MOVIE REVIEW: KINGDOM OF THE PLANET OF THE APES

 

Many years after the reign of Caesar, a young ape goes on a journey that will lead him to question everything he's been taught about the past and make choices that will define a future for apes and humans alike.

Director: Wes Ball

Cast: Freya Allan, Owen Teague, Kevin Durand, Peter Macon, William H. Macy

Release Date: May 10, 2024

Genre: Action, Adventure, Sci-Fi

Rated PG-13 for intense sequences of sci-fi violence/action

Runtime: 2h 25m

Review:

Kingdom of the Planet of the Apes is a technical marvel with its impressive motion-capture performances and visceral action set pieces, but it’s grounded by strong storytelling that makes you care about the digitally created characters.  Wes Ball takes the reigns of the revived franchise with a solid sense of direction and confidence as he opens up a new chapter in the story.   Ball clearly has a love for the franchise as he peppers his film with a bevy of nods to the original film in both visual and musical cues throughout.  His most impressive feat though is managing all the visual effects while never losing focus on the characters.  The film only contains three major action sequences which are visually dazzling but there's a degree of care taken in between to make sure those moments matter.  Owen Teague is tasked with filling the massive shoes left by Andy Serkis as the new lead character.  His performance is thoughtfully authentic and heartfelt as he gives the character a believable sense of guilt and self-doubt that plague the accidental hero.  It’s an engaging, likable turn that forms a tangible emotional connection with audience from the opening sequence with Lydia Peckham's Soona and Travis Jeffery's Anaya.  Peckham and Jeffery make the most with their limited screen time, leaving a noticeable impression which bodes well for future installments.  Likewise, Peter Macon's turn as the orangutan Raka is surprisingly effective which leaves the film missing his presence once he's off the screen.  Kevin Durand's Proximus Caesar makes for an intriguing villain but the film doesn't spend enough time on him to make him as layered as they could have before becoming full on murderous in the final action sequence.  The concept of having Caesar's ideals being warped in the years after his death is fascinating but the story doesn’t explore it in any serious way which feels like a missed opportunity.  Freya Allan serves as the main human actor for the majority of the film and does solid if unremarkable work compared to her costars.  William H. Macy makes a late stage appearance but doesn't really make much of an impact outside of having a familiar face relay some background exposition.  The final act does have a strangely rushed feel to it especially since the previous two acts had a measured more methodical pace.  It’s not bad enough to make the story collapse but a noticeable stumble getting to the finish line.  

B+

MOVIE REVIEW: UNFROSTED

 

In 1963, Kellogg's and Post, sworn cereal rivals, race to create a pastry that will change the face of breakfast forever.

Director: Jerry Seinfeld

Cast: Jerry Seinfeld, Melissa McCarthy, Jim Gaffigan, Max Greenfield, Hugh Grant, Amy Schumer

Release Date: May 3, 2024

Genre: Biography, Comedy, History

Rated PG-13 for some suggestive references and language

Runtime: 1h 33m

Review:

Unfrosted, Jerry Seinfeld's directorial debut, is a fictional farce fueled by nostalgia and an endless supply of celebrity cameos but it's noticeably lacking on the story side.  Right off the bat, the film has a goofy, surreal tone that only becomes more prevalent as the film goes on, making it readily apparent that this story is mostly detached from reality outside of a few incidental exceptions.  Instead, it leans heavily into a cartoonish series of outlandish sequences, there's even an absurdist take on the events of January 6th, played out by equally cartoonish characters that gives Seinfeld's collection of famous friends a chance to ham it up throughout.  It makes for a mixed bag of results with some bits working better than others as the story uses the skeleton of The Right Stuff as a loose map for the entire thing.  Seinfeld is clearly having a ball as he embraces ever silly instinct and a cast who is more than willing to go along with it.  Melissa McCarthy, Jim Gaffigan, Max Greenfield and Amy Schumer get the largest share of screen time and they're surprisingly uneven especially early on as the story tries to find some sort of comedic footing.  Hugh Grant fares far better as the Shakespearean actor slumming it as a cereal mascot with the film perking up every time he pops up.  It’s a recurring theme as the film hits its highpoints during some of the extended cameos that pepper the back half of the film with one in particular being the biggest surprise even though it’s the most obvious crossover once it occurs.   A recurring joke with Walter Cronkite is equally effective but it’s not enough to keep the comedic energy going making the film feel much longer than it actually is.  It all makes Unfrosted feel like a missed opportunity that never takes full advantage of the impressive amount of talent assembled.  

C+

MOVIE REVIEW: THE FALL GUY

 

After leaving the business one year earlier, battle-scarred stuntman Colt Seavers springs back into action when the star of a big studio movie suddenly disappears. As the mystery surrounding the missing actor deepens, Colt soon finds himself ensnared in a sinister plot that pushes him to the edge of a fall more dangerous than any stunt.

