Anton Yelchin

Visual Excess Dims ‘Star Trek Into Darkness’

PatrickMcD — Fri, 17 May 2013 18:39:21 -0400

Rating: 3.0/5.0

CHICAGO – The anticipation of experiencing the rebooted crew of the starship Enterprise now may overwhelm any creative team’s ability to deliver to that anticipation. “Star Trek Into Darkness” piles on the space war excess, while lessening the savory humanity and memorable characters.

After successfully relaunching and rebooting the characters and universe of Star Trek in 2009, the team of screenwriters Roberto Orci, Alex Kurtzman, Damon Lindelof and director J.J. Abrams have serious “Iron Man 2” syndrome in the follow-up – the tendency to emphasize the larger-than-life gadgets and effects over the smaller-than-life interactions of the humans operating the machines. What makes it a bit frustrating is that they nailed the first one so well, that evolving to the second adventure was an anticipatory slam dunk. There are many fine moments involving the Enterprise crew, but those tasty bits are covered with the fake butter of a franchise summer movie. It tastes vaguely the same but at the same time causes some serious heartburn.

The film begins with the crew of the starship Enterprise doing an exploratory mission on a planet with an barely civilized society. Mr. Spock (Zachary Quinto) is trying to prevent a volcanic disaster, Captain Kirk (Chris Pine) and Dr. McCoy (Karl Urban) are running from the natives. They manage to save Spock from imminent death, but not without revealing the starship to a population who have just discovered fire.

Spock (Zachary Quinto), Khan (Benedict Cumberbatch) and Kirk (Chris Pine) in ‘Star Trek Into Darkness’
Photo credit: Paramount Pictures

This gets a reassignment of both Spock and Kirk by Captain Pike (Bruce Greenwood) and Admiral Marcus (Peter Weller). Pike will take over the Enterprise for a mission having to do with a terrorist act in London. It is a manhunt for the fugitive Khan (Benedict Cumberbatch), who is part of a super evolved human race that has been in space exile. When Pike is put out of action, it is up to the reformation of Spock and Kirk to stop this predatory being.

Yes, Khan is in this adventure, just like the second Star Trek film (“Wrath of Khan”) from long ago. The decision to do this seems natural, but there is a feeling that the reboot is losing an opportunity to go their own way. Bringing in Khan invites comparisons to the former film (a classic) and Benedict Cumberbatch to Ricardo Montalban (the original Khan). While Cumberbatch has proved himself to be a consummate character actor, he is conflicted and misaligned in this assignment, with the script doing him no favors. It’s a different Khan, in a different universe, but he’s not as good.

There is the Star Trek characteristic of symbolically integrating their “adventure” with a larger issue in the film, but it doesn’t ring as sound as their other attempts, both in all the series and movies. It is a terrorist act in the story that could percolate a larger war, with the background of neoconservative drum beating to start that war. There is no problem with pointing that out again, yet the theme has been done better – and less awkwardly – elsewhere. An exploration of the motivations of terrorists could have been more interesting, but that would involve nuance, and space battles would less likely occur – just like real life.

But all is not lost. Simon Pegg should have his own film as Engineer Montgomery “Scotty” Scott. He has a field day running to fix things – in fact there is a bunch of running, jumping and dangling in this film – and his natural tendency toward comedy makes the character richer, especially with his rock man sidekick (a great addition in the reboot). Kirk, Spock and Bones get lost a bit in the emphasis shuffle, but each have their moments, although it may be time to retire the “Dammit Jim, I’m a doctor not a…,” unless they can come up with better punchlines.

Warm Gun: Weapons Expert Dr. Marcus (Alice Eve) Consults Captain Kirk in ‘Star Trek Into Darkness’
Photo credit: Paramount Pictures

There is some much needed sex in this adventure, the introduction of a familiar Jim Kirk lover (Alice Eve), including a gratuitous image of her in underwear, comic book nerd style. One of the ways director J.J. Abrams and company congratulated themselves in the last film was their emphasis on strong women, and here the emphasis is on strong women who favor Victoria Secret garments…not that there’s anything wrong with this. Ah, nerd boys.

This is amplified adrenalin for effects junkies (in optional 3D!) and a diminishing return for hard core Trekkers. In the hyper analysis on which way to go, dammit, I’m a film critic, not a committee of movie franchise profiteers trying to fill summer seats. I guess I need a better punchline as well.

