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Fate of the Furious
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CHRIS MIKSANEK - THE MED CITY
MOVIE GUY The 8th installment
of the F&F franchise does not disappoint.
In all honestly, I had hoped Paul Walker’s
unfortunate death would mark the end of the series —
after all, 2015’s Furious 7 dealt exquisitely with
the loss. But inasmuch as they insisted on going on,
this one bravely takes the baton, again, defying both
the laws of physics (though raining cars is over the
top even by F&F standards) and the rule that a film
needs a plot. What really needs
to be said? This one is solidly as fast and as
furious as its predecessors. Jason Statham mines
the best laughs toting a baby during an epic
shoot-out and Charlize Theron is probably the weakest
link. But all of the fan favorites (except Walker,
obviously) are back: Vin Diesel, Dwayne Johnson, Kurt
Russell. |
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Going
in Style
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CHRIS MIKSANEK - THE MED CITY
MOVIE GUY “It is a culture’s
duty to take care of their elders,” says a masked
gunman early in the remake of Martin Brest and Tony
Bill’s 1979 comedy Going in Style
(Tony Bill exec-produced this one).
Regrettably, in the years since the poignant
coming of old-age drama, it’s been anything except.
The golden generation has been reduced to cartoonish
stereotypes — popping Viagra like Skittles and
Snapchatting their colonoscopies. To wit:
Old Dogs, Stand Up Guys,
Last Vegas,
Dirty Grandpa, etc... (Robert De Niro,
in particular, has done a bang-up job sullying his
legacy.) What's next? Pimp my rascal scooter?
This old hip?
Thankfully, this reboot retains much of the poignancy
of the original with Michael Caine leading retired
pals Morgan Freeman and Alan Arkin in this light
heist film. The three are union pensioners who are
screwed-out of their fixed incomes when their former
employer moves its HQ out of the country. They target
a local bank apparently behind the restructuring but
vow to take only what they believe they have coming.
Christopher Lloyd's scatter-brained character is
exactly what's wrong with Hollywood depicting mature
characters but the film otherwise does a pretty good
job with this feel good comedy that understandably
skews towards older audiences. Kudos for the
references to Dog Day Afternoon.
John Ortiz, Ann-Margret, and Matt Dillon co-star
in this Zach Braff-helmed charmer. |
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The Boss Baby
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CHRIS MIKSANEK - THE MED CITY
MOVIE GUY “Cookies are for closers.” In the
sassy animated crowd-pleaser The Boss
Baby, Alec Baldwin is not dispatched by
Mitch and Murray but the vibe is the same. He’s sent to live among a family (voiced by Jimmy
Kimmel and Lisa Kudrow) and charged with undermining
their new technological advance which prevents
puppies from growing-up. Because, you see, there is
not enough love to go around and puppies are
commanding a growing slice of the pie.
Many of the laughs skew toward adults; for example, a
hysterically heartless baby Baldwin throws cash at
problems he walks away from. But there is probably
enough here for the whole family. Though only a sidebar, the sarcastic Gandalf alarm
clock spouts more than its share of gems. In one
dream sequence it and the film’s protagonist
seven-year-old Tim (voiced by both Miles Christopher Bakshi and Tobey Maguire) are imprisoned. As the
little madcap fruitlessly attempts to stretch through
the bars he laments, “If only I could reach my
magical shank.” No matter where you
are on the org chart, lots of LOL moments.
Now, “Back to work! Formula break is over.” |
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Chips
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CHRIS MIKSANEK - THE MED CITY
MOVIE GUY Its promo claims,
“CHIP happens.”
If in the real world when,
err, chip actually happens it’s usually bad, then all
I have to say about this Dax Shepard-penned and
directed send-up of the iconic 1970s lawdog bikers
is: 10-4. Because
watching this one is like driving past a highway
pile-up. You can’t not gaze at this wreck and still
be in a hurry to get home.
Shepard is Jon Baker (Larry Wilcox’s character on the
series) and the great though evidently desperate for
a paycheck Michael Peña is “Ponch” (Erik Estrada on
TV). The latter is a seasoned FBI undercover
agent paired with an incompetent new recruit (Baker)
trying to weed-out a thread of corrupt cops.
