Trainwreck

Score:  **** out of ***** (A-)

Directed by Judd Apatow
Starring Amy Schumer, Bill Hader, Brie Larson, Colin Quinn, John Cena, LeBron James
Running time:  124 minutes
Rated R

Long Story Short:  Rising TV comedian Amy Schumer has her feature debut with the help of big screen comedy vet Judd Apatow, and it's a major success.  Schumer clearly has both the acting and writing talent to join stars like McCarthy and while the broadness of her raunchy humor help her appeal to a wide audience, she has just begun to introduce us to some more complex, challenging ideas with Trainwreck as well.  Come also for the surprises of Bill Hader as the straight man, LeBron James as scene stealer, and laughs galore (if you can stomach them).  Highly recommended.


Amy (Schumer) is a long-form writer for a magazine who leads a short-term life, sleeping around with guys out of habit.  It seems there's just one guy she actually has an attachment to:  her father Gordon (Quinn), whose medical condition has forced him into assisted living.  As Amy struggles with this, she gets a mixed blessing at work by being assigned a cover story but one about a subject she loathes - sports.  This leads her to meet renowned athletic surgeon Aaron (Hader), whose clients are the top players in a variety of sports, including LeBron James.  Through a series of incidents, Amy and Aaron begin spending more time together and learning about each other, and they both reluctantly (for opposite reasons) begin to realize they have feelings for each other.

Of course, not all goes as planned on the way to happily-ever-after for Amy and Aaron.  Obstacles sprout up everywhere, from their family lives to their jobs.  Ultimately, they each must decide if they are ready to commit to relationship with another person - and if Amy/Aaron is that person.

Trainwreck benefits greatly from a very good comedic cast.  Of course, the leads are the man and woman trying to become a couple, Amy Schumer and Bill Hader.  I have not seen Amy's show nor any of her stand-up, though I've read several articles about her as she's become more and more popular.  Her character's "free spirit", let's say, did not surprise me at all based on what I knew, but I was impressed by its relative complexity (she also wrote the script) and her screen presence.  Amy shows a knack here for getting a good balance between crowd-pleaser and brain teaser - she avoids going too high or too low in her comedy and commentary.  Bill Hader, one of my all-time favorite SNL alums, is also very good, though I wish he had more of a chance to shine (admittedly, he's in the same passive position that the female character too often is).  Most impressive about his performance is his ability to simply be a normal, believable guy, suppressing his (hilarious) goofy talents.

There's also a fine supporting cast, providing at least as many laughs as the leads.  LeBron James takes on one of the biggest roles for a star athlete that I can remember in years, and he does a great job.  Amy wisely crafted his role to be novice-friendly, but his charisma and relaxed stance were essential.  Colin Quinn as Gordon is the stereotypical grumpy old dad, getting some big laughs; the plot involves his character quite a bit, although a lot of it is his effect on daughter Amy rather than actions on screen.  John Cena is Amy's boyfriend, doing a much better job than his cringeworthy Guardians role last summer.  He steals several scenes in a purely comedic spot.  Tilda Swinton is unrecognizable (literally) in her role as Amy's boss, although she's less funny than others.  There are several sightings of SNL actors, but my favorite cameo is one many won't recognize, a famous basketball announcer in a surprise, hilarious scene.

Known for her subversive ideas (again - as I've read, at least), I was surprised to find that Trainwreck is a fairly standard romantic comedy in many ways.  Fortunately for me, someone who doesn't exactly seek out that genre, this is very well done thanks to the already discussed cast, Amy's writing, and the directing of contemporary comedy maestro Judd Apatow.  The plot structure and its progression are the most formulaic parts of the film, I suppose providing a familiar foundation on which to build new, important (and often funnier) ideas.  Except for the "minor" reversal of the traditional male and female roles, you know pretty much where it's going, but it's OK.  Threaded into the familiar flow are major new ideas (at least, new to film) about modern gender patterns in personal behavior and relationships, about which there is enough to write several articles easily.  There are also a number of hilarious scenes.  LeBron and Aaron playing basketball, Amy discussing revolting story ideas with her magazine colleagues, Amy's boyfriend defending her (and embarrassing himself) from another couple at a movie theater.  The humor is built around these situations more than one-liners (of which there are a few), and each person who sees this will have a different line of vulgarity beyond which it's just too much.  The large majority of the humor, as previously mentioned, has some balance of gross and smart, though.  On the negative side, the film does run a bit long for a comedy (a known Apatow flaw) and some of the dramatic/serious elements are awkward or feel forced.  Small quibbles, though.

