Keanu - Film Review

I was really bummed when I heard Key & Peele would be concluding with its fifth season. I wasn’t a regular viewer of the sketch comedy series, but the sketches I did have the pleasure of seeing were enough to convince me of their brilliance and make me wish they’d keep going forever and ever.

Now, a little less than a year after their show’s final episode, Keegan Michael-Key and Jordan Peele are throwing their hat into the movie mix with their feature debut Keanu. The prospect of a Key & Peele movie alone had me sold; add an adorable kitten to the mix and I can barely keep my brain from exploding with sheer joy. And while the final product isn’t quite as inspired as one would hope, Keanu is funny and charming enough to prove its stars have what it takes to make it on the big screen.

Rell (Peele) has had it pretty rough the past couple days. His girlfriend just broke up with him and life no longer has any purpose. “I feel like Apollo Creed,” he explains to his cousin Clarence (Key) over the phone. “In which Rocky movie?” asks Clarence. “The one where he dies,” answers Rell.
Everything changes when Rell hears scratching at his front door and discovers the world’s most adorable kitten waiting there to greet him. He names it Keanu and the two become inseparable.

For the next couple of weeks, everything is looking up for Rell, until the day he and Clarence return from an outing to find his house ransacked and no sign of Keanu. According to Rell’s drug dealer (Will Forte), it was the 17th Street Blips who did the cat-napping. Now, Rell and Clarence must pretend to be gang members in order to infiltrate the Blips and save their kitty cat.

When Keanu works, it really works. Some scenes made me laugh so hard it hurt, but there are also long stretches of ill-fated punchlines and awkward jokes that don’t quite hit their marks. The majority of Keanu’s 2nd act focuses on the one-note premise of Rell and Clarence attempting to pass as cold-blooded killers in a hostile environment. This section of the film stretches on far longer than it should and distracts from the main plotline of the duo trying to save the cat. (There’s far less of Keanu in Keanu than there should be.) If the scenes of them pretending to be ‘gangsta’ had been funnier, I might not have minded as much, but the jokes fall flat far too often.

The scattered characterizations don’t help either. Clarence is a loving father and husband who avoids conflict at all turns in favor of a polite, well-mannered demeanor. He puts the needs of others before his own needs, often to his detriment. Rell insists he needs to lighten up and let his less responsible side flourish and throughout the film, in pretending to be a gangster, Clarence is able to indulge in this side of his personality. The problem is, we never get the feeling Clarence was ever this kind of person in the first place and the idea that he’s been holding back this side of his personality his whole life is under-developed.

I know, I know – this is a comedy. Characterizations aren’t as important as the humor, right? But, when the humor is so scattershot that you find yourself paying attention to these kinds of inconsistencies, it does become a problem.

By its 3rd act though, Keanu is up-and-running again, bringing both the action and the laughs in spades. It trades any semblance of reality or genuine character development for full-blown cartoonish comedy. The tradeoff works in its favor, as the jokes become more consistent and the pace picks up considerably. It’s almost enough to make you forget just how dull the preceding moments were.

Despite its sporadic quality, Keanu manages to get by thanks to Key and Peele themselves. Their comic timing and all-around charisma works wonders, carrying the film through its lesser moments. There’s never any doubt as to their abilities, and with a stronger script, they could be capable of crafting the next comedy classic. As far as first efforts go, Keanu could have been a lot worse. The frustrating thing is, with a bit more polish, it could have been a lot better too. But the pros outweigh the cons, and if you’re a fan of the duo or kittens in general, you’ll find plenty to enjoy here.

FINAL RATING: 3.5/5

Sing Street - Film Review

Oh, man. I really wanted to like this movie. I mean, really really. I adore John Carney’s feature debut Once and was hoping to find some of that magic rekindled here. But despite strong performances from its relatively inexperienced cast and a top-notch soundtrack, Sing Street’s scattershot plot and unfocused characterizations keep it from truly singing. (See what I did there? Do you hate me for it? I hate me for it)

It’s 1985. The Cure has just released ‘The Head on the Door’ and Back to the Future is captivating movie audiences worldwide. In Dublin, Ireland, a 15-year-old lad named Conor has just been informed by his parents that they can’t afford his ‘fancy’ upper class education and will be transferring him to a free state-school.