“Star Trek Into Darkness” is in theaters everywhere. See local listings for 3D show times and theaters. Featuring Chris Pine, Zachary Quinto, Zoe Saldana, Karl Urban, Simon Pegg, Bruce Greenwood and Benedict Cumberbatch. Screenplay by Roberto Orci, Alex Kurtzman and Damon Lindelof. Directed by J.J. Abrams. Rated “PG-13”

By PATRICK McDONALD
Senior Staff Writer
HollywoodChicago.com
pat@hollywoodchicago.com

Studio Ghibli Gives Fans Sweet ‘From Up on Poppy Hill’

BrianTT — Thu, 28 Mar 2013 13:33:31 -0400

Rating: 3.5/5.0

CHICAGO – The torch is being passed at Studio Ghibli from the great Hayao Miyazaki (“Princess Mononoke,” “Spirited Away”) to his son Goro, who directs this week’s tender “From Up on Poppy Hill,” certainly not one of the best in the Ghibli canon but a well-made, enjoyable melodrama nonetheless. A full awareness that it’s kind of a cheap melodrama (one of the characters even says so) doesn’t change the fact that it is but the young Miyazaki’s visual palette is notably beautiful and the voice work is strong throughout. Briefly, I thought it was sweet, and how many animated films can we say that about nowadays?

Based on a comic and with a script co-credited to Hayao Miyazaki, one of the most important men in the history of animation, “From Up on Poppy Hill” tells the story of Umi Matsuzaki (Sarah Bolger), a gentle girl forced into something of a maternal role in her family. She cooks, cleans, and raises flags every night from her house on the hill to a sailor father who she knows will never return. It is the early ‘60s and he died in the Korean War. The 1964 Tokyo Olympics are coming and Japan is in cultural upheaval while Umi just keeps her routine going.

From Up on Poppy Hill
Photo credit: Studio Ghibli

Of course, “Poppy Hill” is about the shattering of that routine when Umi meets the charming Shun (Anton Yelchin), the leader of a house of relative rebels on her school campus. Shun’s house is about to shut down after years of clutter and disrepair have made it a blight in the eyes of the administration but Shun leads a school revolt that mirrors the cultural one going on in the country at the time. Youthful energy replacing strict procedure. He’s a rebel with a cause. And, of course, that draws Umi even closer to him until she learns something about their families that makes their impending love impossible.

“From Up on Poppy Hill” is essentially a teen romance. It has drama, love, secret pasts, and scary futures. It’s a young adult novel filtered through the artist’s eye of the Ghibli team. And I don’t mean that as negatively as it may sound. While it is essentially a cheap melodrama it is one with a beautiful sense of composition and a gorgeous score from Satoski Takebe. Miyazaki and his team employ a very painterly sense of background, putting a ton of detail into the settings like Umi’s neighborhood and the school buildings. The realism of the piece may be somewhat off-putting to people who expect the fantasy world commonly associated with Ghibli but there’s a gentle charm to this world that places it in the canon. It’s not a fantasy film but it’s a beautiful one. You can almost smell the sea air in Umi’s village.

From Up on Poppy Hill
Photo credit: Studio Ghibli

The American voice cast is stellar, fronted by a great, complex turn from Sarah Bolger of “In America” and “The Spiderwick Chronicles.” She imbues Umi with a coming-of-age innocence and yet also a maturity that defies her age. Yelchin is strong as the romantic lead and the ensemble is filled out with great vocal talents like Gillian Anderson, Aubrey Plaza, Jamie Lee Curtis, Bruce Dern, Beau Bridges, and even Ron Howard.

“From Up on Poppy Hill” will be no one’s favorite Studio Ghibli film. It’s not ambitious enough to be truly memorable but I must admit that I found it enjoyable as it delicately unfurled. In today’s market of in-your-face, pop-culture-obsessed 3D mania disguised as children’s entertainment, it’s nice to see an animated family film that could be called delicate.

“From Up on Poppy Hill” features voice work by Sarah Bolger, Anton Yelchin, Gillian Anderson, Christina Hendricks, Aubrey Plaza, Jamie Lee Curtis, Bruce Dern, Chris Noth, Beau Bridges, Isabelle Fuhrman, and Ron Howard. It was directed by Goro Miyazaki and will be released in Chicago on March 29, 2013.

By BRIAN TALLERICO
Content Director
HollywoodChicago.com
brian@hollywoodchicago.com

Clever, Fun Adventures of ‘The Pirates! Band of Misfits’

BrianTT — Thu, 26 Apr 2012 16:25:52 -0400

Rating: 4.0/5.0

CHICAGO – “The Pirates! Band of Misfits” has that incredible Aardman energy and elegance of works like “Wallace & Gromit” and “Chicken Run” along with some of the best voice work you’ll hear in an animated film all year. It’s not a perfect piece of family entertainment (and Aardman has made a few of those in the past…like everything feature the cheese-lover and his skeptical dog) but it’s close enough and should satisfy all of those willing to sign up for this clever ride. It’s smart, funny, and, most importantly, entertaining for multiple generations.

