Hell or High Water

Score:  **** out of ***** (A-)

Directed by David Mackenzie
Starring Chris Pine, Ben Foster, Jeff Bridges
Running time: 102 minutes
Rated R

Long Story Short:  Hell or High Water tells a tale set in contemporary Texas of brothers on a daring spree of bank robberies and the Rangers pursuing them.  Pine, Foster and Bridges are all great in this, though Pine definitely is the one going most out of his comfort zone.  Not a showy affair, the plot still has both excitement and drama in its heists, relationships, and real world relevance.  Highly recommended.


On a bright and quiet early morning in Texas, two men, Toby and Tanner Howard (Pine, Foster) break the peace by robbing several small-town banks.  The two are new to the business, but they are effective and get away, giddy, before the police can arrive.  As the brothers return home and try to cover their tracks, word of the crimes gets to the Texas Rangers where Hamilton (Bridges), near retirement, and his partner Parker are put on the case.  It turns out that Toby and Tanner have bigger goals in mind than petty theft and thrills, and as the Howard brothers continue to hit banks, the Rangers are left with interviewing their shaken victims.

Toby and Tanner head to a casino to launder the money and ready themselves for the final move in their daring plan.  Parker becomes frustrated by the lack of progress on the case, but Hamilton gradually begins to piece it together.  When the brothers make their final move, the Rangers connect the last dots and race to put the crime spree to an end.

Hell or High Water has a small core cast, and a very good one.  Chris Pine and Ben Foster take the leads as brothers in crime Toby and Tanner Howard.  Pine is a surprise here, not playing one of his usual charismatic leading man roles such as Captain Kirk.  He plays certainly the more sympathetic of the brothers, but Toby is still a very damaged character, raised in a broken home and failing to raise one of his own.  Pine does well, perhaps most notably in being low key and not commanding the spotlight as in his other roles.  Foster is much more familiar with his wild, intense, brutal character, having played similar roles in 3:10 to Yuma and others.  He brings the same sense of danger and bad-dude nature when needed, but also effectively portrays a fiercely loyal brother.  It's hard to root for him, but he also manages to earn some sympathy here and there.  Jeff Bridges is also in a familiar role as the lead Ranger on the case.  Those who have seen him in True Grit (highly recommended, if you haven't) will note not just vocal and physical similarities but also the weariness and detachedness mixed with a sense of duty and honor.  Bridges is just as good here as he was in that Oscar-nominated role, adding humor, tension in the hunt for the brothers, and much more.  His partner, Gil Birmingham, doesn't get as much to do but he's also good in the supporting role.

Hell or High Water is not a "big" film in the action of an Avengers or drama of a Spotlight, but its quiet, modest combination of tense and thoughtful elements make for a great film.  The main event is the plot: a daring set of bank robberies in service of a greater goal (which I'll leave secret), and the efforts of an odd-couple Ranger team to stop them.  The initial robberies are interesting, seemingly realistic scenes that make more sense as we learn more about the brothers.  And the climax is a very tense, extended scene that does justice to the earlier build up while not going overboard.  The driver of all these events is family, and High Water paints the Howard family picture in just enough detail, using the right moments to allow the audience to fill in the blanks and create authentic sympathy.  Toby and Tanner's relationship is of course the main one, and well done, but attention is paid to Hamilton and Parker's, too - one that is simultaneously more humorous and more contentious.  Finally, Hell or High Water is a film of the times, illustrating the desperate economic straits of much of rural America.  Whether it's the Howard brothers passing endless debt relief billboards on the way to their targets or a group of witnesses with little sympathy for the banks that have been hit, the reality is ever present to some degree.  The film does not dwell on this, but uses it to enhance the effects of the drama.

***

After a summer of blockbusters - and a frankly disappointing one at that - it was refreshing to recharge with a high quality, entertaining drama in Hell or High Water.  This film should find itself in the thick of several Oscar races come this winter.  It is well made in almost every regard, from the script to the cinematography to the pacing.  I may bump up my rating to a straight "A" at some point, though after a first viewing it doesn't quite have the "wow" factor top put it over the top.  Still, I highly recommend this film for anyone - well, unless you're looking for something simple and cheerful.  Come to see some very good performances and a modest yet rich story, and you won't be disappointed.



