‘Blu-ray or Bust’ - JUNGLE

‘Blu-ray or Bust’

JUNGLE (2017, R, 115 minutes, Babber Films / Cutting Edge Group / Screen Australia)

This one was a mixed bag for me.  I wanted to enjoy the misery of one man’s struggle put to screen but I was distracted by the inconsistencies and poor tension builders.

JUNGLE is about Yossi Ghinsberg, played by Daniel Radcliffe (THE… Harry Potter), who finds himself lost in… wait for it… the jungle.  Based on a true story, Yossi left Israel in search of adventure, which eventually led him to embracing the backpack life, thus the wilds of Bolivia answered the call.  He meets a charismatic shyster who enticed him and two newly-made friends to travel out into the mostly unexplored region that has a lost tribe hidden away.  Once beyond ‘civilization’, they become derailed from the plan and the lost become more lost, for our backpackers.

Although not having spent time in a jungle, I learned how to survive in one during my time in the military.  This was beyond the normal training everyone gets, but much of it boils down to common sense.  The first lesson, above all else, was realizing all the dangers a jungle offers and learn what to do to prevent an untimely death.  Animals, bugs, infection… so many things to worry about, really.  So, when someone who wants to head deep into one of the most dangerous environments, they quickly start studying the top issues they will run into even if they are a ‘regular joe’. 

As for the most glaring problem I had, and they quickly encountered it, was jungle rot, also known as trench foot.  This happens when your feet are wet for long periods of time and not allowed to dry properly.  This can be easily managed with letting them dry during your breaks and at night… even if you are without foot powder, you can take preventive measures.  So, how was it they were so surprised and unprepared for this…?  With that, four supposed adventures who were there for that purpose, this including the guide who has been out a number of times, how does this happen?  Then, after one person gets it, you would think they would be on their ‘toes’ about proper care.  Hmmm...  Even if these were the actual events, you question the authenticity to hope they weren’t that ignorant of the jungle’s hazards.

Beyond that and some other questionable choices, the film has its moments.  There were brief moments of character development and a real sense of isolation while in the jungle.  The scenery was typical, which I was more appreciative to being true to the setting, rather than glamourizing special sites for shooting scenes.  Director Greg McLean (of THE BELKO EXPERIMENT, WOLF CREEK) proved he has some grit as they filmed in rough locations and brought together some interesting moments, not taking the easy way out.  The failings on his part were highlighting what anyone would deal with when hiking with people, like a branch slap from the person in front of you to wake you up.  Also, I hate how directors feel the need for a montage of jungle critters to show what lives hidden beyond the leaves.

The Special Features included a “Becoming Yossi Featurette”, the usual ‘making of’, and a collection of cast and crew interviews.  The highlight was how everyone remarked on Radcliffe’s work ethic and dedication to the role.  One aspect was how he lost fourteen pounds to show the emaciation Yossi suffered from the ordeal.  Starting with a slight frame at the start, that had to be tough.

As a final product, I can see why this project was greenlit.  There was enough potential this could have been an Oscar run if written properly.  I can also see why it struggled to make waves in the current blockbuster climate.  The call is yours, but the Blu-ray’s offering of visual and aural stimulation provides little to overshadow the deficiencies with the story.

Film Grade: B-

Special Features: B-

Blu-ray Necessary: Not a must

-- James S. Austin

‘Blu-ray or Bust’ - THE HITMAN’S BODYGUARD

‘Blu-ray or Bust’

THE HITMAN’S BODYGUARD (2017, R, 118 minutes, BODYGUARD PRODUCTIONS/20^TH CENTURY FOX)

Almost thirty years ago, Martin Brest redefined the road trip genre with a little movie about a bounty hunter trying to deliver a mob accountant by a certain day and time while being pursued by the mob and the FBI.  The tale was an action/comedy/love story—a bromance defined by violence, lots of swearing, and a menacing bad guy looking to kill the accountant.

MIDNIGHT RUN starred none other than Robert DeNiro and Charles Grodin (not to mention the late Dennis Farina, an angry Yaphet Kotto, and a bumbling John Ashton—all three of whom stole every single scene they were in), and the chemistry created between these two polar opposites made for an instant classic.  Now, since 1988, there have been several attempts to recreate that kind of frenetic comedic energy, and not many have come close to succeeding on the same level that Brest and company did. Writer George Gallo came close with 1995’s BAD BOYS, but even he seemed to know that there would be no way to capitalize on RUN’s success without making an exact copy of the original and rebranding it.

Fast-forward to 2017, and screenwriter Tom O’Connor gets pretty darn close.  Directed by Patrick Hughes (THE EXPENDABLES III), HITMAN concerns the efforts of a bodyguard (Ryan Reynolds, basically playing his snarky self) trying to transport a hitman (Samuel L. Jackson, trying to drop as many mother-effers as humanly possible) to a foreign court while being pursued by Russian baddies and INTERPOL.  Sound familiar yet?  Same basic concept as RUN, same formula—hell, without giving away any spoilers, almost the same sort of resolution!

