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

Batman v Superman: Dawn of Justice - Film Review

Batman v Superman: Dawn of Justice is such an all-encompassing, mind-numbing, incoherent mess, I don’t even know where to begin. It fundamentally misunderstands its source material and the concept of good filmmaking in general. I couldn’t tell you why Batman and Superman were fighting; neither of them seemed to care about anything or anyone except themselves. If you were to remove the ‘v’ from ‘BvS,’ you’d get an abbreviation that perfectly encapsulates the experience of watching it. By the time its 2.5-hour runtime had concluded, I felt pummeled, disturbed and deeply depressed.

The title ‘Batman v Superman: Dawn of Justice’ is somewhat misleading. Not only does the long-anticipated fight between these two icons only last for about ten minutes total, there is no ‘Dawn’ to be found. Most of the film’s events take place in the blackest of rainy nights. The closest we get to actual, genuine sunlight is an overcast sky with a mere hint of blue poking through. The color scheme is consistently gray and that, combined with the film’s suffocatingly dour tone, makes this one of the single-most dispiriting film-going experiences I’ve ever had.

Narratively speaking…well, let me stop right there because there isn’t much of a narrative to speak of. There’s something resembling a narrative, but it’s so jumbled and messy that labeling it as such does a disservice to the term. Events unfold, but have little to no relation with one another. There’s no connective tissue. Character motivations are muddled or non-existent. (Why did Lex Luthor hate Superman so much besides the fact that Superman is so much hotter?) It’s like the creative team threw a bunch of ideas into a blender, pissed all over them and then flung them on the audience. (Ironically, a jar of piss ends up being one of the film’s plot points. No joke.)

Through the years, director Zack Snyder has made a name for himself crafting visually faithful, thematically inept comic book adaptations. He’s always favored carefully crafted visuals and cinematography over any kind of meaningful, engaging content. Even decent screenplays seem to fall apart once he gets hold of them and siphons them through his slow-mo, action-first/character-second aesthetic. Why Warner Bros. saw fit to entrust the security of such beloved characters to the guy is beyond me. Not only does he reduce Batman to a murderous monster, he seems to have absolutely zero grasp on what makes Superman so great.

The concept of Superman has never meshed well with Snyder’s almost hilariously pessimistic agenda. (A selfless superhero who only wants to help people because it’s the right thing to do? Lame!) It feels like he’s been waiting for his moment to raise the middle finger to anyone who has any kind of love or appreciation for the guy and with Batman v Superman he finally gets the opportunity to do so. This film proves beyond any smidgen of doubt, that Snyder doesn’t only not understand Superman, Snyder flat out HATES him.

There’s this awful moment about halfway through the movie where Superman is chatting with Lois and he basically tells her that he’s a fraud and that people should never have believed in him. Hey, I’m right there with you, buddy. While we’re at it, how ‘bout we stop by the local orphanage and tell all the kids their parents never loved them too?

To be fair, as portrayed in 2013's Man of Steel and Batman v Superman, Superman really doesn’t do anybody any good. But instead of taking advantage of the opportunity to give him a platform to speak for himself or present any kind of point of view on anything (in other words, to be a developed character), Snyder and co. opt instead to have him remain silent, reinforcing the notion that Superman is a selfish prick who only cares about himself.

The filmmakers included the briefest of brief montages to showcase Superman’s rescues. (I guess somebody at the studio begrudgingly admitted they had to show Superman saving somebody.) I’ve been to funerals more upbeat than this dreary sequence. Superman seems like he’d rather be doing anything else. I mean, why should Superman actually want to rescue people? It’s not like that’s what he does or anything, right?

I feel particularly bad for Henry Cavill. He seems talented enough and certainly looks the part. In press interviews, he’s demonstrated the charm and likability that is so essential to the character. For whatever reason, Snyder and the studio have ignored Cavill’s abilities and forced him to wander around looking lost and forlorn. There's no charisma to his performance; he's just going through the motions. And who can blame him, really? When the creative team clearly has nothing but contempt for the character you're portraying, all you can do is collect your paycheck and go home.

