The Amazing Spider-Man 2

The Amazing Spider-Man 2 - Dir. Marc Webb (2014)

I was never against any attempt to reboot the Spider-Man movie franchise. The character has undergone dozens of creative changes since his creation in 1962. However, insufficient time had passed when Sony relaunched the series after Sam Raimi's attempt at Spider-Man 4 fell apart. The memories of Tobey Maguire in the red and blue tights were still fresh in our memories and the reasoning reeked of a desperate bid to keep the rights from reverting back to Marvel. The Amazing Spider-Man was met with mixed reviews, but scored over $750 million worldwide, more than enough to justify a sequel. Not that it mattered; the studio had already greenlit The Amazing Spider-Man 2. Spoilers ahead.

Spoilers Ahead.

Peter Parker (Andrew Garfield) is set to graduate high school and has settled into his role as New York City's favorite webslinger. However, his relationship with girlfriend Gwen Stacy (Emma Stone) hits a bumpy road as Peter remembers her dying father's wish…that he stay away from Gwen to protect her from his enemies. Those enemies are coming out of the woodwork.

Meek Max Dillon (Jamie Foxx) is an electrical engineer at OsCorp whose designs were stolen for use in the company's new power plant. He develops an obsession with Spider-Man that turns deadly when he falls into a vat of genetically modified electric eels. He becomes Electro, a being of pure electrical energy bent on revenge. Meanwhile, Peter's best friend Harry Osborn (Dane DeHaan) returns to the Big Apple upon news of his father's impending death. Harry learns that he has inherited the same rare disease that has killed his dad and the only hope may lie in Spider-Man's blood. When he refuses to help, Harry is driven to take an experiment serum that mutates him into the Green Goblin.

The Amazing Spider-Man 2 has so much going for it and equally as much going against it. Many of the action sequences are surprisingly good showing that Marc Webb has grown into the role of a blockbuster director. The film opens in POV as we ride along with Spidey while he swings through the bustling metropolis of Manhattan. The IMAX 3D version feels just like a thrilling rollercoaster ride. This is followed by a fast-paced set piece in which our wall-crawling hero Aleksei Sytsevich aka The Rhino (Paul Giamatti), a Russian gangster who has stolen a shipment of plutonium from OsCorp. Here, Spider-Man is at his best as he breaks out an assortment of acrobatic moves and a steady string of quips. Despite being video game-y, Webb employs Matrix-style bullet time to simulate Spidey Sense as the world slows down while Spider-Man assesses the situation. It's best employed during Electro's attack on Times Square when he saves several citizens from being fried by electrified rails.

Yet, Webb's forte is clearly the smaller, more emotional character moments. These are the scenes where the actors are allowed to shine without being buried by make-up and CGI. While both films have their problems, Andrew Garfield and Emma Stone remain beacons of brilliance. No knock on Maguire, but Garfield more closely resembles the Peter Parker of the comics in both body and spirit. He's got the lanky frame and the plucky, nerdy charm necessarily to bring Stan Lee and Steve Ditko's creation to life. Stone effortlessly plays Gwen as a strong and intelligent young woman. Garfield has fantastic chemistry with her and it probably helps that they are also a couple in real life. Their scenes together feel ripped out of a John Hughes movie, especially one in which Peter crosses the street through dangerous NYC traffic to speak with Gwen. There's also a funny bit when the two hide inside a closet, then point out how clichéd it is to hide inside a closet. And nobody told Sally Field she was in a comic book movie. She plays it straight as the doting Aunt May. Field's scenes with Garfield alternate between amusing (an argument about the laundry) and heartbreaking (discussing Peter's dead parents).

Unfortunately, these events are crushed underneath the weight of a bloated script credited to Jeff Pinkner (Lost, Fringe), James Vanderbilt (Zodiac), and the omnipresent duo of Alex Kurtzman and Roberto Orci (Star Trek, Transformers). Critics complained about Batman Returns having too many villains way back in 1992. I imagine their heads would explode after viewing this sequel. Not only do we have Electro, the Green Goblin, and Rhino, there's also Colm Feore as a duplicitous OsCorp exec, B.J. Novak as Alistair Smythe the future creator of the Spider Slayers, Felicity Jones as Felicia Hardy aka The Black Cat, and Michael Massee as the mysterious Gustav Fiers aka The Gentleman. The filmmakers have also laid the groundwork for future appearances by Dr. Octopus, The Vulture, Kraven the Hunter, Venom. Studios such as Sony, Fox, and WB have fallen in love with the way Marvel has created their shared universe. On the other hand, they lack the patience and the skill to properly build one of their own. They are so enamored with the idea of a Sinister Six movie that they've forgotten about the present. The sequel suffers from the same lack of focus as its predecessor. Subplots are left dangling and footage shown in previous trailers isn't found anywhere in the final cut.