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Suicide Squad

Score:  ***1/2 out of ***** (B)

Directed by David Ayer
Starring Will Smith, Margot Robbie, Joel Kinnaman, Viola Davis, et. al.
Running time: 123 minutes
Rated PG-13

Long Story Short:  Suicide Squad lands in theaters as the film that promised to change what we think of as a superhero film.  It seems at this point that most critics would say it failed, but after getting past all the fanciful expectations, it's a solidly made and entertaining film with all kinds of things we haven't seen before.  Will Smith and Margot Robbie lead the team of "bad guys" in different but compelling ways, and plenty of humor and a greatest hits soundtrack keep it all humming along.


With Superman gone, a world filled with mad men such as Lex Luthor and the Joker (Leto) is suddenly quite vulnerable.  One woman willing to do whatever is needed to bring back a sense of security is a mysterious government officer named Amanda Waller (Davis).  Rather than risk the lives of America's best and bravest, she intends to force some of the world's darkest and most dangerous individuals to do the dirty work for her.  Waller recruits a former soldier, Colonel Flag, to oversee this wild group, which includes the Joker's girlfriend, Harley Quinn (Robbie); the world's best marksman (Smith); and his own girlfriend, Dr. Moone (Delevingne), who had become transformed into a sort of Jekyl-and-Hyde after being possessed by an ancient spirit.  Dr. Moone is kept under extra control by Waller, who possesses the spirit's, known as Enchantress, physical heart.

Sensing a chance for escape, however, Enchantress summons her powerful brother and the two begin to rampage through Midway City.  Told that their first mission is to suppress a "simple" terrorist attack, the Suicide Squad grudgingly enters the city under Flag's command.  Even as they encounter an enemy far more formidable than expected, the Squad is also pulled back to loved ones long separated - some of whom are quite eager to reunite...

Suicide Squad has an eclectic cast that works effectively in a movie about bad guys playing good guys.  Will Smith and Margot Robbie - who also co-starred in Focus - take on the lead roles in the squad as Deadshot and Harley Quinn.  Smith, always charismatic and one of my favorites, seems at first to be playing way against type here as a smart-mouthed hit man.  However, his character has a "good" side, his connection with his young daughter.  Smith succeeds in giving the film its emotional core, and some good laughs, even if it's still a stretch to buy him as a ruthless killer.  Margot Robbie is even better as the Joker's girlfriend, Harley Quinn.  As the clown's one-time psychologist turned obsessed lover, Robbie is magnetic as the unhinged woman.  She appears, both physically and at times through her girly behavior, to be harmless, yet in an instant a dramatic change in expression and tone makes her seem like the most dangerous character in the film.  Leto has gotten a lot of press playing the Joker, following in Jack Nicholson's and Heath Ledger's famous footsteps.  He's much closer to Ledger's interpretation though it's still his own - and for the time being, we get only an appetizing introduction.  Viola Davis, a top-notch actress, is a great choice for Waller, the government official who coerces the Squad into obeying her.  She is brutal, whip smart and completely in - and (acting) under - control.  Other notes:  Joel Kinnaman does a solid job as the Squad's non-bad-guy leader; Jai Courtney is finally interesting here even if he nears overplaying his Aussie-accented baddie; and Ike Barinholtz gets a small but hilarious role as a prison guard.

Much like last month's Ghostbusters, the success or failure of Suicide Squad hinges almost entirely on expectations - critics', fanatics', general audiences' and so on.  This doesn't just mean whether it's expected to be good or bad, but what tone and style it "should" have.  After working through my own expectations to evaluate the film, I believe that Suicide Squad is a successful film overall thanks to solid execution of a new take on the superhero genre.  It all starts with the characters.  Whereas a traditional superhero starts with a core goodness and has flaws of some kind and degree, Squad's "bad" guys must do the reverse: start with the significant flaws, and find where the good is.  The film is not always subtle in how it does this - particularly with Smith's character and one named El Diablo - it still is an interesting exercise, and one which audiences can sometimes identify with better than other heroes.  A slower point set at a bar - while the city continues to burn outside - is critical and well done in this regard.  And Quinn is a character with rich complexity and intrigue, thankfully one not ruined by the filmmakers.  From a more direct action/superhero perspective, there is also plenty to enjoy here.  There's both plenty of humor with LOL moments courtesy of Smith, Robbie and Barinholtz's characters as well as some genuine chills, mostly from Leto's Joker and Davis' Waller.  The action is frequently fun, even if not in Marvel's league; Quinn's "batting" practice and Deadshot's marksmanship offer a little something out of the ordinary, at least.

