Edge of Tomorrow (2014)

by Steve Habrat

It’s been five long years since megastar Tom Cruise shouldered the weight of a massive summer blockbuster, leaving many filmgoers to wonder if the controversial action hero still had his box office mojo. In between 2010’s forgettable Knight and Day and last spring’s Oblivion, Cruise starred in two holiday blockbusters (2011’s Mission Impossible: Ghost Protocol and 2012’s Jack Reacher), and turned up in a bit part in 2012’s Rock of Ages, a messy summer musical that didn’t give Cruise top billing even though he stole the movie away from the teeny-bopper stars headliners and seasoned veterans. While off-screen antics and tabloid rumors have certainly soured Cruise’s reputation, the actor’s newest film answers the question of whether or not Cruise could still hold his own in a season that now belongs to Marvel superheroes and computerized Transformers. Behold Edge of Tomorrow, a nimble and clever sci-fi blockbuster that finds Cruise once again punching and shooting his way through an army of rampaging aliens. Based upon the graphic novel All You Need Is Kill by Hiroshi Sakurazaka, Edge of Tomorrow passes up the brooding tone that many summer blockbusters have been opting for over the years, and instead works with a bubbly, old-fashioned formula of comedy and thrills that leaves you stumbling out to the parking lot with an invigorating rush and proudly declaring to your buddies or your date that you’d gladly take that ride all over again.

Edge of Tomorrow begins by explaining that mankind is locked in a brutal war with aliens called Mimics, which arrived on Earth in a fiery asteroid several years earlier. With nearly all of Europe conquered by the Mimics, the United Defense Forces issues an exoskeleton called “Jackets” to each and every solider, which gives the humans a fighting chance against the savage enemy. Hope is also found in Rita Vrataski (played by Emily Blunt), a fierce warrior who led the humans to victory at the battle of Verdun. Confidence is kept high by UDF spokesman Major William Cage (played by Tom Cruise), who has been talking up Operation Downfall, a massive campaign that will launch thousands of soldiers into Europe to topple the Mimic menace. Much to his surprise, Cage is summoned by General Bringham (played by Brendan Gleeson), who informs Cage that he will be jumping into the fight and storming into Europe. Terrified, Cage attempts to resist the order, which leads to him being arrested by Military Police and forced to the front lines. Unable to work one of the “Jackets” and squeamish at the sight of blood, Cage stumbles his way into battle behind Master Sergeant Farell (played by Bill Paxton) and a slew of colorful soldiers. The UDF is stunned to learn that the Mimics were aware of the invasion and are waiting for the soldiers as they approach. In the thick of the battle, Cage manages to kill a Mimic, but just as he is about to die, he gets covered in alien blood, which gives him the ability to keep reliving the battle over and over again.

In the hands of director Doug Liman, Edge of Tomorrow delivers plenty of epic but not overly showy action sequences that are sure to dazzle sci-fi diehards. The scenes of “Jacket”-clad soldiers storming onto a bombed-out European beaches present themselves like a futuristic WWII, with drop ships decorated with sneering faces and pin-up girls spinning out of the sky in blazing balls of fire, and soldiers struggling to get their bearings as they stumble through sheets of sand and soot. It’s a gritty and unique combo that gives the opening stretch of Edge of Tomorrow a pulpy sting. While Liman knows how to throw you into the intensities of war, he certainly never allows the CGI mayhem to eclipse the film’s impressive characters or its welcome sense of humor. There are more than a few moments that are downright hilarious, from Cage sweating and panting as he attempts to hang with battle-tested soldiers that hoot and holler their way into the alien lines, to some amusing death scenes that barrel straight out of left field. Most of the humor emerges in the scenes between the “Full Metal Bitch” (Rita) and Cage, as she attempts to whip the fidgety Major into fighting shape. What’s even more impressive is the way that Liman lingers on the human interactions, allowing raw emotion to overpower some of the film’s best action sequences. You’re given plenty of time to care for these characters, and what’s even more exciting is that you take them with you past the end credits.

While Cruise’s personal life may have left many groaning, no one can deny that the man hasn’t continuously churned out memorable performances over the past few years. Edge of Tomorrow is no different, as Cruise gets kicks around with a smile stretching from ear to ear. He seems right at home in the skin of Cage, and it’s a nice switch-up when we learn that his character can’t even stand the sight of a paper cut. He’s undoubtedly spirited, and he continues to hone the comedic chops he’s been fiddling with since 2008’s Tropic Thunder. Cruise also finds plenty of chemistry with the beautiful Blunt, who brings her icy disposition to Rita, Cage’s fierce ally who understands just what is happening with Cage. Naturally, the two form a romance fit for a popcorn movie, but it’s welcome as it melts Rita’s frosty exterior to reveal a haunted interior. Another surprise is Bill Paxton, who has kept a low profile over the past several years. He emerges with a thick southern accent and a fast tongue, strutting his way through the role of Farell with such smug confidence that you’ll keep wondering just where the heck this guy has been all these years. And then there is Gleeson, who stands firm as General Bringham, a stone-faced general who refuses to allow Cage to weasel his way out of combat.

