Bartending While Dealing with Past Sins

When brought to seedy, crime-ridden territories in film, what’s interesting is how repulsive, yet intriguing they can be for the viewer.  Michaël R. Roskam’s crime drama, “The Drop,” has the audience visit these undesirable places that are wrapped up in the shadowy workings of organized crime, capturing the dirty and dangerous dealings of everyone involved.

In the Brooklyn area, several bars are used as “drops,” where money is delivered, and then picked up by local crime rings.  Bob Saginowski (Tom Hardy) and his older cousin, Marv (James Gandolfini), work at one such bar, which used to be owned by the latter, but is know “owned” by a group of gangsters.  One night during closing, a pair of masked men enter the bar and rob it.  When the bar’s “owner” and his crew find out that it was their money that was stolen, the two cousins try to figure out a way to get it back, while also dealing with a police investigation that threatens to disclose some of the community’s biggest secrets.

Tom Hardy has really established himself as a commendable leading man in film.  As a character who is involved in relationships with gangsters, but trying to make his life more honorable at the same time, Hardy shows the conflicted nature of Bob.  The character is trying to develop himself into a softer soul, but is still battling his hardened past as someone who used to want the rough life of crime, and Hardy expertly plays both sides of this role so we know the kind of person he is now, and who he once was.

James Gandolfini, in his final film performance before his passing last year, gives us something a little different in his tough-guy repertoire than what we’re normally used to seeing.  Having played mafioso Tony Soprano on “The Sopranos” for almost a decade, you can’t help but think of Gandolfini playing characters who have an intimidating presence.  In this film, however, it’s interesting to watch how restrained that persona is.  Considering that Gandolfini plays a character who used to be respected and feared in his neighborhood, this downplaying of toughness fits very well with Marv’s insecurities.  It gives audiences the opportunity to see a different side to a type of character that Gandolfini became known for playing. 

Noomi Rapace, who plays Bob’s love interest, Nadia, displays her talent admirably, despite the way her role is written.  Although she does adequate work in her scenes with Hardy, her character pretty much doesn’t become more than a crime-drama girl-in-distress near the end.

The screenplay by Dennis Lehane, which is his first and is based on his short story, “Animal Rescue,” is another addition to his works that include descents into modern hellish environments.  We’ve seen these kinds of backdrops in film adaptations of his novels, such as Martin Scorsese’s “Shutter Island,” Ben Affleck’s “Gone Baby Gone” and Clint Eastwood’s “Mystic River,” movies that display their sordid settings in suitably gritty detail, and “The Drop” succeeds in bringing that same atmosphere to its story.

Just like Lehane’s other works, the narrative leaves you with certain aspects that are open for interpretation, encouraging you to ask questions after the film ends, and it may even benefit from a second viewing.  Throughout the film, it becomes more and more interesting as you try and figure out the characters’ motives and whose side everyone is on.  The screenplay has a couple of flaws, but this was an acceptable first effort by Lehane for screenwriting, and if he writes another screenplay in the future, I’m sure he will be able to pen another intricate, crime-focused story.

Director Michaël R. Roskam can now be added to the list of directors who have competently adapted Lehane’s works for film.  Despite the movie not ranking quite as high as other films based on Lehane’s stories, Roskam is able to stage scenes of heated tension that are a staple of Lehane’s narratives.  Roskam’s understanding of a tale about a man who’s trying to redeem himself from his dark history and his cousin who’s trying to hold onto whatever little respect and fear he has left from those in his community is what gives the film its impact.

Lehane’s stories have secrets woven into them that beg to be found out, and that’s what you can expect from “The Drop.”

Final grade: B+

A Clash Between a Shepherd and His Flock

Although he has only made two feature-length films, director John Michael McDonagh seems to have a talent for creating stories that are rooted in the Irish culture, like he did back in 2011 with his fantastic crime comedy, “The Guard.”  Now, he has switched to a much more dramatic narrative with “Calvary,” and re-teams with his “Guard” leading man, Brendan Gleeson, for a film that asks a lot questions, but doesn’t offer easy answers.

In Ireland, Father James (Gleeson) is a Catholic priest whose life is threatened one day during a confession when a parishioner tells him that he will kill him in one week, as an act of vengeance for what was done to him by another priest when he was younger, who has since died.  During this week, Father James will come to know some dark secrets of his churchgoers, while also attempting to reconnect with his suicidal daughter, Fiona (Kelly Reilly), who is visiting from London.

