Mission: Impossible – Dead Reckoning Part One (2023) – 4K Ultra HD + Digital Code

00294.m2ts_snapshot_01.08.06_[2023.11.03_20.06.53]Note: all framegrabs were sourced from the 4K UHD disc

****/**** Image A Sound A+ Extras B
starring Tom Cruise, Hayley Atwell, Ving Rhames, Henry Czerny
written by Christopher McQuarrie & Erik Jendresen
directed by Christopher McQuarrie


by Walter Chaw
I’ve liked every film in this series to some extent, the last few very much. Yet, pressed, I couldn’t tell you what any of them are about. If you ask me to recount the plot of this latest entry, Mission: Impossible – Dead Reckoning Part One (hereafter Dead Reckoning), I would have a tough time only a few minutes out of the screening. This isn’t an inherently bad thing. If you were to ask most people who’ve seen North by Northwest, they wouldn’t know it’s about microfilm being smuggled in South American figurines, just as they will not question whether a crop duster is the best way to kill someone waiting for a bus in the middle of nowhere. They wouldn’t remember that Notorious is about radioactive ore hidden in wine bottles, or that Psycho is about a petty embezzlement scheme. That’s because it doesn’t matter. You’d probably even get pushback about how that’s not really what those films are about anyway, which is correct. Hitchcock called those things that matter a lot to everyone in the film–and almost nothing to anyone watching it–the “MacGuffin.” The Mission: Impossible films are the quintessential modern example of an old concept: if you do everything well enough, if you understand how to keep things snappy and populate the story with characters who feel like real, live people (thus imbuing all the noise with stakes), well, it doesn’t matter what the picture’s about, because what it’s actually about is so instantly relatable. Will they survive? Will they fall in love? Archetype and craft. There’s nothing simpler and nothing more complex.

Mission: Impossible – Dead Reckoning Part One (2023)

Mideadreckoning

****/****
starring Tom Cruise, Hayley Atwell, Ving Rhames, Henry Czerny
written by Christopher McQuarrie & Erik Jendresen
directed by Christopher McQuarrie

by Walter Chaw I’ve liked every film in this series to some extent, the last few very much. Yet, pressed, I couldn’t tell you what any of them are about. If you ask me to recount the plot of this latest entry, Mission: Impossible – Dead Reckoning Part One (hereafter Dead Reckoning), I would have a tough time only a few minutes out of the screening. This isn’t an inherently bad thing. If you were to ask most people who’ve seen North by Northwest, they wouldn’t know it’s about microfilm being smuggled in South American figurines, just as they will not question whether a crop duster is the best way to kill someone waiting for a bus in the middle of nowhere. They wouldn’t remember that Notorious is about radioactive ore hidden in wine bottles, or that Psycho is about a petty embezzlement scheme. That’s because it doesn’t matter. You’d probably even get pushback about how that’s not really what those films are about anyway, which is correct. Hitchcock called those things that matter a lot to everyone in the film–and almost nothing to anyone watching it–the “MacGuffin.” The Mission: Impossible films are the quintessential modern example of an old concept: if you do everything well enough, if you understand how to keep things snappy and populate the story with characters who feel like real, live people (thus imbuing all the noise with stakes), well, it doesn’t matter what the picture’s about, because what it’s actually about is so instantly relatable. Will they survive? Will they fall in love? Archetype and craft. There’s nothing simpler and nothing more complex.

Top Gun: Maverick (2022)

