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The Hitman’s Bodyguard
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CHRIS MIKSANEK - THE MED CITY
MOVIE GUY So, OK,
The Hitman’s Bodyguard is another “gotta
keep the witness alive and get them to court to
testify in time” buddy film. But just as there are
many variations of the hot dog (though Chicagoans
know there is really only one) so too are there
several ways to execute this reliable plot. Reese
Witherspoon’s 2015 Hot Pursuit,
for instance, was an example of how not to.
This one, thankfully, rises above the formula.
The action is consistent and engaging; bodyguard
Ryan Reynolds and hit-man Samuel L. Jackson share
great chemistry. You almost forget you've seen the
same film many times before. Here, Jackson
needs to testify against Gary Oldman (who deserves
better than this movie) in the International Court of
Justice in order to secure the release of wife Salma
Hayek. Because so many prior witnesses never made it
alive, Interpol brings-in Reynolds who, despite some
history with Jackson, agrees to get him to the church
on time, as it were. Notwithstanding a few twists,
things go as expected. Jackson’s
trademark MF-this and MF-that gets
old fast so it’s up to Reynolds to really carry this
one, which he does with his wry delivery.
Not great, but great fun. |
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Detroit
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CHRIS MIKSANEK - THE MED CITY
MOVIE GUY America was afire in the 1960s. Literally. For nearly
a week in 1965 the South-central Los Angeles
neighborhood of Watts was ground zero for rioting and
arson amid chants of “Burn, Baby, Burn” after a
motorist there was arrested for drunk driving.
In Newark, not too long afterwards, 26 people
died over four days of rioting and looting that was
precipitated, apparently, by police beating an area
cab driver. And in my hometown of Chicago, when
the assassination of Martin Luther King, Jr. sparked
violence that actually reduced some streets to
rubble, legendary Mayor Richard J. Daley issued the
famous edict to police to “shoot to maim or cripple
looters” and, “shoot to kill arsonists.”
In the heat of
the fight
For my money, the best film to depict the
turbulent times of the 1960s is Norman Jewison’s
In the Heat of the Night based on John Ball’s
novel.
Sidney Poitier is a Philadelphia detective
who finds himself in the deep south reluctantly
helping a racist police department (who
begrudgingly accept his aid) solve a murder.
Even today, fifty years later, it feels edgy
and authentic. I can only imagine how powerful it
was when first released back in 1967 at the
height of racial tensions.
In the Heat of the Night went on to win five Oscars including one
for Rod Steiger yet surprisingly nothing for
Poitier whose 1963 performance in Lilies of the
Field earned him one. |
In reality, what begat the
unrest was much more complex than the events that
triggered it. Unfortunately,
Academy Award-winning director Kathryn Bigelow and
her frequent collaborator writer Mark Boal (the two
worked together on The Hurt Locker and 2012’s
Zero
Dark Thirty) miss an opportunity to delve into those
causes instead focusing on one particularly egregious
incident during Detroit’s 1967 12th Street Riot.
Minimal backstory — e.g., many of those that came
north in the Great Migration had yet to benefit
economically — introduces the riot’s flashpoint:
Detroit police, tipped by an informant, raid an
unlicensed neighborhood club. On the following night,
one of two Detroit policemen pursuing a fleeing
looter, shoot him in the back. Remarkably, and a
testament to the grim times, the officer is
permitted to remain on active duty. At the onset of
the riot, the Michigan Governor dispatched some state
police and activated the National Guard. The
militarization was a powerful vision to longtime
Rochester Councilwoman Sandra Means who lived in
Detroit at the time and wrote on Facebook, “It was
beyond horrific with the sound of bullets, curfews
and the presence of army tanks” though she lamented
that little of this comes across in the movie.
The film’s raison d’être unfolds as law
enforcement gather not far from the neighborhood’s
Algiers Motel where one of the borders there thinks
it might be fun to shoot a starter pistol out his
window towards the officers. The
police, already on edge from incidents of active
snipers, react, or rather over-react, in full force.
Two particularly sadistic cops line-up all of the
guests in the motel’s annex and terrorize them in
order to learn the location of the weapon and the
identity of the shooter killing
three of the suspects in the process; state
police and other agencies opted not to get involved. In the
epilogue we learn an all-white jury exonerates the
police. And that’s it.
With obvious parallels to recent incidents there
is no deep exploration of the root causes, no
examination of the psychology of police in
crime-ridden areas. No talk of the fog of war, chaos,
misguided attempts to keep the peace and preserve
property. Attenuated where it
could have been provoking, Detroit is a poor
execution of a critical chapter in our history.
Perhaps the usually capable Kathryn Bigelow was not
the best choice to bring this story to the big
screen.
Detroit has received the #CriticsChoice
Seal of Distinction from the BFCA!
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Dunkirk
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CHRIS MIKSANEK - THE MED CITY
MOVIE GUY Dunkirk
has a problem and it’s not the bizarre claim that
a beclowned reviewer leveled at director Christopher
Nolan for siding with history rather than political
correctness to depict an embattled military clash
absent women and people of color.