***

I'm beginning to sound like a broken record at this point:  another "A-".  But it's true, summer 2015 has gifted us with another tremendous film, and if it wasn't clear to me before, I'd now say this is the best summer for movies that I've ever known.  With the resounding creative success of her first film, I'll be anticipating whatever's coming next for Amy Schumer - who could join an outstanding list of contemporary female comedians from McCarthy and Wiig to Poehler and Fey.  Having seen only a small sample, it's hard for me to tell what kind of range Schumer possesses, in her acting as well as her comedic style.  But from this film it seems she has a good balance - like McCarthy - of body humor along with intriguing ideas.  I also got the sense from this first film that there was a priority on getting everything right (which it accomplished to a large degree) but didn't leave as much room for an organic development of the special, intangible comedic chemistry that the best comedies all have.  Still, while that and a few minor concerns hold this back from an "A" grade, the future looks bright for Schumer and this new woman-dominated era of comedy.  Highly recommended - with the important caveat that there is plenty of raunchy and explicit humor which I know isn't for everyone.


Rolling rankings of the summer's movies (click to go to my reviews):

1. Inside Out (A+)
2. Tomorrowland (A)
3. Jurassic World (A-)
4. Spy (A-)
5. Mad Max: Fury Road (A-)
6. Trainwreck (A-)
7. Avengers: Age of Ultron (A-)
8. Mission Impossible: Rogue Nation (A-)
9. Ant-Man (B+)
10. Terminator Genisys (C)

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Mission Impossible: Rogue Nation

Score:  **** out of ***** (A-)

Directed by Christopher McQuarrie
Starring Tom Cruise, Rebecca Ferguson, Simon Pegg, Jeremy Renner, Alec Baldwin
Running time:  131 minutes
Rated PG-13

Long Story Short:  Even in his fifth go-round as Ethan Hunt (not to mention plenty of similar roles), Cruise and the filmmakers of Mission Impossible: Rogue Nation continue to produce the goods.  Joining Cruise's dependable (and still thrill-seeking) hero are old pal, funnyman Simon Pegg and new, strong and welcome agent addition by Rebecca Ferguson.  If the plot is not quite as intriguing as usual (and maybe a little 007-derivative), the stunts and action are top-notch.  Recommended.


Ethan Hunt (Cruise) and co. are at it again as the film opens, stopping a terrorist group from stealing chemical weapons in dramatic fashion.  A seemingly regular mission of the top-secret IMF, it ends up having massive consequences.  The CIA argues that it proves the IMF is too cavalier for national security, and Hunt becomes convinced that the terrorists were part of a much larger conspiracy he has been tracking for a year.  Within hours of the successful mission, then, the IMF has been disbanded and Hunt is on the run.  While eluding detection, Hunt goes after the even-more-secret group, calling itself the Syndicate, by attempting to find a mysterious man who attacked him, and a mysterious woman (Ferguson) who saved him.

Hunt manages to get help from his old IMF partners, including Benji (Pegg), but this potential final mission truly seems to be impossible.  The Syndicate is always two steps ahead of the beleaguered Hunt, and while he finds the woman agent, she seems to be playing both sides.  And time is running out, for the Syndicate is after a prize that will ensure their global terrorism indefinitely.

Mission Impossible: Rogue Nation has a strong, entertaining cast.  Cruise headlines the action again as Ethan the daredevil IMF agent.  I've said it before, and it remains true: Cruise is one of the finest classic film heroes we have today, one of a dying breed.  Perhaps he's crazy and aloof elsewhere, but on screen he gives as much or more focus and energy as any other actor.  He's also famous for doing his own stunts which he continues here, including strapping himself to an airplane that takes off.  Rebecca Ferguson is sort of like the Bond girl (one of many 007 parallels here) as agent Ilsa, but that description doesn't do her character or performance justice.  She is cunning, strong but vulnerable, sexy but not hostage to romance (not one kiss!), and she more than holds her own whether in combat or in tense negotiation.  Ferguson's acting is a great complement to Cruise's lead, and her character Ilsa is vital to the tone and plot thread of the film.  It's great to have Simon Pegg back as tech expert Benji - mostly, of course, for his fantastic comic relief, but he genuinely fits well in the film overall.  Sean Harris plays the villain who's suitably creepy (again, in a rather Bond villain-esque way) but one-note.  Alec Baldwin is a welcome addition as the stiff and pompous CIA director, and both Renner and Rhames return but without much excitement.

As the fifth installment in the Mission Impossible franchise, Rogue Nation knows what to do.  Cruise and pals serve up intricate, usually twisty-turny criminal plots that the heroes fight with a variety of elaborate stunts; while they're not the only ones anymore, they still do it better than most.  The stunts are particularly well done this time, even having seen more and more of these types of scenes in other films.  The film's signature, Cruise clinging to the outside of the plane, is the opening scene; it's done somewhat matter-of-factly, but executed brilliantly (I think Ghost Protocol's skyscraper is still the series' best, but this one is great, too).  There are several other very well done action sequences, including a quiet, multi-threat assassination attempt at an opera, an underwater heist, and a zooming motorcycle chase (seems to be a Cruise favorite).  The plot is fine, though it feels a bit sewn together from various other films - primarily from 007.  Once we get to the final act, it almost starts going through the motions a little, albeit with some clever and/or amusing moments.  Again, with such a crowded field this isn't surprising, and at least Ilsa's character provides some crucial intrigue.  While Rogue Nation presents itself seriously like the rest of the franchise, there's effective humor in spots, almost all from Pegg's Benji, though Cruise, Renner and others chip in too.

