Movie Review Thor Ragnorak

Thor Ragnorak (2017) 

Directed by Taika Waititi 

Written by Eric Pearson, Craig Kyle, Christopher L. Yost 

Starring Chris Hemsworth, Tom Hiddleston, Cate Blanchett, Idris Elba, Jeff Goldblum, Tessa Thompson, Karl Urban

Release Date November 3rd, 2017 

Thor: Ragnorak is a heck of a lot of fun. Director Taika Waititi is the first director to fully tap the potential of the Thor character and star Chris Hemsworth. Though we’re aware from The Avengers’ movies that Hemsworth is a real talent, he’s not had a solo, leading man effort that has lived up to the outings of Robert Downey Jr. as Iron Man or Chris Evans as Captain America. Even Tom Holland had schooled Hemsworth by making his Spiderman: Homecoming this past summer one of the best reviewed and well-loved movies in the Marvel canon.

Thor: Ragnorak picks up with our hero having still not returned to Asgard, nursing a fear that his presence may be what leads to Ragnorak, the Asgardian apocalypse. The visions that plagued Thor in Avengers: Age of Ultron have kept him moving about the universe in search what may be the source of his paranoid visions of the end of his world. The opening scene, however, has left him still unsatisfied but with only one alternative, finally returning to Asgard.

We already know what is waiting for Thor on Asgard as we recall Loki (Tom Hiddleston) had usurped his father, Odin (Anthony Hopkins), and taken on his likeness in order to rule Asgard. When Thor returns, Loki’s ruse is quickly uncovered and the search for Odin is on. What the brothers find however, is their father in the last moments of his life. Odin is dying and nothing can stop that. Worse yet, his death means the return of Hela (Cate Blanchett), The Goddess of Death.

Odin’s life force is all that has kept Hela at bay for centuries but without him she will return and Thor and Loki will not be able to stop her. There are a few major secrets that come to light with Hela but I won’t spoil them here, the secrets don’t matter all that much but they’re still secrets and this is intended as a spoiler-free review. Thor and Loki are quickly defeated in their first encounter with Hela leading them both to land on a strange scavenger planet where Loki charms the planet’s ruler, played by Jeff Goldblum, while Thor is turned into a gladiator and forced to battle an old friend who's been on the planet for some time and doesn’t immediately recognize his old friend.

Find my full lengh review in the Geeks Community on Vocal 

Movie Review Red

RED (2010)

Directed by Robert Schwentke

Written by Jon Hoeber, Erich Hoeber

Starring Bruce Willis, Mary Louise Parker, Helen Mirren, Brian Cox, Morgan Freeman, Karl Urban

Release Date October 15th, 2010

Published October 14th, 2010

The romantic side of Bruce Willis is the side most people tend to ignore. Yet, in movies as diverse as “The Whole Nine Yards,” ``TheFifth Element” and even the “Die Hard” movies, one thing that stands out is Willis's abiding romantic streak. Whether it's love at first sight with Amanda Peet's wannabe assassin in Yards or Milla Jovavich's alien badass in Element or his endless devotion to wife Holly in Die Hard, romance sings within the action hero.

In “Red” Willis finds himself once again seeking romance, this time falling in love with the voice of Mary Louise Parker as his benefits manager at his former gig with the CIA. The voice connection quickly turns into a physical one when their monitored conversations threaten to get them both killed.

Frank Moses (Willis) was once, arguably, the most dangerous man in the world. In his role as a covert CIA Agent, Frank took down dictators and toppled entire governments all the while keeping the Russians at bay long enough for Communism to fall. Today, Frank lives in suburban boredom colored RED, Retired Extremely Dangerous.

Frank's minor pleasures come in his conversations with the woman who handles his retirement pay, Sarah (Parker). They have sparked a flirty chemistry over the phone and now Frank is ready to move things along to an actual physical encounter. These plans are upended when Frank finds and kills trained assassins in his home.

