X-Men: Days Of Future Past (2014) Is Numerous Layers Of Attempted Undoing

In a desolate future where all that remain of average humans and mutants are on the losing end of a horrific war versus a machine enemy, the final battle will be decided by way of time travel. With the last remnants of mutated humans fighting the same final stand time and again due to Kitty Pryde(Ellen Page)'s ability to send minds back a few minutes before the same assault annihilates them all. It is here that the finally re-allied pairing of Charles Xavier(Patrick Stewart) and Erik Lehnsherr (Sir Ian McKellen) posit that the only chance at averting this dire outcome, is by sending someone far earlier, to 1973. A time when one single event undertaken by a fellow mutant, sets the entire Sentinel apocalypse in motion. The catch? The only mutant left that could possibly handle such an intense trip back into his younger body, is the ever volatile Logan (Hugh Jackman).


It takes an often absurd amount of effort to undo the past, but what about a past series of wayward films nearly a decade in the maintaining? This question penetrates beyond the mere plot of Bryan Singer's directorial return to the long-troubled X-Men film franchise in what is one of the more unusual cases of course correction I have ever witnessed. Taking on the classic time travel story originally published in 1981, elder cast meets young in a tale of redemption spanning several decades as the rift between humans and mutants reaches apocalyptic proportion. Again, it is no mean feat to undo a few simple choices made nearly ten years ago, but Singer and company give it a daring go at it (to marginally successful results).


Even more than an ambitious journey for a filmmaker with numerous levels of past deeds to be undone, DoFP features one of the more challenging storylines of the franchise. And as such, does a mostly effective job of juggling character and story. The lynchpins of the tale being that of the now-fractured relationship of past Charles and Erik (James McAvoy and a still riveting as iron, Michael Fassbender) now at its most strained since the aftermath of the events of First Class. With the two old friends turned rivals over their philosophies leaves Erik imprisoned deep beneath the Pentagon, and Charles, now a drug-addicted recluse, Logan's mission to inform them of future events makes for a great deal of the film's juice. The need for both old friends to rejoin forces in the name of stopping someone very close to them from killing the man responsible for setting events in motion. The man in question, being noted scientist, Bolivar Trask(Peter Dinklage). The man who will implement the Sentinel program, an army of humanoid machines capable of identifying and destroying mutants with frightening accuracy. But once the mission is well in motion, it becomes quite clear that even more than events that can be altered, it is in tattered bonds between mutants that might prove to be the most difficult to sway. Especially when it is the strained heart of Mystique/Raven(Jennifer Lawrence).


Course correction might be at the heart of the piece, but as a time travel piece, it is far more interested in what truly drives the series; character drama, and social concern. And while the film at times finds itself a little bogged down by an already overwhelmed cast, it at times feels uneven in tone, and unable to center its emotional drive where it needs it most. What we get in terms of the soap operatics lies mostly between MacAvoy and Fassbender, who again deliver some of the series' best work. And once again, there is great use of the ever reliable Jackman as a beast-man, ever at odds with his own nature in a situation that could completely derail at his expense. And while a great deal of the film makes good with this within the first hour, it also finds itself relatively lost in a cacophony of twists and specious cartoon logic that almost threatens to undo the remaining running time. An underlying concern for the unspoken for veterans in wars of the past rings its head numerous times as a new thematic wrinkle. Sadly, this angle finds itself underutilized, even as a majority of the film is set amidst the Vietnam conflict.


 One element here that almost cripples a lot of the film's aims to be one of global and temporal scale, is an often excessive sense of stylized history, occasionally flirting with pure camp. One could almost argue that this is an effect of the previous films taking on a number of bizarre shifts over the years. What DoFP does in a very interesting way, is pay lip service to the series as a whole, and attempt to override all the troubles that have dogged the series, perhaps since the original 2000 debut. Having come through years of self-conscious comic book adaptations, this is also a fully "out" rendition of the X-Men films. In a post-Avengers world, it's hard not to look back and see just how panicked the studio must have been about presenting such larger than life characters to the screen. It took a decade and a half to reach where we are today, and with our characters desperately seeking a way to undo the mistakes of the past, we are at last able to see a more embracing vision of the universe.


The one place that I couldn't reconcile with the film, sadly is with the lack of feminine characterization. It's difficult enough to buy the wobbly logic of sending Logan in the stead of Pryde who was the story's original time traveler back to the past. But to not grant us enough insight into the mind of Mystique, who's entire agency in the story makes for the film's most important internal conflict is more than a missed opportunity, it's an almost fatal omission. Lawrence milks her role for all that its worth, but a little more on why she is so driven to commit her world-altering act would have done the film a great emotional service. Considering the best X-films contained with them a special feminine power integral to the spirit of the piece, it is sadly diminished here.