The gallant yet goofy lead of “The Pirates!” is wonderfully known only as The Pirate Captain (perfectly voiced by Hugh Grant) and he’s kind of a lovable loser. His men stay by his side out of loyalty, not out of any actual success at being a pirate. Pirate Captain has nowhere near the looting or pillaging track records of legends like Black Bellamy (Jeremy Piven) or Cutlass Liz (Salma Hayek), much stronger competition for the coveted title of Pirate of the Year. So when he applies for the prize, he’s basically mocked and ridiculed. Naturally, “The Pirates!” is going to be a story of an underachiever rising to the top. Although it will be so in the quirky way that only Aardman Animation can truly pull off.

The Pirates! Band of Misfits
Photo credit: Sony Pictures

The Pirate Captain has a loyal and ragtag crew led by his number two, The Pirate with a Scarf (Martin Freeman), and including The Albino Pirate (Anton Yelchin), The Pirate with Gout (Brendan Gleeson), The Surprisingly Curvaceous Pirate (Ashley Jensen), and The Pirate Who Likes Sunsets and Kittens (Al Roker). The Captain and crew run afoul of the pirate-hating Queen Victoria (Imelda Staunton) when they arrive in Victorian London and cross historical paths with none other than Charles Darwin (David Tennant) and his faithful-yet-silent sidekick Mr. Bobo, who just happens to be a Chimp. A little bit of history, a little bit of science, a whole lot of silliness – the script for “The Pirates! A Band of Misfits” is so much smarter and more intellectually engaging for your kids than 99% of family entertainment that it makes it significantly easier to overlook the film’s flaws.

What flaws, you say? I felt myself wishing the world of “The Pirates!” felt a little more complete, fuller if you will. This is Aardman’s most ambitious film in terms of storytelling in that it goes from the high seas to the back streets of London and about a dozen places in between. And I find that the Aardman style works better in intimate settings like Wallace’s perfectly-rendered home or a chicken coop. When the pirates and their gang were out on the open waters, I found there was a depth of not just field but of storytelling that was a bit missing.

The Pirates! Band of Misfits
Photo credit: Sony Pictures

If the world of “The Pirates!” is missing something, the characters , dialogue, and storytelling are most definitely not. This is a fun, clever movie – the kind that doesn’t talk down to kids. So many family films essentially assume that children only like stupid people doing stupid things. Aardman has never done that. They don’t take the intelligence of children for granted. They don’t wallow in bodily function humor or physical pratfalls. They don’t throw in pop culture references to sell their jokes. Like the best animation houses in the world, they treat their audience with respect, bringing children and adults to the same intellectual level instead of trying to find their lowest common denominator.

It helps to have one of the most engaging voice casts in a long time. Grant strikes the perfect combination of derring-do and false bravado. He’s perfect and he’s wonderfully accompanied by some of the best comedians in the U.K. right now like Freeman and Tennant. If you don’t know who Martin Freeman and David Tennant are, you’re not paying enough attention. They both rule. Staunton, Gleeson, Jensen, Hayek – everyone is having a blast here and the infectious quality of their work carries over to the audience.

“The Pirates! Band of Misfits” is likely to get lost as families save their entertainment dollars for upcoming surefire hits like “Brave” and “Madagascar 3.” Aardman films regularly under-perform stateside. It’s too bad because their work has a timeless quality that’s missing from so many current Hollywood animated films. Kids will enjoy riding the high seas with these pirates for years. Hopefully, enough of them will do it in theaters to warrant a sequel.

“The Pirates! Band of Misfits” features voice work by Hugh Grant, Martin Freeman, David Tennant, Anton Yelchin, Brendan Gleeson, Salma Hayek, Jeremy Piven, Imelda Staunton, Ashley Jensen, and Al Roker. It was written by Gideon Defoe and directed by Peter Lord and opens on April 27, 2012.

By BRIAN TALLERICO
Content Director
HollywoodChicago.com
brian@hollywoodchicago.com

‘Like Crazy’ Exposes Sweet Sorrow of Young Love

PatrickMcD — Thu, 03 Nov 2011 20:55:51 -0400

Rating: 3.5/5.0

CHICAGO – The young love affair, that first one that breaks through the heart, mind and biological objectives, is the memory that never really goes away. Sometimes it works out for a lifetime, sometimes it ends. Anton Yelchin and Felicity Jones play out this oft-remembered experience in “Like Crazy.”

Fighting all the outside factors against their long distance relationship, the couple goes through the whole emotional spectrum in this story, an in-the-now tale encompassing immigrations laws (on a different level) and the distractions of simply being young and apart in the current era. Yelchin and Jones have a terrific understanding of the motivations necessary in making something like this work, and their performances are raw, honest and heart-breaking.