Assuming it is related to his conversations with Sarah he immediately travels to where she is, kidnaps her and the two go on the run. The first stop means recruiting an old friend abandoned and bored in a nursing home, Joe (Morgan Freeman). Then there is a trip to Florida where the terribly paranoid Marvin (John Malkovich) awaits. Finally, there is Victoria (Helen Mirren) , the most dangerous yet well adjusted of this group of RED Agents. 

Why is the CIA, led by Agent Cooper (Karl Urban) out to kill Frank? What does it have to do with Sarah? How big is the conspiracy? Who really cares? You won't care but you really aren't supposed to. The point of Red is not brilliant plotting or complex motivations but rather highly stylized violence and clever line reading, things “Red” has in abundance. 

Malkovich is the scene stealer in “Red” as Marvin Boggs, a former agent who was subjected to more than a decade of daily LSD treatments. His paranoia is matched with terrific intuition and ability for violence and Malkovich plays the wicked good guy with the kind of hammy glee usually reserved for his over the top bad guys. 

Morgan Freeman gets the short shrift as the oldest member of the crew. He has a few good moments, especially when putting the lights out on a guest star that I will leave as a surprise, but sadly his role amounts to little more than a cameo. Better served are Dame Helen Mirren and Bryan Cox who plays a former KGB killer and an important figure in both Frank and Victoria's past. 

Bruce Willis and Mary Louise Parker don't spark the chemistry that Willis had with Amanda Peet or Milla Jovavich but for Willis the romantic action hero there is plenty of fun to be had. Parker seems to be cracking up in every scene and Willis enjoys her cracking up even as he is required to keep a straight face. It's a fun if not quite sexy pairing. Parker brings out the playful side of a character that really is not playful and the laughs this generates are big and satisfying.

Karl Urban rounds out the main cast showing off the same comic panache he brought to his role as Bones McCoy in “Star Trek.” I find Urban to be fascinating in that he can play the ripped up action hero or comic relief with the same energy and surprising wit. Urban is everything modern action heroes like Sam Worthington or Gerard Butler have yet proven to be, constantly interesting. 

”Red” succeeds on the charisma of its stars. The likeability of this group is off the charts and more than enough to distract from the overly familiar and predictable plot. Bruce Willis is so much more interesting than his action hero contemporaries like Stallone or the Governator. The romance of Willis, the way his humanity is reflected by the women he desires, it's a beat that other action heroes can't play. It may be that one element that always sets him apart. It is undoubtedly what sets “Red” apart as some of Willis's best work.

Movie Review Pathfinder

Pathfinder (2007)

Directed by Marcus Nispel 

Written by Laeta Kalogridis

Starring Karl Urban, Moon Bloodgood, Russell Means, Clancy Brown

Release Date April 13th, 2007

Published April 14th, 2007 

The movie Pathfinder exists as an example of director Marcus Nispel's love of ultra-violence. Nispel, who last directed 2003's Texas Chainsaw Massacre re-imagining, has an affinity for violence that is quite curious considering his career prior to making feature films. Nispel is a former music video director who did fine work for artists like George Michael, Janet Jackson, Amy Grant and Billy Joel.

From that resume one could deduce that Marcus was desperate for a shot of manly ultra-violence. Thus we get Pathfinder, an exceptionally well shot bit of blood and guts action that forgets that there is more to filmmaking than just how cool you can make a severed head look as it floats through the air or how red the arterial splash is coming from a victims jugular.

Karl Urban stars in Pathfinder as 'the ghost'. Born a Viking, he rejected his plundering parents and was later discovered by a kindly Indian woman who took him in and raised him as her own. Now a man, Ghost, as his people call him must defend his new family against his old family. The vikings have returned to the new world to finish what they started. They wish to conquer this land and kill anyone who gets in the way.

That is the set up for Pathfinder, the payoff is some serious, hardcore violence and cruelty weighed down by some seriously bad acting and boring exposition. Director Marcus Nispel, working from a script by Laeta Kalogridis, sets up boring characters as placeholders for good and evil. The Indians are a kind, happy, sharing community. The vikings are savage, destructive meanies. And never shall nuance be introduced.