Brendan Gleeson gives an outstanding performance as the troubled priest.  His character doesn't show any sign of fear, but a deep-rooted sense of faith that carries him through this foreboding week.  The way that Gleeson presents this character shows that Father James is a rational individual who wishes the best for his parish.  You understand that he has a great love for his churchgoers because of the way he speaks to them and tries to understand them, and you’re crushed as more misfortunes befall him.  When other individuals in the community begin to turn against him, you feel compelled even more to stick by him and see him through this strange ordeal.

Kelly Reilly, whose talent has her deserving of much more recognition, is wonderful as Father James' daughter.  What’s most admirable about her character is that she’s not someone to hold a big grudge against her father and act mopey around him, but someone who tries to reconnect with him throughout her stay.  Her tranquil personality allows her to understand the type of person her father is without getting upset with him.  The fact that Reilly can have strong connections with her very experienced costars, just as she exemplified in “Flight” when she acted alongside Denzel Washington, really gives you an idea of her abilities as an actress.

There is an in-depth view of the film’s Irish community that is offered through the very distinct supporting characters, which include the local bartender (Pat Shortt), the town butcher (Chris O’ Dowd), a deeply disturbed prison inmate (Domhnall Gleeson), a promiscuous young woman (Orla O’Rourke), a very darkly funny doctor (Aidan Gillen) and several others.  All of these individuals are easily memorable because of the scenes they share with the main character and the content of those interactions.  Each supporting character is given enough detail to present their own little stories that make up the bigger community in which they live.

The cinematography by Larry Smith offers gorgeous landscape shots of Ireland, particularly the seaside.  Some of these shots are aerial in their photography, as if a higher being is watching over this small community and hoping that the priest can turn his churchgoers into more virtuous people.  Because of this, the framing of these shots contributes to the film’s religious aspects.

What’s interesting about John Michael McDonagh’s screenplay is how the narrative doesn’t unfold in the way that you might expect, given the type of story it presents.  Seeing as Father James and the audience already have an idea of who the culprit is because of his recognizable voice during the confession scene, the movie becomes more about the priest dealing with the lack of morals in his community, rather than about him trying to figure out who’s threatening him.  Your sympathy continues to build for his character as the week goes on and his number of adversaries becomes larger.  

One of the many intelligent things that McDonagh does with the screenplay is that he doesn’t have the priest outright try to stop people from committing sins, but has him believe that his parishioners still have the capability to stop themselves from committing them.  This all ties into the resilience of his faith that those in his community will do what’s right and turn away from sin.

Director McDonagh has made a film that terrifically merges the drama and suspense of the story.  Again, although the audience might have an idea of who the culprit is during the film, the suspense comes from how the priest and community interact with each other, and McDonagh keeps that tension as the story positions Father James against his parish.

When watching “Calvary,” the weightiness of the story latches itself onto you, and you give into it right away.  With that, McDonagh has made a movie that’s original, emotional and fearless.

Final grade: A

Growing Up Through the Lens of a Camera

Movies have always had the power to depict what it means to live, with how close those portraits come to the real thing varying from film to film.  There is one movie, however, that is so detailed and bold in its approach to capturing on film what it means to grow up, that you completely sink into it.  That movie is director Richard Linklater’s “Boyhood.”  

In a filmmaking method that has never been done before, he cast his movie back in 2002, and filmed his actors and actresses over the following 12 years.  It’s rather difficult to write an actual synopsis of the plot because the whole movie is a series of seamlessly connected vignettes that chronicles the growth of the main character.  Basically, what I can say is that the film focuses on six-year-old Mason Evans (Ellar Coltrane), who lives with his older sister, Samantha (Lorelei Linklater), and their mother (Patricia Arquette) in Texas, who is divorced from her husband (Ethan Hawke).  Over the course of 12 years, Mason will be shaped by people and events around him, and will try and figure out what kind of person he wishes to become.

Watching Ellar Coltrane grow up as his character is stunning to watch, and is a pure example of cinematic metamorphosis, and he’s perfectly in sync with whatever Mason is feeling in any period of his life.  Despite the fact that his character acts more reserved as he enters his teenage years, you can still tell that there’s a lot going on deep in his mind as he tries to figure out what the next steps in his life will be. 

