Ben Affleck

‘Deep Water’ – Neither Erotic Nor Mysterious Enough For Your Enjoyment

Posted on by The Ultimate Rabbit

With “Deep Water,” I could not help but feel a certain level of excitement at its arrival. With erotic thrillers, it feels like we have been in a drought of them at our local cinema. Sure, there was the “Fifty Shades of Grey” trilogy, but those movies were far more laughable than they ever were truly entertaining. This one also marks the return of Adrian Lyne to the director’s chair for the first time in 20 years, and he is known for specializing in erotic films such as “9 ½ Weeks,” “Fatal Attraction” and “Unfaithful.” And yes, the trailer in which we get to gaze at Ana de Armas’ lovely body as Ben Affleck gazes at her from a distance proved to be ever so alluring. Oh, I almost forgot to mention, it is based on the novel of the same name by Patricia Highsmith, the same author who wrote “The Talented Mr. Ripley” and “Strangers from a Train?” This should have been the first I pointed out here.

Seriously, all these elements were in place for a great motion picture for us to take in, but despite an interesting start, “Deep Water” ends up faltering long before it ends as secrets are revealed far too soon to where the suspense is completely destroyed for no good reason. Also, the film is nowhere as erotic as you may hope it will be. Moreover, Disney, which bought 20th Century Fox and since renamed it 20th Century Studios, decided to dump it on Hulu as even Mickey Mouse was saying, “Even Minnie wouldn’t show me that much skin!” Well, some only get so lucky,

Ben Affleck and Ana de Armas star as Vic and Melinda Van Allen, a married couple living in the small town of Little Wesley, Louisiana who appear to have it all: an affluent lifestyle, a gorgeous home where they host many parties for their equally affluent friends, a beautiful daughter named Trixie (Grace Jenkins) who keeps telling Alexa to play “Old McDonald Had a Farm” to her mother’s infinite annoyance, and anyone outside of their lifestyle must be looking at them with either envy or tremendous resentment. Their marriage, however, appears to be a loveless one as Melinda seems far more interested in flirting with the many incredibly handsome men around her as Vic looks on, wondering what she is up to. On one hand, Vic seems content with her being with other men as he is willing to accept her for who she is, but the more you look into his eyes, the more you see how frustrated he is with this situation to where he might actually become emotional. This frustration becomes even more pronounced once some of the men Melinda is seen with are found dead. Were they murdered? What’s really going on with this couple?

Lyne tantalizes us with these questions in the first half of “Deep Water” as, while he used to show us a lot of wild sex in his previous films, only hints at what is going on here. Vic may be convinced Melinda is sleeping with other men, but he only sees so much of what she is up to. In the meantime, he tells her potential suitors that he murdered a man who was once her boyfriend. Is he being serious? It’s hard to say as Affleck is quick to remind us what a gifted poker player he can be, and that’s even if he has been banned for life from a casino or two.

Indeed, this film works best when the screenplay does not reveal all its cards to the audience. Affleck seems to revel in getting under the skin of others to where you wonder just how much his character enjoys in doing so. The same goes with de Armas who appears to revel in her husband’s inability to obtain her in the ways a husband can. As Vic and Melinda circle around one another like bloodthirsty sharks, I began to wonder if their continued relationship was strengthened by their endless strife with one another. While divorce might make more sense for these two, the conflicts between them seem to invigorate them to where a normal life is completely out of the question for them. It even reminded of a season six episode of “Homicide: Life on the Street” entitled “Strangled, Not Stirred” in which we see a couple achieve supreme intimacy through murder. I figured things here would go in this direction with these characters, but no such luck.

When “Deep Water” reaches its midway point, it completely implodes as it reveals its cards to where the suspense is killed. In fact, things become increasingly laughable as the story barrels towards a conclusion that is unforgivably abrupt and unsatisfying. Like I said, this one comes from the director of “Fatal Attraction” which had one of the most divisive endings in cinematic history, but at least its ending had a catharsis which it demanded despite what others thought. This one, however, leaves far too many story threads to where I have to wonder if there’s a director’s cut just waiting for us to check out.

In retrospect, “Deep Water” might have been far more interesting if Lyne had focused more on the characters played by Affleck and Tracy Letts who plays Don Wilson. Don is immediately suspicious of Vic, especially after he playfully admits to murder, and seeing these two together in one scene to the next is especially fulfilling as we are watching actors who enjoy not just facing against one another, but are also eager to turn their characters into anything but mere cliches this genre often employs to a detrimental extent.

Considering the talent involved, I could not help but have high expectations for “Deep Water” as it arrives at a time when superhero/comic book movies continue to dominate our local multiplexes to where we wonder if variety is still a thing. Moreover, movies for adults are a thing I have been deprived of for far too long. Even with it going straight to streaming, I figured there was much more in store for the audience. That it falls short of greatness is frustrating as it may be a long time before we get another motion picture of its ilk.

