Review: "Money Monster"

Just a few thoughts, as our newest talent, Aly Caviness, is handling the main review over at The Film Yap. Make sure to head there to read in its entirety.

"Money Monster" is a well-executed cinematic effort with tightly bookended ambitions. Unlike "The Big Short," it's not trying -- or, if it is, not trying very hard -- to be an all-encompassing indictment of Wall Street and the corruption of modern digitized market trading. It aims for small observations and dramatic tension.

It gives lip service to The System and how bad it is, but then leans on a narrative that makes clear it's a rotten apple or two who are actually mucking things up.

George Clooney plays Lee Gates, the host of the titular television show in which the smart, smarmy personality gives stock tips and ass-kisses the financial masters of the universe, in between embarrassing hip-hop dance moves and weirdo costumes. It's a slight exaggeration of Jim Cramer and his ilk, but only slight.

It's a hostage story in which some dumb mook off the street took Lee's stock advice and lost his entire inheritance from his mother, and now wants revenge, an explanation or an apology.

Directed by Jodie Foster from a screenplay by Jamie Linden, Alan DiFiore and Jim Kouf, "Monster" provides a couple of terrific moments that I appreciated.

The first is when Lee, after first having got over the shock of having his show interrupted by a gunman who straps him into a bomb vest, finally gets around to engaging the guy, a truck driver named Kyle (Jack O'Connell). He's a talker, so he figures he'll talk to the young man. That's when he learns how much Kyle lost: $60,000.

Sixty grand? Lee asks, shocked. You're gonna kill me, maybe die yourself, over chump change like that?

Lee is a man who brags about sharing dinner at an expensive restaurant with at least one other person every night since the 1990s. He's got his millions, three ex-wives, thousand-dollar suits, etc. He's lived at the top so long, he can't even conceive of a working schmoe having to slave away at $14/hour, taking a year to save up the money he'll spend on a weekend getaway.

The second moment is when, trying to verify something allegedly said on his show a few weeks ago, Lee is forced to watch tape of himself played back on the screen. All this is happening, I should mention, on live TV, with Julia Roberts as Patty Fenn, the director in the control booth trying to keep things calm.

Lee watches the playback of himself in some ridiculous outfit, doing a dance a man of his years should not be attempting, saying stuff because it makes for good TV and not because it adds up to an ounce of fiscal sense. Clooney, who shines playing flawed men, gives a little dip of the head, his gaze faltering downward, and we bathe in his confrontation with his own meager worth.

He's a clown who revels at playing the clown, until he's forced to breathe dip the smell of the face paint, and is sickened.

Alas, the rest of the movie falls into predictable patterns. The cops come to take out Kyle, a negotiator is brought in, the action eventually leaves the studio, a weird sort of alliance forms between Lee and his captor, etc. Patty is the level-headed island of calm trying to keep all these vying forces in balance. Roberts is solid, but it's the kind of role any number of actresses could do just as well.

There is a good surprise or two. My favorite is when someone close to Kyle is located and brought in to talk him down, something we've seen many times before, and events do not transpire in any way we expected. For a brief moment, the movie pushes us out on a limb. We're delighted by the feeling of an abyss yawning; but then our steps are nudged back to the safe and dull path.

Dominic West plays the CEO of IBIS, the big corporation whose stock tanked despite Lee's reassurances to his viewers; Caitriona Balfe is the PR chief who goes rogue for reasons unexplored; Giancarlo Esposito is the head of the police force, uttering urgent things we can safely ignore; Lenny Venito is the podunk cameraman who keeps on shooting despite the danger to himself; and Christopher Denham is Lee's flunky producer tasked with anything the boss wants, including trying out an erectile claim before it goes on the market.

"Money Monster" plays out in live time, and Foster is adroit at balancing the tension and danger, stirring the pot when needed and backing off the heat when the audience needs to absorb information or take a breath. The movie also has a pleasing streak of dark humor to it, much of it deriving from Lee's feckless charm.

All the stuff about trading algorithms and international hackers being brought in to help is distracting or strains credulity. But this is the sort of movie where you have to just go along with the ride. It's a day trade of a film, serving its purpose but soon left behind.

