speak to how close Goldsman’s adaptation sticks to the source but I know that something was absolutely lost in translation.

Opening with a prologue filmed in lovely sepia tones by cinematographer Caleb Deschanel (Killer Joe, Abraham Lincoln: Vampire Hunter, Jack Reacher), the story begins in the late 19th century with Polish immigrants denied entrance to America who wind up lowering their infant son in a model boat in the hopes that the harsh waters will see him safely to the shores of New York.  Ah…the American Dream!  Flash forward years later and the orphaned boy is now Peter Lake (Colin Farrell, Saving Mr. Banks, Dead Man Down), a burglar on the wrong side of gangster and former father figure Pearly Soames (Russell Crowe, Les Miserables, Man of Steel) ready to make an escape out of the city.

Before he can reach the city limits, however, he happens to make one last burglary in the stately Penn home where he meets Beverly (Jessica Brown-Findlay, Downton Abbey), a doomed beauty suffering from consumption with a fever so bad she sleeps on the wintery roof to keep her temperature down.  Love blooms (not naturally because Farrell and Brown-Findlay have precious little chemistry) and soon Peter and Beverly are overcome with passion that leads to a bad end.  Oh…did I mention the film has angels, demons, flying horses, and mythical prophecies?  Well…there’s that too.

I’m giving you more of the plot than I normally would because it helps set the stage for the next act of the film which takes such a peculiar leap forward that you wonder if you aren’t watching a three part mini-series that forgot to include the second installment.  So much of the film takes place in establishing the past that next to no time is left to explore anything in present day New York.  The third act is comprised then of extraordinary coincidences, unexplained lapses in continuity, and half-developed characters (like the one poor Jennifer Connelly is stuck with) culminating in a cornball ending more laughable than the emotionally resonant one the filmmakers intended.

Farrell makes for an engaging lead, though his lack of chemistry with his leading lady and the oddity of his American born/raised character having a perfect Irish accent leaves more of a lasting impression than any good will his commitment earns him.  Crowe is particularly terrible here with his awful leprechaun-y brogue…his scenes with a surprise cameo (and equally atrocious) star is sure to haunt him in years to come.  Brown-Findlay doesn’t leave much of an impression aside from the realization that her narration of the film is better than her onscreen performance.  William Hurt (The Host), Connelly (who will also do time with Crowe soon in Noah), and Eva Marie Saint (make sure to do the math of her screen age when she shows up and see if you cry foul) round out the players.

Running close to two hours I will say that as banal as the film is, it managed to move along with a nice clip.  Goldsman rallies the production design to create a handsome looking film (even with one of the worst Hans Zimmer scores ever) though he lets the whole schmaltzy mess get away from him almost from the start.  If you’re thinking of catching this with a loved one, I’d suggest taking a walk around the block holding hands instead.

The Silver Bullet ~ Noah

noah

Synopsis: The Biblical Noah suffers visions of an apocalyptic deluge and takes measures to protect his family from the coming flood.

Release Date:  March 28. 2014

Thoughts: I’ve yet to meet a Darren Aronofsky flick that hasn’t divided audiences and his take on the epic tale of Noah and the Ark is sure to have its fair share of haters.  Quite long in development, the film reunites some former costars like Russell Crowe (Les Misérables) and Jennifer Connelly (Winter’s Tale) who appeared together in 2001’s A Beautiful Mind.  After playing opposite each other romantically in 2012’s The Perks of Being a Wallflower, Emma Watson (The Bling Ring) and Logan Lerman are now cast as siblings. Cinematically, this looks mighty impressive with strong detailed special effects and early hints of the director’s trademark obsessive attention to everything on screen.  Who knows exactly what version of the Noah tale will be told (rumor has it that it probably takes place in the past but could very well take place in the future) but if I know Aronofsky it will be a bold and committed affair. 

Interesting to note that this is the first of two high profile Hollywood projects with a Biblical slant being released in 2014.  In Decemember 2014, director Ridley Scott (Prometheus) releases Exodus starring Christian Bale (The Dark Knight) as Moses with some supporting work from Sigourney Weaver (Abduction) and Joel Edgerton (The Great Gatsby).

The Silver Bullet ~ Winter’s Tale

winters-tale-poster

Synopsis: Set in a mythic New York City and spanning more than a century, Winter’s Tale is a story of miracles, crossed destinies, and the age-old battle between good and evil.

Release Date:  February 14, 2014

Thoughts: Silly me, I thought this was going to be a film adaptation of William Shakespeare’s classic play.  Looking at the cast list before seeing the trailer I thought Warner Brothers had assembled an impressive line-up to tackle the Bard’s romance…but knowing that it’s really an adaptation of a fantasy novel from 30 years ago makes me sorta nervous.  Directed by Oscar winning screenwriter Akiva Goldsman, Winter’s Tale joins a crowded Valentine’s Day line-up but this is probably the one film that boasts the most A-list cast members such as Colin Farrell (Total Recall, Dead Man Down), Jennifer Connelly, William Hurt (Altered States, The Doctor, The Host), and Russell Crowe (Les Misérables).  I have a feeling the movie may be a tough sell given its time-hopping narrative but it could be a moody romance for those looking for something with more substance than your average romantic comedy.

Movie Review ~ Man of Steel

man_of_steel_ver6

The Facts:

Synopsis: A young itinerant worker is forced to confront his secret extraterrestrial heritage when Earth is invaded by members of his race.

