The Amazing Spider-Man 2 (2014)

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.

Grade: C

Saving Mr. Banks (2013)

by Steve Habrat

Director John Lee Hancock is no stranger to crafting crowd-pleasing dramas. He’s the man responsible for such films as Dennis Quaid’s 2002 sports drama The Rookie and Sandra Bullock’s unstoppable 2009 hit The Blind Side. When it came to telling the enchanting story of how Walt Disney managed to get the rights to P.L. Travers’ book Mary Poppins, Hancock was certainly the man for the job. Hancock’s Saving Mr. Banks is certainly a well-oiled piece of period filmmaking with several performances that certainly scream for Oscar. It’s a mushy tale about how much the character of Mary Poppins meant to Travers, served up in a candy shell that audiences are guaranteed to savor. Both Hancock and Disney Studios are playing to our hearts with the emotional script from Kelly Marcel and Sue Smith, but the magic of Saving Mr. Banks really comes alive through the performances from its spread of A-list celebrities. This is Emma Thompson’s show, but Tom Hanks, who is still hot off the success of Captain Phillips, warmly beams his way through his performance as the ultimate dreamer, Walt Disney. And then there is the sweet performance from Paul Giamatti and a particularly touching turn from Colin Farrell, who becomes the film’s beating heart and soaring soul.

Saving Mr. Banks picks up in 1961, with Mary Poppins author Pamela P.L. Travers (played by Emma Thompson) tight on money and low on options. Through her agent, Diarmuid Russell (played by Ronan Vibert), Pamela receives an offer from Walt Disney (played by Tom Hanks) for the rights to her beloved story so that he can make it into a movie. At first, Pamela refuses to sign over the rights to Disney, who she believes will ruin her very personal story, but her reluctance to right another novel to bring in more money puts her in a difficult spot. With no other alternatives, Pamela travels to Los Angeles to meet with Walt to discuss the project. Upon her arrival, Walt goes above and beyond to charm the scowling Pamela, but each one of his attempts bounces right off her thick skin. Pamela soon begins meeting with scriptwriter Don DaGradi (played by Bradley Whitford) and composer/lyricist brothers Richard and Robert Sherman (played by Jason Schwartzman and B.J. Novak) to pour over every single detail of the script, storyboards, and musical numbers—all of which she finds fault with. As the exasperated Disney crewmembers try to please Pamela, she strikes up a friendship with her kindly driver, Ralph (played by Paul Giamatti), and begins flashing back to her dysfunctional childhood in Queensland, Australia, with her alcoholic father, Travers Robert Goff (played by Colin Farrell), who instilled a vivid imagination inside the young Pamela.

Saving Mr. Banks juggles two storylines, one which flashes back to Australia, 1906, which gives us a glimpse inside Pamela’s upbringing at the hands of her drunken but loving father and her wounded, soft-spoken mother (played by Ruth Wilson). The scenes set in Australia are given a fairy tale glow, romanticized and shimmering in true Disney fashion. The dramatic outback flashbacks are met by the scenes set in 1961, which posses a more humorous side as Pamela grapples with her idiosyncrasies with her beloved character. Thompson plays Pamela as a porcupine of a woman, a prissy control freak who never passes up a chance to put old Walt Disney in his place. When she isn’t complaining that Los Angeles smells like sweat and chlorine, she ripping into ol’ Walt for anything and everything. Initially, she appears to be immune to Walt’s charms and she scowls every time she lays eyes on a familiar mouse that we have all come to adore. When she meets with DaGradi and the Sherman brothers, she stomps her feet and demands that all of their meeting are recorded. She especially detests the songs like “Supercalifragilisticexpialidocious,” and she groans over the mustache added to the character of Mr. Banks, an addition that Walt has personally requested. For as cold and heartless as she seems to be, Thompson molds the character into a sympathetic soul who wrestles with painful memories that she feels doesn’t deserve the pixie-dust whimsy that she is convinced Walt will give her story.