Topgun2

***½/****
starring Tom Cruise, Miles Teller, Jennifer Connelly, Val Kilmer
screenplay by Ehren Kruger and Eric Warren Singer and Christopher McQuarrie
directed by Joseph Kosinski

by Walter Chaw Joseph Kosinski’s Top Gun: Maverick (hereafter Maverick) does everything the Tony Scott original did well a little bit better and doesn’t bother with the rest. What drives this legacy sequel is the sobriety with which it addresses the passage of time–the existential horror of being the oldest person at the bar, of all those pictures that look like what you think you still look like, of the toll of watching your children outgrow you while every anchor you have to this world withers and dies. It is, in other words, a spectacular action film and a mature character drama whose closest analogue might be Danny Boyle’s T2 Trainspotting–a film that, likewise, took its cue from a showy and popular first film and forged from it a work of real substance and surprising pathos. What’s most impressive is how balanced Maverick feels. Its action component is plotted out like an elaborate, aerial heist flick with the stakes obvious and the steps delineated cleanly and simply, so that when it finally comes time to set the dominos in motion and things inevitably go wrong, it’s clear how they went wrong. The picture’s dramatic component is as carefully metered: the love interest and her expectations; the lost father/orphaned son dynamic and how to salvage it; the old rivals-turned-friends and what they owe each other at the end. Maverick is a clockwork, a model of efficiency and effective storytelling; there are multiple avenues to appreciating this movie. I was afraid a sequel to a macho, homoerotic recruitment video bankrolled by the United States military would have no sense of its silliness. I’m happy to be wrong.

Days of Thunder (1990) – 4K Ultra HD + Digital; Top Gun (1986) + War of the Worlds (2005) – 4K Ultra HD + Blu-ray + Digital

Vlcsnap-2020-05-18-20h31m34s612Please note that all framegrabs are from the 1080p version of Days of Thunder

DAYS OF THUNDER
**/**** Image A- Sound B+ Extras D+
starring Tom Cruise, Robert Duvall, Randy Quaid, Nicole Kidman
screenplay by Robert Towne
directed by Tony Scott

TOP GUN
**/**** Image B Sound A+ Extras A
starring Tom Cruise, Kelly McGillis, Val Kilmer, Anthony Edwards
screenplay by Jim Cash & Jack Epps, Jr.
directed by Tony Scott

WAR OF THE WORLDS
***/**** Image A+ Sound A+
starring Tom Cruise, Dakota Fanning, Miranda Otto, Tim Robbins
screenplay by Josh Friedman and David Koepp, based on the novel by H.G. Wells
directed by Steven Spielberg

by Bill Chambers Days of Thunder was not a crapshoot; the dice were loaded. Almost the entire creative team that made Top Gun a hit–the illustrious Robert Towne filled in for the screenwriting duo of Jim Cash and Jack Epps, Jr., and none of the soundtrack artists were invited back–was reuniting to do for NASCAR what the earlier film had done for the U.S. Navy’s Fighter Weapons School. Star Tom Cruise had become even more popular in the intervening years, earning an Oscar nomination for Oliver Stone’s Born on the Fourth of July. Producers Don Simpson and Jerry Bruckheimer had such an unparalleled track record, having shepherded Flashdance, Top Gun, and the first two Beverly Hills Cops to commercial success, that Paramount confidently renewed their contract at the start of production. As recounted in Charles Fleming’s unsparing High Concept: Don Simpson and the Hollywood Cultures of Excess, under the terms of their renegotiated deal (a “visionary alliance,” as Simpson-Bruckheimer insisted it be called in the trades), they would receive $300M for five pictures–any five pictures–over five years, as well as a host of unprecedented perqs, including creative autonomy and fully-furnished home theatres installed at the studio’s expense. Days of Thunder would be the first production of this visionary alliance. It would also, quite ludicrously, be the last.

Mission: Impossible – Fallout (2018) – 4K Ultra HD + Blu-ray + Digital

Mifallout2Please note that all framegrabs are from the 1080p version

***/**** Image A- Sound A Extras A-
starring Tom Cruise, Henry Cavill, Ving Rhames, Alec Baldwin
written and directed by Christopher McQuarrie