Right near the end of their college days, Jacob (Anton Yelchin) and Anna (Felicity Jones) begin a relationship that almost immediately morphs into love. The problem is the time running out at the end of the semester, compounded by the fact that Jacob lives in California and Anna lives in London. Days before her student visa is to run out, Anna makes the decision to stay through the summer, in effect breaking passport rules in a post-9/11 world.

Anton Yelchin as Jacob and Felicity Jones as Anna in ‘Like Crazy’
Photo credit: © 2011 Paramount Pictures

Anna goes back to London, and finds out about her mistake when she tries to come back and visit Jacob. Her passport is denied, and she is unceremoniously forced to go back to her homeland. This begins a back-and-forth wrangling of long distance emotions, draconian laws and challenges from other relationships. For Jacob, it is a co-worker named Sam (Jennifer Lawrence), and for Anna it is a love-struck Simon (Charlie Bewley). Jacob and Anna make some extreme decisions, but everything that works against them threatens their love.

The story is absorbing, and at the same time a reminder at any age the risks that are involved in going into any love relationship. The factors against the lovers are also familiar in our modern age – airport security checks, vague laws and the bitter sting of cold texts on a smart phone. The decisions that these inexperienced adults make, in the name of their love, is appropriately cringe worthy. With so much life to come, in a time where commitment can be optional, the fight to stay together is ridiculously futile.

But there lies the power of the film, both in the positive and negative elements of the relationship. The decisions these lovers make become the basis for what they need to learn, and in coming together so sincerely there are bound to be the usual mistakes and high drama. But those are the life lessons that are part of the human journey, inherent in the fellow travelers that come along for the ride. The dramatic arc of the narrative, co-written and directed by Drake Doremus, revels in these lessons.

The two lead actors, portraying the lovers, carry all of the emotional baggage effectively. In a newly minted adult relationship, there is a maturing process that begins that make the participants seem older and wiser. Anton Yelchin and Felicity Jones play this subtlety, plus the backlash that occurs that when they return back to their separate lives and early 20-year-old attitudes. They were both unerring in promoting the complex feelings and consequences of their coupling.

Oliver Muirhead and Alex Kingston Portray Anna’s Parents in ‘Like Crazy’
Photo credit: © 2011 Paramount Pictures

Some of their decisions stretched reality just a bit, but every relationship is like a fingerprint. The sacrifices that some people make for the sake of coming together would make others shake their heads in disbelief. “Like Crazy” is one atypical example of that unbelievable relating circumstance, and like watching a lousy play in a football game, the temptation to shout at the screen and throw a shoe is ever present.

It’s refreshing to see the story of honest romance in all its glory and frustration, the very definition of young love. The ending is also gratefully not so clear cut, so in the reflection of Jacob and Anna, we can’t help but see ourselves.

“Like Crazy” continues its limited release in Chicago on November 3rd. See local listings for theaters and showtimes. Featuring Anton Yelchin, Felicity Jones, Jennifer Lawrence, Charlie Bewley, Alex Kingston and Oliver Muirhead. Screenplay by Drake Doremus and Ben York Jones. Directed by Drake Doremus. Rated “PG-13”

By PATRICK McDONALD
Senior Staff Writer
HollywoodChicago.com
pat@hollywoodchicago.com

Clever, Scary ‘Fright Night’ Remake With Colin Farrell

BrianTT — Thu, 18 Aug 2011 15:36:56 -0400

Rating: 4.0/5.0

CHICAGO – The word remake sends an understandable chill down the spine of most horror fans. We’ve been subjected to so many retreads and reboots and the batting average of quality has been pathetically low. And yet, there are exceptions including Zack Snyder’s “Dawn of the Dead” and David Cronenberg’s “The Fly.” We can add Craig Gillespie’s “Fright Night” to the short list of exceptions to the rule. With so many of the elements missing from the horror genre in the ’10s, this is one of the best scary movies Hollywood has produced in a long time.

The concept of “Fright Night” is devilishly simple – what if pure evil moved in next door? How do you avoid your neighbor, especially after you know he’s a supernatural killing machine and he’s wiping out your classmates? It’s a question forced upon Charley Brewster (Anton Yelchin) after his friends start disappearing and the guy whom lives 20 feet away starts acting more and more suspicious. His old buddy Ed (Christopher Mintz-Plasse), a D&D-loving young man who Charley has discarded in favor of the cool kids, begs his former L.A.R.P. partner to believe him when he says a vampire has descended on their Las Vegas ‘burb. Of course, Charley doesn’t heed the warnings until it’s too late for dear Ed.