***

The newest Mission Impossible is a strong piece of entertainment, both worthy of inclusion in this particularly excellent summer movie season as well as part of the continued success of the franchise.  I will say that this was a B+/A- borderline film for me.  I think partly that's because, once again, there's a certain saturation of this kind of movie - or elements within it - that makes it hard to feel fresh.  The villain is not that great, and because of this the finale was somewhat tempered.  I felt a stronger convergence in style between this Mission Impossible and where 007 is today; I could argue that Cruise's Ethan Hunt is now the American Bond in many ways.  But if they're both doing things well, so be it!  Rogue Nation serves up top-quality action and thrills, and it benefits hugely from the trio of Cruise's dependable hero, Ferguson's fascinating, versatile heroine, and Pegg's funny yet fitting sidekick.  If you enjoy a well-done action flick I highly recommend this (particularly as the summer calendar winds down and we get fewer of these).


Rolling rankings of the summer's movies (click to go to my reviews):

1. Inside Out (A+)
2. Tomorrowland (A)
3. Jurassic World (A-)
4. Spy (A-)
5. Mad Max: Fury Road (A-)
6. Avengers: Age of Ultron (A-)
7. Mission Impossible: Rogue Nation (A-)
8. Ant-Man (B+)
9. Terminator Genisys (C)

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Ant-Man

Score:  **** out of ***** (B+)

Directed by Peyton Reed
Starring Paul Rudd, Evangeline Lilly, Corey Stoll, Michael Douglas
Running time:  117 minutes
Rated PG-13

Long Story Short:  Ant-Man introduces another lesser-known Marvel superhero, one literally overshadowed by the likes of Iron Man and Thor.  Positioned as a change of pace film, like last year's Guardians of the Galaxy, Ant-Man's success is driven by Rudd's reluctant and hilarious hero and a refreshingly reduced set of stakes.  A well-made film that may not match Marvel's top efforts but also should (non-cynically) appeal to a broad audience.


Scott Lang, released from prison as the film begins, is nevertheless down on his luck.  He just wants to start fresh, a life of new possibilities and one that includes his young daughter.  Unfortunately he and his wife, who has custody of their child, are divorced, and with his record Scott finds it difficult to keep a job even at Baskin-Robbins.  To pay child support so that he can see his daughter, Scott relents and joins his old partners in crime (literally) in robbing a house.  Adding to his bad luck, he breaks into a vault to find only an odd suit.  Messing around in it the next day, Scott finds that it is no normal suit:  it allows the wearer to shrink to the size of an ant.  He also soon finds the owner of the suit, who turns out to be less angry about it than he expects.

The suit's owner - and inventor - is a man named Hank Pam, who has kept the suit a secret but has watched with worry the development of a similar technology by his old company.  With few alternatives - and with the possibility of becoming worthy of his daughter's adulation - Scott agrees to help Hank try to keep this incredible but dangerous technology out of the wrong hands.

Ant-Man has an impressive cast, full of unexpected but well-chosen actors.  Paul Rudd plays the lead as Scott/Ant-Man and the role fits him like a glove, so much so that it's difficult to imagine someone else in his place.  Rudd doesn't have to deviate much from his characters' usual quiet, charming, yet (as already mentioned) down-on-his-luck ways.  His excellent comic presence is also here, and his own brand of "hero" fits into the Marvel universe.  Michael Douglas has the biggest supporting role; my film history is skewed recently enough that I really haven't seen him in much else but he does a great job here.  He banters well with Rudd, and also is crucial in driving the superhero plot forward and giving it meaning.  His character's daughter, played by Evangeline Lilly, unfortunately doesn't get written beyond the tough-but-skeptical heroine cliche.  There's plenty of room for growth there.  Corey Stoll plays a solid but unmemorable villain (Marvel's specialty, it seems).  Rounding it out are Scott's old cronies, led by Michael Pena; they, particularly Pena, provide excellent comedy but also good hearted partnership; and a small but important scene with a lesser known Avenger.