by Walter Chaw As the title flatly states, Mission: Impossible: Fallout (hereafter Fallout), the sixth instalment in our very own Jackie Chan’s signature series, will be about Ethan Hunt’s (Tom Cruise) emotional baggage, earned over twenty-plus years of saving the world from threats foreign, domestic, and auteur. The main personal casualty for Hunt is the disintegration of his marriage to Julia (Michelle Monaghan), who must remain a “ghost” so that she doesn’t suffer the, yes, fallout from Ethan’s hero work. She checks in every once in a while, Hunt’s teammate Luther (Ving Rhames) tells Ethan’s new flame, former MI6 agent Ilsa (Rebecca Ferguson). It’s what keeps Ethan going. Accordingly, Fallout starts with an apocalyptic dream of Julia in the hands of maddog terrorist Solomon Lane (Sean Harris)–the type of dream James Cameron used so effectively in Terminator 2: Judgment Day, where everyone turns to charcoal and flies apart. It’s important to focus in on all of this because Fallout is about a very specific element of the myth of masculinity, this romanticizing of sacrifice and suffering that men must go through in order to protect the women in their lives. The best part of Martin Campbell’s extremely good Casino Royale is when fatale Vesper Lynd (Eva Green) brings Bond (Daniel Craig) back from the dead and his first sentence is spent asking if she’s okay. There’s a scene like that at the end of Fallout as well when Hunt, back from the dead, apologizes to Julia for everything. It’s the sentiment and the situation that makes men in the audience spring a manly leak. Hunt–even his name is a primordial gender assignation–is the avatar for male expectation, which casts his heroics in an odd light, I think: fantasies of male heroism played against grandiose, extravagant, paranoid delusions. I don’t know now if I’m talking about Cruise or Hunt. Same, same.

Mission: Impossible – Fallout (2018)

Fallout

***/****
starring Tom Cruise, Henry Cavill, Ving Rhames, Alec Baldwin
written and directed by Christopher McQuarrie

by Walter Chaw As the title flatly states, Mission: Impossible: Fallout (hereafter Fallout), the sixth instalment in our very own Jackie Chan’s signature series, will be about Ethan Hunt’s (Tom Cruise) emotional baggage, earned over twenty-plus years of saving the world from threats foreign, domestic, and auteur. The main personal casualty for Hunt is the disintegration of his marriage to Julia (Michelle Monaghan), who must remain a “ghost” so that she doesn’t suffer the, yes, fallout from Ethan’s hero work. She checks in every once in a while, Hunt’s teammate Luther (Ving Rhames) tells Ethan’s new flame, former MI6 agent Ilsa (Rebecca Ferguson). It’s what keeps Ethan going. Accordingly, Fallout starts with an apocalyptic dream of Julia in the hands of maddog terrorist Solomon Lane (Sean Harris)–the type of dream James Cameron used so effectively in Terminator 2: Judgment Day, where everyone turns to charcoal and flies apart. It’s important to focus in on all of this because Fallout is about a very specific element of the myth of masculinity, this romanticizing of sacrifice and suffering that men must go through in order to protect the women in their lives. The best part of Martin Campbell’s extremely good Casino Royale is when fatale Vesper Lynd (Eva Green) brings Bond (Daniel Craig) back from the dead and his first sentence is spent asking if she’s okay. There’s a scene like that at the end of Fallout as well when Hunt, back from the dead, apologizes to Julia for everything. It’s the sentiment and the situation that makes men in the audience spring a manly leak. Hunt–even his name is a primordial gender assignation–is the avatar for male expectation, which casts his heroics in an odd light, I think: fantasies of male heroism played against grandiose, extravagant, paranoid delusions. I don’t know now if I’m talking about Cruise or Hunt. Same, same.

The Mummy (2017)

Themummy2017

*/****
starring Tom Cruise, Sofia Boutella, Annabelle Wallis, Russell Crowe
screenplay by David Koepp and Christopher McQuarrie and Dylan Kussman
directed by Alex Kurtzman

by Walter Chaw It took me a while but it finally clicked about an hour into Alex Kurtzman’s hilarible The Mummy that the whole thing wasn’t a really bad movie, but a really bad videogame in bad-movie form. It has the same alternating cadence of leaden exposition drop, interminable and hideously- animated/performed cut-scene, and standard FPS-strictured gameplay culminating in a boss fight. Envisioned as the launch for Universal’s “Dark Universe” franchise (in which the pantheon of classic Universal Monsters are given gritty action reboots, League of Extraordinary Gentlemen-style), it finally functions as a first-generation “Resident Evil” port in which the dialogue, for what it’s worth, was written in Japanese, translated into English, and performed by 64 pixels stacked on top of each other. Awkward doesn’t begin to describe the desperation with which all involved try to seductively reveal/hide their Dark Universe™ Easter eggs while hobbling from one big, button-geeking, CGI-hobbled moment to the next. Look, behind those dust zombies: it’s Dr. Frankenstein’s lab!