Fright Night
Photo credit: DreamWorks

Before he knows it, Charley is spying on his neighbor Jerry (Colin Farrell) and warning his mother Jane (Toni Collette) to never invite the charismatic stranger into their house. Can he protect his gorgeous girlfriend Amy (Imogen Poots) from the smooth-talking bloodsucker? And can the Criss Angel-esque Vegas magician Peter Vincent (David Tennant of “Dr. Who”) live up to his stage persona and help Charley save his family and friends?

“Fright Night” is a refreshingly simple vampire tale – good guy in one house, bad guy next door. In fact, it’s so uncluttered with subplots and secondary characters that it’s likely to throw off modern audiences accustomed to twist endings and comic relief. Marti Noxon’s screenplay is a thing of beauty, one that perfectly blends the core foundation of its source with the smart level of dialogue and plot structuring that she brought to “Buffy the Vampire Slayer.” “Fright Night” is a wonderfully focused film from its opening kill to its clever finale. Unlike so many of its peers, it wastes no time blending fear and comedy, working like the lean, thrill-producing machine it needed to be to succeed.

It helps that director Craig Gillespie (“Lars and the Real Girl”) proves to be an inspired choice, finding the right pace and tone to keep “Fright Night” uncluttered. And he also displays a visual acuity that is unexpectedly strong. One of the most accomplished elements of “Fright Night” is something so rare in modern horror that you almost forget that it’s missing – memorable visuals. From a victim holding up a finger to her mouth to shush her potential savior to an amazing single-shot car sequence straight out of “Children of Men” to, well, every time the great David Tennant is on-screen, “Fright Night” is actually visually striking. (One note – see it in 2D if possible. Some of the 3D tricks are fun but considering how the form makes everything darker, it might not have been the best choice for a movie that takes place almost entirely at night.)

Fright Night
Photo credit: DreamWorks

As for the cast, his character’s name may seem innocuous (“Jerry the Vampire”) but Colin Farrell turns him into one of the best horror movie villains of the last few years. He’s inspired, bringing a perfect blend of charisma and malevolence to the role. There’s a lot to like about “Fright Night” but it’s worth seeing for Farrell’s work alone. He’s that good. Yelchin delivers as a lead and Collette brings a bit of depth to a part that could have had absolutely none, but the supporters shine more than the protagonist as Farrell, Tennant, and the future superstar Imogen Poots all give memorable performances. It’s a great ensemble, something so rare in horror.

There’s a bit of a pacing issue in the final act that keeps “Fright Night” from absolute perfection (it’s about ten minutes too long) but it gets so much closer to the gold standard than most of its modern genre colleagues that it seems silly to complain. This is a funny, action-packed, and, believe it or not, actually scary horror film that could actually make you believe in something that’s usually scarier than vampires – remakes.

“Fright Night” stars Anton Yelchin, Colin Farrell, Toni Collette, Imogen Poots, Christopher Mintz-Plasse, and David Tennant. It was written by Marti Noxon and directed by Craig Gillespie. It is rated R and opens on August 19th, 2011.

By BRIAN TALLERICO
Content Director
HollywoodChicago.com
brian@hollywoodchicago.com

Mel Gibson Delivers in Jodie Foster’s Daring ‘The Beaver’

BrianTT — Thu, 05 May 2011 21:08:10 -0400

Rating: 4.0/5.0

CHICAGO – What does it take to crawl out of a hole so deep that you can no longer see the sky? For some people, depression isn’t just a bad mood or an off day, it is as debilitating as a disease, and it can kill. One such man is Walter Black (Mel Gibson), and the unusual way that he survives his affliction is chronicled in the fascinating, memorable, accomplished “The Beaver.”

First and foremost, don’t let the controversy around Mel Gibson’s personal life impact the way you approach “The Beaver.” Of course, watching a fictional character battle serious personal demons knowing the actor who plays that character also has a few issues of his own adds an unintentional layer to the film but “The Beaver” would be a strong piece of dramatic work regardless of the tabloid coverage of its star. This is a daring drama, a true risk for everyone involved that pays off with an emotionally rewarding piece about mental illness, family ties, and turning points.

The Beaver
Photo credit: Summit Pictures

It would be easy to falsely label “The Beaver” purely based on its title. Avoid critics who want to reduce the film to “the movie where Mel Gibson talks to his hand.” A surprising number of people have refused to look deeper to see that this is a story not solely about its title character. This is a tale of two men at turning points — one older one questioning whether or not he has the strength to go on and one younger one who has long desired to break completely from his family. With incredibly strong performances throughout and complex tone management by its multi-talented director, “The Beaver” is one of the most interesting and most rewarding films of the year to date.

