by Steve Habrat
Less than two years ago, Sony and Columbia Pictures rushed director Marc Webb’s The Amazing Spider-Man to the big screen, just five short years after Sam Raimi’s overstuffed Spider-Man 3. With a brand new cast led by The Social Network’s Andrew Garfield, The Amazing Spider-Man was a rush job of a summer blockbuster—a desperate attempt on Sony’s part to hold on to the rights of the Spider-Man character. It’s easy to see why Sony wanted to keep Spidey trapped in their web, as the beloved superhero is an audience favorite that guarantees the studio a big pay day. Yet for all the insistence that The Amazing Spider-Man was going to be a fresh start for the character, the film’s plot seemed awfully familiar and, frankly, a bit underwhelming when pitted against Marvel’s The Avengers and DC’s The Dark Knight Rises, the two summer kingpins of 2012. Now here we are at the commencement of the 2014 summer movie season and leading the blockbuster procession is The Amazing Spider-Man 2—a cramped comic book epic that fails to live up to its colossal hype. Sure it’s made with all the splashy action, on-again-off-again romance, wisecracks, and confliction that we have come to expect from a Spider-Man movie, but returning director Marc Webb and screenwriters Alec Kurtzman, Roberto Orci, and Jeff Pinkner appear to have been bitten by the same excess bug that nipped Raimi when he delivered his Spider-Man 3 dud.
The Amazing Spider-Man 2 finds brainy teenager Peter Parker (played by Andrew Garfield) continuing to battle crime on the New York City streets as Spider-Man. On the day of his high school graduation, Peter’s spider senses lead him to a high-speed chase through the city streets involving a highjacked truck that is carrying a massive load of plutonium. The man behind the highjacking is Aleksei Sytsevich (played by Paul Giamatti), a ruthless Russian mobster who will stop at nothing to outrun the authorities. With the help of Spider-Man, the authorities are able to corral Sytsevich, but during the chase, the webslinger saves Max Dillion (played by Jamie Foxx), an OsCorp employee who is largely ignored by his coworkers. In the wake of the rescue, Dillion develops an unnatural obsession with Spider-Man, believing that he is the superhero’s partner. Meanwhile, Peter suffers from visions of fallen police captain George Stacy, the father of his girlfriend, Gwen Stacy (played by Emma Stone), who made Peter promise to distance himself from Gwen after his battle with the Lizard. Haunted by the promise he made, Peter grapples with his romance with Gwen, which leads to a nasty break-up between the two. Shortly after the break-up, Peter reunites with his long lost friend Harry Osborn (played by Dane DeHaan), the son of OsCorp’s late president, Norman Osborn (played by Chris Cooper). Before his father’s death, Harry learns that he has inherited his father’s illness, and that he has to rush to find a cure before it’s too late. At the same time, a freak workplace accidently transforms Max Dillion into an electrified monster called Electro. After a botched attempt to calm the terrified Max in Times Square, Dillion develops a grudge against Spider-Man and vows to destroy him.
At two hours and twenty minutes, The Amazing Spider-Man 2 attempts to juggle a staggering number of subplots, all of which seem to demand more time than they are allotted. Webb and his screenwriters continue to reveal tidbits of information about Peter’s late parents, and Harry’s quest to cure himself leads to the creation of a familiar Spidey super villain. And then there are the romantic quarrels between the impossibly cute Gwen Stacy and the stammering Peter, a couple that have to hold the record for the most make-ups and break-ups in a single motion picture. Honestly, trying to keep up with all of it is exhausting, and in the process, Webb practically forgets about one character that we’re left wanting quite a bit more from. After a while, this overcrowded tale begins to feel a bit like Spider-Man 3, the film that single-handedly killed off Raimi’s series. It appears that neither the filmmakers nor the studio learned from this mistake, although Webb avoids the cartoonish brooding and cringe inducing camp that made Raimi’s such a painful embarrassment. What’s clear is that Sony is putting pressure on the filmmakers to set up spin-off movies and lay the foundation for the next two installments in this Spidey saga. Sony has already made it clear that they intend to craft a cinematic universe much like Disney’s Avengers line, although, this world is threatening to be too villain heavy.
While the jam-packed narrative causes The Amazing Spider-Man 2 to feel sluggish, the lighter moments between Peter and Gwen put a little pep in the film’s step. The relationship drama does get a bit tiresome, but the two stars have a chemistry that soothes some of the grumbles that are bound to slip out from many audience members who have grown weary of Spidey’s chaotic love life. It also helps that Garfield and Stone share an off-screen romance, which makes their on-screen relationship even cuter. On his own, Garfield continues to settle into the role of Peter Parker/Spider-Man, wisecracking his way through gunfights, car chases, aerial battles with Electro, and a final showdown with the charging Rhino. There is no denying that Garfield nails the cocky comedic side of the character, but he also proves that he can handle Peter’s darker demons that creep in when he’s not swinging through the concrete jungle. His inner angst is measured with a desire for answers about his parent’s mysterious death—a mystery that he grapples with in the privacy of his bedroom. Stone remains an actress you just can’t resist as her Gwen Stacy looks to a future without Peter by her side. In the final stretch of the film, she proves to be more than just a damsel in distress, daring to jump into the action and assist a desperate Peter as he fends off attacks from Dillion’s Electro and Harry’s cackling Green Goblin.