So in all, Singer's return to the franchise that made him into something of a divisive figure in fantasy filmdom is both a welcome and overburdened success. While it in no way undoes years of bad ideas, it does make for a sweet and occasionally thrilling apology. The world of the cinematic X-universe has been largely a dysfunctional one. It's with a surprised heart to express that for all its issues, Days Of Future Past carries with it a weight that helped bring the era of the superhero to fruition. Still a shame that this return to form came in the visage of a boys club reunion.

Oh, and the movie world's grander introduction to P. Maximoff, also known as Quicksilver(Evan Peters)? Possibly the film's biggest, happiest surprise.

Gareth Edwards' Godzilla (2014) Is Crushingly Average

Will it ever be enough?

The question that rang through my mind thirty minutes into Legendary Pictures' grand leap into the world of classic kaiju. Edwards' first major studio release, featuring TOHO's grand reptile winds up being less a narrative on our current world, and rather indicative of a studio system hobbled by legacy. This is in no way out to belittle what indeed appears onscreen, but for a piece designed to reintroduce the King Of The Monsters to a new generation, it does very little to impress beyond mild expectations. Worse yet, it plays as a half-baked allegory for more recent events in a way that never comes to any fruition. Outside of focusing on by-the-numbers, personality-deficient americans, the film never finds itself out of second gear. While it is much closer in aim to the G films of decades past, the end result is the equivalent of tasting a bottle of the most expensive water imaginable, and being unable to distinguish it from tap.


Beginning in 1999, a Japanese nuclear plant's US supervisor (Bryan Cranston) becomes a widower after strange seismic activity seems to herald a disaster, rendering what remains of the facility and the surrounding plant town as quarantined. Meanwhile, somewhere in the Philippines, a research team led by Professor Serizawa(Ken Watanabe) have just stumbled upon an unearthed and fossilized giant skeleton, along with a pair of massive egg pods(with one freshly opened). In the years after the incident, Joseph Brody(Cranston) has become something of an obsessed man, convinced that the public story regarding the plant incident is pure cover for something else. Having just recently been arrested back in Japan near the quarantine zone, Brody's now grown son, Ford (now an explosive ordinance disposal expert in the US Navy, played by Aaron Taylor-Johnson) is tasked with heading overseas to retrieve him. Only daddy Brody's ravings about a cover-up turn out to be true, and something horrific and HUGE is being watched over at the old nuclear facility grounds. It is here, that both parties are brought together due to a now unstoppable threat to humankind.


And perhaps there is only one force of nature capable of ending the terror.


So, yes..Despite the ad campaign that front-loaded often harrowing scenes of destruction and even human casualties, this is more a collective homage to fifty years of TOHO's once-great-nightmare-turned signature superhero. And perhaps it needs to be said up front that for all that will be typed here regarding the film, it is also great leaps beyond the 1998 Roland Emmerich film. Without resorting to nearly as much disinterest in the source material as that film, what remains is something more akin to playing the needle perhaps a little louder than necessary. The groove Edwards' finds himself in, is largely due to both Max Borenstein's underwhelming script, and his own inability to lend the film a sense of dramatic pacing. (This is not the first time. His previous, the indie surprise, MONSTERS, suffers from falling into a comfort zone with characterization, not playing enough with the elements at hand.)  Everything that seems to happen onscreen is often borne out of utility rather than by character, and as such we spend too much time coasting through the film. And even though the story goes out of its way to build up toward our first look at Gojira in all his glory, the impact is largely diminished due to a severe lack of dramatic tension. Matters just happen, and this happens with great efficiency throughout.


Also not delivered as advertised, is the performance of Cranston who ends up merely being a story leaping point, rather than the central character. His casting almost feels stunt-y considering what we're left with. Taylor-Johnson is never given any real meat as the young Brody. And his family is granted even less. With Elizabeth Olsen as Elle, Ford's doctor wife, and Carson Bolde as his young son, we are merely given the semblance of a contemporary family caught in the middle of this avalanching crisis. One could argue that many a human character in a Godzilla film has been perfunctory to the monster on monster action, but to see these characters be less than simple ciphers in such a large production is a little disheartening. It even goes so far as to make the entire affair feel small, and lacking in any sense of real awe.