This is Marvel's "goofy" (read: not guaranteed box-office smash) release of the summer, following last year's Guardians of the Galaxy which, of course, went on to be the #3 grossing film of the year.  Ant-Man, with smaller stakes, (slightly) smaller star power in the cast, and smaller fireworks, is an even bigger exception than Guardians.  Without size and quantity, Ant-Man depended on the quality of its creativity, and it largely succeeds.  The backbone, its story and writing, are strong overall, especially in the first half.  We get tantalizing hints at the superhero nature of the film, before concentrating on Scott.  The main character here has the advantage of not being heroic (if anything, apathetic) yet also likable, thanks largely to Rudd.  His personal life and troubles are handled well (Hank and his daughter's, less so).  With Rudd as lead, comedy is of course a central theme and quite well done, everything from the aforementioned Baskin-Robbins to my old childhood buddy, Thomas the Tank Engine.  The superhero stuff eventually filters back in, wisely not trying too hard for "big reveals" but also keeping it relatively subtle.  We get a brief (if familiar) training period before the inevitable action-based final act.  The effects are done well and creatively - especially when mixed with comedy - but I wasn't all that impressed by the scale or creativity (possibly because of my headache and tiredness).  The film is somewhat too long, as superhero films often are; I would've cut down especially on the last act, but it's nevertheless entertaining throughout.

***

Ant-Man may not be yet another "A" film to join the ridiculous parade of such films this summer, but it is just what it needs to be.  I've wavered between a "B" and an "A-" on this one, so I think a "B+" is about right.  Taken for the usual superhero elements, Ant-Man is mostly average, with some strengths but also a little disappointing (i.e., the villain).  Fortunately, that isn't what Ant-Man is aiming for:  it's a more down to earth (no pun intended), comedic and character-driven film.  Following the bombastic - though also underrated - Avengers 2, this is a perfect complement.  Marvel has shown me that it is both quite savvy at the macro level of filmmaking - tying its films together, in both plot and style, timing their releases well - and simply making quality films every time (certainly making other, lesser movies like the new Spider-Man's stand out as the poorly conceived and executed efforts they are).  Ant-Man continues this pattern just fine so I say keep it up!  Recommended for a trip to the theater, especially for superhero and/or Rudd fans, of course.


Rolling rankings of the summer's movies (click to go to my reviews):

1. Inside Out (A+)
2. Tomorrowland (A)
3. Jurassic World (A-)
4. Spy (A-)
5. Mad Max: Fury Road (A-)
6. Avengers: Age of Ultron (A-)
7. Ant-Man (B+)
8. Terminator Genisys (C)

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Terminator Genisys

Score:  *** out of ***** (C)

Directed by Alan Taylor
Starring Arnold Schwarzenegger, Emilia Clarke, Jai Courtney, Jason Clarke
Running time:  126 minutes
Rated PG-13

Long Story Short:  Terminator Genisys is the fifth installment of the franchise that started over thirty years ago, and it doesn't live up to the standards of the first two.  Schwarzenegger is nice to see back, and there are some other good actors involved including the Clarkes (Emilia and Jason - no relation).  But the script botches an interesting premise and bogs everything down after a promising start.  Depending on your tastes, worth a rental but no more.


The year is 2029 and, as previous Terminator films have shown, the future is dominated by machines known as Skynet.  However, human resistance leader John Connor (J. Clarke) has helped his beleaguered companions turn the tide, and he launches an attack to try to end the threat of Skynet once and for all.  The attack goes well, but Connor finds a Skynet secret chamber - once again, a human-disguised "terminator" has been sent back in time to eliminate humanity's resistance before it can start.  Connor quickly puts his lieutenant, Kyle Reese (Courtney), into the time machine, too, to stop the terminator.  What Reese finds in 1984, though, is much different than what he expects.  Sarah Connor (E. Clarke), John's mother, already knows about the threat to her life and even has her own protection - her very own T-800 (Schwarzenegger).

While it seems humanity may have the upper hand this time in Skynet's attempt to pacify humanity, the timeline change also creates a new level of unpredictability.  Connor, Reese and the T-800 set out to stop Skynet, but a series of Reese's fragmented dreams is all they have to go on.  And they must be constantly vigilant, for Skynet could use anything - and anyone - against them.

The cast of Terminator Genisys is decent, if underutilized.  Jai Courtney plays Kyle Reese, the same guy sent back to 1984 in the original Terminator to protect John Connor's mother.  I guess he's supposed to be the main character, but both his acting and his part are incredibly bland.  He ends up just being a body that fights for the good guys, but is constantly overshadowed by his co-stars.  I often lost track of who he was supposed to be and why he was there.  Arnold Schwarzenegger is easily the most entertaining member of the cast, clearly enjoying his return to the series he built and carried in the first two films.  He doesn't have quite the same presence anymore, and the part is kind of cheesy, but he's still fun.  Emilia Clarke plays Sarah Connor; while she lacks Linda Hamilton's (original Sarah) raw ferocity, she brings plenty of personality to the role.  Her acting, and part, are the best of the human characters.  Finally there's the famed John Connor.  He's played by Jason Clarke, a good actor who does what he can but his role is poorly written and gets lost in plot murk (see below).  There are a few smaller parts, most notably J.K. Simmons in a funny role that I wish had been bigger.