Patricia Arquette is a genuine force to watch as Mason’s strong-willed mother.  Although her character is under the strains of maternity and financial stress, her willingness to do what’s right for her family always serves as her reliable armor, and Arquette’s final scene in the film solidifies her performance as one of the best of the year.

Ethan Hawke, who worked with Linklater on the “Before” trilogy, adds another excellent performance to their always-successful collaboration, and is a natural in handling Linklater’s dialogue.  Just like Arquette, Hawke’s screen time with Coltrane and [Lorelei] Linklater is amazing to watch because of how well the three interact, and the scenes between him and Coltrane are some of the finest I’ve ever watched between a father and son character in a movie.

Out of all of the non-immediate-family characters that come in and out of Mason’s life, the most memorable in the film is his alcoholic stepfather (Marco Perella).  While seeming like an ideal parent in his first couple of scenes, he slowly turns into what becomes a frightening and domineering individual.  The power of his performance comes in his ability to create a great deal of tension whenever he’s on screen, particularly in the pressure-cooker dinner scene.

Similar to what Linklater did with his “Before” trilogy, he uses several long takes to give an idea of the film unfolding in real time, and this is with the help of cinematography by Lee Daniel and Shane Kelly.  Although “Boyhood” takes place in a much bigger time frame than that of the one-day-long time frames of the “Before” films, the use of long takes in certain instances makes the film seem like a documentary, as if you’re watching the lives of a real family transpire on screen.

The screenplay by Richard Linklater skillfully links each part of the story to create a whole that never seems episodic.  There are smooth transitions from year to year as Mason gradually gets older, and the film devotes a sufficient amount of time to each of the 12 years that we see from his life.

One clever aspect about the screenplay is that, instead of displaying any notes on the screen to tell the audience what year the film is currently in, it plays certain hit singles in the background to give the audience an idea of what year is taking place, and uses each tune in whatever portion of the film that coincides with the time of the song’s release.  This relates back to and is a reminder of the relationship between Mason and his father because out of all of the characters in the film, Mason has the strongest relationship with his father, who himself is an aspiring musician.

Linklater has done something undeniably special in his approach to showing his characters grow up.  The narrative comes so impressively close to what it’s like to go from childhood to adulthood, that it’s very difficult not to find at least a couple of scenes to which you can relate.

Through his 12-year dedication, Linklater has made the ultimate coming-of-age film, as well as one of the richest moviegoing experiences you’re likely to have this decade, maybe even your entire life. 

Final grade: A

Traveling Among the Stars with Misfits

Phase Two of the Marvel Cinematic Universe has been getting more exciting with each new film.  Although it began with the disappointing “Iron Man 3,” it got better with the okay, but still entertaining “Thor: The Dark World,” which was then followed by the outright thrilling “Captain America: The Winter Soldier.”  We are now closer to the conclusion of Phase Two as we wait for the release of “Avengers: Age of Ultron” in May 2015.  Before we arrive there, however, there’s still the matter of mixing a few more characters into the MCU.

We’ve seen multiple movies with Iron Man, Thor and Captain America, but the MCU is now ready for us to meet some new space-traveling heroes.  In director James Gunn’s sci-fi adventure, “Guardians of the Galaxy,” he introduces moviegoers to a quintet of gleefully brassy fighters.  Although it doesn't quite reach the heights of the recent “Captain America” sequel, it’s certainly up there with the best of the MCU films.

Twenty-six years after being abducted as a child by intergalactic thieves known as “Ravagers,” Peter Quill/Star-Lord (Chris Pratt), has become a pro at snatching rare artifacts for his team of thugs.  After finding an orb-like artifact that contains a mysterious power, he decides to sell the orb for himself on the planet Xandar, the home of the Nova Corps, who are an intergalactic military group.  Upon realizing this, his fellow Ravagers put a bounty on him, while the sinister Ronan the Accuser (Lee Pace), who has promised to retrieve the orb for the villainous titan Thanos (voiced by Josh Brolin), sends out his assassin, Gamora (Zoe Saldana), to get it back for him.

After Peter and Gamora confront each other over the orb on Xandar, the fight is brought to the attention of a bounty hunter named Rocket (voiced by Bradley Cooper), who is a genetically engineered raccoon, and his partner, a tree-like humanoid named Groot (voiced by Vin Diesel).  After the four are sent to a prison know as the Kyln, they team up with inmate Drax the Destroyer (Dave Bautista) and escape with the orb in their possession.  Once they’re free, the five will have to work together to find a way to defeat Ronan and prevent the artifact from falling into his grasp.