In my research, I did learn this particular Highsmith novel is a favorite of Gillian Flynn’s who deeply admired how it showed the in-your-face warfare between a husband and wife. I believed this novel inspired her to write “Gone Girl” which became a bestseller and was later adapted into the twisted cinematic masterpiece directed by David Fincher. Whether or not “Deep Water” aspired to be on the same level as “Gone Girl,” it came up far too short.

When all is said and done, Lyne’s movie makes me want to pick up a copy of Highsmith’s novel even though I have so many books on my shelf to where it looks like a Jenga piece on the verge of collapsing. I am convinced a great movie can be made out of this novel, but we have yet to see it.

* * out of * * * *

‘Gone Baby Gone’ – Ben Affleck’s Directorial Debut

Posted on by The Ultimate Rabbit

“Gone Baby Gone” marked the feature film directorial debut of Ben Affleck, and it is based on the novel of the same name by Dennis Lehane. Back in 2003, another Lehane novel was turned into a great movie by Clint Eastwood called “Mystic River,” but I would actually put “Gone Baby Gone” right ahead of it, and this is saying a lot. It is a completely absorbing and emotionally devastating film involving the abduction of a child whom several individuals are desperate to see returned home safely. Their search for the child will test their levels of morality, and it will change their concepts of right and wrong forever.

Casey Affleck and Michelle Monaghan play two Boston private detectives who are hired by relatives of the baby’s mother to help assist in the investigation. During this process, they come to work with two detectives (played by Ed Harris and John Ashton) to bring the child back home. As they continue their investigation, the story ends up coming with more twists and turns than you would ever expect.

Ben Affleck’s directorial debut here should be labeled as astonishing, but his success here should have seemed like a big surprise. He has been a Boston native all his life, so he is a natural to direct a movie like this. He perfectly captures the feel of Boston and of the people who live there. He sucks you right into the atmosphere of the town and never lets you go. He also brilliantly succeeds in generating strong tension, and it quickly becomes one of those movies where you feel the gunshots that go off. I found myself ducking in my seat in certain scenes. Yes, it is that intense.

In addition, Ben also succeeds in getting great performances from every single actor here. What a great feeling it is to see a movie which does not contain single bad performance in it. At the top of the list is Amy Ryan who gives an utterly believable and fearless performance as a drug addicted mother who at first does not seem to care at all about her child. She is a fiend and cannot hide it, but she shows cracks in that rough façade of hers to show a mother who desperately wants her daughter back. It is an utterly realistic performance which earned Ryan a deserved Oscar nomination for Best Supporting Actress.

Ben took a big risk casting his younger brother Casey in the lead role of Patrick Kenzie. It could have been a very bad case of Hollywood nepotism, something which pisses of my closest friends to no end. But Casey has proven to be a very strong actor in his own right, and he handles what is very difficult role here with a very strong performance. Casey has really gone beyond his brother’s shadow to do some great work in movies like “The Assassination of Jesse James,” and he truly deserved the Best Actor he won for “Manchester By the Sea.” He has shown that he is an actor who has taken many risks back when he was acting opposite his big brother in “Good Will Hunting,” and he continues to gives us one memorable performance after another

There is also great work done here by Ed Harris who portrays Remy Bressant, a good cop who is always trying to do the right thing. But Casey’s character sees the cracks in Remy’s façade, and Remy is indeed not all he appears to be. Harris has given one great performance after another, and this is one more great performance that he can add to a resume filled with them.

It is also great to see John Ashton here as Remy’s partner, Detective Nick Poole. We all remember him best as Sgt. Taggart from the “Beverly Hills Cop” movies and, when I first watched “Gone Baby Gone,” it felt like it has been way too long since I last saw him in anything. Ashton is, of course, very believable as a cop who has seen it all, but still won’t give up in finding that little girl.

And else can be said about Morgan Freeman which has not been said already? We see him often as a major force of morality in just about every movie he appears in, but “Gone Baby Gone” definitely puts this to the test as his character, Captain Jack Doyle, tries to give balance to a situation which threatens to go completely out of control, and the revelation made about Jack near the film’s end will hit you like a ton of bricks.

“Gone Baby Gone” is a very complex film which examines what we think are the right and wrong choices in any given situation. As it goes on, we discover there is a very thin line between what is right and wrong. All these characters spend their time doing what they feel is the right thing, but it does come with its own set of consequences. Nothing will ever come out quite the way we want it to, and there is a negative for every positive.

This is a truly haunting and devastating film on many levels. It is skillfully written and is devoid of clichés and characters that are types more than human beings. It is messy in the way they deal with certain situations, and it shows how even good choices come with severe consequences. Who truly knows if they are making the right choices in life? Can we ever be truly certain of this?

This old expression keeps playing in my head of how the road to hell is paved with good intentions. Not all these characters end up in hell, but many of them find the outcome they want is not what is best for everyone around them. One tagline for this film is that everyone wants the truth until they find it. That is very true for these characters here. For every positive, there is a negative; and the negative can have a far greater impact than the positive. You leave thinking about this constantly. Did the right thing happen? Is everything going to be alright? In this world, I guess we can never really know.