The Terminator films are one of the top action franchises, but after the first two great films, ideas of where to go next have been far less certain than the quest for more cash.  While some fans of the franchise surely disagree, I think the general idea of Genisys is good:  use the main element of Terminator - time travel, and how it (could) change future outcomes - for a related but new scenario.  The problem is in the execution, most notably the script.  The prologue is decently and quickly done, with good special effects work to show the future war against Skynet.  And the first part back in "normal" times (1984) is quite good.  It starts by showing much of what you expect from previous films, then suddenly turns everything on its head, and it does all this with entertaining action.  Then it starts to fall apart, and quickly.  The characters use almost all their dialogue to simply try to explain what the hell is going on.  The time change is fine; combined with a messy plot, it's convoluted beyond salvage.  The nail in the coffin is Skynet's new way of dominating the world:  by infiltrating all of our devices, in 2017. ("See!!! It's an allegory for our culture!!!" Ugh.)  Even the action rapidly loses its entertainment.  The new terminator - and effects technology - are able to cause so much destruction that the action loses almost all tension (not to mention being hamstrung by the plot).

***

Terminator Genisys qualifies as the first disappointment of this summer movie season (that I've seen) - the end of an astonishing streak of high-quality entertainment.  Yes, it has a 26% on RT so I wasn't too surprised, but I'm more guilty than most in being attracted to many film franchises (and Emilia Clarke's presence certainly didn't hurt...).  To continue from above, though, I would not call this a cynical cash grab.  The general premise is just fine, it has a cast full of talented, entertaining actors (aside from Courtney), and the production values are good.  The problem is almost entirely the script (and likely the directing, though I still often struggle understanding its role in a film overall), which infects other elements of the film.  It really is a shame, though not an uncommon one, when they don't give this crucial element more effort and attention.  This film was supposed to be the start of a new series, but considering its box office performance, who knows?  You can skip Genisys in the theater, but it looks like there is plenty of non-sequel/reboot fun coming up later in July at a theater near you!


Rolling rankings of the summer's movies (click to go to my reviews):

1. Inside Out (A+)
2. Tomorrowland (A)
3. Jurassic World (A-)
4. Spy (A-)
5. Mad Max: Fury Road (A-)
6. Avengers: Age of Ultron (A-)
7. Terminator Genisys (C)

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Inside Out

Score:  ***** out of ***** (A+)

Directed by Pete Docter
Starring (voices of) Amy Poehler, Phyllis Smith, Bill Hader, Mindy Kaling, Lewis Black, et. al.
Running time:  94 minutes
Rated PG

Long Story Short:  After an excruciatingly long two-year hiatus, Pixar is back with Inside Out - quite possibly their best film yet.  Starring the anthropomorphized emotions in a little girl's head - and voiced by an all-star cast of comedians - this film delves into the human psyche more deeply than ever, both literally and creatively.  It's everything you expect from Pixar, and more.  A must-see for all.


Riley is an ordinary, 11 year-old girl with loving parents in Minnesota.  Guiding her through her days of carefree fun are her five emotions:  Joy (Poehler), Sadness (Smith), Fear (Hader), Disgust (Kaling), and Anger (Black).  They cause her to respond to life's events based on which emotion has been "activated," then file the memories away in long-term storage; some events are important enough - like a game-winning hockey goal - to become core memories.  One day, however, Riley's Joy-dominated life is turned upside down when her family moves to San Francisco.  Not only does Riley struggle to find Joy anywhere in her new surroundings, but Sadness has become a problem.

When a profound event threatens to pull Riley further down, Joy grapples with Sadness, pulling them both into the distant, hard-to-access land of long-term memories.  As Riley faces life with just Fear, Disgust and Anger to guide her, Joy and Sadness race through the wonders of her mind to get back to her daily life.

The voice cast of Inside Out is outstanding, featuring some of my favorite contemporary comedians.  Amy Poehler is perfect as Joy, the lead character/emotion.  Having become a fan of hers as the star of Parks & Recreation, I can't think of a more appropriate actor given the boundless optimism and enthusiasm she produced on Parks.  Joy is a cheerful (duh), strong, tireless lead in helping her "host" Riley, with hints of the exasperated humor of Poehler's Parks character.  Phyllis Smith, supporting actress on The Office (one of my favorite comedies ever), is equally perfect as Sadness.  Her weary, down-trodden voice frames the character, but has stirring moments - within the confines of the emotion - of strength and resilience.  Fear, Disgust and Anger are also voiced by comedians I adore - Bill Hader (SNL), Mindy Kaling (The Office, Mindy Project), and Lewis Black (The Daily Show), respectively.  They are primarily used for comic relief (very effectively), but also play important roles in the story.  Richard Kind also has a significant part, but one that I'll leave secret.