Gibson stars as Walter Black, a man in such a deep pit of depression that it has completely torn his life apart. He does nothing but sleep and cry. His family has tried for years to save him but they have realized that they must cut ties in order to save their own sanity. As the film opens, his wife Meredith (Jodie Foster) has kicked him out of the home. His youngest son Henry (Riley Thomas Stewart) has turned quiet while his oldest son Porter (Anton Yelchin) spends time keeping track of the commonalities between he and his father that he hopes to eradicate before leaving for good.

From this set-up, Kyle Killen’s script for “The Beaver” essentially tells two intertwining stories. Walter tries to kill himself one night but fails. He awakens to what feels almost like a dream state in which he speaks to a stuffed beaver that he found in a dumpster earlier that evening. The beaver has a voice with an accent not unlike Ray Winstone (one wonders if Gibson didn’t refine it working with Ray on “Edge of Darkness”) but the words come from Walter’s mouth. Through the stuffed puppet, Walter expresses things he never could, almost serving as a split personality that pushes him back to the surface of normalcy. He becomes closer to his wife and his young son, but Porter remains distant.

The Beaver
Photo credit: Summit Pictures

Meanwhile, Porter spends his days writing papers for classmates for money. When the stunning valedictorian Norah (Oscar nominee Jennifer Lawrence of “Winter’s Bone”) asks him to write her speech, Porter becomes closer to the prettiest girl in school. As romance blooms between the two people who would seem to be from different sides of the tracks, they realize they both have family issues yet to be reconciled.

Both Yelchin and Lawrence are excellent, as is Foster, but this is Gibson’s movie. He is stunningly good and has arguably never been better. And the strength of the performance is in the subtle moments, not in the broader ones. The puppet stuff is good, but it’s when the beaver stops talking and we can see Walter’s wheels turning, his emotions shifting and changing, that Gibson truly shines. It’s in the way he can’t make eye contact when the beaver isn’t talking or how he stares off into the distance as if his soul has been crushed. There have been many portrayals of depression in film. This is one of the best.

The Beaver
Photo credit: Summit Pictures

And Foster’s subtle direction of a very complex piece tonally should be applauded. “The Beaver” could have been broad farce or depressing melodrama. It is neither. It balances the ridiculousness of its central concept by grounding the actions of its characters in realism. Foster turns out to have been the perfect fit, as she clearly valued telling a genuine story of human relations above anything else.

There are elements of Killen’s final act that bother me a little bit. Without spoiling anything, Walter’s stuffed crutch becomes a major part of his work life and that part of the story doesn’t feel quite right or even necessary. I was way more interested in his home life. And Killen somewhat writes himself into a corner with a story that can’t be wrapped up in a neat little box but that needs something of an optimistic ending to warrant the viewer’s time. He only half delivers on the ending.

Summer is a season all about audience expectations — We go into films like “Thor” or “Pirates of the Caribbean: On Stranger Tides” knowing, for the most part, what to expect. Here’s a film that challenges your expectations. It challenges what you think of its star and how far you’re willing to go emotionally with a film about a man talking to his hand. Go with it. You’ll be happy that you did.

“The Beaver” stars Mel Gibson, Jodie Foster, Riley Thomas Stewart, Cherry Jones, Anton Yelchin, and Jennifer Lawrence. It was written by Kyle Killen and directed by Foster. It opens in Chicago on May 6th, 2011 and is rated PG-13.

By BRIAN TALLERICO
Content Director
HollywoodChicago.com
brian@hollywoodchicago.com

Christian Bale, Sam Worthington in McG’s Disappointing ‘Terminator: Salvation’

BrianTT — Thu, 21 May 2009 12:02:21 -0400

Rating: 2.0/5.0

CHICAGO – McG’s loud-and-annoying “Terminator: Salvation” with Christian Bale and Sam Worthington continues the summer of non-Trek disappointments, delivering nothing but a bloated exercise in CGI overload. With awful dialogue, a ridiculous plot, and mostly uninspired performances, the interesting human element has been drained from the franchise. The machines have won.

Like “Aliens” without Sigourney Weaver or the first two “Terminator” movies without Linda Hamilton, “Terminator: Salvation” forgets a cardinal rule of action cinema - writing human characters that the audience is going to care about. The entire movie plays like a video game tie-in to the original franchise. Sure, it may be fun at times and it looks good, but it doesn’t have nearly the impact as its source.