Nearly 400,000 allied troops were pinned-down by
Germans in the small town on France’s northern border
in the early part of WWII. With bigger fish to fry
(i.e., more winnable battles), the allies were slow
to commit the resources necessary to evacuate them.
So desperate soldiers and area loyalists miraculously rallied locals
(most of them fishermen) and their more than 800
small boats to
execute the rescue making several trips
back-and-forth to safety — though we don’t really get
a sense of that scale save for a small vanguard
against which we are left to extrapolate.
An ensemble of mostly unfamiliar faces (except
for pilot Tom Hardy) makes it difficult to call-out a
particular standout which is not necessarily bad
though it highlights Dunkirk’s
miss: none of the characters appear to have a
backstory. Cohesion is paramount to victory but each
of even the most reluctant individuals there had a
life and a motivation to get back home.
Nolan opts for a you-are-there feel with many
intense moments that don’t quite rise to the opening
of Saving Private Ryan but
nonetheless feel authentic. I was struck by the
selflessness and wondered
if the products of today’s culture could boast the
same mettle, make the same sacrifices, as the greatest
generation. Maybe. Let’s hope we don’t have to find
out.
Dunkirk has received the #CriticsChoice
Seal of Distinction from the BFCA! |
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Spider-Man: Homecoming
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CHRIS MIKSANEK - THE MED CITY
MOVIE GUY I O.D.’ed on
superhero movies, like, eight or nine films ago. So
when the latest chapter in the Marvel Cinematic
Universe opened — yet another reboot of Spider-Man,
to make it even more agonizing — I was ready with a
one word review: “Meh” What I was
treated to instead was a fresh take on the youngest
in the spandex squad. This one maintains just enough
connective tissue to the franchise
(Tony Stark mentoring and Captain America in some
clever high school PSAs) while keeping a safe distance from that which has
been done and redone in the Avengers series.
Peter Parker’s not happy being just a friendly
neighborhood Spider-Man, he wants to be an Avenger
and is accepted into an internship with Stark
Industries. So a lot of this one has him angling for
the attention of Tony Stark (Robert Downey Jr.) whose
Iron Man has to bail out the young arachni-kid more
than once. Donning wings again
(remember 2014’s Birdman?)
is Michael Keaton as supervillian Vulture.
Great pacing, amazing score (I mean, who uses
Traffic’s Low Spark of High Heeled Boys?!),
and a few surprises. Lots of fun. |
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Despicable Me 3
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CHRIS MIKSANEK - THE MED CITY
MOVIE GUY Let me start with
this: I could do without the Minions — the little
yellow suppository-sized sidekicks to the one-time
super villain Gru (voiced by Steve Carell). Gru, a
formidable body on toothpick legs, is a hoot just to
watch but when Carell adds a muddled Baltic accent
I’m on the floor with even the most mundane dialog.
In this 3rd installment (the original
Despicable Me opened in 2010), Gru
has joined the Anti-Villain League and is on the
trail of a bitter child-star turned madman named
Balthazar Bratt (South Park’s
Trey Parker) out to get revenge on a Hollywood that
turned its back on him. Along the way, Gru is
reunited with Dru (also Carell), a handsome
mega-successful twin brother whom he didn’t know
existed. Dependably fun, vibrant
and well-paced though at times Despicable
Me 3 relies too much on nostalgia for
1980’s pop-culture. There are other ways to appeal to
a broad audience. |
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The House
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CHRIS MIKSANEK - THE MED CITY
MOVIE GUY When their
daughter’s scholarship craps-out, Will Ferrell and
Amy Poehler (with degenerate gambler-friend Jason
Mantzoukas) start a home casino to raise money for
her tuition. Things progress
predictably with the pair gradually becoming
caricatures lifting bits from the iconic
Casino. The laughs
are consistent and the over-the-top moments
hysterical. Watch for living-room
comedian Sebastian Maniscalco whose exquisite
purposeful drawn-out timing
needs to be seen to be appreciated. |
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Cars 3
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CHRIS MIKSANEK - THE MED CITY
MOVIE GUY Count on Pixar to
turn a trite plot (essentially Rocky 3)
into a thoroughly enjoyable ride.
This go-around Lightning McQueen (Owen Wilson) is
feeling obsolete as the high-tech rookies look to
sideline the classics with lines like, “Can I get you
a drip pan, old man?” Most of the
original cast returns (Bonnie Hunt, Larry the Cable
Guy, and thanks to some unused original footage, the
late Paul Newman as Doc Hudson) and the film
maintains the same vibe as the 2006’s
Cars. Typical Pixar
broad appeal (the Forklift band plays Bruce
Springsteen’s Glory Days) buoys this one and
for some reason I got a huge kick out of McQueen’s
alias: Chester Whipplefilter |
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The Mummy
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CHRIS MIKSANEK - THE MED CITY
MOVIE GUY Serious question:
who thought this was a good idea?
I mean, Brendan Fraser’s 1999 reboot had the
right mix of plot, humor and effects. (Not to mention
my fellow St. Laurence High School alum Kevin
O’Connor whose character “Beni” stole the show.)