Review: "The Man Who Knew Infinity"

The “Great Man” (or Woman) genre of cinematic biography falls into two subcategories. One is about a person of great import who is already well known to us. “The Theory of Everything,” about physicist Stephen Hawking, is a recent example of this sort.

“The Man Who Knew Everything” is the other kind: a look at a person whose accomplishments are celebrated within their field but virtually unknown to laypersons. These movies face an additional storytelling challenge, since not only do they have to satisfactorily explore that person’s life, but also justify to us why we should sit through an entire movie about them.

I feel comfortable in guessing that Srinivasa Ramanujan is not a name that falls easily from your lips. Like me, most people don’t keep lists of brilliant theoretical mathematicians memorized – let alone ones from India who died nearly a century ago.

Dev Patel (“Slumdog Millionaire”) plays the gentle soul, a self-taught man with no formal education who emerged from Madras to become a Fellow at Cambridge University in England, where he collaborated with his prickly mentor, G.H. Hardy, played by Jeremy Irons.

This movie is essentially the tale of their relationship, as it very slowly evolves from teacher/student conflict to co-equal friendship based on respect. Each man has prodigious gifts and limitations, which they intermesh in a sort of combat that transforms into a dance.

This was a wise move by writer/director Matt Brown, whose only previous credit (“Ropewalk”) was 15 years ago. The audience is obviously not going to grasp even the faintest complexities of the sort of computations these men explored – prime numbers and partitions – especially since they are dealing in “pure” math without any attempt at practical applications.

Essentially, the filmmaker has to make us feel the importance of this work without understanding it. It’s a largely successful effort, as we focus on the men and not the hieroglyphic-like scratchings (to us) they make on chalkboards and in journals.

We first meet Ramanujan in his native country, where he struggles to find employment despite his brilliance. He finally attains a position of accounting clerk for a local businessman, which at least allows him to bring his new bride, Janaki (Devika Bhise), and his mother (Arundhati Nag) to come live with him. It is an arranged marriage, and the three cautiously negotiate a web of responsibilities and resentments strewn between them.

But he yearns to publish and make his theories known to the world, believing that every mathematical idea is an expression of his patron Hindu god. Eventually his work comes to the attention of Hardy, who brings him to England.

The transition is painful. Hardy, an academic with few friendships or conviviality, makes little attempt to get to know Ramanujan on a personal level. He repeatedly chides him to complete the proofs that will prove to other, less gifted mathematicians that his theories are valid. The younger man feels chastened and constrained by not being able to let his imagination run wild, and be acknowledged.

The cultural assimilation is also difficult. A strict vegetarian and devout man, Ramanujan essentially becomes a hermit who locks himself inside his room in Charnal Lane, his health becoming increasingly worse. Meanwhile, Hardy struggles to convince his hoity-toity peers to accept the prowess of his protégé.

Both actors do a wonderful job of exploring their characters, but Irons in particular manages to bring layers of nuance that perhaps are not located in any screenplay. He gives these little bobs of the head and a distracted stare that help us feel the isolation he endures, which is perhaps not so different from that experienced by his Indian student.

It’s tough to make a crusty old academic emotionally resonant, but Irons gives Hardy a sort of homely grace.

The romantic aspect of the tale is not so effective, as Ramanujan and his bride have to carry on a relationship separated by years and thousands of miles. 

Ramanujan died at the age of 32, but his fantastical theories have been almost all been proven true and, according to the film’s postscript, are still being used today to understand the behavior of black holes. “The Man Who Knew Infinity” is an engaging portrait of a hidden genius.

Reeling Backward: "When Willie Came Marching Home" (1950)

In 1950 John Ford was already a revered filmmaker, becoming the first person to win back-to-back Oscars for directing. But he was about to commence a darker and, I think, richer period of his career, marked by more pessimistic films that cast a gimlet eye at man's capacities for good and evil -- "The Searchers," "The Man Who Shot Liberty Valance," "Cheyenne Autumn," etc.

So what to make of this goofy piffle, starring largely forgotten comedian/song-and-dance man Dan Dailey, which came out the same year as "Rio Grande" and "Wagon Master?" Think of "When Willie Comes Marching Home" as the fruity apéritif before a sumptuous banquet. Though it's certainly a minor entry in the Ford oeuvre, it shows off his undervalued capacity for humor and warmth.

