TERMINATOR SALVATION

TERMINATOR SALVATION (Warner Bros.)
Directed by McG

As quickly as films hit the big screen, often in a blitzing manner, there’s not a lot of time to relish in the current state of Hollywood, no matter what new blockbuster is hitting theaters. That’s the hard truth when it comes to film these days, so it’s no secret there’s a host of franchise’s, that for the most part, have been forgotten. TERMINATOR is one of the forgotten, at least to me, as it’s been over six years since the last installment, T3, which not only still had its star in Arnold Schwarzenegger, but pretty much completed what I thought to be a successful trilogy overall. Sure, I felt they could keep going with the series, but once Arnold took office in California later that year as Governor, those feelings vanished without a trace. But, here we are again with yet another version of this series surfacing, only this time; TERMINATOR SALVATION is both a prequel and sequel, which really gets your mind going when it’s all said and done, in what I saw as the perfect way to bring this series back from the dead.

Picking up, sort of, when we last left off, the year is 2018, shortly after a nuclear holocaust put into motion by Skynet, ending pretty much all of civilization. Skynet, for those that don’t know, is an artificially intelligent defense system, that turned on its human creators early after existence, ultimately finishing all human existence by using weapons of mass destruction over and over again. The story here centers on the activities afterward and the man in the middle of everything was John Connor (Christian Bale), soon-to-be leader of the “Resistance,” an underground group of survivors’ hell bent on bringing Skynet down. After surviving an assault on a local Skynet base, Connor uncovers a twisted subplot by the machines involving the development of the T-800, along with the capturing of humans and eventual transport to Skynet’s main North America headquarters in San Francisco for reasons unknown. Unsure of why, Connor returned to base in hopes of tracking down one of these so-called transports and saving the lives of the captured, both on the transport and off within the actual Skynet headquarters.

However, in doing so, he would need help and that help came in the strangest of places after Marcus Wright (Sam Worthington) showed up at his doorstep with one of his fallen pilots Blair Williams (Moon Bloodgood) in tote. Wright wasn’t just a lost soul, though, having just been through quite the journey himself, after running into a very key piece to the overall diabolical plot by Skynet, in Kyle Reese (Anton Yelchin), after dying some 15 years prior. But, that was just the beginning, as Connor found out, for Wright was the new breed of machines he was out to stop. A machine so complex, that Connor questioned everything he knew up to that point, as it was essentially a hybrid machine that looked and thought it was human, when everything inside them told a different story. Unsure of whether to put this machine to sleep of let it go, Connor chose the later in hopes Wright would lead him right where he needed to be, which was inside Skynet headquarters. But, that was just the beginning to this collision course of infiltration where both Wright and Connor would find out their destiny, no matter who stepped in front of them along the way, all leading to a conclusion full of twists and innuendos that might leave your jaw on the floor.

Unknowingly given the task of resurrecting yet another franchise, you couldn’t have hand-picked a better lead than Christian Bale. This guy clearly is on top of his game these days and shows it on and off the set, no pun intended. The intensity he brings is uncanny, reminding me a lot of Tom Cruise, but he also is able to dial it down when needed and with this character, you need both, given all of John Connor’s conflicting past and present memories over the years. But, Bale is able to take it all in stride after creating one of the best versions of protagonist character we have seen and one we might see again very soon. Adding to Bale was a host of characters pretty much filling in where needed, including a very special cameo, but there was one who stood out among the rest. And that was Sam Worthington, a guy many have never seen, unless you come from Western Australia, by way of Perth, the very same city the late great Heath Ledger hailed from. And I think if Ledger were still alive, he might be proud of his fellow Aussie, in what he was able to do with this role as Marcus Wright, a character in many ways that was more prominent than Bale’s own Connor. Worthington was able to bring in all the emotion of a guy who died some 15 years prior to being reborn into a different body and world for that matter.

Although, having seen the three predecessors’s to this series, I wouldn’t call myself a serious fan like some. And who knows, maybe there isn’t a serious fan to this series, but either way, I wasn’t chomping at the bit to see TERMINATOR SALVATION. In fact, the only thing that made me want to even give it a chance was the fact Christian Bale was starring in it. Maybe that’s a shallow reason, but it was mine walking into the theater and frankly, it might have helped keep my expectations at a decent level. I think that was important, given the history of this series and how insane the action and special effects can be, but it was all held in check here. Director McG (WE ARE MARSHALL, CHARLIE’s ANGELS) made sure to keep the action simple and in one take most instances, from what I here, as he wanted to make as few as cuts as possible. The result was one smooth action sequence after another; all shot with crafty angles and color, making the look and feel of it among the best of the bunch. And that was surprising given how easy it is to go over the top with a film like this, but overall it was quite difficult to find anything wrong, as it all just weaved so perfectly in and out of the well crafted script by John D. Brancato & Michael Ferris. I guess if there was some sort of weakness, it was the fact there wasn’t more storytelling mixed in, as you just couldn’t help but wonder how it all got to this point, despite the events leading up to this point in the evolution. But, maybe we get to that the next time, as I here there are talks of a 5th piece to what is now a rejuvenated franchise.