But what makes this film standout from all the previous attempts to recreate what Brest and DeNiro and Grodin so perfectly captured is the fact that these characters are plenty safe in the capable hands of Reynolds and Jackson.  Also, there is one outstanding performance within the supporting cast: Salma Hayek as the hitman’s estranged wife.  If anyone comes close to out-cursing Jackson, it is this yoga-practicing bundle of anger and spite.  She continually surprises (see: SAUSAGE PARTY) (or don’t), and here, even from behind bars, she is a force to be reckoned with.  Everyone here seems to be having fun—enough to keep the viewer in on the joke.  This is an action-comedy, not something vying for an Oscar vote or a special place on your bookshelf.  It is entertainment, pure and simple.

So, yes, there are a few issues.  Aside from plot holes, guns that never have to be reloaded and bullets that never hit, there is also Gary Oldman doing his usual bad guy routine.  And cinematographer Jules O’Laughlin (KRAMPUS) does have a few moments that shine (the first “car chase”, which is more of a car/boat/motorcycle chase, is a violent vehicular square dance that is made nearly believable by the switching angles and close proximity shots that pull you right into the action).  But many of the other shots seem standard fare—there isn’t a whole lot new here by way of camera work, but O’Laughlin does what he can, and it seldom distracts from what is going on onscreen.

HITMAN is worth your time and attention, if not as a mostly rollicking and fun two hours, then at least for the nostalgia of DeNiro and Grodin.  While this isn’t the same, it comes close enough to deserve a nod of thanks for keeping the genre alive a bit longer.  And you also get to hear Samuel L sing (be sure to listen to the full version during the credits).  We don’t get too many opportunities to hear him singing his mother-effers now, do we?

Film Grade: B+

Special Features: A (your usual docs, plus a nifty little piece on the butt-kicking women in the film)

Blu-ray Necessary: Most definitely (explosions, 563,000 gunshots, and a decent soundtrack)

- T.S.Kummelman

The 'Not-So-Critical' Critic: JUSTICE LEAGUE

The 'Not-So-Critical' Critic: 

on JUSTICE LEAGUE (2017, 120 minutes, PG-13)

The Quick of It -

I want to say to all the haters, “Suck it.”  But, I will be nice.

It is the latest fashion, I tell you:  to ‘hate’.  And, I will explain why you shouldn’t be so rushed to judge the JUSTICE LEAGUE in an overly-critical manner.  As I now have come to understand it, there is one huge problem when putting together a project like this and hoping to not suffer any backlash.  The key problem?  There is just too much source material.  This maybe a quick and an oversimplified answer, yes… but follow me on this, and my, journey.

The truth is, everyone has been introduced to and experienced the DC Extended Universe in various ways.  Was it the comics?  Was it any of the animated series they offered?  How about the plethora of movies that have had various directors at the helm?  A combination?  And, how has your opinion matured on what is or is not acceptable?  Much has changed as the DCEU has evolved and there are numerous contributors along the way that have helped or hurt your current mindset.

I remember while in middle school, standing out front with the masses waiting for the first bell with a number of friends talking about the world of comics.  There were many young comic book readers back then, and they openly chatted about the latest issue or reminisced over the Silver and Gold ages.  It was kinda like the Greeks in Athens discussing the tenants of democracy.  Kinda… Marvel was constantly the main topic because they always tried crazy gimmicks to keep their readership high.  Now, comics are not as prolific in everyday small talk thanks the billions of other distractions this new technological age has introduced.  At the time, I enjoyed both Universes when I could but lacked the funds to collect all the titles.  So, I drifted to the one that resonated with me the most, Batman.  To put you in the timeline, this was the mid 80’s. 

During my days in high school, DC evolved into something greater.  In 1988, Batman: The Killing Joke was released, and it shook the world.  Then, following that, The Death of Superman.  Another crazy moment in panel-print with the splitting of Superman universes.  DC was getting intense and grew into a more mature style that worked on deeper, and sometimes darker, levels of writing.  Also, 1989 saw the release of Tim Burton’s Batman… a big moment for me (squee!).  I remember the day I sat down in the theater to watch with the family and friends.  The excitement level was super high for my adolescent heart, and I probably cried a little in my popcorn when I heard the Danny Elfman musical opening.  DC reached a new level for comics who were based films at that point.  You must understand, Marvel was not so prolific on the silver screen till much later.  BLADE (1998) was its first real release, and no one cared that it was a Marvel story.  Great movie but everyone was hung up on the vampires.  Some of you reading probably didn’t even know that it was Marvel-based.  So, looking at the bigger picture, Marvel blossomed in the 2000’s with Fantastic Four and X-Men at the start, while DC already cut ground long before.  Superman had already ruled the 80’s and Batman the 90’s.