Think of it. A Godzilla film of this size and potential magnitude, it barely registers.


On the surface, Edwards' piece does dish out some terrific images, and the final battle royale between King G and the insectoid MUTO creatures is fun on an artistic level. Alexandre Dusplat's effective orchestral score is relatively memorable. But for all the talk of this being a Godzilla piece with greater emphasis on the humans at ground level, it all rings terribly distant and hollow. This was a golden opportunity to make a film equivalent to the original Ishiro Honda classic. An environmental horror tale. An emotionally stirring hymn to civilization's hubris in the face of nature, delivered with heartfelt potency. A chance to place us at the heart of a truly difficult dilemma concerning the fate of the world, and science's role in it. But all we get is a middle of the road redux, lacking in horror, character, or even fun. If there is anything thematic to glean from all of this, is that the piece lands on the idea that nature settles its own issues. Problems arise when we are never given enough illustration of this point, nor enough evidence aside from the expected destruction to back up this mode of thinking. Even Watanabe's portrayal of Serizawa is never given enough coverage for us to see his ideas as having any kind of greater merit. While the surface is at times captivating, there seems to be very little percolation beneath it.


About the only genuine response evoked by the film (outside of the occasional cheer for our hero) was during a gag when young Brody's little son exclaims that the monster battle happening on the news is that of "dinosaurs". That's a very real, and wonderful piece of humor that resembled what a real film can do when breaking a sweat. But far too often, this one feels like a series of occasional sprints. And for all the respect it pays to the past, and to Yoshimitsu Banno's original IMAX 3D concept from over a decade ago, there is something that simply doesn't work about forcing American characters into such a mythology. In a post-Pacific Rim world, we should be much better than this.

So, I ask again..Will it ever be enough?

One would like to say yes. But perhaps we need to wait another fifteen years?

Transcendence(2014) : Pfister's Directorial Debut Is Lost At Sea

I cannot help but be curious about the origins of Wally Pfister's directorial debut, TRANSCENDENCE, and what mindset found the premise worth exploring. Outside of some truly regressive feelings on the nature of technology, versus humanity's inability to let go, there seems to be something both frightened, and sad happening here. If the film's inspirations lie within decades of technophobic cinema, then TRANSCENDENCE plays well as a bizarre spiritual throwback. And while Pfister's connections to major Hollywood (He has long been the Director of Photography for the films of Christopher Nolan) are impressive, they seem to be in the service of something both unsettling, and hopelessly "disconnected".


Five years before a technological apocalypse, computer research luminaries, Will and Evelyn Caster (a sleepy Johnny Depp and Rebecca Hall) are on the verge of a breakthrough in artificial intelligence with the hope of making the world a better place. But after an anti-tech terrorist attack leaves numbers in the computer development community dead, and Will poisoned by a radiation-tainted bullet, things seem grim. Until Evelyn considers the unthinkable. Based on a previous experiment involving a primate's uploaded consciousness into the Caster's incredible computer creation, PiNN, she considers doing the same with her ailing husband's mind. Upon agreement, and his inevitable passing, the computer rendition of Will is stunningly convincing. But this digital version of the AI genius seems far more ambitious than anyone (even Evelyn) could ever hope to control.


Without any further plot details, the film almost instantly falls apart once one considers the world that is established, and how these characters operate. While the Casters are one-noted, and hopelessly facile in their portrayals, the "luddite" terrorists that see this merging of flesh and machine to be feared, are laughably thin. Read back that last sentence for just a moment. The very idea that a faction that is against technology seems pretty comfortable in tracking and inevitably killing those who seem to empower them. An early line implies that these individuals are "ironic", and irrational feels like an attempt to justify their lack of depth. But it only leads to bigger questions regarding the theme of the piece. It doesn't help that the Caster's one close friend, scientist Max (Paul Bettany) , seems to espouse a more cautionary perspective regarding computation, and an inherent lack of a perfectly replicated soul. The argument ultimately whittles down to an almost old fashioned notion that decries the possibilities inherent in science. While Jack Paglen's script so badly wants to portray Max's perspective as a moral compass to the film's central questions, it cannot help but come off as shallow. Even Kate Mara's terrorist character seems primed to be a set of eyes to view the dilemma, but is undercut by having nearly nothing to do. A lot of underwritten characterization only serves to grant viewers no compass with which to work with, leaving the film in a confused fog.