Mission: Impossible – Rogue Nation (2015) – Blu-ray + DVD + Digital HD

Roguenationblu1

***½/**** Image A Sound A+ Extras B+
starring Tom Cruise, Jeremy Renner, Simon Pegg, Alec Baldwin
screenplay by Christopher McQuarrie
directed by Christopher McQuarrie

by Walter Chaw At some point, sneakily, wonderfully, Tom Cruise became our Jackie Chan. It happened when the storyline shifted away from his essential ickiness–the Scientology thing, the Katie Holmes thing, and all the attendant nightmare gossip–and onto his fearlessness and absolute willingness to perform his own stunts wherever possible. (I realize of course that said storyline may never shift for some.) There were murmurs when he did the rock-climbing in the second Mission: Impossible flick–the one where he recruited John Woo, who was at the time the best action director on the planet. Those murmurs turned to grudging admiration once it was revealed that Cruise let himself be suspended for real outside the Burj Khalifa in Brad Bird’s superior Ghost Protocol; and now, with Christopher McQuarrie’s fleet, intelligent, immanently professional Rogue Nation, for which Cruise hung from an airplane in flight and held his breath for six minutes, Cruise’s bravado is a big part of the draw.

Mission: Impossible – Rogue Nation (2015)

Roguenation

***½/****
starring Tom Cruise, Jeremy Renner, Simon Pegg, Alec Baldwin
screenplay by Christopher McQuarrie
directed by Christopher McQuarrie

by Walter Chaw At some point, sneakily, wonderfully, Tom Cruise became our Jackie Chan. It happened when the storyline shifted away from his essential ickiness–the Scientology thing, the Katie Holmes thing, and all the attendant nightmare gossip–and onto his fearlessness and absolute willingness to perform his own stunts wherever possible. (I realize of course that said storyline may never shift for some.) There were murmurs when he did the rock-climbing in the second Mission: Impossible flick–the one where he recruited John Woo, who was at the time the best action director on the planet. Those murmurs turned to grudging admiration once it was revealed that Cruise let himself be suspended for real outside the Burj Khalifa in Brad Bird’s superior Ghost Protocol; and now, with Christopher McQuarrie’s fleet, intelligent, immanently professional Rogue Nation, for which Cruise hung from an airplane in flight and held his breath for six minutes, Cruise’s bravado is a big part of the draw.

Edge of Tomorrow (2014) – Blu-ray + DVD + Digital HD

Edgeoftomorrow1

***/**** Image A Sound A+ Extras B+
starring Tom Cruise, Emily Blunt, Bill Paxton, Brendan Gleeson
screenplay by Christopher McQuarrie and Jez Butterworth & John-Henry Butterworth, based on the graphic novel All You Need Is Kill by Hiroshi Sakurazaka
directed by Doug Liman

by Angelo Muredda Whatever one thinks of his weaselly insouciance as a performer, it’s hard to argue against Tom Cruise’s record of choosing solid collaborators to bring a certain kind of high-concept amuse-bouche to life. From Joseph Kosinski’s Oblivion, a derivative film about derivatives, to the more or less solid auteurist permutations of the Mission: Impossible franchise, the results have varied, but Cruise’s reputation as the sort of star who can get moderately interesting pulp bankrolled and realized by moderately interesting talents has deservedly persisted. So we arrive at Edge of Tomorrow, Doug Liman’s first kick at the Cruise can–a clever, fleetly-paced sci-fi riff on Groundhog Day with all the paradoxes of Duncan Jones’s structurally similar Source Code but a more playful demeanour.