On the villain end of things, The Amazing Spider-Man 2 finds one half of the Sinister Six uniting to squash the Spider. If you thought that Lizard was a far-fetched villain, wait until you lay eyes on Electro, a glittery swirl of electricity given a tragic human rage by Jamie Foxx. Early on, Foxx really makes you feel for Max Dillion, a geeky engineer who talks to himself and frowns as his coworkers look right through him. As Electro, Foxx plays the character as a terrified monster that doesn’t wish to harm anyone, but this misunderstood monster performance is rapidly brought down through a sudden script shift that demands Electro get mean fast. DeHaan was born to play Harry Osborn, the chilly son of OsCorp’s late president who is doomed to become the leering Green Goblin. The scenes shared between Peter and Harry are pleasant enough, but there are far too little of them for us to really be shaken when Harry’s Green Goblin comes calling for Peter’s Spider-Man. Giamatti’s Aleksei is appropriately over the top, as he grunts and growls in a hammy Russian accent. Sadly, he’s reduced to an extended cameo, but when he jumps into that menacing Rhino suit and starts wrecking havoc in the streets of New York City, I promise your adrenaline will start surging, especially when he stares down quivering cops and proclaims, “I am zee Rhino!”
As expected, The Amazing Spider-Man 2 features numerous action set pieces that will thrill viewers of all ages. The scenes of Spider-Man swinging between skyscrapers are some of the most convincing we’ve seen so far, and Spidey’s first encounter with the skittish Electro shows off some impressive urban destruction. My personal favorite action moment is the confined fistfight between Spidey and the Green Goblin, a battle that ends with a shock guaranteed to blindside the packed theater. Another personal favorite is the Wall-Crawler’s showdown with Rhino, who charges into the battle guns and rockets blazing. As far as other complaints go, I found the score, which is composed by Hans Zimmer and the “Magnificent Six,” a super group led by Pharrell Williams, to be an absolute catastrophe. The chugging and whispering theme for Electro is just distracting as it attempts to get inside his glowing head, and the sudden lapses into shrill dubstep leaves your ears ringing. Overall, while there are things to like about The Amazing Spider-Man 2—the action, the CGI, the performances—the film doesn’t find Webb sending the friendly neighborhood Spider-Man to soaring new heights. What we’re left with is a cluttered and disjointed superhero outing preoccupied with enticing the audience rather than satisfying them until Spidey inevitably swings back onto the big screen.
by Steve Habrat
If I have learned one thing at the movies this summer, I have learned that Tom Hardy is one scary man. I think if I were to pass him on the sidewalk, I’d quickly cross the street to avoid him. As if his villainous turn as hulking terrorist Bane in The Dark Knight Rises wasn’t enough to make this guy one intimidating bastard, wait until you get a load of him in director John Hillcoat’s Lawless, a Prohibition era thriller about bootleggers in Franklin County, Virginia. Based on the book The Wettest County in the World by Matt Bondurant, Hillcoat’s thriller, which is based on a true story, does find a few common gangster movie qualities blotching the screenplay by Nick Cave. However, Lawless is saved by the explosive performances from this must-see ensemble cast, who all seem to be relishing this material. Still, I really wish I could say that Lawless avoided things we have seen from movies like this in the past but sadly, it gets caught in the same web that many of these films do. The story line does gasp one breath of fresh air by its use of Prohibition as the backdrop for these outlaws. I also admired the setting, far away from the big city bustle and nestled in the hills where Mother Nature isolates the Bondurant boys behind her natural wooded wall. Yet Lawless is sent into the stars by the terrifying turn from Hardy, a role that I can only hope is not forgotten come Awards season.
Welcome to the hills of Prohibition era Franklin County, Virginia, a serene and seemingly peaceful place where bootlegging runs rampant. The stars of this bootlegging party are the Bondurant boys, who seem to be on top of the world just out of the clutches of the law. The Bondurant boys are made up of the quiet but threatening Forrest (Played by Tom Hardy), who is also the leader of the group, hothead Howard (Played by Jason Clarke), and runt Jack (Played by Shia LaBeouf). The boys run their illegal business out of their dusty roadside bar but they soon find themselves harassed by flamboyant Special Agent Charlie Rakes (Played by Guy Pearce), a hot shot from Chicago who wants a cut of the profits that the Bondurant boys bring in. After Forrest refuses, Rakes comes down hard on the bootleggers nestled in the hills and slowly begins shutting down their operations in the most brutal ways he can. After a nasty run in with Jack and a murder attempt is made on Forrest, a war is sparked in the Franklin County hills but the Bondurants have no intention of shutting down their business.