The most egregious example is Shailene Woodley who filmed scenes as Mary Jane Watson only to land on the cutting room floor. Aunt May working as a nurse to put Peter through college never goes anywhere while Jones, Novak, and Chris Cooper in his lone scene as Norman Osborn could have easily been chopped off. The corporate backstabbing angle has already been done in Raimi's Spider-Man and Fantastic Four, not to mention Jamie Foxx's transformation into Electro is painfully reminiscent of Jim Carrey's Riddler in Batman Forever. Therein lays another problem, characters that go from 0 to 100 with no logic or consistency. Garfield and DeHaan are great young actors, but the script doesn't do enough to establish them as best friends. Harry goes insane fairly quickly and that disease seems to hit him remarkably fast. Nobody bothers to ask why Harry doesn't utilize the same procedures his father used to extend his life. And why does Peter Parker, a scientific genius, still need to watch instructional YouTube videos about how batteries work?

At its heart, The Amazing Spider-Man 2 is a comic book movie and a certain level of silliness is inherent, but that doesn't excuse how dangerously close the picture skirted into camp. We could have done away with Marton Csokas as the cartoonish Dr. Kafka, Peter seeing the ghost of Captain Stacy (Denis Leary) or Electro playing "Itsy Bitsy Spider" with Tesla coils. These goofy elements work to undermine the genuine moments. Too bad the subplots involving Peter's parents (Campbell Scott and Embeth Davidtz) had been edited out as they were in the first Amazing Spider-Man. The sequel opens with a poorly done plane crash depicting Richard and Mary Parker's deaths. It all leads to Peter discovering a secret subway car deep within a hidden underground tunnel containing evidence of OsCorp's dirty deeds. The big revelation is Richard Parker encoded OsCorp's spiders with his own DNA. Thus, Peter was destined to become Spider-Man, which blatantly goes against the very core of the character as an everyman suddenly thrust into the role of a superhero.

And was it absolutely necessary to kill Gwen Stacy? The Death of Gwen Stacy is one of the most heralded storylines in comic book history due to several factors. It was released at a time when killing off major characters was rare as compared to today where publishers use death as a marketing ploy to boost sales numbers. Secondly, when characters were killed back then, they didn't return a year later. For eight years, Gwen was a major part of the Spider-Man mythos and her death still resonates to this day. As wonderful as Emma Stone is, her Gwen hasn't had the opportunity to embed in our consciousness the same way. To their credit, the filmmakers did an excellent job in portraying her death; her body hitting the bottom of the clock tower drew an audible gasp from my audience. However, there was really nothing to be gained by paying lip service to the comic book audience. Why go back to Mary Jane when Stone's Gwen was well on her way to being far more interesting?

The Amazing Spider-Man 2 repeats the exact same mistakes that torpedoed Spider-Man 3, an overstuffed script with too many subplots and too many characters.

Rating: ** (*****)

Parkland

Parkland - Dir. Peter Landesman (2013)

The assassination of John F. Kennedy has spawned an entire subculture dedicated to examining every detail of the tragic event. Was it the work of a lone gunman or was it a vast conspiracy involving Lyndon B. Johnson, the CIA, the military-industrial complex, the Russians, and organized crime figures? Countless books and films have sprung up over the years speculating on just that with Oliver Stone's "JFK" being one of the more notable.

Millennium Entertainment's Parkland isn't interested in conspiracy theories or facets that have been picked apart ad nauseum. This is an ensemble piece that wishes to tell the story of the little people whose lives were forever affected by JFK's assassination, just as the entire country was. Released to coincide with the 50^th anniversary of Kennedy's death, Parkland was written and directed by first-timer Peter Landesman, a former journalist who based the screenplay on the book, Reclaiming History: The Assassination of President John F. Kennedy by Vincent Bugliosi, a district attorney best known for prosecuting Charles Manson.