“Gone Baby Gone” was one of the best films of 2007, a year which featured one great motion picture after another. It proved to be a great achievement for Ben Affleck who took a of crap over the years for what even he has to admit were some bad career choices. But ever since his award-winning performance in “Hollywoodland,” things have been changed for him quite significantly, and he earned his place on the Oscar stage when “Argo” won Best Picture. Yes, there was “Batman v Superman: Dawn of Justice,” but enough about that one already. He still gave us “The Town,” right?

* * * * out of * * * *

Ten Years Later, ‘The Town’ Remains a Riveting Crime Thriller

Posted on by The Ultimate Rabbit

I saw this film with a friend of mine who grew up around the area it takes place in, and he declared this to be the “best Boston movie ever.” Now I am not in a position to verify this as fact because while I visited Boston when I was a kid, I have never lived there. But with this coming from someone who spent his childhood growing up in this neighborhood and made hundreds of visits to Fenway Park, this is very high praise which cannot be ignored or easily dismissed.

With “The Town,” an adaptation of Chuck Hogan’s novel “Prince of Thieves,” Ben Affleck proves what should have been clear to us after his directorial debut “Gone Baby Gone;” he is truly an excellent filmmaker. Moreover, he has a strong understanding of Boston and the surrounding areas. Affleck also succeeds in giving us one of his very best performances while surrounding himself with a strong cast of talented actors. Upon this film’s release, many were out for his blood as he was making one terrible movie after another with “Gigli,” “Reindeer Games” and “Surviving Christmas,” but “The Town” showed us that his career deserved a second act.

Affleck stars as Doug MacRay who, with his lifelong group of friends, commits robberies on banks and armored cars. One such robbery has them kidnapping a beautiful bank manager named Claire whom they let go after they have successfully made their getaway. But after looking over her driver’s license, they realize she lives only a block or two away from where they reside. Fearful that she might recognize them, Doug volunteers to check her out to see if she knows anything. In the process, he falls madly in love with her, and she is quick to return his feelings. Now this could mean one of two things; crime truly makes you stupid, or love conquers all. This leads the team of robbers to get even more paranoid than they already are as they are about to pull off one last heist, and we all know what happens on that “last job.”

While Boston plays a big part in this film, the setting of “The Town” is actually Charlestown, home of the Bunker Hill Monument which is prominently featured throughout. In the opening titles, it is said Charlestown has more than 500 robberies in a year and is known as a place which breeds a strong criminal element. It all reminds me of what Bono sang about in the U2 song “Dirty Day:”

“If you need someone to blame, throw a rock in the air. You’ll hit someone guilty.”

Now “The Town” is more than likely to earn a lot of comparison with Michael Mann’s “Heat” as both share plot and thematic similarities. But while “Heat” was truly an epic motion picture, “The Town” is far more intimate in its scope and characters. Much of the attention is paid to the criminals themselves than to the police or FBI agents who are obsessively pursuing them. It also surrounds you in an authentic Boston atmosphere and makes you wonder if the characters who were born and raised there will ever be able to survive outside of it, let alone leave it without the threat of death hanging over their heads.

Along with screenwriters Peter Craig and Aaron Stockard, Affleck takes the most familiar elements of your average heist movie and reinvigorates them to create an exciting motion picture which is as big on character as it is on action. Clearly, Affleck’s attention is more acutely focused on the characters and the circumstances which surround them all. As for the action, it has some of the best staged robbery sequences I have seen in recent films, and there is also a brilliantly staged car chase through the narrow streets which makes you wonder if the thieves could ever possibly escape as the police are not always the bumbling idiots they are made out to be on the silver screen.

Then there is Affleck the actor, and a lot of my friends still cannot stand him. Truth be told, I never thought he was a bad actor, and as Doug MacRay he gives one of his best performances to date. I totally believed him as a hardened criminal who looks to find another path in life, and he holds his own against a cast of exceptional actors who give him so much to work off of.

Another big standout performance in “The Town” comes from Jeremy Renner who was on a roll after his Oscar-nominated performance in “The Hurt Locker.” As James “Jem” Coughlin, Renner portrays the most unstable and drug addicted member of the gang, and its most heedless one as well. Coughlin is like a coiled snake waiting to strike and it is easy to see he will be the master of his own downfall, but Renner gives him a wounded soul as well. Having served nine years in prison rather than rat on his best friend Doug, James constantly feels like he is on the verge of being betrayed and feels, as Lars Ulrich once said, “so disrespected.” Other actors would just play up the hothead aspects of this character, but Renner gets at James’ heart and of how his feelings end up dictating his actions.

Jon Hamm is also on board as Special Agent Adam Frawley. But while he looks to be one of your obsessive law enforcement characters in a heist movie, Hamm actually subverts this to show us an FBI agent who proves to be as ruthless as the criminals he is chasing. In certain scenes, he proves more than willing to ruin another character’s life if it means gaining evidence and capturing criminals who are always one step ahead of the law. That Don Draper coolness rubs off on Adam as he almost effortlessly wiggles his way past another person’s defenses and then dives in for the kill.