By no means is Suicide Squad a perfect film, and depending - once again - on expectations, you can nitpick it until the cows come home.  The plot is not the most interesting in the genre, nor is the antagonist; although I would argue that at least the former is driven along with good pacing and the latter makes sense for the characters and their origins even if the details are generic and a bit stale.  At times the styling, script, and filmmaking can be sloppy to varying degrees.  Squad takes Guardians of the Galaxy's idea of a pop soundtrack which is smart but it's done less effectively and feels ripped off at times.  And probably the biggest complaint (not having read any full reviews yet - I didn't want my review to be slanted by them) is the tone.  This is NOT The Dark Knight trilogy, it doesn't have those films' grittiness and relative realism.  Heck, it's not even as dark in tone as this year's Batman v Superman.  For a film about bad guys, this might seem strange, and likely the film is being panned as just being a regular old superhero film with this "gimmick".  I can see where they're coming from, but ultimately I disagree.  I think the filmmakers chose, consciously or not, to focus more on the bad guys' capacity for good - for humanity - rather than on simply reveling in being bad.

***

Suicide Squad is not the landmark film in the ways that many thought it might be, but it still has good qualities.  In the wider superhero genre, this marks the third film in DC's attempt at a multiverse, and ironically, the worst of them in my opinion, Man of Steel, has the best Rotten Tomatoes score.  I think there are a few reasons for critics' drubbing of DC's films.  First is likely simple superhero fatigue; I get it, and that's fine (but critics would do well to at least be more honest about the fact).  Second, it shows just how good the Marvel series of films have been.  They are remarkably consistent in tone and quality, yet (usually) manage to not just repeat themselves over and over.  The new DC universe is still in its infancy and while it's clearly a departure from Marvel - a good thing! - it hasn't yet nailed down its overarching tone as effectively as Marvel.  Sure, the DC films also haven't been as consistent in their level of quality either, but they have brought some truly interesting new elements, attitudes and ideas to the table that haven't yet been given the credit they deserve.  Circling back to Suicide Squad at last: no, it isn't for everyone.  But non-superhero film fans might also be surprised by how much they enjoy it, particularly the performances from Smith, Robbie and Leto.  So tune out the critics, if you can, and give it a shot.



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Jason Bourne

Score:  ***1/2 out of ***** (B)

Directed by Paul Greengrass
Starring Matt Damon, Alicia Vikander, Tommy Lee Jones
Running time: 123 minutes
Rated PG-13

Long Story Short:  Matt Damon returns to arguably his most famous role as Jason Bourne for the first time in nearly a decade.  He slips easily back into the silent but tough mystery man, and there's plenty more fun chase and action scenes here.  However, the series strays from its storytelling roots in going bigger, and it's a turn for the worse.  There's some good potential that was left on the table here, but it's still an entertaining time at the movies.


Former CIA asset Jason Bourne (Damon) is living off the grid when an old friend - and fellow former CIA employee - Nicky Parsons (Stiles) drops in for a surprise visit.  She has joined an international hacking group which managed to penetrate the CIA's server and retrieve information on top secret projects, several of which directly relate to Bourne.  CIA Director Dewey (Jones) tracks Parsons, however, and Bourne barely escapes a riot-consumed Athens on his way to further investigate the leaks.  Dewey has been working to partner with a Silicon Valley-like CEO who is unveiling a newly integrated social media platform, and is determined to put an end to the Bourne loose end once and for all.

When Dewey attempts to bring down Bourne in London, who meets with a former CIA contact, one of his top cyber espionage officers, Heather Lee (Vikander), decides to give Bourne a chance.  After another close escape, Lee tells Bourne where to find Dewey, who is off to meet with his social media ally.  Even though it will put him right in the hornet's nest, Bourne is driven to confront Dewey and discover the full truth behind the secrets Parsons unveiled.

