- Title: Star Trek Into Darkness
- IMDB: link
The follow-up to director J.J. Abrams‘ 2009 relaunching of the Star Trek franchise is a mostly disappointing affair that cribs heavily off other films, including one of the franchise’s own, in an attempt to offer a sophomoric version of what is generally considered the best of the original franchise. It’s nearly impossible to discuss the film in any length, or its myriad of problems, without giving away a few of its secrets. So after a few broad points about Star Trek Into Darkness you’ll forgive me I move dangerously into spoiler territory.
One of the real disappointments with the first film was the numerous logic holes that plagued the story. This film has to build on that shaky foundation while introducing a host of new questionable story elements. You have to look no further than the movie’s opening sequence which involves the U.S.S. Enterprise hiding underwater on a planet where the natives have no knowledge of extraterrestrial life while performing a mission whose sole purpose seems to be to get Kirk in hot water with Starfleet Command (and give us an incredibly unsubtle nod to Raiders of the Lost Ark in the process).
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- Title: The Great Gatsby
- IMDB: link
It took five years after the disaster which was Australia for writer/director Baz Luhrmann to be allowed to make a feature film again. Sadly, it was this film. I kid, but the sad truth is Australia was an amazingly bad trainwreck that deserved every bit of scorn it earned from critics and audiences alike. Even sadder is the fact that Australia might actually be a better film than the writer/director’s current adaptation of F. Scott Fitzgerald’s novel which takes literary classic and grinds it down into dime store romance novel full of the director’s trademark spectacle, garish production design, and style (complete with inappropriate time-period music), resulting in dreadful boring film.
The Great Gatsby isn’t horrifically bad. It’s not the kind of truly wretched film that would rise my ire and pitchfork for a march on the director’s metaphorical castle. Almost as troubling, Luhrmann’s version of The Great Gatsby is an emotionally stunted and empty experience that often tells us, but never shows us, why we should care for these characters or the tragic events in which they find themselves trapped.
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- Title: Antiviral
- IMDB: link
Written and directed by first-time feature director Brandon Cronenberg, Antiviral is an unusual look at mankind’s obsession with both celebrity and germs in a not-too-distant future where the combination of both becomes the world’s most highly sought after commodities.
Syd March (Caleb Landry Jones) has an unusual job. He works as a salesman for the Lucas Clinic, a company that specializes in the world’s most bizarre fetish. Lucas harvests diseases from celebrities and injects a non-contagious version of them into paying clients who wish to feel closer to the people they see on television and in magazines.
Syd’s problem starts with his personal use of the viruses and his willingness to sell them on the black market to a local butcher (Joe Pingue). After extracting the latest illness from the firm’s biggest celebrity (Sarah Gadon), Syd decides to sample it before turning it over to the lab. However soon he discovers the celebrity has died of the mysterious illness, and he has started to exhibit the same symptoms.
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- Title: Pain & Gain
- IMDB: link
Based on a somewhat unbelievable true series of events, Mark Wahlberg, Dwayne “It’s Okay to Call Me The Rock Again” Johnson, and Anthony Mackie star as a trio of bodybuilders who decide to kidnap and rob a local businessman (Tony Shalhoub). Played to the hilt, the insane over-the-top Pain & Gain embraces the ridiculousness of the situation to deliver some truly funny sequences. Sadly, it delivers almost as many groan worthy moments and some disturbing violence that doesn’t always mesh well with the zany tone of the movie. The true story the film is based on is so unbelievable director Michael Bay even stops the film at times to remind the audience that (some form of) these events really occurred.
The characters, who don’t seem smart enough to remember to breathe, aren’t even caricatures so much as full-blown cartoons. There’s a scene from Michael Bay’s first awful Transformers flick where a group of giant robots tiptoe around a suburban house hoping no one will see or hear them. That plan is near genius compared to those of Daniel Lugo (Wahlberg) and his confederates.
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- Title: The Numbers Station
- IMDB: link
Directed by Kasper Barfoed, The Numbers Station looks and feels every bit the low-budget thriller that it is. Set almost entirely in an underground bunker, the thriller somehow finds a way to make the setting feel empty and endless rather than claustrophobic. Mixed with what appears to be an extremely low budget and a circumspect screenplay that can’t find a way to make the idea of numbers stations exciting in 2013, The Numbers Station is the kind of straight-to-DVD B-movie that fizzles more than it entertains.