But what truly burns about this whole debacle, is that as Pfister's debut film (not to mention an expensive one), this is one that reeks of an almost anti-futurist, but also anti-pluralist spirit. While the film wants to offer up good reasons for what takes place by the finale, there are also all the wet paper thin portrayals of both the terrorists and the common people that inhabit the story. Once the story takes us to a remote desert town, and Will's powers begin to fully manifest, there is a sinister air about the film that threatens to derail all that had come before. To make matters worse, the notion that technology empowers the poor in a way that is unbalanced is one that never feels any less creepy. While not stating it explicitly, there is a feeling throughout that such technological empowerment is akin to a zombie revolution; something also to be feared. And we haven't even covered the film's voice in who is to blame for all this. While technology is indeed an extension of who we are, the film seems more than comfortable in the blaming only two major things:


Both unchecked science & women.


And while the authorities inevitably swarm the burgeoning complex in the dust bowl, the film so vehemently wants us to question where our allegiances lie. Problems arise when it becomes clear that there is really noone here to identify with. And that becomes the largest thorn in TRANSCENDENCE's side. If the goal was to keep the perspective elusive until the very last minute, mission accomplished. With such one-dimensional characters and situations making the sound system rumble in the theater, the lack of focus never diminishes in annoyance. In a story regarding such heavy moral questions regarding existence and our evolving place in the scheme of life, an identification  figure is necessary. Sadly, Pfister and company never settle on one. Not one. And by the finale, hardly anything matters since caring has suddenly been removed from the art of filmmaking. The final product could not be more indifferent and illogical.


One cannot help but start wondering if Pfister did more second unit directing on The Dark Knight Rises than has been recorded. So much footage here echoes a lot of that film, and in the worst possible ways.

In the ever rapidly changing organic/tech landscape we are all living in, it is vital that our stories begin considering matters beyond fear. Jonze's Her, remains a shining example of this new philosophical direction. We live ever more connected to our devices than ever before. The world has begin to see incredible change. Not all positive, but nowhere near the melodramatic levels as displayed here. And the negative effects of this bold new realm cannot simply lie in the hands of the software itself. The heart of drama lies in our own failings, and in how we navigate life with ever new tools at our sides. TRANSCENDENCE implies our struggle to go beyond our limitations. And as a film that seems to rally against all the wondrous cultural, political, philosophical, and environmental changes that have come in the wake of the internet, it could not be a more misused title.

I hate this film.

Under The Skin(2013)Movie Thoughts

In a sea of blackness, we are immersed in a universe of circles, lulled towards the escalating tense sound of grinding strings. What looks to be an alignment of several celestial bodies moves across the frame as the strings grow louder and aggressive with intensity. As the alignment shifts into locked position, we also hear human vocal bites layered onto the almost organic collage of sound. And just as the tension could not grow any louder, the shapes blink, forming the center of a single human eye.

Black out. The noise cuts.

Late one evening in the hilly outskirts of Glasgow, Scotland..

A man on a motorcycle stops by a parked van near a darkened cliff, and pulls from it what seems to be the body of a young woman. A moment later, in a vibrant void of white, the dying woman’s clothing is taken by a nude female form, who then journeys to flesh out this new ensemble with items from a downtown mall. From here, the now fully decked out brunette takes control of the van, driving almost aimlessly through the city, seeking men—men without a clue of this woman’s origin, or what omen lies ahead for them.

Told with nearly zero dialogue (save for Johansson’s attempts to pick up non-actors off the street), and often with an almost voyeuristic zeal, Under The Skin is by no means an easy film to describe. Superficially, its premise seems lascivious and perhaps a bit eager to shock. From the outset, we know that our main character is not from any familiar world. But we do know that she requires the male gaze in order to complete what seems to be a singular mission on this planet: to seek male subjects. She mysteriously induces a compulsion in men to follow her to most certain doom. Even in one of the film’s most standout moments, she is so driven to acquire what she needs regardless of circumstance that, at a local beach, she neutralizes a swimmer who was amidst attempting to rescue a couple caught in the harsh waves. She even fails to recognize her fault in orphaning the baby of the lost couple, left crying alone on the windy shore. Nothing else matters. She may resemble one half of our species, but is without morality, nor basic human understanding outside of a compulsion to entice and entrap, making her a most unique audience surrogate.