The actresses cast do remarkable work here, holding their own against a dominantly male cast. Rebecca Hall is Claire Keesey, the bank manager held hostage who later falls for one of the robbers without even knowing it. Claire has to balance out her own frazzled emotions in the aftermath of what she has been through, and she has to deal with her strong feelings for Doug which never falter even after she discovers who he really is. As for Blake Lively, her performance as drugged out single mother Krista showed there was more to her than her work on “Gossip Girl.”. Lively excels in showing how Krista still harbors deep feelings for Doug and yet is unable to pull herself out of a painful downward spiral.

You also have resident character actors Chris Cooper and the late Pete Postlethwaite doing the same solid acting work you can always count on them for. Cooper only appears in one scene as Doug’s dad, Stephen MacRay, but he creates a fully developed character whose troubled history is communicated more in facial expressions and actions than it is in words. Postlethwaite plays Fergie the Florist, your typical mob boss, but his performance never feels anywhere as clichéd as you might expect. Even in a few scenes, his Fergie is a very scary character whose threats seem very real and who holds the answers to the questions Doug is always asking. Both of these guys are proof there are no small roles, only small actors, and these guys are most definitely NOT small actors!

Looking at the plot of “The Town” as a whole, this film could have been average or would have told the same old tired heist story with nothing new or original to say about it. But while this film may not be original, all the specific details put into use here seriously elevate it from the ordinary. The relationships and dialogue between each character never feels contrived or artificial, and the screenplay has great moments where characters realistically regain the trust of others without being at all manipulative:

“Ask me anything you want.”

“I won’t believe you.”

“Yes, you will.”

“Why?”

“Because you’ll fucking hate the answers.”

Going into “The Town,” I knew I was in for a good movie, but I should have known I was about to watch a great one. Affleck more than earned his career resurgence, and his work as a director cannot be held in doubt after this and “Gone Baby Gone,” let alone his Oscar winning triumph “Argo.” This movie could have been a spectacular failure in anyone else’s hands, but Affleck is much smarter than we ever give him credit for. Ten years after its successful release, “The Town” remains a riveting motion picture which sucks you in and never lets you off easy. Even if it brings to mind other heist movies, this one stands on its own as a unique piece of cinema and the kind only Affleck could have given us.

* * * * out of * * * *

Ben Affleck Talks About Directing ‘Gone Baby Gone’ and ‘The Town’

Posted on by The Ultimate Rabbit

WRITER’S NOTE: This screening took place back in 2011, not long after “The Town” was released in movie theaters everywhere.

Ben Affleck arrived amid throngs of fans and paparazzi at the Aero Theatre in Santa Monica for a Q&A of his directorial efforts, “The Town” and “Gone Baby Gone.” Both films have received tremendous praise and given him a second wind to his career which at the time was in lousy shape. Upon being introduced to a standing ovation, he remarked, “This is nice! People are still in the seats! It’s always cool when people stay through the end credits!”

So why did Affleck want to direct? Having worked for some time as an actor, he said he was lucky to work with many gifted people, but he found himself becoming increasingly frustrated with the direction films he starred in went. Realizing film is a director’s medium, he decided it was time to give it a shot. With “Gone Baby Gone,” Affleck said he was determined to fail on his merits and succeed on them as well. He described his previous directorial experience as being comprised of “horrible college movies” which made him happy YouTube was not around when he worked on them.

“Gone Baby Gone” does feel like the work of a confident director, but Affleck said he felt “failure was around the corner” when he made it. He found shooting utterly difficult as he struggled to find things which worked, and he was forced to shoot take after take to bring the actors to a state of relaxation. The whole process apparently made him feel like jumping off a roof. Still, this film does mean a great deal to him as it allowed him to go after the core philosophy of what he called “acting making the movie.” It also dealt with themes he wanted to explore such as children paying for the sins of their parents and of how strong moral ideals are not always rewarded.

With “The Town,” Affleck succeeded in making both a genre film and a character driven motion picture by taking a drama and, as he said, “wrapping it inside the shell of a traditional action movie.” That it was set in Boston was appealing to him as well. “The Friends of Eddie Coyle” served as an inspiration for “The Town,” and Affleck said he wanted to make a modern film noir which felt real to where your brain was not telling you that it wasn’t. Editing it was painful though as the assembly cut was four hours long and he was unsure of what to take out. Test audiences did not help either as he remarked, “They liked the action. They didn’t like the talking!”

Affleck also talked about the Pete Postlethwaite who co-starred in “The Town” and passed away before the movie was released. Postlethwaite was sick during shooting, but Affleck said he still did the movie and came to work each day with a great attitude. Despite him playing such an unsavory character, Affleck said it was always wonderful to be in Postlethwaite’s presence.