Chris Pratt is terrifically funny as the group’s leader.  The first time we see him as an adult is when he arrives on the distant planet of Morag to retrieve the artifact, and he listens to Redbone’s “Come and Get Your Love” on his Walkman as he dances his way to where the orb is hidden.  This is a very fun and comically unconventional introduction to a superhero who exudes confidence.  With his quick witticisms, devil-may-care attitude and playboy personality, Peter Quill is pretty much the Tony Stark of the Guardians.

As far as Zoe Saldana’s character goes, from when she meets Peter on Xandar, you easily get a sense of the slyness in her movements and attitude, easily striking an image of a sneaky assassin as she eyes her target.

A true surprise about the cast is how well professional wrestler Dave Bautista portrays Drax.  Bautista displays terrific timing with the straight-face delivery of his dialogue, and his ability to become a part of the comedic dynamics within the group proves that he belongs in this film.  

By having Vin Diesel voice Groot, he calls to mind his voice work for the robot in the animated film “The Iron Giant.”  His character is able to draw laughs by responding to everything with, “I am Groot,” but repeats it with different intonations of his voice so that the phrase doesn’t become old.

Bradley Cooper provides brazenly funny voice work for Rocket.  Almost everything that his character says is impossible not to laugh at, and his character effortlessly walks away with each of his scenes. 

The five Guardians are equally memorable in their own distinct ways.  Each of them is able to flourish in their moments of comedy and tension, and they all work exceedingly well together when on screen, and each of them has the potential to become fan favorites.

After seeing Benicio del Toro’s cameo as The Collector in the “Thor” sequel, I couldn’t wait to see what else he would do with the character in this film.  He certainly has the showmanship needed for the role, however, he only gets a few minutes of screen time.  He’s a strong actor, so I hope he’s given more scenes to work with in future installments. 

Some villains in the MCU have certainly had more depth than others.  Regarding Lee Pace’s performance as Ronan, he has formidable presence to pull off the character, but his role never really goes beyond wanting to find the orb and acting as a glorified henchman for Thanos.  Although Loki acted as a puppet for Thanos in “The Avengers,” he had more dramatic weight to his character to back him up.

The screenplay by James Gunn and Nicole Perlman, which is based on the comics by Dan Abnett and Andy Lanning, skillfully acquaints this new team of heroes to audiences and the MCU, with each of the Guardians’ introductory scenes giving viewers an idea of who these characters are, while also expanding other ideas of the MCU at the same time.  Even with all of the action sequences built into the script, we still get plenty of moments that allow us to grow more familiar with these characters in the still-expanding list of participants in the MCU.  Watching these five come together becomes every bit as fun as when we saw the Avengers come together for the first time two years ago.

One of the most unexpected aspects about the film is how the screenwriters involved Thanos in a bigger way than I anticipated.  As the main villain of the entire MCU, he’s not just given a cameo that lasts a few seconds, but is given an actual scene with several lines of dialogue.  Based on what I’ve seen so far of Josh Brolin as Thanos, I’m looking forward to seeing what he does with the character when he returns in the third “Avengers” film.

This is one of the funniest big-budget blockbusters to come along in a while, with jokes and one-liners that actually land because they fit so well with the personalities of the characters.  There are even some jokes in the movie that you wouldn’t expect to be in a Marvel film, but they work.  Although the humor can become a bit much during the climactic final battle, it still works for a majority of the film.

Marvel Studios continues to surprise me with the adequacy of their choices for directors, just like Jon Favreau with the original “Iron Man,” Kenneth Branagh with the original “Thor,” Joe Johnston with “Captain America: The First Avenger,” and Anthony and Joe Russo for “Captain America: The Winter Soldier.”  Now, director Gunn can be added to that roster of successes, as he provides plenty of colorful cosmic visuals without ever letting them dilute the growth of the characters.  Gunn embraces the offbeat nature of this mythology, seeing as he has previous experience in dealing with eccentric superheroes, as he wrote and directed the 2010 indie dark-comedy, “Super,” and he carries that interesting strangeness over to “Guardians.”

The Guardians of the Galaxy will not appear in “Age of Ultron,” so we won’t see them again until their own sequel gets released in July 2017.  In the meantime, it would be a wise choice to get to know these five heroes and continue to immerse yourself in the abundance of stories that the MCU continues to offer.