Edge of Tomorrow (2014)

Edgeoftomorrow

***/****
starring Tom Cruise, Emily Blunt, Bill Paxton, Brendan Gleeson
screenplay by Christopher McQuarrie and Jez Butterworth & John-Henry Butterworth, based on the graphic novel All You Need Is Kill by Hiroshi Sakurazaka
directed by Doug Liman

by Angelo Muredda Whatever one thinks of his weaselly insouciance as a performer, it's hard to argue against Tom Cruise's record of choosing solid collaborators to bring a certain kind of high-concept amuse-bouche to life. From Joseph Kosinski's Oblivion, a derivative film about derivatives, to the more or less solid auteurist permutations of the Mission: Impossible franchise, the results have varied, but Cruise's reputation as the sort of star who can get moderately interesting pulp bankrolled and realized by moderately interesting talents has deservedly persisted. So we arrive at Edge of Tomorrow, Doug Liman's first kick at the Cruise can–a clever, fleetly-paced sci-fi riff on Groundhog Day with all the paradoxes of Duncan Jones's structurally similar Source Code but a more playful demeanour.

Oblivion (2013) – Blu-ray + DVD + Digital

Oblivion-1

*/**** Image A+ Sound A- Extras B
starring Tom Cruise, Morgan Freeman, Olga Kurlylenko, Melissa Leo
screenplay by Joseph Kosinski and Karl Gajdusek and Michael Arndt
directed by Joseph Kosinski

by Walter Chaw If you’re going to see Joseph Kosinski’s Oblivion, you should see it in IMAX. Oh, who’m I kidding? There’s no good way to see Kosinski’s sci-fi-lite follow-up to Tron: Legacy, starring Emperor Thetan Tom Cruise as a future-Jiffy Lube mechanic jetting around post-bellum Earth circa 2077, fixing automated drones programmed to kill alien “Scavs” that have taken over the empty planet. Following? It doesn’t matter. Via soulful voiceover, Cruise’s Jack Harper informs us that a war has decimated Earth and that all the surviving humans have fled to Titan (that’s a moon around Saturn, Jack explains), leaving behind only Jack and his lady-pal Vika (Andrea Riseborough) to tend to giant sea-water fusion engines that provide energy to our ragtag, fugitive fleet. No, it already doesn’t make much sense, except that it’s sort of like something L. Ron Hubbard would have written–but that’s gotta be a coincidence, right? Anyway, seems that Jack has built a special cabin in the woods despite Earth being uninhabitable due to the nuclear holocaust we unleashed to free ourselves of alien enslavement…or is it? Irradiated, that is. Earth, I mean. And what of these strange memories of the Empire State Building that memory-wiped Jack keeps having, where he and supermodel Bond Girl Olga Kurylenko exchange doe-eyes and sweet nothings? If you’ve seen any science-fiction film worth a crap in the last twenty years, you’ve already seen a better version of Oblivion, I promise you.

Mission: Impossible – Ghost Protocol (2011) – Blu-ray + DVD + Digital Copy

***½/**** Image A Sound A+ Extras B
starring Tom Cruise, Jeremy Renner, Simon Pegg, Paula Patton
screenplay by Josh Appelbaum & André Nemec
directed by Brad Bird