Clothing manufacturer Abraham Zapruder (Paul Giamatti) excitedly arrives at Dealy Plaza with his 8mm Bell & Howell camera in the hopes of capturing the President's motorcade as it passed by. Instead, Zapruder unwittingly filmed the most infamous home movie ever made, clear footage of JFK's shooting. Dr. Charles Carrico (Zac Efron), a young resident at Parkland Memorial Hospital, is the first physician to treat Kennedy when he is rushed into the emergency room. As medical personnel scramble in a blood soaked ER, a dazed Jackie Kennedy (Kat Steffens) hands a veteran nurse (Marcia Gay Harden) fragments of her husband's skull. Robert Oswald (James Badge Dale) is left in shock when he learns his younger brother (Jeremy Strong) is responsible for killing the president. Gordon Shanklin (David Harbour), head of the FBI's Dallas field office, berates James Hosty (Ron Livingston), upon learning that they had been investigating Lee Harvey Oswald, including receiving a threatening letter from Oswald. Roy Kellerman (Tom Welling from "Smallville") and other agents assigned to the President's detail are burdened by the belief they have failed in their duty.

While major players like LBJ and Jackie Kennedy are present in Parkland, the focus is clearly on the individuals who would otherwise be considered historical footnotes. Zapruder is haunted by the images he has seen and has his faith in the American dream shaken. Robert Oswald faces an uncertain future knowing his family will become pariahs for what his brother has done.  Landesman also broaches topics that one normally wouldn't think of. Members of Kennedy's staff remove seats from the cabin of Air Force One in order to accommodate his casket. Zapruder and Forrest Sorrels (Billy Bob Thornton), a Secret Service agent assigned to Kennedy's detachment, struggle to find a photo lab to develop the 8mm film, a relatively new process in the 60's. No church or cemetery is willing to accept Lee Harvey Oswald's remains. During the funeral, Robert must rely on paparazzi to serve as pallbearers.

Tom Hanks served as one of the producers for Parkland and it's disappointing he didn't take a Band of Brothers approach to the subject matter. Zapruder and Robert Oswald are interesting enough to support their own films. A medical drama revolving around the Parkland staff as they treat Kennedy and Oswald would also be extremely compelling. At less than 90 minutes, Parkland barely scratches the surface and squanders an amazing cast. Despite turning in strong performances, Marcia Gay Harden, Mark Duplass (as Kennedy aide Ken O'Donnell), and Jackie Earle Haley (as the priest who delivers last rites) appear in glorified cameos. James Badge Dale, who has quickly become one of Hollywood's most reliable character actors, brings a sense of pathos to his role that is almost undermined by Jacki Weaver's over-the-top performance as overbearing mother, Marguerite, steadfast in her belief that her younger son was a secret agent for the U.S. government.

Landesman employs a documentary style akin to Paul Greengrass, minus the headache inducing shaky cam. Not surprising that Barry Ackroyd, who also shot United 93, Green Zone, and Captain Phillips, served as cinematographer. The result allows the audience to feel like a fly on the wall while maintaining tension throughout the short runtime.

Parkland finds a fresh perspective on a significant moment in history, but still feels like a missed opportunity. The movie is blessed with a wealth of talented actors and intriguing characters, yet never gives them enough time to shine. Still, it earns a mild recommendation solely on star power.

Rating: **½ (*****)

The Ides of March

The Ides of March - Dir. George Clooney (2011)

The Ides of March, a pessimistic take on politics, receives a timely release with the nation's future as uncertain as ever and President Obama's approval ratings dropping to record lows.

Stephen Meyers (Ryan Gosling) is the press secretary for the presidential campaign of Pennsylvania Gov. Mike Morris (George Clooney). Morris is the left-leaning liberal's wet dream; a handsome and charismatic politician who happens to be an atheist, pro-choice, anti-death penalty, and he wants to tax the rich and phase out combustible engines within ten years. Suspension of disbelief may be required to believe Morris stands a snowball's chance. The only threat to his bid for the Democratic nomination is Sen. Pullman (Michael Mantell). He isn't nearly as popular or photogenic as Morris, but conservatives will vote for him because they know he doesn't stand a chance against the Republican candidate.

