Review: "Stuber"

Since “Stuber” isn’t so much a coherent movie as a collection of (allegedly) comedic elements, let’s do this review in bullets.

• Dave Bautista isn’t funny unless he’s trying not to be funny, a la the deadpan Drax in the “Guardians of the Galaxy” flicks.

• Kumail Nanjiani plays a harried Uber driver… which he also played in his breakout hit, “The Big Sick.” Hopefully this will be his last such role, otherwise he will be the victim of the weirdest typecasting in Hollywood history. “I know, let’s get that rideshare guy!”

• I can only imagine the pitch for this movie: “Let’s do a buddy cop movie where the tough one just had LASIK so he can’t see and the other guy’s a touchy/feely wimp.”

• This isn’t actually how laser eye surgery works. You’re light-sensitive for a while, but can see clearly right after. If you’re functionally blind post-procedure, call an ambulance and a lawyer.

• A prologue scene shows the partner of Vic (Bautista) getting killed due in part to his losing his thick glasses during a fight, hence the LASIK.

• The title comes from the fact Nanjiani’s character is named Stu, and his noxious bro-dude boss (Jimmy Tatro) at his day job at a sporting goods store attaches the Uber appellation to mock him. Stu actually prefers “FIVESTAR,” the license plate on his electric Nissan Leaf. He’s obsessed with maintaining a high star rating from his riders, which doesn’t work out so well.

• Vic crashes his car trying to hunt down the drug dealer, Teijo (Iko Uwais), who killed his partner while doing lots of parkour. Despite being unable to see well enough to work his phone the entire rest of the movie, Vic somehow manages to use it to summon Stu, and then basically kidnaps him for the rest of the way on “official police business.”

• Stu repeatedly mentions that his car is a lease, especially as it gets progressively blasted apart by gunfire and crashes as the movie goes on. This seems unwise, since Uber drivers put a tremendous amount of miles on their cars and leases nearly always include strict mileage riders.

• Stu’s dream is to save up enough money so he can partner up with his friend Becca (Betty Gilpin) on a women-only spin gym to be called “Spinsters,” which is an even worse moniker than Stuber. 

• Stu secretly pines for Becca, and is prevented from hooking up with her by Vic forcing him to ferry him around, beating up criminals and otherwise treating the Bill of Rights like toilet paper.

• Vic is having problems relating to his daughter (Natalie Morales), because he’s always about the job and never there. Clichéd Screenwriting 101 courtesy of Tripper Clancy.

• Bautista is an intriguing physical specimen for the screen. He seems twice as wide as a normal human, could arguably claim to be a member of any race, and has a scant, mangy head of hair that seems to be at least 40% Toppik. He actually looks more normal in the Drax getup.

• While otherwise having the look and feel of a slightly cheeky comedy, the movie is rated “R” for short bursts of violence and peen. 

• Yes, I should’ve said “bullet points” at the beginning of this review, but since it’s a surprisingly bloody shoot-em-up, that was a joke. Not a very good one, I’ll admit. But still funnier than anything in “Stuber.”

Video review: "Blade Runner 2049"

“Blade Runner 2049” was my favorite film of 2014, mostly because “Blade Runner” is one of my most cherished movies ever, and I did not expect any sequel to do it justice. So I was gobsmacked to encounter a film that is a completely seamless revisit to the dystopian future envisioned by author Philip K. Dick, now 30 years further down a dark road.

Two things usually doom sequels: being too bold, or not bold enough. Most go the latter way, simply trying to reboot all the elements that made the first movie a success, without really moving the ball downfield from a storytelling example. “Star Wars: The Force Awakens” is a good recent example, as it’s basically a remake of “A New Hope.”

When other filmmakers take over a franchise, they often want to put their own stamp on it, coming up with crazy concoctions that don’t mesh with the original material. This was the danger with “Blade Runner 2049,” with Denis Villeneuve taking over the director’s chair from Ridley Scott.

