Cindy Prascik's Review of Bloodshot

This week's home cinema offering, Bloodshot, features Vin Diesel as a fallen soldier reanimated with enhanced abilities.

Spoiler level here will be mild, nothing you wouldn't know from the trailers.

Bloodshot actually hit my theater a week or two before the Great Shutdown of 2020, but for some reason I didn't make it out, despite my great love of Vin Diesel. I think "for some reason" may be that the movie just didn't look all that good, but I'm pleased to report it's not as bad as I'd feared.

Despite the whole "enhanced abilities" thing, Bloodshot isn't really a superhero movie. If a franchise ensues (as I understand is the intent), it may become that, but it's not there yet. That's neither good nor bad, but in the interest of full and fair disclosure it's worth noting. Vin Diesel is quite good, and the role is a good fit for him. It's nothing too challenging or too different from his usual fare, but there's something to be said for knowing your strengths and sticking with them. Bloodshot is violent, but not overly gory, and sometimes goofy enough to undermine itself. The movie features well-paced action, a likable cast, and nifty effects, an entertaining enough bit of fluff despite its lack of originality.

Bloodshot runs 109 minutes and is rated PG13 for "intense sequences of violence, some suggestive material, and language."

Even in a crisis-free world, Bloodshot was never going to set the world on fire, but it's a solid enough precursor to the usual summer slate of superhero fare.

Of a possible nine Weasleys, Bloodshot gets six and a half.

Until next time...stay safe and sane, dear reader(s)!

MOVIE REVIEW: VALLEY GIRL

A valley girl and a punk rocker from the city defy their parents and friends to stay together.

Director: Rachel Lee Goldenberg

Cast: Jessica Rothe, Josh Whitehouse, Mae Whitman, Judy Greer

Release Date: May 8, 2020

Genres: Comedy, Musical, Romance

Rated PG-13 for teen partying, language, some suggestive material, and brief nudity

Runtime: 1h 42min

Review:

The Valley Girl remake, much like the Hairspray remake before it, takes a beloved 80s cult classic and sprays a fresh coat of gloss and glitter to deliver a fizzy and nostalgic candy coated pill.  Rachel Lee Goldenberg is respectful of the original but it’d be fair to call it more of a spiritual remake than a straight up remake.  The original captured a specific moment in time and Nic Cage’s first real introduction to the world with all his general weirdness on full display.  This remake drops all that and goes super colorful with rose colored glasses of nostalgia.  A new framing sequence explains the jukebox musical element early on letting the filmmaker go all in with their conceit.  The musical sequences are all well choreographed with one near the middle truly shining with three separate 80s jams going back and forth.  Jessica Rothe sits firmly at the center of this film and she’s always the most interesting person on screen.  She just has an innate magnetism that shines through every sequence much like her work in Happy Death Day.  Rothe drives the film and makes a solid on screen couple with Josh Whitehouse who looks like a tall Great Value Robert Pattinson.  He’s charming and charismatic enough to work for this film but those yearning for Nic Cage’s take will be disappointed.  Mae Whitman gives a nice supporting turn even if her character is both superfluous and underused.  Ultimately, if you love the original you’ll probably enjoy this one since it’s different enough to enjoy on its own.   On its own accord it’s a fun little film that’s got the caloric value of a donut. 

B

Cindy Prascik's Review of Endings, Beginnings

Ahhh...dear reader(s)...two weeks in a row!

Beginning to feel like old times again, eh? To anyone new to my reviews, I apologize. It must seem like I don't like any movies. On the contrary, historically I've been a little too easy to please at the cinema, but...well...it feels like a very long time since I've seen a good movie. I am sorry to say the unlucky streak continues with Endings, Beginnings.

Spoiler level here will be mild, very little you wouldn't know from the trailers.

After a hasty decision leaves her jobless and homeless, a young woman attempts to get her life back on track.

Endings, Beginnings is a "finding yourself" movie. Kinda like Wild, but younger and with less pooping in the woods. Our heroine, Daphne (portrayed by Shailene Woodley), is the stereotypical screwed-up millennial, constantly attempting to rebound from poor life choices, with just enough visible ink and piercings to make your mom roll her eyes if she's watching this with you. (Spoiler Alert: Unless your mom is cool with people having sex on the kitchen counter, don't let her watch this with you.)

A problematic lead requires skilled handling.  With vile characters, it's up to the filmmakers to convey their loathsomeness without making a movie everyone hates. With troubled characters like Daphne, it's up to the filmmakers to earn them the viewer's support on their journey. While I think a person's tolerance for such troubled characters may reflect their own experiences (it's no fun having a Daphne in your life), this film doesn't do much to get you on her side, either. Woodley could play this role in her sleep, but lingering shots of her sobbing and staring out the window will hardly be the highlight of her sizzle reel. The traumatic event and subsequent decisions that leave Daphne where we find her at the beginning of the film — unemployed and living in her sister's pool house — are serious, yet the movie never quite distances them from what we're lead to believe is Daphne's history of pointlessly sketchy choices. We're meant to buy into Daphne's attempts at personal growth and redemption over the course of the film, yet (minus any spoilery specifics) the picture ends with her making an extremely selfish decision, weakly disguised as her finally having grown up. It's beyond offensive; it's repulsive.