The shift is understandably jarring – the place is a zoo. Fights break out on the regular and teachers pay little mind to the chaos in the classrooms. Conor is tormented not only by his classmates, but by the school’s strict principal (Don Wycherley), who calls Conor out on his first day for not wearing black shoes. When Conor argues that his brown shoes are ‘really quite sensible,’ the principal forces him to spend the rest of the day shoeless.

Conor is befriended by Darren, another social outcast (gingers never can catch a break). In an attempt to impress Darren, Conor asks Raphina, the aspiring model who lives across the street from the school, to be in a music video for his band. She agrees, but there’s just one problem: Conor doesn’t have a band. He and Darren set off to recruit musicians for their new ‘band’ Sing Street, so Conor can woo Raphina, win the respect of his classmates and discover who he truly is.

There are elements of Sing Street I really enjoyed. As I mentioned earlier, the soundtrack is outstanding (I’m listening to it right this VERY SECOND, no matter when you might be reading this review), and I loved all the scenes that involved the band getting together and making music/movies. It’s slightly unbelievable that a group of such young kids would be quite this good at making catchy pop songs, but the performances are so fun and spirited, it’s easy to suspend your disbelief. (Carney co-wrote the original compositions with Gary Clark) I was also thoroughly entertained by Conor’s discovery of new bands and how he'd adapt his musical and fashion stylings accordingly.

While Carney’s direction is solid and he does a great job capturing the look/feel of the era, his script is a scattered mishmash of ideas and themes that never coalesces into a satisfying whole. He takes on a wide range of topics, including but not limited to growing up in 1980s Dublin, dealing with abusive authority figures, coping with your parents’ crumbling marriage, not letting your dreams get away from you, etc., but never strikes the right balance between them. Intriguing subplots are left under-developed or completely unexamined and the most interesting plotline – the formation/development of the band – takes a backseat to the more hackneyed one - the romance between Conor and Raphina, which never fully transcends its young-adult trappings.

This is by no means the fault of the young actors, who are all excellent. As Conor, Ferdia Walsh-Peelo is very appealing. He nails the quietly cocky, slightly awkward demeanor of the character perfectly, and does a great job in the film’s more emotional moments. Likewise, Lucy Boynton is beautiful and elusive as Raphina, the star of Sing Street’s music videos and the object of Conor’s affections.

The additional bandmates are great too with Mark McKenna being the standout as Eamon, a musical prodigy who can play practically any instrument. It’s just such a shame we don’t get to spend more time getting to know them, as the musical aspects are the film's strongest moments by far.

And maybe that’s the biggest problem with Sing Street: the whole thing feels like Carney was so concerned with finding the perfect musical cue, he forgot to develop a fully realized story or characters. In that regard, the film is a lot like its main protagonist, constantly shedding one identity for another without ever really finding itself. If that was Carney’s intention, more power to him. It just doesn’t make for very good storytelling.

Here's hoping this one grows on me. In the meantime, I’m going to go listen to ‘Drive It Like You Stole It’ for the umpteenth time.

FINAL RATING: 3/5

The Jungle Book - Film Review

We’re living in the cinematic age of ‘if you remake it, they will come.’

Okay, maybe that’s not entirely true as evidenced by some truly pathetic attempts over the years, but with 2015’s Cinderella, Disney discovered a veritable gold mine in re-purposing their classic animated fare as live-action films. Despite its predictability, Cinderella benefited greatly from Kenneth Brahnagh’s steady direction and a charming cast.

This year Disney hopes to repeat that success with its remake of The Jungle Book and if the strong weekend box office and critical response are any indication, they’ll be plunging the depths of their animated repertoire and releasing live-action remakes for years to come. While it’s easy to be cynical about this prospect, it’s hard not to be won over by the heartfelt, technical marvel that is Jon Favreau’s take on the beloved Disney tale, even if it doesn't have anything new to add to the table.