As far as the rest of the performances go, Hanks beams his way through his performance as Walt Disney, a happy-go-lucky businessman who is absolutely perplexed by the whirlwind that is Pamela. Watching his reactions to feisty writer is a treat, especially when she recoils in horror at his suggestion of taking a trip to Disneyland. As his battle to make the movie culminates, he tells a personal story that reveals his understanding over how much the character of Mary Poppins means to Pamela. Then there is Giamatti, who gives one of the most sensitive performances of his career as Ralph, Pamela’s gee-whiz limo driver who makes every effort imaginable to get to know this rigid sourpuss. Watching Ralph develop his friendship with Pamela is hilarious and near the end, it takes an emotional turn that will make your heart swell. Whitford nabs several chuckles as DaGradi, the cautious scriptwriter tasked with battling with Travers on a day-to-day basis. Schwarztman and Novak are a terrific tag team as the Shermans, the composers who just can’t seem to come up with a tune that gets Travers tapping her toes. Then there is Farrell, who just leaps across the screen on the wings of imagination. Behind closed doors, he is a withering heap of a man consumed by alcoholic demons and an illness that threatens to take his life. However, when he is facing the young Pamela in the sun, he is a dancing court jester, her encouragement to never stop dreaming or chasing imagination. Trust me when I say that this role is one of Farrell’s finest hours.

Considering that Saving Mr. Banks is a Disney production, the film’s sets and cinematography look like a million bucks. While there was no filming in Australia, Hancock does a marvelous job transforming various locations around California into the dusty Australian Outback. It should also be noted that there isn’t a single shot in the entire picture that isn’t crisp, clean, and gorgeous, always eager to show off the fantastic period clothing and set design. Hancock and his screenwriters also do a marvelous job with revealing little secrets about Pamela’s past to the viewer, whether it is her dislike for pears or her fury over Mr. Banks having a mustache on screen. Every little reveal is balanced throughout the picture, one being just slightly more emotional than the last one. Overall, while there is no doubt in anyone’s mind that Disney studios has sweetened this story up in places, Saving Mr. Banks is still a wholesome little movie that touches on the importance of imagination and pleas with each and every one of us to never loose our child-like sense of wonder. Thompson and Farrell are Oscar worthy in their respective roles, Giamatti’s Ralph is unforgettable, and Hanks is clearly having a grand old time slipping into the skin of Walt Disney, a role he was born to play.

Grade: B+

Rock of Ages (2012)

by Steve Habrat

It is always great to see a musical on the big screen these days. Every once and a while, the genre has to resurface to show audiences that there is still life in that old dog yet. Now we have Rock of Ages, a heavy metal musical that promises to be “nothin’ but a good time.” I wish I could say that Rock of Ages is a good time but in actuality, it is a fairly choppy and inconsistent time with a flimsy story and too many characters left underdeveloped. Rock of Ages certainly gets the flamboyant glam rock appearance of 80’s hair metal correct, but for a musical that is fist pumping to rebellious 80’s sounds, the film is lacking the danger that is associated with genre. Everything here seems a little soft, especially our two leads that belt out beloved 80’s tunes that sound like watered down alternative covers. Rock of Ages plays things a little too safe for my tastes, refusing to let things get too out of hand or the bouncer will show up and toss you out on your ass. This is rock n’ roll on a three-drink limit and calling it a night at 11:00 p.m. It seems that Tom Cruise’s eager-to-rock Stacee Jaxx is the only one who showed up to really get this party started.

Rock of Ages begins in 1987, with small town girl Sherrie Christian (Played by Julianne Hough) traveling from Tulsa, Oklahoma to Los Angeles to pursue her dream of becoming a singer. She arrives on the sunset strip and bumps into Drew Boley (Played by Diego Boneta), a barback at the heavy metal club The Bourbon Room who dreams of becoming a rock star. The two immediately click and Drew ends up talking the cranky Bourbon Room owner Dennis Dupree (Played by Alec Baldwin) into giving Sherrie a job as a waitress. Meanwhile, Dennis and his right hand man Lonny (Played by Russell Brand) are trying to arrange a final farewell concert for Stacee Jaxx (Played by Tom Cruise) and his band Arsenal at The Bourbon Room, which would rake in enough dough to help Dennis out with unpaid taxes. On the other side of town, Mayor Mike Whitmore’s (Played by Bryan Cranston) ultra conservative and heavy metal hating wife Patricia Whitmore (Played by Catherine Zeta-Jones) discovers that The Bourbon Room has not paid taxes in quite some time. Along with several members of her church, she sets out to rid Los Angeles of The Bourbon Room and the rock n’ roll image that grips the city. Meanwhile, Sherrie and Drew are busy trying to make their dreams of becoming famous come true and in the process, they fall in love with each other.