Endings, Beginnings has a nice supporting cast, with Wendy Malik and Kyra Sedgwick in small roles as Daphne's mother and mother-like figure, and Jamie Dornan (using his real Irish accent... *swoon*) and Sebastian Stan as Daphne's potential suitors. At risk of sounding like a broken record, I think Sebastian Stan is the finest actor of his generation, and it's a shame he seldom gets a project that lets him flex more than the Winter Soldier's metal bicep. He turns in some nice work here, as does Dornan, but, really, the characters are paper dolls and there just isn't much to work with. (Broken Record II: Please check out the short-lived TV series Kings, available for streaming or download from all the usual places. Stan is magnificent in it.)

Petty annoyances: In addition to the many (MANY) overlong shots of Daphne crying herself to sleep and moping over her "suffering" Spotify playlist, Endings, Beginnings also repeatedly features dialogue overlapping the scene where it was spoken, but out of synch with the visual. I think it was supposed to be artistic. I've seen it work in other movies. Here it’s off just enough to look like someone messed up the editing. There's a New Year's Eve party with a "2019" balloon clearly visible in the background, but our hipster heroine is wearing a gold lame dress that looks like it barely escaped a 1986 prom with its life. Like the aforementioned Wild, which featured the abominable line, "I'm not even in the driver's seat of my own life!" Endings, Beginnins offers this nugget: "I don't think you understand who's next in line to be loved by you. It's YOU." (*shoots self in head*)  If you, dear reader(s), will forgive my bringing Woodley's Big Little Lies co-star Reese Witherspoon into play yet again, Endings, Beginnings is a little like a miserable version of This Means War.

Endings, Beginnings clocks in at 110 minutes and is unrated. In the absence of official MPAA guidelines, please be warned of graphic language, semi-graphic sex, alcohol and drug use, and pretty much non-stop smoking.

Endings, Beginnings offers solid evidence that sometimes people who try to "find themselves" should just stay lost. Of a possible nine Weasleys, Endings, Beginnings gets four.

Until next time...

(PS: I double-checked our web page, and the last good movie I saw was the Gentlemen on January 25th. Yikes.)

MOVIE REVIEW: UNDERWATER

Disaster strikes more than six miles below the ocean surface when water crashes through the walls of a drilling station. Led by their captain, the survivors realize that their only hope is to walk across the sea floor to reach the main part of the facility. But they soon find themselves in a fight for their lives when they come under attack from mysterious and deadly creatures that no one has ever seen.

Director: William Eubank

Cast: Kristen Stewart, Vincent Cassel, Jessica Henwick, John Gallagher Jr., Mamoudou Athie, and T.J. Miller

Release Date: January 10, 2020

Genres: Action, Drama, Horror

Rated PG-13 for sci-fi action and terror, and brief strong language

Runtime: 1 h 35 min 

Review:

Some films pull inspiration from classics while others unabashely rip elements from them and while repackaging them with enough variety to keep them legally clear.  Underwater is a classic example of the latter.  It's not a terrible movie, director William Eubank delivers some impressive set pieces builds suspense throughout, but anyone who's ever seen Ridley Scott's Alien will notice some striking similarities.  The setting changes from space to underwater but the it all feels very familiar even if you don't get a chest busting or cat rescue sequence.  Eubank doesn't seem to care if you notice all the cross contamination so he just runs with it like a modern day Roger Corman.  The film taken on it's own rights is decent enough even if everything feels fairly routine and predicable.  The cast of character's runs the gamut of disposable fodder with each meeting a predictable although occasionally gruesome fate.  Kristen Stewart leads the film as quietly as humanly possible, her character isn't all that interesting but then again nobody else is either.  The rest of the cast is made of recognizable faces who do their best to give their characters some meat even though they all written in terribly one dimensional fashion.  The film does excel in creature design and setting, using both to maximum effect.  It keeps the film engaging during it's lean 95 minute run time while making the equivalent of cinematic sci-fi fast food.

C+

Cindy Prascik's Reviews of Extraction & The True History of the Kelly Gang

My dear reader(s), I hope you are keeping well — physically and mentally — in these strange, strange times.

Following a prolonged and entirely unintentional hiatus, yesterday I attempted an at-home double-bill, just I like I used to do at the cinema except the popcorn's not as good and nobody's kicking the back of my seat.

On yesterday's agenda, the Netflix original Extraction and the True History of the Kelly Gang.

Spoiler level here will be mild, nothing you wouldn't know from the trailers.

First up: Extraction.

When a drug lord's son is kidnapped by a rival kingpin, a troubled mercenary is his only hope of survival.