And yet the new movie looks, feels and sounds very much like the child of “Blade Runner.” Once again, it’s set in a world where bioengineered “replicants” serve as the virtual slaves of an uncaring human populous. Ryan Gosling plays K, a replicant Los Angeles police detective who’s really little more than a paid assassin of other “skin jobs” like himself who have wandered off the plantation.

He uncovers a plot that takes him right up to the very top of the corridors of power, where mega-tycoon Niander Wallace (Jared Leto) wants to launch the replicant trade to off-world markets. His very able assistant, Luv (an arresting Sylvia Hoeks), is put onto the case.

Harrison Ford returns as Deckard, the iconic blade runner from the first film, whom K encounters about halfway through in a clash of generations that’s every bit as electric as we’d hoped.

Ana de Armas plays Joi, K’s holographic “wife.” Manufactured by Niander’s omnipresent corporation, we suspect that Joi is merely another construct designed to keep the replicant workforce docile. But their love seems very real, indeed.

Beautifully shot by cinematographer Roger Deakins – his long-delayed Academy Award seems finally assured – “Blade Runner 2049” is a beautiful, disturbing look into a future that at times seems all too plausible.

Video bonus features are quite expansive, with a decent amount of goodies on the DVD version and even more for the Blu-ray combo pack.

The DVD includes six making-of mini-documentaries that combine together to form “Blade Runner 101.” These include “Blade Runners,” “The Replicant Evolution,” “The Rise of Wallace Corp,” “Welcome to 2049,” “Joi” and “Within the Skies.”

Upgrade to the Blu-ray, and you add another special feature, “Designing the World of Blade Runner 2049.”

Most intriguing are three prologue pieces that explore the world between 2019, when the original “Blade Runner” was set, and the new one we see. They are “2022: Black Out,” “2036: Nexus Dawn” and “2048: Nowhere to Run.”

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Review: "Blade Runner 2049"

The truth: I didn’t really want a “Blade Runner” sequel.

Just as I did not want to see a live-action version of “The Lord of the Rings,” or a reboot of the “Mad Max” franchises. And yet I love those movies now, offshoots of things I cherished as a youngster -- edging to the point of favoring the new over the old, if my middle-aged self was unflinchingly honest with my teen me.

So: “Blade Runner 2049” is the finest film I’ve seen this 2017.

It’s brilliant, disturbing, sad, beautiful, tragic and filled with tempered joy. It continues the journey of a dystopian, not-so-distant future of bioengineered humans made to be servants of genuine ones, and how each struggles at the shackles that bind them together.

This is the rare sequel that is an extension which is both logically and emotionally sound. Having watched it, I can’t imagine it beginning, or ending, another way.

The film manages to introduce us to a new hunter of replicants, played by Ryan Gosling, while reuniting us with Deckard, as Harrison Ford reprises one of his most indelible roles. “I had your job once… I was good at it,” Deckard taunts upon their first meeting. It’s a titanic clash of generations, quite literally.

My suspicion arose chiefly because the sequel, which is set 30 years later than the original and arrives 35 years after, is not directed by Ridley Scott, who’s still around and quite busy at nearly age 80. Yet Denis Villeneuve (“Prisoners”) has perfectly captured the qualities that made the 1982 film so vivid and groundbreaking -- the sense of alienation, the way life is devalued simply because of its origin, the invasion of commerce into every corner of our lives.

Things are helped immensely by the return of original script man Hampton Fancher, joined by Michael Green, working from the novel by Philip K. Dick. (Though ever more loosely, it must be said.)

In this version, there is no question about the nature of Gosling’s blade runner: he is a replicant who hunts his own kind. Known by his serial number, KD6-3.7, or simply “K,” he moves freely among normal humans with a gun, an LAPD badge and all the powers that come with those tokens. Though he is (almost literally) spat upon by other police officers.

While on a routine “retirement” of an old-model replicant (Dave Bautista), K makes a discovery that sets off a world of strife. The old Tyrell corporation that created the first replicants, aka “skin jobs,” is long defunct. But Niander Wallace, a power-mad blind oracle played by Jared Leto, has crafted new replicants more pliable and palatable, which makes his otherworldly ambitions possible.