With directing, Affleck said it gave him the appreciation he did not always have for what others did on set. He also confessed he had absolutely no idea of what the crew did to make movies a reality, and that actors always believed film sets revolve around them. Considering what he has been through before and after starring in “Gigli,” he considers himself “remarkably sane for winning an Oscar” back in his 20’s.

We have seen Ben Affleck go from making good movies to truly awful ones (even he admits this), but he still describes himself as being a “late bloomer” which is tricky if you have success early on in life. We all thank him for coming by the Aero Theatre on this particular evening, and he left us with this unforgettable piece of advice for all aspiring filmmakers:

“Don’t make any movies with your girlfriend.”

‘Jay and Silent Bob Reboot’ – The Duo is Back for Some High Times

Posted on by The Ultimate Rabbit

Jay and Silent Bob Reboot poster

2001’s “Jay and Silent Bob Strike Back” was supposed to be the last installment of the View Askewniverse, but time has shown you cannot keep two stoners from New Jersey down. The duo would return in “Clerks II,” and now 13 years later following some serious drug problems and a near fatal heart attack, Jason Mewes and Kevin Smith have come back to play their iconic characters in “Jay and Silent Bob Reboot” which has the two up to the same shenanigans while finding new meaning in their lives. Like the average Kevin Smith film, it is imperfect but still a lot of fun. And unlike “Yoga Hosers,” you do not have to be stoned to enjoy it.

When “Reboot” begins, Jay and Silent Bob have been busted by the police for running an illegal marijuana operation in the old RST video store next to the Quick Stop. In court, they are represented by Brandon (Justin Long) who gets them acquitted upon convincing the judge (Craig Robinson) that the duo’s store was a temporary pop-up store designed to promote an upcoming movie. The case against them is dismissed which is a relief for them and me as I was not in the mood to watch a court movie. Things, however, take a sharp left turn when the same lawyer quickly switches sides and defends a representative of Saban Films which has optioned the comic book series “Bluntman and Chronic.” It turns out the two, when they were signing documents the lawyer said were necessary for representation purposes, inadvertently signed away their naming rights to Saban, and now they can no longer self-identify as Jay and Silent Bob ever again.

After meeting with Brodie Bruce (Jason Lee), Jay and Silent Bob discover Saban is planning a big budget reboot entitled “Bluntman v Chronic” which is being directed by… Well, you’ll see. Once again, our intrepid duo heads out to Hollywood in an effort to stop production in this reboot and reclaim their identities in the process.

Yes, the plot of “Reboot” is the same as “Strikes Back,” and even Smith has stated this new movie is “literally the same fucking movie all over again.” However, to dismiss this latest View Askew production as a lazy retread would be to miss the point. Smith is out to make fun of sequels, remakes and reboots, and he is not lost on the irony that “Reboot” is essentially all three of those things. What results is one of the most meta movies I have seen in some time as he threatens to be cleverer than he is, but it also results in a motion picture which kept me guessing as to what would happen next. Not all the jokes hit, but the ones which do had me laughing uncontrollably, and this includes one such moment which made me as light-headed as the “frosted” scene from “Zack and Miri Make a Porno.”

As you can expect, there are a myriad of cameos to be found throughout “Reboot” as well as a ton of easter eggs. One key cameo comes early when Shannon Elizabeth returns as Justice (a.k.a. Boo Boo Kitty Fuck), Jay’s love interest from “Strike Back.” It turns out Jay did get an answer to his question of “will you fuck me when you get out” as Justice introduces him to their love child, Millennium “Milly” Faulken (Harley Quinn Smith). But because Jay and Justice have been estranged for years to where she has lied to Milly about his whereabouts, she encourages Jay not to reveal to Milly he is her father because, well, you know. Still, Milly finds a way to join him and Silent Bob on their journey to Hollywood.

The moment where Jay discovers he is a dad is what makes this particular View Askew movie stand out as he is forced to confront a new responsibility no one is easily prepared for. It also allows for Jason Mewes to show a vulnerability here we have not seen from previously, and this makes for an especially heartfelt story. In real life, Mewes has become a dad himself, and this among other things is what has kept him from an early death. Seriously, there is real emotion to be found here in “Reboot” even for those who are not Kevin Smith fans in the slightest.

As for the other cameos, not all of them have been spoiled by the trailer, so I will go over the ones you already know about. Chris Hemsworth, in a movie filled with priceless “Thor” puns, plays himself and reminds us of his inspired comic performance in the “Ghostbusters” reboot. Ralph Garman of “The Ralph Report” can rest assured that his cameo as Ted Underhill lasts a lot longer than 17 seconds, but it could have lasted even longer so we too could get his character’s credit card number. Matt Damon’s cameo is so infinitely priceless to where I refuse to ruin it for anyone and, unlike Jimmy Kimmel, I am glad Smith made time for him. You also have Fred Armisen, Rosario Dawson and Kevin’s wife Jennifer Schwalbach making small but very memorable appearances, and be sure to take a look at the name of Craig Robinson’s character as it is like something out of a 1970’s exploitation movie.