Chances are you already know the story and it’s largely intact here with few alterations. As an infant, Mowgli was discovered in the jungle by the kindhearted panther Bagheera. Bagheera brings him to the wolf pack to be raised as one of their own. Mowgli’s life is fine and dandy until the vicious Bengal tiger Shere Khan takes a particular interest in Mowgli, threatening to kill the boy if he doesn't leave. To protect his family, Mowgli agrees to depart for the nearby human village to be with his own kind. The trip is cut short when he and Bagheera are attacked by Shere Khan. Mowgli is thrown off course and into a number of adventures including a wild stampede, a larger-than-life orangutan and, of course, a lovable bear who just wants his honey fix.

Let’s start with the positives: The Jungle Book is a massive technical achievement. Favreau’s direction is on-point throughout, deftly balancing effects-driven action with beautiful scenery and heartfelt emotion. The world is, for the most part, successfully immersive and believable, as are the CG animals that inhabit it. The special effects team has raised the bar for computer-generated worlds in a fashion similar to James Cameron’s work on Avatar back in 2009. Sure, little Mowgli looks a little out of place at times as the only legitimate flesh-and-blood entity on screen, but more often than not, I was able to buy into the jungle as a living, breathing place. I'm kicking myself for not seeing The Jungle Book in 3D. I have a feeling it would have been the optimal viewing experience, not least of which because 3D tends to blur the lines between CGI and reality.

The cast is another high point. I mean, come on, you’ve got Ben Kingsley, Idris Elba, Lupita Nyong’o, Christopher Walken and BILL flippin’ MURRAY as Baloo? Genius. But a good chunk of credit for the film’s success should go to newcomer Neel Sethi, who gives a spirited performance as Mowgli. Considering that every single character he interacts with wasn’t actually there, it’s all the more impressive.

That’s a whole lot of praise, right? So, why didn’t I like The Jungle Book more than I actually do?

It all boils down to this: I can’t get past this being a near beat-for-beat remake of a movie that already exists. At least with Cinderella there was an effort to cushion the all-too-familiar story elements with new information and insights about the characters. Aside from the impressive visuals, there’s isn't much in The Jungle Book you haven’t seen before. Even the visuals lose their novelty with the artificiality of the settings standing out at times. I mean, I’ve used the term ‘live-action’ to describe The Jungle Book, but the truth is with all the CG elements and environments, it’s practically another animated version of the story.

The whole enterprise just can’t help but feel like a cash-grab even despite the impressive talent and earnest efforts of everyone involved. Maybe I’m just being pompous and cynical, but….well….yeah, I’m being pompous and cynical. Deal with it.

But, look, a good story is a good story no matter how many times it’s told and The Jungle Book is certainly that. It’s exciting, heartfelt and very funny. And let's face it, kids won't care that this is basically the same movie they've seen before and it's entertaining enough that parents won't mind sitting through it again. See it in 3D to get the best immersive experience and just try to ignore the nagging voice in your head telling you you’ve seen it all before. Embrace The Jungle Book as the impressive visual achievement that it is and you're sure to have a good time.

FINAL RATING: 3.5/5

Midnight Special - Film Review

Throughout the course of his career, Jeff Nichols has demonstrated an incredible talent for taking the ordinary and making it extraordinary. Midnight Special may be his most extraordinary film yet, delving into fantastical territory far more than his previous efforts. While it may be more outlandish than his previous offerings, Midnight Special is, at its core, a compelling, character-driven family drama. It’s also one of the best films of the year thus far - an absolute must-see.

Roy, played by the severely under-appreciated Michael Shannon, is attempting to rescue his 8-year-old son Alton from both the government and a mysterious cult that worships the boy. Alton, you see, is not quite normal. He has strange, otherworldly powers that have made him the subject of some scrutiny. Along for the ride is Roy’s childhood friend Lucas (Joel Edgerton), who serves as both their guide and bodyguard. Also caught up in the mix is NSA agent Paul Sevier (Adam Driver) who interviews members of the mysterious Alton-worshipping cult in an attempt to make sense of the madness that seems to follow in Alton’s wake.