Jason Bourne has a strong cast of mostly new faces in this fifth installment of the franchise.  Matt Damon returns as Bourne for the first time in nine years, and it's difficult to detect any difference in his performance from the earlier films.  Of course, that's hardly a bad thing as Damon has made Bourne into an intriguing figure, a man of few words and ever-furrowed brow who nonetheless conveys deep inner turmoil and acts for justice, both his own and the world's.  All's well here.  He is once again joined by a woman on the inside who (at least partly) tries to help him, this time played by bright young star Alicia Vikander.  Vikander aces the outwardly business-like, even stoic presence of her talented, savvy, tech-genius CIA agent.  But she also communicates her discomfort with the CIA's stance on Bourne, mostly with her face; Greengrass's style gives plenty of close-ups, which has the added bonus of showing off Vikander's stunning beauty.  Tommy Lee Jones is the new big bad at the CIA, and of course he's a perfect choice.  His character has little nuance, but Jones is so good at these roles and he doesn't phone it in here.  There's also an evil super soldier for Bourne to contend with, as always, though this time he, played by Vincent Cassel, gets a bit more to do than his predecessors.

Jason Bourne is at least as thrilling an action film as previous films in the franchise, but the plot is a significant downgrade.  Admittedly, there's a bit less tension to the action here, since the feel is quite similar and so we know essentially what to expect, but it's still excellently choreographed and shot.  Bourne's escape through Athens, as the city is exploding with rioting, is the best action sequence I can remember in the franchise.  There's also an entertaining car chase in Vegas, though a bit over the top and at one point disturbingly reminiscent of the Nice, France tragedy.  And of course, a great, all-out slugfest between Bourne and "the Asset".  Unfortunately, the story suffers from being too similar to previous entries, while at the same time even less plausible and too trendy.  As mentioned with Jones, the bad guy is basically the same as always and predictable, but he also goes quite a bit further in his evil than one expects in a Bourne movie - too far, yet without much sense of the implications.  And the main plot also involves the government trying to make the mother of all tech surveillance programs... *yawn* which is painfully obvious bandwagon jumping, and is too on-the-nose, anyway, for Bourne.  Fortunately the pacing is quite good which keeps the two-hour run time clicking just fine, and the script - within its disappointing overall framework - is solidly done.

***

Jason Bourne is a good movie, very well done in some ways yet lazy enough in others that it doesn't quite measure up in the high quality franchise.  It has been a while since I've seen the first three films, but as I remember they offered tighter, tenser, more personal stakes and scope than this more broadly staged entry.  Broad is fine, but that's entering Bond territory and the franchise is better off staying on its own turf.  Still, the action is still a lot of fun and Damon is as good as ever.  And Vikander was a great new addition, who could possibly be in the next film if they make another.  Her character was poised to have a unique, series-altering ambiguity, but the film even spoiled that right at the end, which for me is the last straw in bringing it down to a "B" from a "B+".  If you want an entertaining time at the movies - as I've been saying for the last few weeks - here's another good choice.  It won't go down as a classic, but it's an alternative for those wishing to avoid its sci-fi competition.



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Star Trek Beyond

Score:  ***1/2 out of ***** (B-)

Directed by Justin Lin
Starring Chris Pine, Zachary Quinto, Zoe Saldana, Idris Elba, et. al.
Running time: 122 minutes
PG-13

Long Story Short:  The third installment of the rebooted Star Trek franchise sees Kirk and Spock thrust into perhaps their most dangerous - and action-packed - adventure yet.  The crew is still awesome, though none get to shine quite as they should and some are altogether ignored.  There's too much action in this one, even if some of it is pretty well done.  Recommended if you're looking only for adrenaline backed by fun characters; otherwise, proceed with caution.


After years on the frontier of known space, the crew of the Enterprise is weary and in need of rejuvenation as the ship comes to port at a gigantic new space station.  Captain Kirk (Pine) feels adrift in his Starfleet career, and explores other options while at the station.  Commander Spock also looks in other directions, for other reasons, particularly when he learns of the death of someone close to him.  The rest and rethinking process is interrupted, however, when a strange alien ship stops at the station in distress.  Its sole inhabitant begs Starfleet for help, as the rest of her crew is stranded in a nearby nebula.  Kirk takes the Enterprise and its crew back out into space to assist, but finds the mission more complicated and dangerous than expected.

Much of the Enterprise crew becomes captured by a hostile, vampire-like alien.  In addition to saving them, Kirk and a few of his free crew must prevent the enemy from obtaining and using a weapon with catastrophic potential - a weapon that the Enterprise itself has unwittingly put within the enemy's reach...