K’s boss, Lt. Joshi (Robin Wright), whom he addresses as “madam,” wants K to cover the whole thing up. But Niander’s right-hand replicant, Luv (Sylvia Hoeks), is ordered to follow the follower. She possesses an arresting combination of contempt and empathy for the humans who created people like her.

K has a quiet, constrained life, complete with a hologram wife to keep him from wanting more than the routine of ceaseless murder. Joi (Ana de Armas) is fully emotionally connected to him, even though she’s another product of Wallace’s omnipresent corporation. K uses his bonus for successful retirements to buy Joi an “emanator,” which allows her to leave their apartment and have some semblance of corporeal existence.

Slaves of slaves -- so where do the boundaries of servitude begin and end? These are the sorts of vexing thoughts the film raises for us.

Appropriately, this is one of the most hauntingly beautiful films ever made. Cinematography legend Roger Deakins gives us slants of organic light contrasted with inky pools of darkness, vivid colors, blasted landscapes and tactile displays of proffered flesh. Nominated 13 times for an Oscar without winning, Deakins may finally get his due.

At nearly three hours long, “Blade Runner 2049” is not an endless parade of action. People who have not seen the original movie in a while may be surprised in revisiting it how deliberate and contemplative the film is. Likewise, its cinematic inheritor blends moments of gripping violence with languid stretches where the characters just look, and are looked upon, think and react.

Rather than slowing things down, these sequences give the movie its rightful sense of weight and purpose. Here is the uninvited sequel, now indispensable.

Video review: "Guardians of the Galaxy Vol. 2"

Usually when a movie is successful enough to merit a sequel, the inclination is to do more of what the first one did well. An action flick must be even more packed with it, a supernatural thriller needs bigger twists, and so on.

“Guardians of the Galaxy” was the first flat-out comedy superhero film. Yet rather than just go for more laughs, the filmmakers made a conscious decision to focus on character-building rather than just yuks. I think it was the smart move.

“Vol. 2” doesn’t have the freshness and zing of its predecessor, but it’s a satisfying extension of this corner of the Marvel universe – which, in this case, is a good chunk of the actual universe.

The gang is all back: smirking human hero Star-Lord/Peter Quill (Chris Pratt); green-skinned assassin Gamora (Zoe Saldana); muscular brute Drax (Dave Bautista); genetic creation/pilot/racoon/raconteur Rocket (voice of Bradley Cooper); and Groot (voice of Vin Diesel), the monosyllabic, tree-like creature who was mostly destroyed in the last movie and has returned as a pint-sized shoot.

The basic plot is that the Guardians are once again being chased by a bunch of galactic forces for various reasons, mostly of their own making. They run into an odd being named Ego (Kurt Russell), a powerful alien who claims to be Peter’s father. Everyone hops back to his DIY planet to hash out familial connections and hidden motives. There we meet Mantis (Pom Klementieff), Ego’s assistant/pet, an empath whose naivete about mortals is a strange parallel with Drax’s tendency to verbalize the things most people would leave unspoken.

Returning characters include Nebula (Karen Gillan), Gamora’s death-seeking, cybernetic sister, and Yondu (Michael Rooker), the colorful space pirate who kidnapped/adopted Peter when he was a boy.

It’s not better, but I would say “Guardians of the Galaxy Vol. 2” is in many ways bigger than the first movie. Its ambitions, and the depth of its mythology, has expanded considerably.

Video extras are quite expansive, though you’ll have to spring for the Blu-ray edition, as there are none on the DVD.

These include a four-part making-of documentary; intro featurette with director James Gunn; a galactic retro dance party music video; gag reel; four deleted scenes; and a feature-length audio commentary track with Gunn.

There is also some bonus material available digitally, including breakdowns of three key scenes that shows how CGI-heavy movies are built up layer-by-layer. And there’s a sneak peek at the forthcoming Guardians ride at Disneyland.