This Tom Cruise version is derivative and dark. I
get this is a just a part of Universal’s larger
Dark Universe so taken as a whole — Javier
Bardem as Frankenstein’s Monster,
Johnny Depp’s The Invisible Man, a
rumored Dwayne Johnson as The WolfMan,
and the as yet uncast Creature From the
Black Lagoon, Phantom of
the Opera, and Hunchback of
Notre Dame — so it may be unfair to pick
on an individual episode. But I will. Here
Dr. Jekyl (Russel Crowe) heads a secret organization
battling evil which is a common premise.
Kong: Skull Island did it earlier this
year, The League of Extraordinary
Gentlemen brought together several
legendry bodies years ago as have nearly every
superhero film since.
Cruise is a tomb
raider a preserver of antiquities. With his
sidekick (the usually hysterical Jake Johnson) the
two stumble on an ancient tomb after which Cruise is
cursed and Johnson becomes a zombie who subsequently
hectors him in an almost frame-by-frame
rip-off tribute to
An American Werewolf in London.
Like Fraser’s Mummy,
this plot unravels (ha!) in modern day as the
reconstituted body seeks to fully reanimate itself on
the living. The usually bankable
Cruise delivers nothing new
or, for that matter, engaging. Fans of the vintage
Universal Monsters, especially, will be left
unsatisfied.
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Baywatch
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CHRIS MIKSANEK - THE MED CITY
MOVIE GUY The big screen
treatment of the mock-worthy 1990’s mainstay
Baywatch is nearly two hours of
preposterous crime-solving, goofy gags, and babes in
tight swimsuits running in slow motion. In other
words, while this one is not great, of how many movies
can you honestly say, “It was exactly what I
expected”?
Touch that
dial
It’s never been unusual for film to exploit the
popularity of shows on the little screen. A few
of the serious executions like
Mission: Impossible,
The Fugitive, and, The
Man from U.N.C.L.E., have even
eclipsed their tubular progenitors. Most of them,
unfortunately, to borrow the words of Maxwell
Smart, “Missed it by that much.”
Click here are a few of the popcorn-worthy ones |
Well, yea, but I could
have done without the tsunami of F-bombs and the
predictable cameos (David Hasselhoff and Pamela
Anderson) that felt too much like afterthoughts.
From Horrible Bosses
and Identity Thief director
Seth Gordon, this one would have been flotsam without
the wry comic art of Dwayne Johnson. Co-star Zac
Efron is a disgraced Olympic star and one of several
new recruits under Johnson who happens on an exotic
drug ring headed by a local club owner.
What ensues is nominal sleuthing and optimal
cleavage. Not the best
TV-to-silver-screen treatment but not the worst,
either. |
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How to be a Latin Lover
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CHRIS MIKSANEK - THE MED CITY
MOVIE GUY “I don’t want to be
him,” young Maximo says of a wealthy older man in a
magazine ad. “I want to be her,” he tells his sister
pointing to the much younger woman beside the man.
Fast forward many years, and as many pounds.
Maximo (popular Mexican actor/comedian Eugenio Derbez)
is not the gigolo he once was. And when he’s pushed
out of his cushy gig by Michael Cera, insult is added
to financial injury. With nowhere
to go, he first takes-up residence in a playhouse on
the estate of a flush grandmother serviced by another
gigolo (brilliantly played by Rob Lowe) before
eventually landing on the doorstep of his sister
(Salma Hayek) and her son Hugo (Raphael Alejandro).
Predictably, he takes young Hugo under his wing
to school the boy in the art of manipulating women.
But, in fact, Maximo is only interested in the
billionaire grandmother (Raquel Welch) of the boy’s
crush. Lots of PG-13 laughs,
sight gags, and witty dialog (“I’m looking for
someone with a big heart,” Maximo poignantly
confesses at one point, “but not necessarily a strong
heart.”) How to be a
Latin Lover works on so many
levels in part because laughs are smartly mined from
even the smallest roles like mobile advertiser Rob
Riggle or perky Yogurt server and cat lover Kristen
Bell. |
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Snatched
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CHRIS MIKSANEK - THE MED CITY
MOVIE GUY Goldie Hawn gave me
my start in show business — my wife and I were extras
in one of her comedies, seems like, a hundred years
ago. So I am being especially generous when I say,
with all due respect… this film is not good.
Penned by Katie Dippold, who wrote
The Heat, the laugh-out-loud 2014
comedy starring Sandra Bullock and Melissa McCarthy,
Snatched teams perennial
funny-girl Goldie Hawn (her first film in 15 years)
and the popular Amy Schumer. Schumer’s banter is
always fresh and she doesn’t disappoint but Hawn, as
her “careful” mom, seems uncomfortable in the role.
Joan Cusack (Toy Story 2/3, School
of Rock ) co-stars as a former special
ops agent who cut-out her own tongue to prevent her
from leaking secrets if tortured, and the always
reliable Wanda Sykes as her partner.
The four meet in Ecuador where Hawn and Schumer
are vacationing before the mother/daughter are
kidnapped. Not without laughs but
the headliners deserve better. And so do the
moviegoers. |
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