Review: ‘Zootopia’ (It Takes All Kinds)

Prejudice 101 — for kids of all ages.

Judy Hopps (voice of Ginnifer Goodwin) dreams of making a difference, so she becomes a police officer in the big city. One problem: Judy is a bunny, and Zootopia is a metropolis fully stocked with predators and prey living life together in perfect harmony…but is everything as peaceful as it seems? Relegated to meter-maid duty because of her size and species, Judy seizes an opportunity to investigate a missing persons case to prove her worth, but her bid for success comes with a price if she fails to deliver. With the clock ticking, our hero enlists (read: hustles) the services of a grifter fox named Nick Wilde (voice of Jason Bateman) to guide her through Zootopia’s seedy underbelly, but the truth she discovers is darker than anything a happy, hopeful little bunny could have ever imagined.

This is how smart people tell stories that matter: disguising it as escapism. While reportedly just an idea about anthropomorphic animals living together in a concrete jungle, the clever visual commentary on current society is a feast for the eyes, poking fun at everything from social media to pop culture. But tucked inside all the happy bunny and sly fox antics is a very real problem: how preconceptions and prejudice can lead to racism and genocide — not exactly Saturday morning topics of discussion. Zootopia manages an incredible balancing act having fun with their high concept while taking nothing away from the seriousness of their story, and that’s no small thing.
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Review: ‘Batman v Superman: Dawn of Justice’ (World’s Finest Mess)

When the best thing you can say is it’s not as bad as they say, what does that really say?

When Superman (Henry Cavill) made the conscious decision to kill General Zod (Michael Shannon) to stop Earth from being made-over into New Krypton, Bruce Wayne (Ben Affleck) is in Metropolis to witness firsthand the collateral damage of the super-brawl. It reminds him, of course, of when his own parents were killed — the first of many events leading up to him becoming Batman of Gotham City. Eighteen months later, Superman continues doing his hero thing, giving many hope that his powers make him a true god among men — an actual savior — but his status is called into question when African villagers are murdered during his rescue of Lois Lane (Amy Adams) on assignment. With American leaders genuinely concerned that Superman has gone or could go rogue, Lex Luthor (Jesse Eisenberg) leverages their fears to gain access to recovered yet restricted Kryptonian tech. What is this evil villain’s true plan?

Welcome to this quarter’s chest-thumping studio-driven must-see movie — a film released unopposed and far enough away from the actual summer blockbuster season that one can’t help but feel an executive-level lack of confidence competing against other films, particularly those in the Marvel Universe. To be fair, Easter weekend provides an extra Friday off for parents to drag their kids out to see a superhero movie (“Please, Timmy? Can your mom and I go?”) The money’s there for the taking, but will the movie accomplish its primary goal: for Warner Bros. to shortcut their way into an ensemble Justice League film franchise and scare up some of that Marvel Universe Avengers profit?
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Why Did ‘The Force Awakens’ Succeed While ‘Superman Returns’ Failed?

The studio mission for two beloved (and lucrative) franchises was identical:

  • remind fans what they loved about the original movies while letting them forget the “uncool” films;
  • reboot the series for new fans while touching on nostalgia for old fans;
  • make the series relevant enough for today’s values to launch a new film franchise.

So why did this happen? Everything Bryan Singer failed to achieve with Superman Returns looked almost easy as J.J. Abrams exceeded expectations with Star Wars: The Force Awakens.

MovieCryptSupermanReturnsTheForceAwakensLex Luthor threatens director Singer with kryptonite while R2 argues dialogue with director Abrams.

Was it a bigger, more rabid fan base? You can shoot that down a few ways. Superman has been around for over seventy-five years and has been reinvented in numerous ways; Star Wars has been around about half that time. That said, however, you don’t see a 501st Legion of Superman fans showing up at convention parades. If anything, Abrams (as a fan himself) was under far more pressure than Singer to relaunch a Star Wars film franchise in theaters and live up to expectations, so much so that he passed on the first offer to direct because he reportedly wanted to see it more than make it. Singer, as evidenced by his X-Men success, has an eye for detail and a passion for superhero stories; after the Brett Ratner derailing debacle X-Men 3: The Last Yawn Whatever, Singer essentially fixed everything with Days of Future Past, and he did it in style.