Incredibly unfocused and messy, Rock of Ages can’t decide which plotline it wants to focus on. It jumps here and introduces a character there while failing to develop that character properly. Director Adam Shankman and his screenwriters Justin Theroux, Chris D’Arienzo (who is responsible for the Broadway musical), and Allen Loeb try to make it all about Sherrie and Drew pursuing their dreams, but the young talents fail to really make us root for them. They are just pretty faces that are out of place in the sea of big hair and denim vests. The film largely ignores the plotline about the conservative Patricia trying to act as a wrecking ball to the heavy metal genre. I’m still trying to figure out how this plotline comments about the music scene today, especially when the most shocking thing in music right now is what kind of an outfit Lady GaGa will step out in next.  Furthermore, the screenwriters were absolutely clueless about how to properly lead-in to a musical number, each one more forced than the last (and one of the screenwriters is responsible for the Broadway hit!). This may all be fun on the stage but it only works in small spurts on the big screen.

Rock of Ages tries to conceal the messy plotline with an ensemble cast of up-and-coming talent mixed with established faces, making things even bumpier than they already are. Julianne Hough has the looks but she just never works as a heavy metal fanatic who weakens in the knees for Stacee Jaxx. She looks like she would have been more interested in the rising boy band craze of the late 80’s rather than Jaxx, who faintly resembles bad-boy Axl Rose. When it comes to her voice, she has a decent enough coo but it wasn’t made for these head bangers. Her Sherrie (who dots the “I” in her name with a pink heart) is a little too sweet for this scene of puke, sweat, fishnets, and whiskey. Diego Boneta doesn’t fare much better, never once coming off believable when decked our in ripped jeans, work boots, and black t-shirts. Just like Hough’s Sherrie, Boneta’s Drew is a bit too soft for The Bourbon Room’s crowd. In a scene where he is supposedly upset with Sherrie, he takes to The Bourbon Room’s stage and awkwardly grunts that he “wants to rock!” Everyone watching him glances at each other while wearing a look of “Is this kid serious?!” I was wondering the same thing.

The supporting talent is largely wasted or pointless. Zeta-Jones as Patricia sizzles from time to time but the film practically forgets she is the antagonist. Paul Giamatti is in the mix as Stacee’s money hungry manager Paul Gill, who is more than willing to trim his new talent to fit the latest trends in the music industry. Baldwin and Brand are reduced to standing around and scratching their heads over how they are going to save The Bourbon Room and ranting on about how glorious rock n’ roll is. They are also present to serve as comic relief, most of which falls painfully flat. The sexy Malin Akerman shows up as frizzy-haired Rolling Stone reporter Constance Sack, who wields the most sex appeal in Rock of Ages. She disappears just as quickly as she appears, which is a shame because she gets one of the film’s best moments with Cruise’s Stacee. Also present is Mary J. Blige as Justice Charlier, the manager of a strip joint who serves absolutely no purpose in the film whatsoever. The director and screenwriters ask us to care about her but we know nothing about her, which makes it extremely difficult. The best one here is Cruise as Stacee Jax, a rock legend who literally rises up from a sea of scantily clad women and booze. He steals the best lines, gets the best musical numbers, and shows the most depth of any character in this thing. Bravo, Cruise!

The musical numbers in Rock of Ages have clunky lead-ins but they do manage to be a bit of fun. The best is Cruise’s reflective and soaring “Wanted Dead or Alive”, which shakes the stadium walls and the dueling “We Built This City/ We’re Not Gonna Take It” at the finale. Rock of Ages quickly laughs off other musical genres—proudly declaring that rock n’ roll is here to stay while every other musical genre is nothing but a trend. Has rock n’ roll really gone anywhere? Is there any current threat to it out there that would justify this film hitting theaters now? I didn’t think so. In the end, Rock of Ages wants to be the ultimate party film of the summer, but it has nothing to celebrate. The best parties are built around something fun that justifies pounding shots of whiskey and waking up with a raging hangover. Rock of Ages is all glammed up for a party that wound down back in the 90’s.