From this already suspicious premise, one might mistake this as yet another excursion into the seedy underbelly of the urban Euro experience. All the telltale signs of films akin to the works of Von Trier are evident in regards to female protagonists, and their often ill-fated relations with men. However, what Jonathan Glazer(Sexy Beast, Birth) has in store is far more experiential and honest than even the Danish malcontent might consider. Scarlett Johansson’s turn as the mysterious figure in his Under The Skin, is much more than a dive into the darker sides of gender relations. It is an unrelentingly eerie and thoughtful daybreak bad dream where the audience is made an unwitting accomplice to a most unearthly series of fates.

Which seems to be the core concern of the film, the means by which females have been and continue to be viewed and treated in many corners of industrialized society. As we follow the figure’s exploits from the occasional van pickup, to the noisy clubs of downtown, and even to the overcast countryside, each new encounter is a rendition, an example. From drunken pickups, to pitiable meetings with the lesser seen, there is change and response that is accumulating within our lead. It’s in this, that we are as voyeurs, a part of this cycle. One that plays itself out in often languidly paced drives across town, and into her makeshift lair, where the unimaginable seems primed to happen again, and again.

Without the internal mindset hindered by emotional, political, and psychological baggage, we are in the realm of shape as definer. That she is seen as a type that is without fear of perception, her male suitors behave in numerous, often telling ways. Each variation a means of getting closer to another for a great variety of reasons. Through a character that is such a blank slate, we are now in the hands of filmmakers who are unafraid to tackle some of the more subconscious anxieties regarding such relations. As such, the film’s title denotes a dual meaning. With our lead shape’s journey through the film as some form of lifecycle, we are host to what it is to be perceived as a woman of the night. And what she encounters is at times disturbing, beautiful, and then ultimately tragic.

And let’s not go too deep into her motorcycle riding “minders”, who often clean up her occasional messes, and never speak a word. A striking addition of theme as these leather-clad riders are the only other elements in her functional world. Almost as if these are the men of infrastructure, facilitating that the experiment continue unabated.

This is the world that Glazer has fashioned with the confidence of a master. And while much of it does not impact as harshly as some may have declared, there is indeed something defiant & deeply humanist happening here. Johansson’s work here is both revelatory and spooky as a most bizarre, hyper simplified protagonist.  Everything conveyed in how she regards the surroundings, her gestures toward strangers, and even her own body is captured in ways that no films dealing with this so-called “alien female” archetype have done before. When she takes home a new specimen, it is portrayed with often a similar shooting and editing style, allowing prey to follow her into darkened, almost anatomical chasms. When she does this, it is a matter of course. Part of a ritual. Often without her reaching full state of undress. And what we do witness of this, is something that defies proper description. While the film may start by taking an angle that might bode negatively regarding women, there is a sharp counterpoint lying in wait. One that sneaks up on viewers as the story draws to an abrupt, painfully beautiful close.

Again, this is not a simple film to parse through. Glazer and company have successfully concocted one seriously nightmarish voyage that doesn’t offer any simple answers. That her life is comprised of reaching out to willing males, even to the detriment of her own identity, is possibly an admonishment of sorts. In an age where subtext is often the text and experimentation is often discouraged, this piece of work feels like a welcome throwback with new toys. Its visuals are often composed to a fault. Environments, while clearly urban and at times rain soaked, are tinged with an almost supernatural gloom. Even when our main character shares dialogue with unaware non-actors, the look is simply haunted. The music and sound design work almost as a stand alone project unto themselves. Mica Levi’s debut score is something of a wonder. Strings and beats often bordering on horror parody, then back into pure dread as rhythms mimic the cadence of a lone windshield wiper. As a whole, I may still be attempting to grasp what was achieved here, but it may just be the work of burdened inspiration. Something very personal had to be unleashed onto the world stage, no matter how discomforting. And even if the film never goes for deep shocks, its reverberations are indeed the kind that stick well beneath the surface long after the lights go up. This is by all accounts a fierce auteur work that could only happen with miraculous funding, and it is a most refreshing miracle at that.

So perhaps Under The Skin works best as a painterly summation of our current sexual impasse. Even as the world becomes more privy than ever regarding our relationships to other physical beings, there is a nagging fear that closeness will never be enough. If Glazer indeed sees the classic heterosexual model as merely one endless series of loops, then perhaps the film posits that perhaps the shape is far from enough to break it.