Was it a focus on more maternal, emotional, and arguably female-empowering material? Singer has reportedly gone to bat for Superman Returns hinting it was a film more for women than men, that maybe it was a mistake to have gone in that direction. Meanwhile, in a galaxy far, far away, Abrams has not only made his new lead actor a woman but empowered her and cast nearly 50%/50% in gender equality; Princess Leia can still remember when it was just her and another slave girl in a room full of salivating males and a giant lascivious space slug.

MickeyAndSlavePrincessesOkay, NOW can we retire the metal slave bikini?

Is Abrams just better than Singer? Ouch. To be fair, DC comics owner Warner Bros. isn’t quite the powerhouse Disney has become, so the Galactic Rodent wasn’t about to let George Lucas’s golden goose go by the wayside. Singer never had that kind of support from Time Warner; it was more like everyone in the board room held their breath rather than champion their new Superman entry. Before the ink was dry, Disney announced its complete acquisition of Lucasfilm Ltd. and its intention to bottle the Force into energy drinks if it had to. While stepping into the same movie-making machine that empowered Joss Whedon to make Marvel’s The Avengers and finally prove to the world what his fans already knew, J.J. already had the chops and nothing to prove to anyone but himself; he genuinely seemed humbled by the experience in interviews and poured himself into the work.

Same mission; different results. In the end, the only thing for certain is that The Force Awakens felt more like the Star Wars fans fell in love with than Superman Returns felt like the Man of Steel they wanted and expected. While DC and Warner Bros. continues their attempt to copy Marvel’s success in building toward a Justice League movie, fans are already counting the days down until the Abrams-produced Episode VIII is unleashed while Singer’s X-Men: Age of Apocalypse looms on the horizon. While Star Wars continues peddling its Light and Dark Side ways, maybe it’s the idea of Superman that’s run its course; you don’t see Luke Skywalker wearing his underwear over his pants, do you?

Review: ‘Star Wars: The Force Awakens’ (And Destiny Awaits)

Here’s the short, short version: J.J. did it. Non-spoiler details to follow.

A long time ago in a galaxy far, far away, the Galactic Rodent purchased a franchise from Lucas the George. After hiring Abrams the Promising, it was ordained a new story of heroic deeds and dire villains would be told — different enough, but not too different from the tales of old. As the days grew colder, the masses gathered and waited to hear the new stories, hopeful that they would not be disappointed…and most were NOT disappointed. For three days they heard the stories again and again, and in the castle, the Galactic Rodent smiled.

Well, how ELSE are you going to do a spoiler-free review? The most amazing part of Star Wars: The Force Awakens is how little was revealed in the trailers. Audiences have long been spoiled by studios afraid surprises result in poor sales, that audiences don’t really want to be “surprised.” Maybe that’s true for Transformers movies, but not Star Wars. The secrets are back, and here’s the closest thing to a spoiler you’re going to get without wandering into the comments section: the secret is there are plenty of secrets still unrevealed. While Episode VII introduces a new cast, new situations, high adventure and a conclusion, it’s gone back to its serial roots by saying there’s more to come.
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Review: ‘Carol’ (One Does Not Simply Refuse Cate Blanchett)

A timeless, forbidden, and music-cued affair of the heart.

While working the doll counter at Manhattan department store Frankenberg’s, Therese (Rooney Mara) eyes the beautiful and elegant Carol (Cate Blanchett) from across the room. The attraction is immediate, but in the 1950s, more than a few people have issues with a married mother exploring a same-sex relationship with an available and popular young woman. Consenting adults will be consenting adults, but even while nature takes its course, complications threaten their relationship with the welfare of a child hanging in the balance. Will their attraction be denied or will love triumph all?