The film threatens, only momentarily, a social commentary on how America was founded on the blood of Indians who were robbed of their land and killed mercilessly if they refused to give it up. However, director Nispel doesn't have the patience for subtext and instead crafts a series of dull expository scenes as buffers between the astonishing bits of violence.

I must say that as bad as most of Pathfinder is, the violence as directed by Nispel and captured by cinematographer Daniel C. Pearl is exceptional. Though I could do without the hamfisted slow-mo's and mind numbing score, the violence of the sword play, the ax cuts and arrow blasts is eye catching and in a better film could have been really amazing. As it is, it's only a technical marvel.

Where Nispel fails in Pathfinder is the same place he failed with his take on Texas Chainsaw Massacre. It's a failure to realize that the most compelling violence comes when we care about the outcome. The cardboard cutouts of good and evil that Nispel delivers in Texas Chainsaw Massacre and now in Pathfinder are incapable of involving an audience emotionally in whether they live or die.

Mystery Science Theater fans and lovers of bad movies everywhere will likely find much to enjoy about Pathfinder. With its Indian homilies and stereotypical noble savage portrayals the film is a vaguely racist hoot. Vaguely racist only because the Indians here are the good guys. Nevertheless, their onscreen portrayal in Pathfinder is only a politically correct step above the Wackowi tribe from TV's F-Troop.

Oh, if only the Indians in the movie were the only unintentional humor of Pathfinder. But no, wait till you see the first ever fight scene on sleds. Yes, sleds. Not real plastic and rope sleds like you had when you were a kid but rather a prehistoric sort of sled made from a Viking shield by our hero and used to blast down the side of a mountain like an X-Games athlete in a Mountain Dew commercial.

Then there is star Karl Urban who I swear is not this bad an actor. I know I have seen better, more compelling work from Mr. Urban, I just can't think of it right now. In Pathfinder Urban exists only to show off six pack abs and a tight backside covered only in a loincloth. Why would this be important to a movie that no woman in her right mind would ever watch intentionally? I have no idea, but there he is in all his oiled up glory.

Urban mumbles his every line of dialogue as if it were incidental to his performance. Who knows, maybe it was only incidental. There really isn't much for Urban or any of the characters to say in Pathfinder. As I said earlier, the film is merely a vehicle for director Marcus Nispel to display his love of spraying blood, flying heads and dismembered guts.

In that sense, Pathfinder is a modest success. The violence is extraordinary and eye popping, literally in the case of one ugly viking. It's the stuff in between the violence, the long, interminable interludes of Indian stereotypes and viking growling that makes a mess of the film.

For fans of hardcore violence and rock hard abs; Pathfinder is like a low grade 300. Not as compelling or well made as that Zak Snyder's blockbuster, but similar in its aims. The violence is extraordinary and honestly very well rendered by director Marcus Nispel. And star Karl Urban would be right at home on that Spartan battlefield with his shaved chest oiled up and ready for battle.

Pathfinder is a bad movie with great violence which leaves me at a loss. I can't recommend the film and yet I'm modestly impressed with some of it.

Movie Review The Chronicles of Riddick

The Chronicles of Riddick (2004) 

Directed by David Twohey

Written by David Twohey

Starring Vin Diesel, Karl Urban, Dame Judi Dench, Keith David, Thandie Newton, Colm Feore 

Release Date June 11th, 2004 

Published June 16th, 2004 

2000's Pitch Black was a surprise hit thanks to the combination of hardcore sci-fi fans and a low budget. The biggest thing to come from Pitch Black was not its grosses but it's star, the bald-headed muscleman Vin Diesel. Four years later, up the budget and the star power and the sequel The Chronicles Of Riddick has the look and feel of a blockbuster. In other words, the antithesis of it's origins. More proof that a bigger budget doesn't make a better movie.