"Willie" was a war comedy at a time when American audiences were just getting enough distance from World War II to milk it for laughs. Dailey plays Bill Kluggs, a cutup in the finest Rodney Dangerfield "can't get no respect" tradition.

Celebrated for being the first man in Punxsutawney, West Virginia, to enlist after Pearl Harbor -- which is odd, since all he accomplished was being first in a line -- Bill becomes a punchline when he's assigned as a gunnery instructor at the local airfield.

The guy who was supposed to become a bona fide war hero essentially never leaves town, and is branded a coward as other boys go off to war, fight and die. There's even a running Chaplinesque gag of a scruffy little dog biting Bill's leg as he shambles away from his latest humiliation.

I kept expecting the movie to grow more serious. We know Bill is eventually going to get his chance to get into the fighting, so I assumed we'd see him get bloodied and grim, the goofball become savior. But even when he finally goes overseas, Bill's adventures are decidedly of the slapstick variety.

His B-17 is prevented from landing in Britain by thick fog and low fuel, so the crew is ordered to bail out and ditch the brand-new plane in the English Channel. Asleep in the belly turret after the long flight, Bill doesn't hear the command and only parachutes out over occupied France. There he's captured by French resistance, led by the lovely and flirty Yvonne (Corinne Calvet).

Bill is tasked with carrying home some film the Frenchies shot of German rockets being tested in advance of D-Day. (The film's fidelity to the historical record is shaky, at best.) This kicks off a long sequence where he's transported to and fro, by boat and plane, questioned by doctors and generals, kept awake and plied with liquor the whole time.

Dailey basically spends the last third of the movie playing drunk, and he's pretty good at it. The audience is rewarded with several google-eyed reaction shots as the curly-headed Kluggs labors to keep his bearings.

Rounding out the cast are Colleen Townsend as Marge Fettles, Bill's wholesome next-door neighbor and betrothed, and crusty character actor William Demarest as his father, who shares in his son's mortification. Jimmy Lydon plays Marge's kid brother, a gangly type who goes on to become a famed Air Force dogfighter, adding to Bill's grief.

(He isn't credited so I can't be sure about this, but I believe Hardy Krüger has a small non-speaking role as a German soldier who waltzes into the French cafe where Bill is posing as Yvonne's newly christened husband. If so, this would make it his first appearance in a Hollywood film.)

"When Willie Comes Marching Home" is more interesting as a time capsule than as a standalone film. It's so different from John Ford's usual stuff that it bears a second peek.

Video review: "Deadpool"

Few mainstream movies are truly radical. After all, Hollywood is generally a risk-averse place. They make movies that assuage, not challenge conventions. They leave the wacky and threatening ideas to the indies and foreign films.

“Deadpool” is the exception to the rule. A super-hero flick based on a character few non-comics readers have probably even heard of, it’s violent, foul-mouthed and flippant. The protagonist is an unlikeable heel who talks directly to the audience, insults his enemies and makes no pretense at heroic deeds.

Ryan Reynolds – who previously played another iteration of the same character in (one of) the underwhelming Wolverine movies – is a charming cad as Wade Wilson, a mercenary who hurts or kills people for money. He makes no bones about his profession or status on the good/bad scale.

His happiness grows when he unexpectedly finds love with Vanessa (Morena Baccarin), a prostitute with a heart of diamonds. But then he is diagnosed with terminal cancer.

He accepts a longshot chance at a cure by accepting experimental treatment from a mysterious criminal group that promises to turn him into a super-hero. The process works, after incredible pain and suffering, giving him the ability to heal virtually any wound. But it also leaves him a scarred freak.

Redubbing himself Deadpool, he launches a crusade to kill the bad guy, fix his face and get the girl back. Needless to say, there are complications along the way. Opposing, then joining him on this quest are a pair of down-market X-Men. (Deadpool himself quips that they couldn’t afford any of the expensive ones.)

Shot on a $50 million budget – peanuts for super-hero CGI and stunts – “Deadpool” is a four-letter middle finger to the establishment. Rookie director Tim Miller and script guys Rhett Reese and Paul Wernick have fashioned a movie that’s a true rebel yell.