Final grade: B+

Avoiding Danger On Deadly Streets

I guess what makes the horror-movie genre so appealing to studio executives is that if you have a film that is cheap, easy to make, and becomes a hit, you can follow it up with a sequel as quickly as possible to capitalize on the original’s success.  It worked for “Paranormal Activity” (three sequels and a spinoff since its 2009 release, and another sequel is set for 2016), 2011’s “Insidious” (a sequel was released last year, and a third installment is scheduled for May 2015), 2004’s “Saw” (six yearly sequels from 2005 to 2010), and even the creepy Annabelle doll from last year’s “The Conjuring” is getting her own movie, which will be released this October.

Last year, the genre found a hit with James DeMonaco’s home-invasion horror film, “The Purge.”  The story focused on a family defending themselves against a group of killers during a one-night-a-year murder spree that’s sanctioned by the New Founding Fathers of America.  It made a decent amount of money, which led to this second installment, “The Purge: Anarchy,” coming out a little over a year later.

DeMonaco returns to direct, and while it’s not at all as scary as it should be, the use of different characters and a new location make it an occasionally passable sequel.  

In 2023, one year after the events of the first film, the annual Purge is about to commence.  In the city of Los Angeles, Shane (Zach Gilford) and Liz (Kiele Sanchez), a couple, have to abandon their car when it breaks down on a deserted street, all the while being followed by a gang of purgers.  

Meanwhile, Sergeant Leo Barnes (Frank Grillo) is determined to find and kill the man who’s responsible for his son’s death.  While on the road, he saves a mother, Eva (Carmen Ejogo), and her daughter, Cali (Zoë Soul), from a group of armed purgers.  After the three come across Shane and Liz, Leo promises to protect the four individuals as he navigates them through the city as they attempt to survive the deadliest night of the year.

Some of the characters in the original film were irritating in their behavior and actions, but those in this sequel are far less annoying.  Although the characters are predictably underwritten for this kind of film, they are at least given a tad more depth than those in the first installment.  Frank Grillo, however, gives the only performance that has some degree of memorability.

James DeMonaco wrote the screenplays for both films, and while the first suffered from the setting being limited to the main character’s house, this film benefits from an expanded location that allows you to see what’s happening on the streets.  This provides you with a better sense of the danger that goes on during Purge night.  The story, however, tends to get bogged down by the repetitive nature of the cat-and-mouse scenarios that play out during the film.

By focusing more on the outside world, the film also gives more detail of the sociopolitical factors behind the Purge, such as the richer citizens using this event to weed out the poorer citizens.  While this is interesting for a while, it gets rather overdone as the story goes on.

Unlike the original film, the sequel is structured more like an action-thriller than a horror-thriller, and because of that, there really aren't many scares to be had, but DeMonaco is able to establish a sense of dread in the film’s more tense moments.  If he ever gets a hold of stronger horror material, I’m sure he could make something better and scarier.

Right before the end credits, some screen text notifies the audience that there are 364 days until the next annual Purge.  In terms of this film series, I’m hoping “The Purge: Anarchy” is the last one.

Final grade: C

Once Trapped In Cages, the Apes Are Now In Control

In 2011, the “Planet of the Apes” franchise was given another chance to live on the big screen after Tim Burton’s forgettable 2001 remake of the original.  “Rise of the Planet of the Apes,” directed by Rupert Wyatt, was a prequel that set up a sequence of new stories that would chronicle how Earth became overrun by apes.  Equipped with a fascinating story and striking visual effects, the film provided hope in the direction where this prequel series was going.

The story of the apes’ rise to supremacy continues in Matt Reeves’ breathlessly exciting prequel-sequel, “Dawn of the Planet of the Apes.”  He not only improves on the visuals and furthers the story into a bigger scope, but manages to make a film that’s even better than “Rise,” which was already great to begin with.

In the 10 years since the events of the previous movie, a viral drug that began as a cure for Alzheimer’s disease has caused a global pandemic and killed most of the world’s population, but has given advanced intelligence to apes who have been exposed to it.  As the remaining humans try to live on, apes have become the ruling species.  