The whole crew of the Enterprise - the crew of the franchise rebooted in 2009 - returns, along with some new and intriguing faces.  Chris Pine and Zachary Quinto take on the spotlight once again as Kirk and Spock, and prove as adept and entertaining as ever - and even more comfortable in their iconic roles.  Although their contrasting personalities - Kirk's passion and loyalty versus Spock's reason and calm - are no longer at the forefront, they still provide nice variety for the film's tone.  Among the supporting cast/crew, Simon Pegg's Scotty and Karl Urban's Bones get the biggest parts and do quite well with them.  Perhaps the most humorous members of the crew, Scotty's ingenuity and Bones's abrasive care play key parts in the story.  Others, like Zoe Saldana's Uhura and John Cho's Sulu, find little to do.  Sofia Boutella is featured as an alien ally named Jaylah, a charismatic loner who has a nice combination of ignorance of Federation/Star Trek custom and gritty know-how.  The villain is played by Idris Elba, who seems to be getting used to the dark side - and he's darn good at it.  His intimidating presence and ruthless efficiency make him a formidable foe for Kirk and co.

Star Trek Beyond inherits some considerable strengths from its predecessors, but it veers the franchise away from some of those albeit in a frequently entertaining adventure.  The cast itself has been the best part of this rebooted Star Trek series, with Pine and Quinto brilliantly taking on the Kirk and Spock roles as only the top of a very sharp collection of actors, from Pegg to Saldana.  They all have such energy, humor and vigor that they bring the occasional remoteness of the Trek universe back to humanity and keep it there.  The crew is all still there, but they are not given the chance to shine - as some just plain get back-burnered - and the focus, which should always be on them, strays too often.  Largely this lack of focus is due to too much action; director Justin Lin seems to have carried over a fondness for stunts from his experience with the Fast and Furious franchise.  Star Trek certainly has room for the incredible, but used more sparingly and tied closer to the story or themes rather than as pure spectacle.  There are some fun and/or tense sequences, certainly - like the lethality of a swarm of bee-like vessels in space - but it also veers into the absurd such as the "strategic" use of pop music.  There is a good bit of humor, but it too is a little cheapened by the lack of character and story focus and instead constant, eventually numbing motion.

***

Star Trek Beyond is an entertaining film, but it represents a step back for the franchise in its current form.  As a thrilling film in several ways, I left the film with a high opinion of it but the more I think back on it the lesser it seems.  While this may lose the attention of teens and others, Star Trek would be much better off by slowing down and going back to basics by really digging into its phenomenal characters.  There is rich potential for meaningful stories here, and from them much more tense and rewarding conflict and action can arise.  It doesn't always have to be (and shouldn't be) about the latest threat to the entire galaxy.  So ironically, Beyond might be best for specifically non-Trekkies, at least those who just want an exhilarating two hours with high production values.  Which is fine, too - but not what I was hoping for.  Still, live long and prosper, Trek!



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Ghostbusters

Score:  ***1/2 out of ***** (B)

Directed by Paul Feig
Starring Melissa McCarthy, Kristen Wiig, Kate McKinnon, Leslie Jones
Running time: 116 minutes
Rated PG-13

Long Story Short:  The highly anticipated - both positively and negatively - Ghostbusters reboot has arrived, and while it is a considerable success it also doesn't reach the hopes I had for it.  The hugely hilarious and talented Wiig and McCarthy are fine in relatively straight roles, while SNL's Jones and McKinnon (and costar Hemsworth) shine.  An undemanding summer entertainment, yet an important one in proving the strength of women in (in this case, literally) historically men's roles, it's recommended for all.


Once best friends, Erin Gilbert (Wiig) and Abby Yates (McCarthy) have grown apart.  Yates still works on the pair's former hobby, investigating the paranormal, while Gilbert has moved on to more prestigious studies and a post at an Ivy League school.  Coming up for tenure, Gilbert is horrified when a man confronts her with a book she thought had disappeared long ago about her work with Yates on ghosts.  Gilbert confronts Yates, who has re-released the book, and agrees to go with her and her new assistant, Holtzmann (McKinnon), to look into a possible ghost sighting if Yates will stop publishing.  To the shock and delight of all three, they do find an apparition.  When their employers discover what they were up to, though, the three find themselves with little choice but to keep chasing their unlikely yet extraordinary dream careers.