Director: David Leitch

Cast: Ryan Gosling, Emily Blunt, Aaron Taylor-Johnson, Hannah Waddingham, Teresa Palmer, Stephanie Hsu, Winston Duke

Release Date: May 3, 2024

Genre: Action, Comedy, Drama

Rated PG-13 for action and violence, drug content and some strong language.

Runtime: 2h 5m

Review:

David Leitch's The Fall Guy is a breezy sort of blockbuster, packed with massive stunts and a pair of perfectly matched stars.  The film uses its madcap set up as an excuse for Leitch to lovingly show his appreciation for the stunt side of the movie business which he came from.  The plot serves as little more than an excuse to move from one action sequence to another with the central romance serving as the propulsive force behind the whole thing.  There's a heavy rom-com feel to the quieter moments that relies heavily on its two leads to carry the momentum.  Thankfully, the film is blessed with Ryan Gosling and Emily Blunt's inherent charm and charisma.  Gosling brings his goofy, likable energy to the lovelorn stuntman who's willing to do what it takes to get the girl.  The film noticeably perks up when he and Blunt share the screen, be it in person or by way of old school split screen.  Their interchanges possess the kind of natural ease that makes it easy to believe the two care for each other in spite of the artificial obstacles the plot presents them with.  The onscreen couple are destined to be together from the start which is sort of refreshing in its lack of contrived conflict that usually pops up in rom-coms.  It’s a fun pairing that makes the film far better than it should be since the story's twists aren't terribly surprising since they are telegraphed fairly early on.  This is a film that leans heavily on its cast with the supporting players made up of familiar faces like Aaron Taylor-Johnson, Hannah Waddingham, Winston Duke and Stephanie Hsu.  Johnson and Waddingham are clearly having a ball hamming up it as Hollywood stereotypes.  Winston Duke makes for a solid wingman for Gosling’s character but the film doesn't make the most of the pairs natural chemistry.  Stephanie Hsu makes the most of her limited screen time, especially in one big action sequence.  It all makes for a fun film that's never too deep or weighty which makes it the kind of disposable summer blockbuster that might not linger in your memory too long afterwards. 

B-

MOVIE REVIEW: BOY KILLS WORLD

 

Boy is a mayhem machine who's been training to assassinate the bloodthirsty Hilda Van Der Koy and avenge his family's murder. Guided by his sister's mischievous spirit, Boy uncovers one stunning revelation after another as he barrels toward Hilda.

Director: Moritz Mohr

Cast: Bill Skarsgard, Jessica Rothe, Michelle Dockery, Famke Janssen, Sharlto Copley, Brett Gelman, Isaiah Mustafa, Andrew Koji

Release Date: April 26, 2024

Genre: Action, Crime, Thriller

Rated R for strong bloody violence and gore throughout, language, some drug use and sexual references

Runtime: 1h 51m

Review:

Moritz Mohr's manic Boy Kills World is heavy on blood splatter style but equally light on story that makes for an uneven experience overall.  Mohr has the scaffolding of a story set up and his film does a quick bit of world building in its opening act before quickly moving to what he's more interested in, a series of fun but increasingly gory action sequences.  To his credit, the majority of those sequences work with a kinetic energy that seeps through the screen by way of aggressively choreographed fights, one involving a cheese grater is sure to make a lot of people winch more than a few times.  There's plenty of style on display throughout but the script is so haphazardly slapped together it hard to get too engaged in any of the characters or the storyline since it all feels like an afterthought.  A few twist and turns in the final act would have worked far better if there'd been just a bit more energy spent on fleshing out the characters and dystopian world presented. The cast makes the most of it, managing to bring a tangible sense of energy to the screen in spite of the thinly written characters.  Bill Skarsgard gets as much traction as humanly possible from his mute character by bringing an impressive physicality to role while managing to play the film's dark humor especially when he's reacting to his internal monologue provided by H. Jon Benjamin.  Skarsgard has some solid chemistry with Quinn Copeland and Andrew Koji throughout the film but neither is taken full advantage of with each coming on and off the screening far too quickly.  Sharlto Copley and Brett Gelman are both having a ball hamming it up every time they're onscreen with Copley being criminally underutilized.  Michelle Dockery and Famke Janssen do their best with underwritten characters who barely have a chance to register even though one of them is supposed to be the big bad of the whole story.  Jessica Rothe's character suffers a similar fate as there's far more time spent on the character's look than anything else.  It’s a credit to Rothe that she's able to get as much mileage as she does out of her helmeted character but you just wish she'd had a better chance to shine.  Boy Kills World manages the rare feat of being simultaneously undercooked and overly long which saps the film of the over the top zaniness energy it starts with leaving it a missed opportunity at making something truly memorable.    

C

MOVIE REVIEW: CHALLENGERS

 

Tashi, a tennis player turned coach, has transformed her husband from a mediocre player into a world-famous grand slam champion. To jolt him out of his recent losing streak, she makes him play a challenger event -- close to the lowest level of tournament on the pro tour. Tensions soon run high when he finds himself standing across the net from the once-promising, now burnt-out Patrick, his former best friend and Tashi's former boyfriend.