In the devastated city of San Francisco, a large group of survivors (who are immune to the virus) are led by Dreyfus (Gary Oldman).  They are coming up on the last of their power, and their city will soon be in darkness.  Malcolm (Jason Clarke) convinces Dreyfus to let him lead a group, including his son Alexander (Kodi Smit-McPhee) and his partner Ellie (Keri Russell), into the forest outside the city, where they will convince the apes, led by Caesar (Andy Serkis), to let them stay for a few days while they attempt to fix a hydroelectric dam in their territory, which has the potential to be a long-lasting power source for the city.  The humans and the apes get along with each other, but that relationship is at a risk when the second-in-command ape named Koba (Toby Kebbell) begins to question Caesar’s compassion for the humans, and a power struggle soon puts everyone, both human and ape, in danger.  

Andy Serkis, a virtuoso of motion-capture performances, makes a kingly return as Caesar.  It’s a true cinematic wonder how he’s able to inject so much emotion into his character, despite the fact that it’s a MC role, and not his actual self onscreen.  Just as he has done with roles such as Gollum and King Kong, his success with interpreting these characters is more than a product of impressive visuals, but is also a new way to act for film.  With the way he’s committed to embracing this moviemaking technology to deliver excellent work, he gives one of the best performances in a summer tentpole this year.

Toby Kebbell provides the film’s other masterful motion-capture performance as the violent and war-hungry Koba.  Kebbell maintains an aggressive attitude throughout the movie, and really triumphs in presenting himself as the anti-Caesar.

Jason Clarke, Gary Oldman, Kerri Russell and Kodi Smit-McPhee’s characters are rather underdeveloped, but we still learn a little bit about them concerning what they lost in the 10 years since the virus outbreak, and they’re able to work their abilities, despite the somewhat limited material they’re given.

Michael Seresin’s cinematography has an abundance of bleak, yet gorgeous imagery, both in the ruined San Francisco and the forest home of the apes.  Although it’s all post-apocalyptic landscapes, they’re undeniably beautiful to look at.  
There are two shots in particular that are very memorable.  One comes in the sequence where the apes raid the city, which includes a long take where an ape overtakes a tank and rides on top as it hits a building.  I know I’m not doing justice in describing the scene, but you’ll understand its impressiveness when you see it.  

The other shot comes when Malcolm has to go into the city to find medical supplies, and must dodge a horde of apes in a thrilling long-take through one of the city’s buildings.

The screenplay by Mark Bomback, Rick Jaffa and Amanda Silver provides extensive detail on the societal structure of the apes and how they live as the dominant species, and adds to the characterization of the apes that was presented in “Rise.”  The apes have a set of rules to live by, continue using sign language (which is always neat to watch), are more accomplished at talking, and are skilled hunters, as exemplified in the opening scene.  This gives you an idea of how far they have come since the events of “Rise,” and it all leads to some very interesting viewing.  There are some holes in the narrative, as well as a few plot points to be continued, but those story threads will surely be further established in the next film.

Jaffa and Silver also wrote the script to “Rise,” and are accomplished in creating these stories detailing with how humans interact with intelligent beasts.  Seeing as they’re also two of the screenwriters for next summer’s “Jurassic World,” I’m very much looking forward to seeing them switch out apes for dinosaurs.  Even naming the main human character “Malcolm” could be a nod to Dr. Ian Malcolm, who is Jeff Goldblum’s character in the first two “Jurassic Park” films. 

Director Matt Reeves is someone with experience in telling stories that involve human characters coexisting in a world with strange creatures.  His first major film, “Cloverfield,” had a group of friends dodging a rampaging monster in New York City, and his second film, “Let Me In” (an American remake of the Swedish horror film, “Let the Right One In”), had a child befriending a young vampire girl.  He continues this storytelling trend by expanding the “Planet of the Apes” mythology in a narrative that places humans and intelligent apes in close proximity to one another.

The action sequences he creates have an abundance of sci-fi thrills, just like the Golden Gate Bridge scene from “Rise.”  The apes’ attack on the city is especially well-done and has some highly memorable visuals, especially those of the apes riding on horseback while wielding machine guns, which is something that must be scene on the big screen. 

Reeves is already signed on to direct the third installment, which is set for a July 2016 release.  Having created a sequel that exceeds the film that came before it, I’m looking forward to finding out how he plans to move the story forward, seeing as “Dawn of the Planet of the Apes” crafts its ending to prepare you for a continuation of the narrative.

Caesar is a devoted leader, and I can’t wait to see where he brings his apes next.