Unlike other nominal TV remakes that hit pay dirt
like 21 Jump Street (2012,
Jonah Hill and Channing Tatum) or Starsky
& Hutch (2004, Ben Stiller and Owen
Wilson) CHIPs
doesn’t happen, instead it just straddles the line
without ever crossing into the hysterical and/or clever
zones. While we do get a
satisfying though predictable cameo precisely where it’s expected,
there are missed opportunities. For instance, Robert
Pine, the TV duo’s boss, is nowhere to be found nor is
his famous son Chris (Star Trek
reboot’s James T. Kirk). Couldn't one of them
have been pulled over for texting?
I’ll let you off with a warning: keep moving,
nothing to see here. |
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Kong: Skull
Island
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CHRIS MIKSANEK - THE MED CITY
MOVIE GUY Unlike the two
earlier reboot attempts — Dino De Laurentiis’ World
Trade Towers-leaping great ape and Peter Jackson’s
preposterous ice skating Kong— the new 3D/ IMAX
KONG: Skull Island actually *does* hold a candle to
the 1933 classic.
The time Kong told
Godzilla, “Cash me outside!”
King Kong has always been misunderstood and
sometimes outright the hero. Like in 1962’s
King Kong vs. Godzilla,
a guilty pleasure. When
Godzilla runs rampant in Tokyo and Batman is not
answering the Bat Signal what to do? Airlift Kong
to battle his natural enemy.
Cheesy effects like floating Kong in with weather
balloons add to the kitsch. But for my money, the
best scene has Kong jamming a tree down
Godzilla’s throat to arrest the flames.
See, when these mega-monsters fight, street rules
apply!
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Set wholly on the beast’s home turf (read:
no pole-dancing atop the Empire State Building),
relatively unknown director Jordan Vogt-Roberts paints his supersized
simian as a sort of protector against Mesozoic evils;
though in some of the early scenes before knowing
he’s on the same side Kong can be seen
batting military helicopters like they were
movie props. Samuel L. Jackson
stars as an aging military officer engaged
immediately after the 1973 Vietnam withdrawal to
escort a team (John Goodman, Tom Hiddleston, and
non-blonde Brie Larson) charged with exploring a
heretofore unchartered island. It’s
Apocalypse Now meets
Jurassic Park with John C. Reilly as
the ersatz Brando character of the former and from
the latter Jackson channeling himself delivering the
catchphrase “Hold on to your butts!”
No camp and less than expected humor. The plot is
excusably secondary — teams are separated and
encounter fantastic beasts as they try to reunite at
a safe pick-up point… or something like that. But
still lots to like here not the least of which are
the amazing effects that must be seen on a large
screen. 3D, not so much. Finally,
though this one is advertised as From the
producers of Godzilla it has a different vibe
from the well-executed 2014 Godzilla
which I called
one of the best monster films of the past
quarter-century. A post-credits tease
suggest a host of sequels including another Godzilla,
possibly an epic face-off with Kong in 2020.
In the meantime, watch where you step. |
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A Dog’s Purpose
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CHRIS MIKSANEK - THE MED CITY
MOVIE GUY Though cleared by a
third-party of wrongdoing, it’s still hard to look
past the original allegation that filmmakers
forcibly induced one of its canine stars to jump
into raging waters. But if and once you do,
A Dog’s Purpose is a clever and
touching tale of a sentient pet examining its own
lives to find his purpose (spoiler: it’s different
than Navin Johnson’s special purpose in
The Jerk). Based on 8
Simple Rules for Dating my Teenage Daughter
scribe W. Bruce Cameron’s similarly named 2010 best
seller this one follows Bailey (voiced by Josh Gad)
over his four lifetimes and breeds spanning
nearly fifty years —first as a young boy’s puppy,
then a Chicago Police K-9, then a college student’s
companion and finally a middle-age man’s rescue pet.
Lots to like in this comfortably-paced story. Poignant and
solid family entertainment. Less a
movie than it is an experience. |
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La La Land
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CHRIS MIKSANEK - THE MED CITY
MOVIE GUY If The
Artist and Rock of Ages
had a baby it would be the ersatz musical
La La Land. But
reintroducing Golden Age Hollywood song-and-dance in
the Critics’ Choice for best film (FWIW, it didn’t
get my vote) plays as just a novelty that I am not
sure even the film ever commits to
— it opens with an
atypical (by today’s standards) high-energy
choreographed routine by dozens caught in a massive
L.A. traffic jam but except for one tune, all of the
others (sung by stars Emma Stone and Ryan Gosling) are
much subtler. Stone works as a barista
in a studio coffee shop while awaiting her big break.