Stephen receives a call from Tom Duffy (Paul Giamatti), the rival campaign manager for Pullman. He foolishly accepts a meeting with Duffy, which sets off a chain reaction that could derail Morris' bid for presidency and Stephen's entire career.

The A-list ensemble cast includes: Evan Rachel Wood as an intern and love interest for Stephen, Philip Seymour Hoffman as Paul Zara the campaign manager for Mills, Jennifer Ehle as Mrs. Cindy Morris, and Marisa Tomei as a New York Times reporter.

As a director, George Clooney has shown he has studied under the learning tree of Steven Soderbergh and the Coen Brothers. He has accumulated a diverse filmography that includes the Charlie Kaufman-penned Confessions of a Dangerous Mind, the stark black and white drama Good Night, and Good Luck (one of the best film's of 2005), and the screwball comedy Leatherheads. The Ides of March isn't as strong as his sophomore effort, but it is a throwback to the politically charged thrillers of the 1970's. Clooney is clearly mimicking the work of Alan J. Pakula and Sidney Lumet. Not too shocking as Clooney has named Lumet's Network as one of his favorite films of all time.

The Ides of March is based on the play, Farragut North, which written by Beau Willimon who worked on the 2004 presidential campaign of Howard Dean. The play took its title from the subway station in Washington D.C. that sits at lobbyist central. In the play and the film (which was adapted by Clooney and writing partner Grant Heslov), Farragut North is a looming specter as the place where failed politicos go when ideals die. Tom Duffy warns Stephen that staying in politics too long will leave you cynical and jaded. That is the central theme of the movie as it follows the formerly optimistic Stephen's descent into compromise, blackmail, and backroom dealings.

The first act does a splendid job focusing on the little-seen gears and cogs of the political machine. Highlighted by clever, Sorkin-esque dialogue, Ides delves into the dirty deeds and subterfuge that goes along with the glad handing and fundraising. The film diverges from the play when it adds a series of soap opera twists and turns, none of which is as interesting as the earlier sections. The plot sags a bit in the middle before picking up towards the end. Thankfully, the ultra-talented cast lifts the material above its melodramatic trappings. Gosling is given more dialogue than Drive, but exudes the same simmering quality. It's also a treat to see actors of the caliber of Paul Giamatti and Philip Seymour Hoffman verbally sparring as two old campaign war horses. Though he's only in a handful of scenes, Jeffrey Wright brings a commanding presence as a North Carolina senator bucking for a cushy cabinet position in exchange for his vital endorsement.

The Ides of March had all the makings of an awards season darling and a classic political thriller. It doesn't reach those lofty levels the way Michael Clayton or Good Night, and Good Luck did. However, it is a well-made picture solidly directed by Clooney and packed with excellent performances.

Rating: *** (*****)

The Hangover: Part II

The Hangover: Part II - Dir. Todd Phillips (2011)

Sequels can go two ways. The creators can take the story in a completely different direction than the original film and risk alienating audiences, who might complain they lost sight of what made the first installment so successful. The sequel could also stick closely to the plot structure of its predecessor and risk fans complaining that the filmmakers are simply recycling ideas. The Hangover Part II is guilty of the latter, a sequel that rigidly follows the same formula of its 2009 forerunner.

The Wolfpack is back for another round of drunken revelry. Bradley Cooper, Ed Helms, and Zach Galifianakis return as the three best friends anyone could have. In his own words, Stu (Helms), the straight-laced dentist is still trying to put the fragile pieces of his psyche back together following the strange events in Las Vegas. He's not taking any chances now that it's his turn to get married. Unfortunately, it is not to the stripper from the first film. Part II earns its first strike with the exclusion of Heather Graham's sweet-natured Jade. There are only passing references to their relationship as Stu is getting hitched to a pretty young Asian named Lauren (Jamie Chung). We learn absolutely nothing about their romance because it only exists as a flimsy excuse to take the protagonists to Thailand.