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Review: "Guardians of the Galaxy Vol. 2"

“Guardians of the Galaxy Vol. 2” picks up pretty much where the 2014 hit left off, with an unlikely band of miscreants anointed as saviors of the cosmos. And it also continues its stride as a full-out comedy take on the superhero genre, though the sequel has a surprising amount of character development and even a few touchy-feely moments.

It’s not quite the non-stop laugh-a-thon of the first one, but the characters feel deeper, richer and more lived in.

For instance, I didn’t much care for Drax, the musclebound marauder played by Dave Bautista in the first movie. But here his penchant for saying exactly what’s inside his head, without filter or regard of others’ feelings, seems less like a set-up for jokes than an intrinsic part of his makeup. It’s almost like he’s on the autism spectrum.

Drax doesn’t really understand the subtler aspects of behavior, but he’s trying.

The movie (written and directed by James Gunn) again centers on Peter Quill, aka Star-Lord, a smirky galactic adventurer played by Chris Pratt. As we know from the last movie, he was abducted from Earth as a child, became part of a crew of space pirates led by the blue-skinned, red-mohawked Yondu (Michael Rooker), and then broke off for his own solo spree of stealing and fun.

Sporting a slightly shellacked look to his hair and skin, Peter has all but given up on searching for his father, who abandoned the family when he was still a boy, reputedly returning to the stars whence he came. Kurt Russell turns up as Ego, a strangely charismatic being who claims to be his dad. Peter’s not entirely convinced, so Ego brings him and the Guardians back to his home planet for a little convincing.

It came at just the right time, as the Guardians had just majorly P.O.’d the Sovereign, a race of gold-skinned beings for whom they’d performed some mercenary work. (Hey, being a savior doesn’t pay much.) Of course, afterward Rocket -- the irascible raccoon-like creature voiced by Bradley Cooper -- decided to steal some of their fancy gizmos for fun, so the goldies were in hot pursuit before Ego came to the rescue.

Zoe Saldana returns as Gamora, a green-skinned assassin who continually resists Peter’s attempts to woo her. I liked that even though his intentions become entirely made clear -- in a rather funny and embarrassing way -- Gamora doesn’t automatically fall into his arms. She’s a tough nut, and harder to crack.

Gamora’s sister, Nebula (Karen Gillan), also shows up, a partially robotic creature with a hell-bent desire to kill her sibling, and then their father.

And, of course there’s Groot, the tree-like creature who was killed in the last movie, only to be reborn as a tiny shoot. He’s essentially having to restart his life cycle all over again, so he’s in the adorable toddler phase. He’s not terribly useful in this form, and doesn’t seem to have regained his full cognitive abilities, which is a hindrance when trying to remember which button causes instant death for everyone.

Also new are Pom Klementieff as Mantis, an odd empathic creature raised in servitude to Ego, and Sylvester Stallone as an elder pirate who has to kick Yondu out of the pirate club, or something. We get the sense they’ll play bigger roles in the third movie.

And yes, there will be a third movie: it’s announced at the start of the end credits. Speaking of which, “GotG2” sets some sort of record for most bonus scenes. I think it was five, but I may have lost count.

It’s not as fresh or funny as its predecessor, but “Guardians of the Galaxy” is still a lot of fun. They seem to have consciously sacrificed some laughs in order to flesh out this universe and make it seem more authentic and grounded. That may sound funny given all the crazy makeup and CGI to depict a kaleidoscope of fantastical aliens, but there it is.

Review: "Spectre"

Just a few thoughts today on the new James Bond film. Evan Dossey is handling the main review over at The Film Yap, so head there to read his more complete thoughts.

The Daniel Craig Bond flicks have been defined by their dourness, and while that was a welcome change from the breeziness of the Pierce Brosnan and Timothy Dalton movies -- not to mention the nearly pure comedy of the Roger Moore era -- it's starting to wear down the franchise, like a repetitive stress injury.