Gosling is jazz aficionado hoping to open his own
club. They meet. They sing. They dance. Saying more
would be a spoiler. I hated the first
twenty minutes, but when the hokey singing finally
died-out a solid film unfolded... regrettably undermined
by an unsatisfying fantasy sequence in the third act. For
nostalgics and über Stone/Goslings fans. But not for
moi. |
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Sing
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CHRIS MIKSANEK - THE MED CITY
MOVIE GUY “Let’s put on a
show.”
Nana Noodleman |
Thankfully I haven’t heard that in years but when a
spirited little koala (Matthew McConaughey) decides
to stage a singing contest to revive the rundown old
theater that he owns, the line comes across sincere and fresh.
Indeed, even if the plot is not wholly original, the
characters and upbeat music make Sing
an
overlooked joy. Co-stars John C. Reilly,
Reese Witherspoon, Seth MacFarlane, and Scarlett
Johansson. But for my money, Nana Noodleman (Jennifer
Hudson and Jennifer Saunders) steals the show. |
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Fences
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CHRIS MIKSANEK - THE MED CITY
MOVIE GUY Frequent readers
know I drop a lot of references to The
Sopranos. In part, that’s because the
award-winning series is a good barometer of great
writing (plus, the series is also cool as hell).
For instance, when Tony’s daughter tells him it’s the
90s and parents talk to their kids about sex he comes
back with, “Yeah, but that’s where you’re wrong. You
see out there it’s the 1990s, but in this house it’s
1954.” Tony’s West Orange McMansion is a
controllable refuge insulating his family from the
world. Likewise, the metaphoric Fences
Denzel Washington are perpetually constructing in his
back yard keep the evolving 1950s Pittsburgh outside
world separate from the blue collar father’s work and
greater neighborhood; though Washington’s paranoia
and preoccupation with the Grim Reaper do a pretty
good job of isolating him from his wife (Viola
Davis), sons, and brother. Not for
nothing, the relationship with his youngest son — the
unwavering, almost obnoxious, strictness — is
reminiscent of The Great Santini. Parallels to Sam
Jackson’s Lakeview Terrace where a home is a
sanctuary from the world and its arguable progress.
Fences is a Denzel Washington-directed film version
of the Pulitzer prize winning August WIlson stage
play (the revival of which also starred Washington
and Davis). Remarkably well-written though the
big-screen version never feels anything but a filmed
version of a play.
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The Founder
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CHRIS MIKSANEK - THE MED CITY
MOVIE GUY In honor of
The
Founder, the story of McDonald’s visionary Ray Kroc,
I had my first ¼-Pounder (Royale w/cheese for my
Amsterdam readers) in 18 months. In
2001, author Eric Schlosser published Fast Food
Nation, outlining the intersections of fast food,
the demand for fast food, and the unpleasant things
necessary to get a burger into our hands for a dollar. (Boyhood
director Richard Linklater brought a less persuasive
adaptation to the big screen in 2006 that starred
Ethan Hawke, Ashley Johnson, and Greg Kinnear.)
Weakened nuclear families, deconstructed social
norms, and robotomized workers were a few of the
consequences. Documentarian Morgan Spurlock famously
highlighted another in his Super Size Me.
As for their role, the jury is deadlocked as to
whether the ubiquitous McDonald’s invented the now
roundly remonstrated trend or the evolving family
created a demand for it. But to believe the Ray Kroc
(Michael Keaton) that director John Lee Hancock (The
Blind Side, Saving Mr. Banks) serves-up here, it is
the latter. Kroc got his start hustling milkshake
mixers to drive-ins popular in the era. (Chicagoans
will recognize his employer Prince Castle who, with
Cock Robin, ran venues back in the day.) In the
course of his sales pitches, Kroc observed the
operations in
action as well as their loitering teen clienteles. He developed a sense of
what processes were most effective in delivering
product and the part his mixer might play in the
overall “symphony of efficiency.” But it
was on a road trip to customers Mac and Dick
McDonald’s place that was transformative. Kroc
noted that every small town along Route 66 had two things
in common: a church and a town hall; by the time
he got to the brothers’ San Bernardino, California
restaurant he imagined a third: golden arches. “Why
not,” he wondered out loud to the skeptical men, “A
place where decent, wholesome, families come together —
McDonald’s can be the new American Church.”
