Directed by New Zealand filmmaker Taika Waititi who is best known for the brilliant 2016 comedy Hunt for the Wilderpeople, Thor: Ragnarok is a wildly entertaining and hilarious comic book superhero movie that is unlike most of the other sixteen films in the Marvel Cinematic Universe. In the third installment of the Thor franchise, we first meet Thor, played by Chris Hemsworth, as a prisoner on a fiery planet who eventually escapes to return to his home planet Asgard to discover that his father and ruler of the realm Odin, played by Anthony Hopkins, is living on Earth and his trickster brother Loki, played by Tom Hiddleston, is the de facto leader. Both brothers learn from their father that there is a prophecy soon to take place known as Ragnarok that says that Asgard will be destroyed. Soon afterwards, Thor meets his secret evil sister Hela, played by the particularly devious Cate Blanchett, whose appearance will hasten Ragnarok through her destruction and enslavement of those living on Asghar. On a desperate mission to get rid of his powerful sister, Thor finds himself on an extremely colorful alien planet called Sakaar, which serves as the garbage planet for the universe, where he is captured by the female bounty hunter Scrapper 142, played by Tessa Thompson. She turns over Thor to the comically over-the-top ruler of the planet known as the Grandmaster, played by a perfectly cast Jeff Goldblum, who forces Thor to participate in a gladiator-like tournament against the dim-witted yet strong Hulk, voiced by Mark Ruffalo, who appeared with Thor in The Avengers movies. After several funny reunion scenes with Thor and Hulk, they team up with Scrapper 142 who turns out to be from Asgard and embark on a joy ride adventure to save Asgard and kill the deadly Hela. Reminding me of the equally comedic Guardians of the Galaxy films and the vulgar Deadpool movie, the film is chock-full of self-deprecating humor that pokes fun at superhero franchises and references to the other movies as well as today’s pop culture. It also includes completely random and unexpected cameos that further conveys a fun and sometimes ridiculous atmosphere. Overall, I found it to be one of the more entertaining Marvel movies and thereby provides a refreshing reboot of the increasingly stale comic book superhero genre. Even if you are not a fan of comic book superheroes, I would highly recommend going to the film if you are looking for an amusing and good old time at the movies.
Written and directed by Dean Devlin who is best known for writing 1996’s Independence Day and 1998’s Godzilla, Geostorm is a ridiculous and cheesy movie that tries to be an epic blockbuster disaster film but largely fails through a combination of underwhelming writing and acting and a laughably improbable premise. The story involves the cataclysmic failure of a massive space satellite program created to control the weather that has increasingly become extreme as a result of climate change. Played by Gerard Butler, Jake Lawson is a brilliant scientist and the creator of the program known as Dutch Boy but is removed from his position as a result of his reckless behavior in front of American government officials. Several years later, with his brother Max, played by Jim Sturgess, as the head of the program, Dutch Boy is to be handed over to be controlled by an international coalition of climate scientists and government officials. However, the satellites controlled from the International Climate Space Station malfunctions and results in extreme weather events that kill hundreds of people and poses an existential threat of creating what is known as a geostorm, a massive storm enveloping the entire Earth. Jake reluctantly returns to the program to help investigate the problems and travels to the space station where he works with a female commander named Ute Fassbinder. Themselves in danger as the space station self-destructs, they begin to unravel a vast conspiracy that may involve the President of the United States, played by Andy Garcia, and the powerful Secretary of State who is played by Ed Harris. The film becomes a race against time as the Earth is beset by colossal tornadoes, flooding, and other natural disasters. After a while, the obviously CGI-enhanced disaster sequences become tedious as a result of the low quality visual effects used and the preposterous situations. The movie concludes with a overly dramatic climax in which some high-ranking officials prove to be untrustworthy for self-gain. Overall, I found it to be a rather generic disaster blockbuster that never really provided the necessary thrills for a truly entertaining experience. The film could actually have been somewhat interesting because of its timely premise about climate change and the science fiction solutions that could be used to fix such a massive issue. However, it never gets past the sloppy writing and acting skills that made the movie more of a comedic disaster.