Final grade: A-

Around the World for 17 Years, and Counting

As much as I enjoy sci-fi summer blockbusters, there’s something special about seeing a smaller, different kind of movie from that genre, even more so if it’s a piece of international cinema.  This allows you to see how directors from other countries approach a certain type of film.

When watching the indie sci-fi drama, “Snowpiercer,” I was able to get a taste of how South Korean director Bong Joon-ho works behind the camera in his English-language debut.  With an ability to meld stunning visuals with an inventive and stimulating post-apocalyptic story, Joon-ho gives us a gift of a movie that’s one of the finest contributions of the decade to the sci-fi genre.

In 2014, an experiment to help lessen the effects global warming throws the world into an ice age  that kills nearly all life on Earth.  As a result, the last of humanity is rounded up and placed on a train to live.  This train is powered by a perpetual-motion engine, and travels a railway that spans across the globe.  A class system is put into place, with the more affluent individuals being placed in the front cars, while the downtrodden are relegated to the cars towards the back.

Seventeen years later, Curtis Everett (Chris Evans), one of the back passengers, puts his plans into effect for a revolt, where he intends to lead a group of rebels to the front of the train to gain control of the engine and confront the train’s designer, Wilford (Ed Harris).  As Curtis and his group get closer to the engine room, the obstacles become more dangerous from car to car, and it becomes unlikely that many of the rebels will make it to their destination alive.

Seeing as Chris Evans is widely known for his role as Captain America, it was fun to see him break out of that mold and partake in a sci-fi story as artistic as this.  Although most of his performance just calls for him to be gruff and angry, it’s justified for the film because of what is character has been through after having spent half of his life in the back of the train.  After seeing this hardened side of him for a majority of the film, we’re given a scene in the last half hour where Evans’ character reveals a very dark segment of his past on the train, and you can tell that this piece of his life shatters him as he reveals it.

There are also some distinctive supporting performances throughout the film.  Tilda Swinton practically melts into her role as the stern and occasionally quirky Minister Mason, and her introductory scene is one of the film’s finest.  Alison Pill makes the most of her short screen time as a teacher in the school car who spouts her train-history lessons to her students in a manner similar to a crazed cult leader to a group of devoted followers.  There is also John Hurt as the sage-like Gillian, Octavia Spencer as Tanya, a brave and kind-hearted mother who joins the rebel group, and Ed Harris as the disarming and friendly Wilford.

Hong Kyung-pyo’s cinematography is something to be commended here.  The film has many impressive shots, but there are some that truly stand out, few of which occur in a brutally choreographed fight scene with Curtis and his troops going up against the train’s security forces.  One is a slow-motion long-take tracking shot where Curtis moves through the car, hitting away at different targets, and the way this is staged calls to mind the famous hallway fight of Park Chan-wook’s “Oldboy” (Chan-wook served as one of the film’s producers).

There are also some shots during the fight where, once the train is passing through a tunnel, the armed guards put on night-vision goggles to kill some rebels in the dark.  Of course, you worry for the protagonists in this scene, but that doesn’t make the POV shots any less praiseworthy.

Although the train serves as the film’s sole location, the cars are very different from one another, with all of them representing parts of a world that doesn’t exist anymore.  There’s everything from a greenhouse to a seafood bar to a classroom to a sauna to a dance club, but the one that is most memorable is the beautifully rendered aquarium car.

The screenplay by Bong Joon-ho and Kelly Masterson, which is based on the French graphic novel, “Le Transperceneige,” by Jacques Lob, Benjamin Legrand and Jean-Marc Rochette, scorches with its interesting characters, strange setting and the questions the story asks you.  I can’t go into much detail about what those questions are for fear of spoilers, but I can say that the big revelation at the end turns into an ethical conundrum that will have you ponder what you would do in that given situation.  Although the story does have a couple of plot holes concerning the logistics behind living in a perpetual-motion train, you're able to let your suspension of disbelief take over because of how inventive the movie is.

This is the first film of director Joon-ho’s that I’ve experienced, and I was able to see that he possesses an adept hand at creating stylish action scenes that are as gripping as anything you would catch in mainstream sci-fi.  He effortlessly sweeps you into this futuristic world that engages you in the characters’ journey, and establishes a mood of untiring tension as the narrative brings you closer to the engine room.

Much like last month’s “Edge of Tomorrow,” “Snowpiercer” is a non-sequel film that deserves to be given a chance because of how divergent it is from popular franchises.  I suggest you take two hours of your time to ride these rails.

Final grade: A-