Pixar films are known for their creativity, storytelling, emotional effects, and visual splendor - and Inside Out carries on this legacy, perhaps better than any before it.  Most obvious here is creativity - while Pixar has had many unique touches, the idea of a little girl's emotions being the main characters of a film takes the cake.  I'd like to read much more about it, but it's not surprising to me to know that this world went through painstaking revision to get to its final form, and it's a masterpiece.  The film incorporates the "rules" of this world effortlessly, painlessly into a simple yet incredibly compelling story.  As the characters navigate their way through Riley's head, they encounter endless ingenious devices that serve both the story and psychology (such as the "train of thought").  The visual construction of Riley's mind is also both well thought out and fun.  Scenes taking place in the "real world" (perhaps a quarter of the film) seem almost bland in comparison, though they are as expertly fleshed-out as you'd expect from a Pixar film.

The creativity is brilliant here, but it's the perfect harmony with poignant themes and storytelling that make Inside Out such an incredible achievement.  The themes, of course, deal with the interaction of our emotions, especially within a developing child (whose subject is one of Pixar's many strengths).  The degree of difficulty here must have been extraordinary; so easy to oversimplify, yet almost impossible to keep coherent when explored with any meaningful depth.  Somehow, Inside Out manages to achieve both elegant simplicity as well as universal significance that encourages reflection on the audience's own lives.  Beneath the bright colors and cheerful music, the film provides a more realistic look at our lives than 99.9% of live action films.  Draw in the technical creativity and tie it all together in a strong, well-paced, dramatic story?  Wow.

***

Pixar has made better films than any other studio in Hollywood since 1995, period.  Still, it had been noticeably quiet and merely "strong" since 2010's Toy Story 3.  Well, they are back.  I think I usually rein in my enthusiasm for films that I really like, at least in the short term, until there is time to fully digest the work.  There is no doubt here, though:  Inside Out is an instant classic, quite likely Pixar's best film to date.  I simply can't find anything to criticize:  everything, everything is well done in this film.  It's admirable for a film to be solid, but Inside Out goes above and way beyond to amaze with its imagination, to impress with its ingenuity, to entertain with its humor, and ultimately to touch our hearts and souls with humanity.  I'm not sure what else there is to say; this film is essential viewing for all.


Rolling rankings of the summer's movies (click to go to my reviews):

1. Inside Out (A+)
2. Tomorrowland (A)
3. Jurassic World (A-)
4. Spy (A-)
5. Mad Max: Fury Road (A-)
6. Avengers: Age of Ultron (A-)

*Blinks* what an incredible summer so far... this year is already one for (my) record books, and we haven't even gotten to James Bond or Star Wars yet!!




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Spy

Score:  **** out of ***** (A-)

Directed by Paul Feig
Starring Melissa McCarthy, Rose Byrne, Jason Statham, Jude Law, et. al.
Running time:  120 minutes
Rated R

Long Story Short:  Spy is Melissa McCarthy's biggest film yet as lead and, re-teamed with director Paul Feig (Bridesmaids), she continues to produce great comedy.  While this film isn't hiding its role as 007-parody from anyone, its secret weapon is a hilarious supporting cast (where McCarthy herself developed) including Statham and Byrne.  Come see McCarthy as she takes her place at the top of contemporary comedy, and go back home still giggling happily.


While MI6 has the suave, heroic James Bond, the CIA has impressive Agent Fine (Law) supported by analyst Susan Cooper (McCarthy) watching his back (and talking in his ear).  Fine, along with Cooper, is determined to locate and retrieve a stolen suitcase nuke.  However, despite all of CIA's intel and Cooper's assistance, the bad guys see Fine coming and he is taken out.  With the bomb still out there, the CIA's hands are tied as its top field agents have been compromised.  Analyst Cooper steps up, however:  she is technically an agent herself, but has spent years behind the desk instead.

As Cooper hops around Europe searching for the nuke, she is told to stay at a safe distance:  surveillance only.  Following orders becomes more difficult, though, when she finds that a rogue agent has decided to take the mission on himself.  It soon becomes a question that, if not her, who will prevent the bad guys from using the nuke?  With friends of her own, including her own desk jockey friend, Nancy (Hart), Cooper dusts off her skills and goes to work.

Spy has a great cast, quite funny all around despite featuring just one star comedian.  Melissa McCarthy gets perhaps her most important role yet as the undisputed lead of this big film.  I think she's one of the top three best comedians today, and after a string of excellent supporting or co-lead roles (and the lead in the severely underrated Tammy), I'm thrilled that Hollywood has gotten the memo that she's A-list talent.  Interestingly, as the lead, McCarthy has to modify her humor away from scene-stealing crazy lady to (relatively speaking) more conventional heroine.  Fortunately, she pulls this off just fine, assuring us that she can be the dependable lead for many more films to come, as Ferrell and a select group of other comedians have managed.  Don't worry - she also gets to fire off some of the machine gun-deadly, filthy (and hilarious) monologue insults she's known for, too.