Our protagonist is Emerson (John Cusack), a government assassin with an acute case of conscience sent to Suffolk, England, after failing to murder a young woman (Hannah Murray) who was witness to his latest kill. Emerson’s new assignment is to protect Katherine (Malin Akerman), a cryptographer at a small numbers station used to relay encrypted codes across Western Europe. Haunted by his failure, and the death of the witness, Emerson tries to put the situation behind him, at least until the facility comes under attack by an organized group of terrorists.
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- Title: Oblivion
- IMDB: link
Set in the year 2013, writer/director Joseph Kosinski‘s Oblivion is a post-apocalyptic tale of one man’s search for truth and heroism after a series of discoveries turn his world is turned upside down. Tom Cruise and Andrea Riseborough are cast as Jack and Victoria, the last two humans on the planet Earth. The team are tasked with overseeing the draining of the planet’s remaining natural resources (the planet’s water supply) before pulling out and joining the rest of humanity in their new home on Saturn’s moon Titan.
While haunted by impossible memories from his past (we’re told all agents undergo a mandatory memory wipe before being stationed) involving a beautiful woman (Olga Kurylenko) and Earth before the attack by an alien race known as Scavs, Jack performs his duty of keeping the military drones in good working order. Together with Victoria, his job is to protect the last bit of humanity’s resources the aliens didn’t destroy from the remaining tribes of Scavs still living on Earth who occasionally venture out to attack the giant water-vacuuming machines.
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Written and directed by Brian Helgeland, 42 chronicles the struggle and rise of Jackie Robinson (Chadwick Boseman) as Major League Baseball’s first African American player. Although a bit formulaic (it seems we’ve got several similar racially-themed sports movies over the past decade or so with The Express, Pride, and Remember the Titans), Helgeland successfully delivers an emotional and uplifting tale that’s more concerned with the historical importance of Robinson’s ascension to the majors than the any specific game of baseball in which he played.
In a straightforward story like this that doesn’t dig too deep into the hidden recesses and personal life of its main character to offer new insights not already available to the general pubic much of the success or failure is going to rely on the performances to carry the film. Here Helgeland makes terrific choices as Boseman (who coincidentally played Floyd Little in the similarly-themed The Express) carries the film with the ease Robinson swung a bat or caught a fly ball.
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Two thoughts ran through my head when the end credits rolled on the latest film from director Danny Boyle. First, Rosario Dawson is one hell of a beautiful woman. Seriously, this film will be known, even more than for its train wreck of a plot, for the infinite number of screenshots of the fully nude actress which will inevitably hit the Internet in the coming months.
And second, when you get past the smoke and mirrors, the endless twists, turns, misdirection, and Dawson’s full frontal nudity, there’s not really that much to Trance. Despite a strong set-up, the script by Joe Ahearne and John Hodge eventually crumbles under the wight of its preposterous plot. Trance is simply too complicated for its own good.
The film opens with the theft of a $25 million painting from an auction house in broad daylight by a brazen group of criminals (Vincent Cassel, Danny Sapani, Wahab Sheikh, Matt Cross). Despite the best efforts of our narrator, the heroic auctioneer Simon (James McAvoy) who is injured in the heist, the crooks make off with the painting.
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- Title: Jurassic Park
- IMDB: link
Originally released 20 years ago, Steven Spielberg‘s dinosaur movie (adapted from the novel by Michael Crichton) gets a new run in theaters sporting retrofitted 3D effects. Despite CGI effects two decades old, the film holds up remarkably well and the 3D works (most of the time) to enhance what is still a thoroughly enjoyable popcorn movie.
The film, for those need a refresher, stars Sam Neill, Laura Dern, and Jeff Goldblum as scientists recruited by a wealthy billionaire (Richard Attenborough) to sign off on his new amusement park which features cloned dinosaurs. Also along for the weekend are the billionaire’s grandchildren (Joseph Mazzello, Ariana Richards) and his “blood-sucking lawyer” (Martin Ferrero).
When a confluence of events, including a tropical storm and some extremely bad decision-making by the park’s head programmer (Wayne Knight), takes down the island’s containment fences and releases the dinosaurs the travelers struggle to do their best to survive against a variety of threats including a Tyrannous Rex and a trio of Velociraptors.
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The third time is hardly ever the charm in movie franchises, especially those adapted from comics. 