TERMINATOR SALVATION might look like just another summer blockbuster out to make a few bucks, but underneath it’s much more, unleashing its fury for the past, present and future. With a cast led by Christian Bale, special effects that will have you on the edge of your seat, all anchored around a story and soundtrack that is better than imagined, there’s just not a whole lot to dislike with this film that will surprise you in more ways than one.

A

ANGELS & DEMONS

ANGELS & DEMONS (Columbia Pictures)
Directed by Ron Howard

Believe it or not, it’s been three years since Dan Brown’s own THE DA VINCI CODE turned Hollywood and this country upside down with its radical thought provoking antics, using some of the most cherished religious history as its bait. The book alone spent nearly 200 weeks on the NY Times Best-Selling list, so after the film grossed over $750 million worldwide back in 2006, it was almost a no-brainier for the producers to base a film around Brown’s “other” notable piece of fiction, Angels & Demons, which ironically came before its predecessor. And having read both books, even after watching THE DA VINCI CODE, I still felt Angels & Demons on the big screen would be better. Not, so much for the controversy, as the prequel doesn’t touch nearly as many nerves as The Da Vinci Code, but for the excitement of the story and how one twisted plan could turn the Vatican inside out. That’s why ANGELS & DEMONS was the better book and precisely why it has just become the better film of the two, as I can’t help but relish in all the thrilling moments of clarity and intrigue this story is consumed with.

Like its predecessor, the story here is based entirely on the novel by the same name, which sits among the top 5 best-selling books today. That’s right, all those fans that only read The Da Vinci Code are now seeing what some of us already knew when it came to Angels & Demons, which is simply that it’s a much better and faster read. And like its predecessor, the story here centers on Robert Langdon (Tom Hanks), who just can’t seem to stay away from the Catholic Church. For Langdon, studying ancient symbolism in history and religion was more than just a job; it was his life and for years he worked to make a name for himself as the token expert when it came to religious figures and symbols. So, Langdon wasn’t shocked when the director of CERN (European Organization for Nuclear Research) showed up at Harvard to inform him of a terrible murder involving one of CERN’s own physicists Leonardo Vetra, who was branded with the ambigram symbol of the word Illuminati. A tragedy that just so happened to occur within days of the pope being found dead, forcing the papal conclave to convene, in order to elect the new pontiff. Knowing the history of this underground organization, Langdon couldn’t believe this legendary secret society was resurfacing, much less collaborating and kidnapping with intent to kill the four Preferiti, cardinals considering to be the favorites to be the next pope. And to make matters worse, the Illuminati also have stolen a very delicate canister, no larger than a quarter of a gram, of ‘antimatter’ from CERN, and hidden it within the confines of the Vatican. Antimatter, if combined with the slightest piece of normal matter would unleash a nuclear explosion large enough to wipe out the entire Vatican city. So, as the clock ticks down on the battery backup, which just so happens to be the power stabilizing the antimatter within the stolen canister, Langdon and company attempt to travel through the maze or dubbed “Path of Illumination” of historical clues and hints, all leading to a conclusion that will have you on the edge of your seat in more ways than one.

For those that thought Tom Hanks was the wrong fit the first time around in THE DA VINCI CODE, I would hope this time you would see the logic behind director Ron Howard’s decision to make Hanks the protagonist character. Hanks has done it all, and to me fits right into the shoes of Langdon, who most readers of the famed books pictured a certain way. But, instead of fitting your own mental depiction of Langdon into Hanks, why not let Hanks fit into Langdon? It’s a difficult task for some people, but crucial into seeing just how good Hanks really is in this role. Sure, it’s not the most dramatic role he has played, but he makes sure you are focused on his character and not him, the actor, which is all you can ask from a star like Hanks. Playing opposite Hanks for most of the film was Ayelet Zurer, who played scientist Vittoria Vetra, who was the resident CERN expert on antimatter. Zurer was good and a much better addition to Hanks, than Audrey Tautou was in THE DA VINCI CODE, not that either one was meant to steal the show. That task belonged to Ewan Megregor, who turned in quite the unique role as the Pope’s number two and acting head of the Vatican during this time, also known as the Camerlengo. This role may not look on the surface that great, but his part to the story provided the most intrigue and by films end, the most excitement. But, maybe the diamond in the rough to this cast was Armin Mueller-Stahl, who played the often calm and wise Cardinal Strauss, who was voted as the ‘elector’ during the papal conclave. His presence alone gave certain validity to the story and on goings behind those sacred closed doors within the church.