Warning: total award bait! A lesbian love affair between two beautiful women? A period piece that denies them the same right that…okay, well, we’re still getting that sorted out 65 years later. Wait, one more: a pretentious “longing desperation” piano/violin/oboe concerto over non-dialogue moments? Yes, you worked very hard on your eight-bar theme song; thanks, we got it. All this aside? It’s good. Both actors contrast and emote the complications of being who they’re expected to be while still trying to find a way to fulfill a need that others may deplore. Unlike Brokeback Mountain, which started early with the controversial same-sex love scene to get it out of the way and concentrate on the aftermath and emotional complication of their sudden but denied relationship, Carol builds toward it, trying to make a gratuitous scene feel as artful as it can. There aren’t many surprises here as the story unfolds by the numbers, but while being expertly shot, acted, and edited, it can’t seem to shake the stigma of being an year-end award generator rather than a meaningful film.
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Review: ‘Crimson Peak’ (Up all night to get Loki)

Remember: “It’s not a ghost story, but it has a ghost in it.”

Edith Cushing (Mia Wasikowska) is an aspiring author more interested in becoming the next Mary Shelley than pursuing a husband. Being the late 1800s, her self-made father (Jim Beaver) would prefer to see her married off to local Dr. Alan McMichael (Charlie Hunnam), but a destitute aristocrat named Thomas Sharpe (Tom Hiddleston) has caught her eye with his appearance and her mind with his dreams. Seeking investments to restart the blood-red clay mine beneath his English countryside manor owned by he and his sister Lucille (Jessica Chastain), Sir Thomas claims Edith for his wife after Mr. Cushing’s mysterious death. Known only to Edith, a warning from her mother’s ghost is fulfilled when she hears her new home at Allerdale Hall bears the whispered name “Crimson Peak.”

No one can dispute that this is a Gothic tale with all the trappings, but the details vary from viewer to viewer. There’s a reason for this; the story is rather simple but the atmosphere is complex. Writer/director Guillermo del Toro is no stranger to this kind of spooky film but this one boasts fewer monsters than his more recent fare. Main character Edith essentially reveals the rules of the film as she tries in vain to explain to a publisher her own intentions. The problem is one of advertising since the trailers offer little of the plot while celebrating the visuals…and it, like the story, is darkly beautiful. Viewers expecting Hellboy or Pacific Rim may be disappointed, but fans of slow-burn ghostly fare like Nicole Kidman’s The Others and del Toro’s own Don’t Be Afraid of the Dark will enjoy the feel of their skin both crawling and tingling.
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Review: ‘Maze Runner: The Scorch Trials’ (Maze Harder)

Out of the frying pan and into the Scorch.

After only being in the glade a few days, Thomas (Dylan O’Brien) has led his fellow gladers out only to be collected by a military group promising to take them to safety; their ordeal with WCKD and maze running is over! In charge of the rescuers is Janson (Aidan Gillen), a guy who can’t seem to help looking smarmy and suspicious (see: “Game of Thrones”). Faster than you can say betrayal, Thomas and the gang are on the run again, this time through the ruins of a city and into the desert-like wastes beyond. Chased by both bad guys and eyeless running zombie things, Thomas has less information than ever about how the gladers can save themselves, but one answer may lie in his former relationship with Teresa (Kaya Scodelario) before they were both sent into the maze.

This was a little disappointing. While the first film wasn’t perfect but well-acted; you’d think part 2 would have stepped it up. It could be the fault of the books, but so much of what we discover in The Scorch Trials doesn’t make sense with the world. We’re told the gladers are special – something about being a living cure that can’t be replicated in a lab – and what those who are infected have to put up with or become. Like most of these Young Adult / New Adult stories, this is an adventure masquerading as a dystopian drama, but this production distinctively alternates between high-budget money shots and low-budget pickups, mostly toward the end of the movie. There are scream-at-the-screen worthy moments during these sequences; did they run out of money and/or hoped no one would notice?
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