Mi4cap1

by Walter Chaw Even though Brad Bird directed The Iron Giant (arguably the best film in a year, 1999, rife with great films), even though he's responsible for the best Fantastic Four flick there ever will be (The Incredibles) as well as the best overall Pixar release (Ratatouille), I still had the chutzpah to be skeptical when I heard that his live-action debut would be the fourth entry in the Mission: Impossible franchise. I am contrite. Mission: Impossible – Ghost Protocol (hereafter Ghost Protocol) is the model of the modern action picture. It has exactly two quiet moments (I counted)–the rest is audacious, ostentatious, glorious action set against not only the expected fisticuffs but also a ferocious sandstorm in Dubai and the bombing and partial collapse of the Kremlin. It's an honorary Bond movie better than any of them (only the Casino Royale redux enters the same conversation–well, maybe On Her Majesty's Secret Service, too), filled to stuffed with clever gadgets (and their logical application), exotic locales, beautiful women, and fast cars. It's sexy, sleek, knows better than to take its foot off the pedal, flirts with relevance without ever attempting depth it's not equipped to deal with, and establishes J.J. Abrams as better than idol Spielberg in the producing-good-action-movies sweepstakes. Not content to scale just any building, it has returning hero Ethan Hunt (Tom Cruise) climb the Burj Khalifa; not content to stage a brawl in a parking garage, it finds one of those robotic ones to provide a third dimension to the scrambling in vintage, brilliant, 1980s Hong Kong style. In a series that boasts John Woo as director of its first sequel, Ghost Protocol has the big, giant clanking ones to outdo Woo.

Rain Man (1988) – Blu-ray Disc

****/**** Image B+ Sound B Extras B+
starring Dustin Hoffman, Tom Cruise, Valeria Golino, Jerry Molen
screenplay by Ronald Bass and Barry Morrow
directed by Barry Levinson

by Alex Jackson From its opening shot of a Cadillac craned across the smoggy Los Angeles skyline as The Belle Stars‘ iconic cover of “Iko Iko” plays on the soundtrack, Barry Levinson’s Rain Man announces itself as one of the very best films of the 1980s. The ultimate high-concept movie, it has a fashionably icy Adrian Lynne/Michael Mann/Ridley Scott aesthetic that’s semi-parodied by way of an absurdist, non-sequitur twist. Pauline Kael called Rain Man “a piece of wet kitsch” while paradoxically impugning its “lifelessness.” In terms of content, it certainly sounds like sugary glurge, but as rendered in the emotionally-detached lexicon of ’80s advertising, all the irony, all the junkiness, has been bled out. The film equates Yuppie materialism with autism, and in a subtle, underhanded way, this humanizes the alien while undermining the film’s own pretension. Once we see this hip disengagement in terms of pathology, we’re no longer attracted and/or repulsed by it.

Legend (1986) [Ultimate Edition] – DVD + Blu-ray Disc

Director's Cut ***/****
DVD – Image B+ Sound B+ Extras A+
BD – Image A- Sound A- Extras A
Theatrical Cut **/****
DVD – Image B- Sound B+ Extras A+
BD – Image B- Sound A- Extras A
starring Tom Cruise, Mia Sara, Tim Curry, David Bennent
screenplay by William Hjortsberg
directed by Ridley Scott

Legendcap1

by Bill Chambers The American theatrical release of Legend is more impressionistic than the Director's Cut of the film that accompanies it on DVD–because it's the hollowed-out carcass of a complete cinematic experience. It's this gorgeous, dainty thing that hints at something beyond the horizon, lacking not colour but texture, which is in abundance in Scott's latest rendition of the picture. As a child, I watched Legend over and over again, never liking it but always dazzled by it and hoping, perhaps, that repeat viewings would help me to see what isn't there. There is fire and ice yet no warmth and no chill in the U.S. Legend. (I imagine the European cut is little different at five minutes more.) Ridley Scott's exclusive-to-DVD re-edit of Legend contains approximately twenty minutes' worth of heretofore-unseen footage and restores Jerry Goldsmith's lyrical score, and with no pun intended, it's fantastic.

One Swayze Summer: A DVD Tribute to Patrick Swayze

Swayzedvdstitle

“Good-looking people turn me off. Myself included.”
Patrick Wayne Swayze

RED DAWN (1984) [COLLECTOR’S EDITION] – DVD
**½/**** Image B Sound C+ Extras N/A
starring Patrick Swayze, C. Thomas Howell, Lea Thompson, Powers Boothe
screenplay by Kevin Reynolds and John Milius
directed by John Milius