Director: Luca Guadagnino

Cast: Zendaya, Josh O'Connor, Mike Faist, Darnell Appling, AJ Lister, Nada Despotovich, Naheem Garcia, Hailey Gates, Jake Jensen

Release Date: April 26, 2024

Genre: Drama, Romance, Sport

Rated R for language throughout, some sexual content and graphic nudity

Runtime:  2h 11m

Review:

Luca Guadagnino's tennis set love triangle, Challengers, is sleek, sweaty, sexy journey packed with a bevy of subtext throughout carried by a strong performances from its central trio.  Guadagnino choice of sport is perfectly suited for the emotional back and forth he unfurls onscreen as the story unfolds in a series of flashback framed by a championship match between Josh O'Connor and Mike Faist.  The characters themselves are terribly deep since they're little more than clichéd types but still you feel the swings and sways of their emotional journeys as we watch them grow together and apart.  There's a palpable sense of desire, lust, envy, anger, and pity throughout the film from each of the characters which makes for a fascinating interplay between the central trio.  Zendaya, Josh O'Connor and Mike Faist prove to be up to the task as they all cycle between emotional ages as we follow them at different points in their lives and relationships with each.  Zendaya displays a naturalistic ease playing the focused, driven Tashi who shifts from teen phenom to wife/coach.  Zendaya brings a devious energy to her character as she pulls the strings between the friends who essentially serve as two personality extremes.  Josh O'Connor's Art is a doting lapdog who pines and angles for Tashi's attention before getting his opportunity.  Mike Faist's Patrick is far more self assured, desire driven but generally messy who serves as an excellent antithesis to Art.  They both share strong chemistry with Zendaya who ably shuffles through a series of emotions depending on the character and situation.  The exchanges ultimately drive the film even if the story on its surface doesn't go anywhere particularly surprising.  The real meat for Guadagnino is underneath the superficial storyline with his kinetic, vividly visualized during the final act set from the balls POV, exploration of wants and needs.  A few pacing issues, especially in its final act, keep it from landing with verve and energy of the film's earlier acts but Challengers still manages to leave a memorable impression.

B+

MOVIE REVIEW: THE MINISTRY OF UNGENTLEMANLY WARFARE

Billed as a true story about a secret British World War II organization; the Special Operations Executive. Founded by Winston Churchill, their irregular warfare against the Germans helped to change the course of the war, and gave birth to modern black operations.

Director: Guy Ritchie

Cast: Henry Cavill, Eiza González, Alan Ritchson, Alex Pettyfer, Hero Fiennes Tiffin, Babs Olusanmokun, Henry Golding, Cary Elwes

Release Date: April 13, 2024

Genre: Action, Drama, War

Rated R for strong violence throughout and some language.

Runtime: 2h 0m

Review:

Guy Ritchie's The Ministry of Ungentlemanly Warfare is a pulpy WW2 throwback that uses real events as a launching off point for an exaggerated, stylized retelling of events that's more concerned with entertainment value than historical accuracy.  Ritchie makes that fairly clear right from the onset as he set up the story with a self-assured confidence that bleeds through the screen from the opening sequence.  It’s clear that he has a strong affection for the story and its gleeful band of rogues resulting in a sleek looking film that’s easy to enjoy even if it doesn't break any new ground in the genre.  There's a breezy pace to the whole thing, however those looking for an all out orgy of action might be a little disappointed as the film only has two, albeit large, action set pieces.  The majority of the film is split between Henry Cavill's photogenetic strike force's journey and the undercover duo of Babs Olusanmokun and Eiza González.  Cavill is clearly having a ball letting loose as the leader of the unsanctioned group, sporting a rather impressive mustache, beard combo.  He and Alan Ritchson make for an imposing duo with each giving their characters a wide eyed, manic energy makes them far more watchable if they'd played it straight.  Alex Pettyfer, Hero Fiennes Tiffin and Henry Golding make up the rest of their group but don't leave as much of an impression with far more even handed characters.  Babs Olusanmokun and Eiza González's deep cover crew have solid chemistry together as they lay the groundwork for the group's arrival.  Olusanmokun carries a paternal sort of energy that fits well for his casino owner and González can play the intelligent vixen role in her sleep.  They're both fairly interesting characters but the script doesn't bother to flesh them out, which would have made them all the more fascinating.  Til Schweiger is saddled with the generic Nazi villain role as the SS commander in charge of the island compound.  The film stumbles a bit in its final act as the central operation unfolds at a methodically pace but lacking the kind of tension you'd expect.  Some judicious editing would have brought the sort of immediacy and tension that would have made the finale all the more thrilling.  Even with its flaws, The Ministry of Ungentlemanly Warfare proves to be a fun WW2 adventure which might peak enough interest to have people explore the true story behind this glamourized account.

B+