(L-R) Christian Bale stars as John Connor and Sam Worthington stars as Marcus Wright.
Photo credit: WB/Richard Foreman

The script from the writers of “Catwoman” and “Primeval” (the lame crocodile movie, not the cool BBC show), which really should have been a sign that the entire project was on thin ice to start, opens with the execution of a murderer named Marcus Wright (Sam Worthington). Before he gets his final injection, Wright signs over his body to the research of a dying scientist (Helena Bonham Carter).

Many years later, the future has played out as expected and the war against the machines continues. If you’re not familiar with the mythology of the franchise, “Salvation” will not stand on its own in any way. You need to know the names Sarah Connor, John Connor, and Kyle Reese and the roles they play in this universe before you go in. Even “T3: Rise of the Machines” stays in the canonical fold with Bryce Dallas Howard taking the role once played by Claire Danes, Kate Connor.

Of course, the controversial star of “Salvation” is Christian Bale as the legendary John Connor. In the timeframe of the film, Connor is slowly taking his role as savior and leader of the human race, leading a small band of resistance fighters against increasingly deadly robots.

When John discovers that Skynet is trying to kill Kyle Reese (Anton Yelchin), he realizes that there’s a serious flaw in his past, present, and future. Kyle needs to go back in time and become John’s father in the first film. While John is trying to find his future/past father (it will make your head hurt of you think about it too long), a new figure comes on the scene - a reborn Marcus Wright, the first non-self-aware cyborg and a being who puts all preconceptions about man and machine in doubt.

“Terminator: Salvation” undeniably looks good. There are some powerful, well-done action sequences, including a great attack on a gas station and fight on a bridge. But even the action starts to feel derivative and repetitive. Even the climax of the film is surprisingly unexciting.

Sam Worthington stars as Marcus Wright.
Photo credit: WB/Richard Foreman

As for one more positive, Sam Worthington makes an effective major movie debut with easily the best performance in the film. He’s charismatic and interesting. It’s the kind of vibrant performance that Christian Bale usually delivers but fails to this time around.

Bale is dull, passion-less, and over-done. Christian makes the irrational decision to bring the growling whisper he used as Batman to John Connor. Even worse, this Connor just doesn’t feel like the kind of guy who would fire up anyone, much less the entirety of the remainder of the human population. I adore a lot of Bale’s work and generally think he’s an underrated actor, but it pains me to say that this is his worst performance.

But the blame doesn’t fall completely at Bale’s feet. It’s mostly the script and McG’s decision to hammer it into the audience’s head. The film trudges forward when it should zip by. Worst of all, it’s never once ‘fun’. There’s no sense that you should be having a good time at “Terminator: Salvation” as the special effects pound you into submission.

At least the first two “Terminator” films (and arguably the third) were a good time. People may be impressed by the special effects or Worthington’s performance, but what’s most disappointing about “Terminator: Salvation” is the simple lack of entertainment. How ironic that a “Terminator” film feels like it was made by a machine.

‘Terminator: Salvation’ stars Christian Bale, Sam Worthington, Bryce Dallas Howard, Moon Bloodgood, Anton Yelchin, Common, Jadagrace, and Helena Bonham Carter. It was written by John D. Brancato & Michael Ferris and directed by McG. It opens on May 21st, 2009. It is rated PG-13.

By BRIAN TALLERICO
Content Director
HollywoodChicago.com
brian@hollywoodchicago.com

Pure Summer Entertainment Lives on in J.J. Abrams’ ‘Star Trek’

BrianTT — Fri, 08 May 2009 11:52:20 -0400

Rating: 5.0/5.0

CHICAGO – It will be a stunning surprise if the summer of 2009 produces another slice of movie entertainment as satisfying and well-made as J.J. Abrams rollicking “Star Trek” reboot, a film that not only delivers on high expectations but shatters them by clicking on every single level.

“Star Trek” features a character travelling through time (not a major spoiler…don’t write hate mail) and that’s exactly what writers Roberto Orci & Alex Kurtzman and director J.J. Abrams have done with their film, returning to the start but also injecting their own life into a dead franchise.

Chekov (Anton Yelchin), James T. Kirk (Chris Pine), Scotty (Simon Pegg), Bones (Karl Urban), Sulu (John Cho), and Uhura (Zoë Saldana) in "Star Trek."
Photo credit: Paramount

The film opens with an attack on a Federation ship that happens to have among its crew members the man who would be the father of the king of the Trekker world - Kirk. His son James Tiberius is born on an escape pod as his dad crashes into a gigantic Romulan vessel. Years later, a rebellious young Kirk (Chris Pine) is recruited for Starfleet Academy by Captain Pike (Bruce Greenwood), a man who knew his father and sees the same leadership skills in the new cadet.