Extraction is a serviceable thriller that's heavy on fighting, chasing, and bleeding, and light on surprises. The movie trades on the fact that most of us probably *would* trust Chris Hemsworth with our lives, making it less insufferable than it could have been, despite its not quite earning its runtime. If Hemsworth is a guy that brings you to the movies, you won't be disappointed; this is definitely his movie. Inhabiting broadly-drawn characters, supporting players are neither good nor bad enough to make a lasting impression. (But if there's an award for obviousness, please hand it to David Harbour now.) By-the-numbers fight scenes are likewise fine but unremarkable, peppering a seemingly endless race to the finish. There's been a bit of buzz about the single(ish)-shot chase scene, but all its technical prowess couldn't keep me from longing for its eventual end, while predictable twists and redundant action diminish the plot's high stakes. Outside an eyeful of Hemsworth, Extraction's high points for me were unintentional (probably?) nods to Gladiator and Crocodile Dundee II, but, you know, desperate times and all.

Extraction clocks in at 116 minutes and is rated R for "strong bloody violence throughout, language, and brief drug use."

Like Triple Frontier before it, Extraction proves that Netflix can play the action game with the big boys. Like Triple Frontier before it, Extraction also makes one wonder if that's a game worth playing anymore.

Of a possible nine Weasleys, Extraction gets five and a half.

Next on the docket, the True History of the Kelly Gang.

The maybe-sorta-kinda-trueish story of Australian outlaw Ned Kelly.

It's imperative that I preface what follows with a disclaimer: No matter what I want or expect of a movie, and no matter how far from that it may land, I always try to keep an open mind and give it a fair shake. That being said...

Y'all know I watched this movie for Charlie Hunnam, right? If you're thinking of paying for this film expressly to see Charlie, here's the scoop: Charlie's not in it a lot, but there's a lot of Charlie in it. His character is relevant only to the first 30-or-so minutes, and after that it's a whopping 90 minutes of Charlie-less movie. Forewarned is forearmed.

1917's George MacKay headlines this biopic, following the infamous Ned Kelly from his horrifying childhood through his brief, criminal, adult life. MacKay was nothing short of brilliant in 1917, and he's equally so here, though the material is less impressive. Russell Crowe is great, as usual, in a small but pivotal role. The True History of the Kelly Gang plods along at a snail's pace, making it seem very long indeed. Punk musical stylings and trippy, strobe-lit frames underscore Kelly's unhinged descent into violent, unlawful behavior. The movie sometimes seems to shock just for shock's sake, with vile language, grotesque violence, and uncomfortable situations. I don't flinch from any of the above when necessary and deftly handled, but here they're only sometimes the former and never the latter. Ultimately, the movie serves as a nice showcase for MacKay's talent, but has little else to recommend it.

The True History of the Kelly Gang runs 124 minutes and is rated R for "strong violence throughout, bloody images, pervasive language, sexual content, and some nudity."

The True History of the Kelly Gang features strong performances, but it struggles with the complexity of an anti-hero that history both loves and hates. Of a possible nine Weasleys, the True History of the Kelly Gang gets five.

Until next time, dear reader(s), please keep yourselves safe and well, and I'll hope to see you at the cinema soon!

MOVIE REVIEW: EXTRACTION

A black-market mercenary who has nothing to lose is hired to rescue the kidnapped son of an imprisoned international crime lord. But in the murky underworld of weapons dealers and drug traffickers, an already deadly mission approaches the impossible.

Director: Sam Hargrave

Cast: Chris Hemsworth, Rudhraksh Jaiswal, Pankaj Tripathi, Randeep Hooda, Golshifteh Farahani, Suraj Rikame,  David Harbour

Release Date: April 24, 2020

Genres: Action

Rated R for strong bloody violence throughout, language and brief drug use.

Runtime: 1 h 56 min 

Review:

Extraction bare bone action plot could have resulted in a big dud had it not been for the impressive direction from Sam Hargrave and a subdued but effective performance from Chris Hemsworth.  Sam Hargrave's seems fully aware that the story is a retread so he doesn't try to make it anything more than it is.  As such, he focuses on building impressive action set pieces that deliver a visceral punch.  These sequences pepper the film and they are the beating heart of the whole film.  The action is fast bloody and thoroughly enjoyable.  Is it a smart film, no far from it but it never pretends to be either.  At its heart the film is a body count shoot up in the vein of 80's classics like Commando or Rambo. Chris Hemsworth is ready made for this kind role and he delivers a strong but understated performance that's strong enough to keep his character interesting even if he's just fairly one dimensional.  The supporting characters are sparse with Rudhraksh Jaiswal getting the most screen time but his character doesn't have much depth.  David Harbour pops in for a quick second but he's gone before you know it adding very little to the film overall.  That's not to say anything about his performance because he's hardly phoning it but the film is just as bare bones as they come.  Hargrave's wants to deliver a sleek actioneer and he does so with impressive aplomb.  

B