Cold and bristly, with tons of blood to get tossed around the furiously exhaustive sets, Lawless sure is one hell of a vicious ride into an untamed world. Prohibition is something that you never hear too much about, so it comes as a major shock to see it done with so much fury. People are harshly stabbed, shot, tarred, feathered, rapped, tortured, and beaten, cutthroat punishments for a cutthroat business I suppose. Despite the horrific violence (trust me, it is horrific), the film itself boasts rich amounts of cinematography from Benoit Delhomme, who makes every scene of the film appropriate to cut out and frame on your wall. While the film has plenty of violence to go around, there are some thick dramatics draped over this lawless world, so thick that you could almost cut it with a dull and rusty blade. There are two delicately delivered romances, one between Forrest and bar waitress Maggie Beauford (Played by Jessica Chastain), a former dancer looking that desperately wanted a quiet life but has stumbled into something worse and one between Jack and Bertha Minnix (Played by Mia Wasikowska), a seemingly innocent preacher’s daughter with a rebellious streak. Both are delivered with heart-on-the-sleeve compassion, making us root for both love stories to triumph in this world of blood.
Lawless achieves a must-see status due to the performances, especially the one from the hulking Hardy, who portrays Forrest Bondurant as a grunting bear of a man who speaks in a southern drawl that sounds like grinding gravel mixed with thick globs of molasses. While he is technically the good guy, Hardy owns any room he walks into and he leaves you wiping the sweat off of your palms when he leaves. The characters all whisper that Forrest is invincible and you will be left half believing it throughout the runtime. At times, he can be surprisingly funny, especially when Chastain’s Maggie tries to offer some affection his way. When he has his back against the wall, God forbid he reaches in his cardigan pocket and pulls out his dread brass knuckles, which he uses with precise savagery. While Hardy deserves a spot in the Best Supporting Actor category at the Academy Awards, he finds some competition from Pearce, a corrupt lawman with oily hair and dressed in fancy suits. Pearce, who I swear is incapable of delivering a lousy performance, is just as unpredictable as Hardy when it comes to his temper. Vaguely perverted and as slippery as they come, he is a corrupt soul who finds delight in bringing down a wave of misery on all who cross him.
In a way, it is almost a shame that Hardy and Pearce are so good because they actually overshadow the other great performances. LaBeouf, who has recently said that he is done with big studio films, punches in a subtle performance that slowly flares up into an uncontrollable rage. He’s a runt that becomes reckless and you will hate him for it, especially when he has a good thing right in the palm of his hand. That good thing is sweet Bertha, the gentle daughter of a preacher who hides her interest in the business that Jack and his brothers are into. Clarke gets to play the bloodthirsty psycho of the three Bondurant boys. You will cringe when Forrest decides to let him off his leash and you pray that Forrest puts him back on it the second he is unleashed. Chastain is as gorgeous as ever as the delicate Maggie, who has the hots for the closed off Forrest. Along with Wasikowska’s Bertha, they form a calming force that balances out all the violence. Dane DeHaan joins this gangster party as the handicapped Cricket, who helps the Bondurant boys brew the their liquor. Rounding out the supporting players is the superb Gary Oldman, who stops by to blow us all away as Floyd Banner, a mobster who enjoys carrying a Tommy gun around and blasting away right in front of an innocent audience.
As the sense of doom wafts through the trees of Franklin County, Nick Cave and Warren Ellis provide an appropriately nippy score that is all twanging guitars, bluegrass chants, and static hums that slowly build as the tension mounts. Lawless certainly suffers from some predictability but I will say that there are a few surprise scenes that really catch you off guard. Still, I am willing to forgive because Hillcoat’s work draws you in close and then refuses to let you walk away cleanly. He shakes you up and he does it in such a tasteful manner. While I can’t say that I liked Lawless as much as Hillcoat’s scorching Australian western The Proposition, I will say that I enjoyed the film a bit more than his previous big screen offering The Road. Overall, Lawless may be brewed from a recipe we have all tried before but this batch has enough burn going down and a unique lingering buzz to have you reaching for a second shot and maybe even a third.
by Steve Habrat
How refreshing it is to finally see a mockumentary blockbuster that doesn’t feel the need to be a horror film! Behold Chronicle, a mysterious, mean, and sometimes flawed mockumentary that chooses the route of superpowers rather than supernatural. The thanks should go to director Josh Trank and writer Mike Landis for thinking outside the box, attempting something different, and breaking some new ground within the genre. Similar to Cloverfield but without the big budget and monsters, Chronicle makes a whole lot out of very little and, boy, did it thrill the hell out of me. It also refuses to dumb itself down which causes it to be fairly thought provoking, psychological, and extremely driven to earn our respectable. Much of the success also falls on the shoulders of the unknown actors in front of the camera who pull off a naturalism that many of these films lack. It all comes together to shape a shocking final act that turns downtown Seattle into a battlefield.