Director Sam Mendes is back at the helm again, a rarity in the Bond tradition, but "Skyfall" was the highest-grossing 007 film ever, so if he was game there really wasn't anyone to tell him different. Craig is loudly and publicly musing over whether he wants to play the British agent again, and there's a lot of chatter about Idris Elba or Tom Hiddleston or (insert latest rumor here) sliding into the role.

Without giving anything away, I will say that the ending of "Spectre" is such that it could either neatly wrap up Craig's tenure in the black tuxedo, or set up one final go-round.

It's very much a story of beginnings and endings, with most of the familiar Bond solar system -- M, Q, Moneypenny -- now replaced with fresher faces. James Bond is widely viewed as an anachronism by the British intelligence services, who are more keen on data and satellite imagery and drones than guys wandering around with a license to kill.

The movie for me is more of a Greatest Hits version of James Bond than anything else I've seen. Names and faces of villains and allies from the recent past are recalled and, forcibly, linked to one another. We're told that a sinister organization named Spectre has been behind nearly all the troubles Bond has encountered in recent years, with one shadowy figure at the head of the table.

I'm not giving anything away in saying that Christoph Waltz plays the chief villain, or surprising anyone by stating that he's the best thing about the movie. (You could say that about most films with Waltz.) He plays Franz Oberhauser, a supposedly dead guy with an intimate connection to Bond that I wouldn't divulge.

Suffice to say that rather than pursuing some overarching goal of world domination, Oberhauser -- who also has adopted another, familiar, moniker -- seems to delight in creating chaos and pain for its own sake. Particularly when that pain is Bond's own.

Waltz has surprisingly little screen time, but makes the most of it.

The main "Bond girl" is a bit of a disappointment, the sloe-eyed Léa Seydoux as the daughter of an infamous villain. (Why are so many female characters in spy movies the daughter of somebody important, instead of just being important themselves?) The script, a thinly written affair by a committee of four, doesn't give her much to do but react to Bond's carnivore magnetism. 

Better is Monica Bellucci in an all-too-brief appearance as a recently widowed Italian who gets intimate with the man who made her a widow. Bellucci, still a stunner at 50 -- rendering her the oldest Bond conquest of all -- shows more steel and fire in her few minutes of screen time than Seydoux does in the rest of the movie.

Craig is still a terrific Bond, the best I think aside from Sean Connery, a skilled enough actor to let slip the pain that lies just behind the eyes of the icy killer. And there are a few good action scenes and chases, particularly when Bond mixes it up with Dave Bautista, a Herculean tentacle of Spectre.

"Spectre" is entirely watchable, and parts of it are even thrilling. But there's something missing here, a vital essence that seems to have drained away. This iteration of the Bond legend feels tired, grumpy, chippy. It senses the anticipation for the next thing, even shares it, but isn't quite ready to let go of the Walther PPK and Aston Martin. 

Video review: "Guardians of the Galaxy"

Back when “Guardians of the Galaxy” came out, I praised it highly but fretted that audiences wouldn’t come out for yet another comic book adaptation based on characters most of them had never heard of.

Silly me. Now the top-grossing film of the year, “Guardians” obviously didn’t need any sympathy.

What a dizzy, daffy antidote to a summer of largely dreary flicks. Here for the first time was a super-hero movie that was a flat-out comedy. That whole thing with glum caped crusaders kvetching about “with great power comes great responsibility” had gotten kinda old. Here’s a quintet who love doing what they do, no apologies, and plenty of humor along the way.

Rather than being inveterate do-gooders, these Guardians are a motley crew of thieves and killers who get thrown together while greedily pursuing the same mysterious space orb. They are:

• Star-Lord (Chris Pratt), a smirky, quip-throwing human with cool gadgets;
• Gamaro (Zoe Saldana), a green-skinned assassin and turncoat;
• Rocket (voice by Bradley Cooper), a spirited raccoon engineer;
• Groot (voice by Vin Diesel), Rocket’s 9-foot-tall tree-like companion;
• Drax (Dave Bautista), a burly red guy with revenge on his mind.