Stars: Henry Cavill, Amy Adams, Michael Shannon, Kevin Costner, Diane Lane, Laurence Fishburne, Antje Traue, Ayelet Zurer, Christopher Meloni, Russell Crowe, Michael Kelly, Harry Lennix, Richard Schiff

Director: Zack Snyder

Rated: PG-13

Running Length: 143 minutes

Trailer Review: Here and Here

TMMM Score: (6/10)

Review:  I love 1978’s Superman: The Movie.  I figured I’d get that out of the way off the bat so you know where I’m coming from.  Richard Donner’s big budget epic was bolstered by the tagline: “You’ll Believe a Man Can Fly”…and audiences did…in droves.  Capturing the all-American charm of one Clark Kent aka Superman, Donner’s film successfully moved characters that had long lived on the pages of comic books and a television show to the silver screen with impressive results. 

So perhaps it was a bit too much to hope that 2013’s Man of Steel could provide some of that same magic in kicking off yet another reboot of the superhero with a giant S on his chest.  The trouble is that this updated hero is too aloof, too troubled a searching soul to mine any joy out of the proceedings.  It’s a chilly film with precious little in the way of true blue charm and moxie.  Instead, it’s largely a showcase for director Zack Snyder (Sucker Punch, Watchmen) to puff his special effects chest out and screenwriter David S. Goyer (Batman Begins, The Dark Knight, The Dark Knight Rises) to put a Bruce Wayne-style glum-ness on the picture. 

Perhaps that solemnity also comes courtesy of producer Christopher Nolan who successfully reshaped the Batman franchise into a lean and mean money making machine.  What worked for Nolan and Goyer on the Batman films unfortunately doesn’t work here and mores the pity because several other key elements of the film are strikingly on point.

Take Henry Cavill for instance.  The Brit is possessing of a well toned eight pack to go along with his All-American features and cheekbones that could cut kryptonite.  The script never allows him to emerge too far from his gloomy gus hole but there are moments especially near the end where we can see a glint in Cavill’s eye that brings a little Christopher Reeve to mind.  In his newly redesigned suit, which does look better than the near neon colors in previous Superman films, Cavill is a convincing hero that has real potential.

I also found a lot to like about Kevin Costner and Diane Lane as refreshingly earthy incarnations of Jonathan and Martha Kent, Superman’s earth bound adoptive parents that provide stability even when his powers threaten to overwhelm their found child.  Most of their performances are relegated to flashbacks and much of the film is presented in a non-linear fashion as Clark wanders from job to job, only moving on when his powers put him in danger of being discovered. 

Costner has some of the best scenes in the film as he alternatively counsels his son and quietly fears for him if the outside world knew what he can do.   I’ve often found Costner to be too mannered of an actor, always holding back what he’s really feeling but here he’s given nice material that helps him shine. 

The same can’t be said for poor Amy Adams (The Master) who is terribly miscast as ace reporter Lois Lane.  Though it’s well documented she has auditioned/lobbied for this role on three occasions, it’s a shame she didn’t do more with the role when she finally got a crack at it.  I missed the plucky verve that Margot Kidder to the role and it’s something I’m disappointed Adams didn’t tap into more – that being said she’s light years more interesting than Kate Bosworth was in 2006’s Superman Returns.

I’m still not totally sure how I feel about Michael Shannon (The Iceman) as Superman’s main nemesis Captain Zod.  Talking out of the side of his mouth and sounding like he has a Lifesaver he wants to keep under his tongue, Shannon is an unlikely choice for the role and even wearing a costume that looks like a hand me down from KISS he manages to give the character more depth than was probably necessary.  Russell Crowe’s (Les Miserables) Jor-El can’t hold a candle to the “I can’t believe this works as well as it does” casting of Marlon Brando in Donner’s film but there’s a solid whiff of nobility given off by Crowe…and thank the Lord he doesn’t sing in this one.

Snyder is known for putting a rich visual spin on his films and that’s what almost saved his disastrous Sucker Punch from being totally relegated to the waste bin.  In Man of Steel the special effects gets the better of him though with too much of the film looking more cartoony than visually impressive.  Sure, the flying sequences are solidly entertaining and some of the larger action sequences (including a much too long go-for-broke finale) look mighty fine but it only adds to a strange hollowness to the entire film.

I may be a bigger fan of Superman than any other comic book character so I was very much looking forward to seeing where the next generation of Superman movies will take us.  This wasn’t the movie I really wanted to see and that’s a bummer…but then I remember that I wasn’t totally taken with Batman Begins either when I first saw it.  Time will tell if Cavill and company will find a way to truly take flight in their next outing but it’s possible that with more focus on the good and less on the glum a better franchise starter will emerge.

The Silver Bullet ~ Broken City

Synopsis: An ex-cop trailing the wife of New York City’s mayor finds himself immersed in a larger scandal.

Release Date:  January 18, 2013

Thoughts:  It’s not as if Russell Crowe doesn’t have enough to worry about.  Already taking a (semi-deserved) drubbing for his lackluster vocal performance in Les Misérables, now he is showing up with a questionable hairstyle in Broken City.  From the looks of the trailer, it’s a Hitchcock-lite tale of crime and betrayal also starring Mark Wahlberg and Catherine Zeta-Jones.  While Zeta-Jones looks like an interesting star to be attached to the project, Wahlberg and Crowe seem to be playing versions of characters they’ve take on several times before. While this might make for a satisfying rental when it has left theaters, I’m not sure it’s January release date or late in the game marketing push bodes well for all involved.