Vin Diesel returns as the anti-hero Riddick. With his glowing eyes and muscled physique, Riddick is supposedly the most dangerous man in the universe. Since escaping from the last uninhabitable planet, Riddick has been leaping from one planet to the next, narrowly avoiding the Mercs, a group whose gig is like bounty hunters but with a different title.

A group of bounty hunters, err Mercs, led by Toombs (Nick Chinlund) have been hard on Riddick's trail for a while but with little success. After finally getting their hands on him, Riddick finds a way to escape and take over their ship. Crash landing on another planet, Riddick comes face to face with a rare man from his past who doesn't want to kill or capture him, Imam (Keith David). He’s a man whom Riddick saved four years ago, one of three holdovers from Pitch Black.

As luck would have it, Riddick has crashed right in the middle of an invasion by a “convert or die” warlord clan called Necromongers, led by a man called Lord Marshall (Colm Feore). Imam asks Riddick if he will help fight the Necromongers, who kill anyone who refuse to join them. Riddick isn't interested in fighting for a cause other than himself. It's only when the Necromongers threaten him that he fights back.

Honestly, most of the plot is rather lost on me. Somehow, Riddick is the only man who can fight the Necromongers, something about his nearly destroyed race called the Furions. Anyway before Riddick can get down to pounding Necromongers he is recaptured by the Mercs and taken to yet another ridiculously, uninhabitable planet. It's a prison camp where he finds Kyra, or Jack or both. She was Jack in Pitch Black but played by a younger actress, now she's Kyra and played by Alexa Davalos. (See the original to make more sense of that)

Where to begin with this film’s problems? How about Dame Judi Dench who while radiant and always credible as an actress, can't make the film’s idiotic, nonsensical dialogue sound plausible. Poor Thandie Newton has an even harder time with her sub-Lady Macbeth role as Lady Vaako, the wife of the Necromongers’ second in command Lord Vaako played far more credibly by Karl Urban.

Worst of all though is Colm Feore who is so badly miscast. Colm Feore is a believable actor playing a conniving lawyer or maybe an Enron executive but as a bad guy tough enough to beat up Vin Diesel, I wasn't buying it. If this guy could take Riddick then why are we watching this movie? Give me an actor of some bulk or at least a Rutger Hauer type who could bellow Riddick to death. That I could believe.

Look, Riddick is entirely, stupidly contrived sci-fi, low on the sci, high on the fi. This is a big dumb loud action movie that claims the title sci-fi only for its space setting. Regardless of that, the big dumb loud action is well staged, well shot and a whole heck of a lot of fun.

Vin Diesel does what Vin Diesel does, kicks ass with an occasional bit of dark humor. The fight scenes are badass and the effects are pretty good, especially the burning hot sun on the prison planet that melts people, very cool gory effect.

Did I like Chronicles Of Riddick? Kind of. Take it for what is and don't expect much else and you can be viscerally entertained. I prefer my sci-fi with a little more intellect but occasionally a big dumb loud action adventure, if it's technically proficient, can work on me. Some of Chronicles of Riddick work. What doesn't, really doesn't.

Movie Review The Bourne Supremacy

The Bourne Supremacy (2004) 

Directed by Paul Greengrass

Written by Tony Gilroy

Starring Matt Damon, Brian Cox, Franke Potente, Julia Stiles, Karl Urban, Joan Allen 

Release Date July 23rd, 2004 

Published July 22nd, 2004 

What I have always loved about action movies, or more specifically spy movies, is the idea that while we live our everyday mundane lives, secret forces are out there creating and covering up chaos. Just think of all those times the world has been in peril or (at least the lives of normal civilians like ourselves) and we have never known it. 

We have wandered into city squares unaware that they are teeming with secret agents and surrounded by SWAT team snipers. What about all of those times you have been cut off by some nut in traffic unaware that he is fleeing for his life with the fate of the nation hanging in the balance.  The Bourne Supremacy doesn’t get caught up with saving the world but it does have a few of those moments where everyday civilians unknowingly cross paths with danger -- all of it cleverly staged and playing into a smart, action-packed plot, heavy on spycraft and low on dialogue. 