But the best cameo here comes from Ben Affleck who returns as “Chasing Amy’s” Holden McNeil. Both Affleck and Smith had been estranged for some time, but even Affleck knew he had to be a part of this flick as Smith was responsible for giving him some of his first leading roles in movies. Plus, Affleck helps to give “Reboot” an even bigger heart as he talks about how children are like our own reboots, and this solidifies the evolution Smith had in mind for the various characters he has created over the years. While “Clerks II” dealt with the responsibilities of being an adult, “Reboot” looks at what becoming a parent does to your overall identity to where everything else in your life becomes secondary. Smith covered this before in “Jersey Girl,” a movie which I think is better than people typically give it credit for, but here it takes on a deeper meaning as both he and Mewes have danced with the Grim Reaper and have come out the other side with infinitely changed perspectives.

When it comes to the cinema of Kevin Smith, his movies are either for you or they are not. I have been a big fan of his since “Clerks” which contained one of my most favorite pieces of dialogue ever (“This job would be great if it weren’t for the fucking customers”), and it is a true joy to see him revisit his View Askew Universe. While he may not be as gifted as Martin Scorsese or Steven Spielberg, Smith still knows how to give us a fun time, and he does just that with “Jay and Silent Bob Reboot.” Even if you are not supposed to be here today, I would like to think this movie will find a way to cheer you up. And yes, be sure to stay through the end credits.

* * * ½ out of * * * *

Olga Kurylenko Talks About Losing Herself in Terrence Malick’s ‘To the Wonder’

Posted on by The Ultimate Rabbit

 

To The Wonder Olga Kurylenko

WRITER’S NOTE: This article was written in 2013.

While former Bond woman Olga Kurylenko gave a compelling performance in “Oblivion,” she gives an even greater one in Terrence Malick’s “To the Wonder.” As Marina, a European woman who moves with her American boyfriend Neil (Ben Affleck) to Oklahoma, she is fascinating to watch as she goes from being deliriously happy in love to becoming emotionally devastated when their relationship turns sour. Seeing her dance her way through a sterile drug store to becoming so upset at how bad things get makes you see what she is capable of as an actress.

Going from a big budget science fiction film like “Oblivion” to a low budget “art film” like “To the Wonder” was clearly a study in contrasts for Kurylenko, and she joked about how she at least had a trailer on the set of “Oblivion.” She went out of her way to discuss the differences between the two films to Sheila Roberts of Collider while at the “Oblivion” press conference, and it’s one of the few instances where we get a good look at how the secretive and elusive Malick works with his actors.

“It was very different. They couldn’t be further apart from each other,” Kurylenko said of “Oblivion” and “To the Wonder.” “In Malick’s film, for example, there was no script and that’s the difference. Here, with ‘Oblivion,’ the script was very detailed and very precise. The way Malick worked with us, he never rehearsed, and he was actually against any rehearsal.”

“Malick just throws actors in, but there is a backstory and again lots of conversations,” Kurylenko continued. “The way I built my character was by talking with Terrence all the time. We just spoke, spoke, spoke. I had a little homework to do before I started the movie. I had to read three Russian novels: ‘Anna Karenina,’ ‘The Idiot’ and ‘The Brothers Karamazov.’ Those are very tiny little novels (laughs). After that, I didn’t really need to read a screenplay. We just spoke. There were discussions about what I drew from the books, how we can compose the character, what similarities there are between Marina and different female characters in those books, and that’s how the character was born. It was a mixture of Dostoyevsky, Tolstoy and Terrence Malick.”

Kurylenko describes working with Malick on “To the Wonder” in even greater detail in an article she wrote which appears on the Black Book website. In the article, she makes her experience seem incredibly vivid as she describes how free spirited she became while on set. Once she and Malick had their discussions about the character, he let her run wild and encouraged her to find that elusive thing he called “the Wonder.” What is “the Wonder?” Well it sounds like the deep fascination we have with the ways of nature, and we constantly lose our fascination with that in our busy lives and continued dependence on technology. Anyway, from what Kurylenko wrote, it sounds like she was both eager and ever so desperate to find it.

“Terry smiles and I jump, twirl, run, and jump again,” Kurylenko wrote. “He claps, ‘more, more, more, like a rabbit!’ But then the Wonder suddenly goes missing. I scream and run into the house-throwing things, breaking things. It rains pretzels and cereal and there are more screams, but now they’re not mine, they’re Neil’s, and I’m laughing wildly and crying-my Marina is hysterical, unstable. I collapse on the floor and I wipe my tears from his shoes and kiss them. I ask, ‘Why do I do this? I want to be good, so good, but sometimes I suddenly feel possessed.’ And I beg forgiveness.”

“I receive pages every morning, sometimes ten, sometimes more,” Kurylenko continued. “They’re not exactly a script. Whether one exists or not is a complete mystery, but the words are (excuse my poeticism) rather like a breakfast for the soul. And every morning it’s a feast! If I digest the sense of what the pages contain, the nature of Terry’s words will shine through my eyes while we’re filming, and I won’t even need to speak. Every sentence is filled with such deep knowledge of the soul.”