THE OUTSIDERS (THE COMPLETE NOVEL) (1983) [TWO-DISC SPECIAL EDITION] – DVD
****/**** Image A+ Sound A Extras A+

starring C. Thomas Howell, Matt Dillon, Diane Lane, Leif Garrett
screenplay by Kathleen Knutsen Rowell, based on the novel by S.E. Hinton
directed by Francis Ford Coppola

YOUNGBLOOD (1986) [TOTALLY AWESOME 80s DOUBLE FEATURE] – DVD
ZERO STARS/**** Image D+ Sound C-

starring Rob Lowe, Cynthia Gibb, Ed Lauter, Patrick Swayze, Jim Youngs
written and directed by Peter Markle

POINT BREAK (1991) [PURE ADRENALINE EDITION] – DVD + [WARNER REISSUE] – BLU-RAY DISC
***/****

DVD – Image B- Sound A Extras C
BD – Image B- Sound B+ Extras C
starring Patrick Swayze, Keanu Reeves, Gary Busey, Lori Petty
screenplay by W. Peter Iliff, based on the novel by Rick King
directed by Kathryn Bigelow

DIRTY DANCING (1987) [TWENTIETH ANNIVERSARY] – DVD
½*/**** Image B Sound A Extras B

starring Patrick Swayze, Jennifer Grey, Jerry Orbach, Steven Reuther
screenplay by Eleanor Bergstein
directed by Emile Ardolino

GHOST (1990) [SPECIAL COLLECTOR’S EDITION] – DVD + BLU-RAY DISC
*/****

DVD – Image A- Sound B Extras B
BD – Image A Sound B+ Extras B
starring Patrick Swayze, Demi Moore, Whoopi Goldberg, Tony Goldwyn
screenplay by Bruce Joel Rubin
directed by Jerry Zucker

KEEPING MUM (2006) – DVD
½*/**** Image A Sound B+ Extras B

starring Rowan Atkinson, Kristin Scott Thomas, Maggie Smith, Patrick Swayze
screenplay by Richard Russo and Niall Johnson
directed by Niall Johnson

by Walter Chaw Early on in the stupidest/smartest movie of 1984, a band of high-schoolers, having just witnessed a few planeloads of Cuban paratroopers land in their football field and machine gun their history teacher (“Education this!”), stock up for a stay in forest exile by cleaning out a gas-n-sip. Sleeping bags, canned goods, and the last thing off the shelf? That’s right: a football. I spent the rest of Red Dawn trying to figure out if the football played some role in the eventual fighting prowess of our carbuncular guerrillas or if it was merely a big “fuck you” to the rest of the world that thinks “football” is soccer. The jury’s still out, because while there’s an awful lot of grenade-chucking in the last hour of the picture, none of it looks particularly football-like (or athletic come to think of it) despite the deadly accuracy of each toss aimed at the hapless commie combatants. (So clueless are they about modern-day conventional warfare that they’re repeatedly ambushed by this untrained makeshift militia; they’re the Washington Generals to our Harlem Globetrotters.) It’s just one puzzle in an altogether puzzling film–one that has Patrick Swayze playing Charlie Sheen’s older brother (and Jennifer Grey the sister of Lea Thompson in an even greater genetic stretch) and C. Thomas Howell as a remorseless, psychopathic nihilist who takes his dose of glory by Rambo’ing up against a Russian attack helicopter. Maybe his transformation from ’80s-wallpaper milquetoast to tough-guy killing machine had something to do with being forced by the brothers Swayze-Sheen to drink fresh deer blood from a tin cup.

Knight and Day (2010) + Grown Ups (2010)

KNIGHT AND DAY
**/****

starring Tom Cruise, Cameron Diaz, Paul Dano, Peter Sarsgaard
screenplay by Patrick O’Neill
directed by James Mangold

GROWN UPS
½*/****

starring Adam Sandler, Kevin James, Chris Rock, Rob Schneider
screenplay by Adam Sandler & Fred Wolf
directed by Dennis Dugan

by Ian Pugh Knight and Day isn’t really a movie so much as an amateur screenwriting exercise: the cardinal rule is maintaining momentum, and if that momentum should come at the ironic price of interest or excitement then so be it. It’s true that lots of things happen in this movie–lots of car chases and stunts and rapid-fire dialogue and whiplash changes in scenery–and director James Mangold even has the decency to sometimes hold a shot for more than five seconds. But despite this flurry of activity, you never actually watch or experience the picture–you observe it, like an ant farm or a goldfish bowl, looking for some magical insight that simply isn’t there. Knight and Day is cute, fluffy, feather-light, and utterly, instantly forgettable. Let’s just cut to the chase and say that, should Tom Cruise ever propel himself back into the public consciousness, this ain’t gonna be the way he does it.

