Valerian and the City of a Thousand Planets

This is a movie that is based upon a number of assumptions. For instance, it assumes that if you're watching this flick, you already know a compendium's worth of science fiction conventions, and thus need few things explained to you. Example: apparently, the viewer is just supposed to accept, without question, the idea that enforcing the law throughout the human (and even non-human) footprint of the galaxy should be tasked to two relative children. Also, it is to be assumed that just because said children are both pretty, that they should be humping (or, if you insist, "in love"). The end product of all this assuming is a film that is pretty good to watch--certainly, it's a visual feast, with plenty of imaginative settings and design elements--with no one in the cast particularly embarrassing themselves, even if none of them particularly stand out, either. I'm probably being grouchy by limiting the rating to a MEOW; this is a more enjoyable moveie than that probably implies. It's just that it definitely seems like it could have been better, if the whole thing had been more thoroughly realized.

The Magnificent Seven (2016)

It's been a long time since I watched Seven Samurai; and I can't remember if I ever even watched the original version of this movie. So really, I can only make assessments on this film in its own right (which is probably as it should be anyway). The immediate impression this film makes is one of absurdity; the opening sequence features a presentation of villainy that exceeds the bounds of psychopathy. It's unrealistic; no one that out of his mind would ever get as far in this world as Peter Saarsgard's Bartholomew Bogue. So the movie starts with a problem right there, and it's a lot to overcome. Fortunately, just when you think 'over-the-top' is going to be the rule of the day, director Antoine Fuqua smartly dials it back--somewhat--and let's the strength of this film--the lead actors--take over. Excellent work by Denzel Washington (of course), Chris Pratt, Ethan Hawke, and Vincent D'Onofrio--as well as very able support from Haley Bennett--give the viewer solid, dimensional anchors upon which to ground one's emotional attachment. You definitely root for this bunch, especially once the (ample) mayhem starts. Lastly, this movie demonstrates why Western movie cliches became cliches: because they work, very well, at least as storytelling elements. It's not without its flaws, and I can't say whether it lives up to its precursors, but on its own terms this is a pretty good movie.

Boyhood

Upon release, this movie got a lot of praise for its unique concept of filming a story over a decade with the same actors, allowing the audience to see the young boy grow to manhood. I think many observers got caught up in the gimmick and glossed over the key film-making mechanism in that idea: the experience of seeing the actors--particularly the children--age over a compressed time period creates an artificial sense of long-term familiarity. That is, the viewer gets the impression that he knows these people like friends or family, which raises the quotient of caring about what happens to this boy, this family, these people. Had this story been filmed in three months, with different young actors representing the stages of the children's lives, viewers would be faced with the fact that, in and of itself, any given individual's life cycle is not especially meaningful or interesting to an outside observer. But develop that artificial sense of intimacy, as this movie does, and you find yourself caring about these characters far beyond anything on the screen--in terms of "story"--actually demands. It's a unique experience, to be sure, and worth seeing for yourself--but perhaps it's not as profound as some might have you believe.

Tape

Very much an "anti-movie"; it watches like a filmed play, which in fact is exactly what it is. Its "story" consists of nothing more than one long scene in a motel room, with two old school buddies delving into the truth of one past incident. But as skimpy as it is, that thin framework provides a tense and engrossing film. Another interesting film by director Richard Linklater, with great work by Ethan Hawke, Robert Sean Leonard, and Uma Thurman (the cast in its entirety).

Waking Life

This flick would probably have gotten a PURR simply for showing that animation can be used for something other than standard Disney bullshit. Watching this movie is a bit like attending a Spike & Mike festival, with less ass and shit jokes. But don't be fooled--this movie has some serious stuff on its mind, and it deserves credit for showing that at least a few people out there are thinking about the nature of our world. Some of the philosophical discussions may fly over your head (particularly if you have not done any background reading), but you'll absorb at least some of it.

Training Day

Intense, troubling and all too real. Good work by Denzel Washington, but Ethan Hawke should not be overlooked here--he certainly holds his own against the award-winner. This is the sort of movie that gets you thinking about the state of society for many days after viewing, and the thoughts are not comforting.

Gattaca

An interesting take on the issue of genetic engineering, and the potential pitfalls of making "designer" human beings. If anything, given what we've seen over the years, it's probably a little too optimistic on such a dystopian subject.

Dead Poets Society

A strong work with a lot to say about life. The first real look at Robin Williams as something other than a living cartoon character.