Most of what I know about complex science comes from comic books, so forgive me if my understanding of quantum mechanics is a little off. But, I think it can mean that particles can exist in two states simultaneously. 'The Amazing Spider-Man 2,' a film loaded with such half-understood notions of difficult scientific concepts, is a quantum movie. It manages to be both awful and entertaining, frequently at the same exact time. The script is ludicrous, even by summer blockbuster standards. The characters behave irrationally and without motivation and the story makes lengthy, frequent pit stops into dull backstory. But, for every moment of tedium and confusion there is a tiny explosion of joy. Director Marc Webb just barely ties this collision of half-baked ideas together in a sticky Spidey bow.
When I was a young man and the Internet was new, I made the same joke every time I dialed-up and heard those dissonant, scratchy tones. “Chhhhhhh-CHHHHHH-Chhhhhh” my modem would bray, and as soon as there was silence I'd turn to whomever was in the room and conspiratorially say, "all right, we're in."
'Transcendence,' the first feature film directed by Christopher Nolan's longtime cinematographer Wally Pfister, is two straight hours of that “all right, we're in,” with (slightly) updated peripherals. Featuring more technobabble than a middling episode of 'Star Trek: Voyager,' Rebecca Hall and Johnny Depp star as husband and wife computer geniuses who, along with artificial intelligence labs across the country, are attacked by a band of “neo-Luddite” terrorists.
Whereas Tom Hanks' Captain Phillips talked, finessed, sweated and went into shock to rescue his crew, Chris Evans' Captain America jumps onto a hijacked boat from a helicopter without a parachute. His liberation of a S.H.I.E.L.D. vessel captured by international terrorists involves flinging himself across the deck; a human pinball with terrorists as his easily neutralized bumpers. Make that a super-human pinball, because as much as Steve Rogers maintains his golly shucks good nature, he is, after all, a Marvel superhero and he's here to save the day in the most preposterous and camera-ready fashion that's possible. Welcome to 'Captain America: The Winter Soldier'.
There are 35,000 deaths due to motor vehicle accidents in the United States each year. Every ten seconds someone is given emergency treatment because of a car crash. According to a report by the CDC the financial impact is close to $100 billion on injury care and lost productivity.
I know 'Need For Speed' is just a movie, and movies are entertainment, but it is shocking beyond all reason how much this movie thinks automotive safety is a big joke. I understand loving an outlaw, but when 'Bonnie & Clyde' robbed banks they were “punching up.” When Aaron Paul and his merry band of mayhem mechanics destroy public works and send innocent bystanders careening off of highways, they are “punching down.” 'Need For Speed,' its producers, writers, director and maybe even its stars should all hang their heads in shame.
Christian Bale's disastrous comb-over/rug combo basically opens the film with a wordless monologue. Beneath that unnatural mop is the sharp mind of Irving Rosenfeld, a “from the feet up” con man making the leap from running legit (but boring) dry cleaning businesses to grifting down-on-their-luck rubes on bad bank loans. His operation starts taking off when he hooks up with Amy Adams, a natural businesswoman looking to reinvent herself. She does this with a name change, a phony British accent and, later in the film, by frizzing her hair out to preposterous proportions.
For a gal named Carrie White, she's sure got a lot of red on her.
Watching Kimberly Peirce's 'Carrie' is an odd experience. If you've seen Brian De Palma's version from 1976, this new version is - and there's really no point in denying this - like watching a cover band. There's a tweaked scene here and there (including a new, creepy-as-heck opening) plus the addition of cell phones and references to 'Dancing With The Stars.' This remake, more than most, really feels like hitting the same marks. It may be a peculiarity specific to 'Carrie,' because, let's face it, not a whole heck of a lot happens in this story. Considering most moviegoers' familiarity, there's plenty of room to stew and think, "Why is this considered such a classic?"
With piracy drama 'Captain Phillips,' Paul Greengrass ('Bloody Sunday,' 'United 93') has defended his ground as the go-to man for tragic, reality-based pressure-cooker films. The dude really knows how to get your palms sweaty, even when you kinda-sorta know how things are going to end up. Note to self: don't take your cargo ship through the Somali Basin if you don't have to.
Greengrass is also the director of the best two 'Bourne' movies ('Supremacy' and 'Ultimatum') and just as Matt Damon glided through those films as the steely, mixed-martial killing machine, Tom Hanks' center-seat performance here is a master class in keeping it cool.
The title is 'World War Z,' but I can think up two other letters: "O" and "K."
'World War Z' is okay because it zips along with the fury of a computer-generated cascade of fast zombies. 'World War Z' is okay because Brad Pitt is a great leading man, even if his character has no depth. 'World War Z' is okay because there is always a fatalistic draw to see our social order tumble and great cities reduced to cinders.
It is also, unfortunately, merely okay because there's nothing in this movie you haven't seen before.
With 'Star Trek Into Darkness,' Abrams' follow up to the 2009 'Star Trek' reboot (or continuation of the series, if you are Spock Prime) he has solidified his position as a master of propulsive, visceral filmmaking. Dude knows where to put the camera, when the music should swell, when the characters should zing each another or when they should project pathos to the cheap seats. The 'Star Wars' films are mostly gut and little brains and, unfortunately, that is what we have here. The movie still works as an exemplary thrill ride – I laughed, I cried, I cheered – but woe be to anyone who gets caught in a conversation afterwards trying to explain the overly complicated and, at times, silly plot. If you expect something a little sharper out of 'Star Trek' you may come away with some mixed emotions.
Funny is, of course, subjective. I find Woody Allen funny but there are plenty of people who find him about as amusing as being slowly asphyxiated in plastic bags from CVS. Still, I'll hazard to guess that there is no one who will find Melissa McCarthy obnoxiously singing along to Kelis' not-at-all-current "Milkshake" funny. Especially when 'Identity Thief' - a new "comedy" with McCarthy and Jason Bateman - goes to quite successful lengths to make you HATE her character. And you just might wind up hating this movie too.
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