Stu is reluctantly convinced to have a round of beers on the beach with his pals and future brother-in-law, Teddy (Mason Lee, son of director Ang Lee), a pre-med student and child prodigy. Faster than you can say, "Here we go again," Stu, Phil (Cooper), and Alan (Galifianakis) wake up the following morning in a sweltering Bangkok hotel room with no recollection of how they got there. Alan's head is shaved bald, Stu has a tribal tattoo plastered on his face, and there's a Capuchin monkey wearing a denim jacket. Even worse, there's no sign of Teddy save for his finger and Stanford class ring. Once more, the gang must follow a trail of breadcrumbs that takes them through seedy back alleys, dens of iniquity, and a Buddhist monastery.

Sound familiar? It should since director Todd Phillips and company have essentially remade the same exact picture. The sequel begins in a similar fashion to the first picture. Phil makes a defeated phone call to Doug's wife, Tracy (Sasha Barrese), followed by an opening credits sequence set to Danzig and a frantic search through the city for their missing friend. The end credits are a near carbon copy of the earlier Hangover with a series of photos of their wild night as Flo Rida rings through the theater. Even Mike Tyson returns for a cameo though he sings a different 80's hit tune (Murray Head's "One Night in Bangkok," natch). Ken Jeong also returns as the effeminate gangster, Mr. Leslie Chow. This time, he's a member of the wedding party, invited as Alan's plus one. A little Ken Jeong goes a long way. He can be funny in small doses, such as his recurring role on NBC's Community. Unfortunately, Phillips didn't get the memo and Jeong's routine is too forced and grating to be amusing.

Without Chow as an antagonist, the Wolfpack run into another mobster played by Paul Giamatti as well as a pair of Russian drug dealers. Giamatti isn't known for giving a bad performance and he's great for the brief time he has in the movie. Actor/director Nick Cassavetes also makes a quick appearance as a tattoo artist, a role that generated a lot of press before the movie's release. Mel Gibson was originally set for the character before negative reaction from members of the cast and crew put the kibosh on it. Gibson was replaced by Liam Neeson, who was unable to reprise the role when Phillips needed to reshoot the scene. Considering the revolving door of actors, you'd think the character would be noteworthy. Instead, he's there simply to divulge vital exposition to get the boys to their next destination.

Because the screenplay by Craig Mazin and Scot Armstrong is so concerned with adhering to the plot structure of its predecessor, it forgets that the budding friendship of the leads was the backbone of The Hangover. Not that the protagonists have grown much. Bradley Cooper is the same as the group's overgrown frat boy. Zach Galifianakis has some of the movie's funniest lines, but his Alan has lost some of the eccentric charm since last we saw him. He's more annoying than child-like and just a bit disturbing. Of the main trio, Ed Helms probably fares the worst. Helms has some good scenes in the first half of the film, but eventually regresses to screaming and flailing his limbs about. The jokes also regress to a series of tasteless and uninventive gags that exist purely for shock value. I'm sure the Thailand Board of Tourism will be excited to see their country depicted as a haven for violent drug dealers, underage prostitution, and she-male strippers.

I may lose my cinephile credentials when I saw I enjoyed it. The Hangover may have been a vulgar farce appealing to the lowest common denominator, but I was thoroughly entertained. The same can't be said for The Hangover Part II. Despite a few chuckles, the sequel is a witless rehash full of lazy, gross-out humor.

Rating: * ½ (*****)

Win Win

Win Win - Dir. Thomas McCarthy (2011)

Thomas McCarthy doesn't have one of the most recognizable names or faces. As a character actor, he's had supporting roles in films like Meet the Parents and 2012. However, he has won more critical acclaim as the writer/director of The Station Agent and The Visitor. McCarthy has specialized in telling stories about depressed outsiders forming an unconventional surrogate family. For his latest picture, Win Win, McCarthy sticks to his bread and butter, presenting his best movie yet.

Paul Giamatti is perfectly cast as Mike Flaherty, a New Jersey lawyer who practices in the matters of elderly care. He also doubles as the coach of a pathetic high school wrestling team with his partner Stephen (Jeffrey Tambor). Mike isn't pulling in enough money to support his wife, Jackie (Amy Ryan), and their two daughters. He finds what he believes to be an easy source of money in Leo Poplar (Burt Young), who is suffering from the onset of dementia. Unable to contact his family, Mike appoints himself as Leo's guardian in order to collect the $1500 a month from Leo's estate, then checks him into a nursing home so he doesn't actually have to care for Leo.