Pulling Spy above the level of a good comedy is its excellent supporting cast - essentially doing the things that McCarthy herself once did so well.  Most surprising, and I would argue most hilarious, is Jason Statham as tough-guy agent Ford.  Statham puffs up his usual act even more, particularly in regaling Cooper with ridiculous tales of his feats.  Then when he actually gets put in action... well, more comedy ensues.  A genius casting, pulled off superbly.  Rose Byrne also appears as the villainess, though her comic skill isn't at all surprising anymore (Bridesmaids, Neighbors).  Still, the intensity and consistency of her haughtiness is impressive.  Miranda Hart is another standout, as Cooper's friend and CIA helper; the two have great chemistry.  There are other small but funny roles as well, particularly from Allison Janney and Peter Serafinowicz.

Spy is a really good comedy, one of the best in recent years, but it still is important to know what you're going into.  In fact, my personal preference would be to avoid trailers/previews as much as possible (which for comedies reveal most of the funniest parts - even for Spy) and instead be told what kind of humor to expect.  Here, we have obviously a parody film, but also one that is considerably more slapstick than McCarthy's other films.  Even though goofiness abounds in her films, the overall tones are not as silly as the one in Spy.  This is fine - but also good to know to maximize your enjoyment, I think.  As a parody, the majority of the humor arises from mocking the kinds of roles in these films (Statham's tough guy agent, Byrne's arrogant villain).  McCarthy's is the zero-to-hero character - and thanks to her (and director Feig's) sharp-as-tacks comic sensibility, the fact that she's a plus-size leading lady elevates it to the complete opposite of scorn.  As a 007 parody, Spy has quite a bit of action too (more than I was expecting), and most of it's done well, particularly for something that's a comedy at heart.

***

Spy is one of the best comedies in recent years, and I hope to see it again soon (for the additional reason that I felt... off, for some reason while watching it, yet still recognize its high quality).  I think The Heat is still her best film, but this is not far behind.  At any rate, McCarthy has achieved Will Ferrell-level status for me:  if I find that she's in a film, I'm going to see it - period.  Not only is she super funny, she can also pull of a range of personalities (sometimes within the same character) that would make plenty of other great comedians jealous - from outrageous provocateur to genuine, sympathetic, vulnerable cast-off (see Tammy - no, really, go watch it).  And wherever she goes with her characters, she remains likable, in part because she's so damn funny and in part because she doesn't come off as having a bone to pick, as an actress, through her character.  It's not surprising that McCarthy lured and inspired such a good supporting cast (including comedy newbies) in Spy, and surely will continue to, making her films all that much better.  McCarthy is a genuine superstar - go see her in Spy, and then eagerly await whatever she does next.


Rolling rankings of the summer's movies (click to go to my reviews):

1. Tomorrowland (A)
2. Jurassic World (A-) (after seeing this a second time, I've upgraded my score; since it's a dinosaur film it wins all tiebreakers for me, but also very worth a trip to the theater for any moviegoer)
3. Spy (A-)
4. Mad Max: Fury Road (A-)
5. Avengers: Age of Ultron (A-)

As you can see, this continues to be an absolutely astounding summer for movies - don't miss out!

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Jurassic World

Score:  **** out of ***** (A-)  (Note: upgraded from B+ after a second viewing)

Directed by Colin Trevorrow
Starring Chris Pratt, Bryce Dallas Howard, Vincent D'Onofrio, et. al.
Running time:  124 minutes
Rated PG-13

Long Story Short:  The Jurassic franchise is back at last after a 14-year hiatus, and the filmmakers are eager to make up for lost time with the most action-packed installment yet.  Chris Pratt ably leads the way, a suitable choice whose distinct yet subtle playfulness matches the film's tone.  The script is lacking, but the dinosaurs rampage gloriously - and the humans do OK, too.  For those unlike me who don't see Jurassic films as essential viewing, this is still a perfectly entertaining summer film.


After 22 years in the making, Isla Nublar has finally been transformed into a full operational wonder of the world: a resort filled with animals gone millions of years ago and brought back to life.  Amazing as it is, though, this Jurassic World finds itself in the unforgiving world of modern capitalism.  As youngsters Zach and Gray arrive, their aunt Claire (Howard), operations manager of Jurassic World, introduces CEO Masrani (Khan) to a radical new idea to boost profits.  Meanwhile, behavior specialist Owen (Pratt) works with a group of the fearsome velociraptors, studying their intelligence up close and personal.  Nervous, CEO Khan calls him away to examine the new attraction.

It isn't long before this new freak of nature surprises everyone and shatters the peaceful stability on the island.  As shady businessmen and other parties try to both hunt down the creature and hide its true origins, the animal wreaks havoc on the island where nothing alive - man nor beast - is safe.