While Edge or Tomorrow brims with excitement, the film does wander off a bit into conventional territory. The epic climax—while fun—grows increasingly formulaic and predictable as it unfolds before our eyes, and the whole exoskeleton thing looses a bit of its cool factor as it trails in the wake of Neill Blomkamp’s blazing Elysium. Some of the background characters, specifically the ragtag unit that Cage is assigned to, are eccentric but also a bit cliché. As far as the aliens go, Liman and his team think up a parasitic enemy that is difficult to comprehend as it burrows deep into the sand and then attacks with a sudden fury that shakes you out of your seat. Liman never lets them stand still for very long in the frame, allowing the audience blood-curdling glimpses that make the aliens all the more terrifying. Overall, while the climax fizzles out, Edge of Tomorrow exceeds all expectations with surefire direction, an entertaining script, a playful sense of humor, gritty action, and sincere performances that keep the project grounded even as nasty extraterrestrials threaten to wipe out humanity. Yet what Edge of Tomorrow ultimately proves is that Cruise is still dependable as an all-American action hero. He’s still got it, folks, and it sure is nice to see him back in the thick of the summer movie season.

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-

Mission Impossible: Ghost Protocol (2011)

by Steve Habrat

When is the last time you saw an honest to goodness awesome action film that got your heart pounding and your palms sweating? Can’t truly recall one that actually did its job? For me, it was Inception, but director Brad Bird’s Mission Impossible: Ghost Protocol is the most recent to really get me chewing my nails down. Truth be told, most action films rely too heavily on CGI deception, layering giant battling robots duking it out in a familiar American metropolis, rubbery superheroes darting around skylines saving tumbling airplanes, cramming as much busy aerial action into a wide shot as humanly possible, or something to that overblown extent. Sure it’s thrilling to look at and we admire how pretty the picture looks, how real the effects are getting, etcetera, but we never actually sweat bullets over the conflict because we know our CGI superhero will save the day no matter what. They are larger than life, so our answer is eradicating the life and you have an unstoppable man made creation. Don’t get me wrong, I adore superhero films and I love to see what the computer wizards in Hollywood will digitally dream up next, but they are never as invigorating as Mission Impossible: Ghost Protocol. Most action films, sadly, are not.

Here’s the mission, if you choose to except: Acrobatic IMF agent Ethan Hunt (Played, for a fourth time, by Tom Cruise) and his brainy band of sidekick agents find themselves being blamed for an explosion at the Kremlin. In the explosion, a terrorist named Hendricks (Played by Michael Nyqvist) makes off with launch codes for nuclear missiles. The slippery Hendricks is hellbent on igniting nuclear war throughout the world. Russia blames the United States for the explosion and in response, the president issues “Ghost Protocol”, wiping out the IMF and leaving Hunt and his team to take the heat. Hunt turns to the newly appointed field agent Benji (Played by a superbly hilarious Simion Pegg), the curvy and vengeance seeking Jane (Played by Paula Patton), and the mysterious Brandt (Played by Jeremy Renner) to help him track down Hendricks, prevent a nuclear holocaust, and clear their names. Hunt also finds himself the target of a persistent Russian security force agent named Sidirov (Played by Vladimir Mashkov). To reject taking on this mission would be an absolute mistake.

Mission Impossible: Ghost Protocol does have its fair share of eye candy effects moments. A massive sandstorm bears down on Hunt as he scales the massive Burj Khalifa in Dubi with nothing but high tech gloves that produce an adhesive, allowing him to stick to the side of the building. Wait until one of the gloves begins shorting out. That’s only the start of what is sure to be a classic sequence. Cars go somersaulting at Ethan, a massive explosion levels part of the Kremlin, and more. What turns up the adrenaline in this film is the fact that Cruise, who is one of the biggest and most recognizable stars on the planet, puts himself right in the center of the action. He takes more than a few tumbles in this film and at times, Bird’s camera seems to catch accurate spot-on reactions. At one point, I even turned to my friend that accompanied me and said, “Man, did you see his face? THAT looked pretty real and THAT was a look of pain on his face!” Cruise is the heart and soul of this franchise and, more importantly, keeping this film from veering off onto throwaway blockbuster territory. And yes, the film projects an epic scope but the action is tight and controlled, never appearing showy.

Credit should certainly go to director Brad Bird, who makes his first live action feature film. We knew he could make some heartwarming family friendly films (He is the man responsible for The Iron Giant, The Incredibles, and Ratatouille), but the man works well with flesh and blood actors too. His cast has impeccable chemistry, gracefully playing off each other, delivering a whole slew of memorable one-liners, and actually working hand-in-hand in every situation they find themselves in. His camera floats along with Cruise as he inches along the Burj Khalifa, tossing his camera down the side of the building, giving us a sense of how high up Cruise actually is. He stages an intimate confession up close and personal and he lands jokes deviously, sometimes taking a second to for the laugh to squeak out of the viewers mouth. Wait until you see Benji and Hunt creeping around the Kremlin. There is a blink-and-you’ll-miss-it joke that is adroitly landed. Bird holds tense moments extra long, making we the viewers feel the pressure that Hunt and his team are under. Bird certainly has a future in action.

Everything in Mission Impossible: Ghost Protocol is top notch. Everything from the action, the chases, the acting, the CGI, the editing, the staging, the pacing, the feel, and the final showdown just connect and work together until the very last frame. The MVP here is without question Cruise, showing vast dedication to the project and risking life and limb for his art. The film packs the fireworks we all want from the Mission Impossible franchise but they never feel like they are there is a diversion from meager storytelling. The threat is truly there is this one is down to the wire. It’s a shame it wasn’t released during the summer movie season because it would have clobbered the competition, body slamming duds like Transformers: Dark of the Moon, Green Lantern, and Cowboys and Aliens. Once you’ve had action this real and fun, you’ll never want to go back to the kind simulated on a computer.

Grade: A-

Must-See Holiday Season Movie…GO!