Mike's scheme seemingly goes off without a hitch until Leo's grandson, Kyle (Alex Shaffer), arrives on Leo's doorstep. Mike and Jackie take the boy in until they can contact Kyle's mother, Cindy (Melanie Lynskey), who is attending rehab and is estranged from her father. When Kyle shows off exceptional wrestling skill, Mike sees it as a karmic reward. He enrolls Kyle at the school for the chance to finally win a championship. Kyle's winning ways manage to inspire the adults around him as well as his lackadaisical teammates. Everything feels like it's coming around for Mike until Cindy shows up looking to collect her son and her father's money.

McCarthy's screenplay has a tendency to veer towards sitcom territory. It's formulaic and the complications are all wrapped up a little too conveniently. Yet, there's such a sweet-natured approach to the material that it's easy to go with the flow. Unlike other indie dramedies which are quirky for quirky's sake, the characters of Win Win feel genuine and likeable. The comedy ranges from over-the-top to low-key and each gag is never forced, coming naturally from the situations everyone finds themselves.

The cast also helps to elevate the film. Giamatti is the master of playing these sad sack roles, able to maintain an air of sympathy despite sometimes acting like a jerk (see American Splendor). Amy Ryan is excellent as the tough Jersey wife while Jeffrey Tambor plays the exact type of role you expect from Jeffrey Tambor. Rocky fans will be ecstatic to see Paulie himself appear in a small, but vital part. The real gem of Win Win is newcomer Alex Shaffer, who really is a champion wrestler in the Garden State. Shaffer manages to make so much more of a role that calls for the typical sullen and taciturn teenager.

McCarthy scores a definitive notch in the win column with Win Win. It's a funny and engaging film that stands as one of the best pictures released during the first half of 2011.

Rating: ***½ (*****)

Duplicity

Duplicity - Dir. Tony Gilroy (2009)


Michael Clayton was on my top ten list of best films for 2007. It’s a movie that gets better with each viewing. I was looking forward to writer/director Tony Gilroy’s follow-up though I was taken aback by the first trailer. I thought it was going to be a dark thriller cut from the same cloth as Clayton, instead it was a frothy Ocean’s Eleven-type film. Duplicity is part romantic comedy, part heist film and tries to be a little too clever for its own good.

Clive Owen is MI-6 agent, Ray Koval, who picks up a beautiful woman at the US Consulate in Dubai. That woman turns out to be Claire Stenwick, a CIA agent who drugs Ray and steals secret documents from him. They run into each other years later, now working on rival sides of a corporate espionage death match. Claire works for Burkett-Randall, headed up by CEO Howard Tully (Tom Wilkinson), while Ray is part of a security team for Equikrom under the auspices of CEO Richard Garsik (Paul Giamatti). Both corporations have been trying to steal sensitive information for each other and it only intensifies when Tully announces he is ready to roll out a revolutionary new product. We learn Claire is actually working as a mole for Equikrom and, not only that, she and Ray are looking to double-cross everybody to cash in on the secret product for themselves. That’s only the beginning of the twists and turns of Duplicity.

I’m all for twisty storylines as long as they are properly set up and make sense. Gilroy doesn’t so much set us up as he drops the twists right into our laps. It’s difficult to become invested in the plot when the rug keeps getting pulled from under us. The true appeal of the film is watching the movie stars act like movie stars. Clive Owen is always in a well-tailored suit and Julia Roberts (at 41) looks the best in her career and shows cleavage on an Erin Brockovich level. They meet each other for clandestine affairs in Rome, the Bahamas, and even Cleveland (where Owen has a funny dialogue about frozen pizza). Gilroy goes for a classic Hollywood feel to their relationship, something on par with Cary Grant and Audrey Hepburn. Though they have chemistry, they aren’t lighting up the screen as much as you’d want.

Duplicity begins on a high note with some clever use of split-screens and a slow motion slap fest between Wilkinson and Giamatti. The rest of the film doesn’t live up to the promise shown by the excellent opening sequences. It’s worth a rent if you’re in the mood for some lightweight fluff.

Rating: ** 1/2

Shoot 'Em Up

Shoot 'Em Up - Dir. Michael Davis (2007)

R-rated, live-action Looney Tunes chock full of blood, bullets, and boobs.

John Woo without the pathos. It's Gun-Fu not nearly as majestic or operatic as Woo's "heroic bloodshed" films.