The plot is a little hard to follow, but something to do with a powerful rebel Ronan (Lee Pace) who wants to throw off the yoke of his master, Thanos, an evil space emperor. Ronan and his fellow Kree want to destroy the Nova, a benevolent race guarding the orb.

The action is zingy, the villains (there are many) quite hiss-able and the belly laughs plentiful. I doubt “Guardians of the Galaxy” will need my boosterism for its video release.

Video features are good, not great, and feel a bit underwhelming considering the success of the film. The DVD comes with but a single feature, and it’s more of an ad: an exclusive look at “Marvel’s Avengers: Age of Ultron.”

Upgrade to the Blu-ray combo pack and you add a feature-length audio commentary track, deleted scenes, gag reel and making-of featurettes.

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Review: "Guardians of the Galaxy"

If Spider-Man and the X-Men aren’t doing so well at the box office, then what chance do Star-Lord and Rocket the talking raccoon have?

If there’s any justice in the world, plenty.

The latest cinematic iteration of the Marvel Comics universe focuses on a troupe of super-heroes who aren’t particularly super, and don’t have nearly the pop culture following of the web-slinger or Wolverine. Yet “Guardians of the Galaxy” is a lot more fun, and a helluva lot funnier, than most anything we’ve seen from the genre since… well, ever.

While other super-hero movies have had a sprinkling of humorous moments, this is more or less a straight-up comedy. There’s plenty of zingy action, but it plays second fiddle to the guffaws.

There have been several versions of the comic book group over the years, none of them particularly successful until recently. The movie, written by Nicole Perlman and James Gunn, who also directed, changes things around further. The Guardians are now a vagabond quintet of misfits and thieves who stumble backward into heroism while trying to pawn off a mysterious orb they’ve stolen.

This is a mythology in which pink-skinned humanoids are in the minority. Most of the cast is either dolled up in elaborate makeup and prosthetics, or represented through computer-generated imagery. It makes for a rousing, colorful visual landscape.

Chris Pratt, best known for funnyman roles in TV and movies, is an unlikely but winning protagonist as Peter Quill, a human scamp who dubs himself Star-Lord, though he’s vexed when no one seems to have heard of his moniker. He was kidnapped from Earth by alien ravagers when he was a boy, and now tools around in a spaceship looking for adventure.

He doesn’t have any powers per se, though he carries an array of helpful gadgets, including boot rockets, a retractable helmet with red-eyed goggles, and twin stun guns. He’s also got a serious thing for 1980s culture, since that’s all he knows of Earth. He likes to pop in a cassette mix tape of tunes and boogie while he works.

I won’t bother trying to describe the plot, since it’s completely indecipherable, other than to say everybody wants the mysterious orb that Star-Lord absconds with in the opening minutes.

This brings together the Guardians, who all get captured and thrown into prison while fighting over the orb. While they put together a breakout plan, this allows us to get to know the rest of the team.

There’s Gamora (Zoe Saldana), a green-hued assassin who is looking to trade in her evil boss for greener pastures. And Drax the Destroyer (Dave Bautista), a muscle-bound dude with skin like lava, who seeks revenge for his murdered family.

Stranger yet is Rocket (voice of Bradley Cooper), a feisty humanoid raccoon with incredible engineering skills and a chip on his shoulder. (Think Joe Pesci with fur.) Even more fantastical is Groot (voiced by Vin Diesel), a tree-like figure who accompanies Rocket as his pet/houseplant/bodyguard. He can grow his body into new shapes, but can only speak the same three words: “I am Groot.”

There are so many villains in this movie, every time you meet one when you think they’re the head scoundrel, only to reveal an even bigger baddie behind them. Djimon Hounsou shows up early, decked out in impressive black armor and blue contact lenses, but turns out he’s just the lackey of the lackey of the lackey.

Ronan (Lee Pace) seems to be at the center of things, a rebel Kree who wants to destroy the noble Nova, despite a treaty between their peoples. He’s currently indentured to Thanos, an all-powerful space king.