Directed by Denis Villeneuve who is best known for the 2016 Oscar-nominated movie Arrival, Blade Runner 2049 is an extraordinary film that lives up to its predecessor, the science fiction cult classic Blade Runner released in 1982 and based on a 1968 Philip K. Dick novel. Heavily influenced by the first movie’s director Ridley Scott who is one of the producers of the sequel, the film remarkably recreates the dystopian hallmarks of the original with beautiful cinematography of a bleak yet futuristic world of monolithic skyscrapers illuminated by extravagant neon signage rising above a rain-soaked suffering population. The story takes place thirty years after the first Blade Runner and follows an officer with the LAPD officer named K, played by Ryan Gosling, who is sent on a secret mission by his boss Lieutenant Joshi, played by Robin Wright, to discover the truth behind the discovery of a mysterious skeleton. K is what is known as a blade runner whose job it is is to hunt down and destroy renegade replicants, human-like robots originally created by the now defunct Tyrell Corporation featured in the original. Officer K is a replicant himself but of a more advanced and better controlled version built by the all-powerful Wallace Corporation led by the vicious Niander Wallace, played by the especially creepy Jared Leto. The Wallace Corporation is intrigued by the LAPD’s investigation because it may lead to a key development in their replicant program. Throughout the slow burn and sometimes complex esoteric scenes, K questions his own existence and whether he is in fact a human and not a replicant with implanted memories. The very nature of what it means to be human is the core of the film’s deep dive into the philosophical exploration of humanity and artificial intelligence. Eventually, Gosling’s character comes to a greater understanding of who he is after encountering Rick Deckard, the main character from the original played by a particularly gruff Harrison Ford. Deckard is a replicant who has been on the run over the past thirty years and had a romantic relationship with another replicant named Rachael who may have had a very unique capability desired by Wallace. Overall, although the heavy dose of sci-fi and philosophical elements may not appeal to all viewers, the movie is without a doubt a cinematic masterpiece as a result of being a visual marvel presenting a stylized dystopia complete with a very futuristic-sounding soundtrack emphasizing the dark and moody themes. If you are a fan of the original Blade Runner or any other sci-fi flick, you will not be disappointed by this long-awaited sequel.
The second reboot of the Spider-Man film series with the first starring Tobey Maguire beginning in 2002 and the second starring Andrew Garfield beginning in 2012, Spider-Man: Homecoming is rather unnecessary but nevertheless spins a entertaining web that takes a more lighthearted approach to the superhero. Played by the fresh-faced British actor Tom Holland, Peter Parker/Spider-Man is approached by Tony Stark, played by Robert Downey Jr., about the possibility of becoming a full-fledged member of the Avengers after assisting in an operation featured in the 2016 Marvel movie Captain America: Civil War. Unlike the prior Spider-Man films, Parker appears to be much younger and is shown as a relatively typical highschooler who tries to fit in and impress his popular crush Liz. Without telling anyone, including his guardian Aunt May, played by Marisa Tomei, Parker dons his Spider-Man outfit to combat mostly petty criminal activities throughout New York City. Eventually, he is faced with a much more dangerous criminal, a spiteful weapons dealer named Adrian Toomes who has stolen alien technology from the Department of Damage Control following an alien attack on New York. Toomes, played by the film’s real star Michael Keaton, uses the alien weaponry to develop a flying suit to become the villain Vulture and continues to steal more alien technology to enrich himself and increase his powers. Parker is faced with the dangers of being a superhero after he must rescue Liz and his other classmates during a trip to Washington, D.C. Back home in his “real life,” he makes a shocking discovery when he takes the young and beautiful Liz to the homecoming dance and must make a fateful decision to finally stop Toomes. Overall, I found it to be a fun cinematic experience that told a funny and more human side of Spider-Man, and I enjoyed it more than I thought I would because of my initial misgivings about the originality of a movie that has been rebooted several times in the past decade.