One great thing I learned while looking into the making of “To the Wonder” was how Kurylenko always stayed in character even when the cameras were not rolling. Some actors believe their work stops when they have no lines of dialogue to speak or when the camera isn’t focusing on them, but any great acting teacher will tell you your work never stops even when the day is done. Kurylenko understands this perfectly, and she told Liz Braun of The Toronto Sun how this made “To the Wonder” more physically challenging for her than “Oblivion.”

“It was exhausting, because I was the character even when the camera didn’t film me — you have to be with Terrence because you never know when he’s filming you, and he doesn’t like rehearsals,” Kurylenko told Braun. “Terrence is someone I utterly admire and love. I trusted him completely, because he made me do somewhat ridiculous stuff. I never said no. I did everything, and I was dancing, moving through nature, walking constantly.”

While it may seem inconvenient for Olga Kurylenko to have two movies out at the same time as one might bury the other at the box office, the upside is both of them show the range she has as an actress. We cannot deny Kurylenko is a very talented actress, and it will be interesting to see where her career goes from here. Her role in “To the Wonder” might be a once in a lifetime opportunity, but hopefully more of those opportunities will come her way very soon.

SOURCES:

Sheila Roberts, “Olga Kurylenko Talks OBLIVION, Flying the Bubbleship, How Her Bond Experience Helped Her with Action, and More,” Collider, April 13, 2013.

Olga Kurylenko, “Olga Kurylenko on Terrence Malick and Filming ‘To the Wonder’-In Her Own Words,” Black Book, April 11, 2013.

Liz Braun, “Olga Kurylenko compares ‘Oblivion’ and ‘To the Wonder,'” The Toronto Sun, April 17, 2013.

 

 

‘Justice League’ Doesn’t Leap Tall Buildings in a Single Bound

Posted on by The Ultimate Rabbit

Justice League movie poster

You know how the Daytona 500 is the Super Bowl of NASCAR racing, but it’s also the first big race of the season instead of the last? That’s what “Justice League” is. It’s the penultimate motion picture of the DC Extended Universe, and yet it’s coming to us before Aquaman, Flash and Cyborg get their own solo films. With the Marvel Cinematic Universe, every character was in their own movie before “The Avengers” finally arrived on the silver screen. Granted, Hawkeye and Black Widow have yet to get their own movies, but enough groundwork was laid to where the time had come for “The Avengers” to become a reality. With “Justice League,” its long-awaited appearance feels a little premature.

Following the events of “Batman vs Superman: Dawn of Justice,” the world is still mourning the death of Superman (Henry Cavill), and all the other superheroes are trying to move on despite the large void the Man of Steel has left in his passing. Batman/Bruce Wayne (Ben Affleck) remains as dour as ever, but his faithful butler Alfred (Jeremy Irons) threatens to be even more dour to where they seem to be having a contest in that department. Wonder Woman/Diana Prince (Gal Gadot) leads a quiet life working in a museum, Victor Stone/Cyborg (Ray Fisher) spends the days hiding in his apartment because everyone thinks he is dead and he hates his father for saving him through the use of cybernetics, Arthur Curry/Aquaman (Jason Momoa) is busy drinking his life away when he’s not swimming in the ocean, and Barry Allen/Flash (Ezra Miller) spends his days trying to fit in with kids his age while moving at supersonic speed. These superheroes couldn’t be more mismatched, but they of course find themselves working together to stop a fearsome enemy bent on world domination.

This enemy is Steppenwolf (voiced by Ciaran Hinds), a supervillain determined to find three boxes of power known as the Mother Boxes and, in the process, escape the role of servitude he has been consigned to for far too long. Steppenwolf is, you know, the kind of villain bent on gaining the most power of anyone in the world, and we all know what happens to people like them; they are either defeated as we expect them to be, or they become President of the United States.

The movie gets off to a terrific start with Batman battling a common criminal on the streets of Gotham, but it turns out to be a ploy for the Caped Crusader to discover the identity of another evil foe who thrives on the fear of humans. Following this, “Justice League” becomes a labored adventure as Batman and Wonder Woman take their precious time finding all the other superheroes, some of which are hesitant to join the party even though they realize their planet is at great risk of being annihilated. Knowing those holdouts will eventually become a part of the league, this proves to be the film’s most agonizing point as too much time is spent gathering everyone together.

Ben Affleck still makes for a good Bruce Wayne/Batman, but I sense he is already tiring of the role. Gal Gadot left a powerful mark on movies this year as Wonder Woman, and she is every bit as thrilling a presence here. Of the new additions, Jason Momoa proves to be a solid choice as Aquaman, and watching him here makes me look forward to the character’s solo movie coming out next year. Ezra Miller steals every scene he is in as the Flash, and he brings a wonderful edginess to the role while also bringing the character down to earth in an especially unique way. While Miller’s character is thrilled to have these superpowers, he still yearns to fit in with everybody else, and he portrays this inner conflict very effectively.