Captain America: The Winter Soldier (2014) Movie Thoughts

Often the very best genre has to offer is rife with text that is either telling of its time, or universal in its themes. They emphasize greater concerns in broad swings and strokes in the guise of popcorn diversion. This is even better when the whole is wrapped in an effective character drama that carefully just enough depth and enthusiasm to support the main idea's foundations. Now imagine my jaw hitting my lap as I caught the latest Marvel production, only to be stricken by just how big a leap they have taken. It's officially now hard to call where making a new Marvel movie constitutes "business as usual". When your second film centered on one of the most spiritually milquetoast of its roster hits on all cylinders, it becomes a truly baffling case of "where to now?"The megabudget film debut of Community's Russo Brothers, Captain America: The Winter Soldier, is much more than your now expected superhero checklist with A-list stars. It is a sincerely thrilling & effective action piece, with the best understanding of what superheroes can be in the movies.


As Marvel Studios has taken some bold steps in the wake of The Avengers(2012), their return to the life of long asleep super-soldier Steve Rogers is rife with revelation. The beloved boy scout has been spending his days post New York taking orders and defending his ideals through SHIELD. Ever the busybody, and rarely with time to settle down, his catching up with the modern world has begun to hit some murky waters. After a mission to liberate an overtaken SHIELD vessel at sea, his own faith in what he does is placed into doubt. Even after taking it up with his superior, Nick Fury (Samuel L. Jackson in his best showcase with this character-period,), who lets him in on their organization's biggest defense plan to date, his concern over the morality of his own actions weighs heavily. This upcoming Project Insight seems bent on "stopping threats before they happen", to the point of almost unnerving levels. And it isn't long before matters spiral out of control when it becomes clear that even Fury cannot seem to trust his superiors.


Something awful has overtaken the security monolith over time. And the future of it, and (naturally) the world are in for some grave danger unless Rogers, occasional partner, Natasha "Black Widow" Romanoff (Scarlett Johansson) , and newfound friend, Sam Wilson (Anthony Mackie) can devise a means of stopping it.


Further complicating matters, remnants of Rogers' past are about to return in force - and is a heartbreaking, terrifying one.


Loosely based on years of Captain America stories (most notably the works of Ed Brubaker), TWS is perhaps the best possible synthesis of classic superhero drama with the carefully executed topical and character fireworks required. Written by Christopher Markus & Stephen McFeely, the stakes are made all the more potent by way of never forgetting Steve Rogers' life as a dutiful soldier out of his element. That his ideals and still-risible innocence has yet to be tarnished by the greyness of the current day. That he is representative of a world where anyone can strive to be good, even as the fog threatens. Before things slip into a desperate run and search for answers, we gather how much he has learned about our current time, and even finds kinship in unusual places. Most representative of his philosophical spectrum comes from his connections with Sam, also a war veteran who helps at the VA hospital with traumatized soldiers, his growing trust with the often evasive Natasha, and even his brushes with Fury. The backbone of the entire film relies heavily on these bonds/rifts as the world seems on the brink of outright paranoia, and circular logic. Trust, and the role of soliders lies at the heart of TWS, and it often hits these notes with the rare precision that most films of this scale fail to.


And due to such a careful script, we are also hosted to some of the best performances yet for a Marvel piece. There is no exaggeration in saying that the film's moral weight lies in how Steve Rogers is portrayed, and to say that Chris Evans has embodied him is an understatement. Everything from his quiet moments, to his comedic, to action beats, he is unerring. It's a truly spirited performance. Scarlett's return as Rogers' co-worker/friend, Romanoff is easily her best work to date. With several quiet moments shared here, it's pretty clear that this is a character who has long lived many lives, and is faced with becoming her truest self while the world seems ready to disintegrate. It's well-nuanced, and empowering character work for her. Also, Jackson's Fury is both frustrating and human. A perfect moral foil for Evans. Also worth noting is Robert Redford, who's take on Alexander Pierce, head of SHIELD, is gravity granting, Mackie's Wilson (AKA- Falcon), who makes for an impressive new ally, friend, and thematic bridge, not to mention Cobie Smulders and Emily VanCamp, who deliver solid work. So much seed planting here, in a film that seems hellbent on shaking up the game board. It's enough to make all players tweak their amplitude to impressive levels.


More than merely shoehorning the political text in ways that most major films have done recently, there is meat here that smacks of better grilling. With the NSA/surveillance themes right up front, there was a sense of worry that came over me during the initial viewing that were alleviated as the character work filled in the gaps. Crossing philosophies of varying eras is a smart move in a story about soldiers, and their role in world affairs. And even as the horrific ultimate plan is revealed, it is done so with just enough reminders that this is a moving comic book. It knows when to pull in deep, then release. This is the film, Star Trek Into Darkness so badly wanted to be. 