Over the course of its runtime, Nichols keeps things grounded with slow, methodical pacing and beautiful imagery, wrapping his story in the sights and sounds of every-day life. When Alton performs one of his supernatural feats, it’s all the more believable because everything surrounding these jaw-dropping events feels so authentic. They feel that much more stunning as a result. Even when the plot grows more outlandish in its 3rd act, it’s easy to buy into because Nichols has done such a great job laying the solid groundwork of realism.

The cast only adds to the sense of believability. Michael Shannon, in his fourth collaboration with Nichols, continues to prove himself as one of the best working actors of this day-and-age. He is capable of conveying incredible depth with the subtlest of expressions and his performance is deeply moving. The rest of the cast follows Shannon’s lead, delivering in spades. As Lucas, Joel Edgerton is both tough and sympathetic. The young Jaeden Lieberher is a natural as Alton and Kirsten Dunst is quietly effective as Alton’s mother Sarah. Adam Driver’s trademark charm shines in his performance as Agent Sevier, taking what could have been a dull, one-note character and imbuing him with humanity and humor.

If there’s any fault to be found with Midnight Special, it’s in the script. Specifically the plotting. While we do learn a good deal about these characters and the events surrounding them, it’s almost not enough to fully satisfy. Nichols does a great job keeping up the aura of mystery, but by the time the film concludes, you may find yourself wishing he had been a bit more forthcoming. It’s one thing to be mysterious, it’s another to be vacant, and many pressing questions remain unanswered.

Don’t let this deter you from seeing it, however. Midnight Special is without question another success for Nichols, recalling the magic of Spielberg’s early films of the 70s and 80s. You might be a little confused by the time it’s over, but, more importantly, you will be amazed. And that's what going to the movies is all about.

FINAL RATING: 4.5/5 

Hardcore Henry - Film Review

If you’ve seen the trailer for Hardcore Henry, you know exactly what to expect. It is a brisk, 90-minute adrenaline rush that’ll either make you giggle with twisted delight or give you a massive headache. Probably both. There isn’t anything to connect to beyond the visceral thrill of its first-person perspective and insane action, but if you’re in the right mindset (inebriation couldn’t hurt) you will have quite the experience. That being said, if the idea of watching an ultra-violent action flick from a first-person perspective doesn't excite you, you will absolutely want to take a pass.

A man wakes up in a laboratory with no recollection of who he is. A beautiful woman named Estelle (Haley Bennett), who claims to be the man’s wife, informs him (us) that his name is Henry and he was the victim of a horrible accident. It’s not clear what the accident was, but it required a number of ‘upgrades’ to Henry’s body to ensure his survival. Fitted with a new robotic arm and leg, Henry is stronger and faster, though we never really get a good explanation as to the extent of his new ‘abilities.’

It doesn’t take too long for things to go wrong. Estelle’s lab is invaded by the sadistic Akan (Danila Kozlovsky, though for the longest time I could have sworn he was Ewan McGregor), who murders her partners and very nearly murders her and Henry. The couple manages to escape, but Estelle is captured not too long after. It’s up to Henry, with the aid of a mysterious man named Jimmy (a brilliant Sharlto Copley) to save his wife and take Akan out.

That’s pretty much everything I gathered from Hardcore Henry story-wise. It’s a miracle I gathered anything at all as there’s hardly an explanation for anything happening. Who’s Akan? Where did he get his supernatural powers? Who was Henry before his accident? Why do we care? By the time the film is over, we have a better idea of just what the hell was going on, but withholding this information until the very end makes it difficult to care much about the ultimate outcome.

What Hardcore Henry has going for it is that it’s absolutely nutso. The action and stunts are spectacular and there’s this manic energy that keeps things feeling fresh, regardless of the repetition. It feels like the greatest video game movie of all time; even its plot resembles one, with scene after scene of Jimmy instructing Henry to ‘go to this point on the map and kill everyone along the way.’ Its only reason for existing is as a demonstration of what an action movie filmed entirely from the first-person perspective would look like.