Extras are very good. These include two feature-length audio commentary tracks, one with Reynolds and the screenwriters, the other with director Miller and Deadpool co-creator Rob Liefeld; deleted and extended scenes with audio commentary by Miller; gag reel; photo galleries; and two making-of featurettes: “Deadpool’s Fun Sack” and “From Comics to Screen… to Screen.”

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Review: "Captain America: Civil War"

"Captain America: Civil War” delivers everything you expect, and little more.

Oh, it’s a fun movie, with a grim undertone, the main attraction of which is we get to see super-heroes square off into sides and smack each other around. Marvel Comics did this from their very inception 50+ years ago because they knew fans loved to argue about who would win in a fight between two favorites, such as the Thing and Wolverine.

(Uh, the Thing, of course! H’doy!!)

This is the sort of movie that hits its marks, gives you the gleeful battles between supes, but doesn’t really challenge our expectations or raise the stakes. It belongs in the second tier of Marvel movies, along with both previous “Captain America” films.

The setup is based on a huge storyline Marvel did a while back that essentially engulfed all of their titles, in which the government decided to register and control all super-powered beings. Captain America (Chris Evans) and Iron Man/Tony Stark (Robert Downey Jr.) headed up the different factions, one in favor and the other opposed.

For narrative cohesion and budgetary purposes, here the civil war is restricted to just the Avengers and a few new recruits. (Hey, even a $200 budget and a 2½-hour running time can only encompass so much.)

Cap, being a law and order sort, would side with the government, you’d think, and freebooting billionaire Stark is a natural fit to lead the rebels. But it actually goes the other way, and directors Anthony and Joe Russo, plus screenwriters Stephen McFeely and Christopher Markus -- all holdovers from “Captain America: The Winter Soldier -- spend a lot of time mapping out the psychological battle of wills between the two men.

Too much, really. If the movie has a flaw it’s that it’s too much talkie-talkie and not enough punchy-punchy. Though there is plenty of the latter, to be fair.

The plot is just a series of excuses to set up conflict. It starts with the premise that people worldwide are enraged by the innocent bystanders who have been killed while the Avengers were busy saving the world from one intergalactic threat or another. Many, including the U.S. secretary of defense (William Hurt), seem incapable of adding up the millions who otherwise would’ve been killed.

Stark, who’s been wobbly on staying in the super business, quickly signs on, while Cap trusts in the Avengers to make the right choices rather than bureaucrats. Sides quickly form up, with Black Widow (Scarlett Johansson) and the Vision (Paul Bettany) going with Stark and Falcon (Anthony Mackie) and Scarlet Witch (Elizabeth Olsen) sticking to Cap.

(The big green guy is conspicuously absent, other than a brief shout-out, and Thor’s neither seen nor heard of.)

Three-on-three’s not really a very exciting fight, so other characters are pulled in, including Iron Man knockoff War Machine (Don Cheadle), Ant-Man (Paul Rudd), fresh off his own movie, and Hawkeye (Jeremy Renner), fresh out of retirement.

The new guy on the block is Black Panther (Chadwick Boseman), an African king with a feline super-suit. The new-ish guy is teen webslinger Spider-Man, now rebooted for the third time, with Tom Holland taking over the role of nerdy high-schooler Peter Parker. Both fellows will soon headline their own solo pictures, so you know they’re not in any serious danger.

The action centerpiece of the movie is a full-out battle between the two sides on an airport tarmac. It’s more about egos than anger, and with all the quipping we get the distinct sense punches are being pulled. Ant-Man plays an unexpectedly outsized role in the fight.

The bad guy’s a bit of a low-key dude, a non-super guy played by Daniel Brühl, who holds a lot of cards up his sleeve. He soon gains control of Bucky Barnes (Sebastian Stan), Captain America’s old war buddy, who had his mind seized by villainous forces long ago.

I enjoyed “Captain America: Civil War,” even if they’ve micro-sized the conflict for easier audience consumption. I wouldn’t call the movie lazy, but it seems to start with a presumption of limits -- places characters won’t go and things that aren’t going to happen. This movie entertains, but never surprises.