Not merely a stylistic shift from the adventure fantasy period piece that was The First Avenger(2012), The Winter Soldier, is a bold, hard action drama with a greater emphasis on story than has yet been attempted. Now that the first film works as prologue, this one feels ready to dish out the kind of haze and conflict that only makes the Steve Rogers character so effective. It truly feels as if the minds at Marvel knew what kind of mileage they could get out of him: Placed him in our current milieu, and watch him struggle, learn, and change. So when we see him taking on adversaries with the kind of hand-to-hand action that would make the cast of The Raid take notice, it feels reasoned and natural. When the action comes, it is well-choreographed & intense, always supportive of the story, with zero fat, and the stakes are emotionally clear.


The Russos want it to be very clear; The Cap is in for the fight of his life.


It may not sound like a big deal, but to consider where these films have come since the days of Iron Man, this is a bold shift. While the tone here is much darker, and more character driven than usual, this is well balanced with the kind of levity one expects from the comic book world. Perhaps more than most of its kind, The Winter Soldier knows how to dance between tones and moods, making for one brisk and thought-provoking ride. Not merely a great superhero film, it is a solid, important reminder of what the blockbuster can be.


(Recently heard word that Marvel has films planned for as far out as 2028 - Big talk. Count me out soon, TWS is a very hard act to follow.)

They Came From Shochiku: The X From Outer Space (aka Uchu Daikaiju Guirara, 1967)

Always fun to consider just how dominant TOHO studios was throughout the 1950s-the 1960s, while others did their part to have a slice of the tokusatsu/genre cinema pie. All it took, really was one giant behemoth of a lizard to send audiences into a frenzy, and the competition naturally and steadily mapped out quick ways of stealing a little of that fire. And even if those attempts weren't nearly as successful, at least they weren't in the company of the late-blooming Shochiku, who's over decade-late foray into sci-fi/horror remains something of a head scratcher. Largely important in what became known as the Japanese New Wave, the studio seemed parched for some of that profitable elixir that TOHO and DAIEI were drinking, so perhaps a little dip into more family-friendly fantasy films seemed natural. Whatever the case, Kazui Nihonmatsu's Guirara is something of a baffling curiosity, and much less an enthused entry into an already crowded genre that was quickly becoming campy kids fare.


Dispatched toward Mars after receiving bizarre signals, the international space vessel AAB Gamma encounters a shifty UFO. Helmed by a largely Japanese male team, led by Captain Sano (Toshiya Wazaki), the mission is to close in on the erratic craft. Upon closer inspection the alien ship emits a gooey plasm that sticks directly onto the AAB, which is inevitably brought back to Earth, harboring with it a spore that will grow to become quite a nuisance to the AAB crew, and the rest of Japan. Ultimately it is up to Sano, his crew (including the egregiously devoted, Lisa, played to bland perfection by American, Patricia Neal), and the powers that be to repel the advance of space monster Guilala before he really makes a mess. All the while, the soundtrack informs us either to bop happily to jazz, singing the praises of space, or cowering in monotone fear. That's right..to the tune of TWO songs.


So, when considering the overall feel and rhythm of a space age monster movie in the 1960s, languid is not the first word that comes to mind-BUT. Suffering from a pacing that seems an ill-fit for such a genre in this era, Guilala never seems to find itself off the ground. From the launch, the investigation, and the love subplot involving our lead's unrequited love on a moonbase, nearly everything is either treated like a vacation or an afterthought. Adding greater salt to this particular wound are some of the more obvious cases of botched shots ever witnessed on a supposedly big studio film, and some truly lethargic performances. (Kind of hurts to witness Eiji Okada of Hiroshima, Mon Amour & Woman In The Dunes shambling along here.) It is until the stunted, overlong finale that the film seems to exhibit signs of life, and only then does it sink in just how indifferent the film as a whole really is.


This unfortunate series of events is only made moreso by the appearance of said monster, which is perhaps one of the most ill-conceived ever put on celluloid this side of parody. Once on Earth and on the rampage, one cannot help but feel sorry. Not for the people of civilization, not for the mobilized military machine that is on the receiving end, not for the much needed buildings, roads, bridges, etc. But feeling bad for the poor soul, tasked with bringing this shambling bother to life. That's right. Guilala as a stomping mad monster is a creation of unbelievably sub par proportion. From his poofy, old-school rumba singer arms, to his often painful gait, to the even sadder mashup of a shuriken-shaped head(this creature sports not one, but THREE distinguishing additions to its head from bug eyes, a snork-like protrusion, and antenna), this is a kaiju product of either too many cooks in the development kitchen, or the rough designs of a crew member's child. Tasked with the film, this is perhaps a rookie effort for a nascent crew taking on what Eiji Tsuburaya had mastered by this point. Even if one attempted to declare a certain cuteness in regards to all in display here, it is often because of how new this seems to all involved. Aside from some of the space effects(let us not start discussing the diminished gravity scenes here), a lot of this work is decent at best.