Believe it or not, ANGELS & DEMONS is just the second film based off a book which I have read, that I have seen in my life; THE DA VINCI CODE being the first. And it’s fitting that the two films coincide with each other, yet are so different in nature, that you find yourself reliving the books all over again, all be it on much lower scale. Because the reality is, no movie will ever match up the book, especially in this case where the book far exceeded any expectations I had after being blown away with The Da Vinci Code initially. Knowing that, I went into this film with lower expectations, and the result was exactly what I was looking for. Sure, it’s not as detailed as the book and if I tried to dissect it into a thousand little pieces, certain parts to the book might be missing, but who cares. As I said three years ago after watching THE DA VINCI CODE; to create the magic and excitement that Dan Brown was able to do with his words is not easy, so getting anywhere close to it would be an achievement in my mind. That was again true here, where director Ron Howard carefully maneuvered the camera in and out of space, allowing all the action and intrigue to unfold the way it was meant to, especially toward the end.

ANGELS AND DEMONS may not start a war of words between believers and non-believers the way THE DA VINCI CODE did, but it sure matched the intensity, plus some. The fact remains, these two films, although similar by the protagonist character, couldn’t be more different in look and feel, which is exactly what Dan Brown envisioned when he signed rights over. So, for Ron Howard to then take that vision and turn it sideways was impressive, all the while producing one very heart-stopping and entertaining thriller that might even have you talking more than its predecessor did when it’s all said and done.

A-

STAR TREK

STAR TREK (Paramount Pictures)
Directed by J.J. Abrams

For some crazy reason, I truly thought this day would never come. Call it ignorance, but after the last stint of STAR TREK: ENTERPRISE, ironically in May 2005, I felt this cult series would never be reborn, whether that was in film or on TV. But, as some will note, this series was left for dead after its initial run in 1966, only to be picked back up for re-runs that became more popular than when the show first aired. That’s impressive and quite the tale to tell, as many “Trekkies” still like to do, but whether it was reborn then or now, this series somehow never goes away. No matter how bad or cheesy it gets, there will always be someone who wants to reinvent the magic. So, when Paramount contacted director J.J. Abrams and Co. to help come up with new ideas for the franchise, the news couldn’t have hit the media outlets any quicker. Some rejoiced and some rejected this news, but yours truly silently took note, knowing J.J. Abrams didn’t casually sign on for anything. Aimed to create a film that would reach a wider audience, they went to work and by late 2007, filming had begun for what Abrams said would be an entertaining and fresh version of STAR TREK. Well, the famed director couldn’t have been more right, as this film takes you where this series has never gone before, igniting a new following that shakes the core of what many fans have known and loved about the franchise for so long.

Instead of recycling some older storyline that has frankly already been done, J.J. Abrams and his writers decided to go in a different direction, opting to sort of start over with how a young James T. Kirk (Chris Pine) and Spock (Zachary Quinto) became the iconic figures we know today. After first meeting at the Starfleet Academy, the two are chosen by Captain Pike (Bruce Greenwood) to take flight with the Starship Enterprise for what was supposed to be a relatively routine mission. Only hours into the voyage, Enterprise encountered Narada, a relentless ship led by Captain Nero (Eric Bana) out to destroy all living planets. After trapping the Enterprise and destroying its fleet, Nero orders Captain Pike to surrender, leaving Spock in command and Kirk as first officer. While Nero interrogates Pike for the codes to find Earth, Spock and Kirk get into a slight altercation, resulting in Kirk’s exit to Delta Vega where he ironically runs into an older version of his nemesis. After relaying the future for Kirk through a crafty mind meld, the old ambassador insists Kirk must become Captain of the Enterprise to help save what will one day be all his to command. Of course doing so, would be no easy task, as Kirk first had to beam back onto the Enterprise, before cleverly seizing control away from Spock. The next thing you knew, the new captain and former captain were on Narada, rescuing Pike and devising a much bigger plan to end this Romulan threat once and for all, leading to a conclusion that will have you on the edge of your seat.