Matt Damon returns as Jason Bourne the amnesiac hero of 2002’s The Bourne Identity. As we rejoin Jason Bourne, he is hiding out in India with his on the lam girlfriend Marie (Franke Potente) whom he kidnapped and fell in love with in the first film. The couple has an idyllic life of leisure aside from Jason’s occasional flashes of memories that he can’t fully recover. Jason knows he did something horrible but can’t remember what it is.

Not surprisingly, his memory will become important as Jason is drawn back into the spy game by the arrival of an assassin (Karl Urban) who has just framed Jason for murder in Munich, Germany, and has now come to India to tie up his loose ends. Jason doesn’t know about the Munich setup; he assumes the CIA has resumed pursuit of him despite his warning of reprisal.

Joan Allen is Pamela Landy, CIA field director, who stumbles on to Bourne through the assassin’s setup in Munich. Landy was in Munich when two of her CIA squad were killed and the evidence points to Bourne. Searching for Bourne leads her to Bourne’s former boss Ward Abbott (Brian Cox) who has something big to hide. Whether it’s criminal or merely a CIA operation is one of many tantalizing mysteries. From the outset, the only character to trust is Bourne; everyone else is suspect. 

Director Paul Greengrass’s previous film was the visceral pseudo-documentary Bloody Sunday about terrorist strife in Ireland. That film employed a grainy look that dated the film to its 1980s setting. There is no need for such tricks in this film but that does not preclude Greengrass from being innovative with the film’s look. Its color palette, sun-soaked yellows in India, subtle grays and cold exteriors in Europe follow closely the film’s tone. 

The action scenes are where The Bourne Supremacy sets itself apart from other action movies. Especially good is a hand-to-hand fight scene that Greengrass shot with a handheld camera that follows the action much like Michael Mann’s camera in the boxing ring in Ali, the difference being that Mann shot that on Digital and Greengrass does this on film. 

The Bourne Supremacy also has one of the best chase scenes ever. This is on par with John Frankenheimer’s Ronin and William Friedkin’s The French Connection, with Bourne chased by Urban’s unknown assassin and a number of Russian police. Bourne is driving with one arm after being shot and while being chased he must stop the bleeding. And did I mention the car is a stick shift.

The most essential element of The Bourne Supremacy is the performance of Damon. This film, like its progenitor, turns on whether or not Damon is a believable action hero and once again Damon is a revelation. Damon brings an actor’s chops to a role that most actors throw away, hoping the special effects will carry them. He has the serious manner of Tom Cruise in Mission: Impossible but with a grittier, more realistic approach.

Though I would like stronger dialogue and the plot could stand to be a little more fleshed out, there is very little to complain about. Screenwriter Tony Gilroy has an efficient writing style reminiscent of David Mamet’s Spartan but with less wit and far fewer four-letter words. It resembles Mamet in efficiency, if not wordiness, both films don't writers are not wasting time. 

The Bourne Supremacy, like The Bourne Identity, is based on a novel by the late Robert Ludlum who has many more Bourne thrillers already on bookshelves guaranteeing more of this smart, efficient spy thriller. Hopefully the next film is as kinetic and inventive as The Bourne Supremacy is; a terrific summer action movie.

Movie Review: Doom

Doom (2005) 

Directed by Andrzej Bartkowiak 

Written by David Callaham, Wesley Strick 

Starring Karl Urban, Dwayne The Rock Johnson, Rosamund Pike 

Release Date October 21st, 2005 

Published October 22nd, 2005 

I am a huge fan of The Rock. The guy is charismatic, he's cool, he's big and surprisingly funny. That talent was on display in both of his previous roles in the action movies The Rundown and Walking Tall. So what happened to Doom?  Director Andrzej Bartkowiak somehow manages to strip The Rock of his charisma, his humor and any of his other appealing qualities for this human vs. aliens video game retread. Doom had little going for it when it was conceived. Take away the only really appealing element it had in Dwayne Johnson and you have one of the worst films of the year.