Ghosts seem to keep popping up all over New York City, and the trio welcomes one of the witnesses, MTA worker Patty Tolan (Jones), onto the team.  Their organization, the "Department of the Metaphysical Examination", struggles not only to subdue the ghosts and figure out where they're coming from, but also to work with the skeptical authorities.

The Ghostbusters reboot has a good cast, but doesn't quite fulfill on screen the brilliant potential it has on paper.  The co-leads of the film are Melissa McCarthy and Kristen Wiig, two of the funniest comedians around.  Each is known for their eccentric and/or wild characters, but each has a fairly straight role here.  They are both solid, but considering the talent each brings to the table, I was disappointed that more thought and effort (from them and/or the writers) wasn't put into creating truly unique, creative and memorable characters.  Many aspects of their typical humor is on display, particularly the banter (more on this later).  It's actually the two less well-known Ghostbusters who bring the best stuff:  SNL cast members Kate McKinnon and Leslie Jones.  McKinnon is unleashed here, and in a way she channels both of the stars:  Wiig's sheer creativity and McCarthy's daring dirtiness.  Leslie Jones actually tones it down a bit from her usual SNL performances, but is still the "streetwise" presence here.  Both McKinnon and Jones are hilarious, and quite comfortable in their roles.  The "fifth Beatle" here is Chris Hemsworth as the team's secretary.  He straddles the line of going over the top, but has some of the funniest parts in the whole movie and seems to have loved the role.  Finally, there are also appropriate cameos for the old cast, but I'll say no more about them.

Ghostbusters, with so many expectations both high (from fans of the new stars) to low (from fanatics and worse), turns out to be a quality but incongruently modest action comedy film.  To start, don't worry about whether you have or haven't seen the original: there are plenty of nods to it, but you won't miss any huge laughs, let alone plot points, if you haven't seen it.  The story is parallel in structure to the original; it has the same major features but has its own distinct texture beyond that. This similarity, unsurprising in many ways for a reboot, has the advantage of not treating its new stars - all female - any differently than the originals.  In not focusing on the gender swap, it does a great service to women in film, particularly those in the role of hero (similar to The Force Awakens' Rey).  The story also gets a boost from the 32 years' worth of technological advances.  The visuals manage to be both a lot of fun, retaining a slightly cartoonish feel, as well as immersive, fitting seamlessly into the live-action world.

While the new team of Ghostbusters was well-picked, it also required a little adjustment to both the major stars' typical performances, as well as to the tone of the film itself, in order for the reboot to be successful.  To a degree this happened, but a lot of (particularly comic) potential was left on the table.  The physical, gross-out humor - common to both the original film and (to a lesser degree) the stars' experiences - is among the most successful in the film.  But to make this Ghostbusters truly their own, Wiig and McCarthy needed to weave their comic and acting sensibilities into the quieter moments, and they were far less successful here.  I'm not sure if there was anxiousness, or even laziness in diverting too much from either the original film's or their own experiences, but instead of developing cool new characters, the big stars more or less play the straight ladies and banter with each other (still often funny, but limiting).  Frankly, in many recent comedies the main character isn't all that great - it's the supporting players (in this case, McKinnon, Jones and Hemsworth) who make me laugh out loud and stand out.  I'd been hoping that Wiig and McCarthy could change that here, but they didn't quite manage it.

***

Ghostbusters is a solid summer entertainment, and I'm probably being a little too critical.  Like Keanu earlier this year, I simply have such high expectations based on the stars' talent that the failure of the movies around them to live up to them can be difficult for me to get past.  Here it's a bit different in that I do think that the stars themselves were part of the problem, or at least didn't live up to my expectations.  They still do very well, compared to just about anyone else.  It's like grading a Pixar movie that doesn't quite reach Up!, Toy Story or Inside Out level; because of their closest kin they seem a bit worse than they really are.  Expectations aside, this is a perfectly entertaining, well-made film, and I urge as many people to see it (in the theater) as possible.  The studios make films based on what has made money for them in the past, so in order to get more diverse (at least, nonwhite, nonmale) casts which can provide us all new stories and perspectives, we gotta show 'em the money.  Maybe then actors like Wiig and McCarthy can have the freedom to go outside the norm and unlock their full potential.  Who you gonna call?