I also enjoyed Benicio del Toro as The Collector, an obsequious trader of exotics, and Yondu (Michael Rooker), a space pirate and father figure to Star-Lord. Indigo blue with a bone Mohawk, Yondu has a nifty trick: an arrow he carries around in a holster that goes anywhere (and through anything) at his whistle.

Come to think of it, most everyone in this movie has a nifty trick. Everything we encounter is special and has a backstory or hidden attributes that we can’t wait to discover. A dense, dizzying diaspora of originality, “Guardians of the Galaxy” is the sort of film you need, and want, to see more than once to fully appreciate.

Review: "Riddick"

I was expecting "Riddick" to be just awful, so anything north of terrible would probably have registered as pretty good. The third in the line of sci-fi/action movies that made Vin Diesel a star is a murky, disjointed mess. But it also boasts some cool action scenes, gruesome beasties and Riddick in full-on badassery mode.

Riddick, who was an able but fallible combatant in "Pitch Black" and "The Chronicles of Riddick," seemingly has taken on supernatural powers in this new movie, laying waste to an army of creatures and a gaggle of mercenaries come for the price on his head. Notably, he does this all bare-handed or with crude weapons he's fashioned himself -- including some kind of wicked bone sword that looks like something Conan would have hefted.

The allusion to the Cimerian barbarian is apt, since director David Twohy has opted for a downscale, pulp-fiction return to roots after the epic sprawl of "Chronicles." Instead of empires and entire planets being at stake, this is the simple tale of Riddick being stranded on a harsh desert planet and having to fight through a mountain of obstacles to escape.

It's a throwback to old-fashioned science fiction of the 1950s and earlier, more concerned with individual stories than macro events.

When last we saw him, Riddick had defeated the Lord Marshall of the Necromongers and, following their militant traditions, seen himself installed as their leader. But by his own reckoning Riddick had gotten lazy and lost a step, so he didn't see it when a plot to overthrow them developed. Teased by the prospect of locating his long-lost home planet of Furya, he gets bushwacked and left for dead.

Armed with nothing more than his infrared vision and a few tricks, Riddick has to find a way to survive the cruel environs, which include little to eat or drink and slavering hyena-like dogs. Worse yet is the things hiding in the bubbling cesspools, which resemble a cross between a scorpion, spider and amphibian.

I quite enjoyed this early sequence, wordless except for a little of Riddick's narration, which had a man-against-nature vibe that favorably recalled "Castaway."

Eventually he makes it to a lonely outpost, a way station for mercenaries. Riddick triggers a beacon to let everyone know where he is, and soon two groups of bounty hunters have descended to catch him. This sets up the chase-chase sequence, in which the mercenaries square off while fighting over who will get to claim Riddick's head. -- literally, just his head, since the county is doubled if he's dead.

Leading one crew is Santana (Jordi Mollà), a loathsome, greasy type who favors a machete and a whole lot of sexually suggestive dialogue. His team includes Diaz (Dave Bautista), who looks big enough to give Riddick a run for his money, and Luna (Nolan Gerard Funk), a green kid with religious overtones.

More professional and disciplined is the crew led by Johns (Matt Nable), a name that may be familiar to fans of the series. Johns has other objectives in mind beyond mere bloodletting. His right-hand woman is Dahl (Katee Sackhoff), who likes to mix it up: "I don't f*ck guys, but I f*ck them up when I have to."

There's an ugly, hyper-masculine undercurrent to the proceedings, as every male character attempts to out-strut the other ones, with Riddick at the top of the cock-heap. At one point he makes some icky comments about Dahl's toenails and nipples, and I squirmed uncomfortably in my seat.

The gore quotient is pretty high for this type of movie, and one nasty character gets his comeuppance in a particularly memorable slice-and-dice way. During one scene Riddick slides under one of those scorpion things, slicing its belly and causing its entrails to drop out. Distracted, the critter proceeds to eat its own guts. Nasty.

No one will confuse "Riddick" for quality filmmaking. But it's got a grungy, sweaty vibe that wasn't entirely unpleasing. I didn't like it, but I didn't hate it, and that's way more than I ever would have guessed.