Does the gimmick wear out its welcome? Sure. But the overall sense of fun is hard to deny, even without anything to invest in emotionally. If you recognize Hardcore Henry for what it is – and it really isn’t much more than an absurdly entertaining technical exercise - and take it at face value, you won’t be disappointed.

FINAL RATING: 3/5

Everybody Wants Some!! - Film Review

Richard Linklater has had a pretty great decade thus far. He started strong out the gate with Bernie in 2011 and followed that up with the masterful one-two punch of 2013’s Before Midnight and 2014’s Boyhood, the latter earning him his first directing Oscar nod. As many of you are well-aware, Linklater is one of my all-time favorites. It's why, despite lackluster trailers and TV spots, I was keeping my fingers crossed for his latest Everybody Wants Some!!

After getting the chance to see the film this past weekend I’m pleased to say that Linklater’s winning streak presses on untarnished. Billed as a ‘spiritual sequel’ to his much-beloved film Dazed and Confused, Everybody Wants Some!! is every bit the successor the term suggests. From its soundtrack to its leisurely pacing and mood, it recalls many traits of the 1993 cult-classic.

It’s also a much better film.

While Dazed and Confused is occasionally effective as an examination of the ups and downs of high-school life, it can’t help feeling like the work of a filmmaker still discovering his voice. Its dialogue and performances feel stilted and disingenuous at points. (It was only Linklater’s 3rd full-length feature, after all, preceded by the low-budget It's Impossible to Learn to Plow by Reading Books and his breakout success Slacker) Everybody Wants Some!!, on the other hand, overflows with authenticity. It’s endearingly raunchy and hilarious, filled with heartfelt characters and moments that perfectly capture what it feels like to go off to college and, for the first time, experience a little taste of true freedom and independence.

Jake (Blake Jenner) is the new kid on campus, a college freshman and back-up pitcher for the school’s baseball team. He arrives at school, moving right in with his teammates in an off-campus frat house of sorts. Despite some rocky introductions to a couple of his new roommates, Jake fits in almost immediately, and the film follows the team’s final weekend of freedom before the start of classes.

Anyone familiar with Linklater’s best work won’t be surprised to find that Everybody Wants Some!! is largely plotless - the characters jump from party to party, go disco dancing, pursue the opposite sex and discuss whatever topics come to their inebriated minds. They're all so lovable and feel so genuine that the total lack of a driving story doesn’t even matter. I was totally involved in their exploits from beginning to end and my only complaint is that I wish I could have spent even more time with them.

Linklater has an impeccable knack for assembling memorable ensembles and Everybody Wants Some!! is no exception. Each cast member brings their own unique flavor to the table and, by extension, so do the characters. As McReynolds, the team captain, Tyler Hoechlin is the natural ‘leader of the pack,’ unknowable, but kind-hearted. Wyatt Russell’s Willoughby is the lovable stoner - the scene in which he and the group smoke-up and try to read each other’s minds is one of the film’s many highlights.

Glen Powell’s Finnegan may be the standout in a whole group of standouts. He exudes leading-man charm and, in a way, serves as the group’s conscience. He may party hard the night before, but you can find him chilling on the couch the next day, a copy of Jack Kerouac's 'Desolation Angels' in hand.

Blake Jenner may have had the most difficult job, as Jake is a bit of a blank-slate observer. But Jenner pulls it off, making the character both fun and endearing. And as the only female lead in the entire repertoire, Zoey Deutch makes a lasting impression. It’s impossible not to fall for her. Really, I could go on and on (and I very nearly have); everyone is perfect and their chemistry is exquisite. Even the characters you think you dislike reveal their layers as the film plays out.

And therein lies Linklater’s greatest asset: he really seems to care about people and the connections we make in life that are so essential to our being. To him, nothing in the human experience is more important than communicating and connecting with one another. Everybody Wants Some!! is another natural extension of Linklater’s ideology and stands above the pack as one of this year’s finest. It's an important reminder that few things bring more satisfaction than being there for one another and living each moment to the fullest.

FINAL RATING: 5/5