BvS hardly fares better when it comes to Batman. Despite Ben Affleck’s noble efforts, he can’t quite overcome the clunky dialogue or lack of nuance. While I understand why Batman would have a personal vendetta against Superman due to the mass destruction he (Superman) caused in Man of Steel, I do not understand in any way why Batman casually murders people left and right with next-to-no regard. When did he decide to cross that line? Snyder and co. never bother to fill us in on the details, nor on any details regarding the character.

As for the rest of the cast, they spend most of their time blending into the mayhem. Gal Gadot is fine as Wonder Woman, though there’s no explanation as to who she is or why she’s in this movie. As portrayed by Jesse Eisenberg, Lex Luthor is a jittery, Jim-Carrey-as-the-Riddler impersonator with no clear motive for his ‘evil’ schemes. Poor Amy Adams as Lois Lane spends most of the film getting rescued by Superman. Lois comes across as a total moron, often flinging herself into idiotic situations without much consideration. Only Jeremy Irons and Laurence Fishburne make it through unscathed in their portrayals of Batman’s butler Alfred and Daily Planet Editor-in-Chief Perry White respectively.

So, without a coherent storyline or characters to invest in, what we’re left with is Angry Murdering Man v The Depressed Sad-Sack, which is nothing more than a 2.5-hour staring contest to determine the grumpiest superhero of all!

Sidenote: there’s also an amazing moment where it looks like they’re about to kiss. God, I would have forgiven every flaw in this movie if they’d just gone for it:

Nothing in BvS merits any kind of recommendation. You’re better off going to your local comic shop and grabbing a copy of ‘The Dark Knight Returns’ and ‘Superman: Birthright.’ I assure you, it’ll be money far better spent and you won't hate your life afterwards.

FINAL RATING: 1/5

10 Cloverfield Lane - Film Review

A fair warning: don’t go into 10 Cloverfield Lane expecting anything resembling a follow-up to its shaky-cam predecessor. They bear little resemblance to one another. Producer J.J. Abrams has done his utmost to temper expectations by referring to this new film as a “spiritual successor," not a direct sequel. Mostly, I think he’s just trying to cover his ass for essentially hijacking an un-related screenplay and slapping it with the Cloverfield brand. It must have seemed like a surefire way to secure some box office dollars and get a nice little payday for himself and the original film’s creative team. Hey, don’t judge. The director of the highest grossing domestic film of all time has gotta pay the bills somehow.

Even though it doesn’t have much to do with the original Cloverfield, you should still make the effort to see 10 Cloverfield Lane. It is a superb thriller and will keep you riveted from its shocking opening scenes to its nail-biting conclusion.

Following a rough car accident, Michelle (Mary Elizabeth Winstead) wakes to finds herself in the care of Howard (John Goodman), a quietly terrifying roly-poly of a man. Calling Howard a bit of a nut would be an understatement. He’s extremely paranoid and has spent a good chunk of his time and money building an underground shelter in anticipation of some kind of impending doom. That doom, he explains, has finally come to pass and he refuses to let Michelle out of the bunker, insisting it’s for her own safety. Though he claims he means well, Michelle can’t be sure if he’s telling the truth or just plain crazy. With the help of the shelter’s other resident/inmate Emmet (John Gallagher, Jr.), Michelle begins to plot her escape and discover the truth for herself.

That’s about as much as I can tell you without giving away significant plot details. Do yourself a favor and avoid spoilers like the plague; its surprises are worth the effort. With his feature debut, director Dan Trachtenberg proves himself a natural talent. (I shall be watching his career with great interest!) He does an excellent job wringing every ounce of suspense from the claustrophobic setting. It’s amazing that, despite taking place in a single location, he manages to keep things from growing stale with compelling staging, cinematography and production design.

Of course, it helps when the screenplay you’re working with is so strong. Written by Josh Campbell and Matt Stuecken with a little help from Whiplash writer/director Damien Chazelle, 10 Cloverfield Lane successfully balances heart-stopping thrills with effective character development and humor. It’s perfectly paced and always involving; you will never be bored.

The casting is perfect. Mary Elizabeth Winstead gives a sympathetic turn as Michele. It recalls Sigourney Weaver’s in Alien, and when it comes to cinematic heroines, that’s about the highest compliment you can give. As Emmet, John Gallagher, Jr. is immediately likable and empathetic.
And then there’s John Goodman.