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The Secret Life of Pets

Score:  **** out of ***** (A-)

Directed by Chris Renaud and Yarrow Cheney
Starring Louis C.K., Eric Stonestreet, Kevin Hart, et. al.
Running time: 90 minutes
Rated PG

Long Story Short:  The studio that brought us the Minions now brings an even more irresistible subject to the screen: pets.  Simple yet focused, The Secret Life of Pets will likely be the most entertaining film you'll see all year.  A great voice cast led by Louis C.K., Kevin Hart and Jenny Slate bring the amusing animals to life, and all you have to do is settle in for the ride.  Highly recommended.


A terrier named Max (Louis C.K.) lives a contented life with his human companion Katie (Kemper) in Manhattan.  He is heartbroken each day when she leaves him for work... but soon turns to his fellow "abandoned" pets in the same apartment building.  When Katie returns home one day with a rescue dog named Duke (Stonestreet), however, Max feels his life has been turned on its head.  The two compete for top pet status with Katie, and during a walk one day with a careless petsitter, they get lost in the scary alleys of New York.  Max and Duke are saved from a life in the pound by Snowball, a little bunny, but their savior quickly becomes their tormentor.  Meanwhile, Gidget (Slate), a Pomeranian who has gazed adoringly at Max from the apartment next door, realizes he is missing and assembles the neighborhood pets for a rescue mission.  These pampered pets must summon their collective grit and wit in order to save their pals.

Like many other recent animated films, The Secret Life of Pets is voiced by an all-star cast that adds significantly to the fun.  Hilarious comedian Louis C.K. takes a break from his subtle comedy show to take on the lead role that is about as unsubtle as you can get: a pet dog.  C.K. voices the eagerness of Max when Katie is around, but his more sober sarcasm comes out to great effect when he is hanging out with the other pets.  Max's nemesis in the film, the feral bunny Snowball, is voiced even more entertainingly by Kevin Hart.  I'm a fan of his live-action work, and he clearly got the green light here to just go for it and it works brilliantly: he bounces seamlessly from streetwise gangsta to unhinged maniac to class clown and back again.  The third of the most impressive roles, though she may not be listed at the top, is Jenny Slate's Gidget.  Employing the same fun, breaking high-pitched voice (is there a special word for this?) as in her Zootopia role, Slate turns Gidget into the film's unlikely yet fascinating heroine.  The other voice actors are fun, too, with particular shout-outs for Lake Bell as rotund kitty Chloe and Bobby Moynihan as a pug named Mel.

While not as involved as a Pixar film, The Secret Life of Pets is near flawless pure entertainment.  This film will not leave you with a lot to chew on when the lights come back on, nor powerful moments of emotion, but if it's fun you want, that's exactly what you'll get.  The overall story itself is quite simple, too, but it is filled with enough Pixar-level clever winks that it holds attention easily (or mine, anyway).  Where the film really shines is pretty obvious: its capture of the pet mindset - again, with Pixar-level detail and wit - and release of that into an animated world whose rules can be bent to put all of it into action.  The introduction is basically what you've seen in the trailers, which is a great idea: remind the audience why they came, the snapshots of pets on their own at home, laughing at those gags one more time before moving to the new stuff/main story.  From there, the story gives just enough color to the characters among the high jinks to ground the humor, give it more punch, and prevent older members of the audience from wandering attention.  The varied type of humor involved also helps, from slapstick to observational, and just a dash of the more self-aware, cultural reference stuff that can be fun but wore itself out years ago in similar films.  Finally, great editing keeps things moving along - but not too quickly - so that the pace never ebbs and it all wraps up right on time.

***

It's been a sensational year for animated films so far in 2016, and The Secret Life of Pets continues that trend.  I had high expectations going into this one, having enjoyed the trailer and loving pets in general.  It was a set up for disappointment, but in fact the film surpassed my expectations.  Secret Life has the same elements that many others - which failed - had as well: a talented cast, beautiful effects/visuals, and a great premise.  But unlike so many others, this film wisely keeps it simple and focused, not trying to play to every possible tangential market/trend out there.  For that I give the filmmakers - directors, writers, etc. - a lot of credit, and even the studio for (presumably) trusting in them.  Oh, and a final bit, like a Pixar film, Secret Life also has a short film before it: produced by the same company, it's an amusing sketch involving the Minions.  I highly recommend this to all, though fair warning to parents of young children: if you don't have any pets, you will likely face great pressure to get one.  But why resist?  Pick a dog or a cat (or both) from a rescue shelter, and you won't regret it.