The fifth film in the Transformers franchise that started in 2007, Transformers: The Last Knight is what you would expect from a Transformers movie: it is a loud and over-the-top CGI-heavy action extravaganza with a silly plot based on a line of Hasbro toys and filled with eyeroll-inducing dialogue. It is the second movie starring Mark Wahlberg as Cade Yeager, an inventor now living in a junkyard in South Dakota, who is friendly with the good Transformers the Autobots at a time when all Transformers are oppressed by the government. Eventually, he joins forces with a young and beautiful British female professor (with the requisite tight clothing and excessive cleavage for the stereotypical female lead in a Transformers film) and later an English Lord tied to a lineage of secret Transformers protectors played by Anthony Hopkins. Humanity’s survival depends on their actions as the bad Transformers the Decepticons led by the evil Quintessa and the brainwashed Optimus Prime set in motion for the Transformers’ dead home planet Cybertron to destroy Earth in order to bring life back to Cybertron. With a connection to King Arthur readily apparent by the Medieval battle sequence at the beginning, the trio must travel the world to discover historical artifacts, including a powerful staff, that may help in their quest to save Earth and the human race. The best part of the movie is Anthony Hopkins for his perfect narration voice, but I was constantly thinking why on Earth would such a fine actor participate in such a preposterous action porn. Overall, I found it to be your typical Hollywood blockbuster franchise film that does not really add much to the genre besides showing off new ways to blow up stuff and lining the pockets of the movie studio.
Based on Dave Eggers’ best-selling 2013 novel, The Circle is a movie full of potential with an impressive cast about pertinent issues surrounding technology, but ultimately fails its lofty expectations as a result of weak writing and narrative structure. Emma Watson plays an idealistic millennial who is given the opportunity of a lifetime to work at the Circle, the largest technology and social media corporation in the world serving billions of customers. She is excited to work with a supposedly innovative company and amazed by the sprawling campus that offers everything a young worker would want, an environment remarkably similar to the headquarters of Facebook and Google. With the encouragement of the Steve Jobs-like co-founder and CEO, played by Tom Hanks, Watson’s character allows her entire life to be recorded for the entire world to see as a part of the company’s experiment for full transparency. After the project causes friction with her family and friends over their lack of privacy, she realizes that everything at the company is not as it seems, and there may be dark secrets that harm its customers. The film becomes a cautionary tale and raises the vital implications of technology for convenience sake being detrimental to basic privacy and people’s mental and physical well-being. Unfortunately, it feels like there is something missing from the movie, especially the lackluster ending that does not resolve much of anything and distracts from the overall message. Overall, despite its particularly timely subject matter and star-studded cast, I found it to be nothing more than your average technological thriller that was slightly entertaining and simply passed the time.
The sequel to the hugely successful 2014 comic book movie Guardians of the Galaxy, Guardians of the Galaxy Vol. 2 lives up to its predecessor as a raucously good time of a movie with the perfect balance of visually dazzling action, irreverent humor, and a nostalgic soundtrack. The movie takes place after the eccentric ragtag group of heroes known as the Guardians of the Galaxy help save the universe and are now tasked with protecting a set of high energy batteries with potentially deadly consequences. Chris Pratt plays the charming jokester Peter Quill or Star-Lord who is half human and the leader of the group, which consists of the green-skinned human-like Gamora, played by Zoe Saldana, the large strong alien with a sense of humor Drax the Destroyer, played by Dave Bautista, the feisty genetically engineered talking raccoon Rocket, voiced by Bradley Cooper, and the adorable tree creature Baby Groot, voiced by Vin Diesel. Eventually, their friendships are tested after Peter meets his father Ego, portrayed by Kurt Russell, who is a god-like alien form known as a Celestial, and Peter learns the previously undiscovered truth about his background. Through a series of spectacular CGI fight sequences, the team is emboldened to save the universe one more time after learning of a threatening malevolent force. In addition to the thrills and often uproarious humor and wit of the characters, in particular Chris Pratt’s character, the movie has an unexpected layer of sentimentality by revealing the complicated and endearing relationship between father or father-figure and son, as well as between close friends. The music, which is heavily from the seventies and eighties, is perfectly timed and so unique that it is an integral part of creating such a fun moviegoing experience. The most effective song was Cat Stevens’ classic lyrical Father and Son, which was played towards the end as Peter reflects on his real father and the mercenary Yondu, played by Michael Rooker, who really raised him. Overall, I found it to be one of the most fun and clever cinematic experiences of the year, and I would recommend it to even those who are not fans of the comic book superhero genre.