As time went by and I grew a tad older, I was pulled back into comics with the release of Batman: The Animated Series.  If you didn’t know, which you really should, the series won a number of awards for its progressive style… including four Emmy Awards.  I was hooked.  I would set my VCR to tape episodes so that I wouldn’t miss anything new.  Kevin Conroy will always be Batman’s voice and Mark Hamill the Joker’s.  Never will that change.

So, to jump forward further, we have this rat race between Marvel and DC on film projects.  Marvel seems to have the upper hand with critics.  To explain this, scan back and remember all your experiences with Iron Man.  Hmm… waiting…  Okay, Thor…  Let’s go with Captain America…  I’ll give you one.  The Hulk?  Yes, a fun TV show with a green-painted man and a theme song that will forever haunt you (…such melancholy).  So, when they launched all these guys in the MCU, you’ve had not much to go one except a couple of questionable Hulk films.  For the fanbase, most were ignorant of their beginnings.  The writers could sell you whatever they wanted and you will buy it without question.  How could you argue?

By this point for the DC world, everyone has an opinion and a particular vision of what they want on the silver screen thanks in part to all the potential paths they took to become a full-grown DC fan.  And yes, apparently, everyone can write an amazing script as well, one that will appeal to the snobbish masses who require their version of the story, and nothing else.  If you hadn’t noticed by now after all these films, take note of the problems listed for any of the recent DC films you may have and then compare it to the Marvel films.  You will find that there are a surprising number of things found in the Marvel films that people gave a pass to.  Why is that?  My favorite answer is, “Oh, they just did it better.”  Silly, there was no difference.

So, when watching the JUSTICE LEAGUE, remember that this is just a story made to be entertaining.  You have the power on how the next couple hours will be filled.  It will be a great ride.  Jason Momoa as Aquaman is quite entertaining, almost steeling the scenes with his brash demeaner.  This is something everyone was convinced would be a failed experiment.  Ezra Miller as The Flash, again hilarious in his own way.  (Yes, I supported the thought of having the CW’s Grant Gustin play the role so that the small and large screen was linked in some way.)  Miller filled the role of a naïve hero, bringing a sense of wonder and new-found excitement when trying to be a part of something grander.  Gal Gadot… never in question after WONDER WOMAN.  Even Ben Affleck plays the aged Batman with grace and a lot of snark.  One tip of the hat is required for Ray Fisher as Cyborg.  With only half a face, he shows a great range of emotions throughout, making him the surprise winner here on an acting level.

The story is the continuation of the Batman vs Superman: Dawn of Justice story arc.  The call that Lex Luther mentions is answered by Steppenwolf and he brings the fight to earth, hunting down the Motherboxes.  He is a powerful villain and you never think his defeat is possible as they battle.  Without spoiling, things get crazy and desperate measures are taken.  By the end, Steppenwolf still shines better than most baddies who required a massive team-up to fight to date for the group films.

Yes, there were some questionable calls.  The CGI was over-the-top.  Yes, because superhero movies no longer require CGI at this point, people and filming tricks are on a new level of awesomeness (that’s me being a wise ass).  Some complain Steppenwolf’s CGI was not great… wait for Thanos.  Even in the quick clips, I cringe at what they are thinking is not too cartoony for live action.  When scanning “these here interwebs”, critics seem more interested in trying to present clever jabs and irrelevant issues than discuss the movie.  Again, some seem to have not enjoyed one comic or have very superficial knowledge when it comes to DC superheroes.  

The strongest point I can make would be to reference what a typical person having an opinion that they are offering on a subject that is counterintuitive to their argument.  I heard a particular segment on radio, one where a gentleman said how Star Wars and Lord of the Rings were stupid, or something to that effect.  When trying to defend his opinion to those trying to understand, he also added he had never seen any of the films or read the books.  Again, he said he wouldn’t like them and they are stupid, so why bother.  My problem with that is – “How can you have an opinion if you are completely dismissive?”  Sure, it may not be something you would enjoy, but it sure as hell can’t support your authoritative cry that these things are ‘stupid’ and a waste of time.

For those that do have some inkling of the DCEU, remember your roots but understand that there are many ways to tell a story.  You have the choice on whether you are open to something different or suffer the influence of others.  From the director’s side, it has both Zach Snyder’s darkness – to include the first song Sigrid’s cover of Leonard Cohen “Everybody Knows” (which I know was his decision, being based on Concrete Blonde’s version, we are kindred spirits of that age in music I tell you) and Joss Whedon’s wit and flair (even if he was to keep the same tone as was initially filmed).  There is some sense of disjointed scenes, but what do you expect with two directors, a large cast of Type-A superheroes, and the studio mandating a runtime of less than two hours. 

In the end, the action is intense, the story arc continues in a confident manner with multiple subplots to be excited about, and there are two after-credit clips worth seeing.  I am thankful for the continuous efforts made to make these stories available to the masses and the diligence to create something grander, beyond the scope of one person’s opinion… even if it is my own.

Grade: A-