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Finding Dory

Score:  **** out of ***** (A-)

Directed by Andrew Stanton
Starring Ellen DeGeneres, Albert Brooks, Hayden Rolence, Ed O'Neill
Running time: 97 minutes
Rated PG

Long Story Short:  Pixar turns to another sequel of one of their bigger hits in Finding Dory.  Focused, of course, on a different character this time, the film explores challenging themes both powerful for adults and relatable for children in a way that only Pixar can.  The adventure itself might be nothing new, but fresh, fun characters combine with the ambition and impact of the themes to make this a worthy viewing for all audiences.


Dory (DeGeneres) is a happy member of her ocean community, with friends such as Marlin (Brooks) and his son, Nemo (Rolence).  However, this cheery blue tang fish is also lonely in other ways, due to her lack of short-term memory and, relatedly, the mystery of her origin.  During a school lesson one day, Dory has flashbacks to bits of her childhood and she recalls her parents.  With just the smallest scraps of information to work with, she takes Marlin and Nemo along on a quest to find her original family.  Dory's focus propels the trio both into and out of danger in the open ocean before they manage to find the last place she saw her parents: a marine life reserve.

Dory soon finds herself separated from Marlin and Nemo but continues her search among the various areas of the reserve.  A mistrusting octopus (O'Neill) helps her along, in exchange for an item that will grant his most treasured wish.  Although the elder fish has doubts about Dory's chances of success, Marlin and Nemo still do everything they can to find her - and to help her discover the truth about her family.

Finding Dory features a lively cast of voice actors, both returning stars from Finding Nemo as well as newcomers.  Ellen DeGeneres's Dory takes the lead this time around, and both her character and voice acting provide a strong center for the film.  Dory is relentless in a sometimes tiresome yet gentle and endearing way, and she is brave yet often not mindful of risk.  Thus a balanced and intriguing hero, and DeGeneres conveys this all in a warm, deceptively simple performance.  Marlin and Nemo are essentially "along for the ride" and convey the audience's contrasting feelings about Dory: exasperation and worry, but also determination and caring.  Many of the new characters are quite interesting, starting with Ed O'Neill as Dory's helper Hank, an octopus.  He is a fairly typical crank-with-a-heart, but O'Neill is a great voice for that.  His Modern Family costar Ty Burrell joins him in a small part as a beluga whale and seemed to have great fun making echolocation howls.  Kaitlin Olson's friendly whale shark and Idris Elba's competitive sea lion round out the fun.

Finding Dory qualifies as a standard (therefore, successful) Pixar adventure, but it's the emotional theme that, even more than prior films, holds it all together.  Admittedly, I read this idea in another review before seeing the film, but Dory is a powerful Pixar representative of individuals with learning disabilities.  The film gives us flashbacks to Dory as a youngster raised by her parents, which bring on tears of bittersweet joy as easily as other Pixar films, by showing both the challenges and ultimately the love of those who may be different but are no less special.  When the action gets back to the main story, with Dory as an adult, it shows her as a unique individual with unique talents like each of her friends, rather than as someone with "problems" (which we all have) that need to be fixed.  It's not a completely new idea for this thoughtful company, but it extends Pixar's reach in this important yet too often (in the general culture) avoided area.  The adventure around this is fairly standard, but maybe that's a good thing so as to focus more on Dory and what her character represents.  That is, until things go a little nuts in the final act - but it's also a lot of fun, so it works out just fine.  As a last word, the short, unrelated animated feature that comes before every Pixar movie is quite fun, too (and also ocean-related).  The animation is stunning and adds that much more to the value of your ticket.

***

Not surprisingly, Finding Dory finds itself among the year's strongest films as Pixar films tend to do.  I wasn't sure I would see this in the theater since I don't remember Finding Nemo too well, but Dory stands by itself perfectly capably.  It's mildly disappointing to me when I hear Pixar is releasing a sequel - not because the originals aren't great, but because they're so good at generating yet more original ideas.  But the strong and important themes of Finding Dory make the character- and even story-based similarities to Nemo irrelevant.  I'm certain that audiences who have a more direct connection to Dory's themes in their own lives will discern this much more deeply and meaningfully than me, too.  No matter who you are, heed my broken-record advice:  Pixar makes the best quality films today, and Finding Dory keeps up those standards.



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