For many, the cast in STAR TREK isn’t one you will recognize too easily, but thats actually a good thing. Director J.J. Abrams wanted that, choosing to breathe new life into the franchise with some fresh blood, all the while staying true to the core of what makes STAR TREK one of the most well known series of all time. And leading his cast was Chris Pine, maybe the best decision Abrams could have made, as this guy was all over the place as a young Captain Kirk. Not only was he true to the history of the character, he showed what a fresh face can do for a series that was left for dead. In fact, the entire cast here showed that with the right script penned by Roberto Orci and Alex Kurtzman; anything can be reborn. Equaling Pine every step of the way was Zachary Quinto (TV’s HEROES), who played a very convincing Spock. The two stood toe to toe as the combining force behind this film making sure their story was told; just the way Abrams intended it. But it wasn’t just Pine and Quinto who made this story go. Every piece to this cast fit into the right place, like a master jigsaw puzzle that only Abrams knew the formation to. Pieces like Bruce Greenwood (Capt. Pike), Karl Urban (Dr. Leonard 'Bones' McCoy), John Cho (Hikaru Sulu) and Zoe Saldana (Nyota Uhura), who all seemed to be the perfect fit for the role they were given aboard the infamous ship. And then the standouts like Simon Pegg as Scotty, who was hilarious at times while Eric Bana turned in of the best villains I have seen in awhile, as Nero. But, maybe the true gift to this cast was the cameo by one of the original series superstars, Leonard Nimoy, who commanded each line given to him, showing he still has a little something in that famed mind of his.

I think all those doubters of director J.J. Abrams on whether he could pull this film off or not, are now his biggest fans as he truly did we he set out to do. Not only did he create a new STAR TREK following, regenerating a series that was lost in a black hole; but he made sure he had something for the long-time fans too, plugging in very subtle 'TREK' mythology and humor that made this series loved for so long. And the best part is, this film is all new, as the story in itself covers a timeline no one has ever seen, but all secretly wanted. So, to be able to tread those kinds of waters; hoping to make the traditional fans happy while also bringing on a whole new core of fan like myself, who never gave one second to the older versions, no matter the format, is impressive. To me, that’s the key to the job Abrams did here, as to make a fan out of someone like me, is no small feat. I can’t begin to tell you how stupid I thought this series was growing up, so credit Abrams for that, as I’m positive I’m not the only new fan craving to see more of what I just saw. But, it wasn’t just in the way Abrams put it all together; he truly is one hell of a director and he made sure each and every moment to this story was fresh and one you would want to experience again. Whether that was during the breathtaking visuals through space or on board the Enterprise, it all just seemed so seamless. No rough edges to this film, which is strange, given all its predecessor’s history, so maybe if there’s one thing to take away from a technical perspective, it’s that this film looked and felt almost perfect.

For a cult series like STAR TREK, no one really knows why it became so big some 40 plus years ago and trust me, I still wonder despite my feelings on this new prequel. But, somewhere in the middle of all those classic TV shows and film lies a core of characters worth going back to explain, which is precisely what director J.J. Abrams wanted to do, unleashing his own version for a series he was only a casual fan of growing up. That might be surprising to some, but for me is the perfect anecdote to what I believe will be the jump-start to something great for a franchise that has already lived through this feeling once. So, call it second-coming or rebirth, but I just call it what it is; which is one thrilling and entertaining ride to experience each step of the way.

A

X-MEN ORIGINS: WOLVERINE

X-MEN ORIGINS: WOLVERINE (20th Century Fox)
Directed by Gavin Hood

Hard to believe it’s been nearly three years since we last saw a piece to what has now become quite the franchise for anything relating to or on the famed comic X-MEN. Truth is many view this comic as one of the most diverse and unique of all time. So, it almost goes with saying whenever any new film based on or around one of the characters from this group of superheroes gets released, there will be some hype. Warranted or not, that’s just how it will always be and given just how big Marvel Studios has become in Hollywood over the past decade, this is still only the beginning. The depth at which Marvel Studios can go with any of its comics is beyond comprehension, so when I see a headline on a confirmed spinoff for one of the more interesting antiheroes within X-MEN, I’m not surprised. In fact, I would be more surprised if I didn’t see any headlines for a Deadpool or Magneto spinoff, as I can’t imagine Marvel Studios slipping into the background now, with nothing to gain and everything to lose. That being said, the so-called “test” spinoff for the famed comic series, X-MEN ORIGINS: WOLVERINE has finally arrived with a whole lot of buzz, but very little bite when it’s all said and done.