Chronicle is told from the perspective of loner Adam (Played by Dane DeHaan), who sulks into the camera with circles under his eyes. He cares for his sick mother, who seems to adore every moment she gets to spend with him, and he avoids his alcoholic father’s rants and beatings. He begins documenting his day-to-day routine, taking his camera to school with him and capturing the hell he endures. He is the target of bullies, ignored by girls and most other kids, and many call him “creepy” when they see his camera. His only true friend is Matt (Played by Alex Russell), his cousin who consistently encourages him to come out of his shell and reluctantly looks over him. When Adam and Matt attend a secluded party, they go exploring in the woods with the popular kid at school Steve (Played by Michael B. Jordan) and they end up finding a strange cave-like hole in a clearing. They decide to explore the hole and make a mysterious alien-like discovery, which rubs off on them and as a result, they end up with telekinetic powers that they at first use for teenage pranks. Soon Adam begins sharpening the powers and he beings abusing his gift, which leads to a destructive and bloody showdown in the streets of Seattle between Matt and Adam.
Chronicle scores brownie points for putting us on the side of the villain, giving us insight into Adam’s evolution from loner with good intentions to a murderous antagonist. His descent into villainy is piteous and we do feel for him. Every victory he has is ruined for him and his father’s physical and mental abuse sends him over the edge. He begins to suspect that Steve isn’t truly his friend and rejects his friendly concerns. The result is multiple deaths and the creation of a monster that deems himself an apex predator. In the beginning we can smell whiffs of anger in Adam, a ticking time bomb, but when his fury is unleashed, it sucks all the air out of our lungs.
The early bonding scenes are a treat to watch and when Adam, Matt, and Steve play pranks with their new found powers, they are often times hilarious, typical antics of puckish teenagers. The standout is when the three boys discover they can fly and they pass around a football above the clouds. There is also a wonderful talent show sequence where Steve and Matt reveal their powers to their fellow high school students. The scene belongs to Adam and I got the feeling that Steve was trying to give Adam his moment in the sun, which makes their sudden falling out all the more dramatic and crushing. Yet it is these scenes that also bring out the true humanity of these teenagers, who come off like real everyday teens you’d pass on the street. They discuss girls, popularity, sex, parties, and their dreams, all while never missing the opportunity to give each other a hard time. These teens also quote Carl Jung, which is a bit left of center but brave nonetheless.
Chronicle packs epic battle sequences that will shake the walls of your theater. They also end up being the most flawed aspects of the film, sometimes being a bit incomprehensible and distant. There are shots that are too far away to really tell who is winning in the climatic showdown and I was left wishing that Trank had focused his camera in a little bit closer. I understand the approach he is taking but he has to understand that he is yanking us out of the moment when he pulls away. Yet he makes a mountain out of a measly pile of dirt. Chronicle reeks of having a shoestring budget yet we get explosions, cars crushing like soda cans, helicopters smashing into the panic-stricken streets, and destruction of the famed Seattle Space Needle. We get scenes of the kids leaping through the air, dodging airplanes, making heroic catches of both each other and innocent bystanders. Trank makes the action unfeigned, bloody, and yes, the kids get hurt. Bad. It’s far from the standard superhero films where the blows don’t really faze either individual. Our dueling characters are barely standing halfway through their confrontation.
In the end, Chronicle features well-written dialogue, multidimensional characters, booming action sequences, and an unforgettable climax. The most glaring issue with the film is the lack of an explanation over what the kids find in the cave and all we really get is some shaky neon shots of what looks like a giant neon crystal spider (trust me, it’s actually pretty cool looking) that emits rumbling electronic booms. The film never backtracks to explain further which I found to be frustrating. The true hero of Chronicle ends up being the villain, DeHaan, who is a little too convincing at times in his rage. For a February release, Chronicle manages to be a step above the other warmed over releases by Hollywood. It’s a step above because it captures how kids in this situation would act and react. And you can’t help but reflect on what you would do if you suddenly gained superpowers. Would you play pranks? Use it for destructive purposes? Use them to protect your family at any cost? Or use them to make a teddy bear levitate to scare a young girl? But kids will be kids I suppose and the shenanigans are expected. There is no question or doubt that Chronicle is one of the coolest movies of 2012 so far.