The cast of Jurassic World can be split into two categories:  the humans, and the (frequently more interesting) dinosaurs.  Chris Pratt leads the homo sapiens as the Alan-Grant-meets-Indiana-Jones trainer, Owen.  Pratt is a strong presence as a source of safety and stability, but not quite the average hero.  He frequently conveys the underlying, good-natured smirk that he had in Guardians of the Galaxy; he's "serious" enough when he needs to be, but also matches the role to the more fantasy-like qualities of the film, too.  Easily the most enjoyable human role.  Bryce Dallas Howard also does well as Claire, avoiding damsel-in-distress cliches, building decent rapport with Pratt, and being perfectly watchable (unlike JP3's insufferable Tea Leoni).  The film's kids are basically dull obligations, though, and the human "villain" played by Vincent D'Onofrio is painfully overplayed and poorly written.  The CEO, played by Khan, has a small and bizarre role, and there is just one returning actor from the original (whose JP role was so small that only fanatics - like me - would remember).

The real attractions, of course, are the dinosaurs - and there are more in Jurassic World than ever before.  The dino "villain" this time is the lab-designed genetic freak Indominus Rex.  A T-Rex like creature with some special features due to its hybrid origins, it's a bit like JP3's Spinosaurus:  a previously-unknown but seemingly unstoppable terror.  It serves as the symbol of World's status as, again, the most fantasy Jurassic film yet, and even as an intriguing "villain" to the other dinos.  The raptors have an interesting new role, as Owen trains a small group of them.  It makes sense due to their intelligence, but the film emphasizes the unpredictability of these deadly creatures.  It all adds up to an intriguing new feel for them.  There are many more "supporting" dinos than before, too - in other words, the herbivores.  And finally - yes, the T-Rex also returns, despite its absence in the previews (which was quite savvy, I think).  More on the big guy later, but suffice it to say that World makes up for the injustices committed by JP3 here.

It might be tempting to lump all the Jurassic films together, but the first three were actually all quite distinct in tone.  Jurassic World continues this, perhaps to an even greater degree.  If and when you can accept this (which took me a little while), it becomes a perfectly entertaining film.  Consider the following:  Jurassic World, fully functional, is essentially a zoo that happens to have dinos; Owen is training velociraptors; and an invented dino with the traits of several different kinds mushed together is on the rampage.  Frankly, it makes Jurassic Park look pretty damn realistic.  It is possible to get bogged down by weaker elements of the film, especially if one doesn't accept this change in tone.  The script is poor, sometimes awful, and while I expected a build-up, it serves up no appetizers at the beginning as we sit through obligatory muck.  Despite inheriting the greatest film theme music of all time (IMO), the soundtrack is lazily utilized.  And perhaps most shocking, many of the effects are not that great.  It does make me appreciate just how mind-blowingly good Jurassic Park's were (both computer and animatronic), but disappointed in some of the quality produced here in a $150 million budget.

All that said, Jurassic World still has much to its credit.  Once the action starts to get going, it's pretty damn entertaining.  While the beginning is poorly handled, some of the human scenes are just fine, particularly involving Pratt and Howard, and even moments in the control room with (a sadly under-utilized) Jake Johnson.  The pacing starts to improve, and, just as John Hammond "spared no expense" in trying to build the park in 1993, the film starts throwing everything, including the kitchen sink, at you.  Indominus Rex puts the beat down on teams of security personnel.  A sky full of flying dinosaurs descend on terrified crowds.  Owen leads his velociraptors in a spooky nighttime hunt.  And then there's the finale battle royal.  No surprise entrance like in the original, the film teases T-Rex's big entrance and it put a huge grin of anticipation on my face.  Here, full disclosure, the film goes totally nuts.  No, it's not realistic - but if you were ever a kid who played with toy dinosaurs, all you can do is hold onto your seat and say, "****, yeah!".

***

It is difficult, to say the least, for me to give Jurassic World an accurate score.  I hold the Jurassic franchise on a pedestal within the film world; I have high expectations, yet the sight of dinosaurs in film entertains me more than the average joe.  I will surely see this film in theaters several more times, and my opinion will likely evolve and eventually settle somewhere.  As the first of three super-anticipated releases in 2015, and on initial consideration, I would say that Jurassic World meets my expectations, despite its flaws.  The crucial thing for me - and likely for others - is to understand and accept (or not) its tonal differences from previous Jurassic films (esp. the first two) and its go-for-broke philosophy.  Yes, its script and characters are hit-or-miss (though still much more entertaining than in JP3), but those aren't the reasons you see this film, anyway.  The disappointing effects are probably a bigger problem, to be honest.  The dinosaurs are the real stars, as always, and they are about as good as, and sometimes better, than ever.  I hope they continue making Jurassic films - and don't wait 14 years to do so.  The great thing is, they can do whatever they want - make a sequel to World, in plot and style, or reboot it for an entirely new approach.  The dinosaurs are the key, and I'll always be back for more.  


Rolling rankings of the summer's movies (click to go to my reviews):

1. Tomorrowland (A)
2. Mad Max: Fury Road (A-)
3. Avengers: Age of Ultron (A-)
4. Jurassic World (B+)

"Jurassic World movie poster".  https://en.wikipedia.org/wiki/Jurassic_World#/media/File:Jurassic_World_poster.jpg