On Mars a futuristic research facility has sent out a distress signal of unknown origin. Scientists and archaeologists have disappeared and no one in the facility seems to know why. Enter the Sarge (Dwayne 'The Rock' Johnson) and his team of marine mercenaries. Sent to mars to find the missing scientists and help the corporation recover proprietary data, they soon find themselves up against an enemy that may or may not be human.

Hey wait... isn't that the plot for Resident Evil 2? Remove the trip to outer space and toss in Milla Jovovich in some skimpy ass-kicking outfit and you have essentially the same movie. There are even zombies in Doom and possibly, this point was not all that clear, a virus.

Funny thing, there were no zombies at all in the video game on which Doom is based. Of course there weren't any characters in the game either. Instead of The Sarge or Grimm (Karl Urban) or Destroyer (Deobia Oeparai) or the Kid (Al Weaver) you had the first person point of view of a gun that you used to blast alien monsters.

Creative license, I'm sure, was necessary for adapting Doom to the big screen but this departure is rather extreme and made worse by the fact that it's a near complete rip off of another bad video game adaptation. It's bad enough Hollywood studios cannot resist making video games into movies but do they have to make them knockoffs of other video game movies? UGH! 

We might have predicted the kind of disaster that is Doom considering the director. Polish born director Andrzej Bartkowiak, has the kind of resume that only Uwe Boll could envy. Bartkowiak directed two atrocious Jet Li flicks, Romeo Must Die and Cradle 2 The Grave and, most egregiously, he brought Steven Seagal's Exit Wounds to the big screen, a cinematic nightmare of incalculable proportions.

Consider ourselves lucky Bartkowiak did not include Mr. Seagal in Doom. The combination of this already bad idea with Seagal might have caused time and space to collapse upon itself in a cosmic gag reflex hurling us all into the ether. Sorry, I'm just saying maybe things could have been worse.

In a nod to gamers Doom retains the first person shooting scenario that is one of the games trademarks. Unfortunately, once we enter the first person mode, which happens for much of the last 20 minutes of the film, watching Doom becomes very much like watching someone else play a videogame and knowing you don't ever get a turn.

The one thing the film had going for it was The Rock. Sadly, cast as taciturn, humorless pseudo cyborg killing machine The Rock loses every last bit of the personality that made him a star. The action genre that The Rock has quickly risen to dominate, in terms of the classic one man against the world Stallone-Schwarzenegger-Van Damme action genre and not the genre as a whole, is built on physicality and personality. Removed from that mold Rock is just another beefcake behemoth with a gun.

Walking Tall was an old school action flick that played to the strengths of Rock's personality while being just different enough from the old school to seem fresh and fun. The Rundown is an out and out buddy comedy that really allowed Rock to cut loose with that fresh charismatic smile and surly but exciting demeanor that I had hoped would become his trademark. Doom is a major step backward for the man once known in the world of professional wrestling as 'the most electrifying man in sports entertainment'.

Just who is the audience for Doom? Teenage boys who loved the videogame might find something to enjoy. But even the least discerning teenage male must have his limit. Doom is an abysmal mess of genre knockoffs and an outright theft of another movies plot and action. And the movie it steals from, Resident Evil 2, isn't very good either so you can imagine how bad a knockoff would be. 

Throw another hack director into the movie marketplace. Andrzej Bartkowiak joins Uwe Boll and the king of all hacks Paul W.S Anderson in the ranks of directors dragging the standards of Hollywood filmmaking to new lows. Where is the justice? Woody Allen, Jim Jarmusch and other auteurs struggle to find financing for their work, often having to leave the country as Allen did for his latest film Match Point, to find the funding to make one small picture.

Hacks on the other hand are finding ever growing budgets and clout. I know Hollywood is a business but that does not make such practices right. Watch Doom and tell me you disagree.