They resist, at first… strict hands-on oversight was
necessary to maintain quality, consistency and speed,
and the brothers historically had problems recruiting
like-minded managers. But the persistent Kroc
eventually erodes their reluctance and the first McDonald’s franchise opens
far from the brothers in Des Plaines, Illinois, near
Kroc’s Oak Park home. Then another. And
another. In no time the
franchises explode (today, the film notes, McDonald’s
feeds 1% of the world every day) but the relationship
between the ambitious Kroc and conservative McDonalds
fractures and the real founders are epically and
ignobly squeezed-out
like ketchup from a little packet. The
rest, as they say, is history. Keaton does a wonderful job as
the ever-optimistic Kroc though the character is born
can’t miss. Laura Dern co-stars.
A slated
sequel is said to feature the McRib. I’m
lovin’ it.
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Arrival
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CHRIS MIKSANEK - THE MED CITY
MOVIE GUY
Whenever science fiction assumes aliens visiting our
planet must be a superior life form I think of
something ALF — the 1980’s cat-munching pain in the
Tanner family’s crack Melmac refugee — told Willie to
temper his wonderment, “This is a good time to tell
you I was a P.E. Major.”
Who’s your favorite extraterrestrial visitor?
e.t. of 1982’s
E.T.
the Extra-Terrestrial?
Klaatu or Gort from
1951’s The Day the Earth Stood Still?
The
Martians from Tim Burton’s 1996 Mars Attacks?
Ack!
Ack!
Or, “By Grabthar’s Hammer” The
Thermians from 1992’s Galaxy Quest?
Visit
the Facebook Page and tell me. |
Just sayin’.
Amy Adams is a noted linguist
brought in by military intelligence to facilitate
communications after a dozen ships land across our
planet in Arrival.
She and partner Jeremy Renner
have a close encounter with two of the so-called
heptapods (named for their seven arms) whom they
nickname Abbott and Costello. But they quickly learn
it is almost as difficult to converse in the aliens’
symbol-like language as it is to maintain dialogs
with the other countries trying to do the same in
order to ascertain the visitors’ true intentions.
Parts of Arrival are sharply
written, notably the entire concept of language as a
weapon, other parts are dogged. For instance, the layers of
non-linear time are managed well but often too
heavily relied upon as an escape to a plot-point
painted into a corner. Overall it is original even
when reminiscent of both The Day the Earth Stood
Still and Christopher Nolan’s
Inception.
From director Denis
Villeneuve (Prisoners
and the upcoming Blade Runner 2049). Forest Whitaker co-stars.
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Hacksaw
Ridge
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CHRIS MIKSANEK - THE MED CITY
MOVIE GUY
I tried fit Desmond Doss, the WWII medic who saved
more than 75 men during the Battle of Okinawa, into
the reluctant hero category — a sort of
Sergeant York meets Saving
Private Ryan. A bankable Hollywood
character type. But the truth is, Doss signed-up to
jump into the fire.
A pacifist, he yearned for a way to do his duty and
thought he found one as a battlefield medic.
Unfortunately, his rifle company did not exactly
warm-up to a fellow soldier avowed to never handle
a firearm.
In spite of their distrust, Doss saved scores of them
when the United States sought to
overtake the Pacific enemy on a suicidal mission at
Hacksaw Ridge.
Hollywood pariah Mel Gibson directs Andrew Garfield (The
Social Network, 2012’s The
Amazing Spider-Man, and the
on-no-one’s-radar economic drama 99 Homes)
in what is, hands down, one of the ten best films of
the year.
A riveting story of the compelling servitude and
self-sacrifice that earned Doss a Medal of Honor, the
first ever to be awarded to a conscientious objector.
Vince Vaughn (!) co-stars as Doss’ drill instructor
and later rifle company sergeant.
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Jack
Reacher: Never Go Back
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CHRIS MIKSANEK - THE MED CITY
MOVIE GUY
Ever reliable at the box office, Tom Cruise returns
as Jack Reacher in Never Go Back,
a film that is OK, but far inferior to the original
2012 installment that co-starred Rosamund Pike, David
Oyelowo, and Robert Duvall.
This go ’round has Reacher traipsing around New
Orleans to help vindicate his Army insider (Avengers:
Age of Ultron’s Cobie Smulders) in what
is an uninspiring adaptation of Lee Child’s 18th book
in the series.
There are better movies to see and to read about.
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