In the blink of an eye, Kirk is aboard the Enterprise and dealing with a universal crisis that could mean the end of Earth. I wouldn’t dare ruin the surprises of this clever script, but Kirk is, naturally, joined by Spock (Zachary Quinto), Uhura (Zoe Saldana), Sulu (John Cho), Chekhov (Anton Yelchin), Bones (Karl Urban) and Scotty (Simon Pegg).

The crew is forced into an interstellar crisis at the hands of Nero (Eric Bana), a man with a tie to both Spock and Kirk’s past, present and future.

Like most film critics, I have vivid memories of the summer movies that thrilled me to my teenage core. With their overt intent to keep me as entertained as possible until I had to go back to school, summer movies were a major part of my formative years. I can still remember seeing Tim Burton’s “Batman” three days in row.

In recent summer seasons, that sense of wide-eyed entertainment and desire to ride a summer movie rollercoaster more than once has seriously dissipated. Sure, I’m older, but it also seems like summer movies have gone from entertainment to bloated, big-budget messes bursting at the seams with star salaries and CGI that looks dated by the time kids have to go back to school. “WALL-E” and “The Dark Knight” were the rare, ambitious exceptions, but even those films aren’t what you would call old-fashioned entertainment.

“Star Trek” shatters the recent trend and used its cinematic transporter room to shoot me back to the entertainment-loving movies of my youth. Perhaps the most succinct praise I can give “Star Trek” is this simple one - I see hundreds of movies a year for free in my role as a film critic and rarely have desire or time to see something more than once. After the “Star Trek,” the first thing I wanted to do was buy tickets to see it again.

What does “Star Trek” do right? Let’s start with the opposite question. The only minor, barely noticeable flaws are some odd casting at the fringe of the ensemble (Tyler Perry and Winona Ryder take small roles that would have been more effective and less distracting with unknowns in the roles) and one sequence that didn’t quite work for me, but I can’t reveal due to spoilers.

That’s it. What DOES work? Eveything else. The film is one of the most expertly made, acted, and designed thrill rides of not just the season or the year, but so far this decade. With visual effects, sound design, and a score that I highly doubt will be surpassed for a long time, the beauty of “Star Trek” is not just in the grand gestures but the little things.

Zoë Saldana (center) stars as Uhura in "Star Trek."
Photo credit: Paramount

Listen to the way composer Michael Giacchino’s gorgeous score (he also did “Ratatouille” and scores “Lost”) weaves in and out of the movie, like John Williams’ classic pieces from the ’80s escapist fare that thrilled a generation.

Look at the amazing visual effects, a design that actually adds gravity and weight to the CGI that I don’t think we’ve seen before. When the Enterprise speeds through space, you’ll believe it like you never have. The complexity of the CGI in “Star Trek” is so incredible that you barely even know it. Unlike most summer movies, it’s never showy, merely effective. The sound design perfectly matches it.

Of course, sound design and a great score are merely the backdrop, but the forefront is just as remarkable.

Orci & Kurtzman’s screenplay expertly plays to fan’s expectations by including key lines and movements familiar to fans of the original series but doesn’t over-do those elements. What truly elevates the script is the way it plays with what we know about these character’s personalities.

Spock (Zachary Quinto, left) and James T. Kirk (Chris Pine, right) in "Star Trek."
Photo credit: Paramount

Watching the Spock/Kirk dynamic develop is the highlight of a screenplay full of them. The central focus of the film is how the logical Spock learns to allow just the right amount of emotion into his universe-view and how the rebellious Kirk learns to allow just the right amount of logic.

Fans who recognize that this dynamic would be a major foundation of one of the most influential partnerships in TV or sci-fi history will love to watch it come to life. But it’s never overstated and neither is the development of the rest of the Enterprise crew. Orci & Kurtzman plant the seeds for these characters. They don’t just fill in the blanks like the “Star Wars” prequels or “X-Men Origins: Wolverine”.

Finally, there’s the cast. Quinto is incredible, Urban nearly steals the film, and Saldana is stunningly sexy, but this is Pine’s show all the way. He took the biggest risk of being compared to a legendary actor in a well-known role and he knocks it out of the park with his charisma. I particularly loved how he took on more Shatner-isms like his cocky swagger as his character developed through the film.

“Star Trek” is both a refreshing reminder of what summer entertainment should be and a new bar for what it can be in the future.

‘Star Trek’ stars Chris Pine, Zachary Quinto, Zoe Saldana, Anton Yelchin, Simon Pegg, John Cho, Bruce Greenwood, Winona Ryder, and Tyler Perry. It was written by Roberto Orci & Alex Kurtzman and directed by J.J. Abrams. It opens on May 8th, 2009. It is rated PG-13.

By BRIAN TALLERICO
Content Director
HollywoodChicago.com
brian@hollywoodchicago.com