Mr. Goodman has, time and time again, proven he is one of the greats — an impeccable character actor who never quite seems to get the attention he deserves from mainstream audiences. His performance here is stunning. In Goodman’s hands, Howard never fully loses his humanity, which makes him all the more terrifying.

If 10 Cloverfield Lane makes any missteps, it’s in a slightly jarring 3rd Act. While undeniably effective on its own terms, it can’t help but feel a bit unearned considering its lack of relationship to everything which preceded it. It’s not enough to derail the movie by any means, but I’m sure film fans will take great pleasure in debating whether or not it was necessary.

One thing that won’t be the subject of much debate is whether or not 10 Cloverfield Lane is any good. It is. It’s better than good — it’s one of the best films of 2016 thus far. Don’t miss it.

FINAL RATING: 4.5/5

Star Wars Episode VII: The Force Awakens - Film Review

Fair warning: While this is a 'spoiler-free' review, I do briefly comment on minor characters and their functions in this film. Nothing major plot or character wise is spoiled here, but I wanted to give anyone who still hasn't seen the film a heads up in case you want to go into it with no knowledge whatsoever. 

The original Star Wars stands alone as one of the single greatest achievements in filmmaking history. It has been so seamlessly ingrained into today’s culture it’s hard for those too young to have seen it in theaters back in 1977 to truly fathom what a remarkable feat George Lucas managed to pull off. Not only did he single-handedly change the face of moviemaking forever and ever, amen, his work spawned what is arguably the most beloved film series of...well...ever. (That business of last decade’s Prequel Trilogy, in the words of Jedi Master Obi-Wan Kenobi himself, ‘doesn’t, doesn’t count.’ - and, yes, I recognize the irony of using a quote from the Prequels to demonstrate their worthlessness, so SHUT IT!!) With many a childhood influenced by the magic of the Original Trilogy, I can’t even begin to imagine how daunting the prospect of continuing the series would be, especially in the light of the rightfully chastised Lucas-scribed/helmed Prequels. But when Lucas sold his company along with all related franchises to Disney, he removed the very thing that was stifling the series’ creativity and well-being: Himself. Since he would no longer be playing an active creative role in future Star Wars films, the possibilities for the franchise were endless. It was the best creative decision that could have been made to guarantee its well-being.

Still, making a Star Wars movie must be an overwhelming notion, even for the most accomplished filmmaker. In fact, ‘overwhelming’ probably doesn’t even begin to describe the immense pressure of living up to the hopes of an entire generation of fans who grew up with and were inspired by these films, as well as ensuring the $4 billion+ Disney dished out for the franchise would not be in vain. Episode VII director/writer J.J. Abrams, co-writer Lawrence Kasdan, whose extensive writing resume includes the likes of The Empire Strikes Back, Return of the Jedi and Raiders of the Lost Ark (No biggie), and Lucasfilm head/Executive Producer Kathleen Kennedy had an immense task before them. 

But never tell them the odds. Somehow, despite everything working against this creative team, they’ve managed to succeed. And not only have they succeeded, they’ve succeeded with flying colors. The Force Awakens recaptures everything you loved about Star Wars in the first place - the wonder, the humor, the tangible believability - and coily nods to the past while expertly pushing the franchise into exciting new places for the future.

The core of Episode VII’s success is a strong emphasis on character and those characters’ relationships with one another. Despite their pioneering special effects and rip-roaring action, the reason the original Star Wars films were so beloved was because we cared so deeply about its core cast of characters. Abrams and Kasdan have recognized this and filled The Force Awakens with an ensemble that will remind you just how crucial this element was to the series.

All of the new players are fantastic and the assembled cast is extraordinary. Newcomer Daisy Ridley’s performance as Rey is a wonder to behold. She’s beautiful, strong and kindhearted - a star in the making. John Boyega is hilarious and endearing as the brave Stormtrooper-with-a-heart-of-gold Finn; Oscar Isaac is perfectly cocky and lovable as Poe Dameron, the Resistance’s best pilot. And, of course, we have BB-8, who is flatout adorable. 