Review: "April and the Extraordinary World"

A bold mix of steampunk fantasy and historical revisionism, “April and the Extraordinary World” is a French/Belgian/Canadian production that’s decidedly different from the sort of animation we’re used to seeing in the U.S. – for both good and ill.

It’s about April, a girl separated from her scientist parents in a 1931 version of France where the Napoleonic era never ended. Europe is united but a grim, dank place still powered by steam and coal, fighting a war with the Americas for control of the Canadian forests. Ten years later and now a young woman (with the voice of Marion Cotillard), she becomes the red herring everyone’s chasing after.

It’s a world of talking animals and laser weapons but also retrograde technology and sclerotic morality. All scientists are expected to labor for the good of the empire, which is secretly controlled by genetically mutated lizards that use giant exo-skeletons to dominate the humans.

Tonally, the film is an odd and not entirely pleasing blend. The simple, old-school animation style, keystone cop pratfalls and straightforward characterizations would seem aimed at kids, but I don’t know how much those under age 12 would respond to this world.

The dragon-robots can be quite scary, whereas the humans act as the comic relief. There’s a scampy talking cat named Darwin (voice of Philippe Katerine), the result of experimentation by April’s mom, dad and grandfather (Macha Grenon, Olivier Gourmet and Jean Rochefort, respectively).

At one point he gets blasted through the chest and dies, which would be quite disturbing to small children.

Darwin is revived, for the second time, with the Ultimate Serum, something April’s parents were working on for the Empire before they escaped. It was intended as a super-soldier formula for the emperor’s armies, but had unintended consequences on the test animals. Now April has the last batch of the serum, so she’s being hunted.

Chief among those seeking her is Pizoni (Bouli Lanners), a mustachioed police inspector who let her family escape from his clutches when she was a girl. He seems to burn with a Javert-like unholy obsession, but he’s more bumbling than fearsome.

Tagging along is Julius (Marc-Andre Grondin), a street thief recruited by Pizoni to shadow April, but who gets caught up in her adventures and falls for her. She resists, then reciprocates, in the unalterable cinematic tradition.

There are some dashing and imaginative action sequences. I liked how Pops built an entire mansion that’s actually a vehicle/weapon, crawling about on spider legs and even swimming underwater. There are also hybrid helicopter/airplanes and a whole island of gadgets a la “The Incredibles.”

In the end I liked the idea for the movie than the film itself. It has a great premise that just wasn’t executed in a very satisfying way.

Video review: "The 5th Wave"

It’s funny how in young adult novels and their movie adaptations, young adults are always the key to saving the world.

In real-life it’s pretty rare for a teen to have a momentous impact on history -- Joan of Arc, King Tut… not many others.

Oh, well. It’s a central conceit of much popular storytelling that the audience sees themselves in the main character -- so why not tailor the character to them?

Here it’s Chloë Grace Moretz as Cassie, an unremarkable kid in a normal town when alien invaders swoop in and take over. They do so slowly, in stages, targeting humanity’s technology, environment, etc. in succession. The fifth and final wave is infiltration of human hosts by the invaders’ control.

There’s a lot of similarity to both “The Hunger Games” and “Divergent” franchises. The female lead is indoctrinated into a militaristic existence in which young people are expected to fight and die for the cause. And, exhaustingly, there are multiple cute boys wandering into the tale to tempt and/or betray our heroine.

Here they are Ben (Nick Robinson), a classmate Cassie was sweet on, and Evan (Alex Roe), a somewhat mysterious country boy she stumbles upon after all the youngsters are rounded up by the U.S. Army, conveniently leaving her behind.

There follows some gun fights, hand-to-hand action in which our formerly mousy protagonist suddenly becomes a badass, etc. There are a couple of large plot twists, which will only seem surprising if you haven’t been paying any attention.

“The 5th Wave” isn’t bad, but after a dozen or more of these YA movies it’s hard to enjoy something when you see everything coming.

Bonus features are pretty good. The DVD comes with a feature-length commentary track with Moretz and director J Blakeson and two making-of featurettes: “Inside The 5th Wave” and “Sammy on the Set.”

Upgrade to the Blu-ray and you add three more featurettes -- “The 5th Wave Survival Guide,” “Training Squad 53” and “Creating a New World” -- plus deleted scenes and a gag reel.

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