As you might expect with ‘origins” being written into the title, the story here centers on the so-called beginning of Wolverine (Hugh Jackman) and how he became what we already knew. Sounds confusing, but trust me, that’s nothing compared to what this story could have been, if they actually went to the well for the exact depiction on how Logan became Wolverine. Through a series of flashbacks, we discover Logan has a half-brother named Victor, a.k.a. Sabretooth (Liev Schreiber), who early on seemed a bit darker than his younger brother, until Logan murdered their dad, forcing them to run away from home. And after years of serving in pretty much every big war our country has seen, the two immortal mutants get recruited into a special army led by William Stryker (Danny Huston). This army was put together to keep other mutants from doing harm, but not too soon into it, Logan saw its true mission and chose to walk away. Beside, a more low-key life suited Logan, or he thought, as he moved into the mountains and settled down with his girlfriend Kayla Silverfox (Lynn Collins). Some six years later, though, Logan’s brother returns and murders Kayla, knowing it would get the attention of his brother. Now upset and full of rage, Logan seeks the help of Stryker, who makes him indestructible and virtually untouchable to all other mutants. But, as Logan got closer to his revenge, he discovered a whole new underlying truth that not only shook everything he held dear, but forced him into a battle to save all mutants like himself and more importantly take down whoever was responsible. This all leading to a conclusion that felt more like a letdown than anything else.

If you don’t know who Wolverine is by now, you must be hiding under a rock because it’s about the only good thing Hugh Jackman has done in his career. I know, I know, he was good on Broadway, but who cares. I’m only concerned with what he has done in film, which is not much up to this point. Some will argue his role in last year’s AUSTRALIA was a breakthrough performance, but he’s Australian starring in a film based on Australia. Not much of a stretch if you ask me, but nevertheless he at least makes a mean Wolverine from X-MEN fame. And here, he picked right up where he left off in X-MEN: THE LAST STAND, only in this film, he’s supposed to be younger in a body that never ages. All kidding aside, Jackman knows this character well and makes sure you get every ounce of what he has to offer with it, good or bad. That’s certainly a testament to what he will do for a role, which I will give him, especially when it is involved as this one has been over the years.

Supporting Jackman at just about every step of the way was Leiv Schreiber, who I wish was in more films. Here’s a guy who gets it and whenever he is on screen, makes sure you pay attention and know exactly where he is coming from. He adds in just the right humor to a fairly dark role and for the extreme action sequences, he seemed to hold his own. Same can be said for several other actors like Lynn Collins, Will I Am and Dominic Monaghan, who all fit in nicely within the story respectively. But, the two guys who clearly needed more screen time were Ryan Reynolds and Taylor Kitsch. For Reynolds, this isn't his first rodeo in this genre, but given just a few scenes to shine, he made sure his presence was known, proving the validity of what will for sure be a great spinoff in the near future. As for Kitsch, a guy many will not recognize, this is his first major role outside his hit TV series FRIDAY NIGHT LIGHTS and boy did he make the most of it. Maybe it’s because I know him from TV, but I couldn’t get enough of his character Gambit and how easy it was to watch him whisk in and out of scenes. It’s just too bad there wasn’t more of him, like Reynolds’ Deadpool, but I guess that’s why it’s so easy to spinoff these films when the time comes.

Not really knowing what I was walking into, I truly kept my expectations low for this film. Sure, I have seen the previous three X-MEN films, but given how atrocious the last one was, I couldn’t help but hope this would be the start of better times for the franchise. And maybe franchise is the wrong word, but to me they all tie together, so why not lump them together in that way? It really doesn’t matter, as each film had their unique spin on the series, but with WOLVERINE being a prequel, I at least hoped we would be subscribing to the “less is more” mentality. Meaning, when it came to special effects, please do not go over the top and do too much, as there’s simply no need to do so, despite the genre this film resides in. I get it; a film like this should have overblown special effects that raise eyebrows, but not in a way that can take you away from the story that still needs to be told, especially when it’s one centering on the origin of a character. That’s what happened here and I fault director Gavin Hood (RENDITION) for that, as there just wasn’t a need to throw in that much fluff for a story that was for the most part meant to explain the depth of one of the most popular comic book figures ever created. Too many times I felt the special effects or action was too ‘cheesy’ and unnecessary, as it didn’t help the story along, only hampered it when it counted. And that’s too bad, because this script was actually well put together by writers David Benioff and Skip Woods, which was surprising to me, given how many directions it could have gone in looking and reading about the true history of Wolverine within the pages of the famed comic.

For all those fans that didn’t happen to download the leaked version of X-MEN ORIGINS: WOLVERINE off the internet, this film is probably still worth seeing; not so much for the overdone special effects, but for the story that moves along better than expected. Flip a coin if you have to, but overall it still manages to entertain and throw out a few enjoyable scenes here and there, thanks to the wealth of talent behind it. And in the end, it’s almost like a train wreck that you can’t seem to turn away from, no matter how bad it gets.

C+