Grade: C-

The Hangover Part II (2011)

by Steve Habrat

I’m just going to go ahead and put this out there: I really disliked The Hangover. There. I said it. I’ve given the film three go-arounds and I couldn’t even force myself to enjoy it. Criticize me all you want, tell me I lack credibility, I’m striving to be different, whatever. The first Hangover movie sucked. It wasn’t funny, fresh, new, or as charismatic as it was convinced it was. It tried way too hard when half the jokes didn’t land. I found it astonishing that people actually said it was such an original concept. Really? Have you ever heard of a movie called Dude, Where’s My Car? Thought so. None of the characters were likable or relatable in any way and don’t even get me started about Bradley Cooper’s Phil or Zach Galifianakis’ Alan. The fact that misguided audiences stood behind them with such ferocity left me speechless. The original film only offered up a handful of genuine chuckles and yes, I do mean chuckles. Oh, and the joke “Paging Dr. Douche Bag”? Not funny.

Well, to everyone who enjoyed the first round of debauchery can give a humongous bro cry of joy and slap your buddy a high five. The Wolfpack is back and even worse than before. The first film was very average at best. It never seemed to live up to it’s full potential and really drive it’s characters to the brink of madness like it should have. This time around, director Todd Phillips pushes the revulsion to eleven and makes an excruciating film that once again only manages to elicit minor (and I do mean MINOR) chuckles and disgusted groans from it’s desensitized audience. Through the coarse of it’s 100 minute run time, The Hangover Part II relentlessly attempts to convince you that it’s really really funny. This should not be mistaken for it actually being funny because it basically isn’t. It’s just horrific and misguided.

For anyone who actually likes these characters should consider signing themselves up for a psychiatric evaluation. They are not funny, not cool, not people I would ever want to hang out with in real life, not sympathetic, and certain not the heroes people have built them up to be. They are douche bags and nothing more. Take Alan for example. What makes this oafish man-child who has a fascination with The Jonas Brothers the stuff of cinematic legend. He spouts off random humor that apparently is meant to shock and awe the audience when really he’s just an obnoxious dweeb. Or Phil? Phil is a hateful character who on the surface is supposed to be the cool, calm, and collected one. Is it wrong that I wish the worst actions be done on to him? He’s egotistical and coarse. Perhaps that was Phillip’s intention to make us dislike them, but the American public seems to melt over their every word. My hope is that this movie will bring them out of their trance.

The Hangover Part II is literally the same movie in a different location. It shamelessly goes through the motions while grinning at itself. It’s convinced it’s great and it prays that you don’t wake up to its true motive, which is to rob you of another ten bucks. But back to the so-called plot. The douchepack is heading to Thailand for Stu’s wedding. Stu, played by the infinitely talented Ed Helms, is basically the only likable character partly because of his reactions to the situations they find themselves in. He’s aghast and seething with anger when he learns of his past actions, which is realistic due to some of the danger that follows them around. But Helms, who is the only talented person attached to this turd, also makes him slightly genuine and sensitive. Once in Thailand, the Wolfpack, along with Stu’s future fifteen-year-old brother-in-law turn a night of one beer on the beach into another drunken romp through the seedy city of Bangkok. This time, they join forces with the shrill Mr. Chow, played by Ken Jeong, who seems to be funny in literally everything else but this. What follows is a barrage of riots, transgender sex, drug dealing monkeys, car chases, gun shot wounds, severed fingers, American gangsters, and a character missing in action. And let me tell you, folks, it is painful to endure.

The characters that were one note to begin with do not grow or reveal any depth. They are stretched paper-thin and some of them actually snap right in front of our eyes. This is especially true with breaded Alan, who makes one idiotic comment after another. But if it’s not broke, don’t fix it, right? Phil never even attempts to redeem himself and make us actually like him. Only Stu manages to hold our interest and make us wonder if he will make it back to his wedding in one piece. Mr. Chow is still a character that should have been left on the cutting room floor. A perpetually nude bisexual “gangsta” who makes countless racist comments and cuts Alan down every chance he gets while Alan laughs right along. Maybe Phillips is comparing the relationship between Mr. Chow and Alan to the way audiences howl at the lazy jokes that provide the foundation of these films? One can only wonder.

Even worse, the film lacks a coherent plotline and major conflict. The film really only makes it’s characters aware of a threat in final half hour of the film. The rest is just a horror show of outrageous deprived behavior. The film’s tone is so indecipherable at points that I can’t tell if it was trying to be exploitative or maneuver into the dark comedy realm. It’s dazed with no clear direction just like it’s protagonists. My only hope is that audiences realize that the same joke told two times in a row is not funny especially if joke was unoriginal and unfunny in the first place. A deplorable and careless sequel.

Grade: D-

The Hangover Part II is now available on Blu-ray and DVD.