Perhaps the most impressive addition to the new cast is Adam Driver as the film’s main baddie Kylo Ren. Kylo Ren is already one of the most fascinating characters of the entire franchise and it’s Driver’s performance, even more so than the writing itself, that is the driving force behind its success. He’s dangerous and frightening, and yet he carries a level of humanity about him. You empathize with him even when you don’t want to. A round of applause for the guy!

With the exception of Domhnall Gleeson’s strong performance as the ruthless General Hux, the remaining supporting cast is a bit forgettable. There was such emphasis placed on Gwendoline Christie’s involvement as Captain Phasma (that hulking, Chrome Trooper featured prominently in ads and posters) and it’s disappointing to see the character is mostly there as an excuse to sell pretty toys. Likewise Andy Serkis and Lupita Nyong’o, both playing fully CG characters, seem to fade into the background, providing interesting tidbits of plot info, but not much else. It’s by no fault of these actors that these characters don’t work as well as the primary players; all three of them are solid. It’s the script that comes up short in this particular instance.

Of course, anyone who’s seen any promotional materials for The Force Awakens is well-aware that the primary trio has returned for another go-round. And they’re great. Without going into specifics, I will say that I was really impressed with Harrison Ford in particular, who seems to have made a habit of phoning in his performances as of late. He really brings his a-game. It really feels like we’re watching the Han Solo we know and love from the Original Trilogy and not just an awkward impersonation of said character (I’m looking at you Indiana Jones and the Kingdom of the Crystal Skull). The same goes for Carrie Fisher, who I was perhaps the most worried about. She does a superb job, hitting all the right emotional beats and moments. And Mark Hamill? Well...if you haven’t seen the film by this point I’ll let you wait and find out for yourself how he fares. 

No joke, The Force Awakens has arguably the best performances this franchise has ever seen. I cannot emphasize enough how incredible this cast is and how damned lovable these new characters are. They are, by far, this new entry’s strongest assets.

Less successful is the plot itself, which relies a bit too heavily on storybeats from the original 1977 Star Wars. On occasion, The Force Awakens goes overboard from being a loving homage of the events in A New Hope to just plain derivative of them. I won’t spoil why exactly (stay tuned for another conversational review between Richie and me and check out our review/ranking of the Star Wars Saga up to this point), but considering all the time and effort put into making things feel fresh and fun, you’d think a little more effort would have been put into changing things up a bit more plot-wise. 

But now I’m getting nitpicky and to nitpick a movie that gets so much so, so right feels unwarranted. Abrams has instilled every moment with palpable glee. You get the feeling that everyone involved in its making has a great love for Star Wars and their passion comes through tenfold. 

What’s really impressive about Abrams is how much he seems to have matured as a director since the release of 2013's Star Trek Into Darkness. He allows moments to breathe, to flourish. When the pace is up and running, his direction and camera moves are exhilarating and breathtaking. When things slow down, the visuals are even more stunning. At this point I’ve seen The Force Awakens 3 times, and upon each repeat viewing, I catch more and more shots that, as a film fan, I couldn’t believe I took for granted the first (and even second) time around. It’s an outstanding directorial accomplishment and perhaps Abrams’ crowning achievement. 

I’ll admit, the first time I watched Episode VII, I was completely overwhelmed. I knew I liked it, but I wasn’t sure to what extent I liked it. Little things about the story irked me, and I wasn’t sure how I felt about certain character choices. The 2nd viewing was much more enjoyable, partially because I no longer had to stress out about what was going to happen and I could surrender myself to the power of its storytelling. I was pleasantly surprised to find that not only did I like the film, I genuinely loved it. 

To put it bluntly, Star Wars Episode VII: The Force Awakens is the most entertaining Star Wars movie since A New Hope, the best looking, most emotionally sound entry since The Empire Strikes Back and the most heartwarming since Return of the Jedi. It forgoes the stale artificiality of the Prequels and somehow, despite all odds, manages to recapture the spirit of George Lucas’ Original Trilogy. Most importantly, it is a delightful viewing experience that will put a smile on your face and remind you just how magical a galaxy far far away can be. Maybe Abrams and Kasdan played it a bit too safe with familiar plotting and storybeats, but the new cast of characters and some bold twists keep things fresh and exciting. This is one of the most joyous films of the 21st century so far and I for one cannot wait to see where Rian Johnson takes us in 2017.

FINAL RATING: 5/5