War of the Worlds (2005) – Blu-ray Disc

**/**** Image A Sound A Extras A-
starring Tom Cruise, Dakota Fanning, Miranda Otto, Tim Robbins
screenplay by Josh Friedman and David Koepp, based on the novel by H.G. Wells
directed by Steven Spielberg

Waroftheworlds2005cap2

by Walter Chaw SPOILER WARNING IN EFFECT. A lot like Minority Report, the first 90% of War of the Worlds is among the best movies of the year and the last 10% is among the worst. Spielberg is the only one who can ruin his films and he does it over and over again because he's Peter Pan in a Captain Hook world. There has never been a more gifted visual storyteller than Steven Spielberg; in the five minutes of shorthand that opens his War of the Worlds, he creates three characters we care about, a world that we recognize, and a real hope that this time, this one time, he'll be courageous enough to follow a narrative through to its logical end instead of the one he thinks will least disturb his audience. His audience being one that he underestimates with such stunning regularity that it can be said with confidence at this point that he's not really underestimating anybody–that he knows for whom he's making movies, posterity be damned. War of the Worlds is a work of obvious genius that is about nothing, which is an amazing and disheartening thing to say because so much of the picture is composed of jaw-dropping–I mean it, it's astonishing–Holocaust tableaux mixed with 9/11 imagery.

Minority Report (2002) – Blu-ray Disc

**/**** Image A+ Sound A+ Extras B+
starring Tom Cruise, Colin Farrell, Samantha Morton, Max Von Sydow
screenplay by Scott Frank and Jon Cohen, based on the short story by Philip K. Dick
directed by Steven Spielberg

by Walter Chaw SPOILER WARNING IN EFFECT. Despite a remarkable first hour, Steven Spielberg's Minority Report washes out as an overlong retread of tired thriller/mystery elements capped by the director's trademark propensity for moralizing epilogues. It suffers from mainstream cinema's squeamishness in regards to true ambiguity of character and character motivation, and for all its claims to a faithful reproduction of Philip K. Dick's dark dystopian future, the picture is ultimately about Spielberg's itch for restoration of order rather than Dick's entropic dissolution of it. Distracting and unforgivable plot holes yaw beneath the narrative, making it clear that Minority Report is just another failed attempt by Spielberg to tell an adult tale. Here is an attractively packaged summer bonbon with an essentially hollow, nutritionally empty centre.

Valkyrie (2008) – DVD

***/**** Image N/A Sound B Extras A
starring Tom Cruise, Kenneth Branagh, Bill Nighy, Terence Stamp
screenplay by Christopher McQuarrie & Nathan Alexander
directed by Bryan Singer

by Walter Chaw Tight as a drum, deadly serious, and a mild corrective to not the enduring misconception that there were no men of conscience in Hitler's Germany, but rather to sickly, condescending awards-season bullshit like Defiance, The Reader, and The Boy in the Striped Pyjamas, Bryan Singer's Valkyrie swoops down like its titular winged avatar to deliver the Holocaust melodrama to a minor kind of Valhalla. It's sober-minded and fact-based, with another handsome-destroying performance by Tom Cruise (though he only loses one eye here after losing both in Minority Report) that places him in uneasy orbit alongside Warren Beatty as another pretty boy aspiring for seriousness through mutilation of the self. It's a sober thriller, and because the outcome is never in doubt in a historically-based plot to assassinate Hitler, it lives and dies by its ability to sound smart and cast well.