One might go ahead and consider this review to be a completely negative one, and one might be right. But the film ultimately shines as a healthy reminder of what makes kaiju films of this era most fun, and not as worthy of derision as so many critics shared at the time. Even at some of their worst, the films of Honda, Fukuda, and others carried with them an enthusiasm that went a long way. It's something that genre cinema has long struggled with - keeping a sense of fun, while offering up new reasons to watch men in suits roll around on giant dioramas. While Guilala definitely deserved a long belated shellacking with a 2008 send-up, one can also look to this destructive space spore as a lesson in what to respect in regards to the kaiju film. Imitation is far from enough. And a comfort with the absolute ridiculous is required. 

Giant Space Monster Dogora (1964) Movie Thoughts

Light and fluffy diamond caper? Fantasy film with an identity crisis? Or Ishiro Honda just milking the best out of a sorry excuse for a vacation? It's the kind of juggling act my mind performs while watching this mid-1960s offering by the kaiju master himself. More of an attempt by Toho to stretch a little outside the by-then familiar landscape of giant monsters and modeled mayhem, we have what is a mostly weird affair involving jewel thieves, the able police in hot pursuit, and a wily westerner as a mineral-hungry alien menace threatens to usurp the earth of its precious resources. Even as the opening scenes grant us promise of invasion by massive crystalline blue jellyfish, a great deal of the film's running time is centered on a chase for stolen diamonds. And as both films seemed destined to collide in some important manner, one may assume that Honda and Co. have under their sleeves a thematic sucker punch lying in wait. But sadly, this is something that never comes halfway to fruition as Dogora flounders about in search of a cohesive whole. And yet despite all this, there is a sweet attempt at making something totally unusual for the often workhorsed Honda that allows the final product to feel like a mild departure.



Not content with calling it Diamond Eating Space Squids, Dogora kind of fails to come through on nearly all it offers(but not without being a peek at something the celebrated monster filmmaker seemed eager to explore). As a japanese satellite is destroyed in orbit by a glowing blue alien force, a local chapter of organized diamond thieves find themselves at the center of an aggressive investigation. Both antagonists seemingly driven by a lust for nature's jewels, the conflicts on both land and space inevitably converge as scientists and police find themselves increasingly in over their heads.



As head Inspector Kommei (Yosuke Natsuki) and team find themselves inching closer towards understanding a bungled heist, he is almost continuously foiled by foreign interloper, Mark Jackson(played to fun effect by Robert Dunham, who seemed primed to get this character off the ground, and into a series of Jackson adventures that never happened), a mysterious, seeming thief with hidden plans and a wily disposition. While a great deal of the film touts the appearance of some truly unique alien effects and the requisite Eiji Tsuburaya magic complete with terrific model work and panicking crowds, the majority of the film is earthbound, with Kommei, and Jackson often butting heads against each other as they take on the diamond thieving gangsters. And while we do get some mild idea of what makes the gangsters tick, we never gain much of anything about the aliens enough to be compelled by any of that half of this particular mix.



On the whole, Honda and crew seem to be having a great deal of fun at least tinkering with genre outside the usual. There is even a scene here that evokes thoughts of some of the more zany early Bond adventures. Colorful and ready to take on a more caper tale, Dogora feels hobbled by a need to be this lumbering two-headed beast with little or no core focus. While one can see the eerie floating invertebrate giants in the sky as a metaphor for foreign interests, delving too greedily in the resources of other nations, it is often undermined by the film's greater lack of equilibrium. The creatures are well presented, but to what aim? As a result, the final product is this occasionally enjoyable, but ultimately minor entry in the career of one of the defining voices of monster cinema.

So in all, this space invader saga is a bit of a dud. A real shame, too as it does boast some fun images, characters and ideas. Perhaps a project that required more time to cook in the development, Dogora is Saturday matinee fodder that plays not unlike a trailer that goes on and on, never settling on a main hook or tag line. Had Honda and crew been granted a full chance to take on a more down to earth caper film, it is possible that we could have more than just a curious footnote. But alas..