The same can’t be said, however, for Ray Stone/Cyborg as the character has little more to do in “Justice League” other than brood, argue with his father, and try to tell everyone in hearing range of how his powers can in no way be mistaken as a gift. This is with all due respect to Ray Fisher who does what he can with an underwritten role, but I grew tiresome of his complaining, especially when we all know he’s going to be in this league eventually.

But honestly, the real heart and soul of “Justice League” belongs to Henry Cavill who returns as Clark Kent/Superman. Even I refused to believe the Man of Steel was all but finished off for good at the end of “Batman v Superman” as you can’t keep a good superhero down, and Superman remains one of the very best. Even better is the realization of how Cavill no longer has the shadow of Christopher Reeve hanging over him as he manages to bring the same dedication to this iconic character Reeve did years before, and seeing Superman fight for justice this time around brought a big smile to my face.

Indeed, “Justice League” gets better and better as it enters the third act in which our superheroes band together to defeat Steppenwolf. While I found myself not caring enough about these characters in the first half, I really rooted for their success as the movie went on because the actors looked excited to inhabit these unforgettable characters. There are times when the filmmakers succeed in arousing our childhood love for these superheroes, and this is when the movie works at its best.

Of course, I have to wonder which filmmaker deserves the most credit for “Justice League.” Zack Snyder is credited as director, but Joss Whedon came in during post-production, and it is tempting to believe Whedon, who struck gold with cinematic comic book gold with “The Avengers,” managed to tap into our childhood innocence in a way Snyder could not. With “Man of Steel” and “Batman v Superman,” Snyder focused more on the characters’ darkness which has enveloped their lives, and you can’t blame him for going in this direction as DC Comics tended to veer into darker territory. But they got so dark to where there wasn’t much in the way to be found, and it was said Snyder was going to go in a slighter lighter direction with “Justice League,” but we probably won’t know how much lighter he made it until we get his director’s cut, and the fans are already clamoring for one like crazy.

I also have to give credit to Danny Elfman for composing an excellent score here. Even he is eager to spark our childhood innocence as his score contains themes he created for Tim Burton’s “Batman” as well as John Williams’ theme for “Superman” which remains one of the best superhero movie scores ever composed. Those subtle little touches make a huge difference as they help to reawaken the past in a most welcome way.

Looking back, “Justice League” is enjoyable for the most part as it builds to a strong climax, but it still feels like this all-star superhero movie was brought to us earlier than it should have. The parts which were lacking keep me from giving this movie a solid recommendation. I still look forward to the solo movies like “Aquaman,” but in the end the filmmakers crammed too many characters into a story already overwhelmed by them, and what results is not completely satisfying in a way a film like this should be.

What I am left with is the wonderment over how the visual effects team managed to remove Cavill’s mustache digitally. Because of his commitment to starring in “Mission Impossible 6,” he couldn’t shave it off when “Justice League” went into reshoots. Then again, it would have been interesting to see this Superman with a mustache as it would have allowed Cavill to do something a little bit different with this iconic character. Of course, he would have to explain the unexpected presence of facial hair. How would he go about doing so?

“Well, something happened on the way to heaven…”

* * ½ out of * * * *

‘Gone Girl’ is a Deliciously Twisted Masterpiece

Posted on by The Ultimate Rabbit

Gone Girl movie poster

David Fincher’s “Gone Girl” is a deliciously twisted masterpiece, a shocking and at times darkly comic look at marriage. I had an insanely good time watching it and I can’t wait to see it again, and that’s even if it’s just to watch the audience react so strongly to it. There’s no way you can come out of this movie and say you weren’t the least bit enthralled by the nasty journey Fincher takes us on. Just when you think “Gone Girl” couldn’t get any more twisted, it does. Based on Gillian Flynn’s best-selling novel (she also wrote the screenplay), he succeeds in getting away with a number of things in this movie just as he has with his past work.

“Gone Girl” opens on Nick Dunne (Ben Affleck), a frustrated writer who drops in one morning at the bar he owns (which is literally called “The Bar”) where he talks with his sister Margo (Carrie Coon) about the state of his marriage to Amy (Rosamund Pike). It happens to be their fifth wedding anniversary, and Nick celebrates it with a couple of glasses of bourbon which should give you an idea of how messed up things are between them. But then Nick comes home to find Amy gone and smashed furniture and glass scattered all over the floor, a sure sign something bad happened while he was gone. Suspecting Amy has been kidnapped, Nick calls the police and from there the search is on to find her before she disappears forever.

Now “Gone Girl” is a movie with an insane number of twists which makes it hard to talk about because it’s not worth spoiling any of them. But what I really loved is how it works on a number of different levels. Many movies can be boiled down to one sentence, but not this one. “Gone Girl” is a critique of a marriage that started off passionately but which has since been devoured by bitterness and resentment, and it makes you wonder why we tend to hurt the ones we love most. It takes a number of jabs at social media and people consumed with exploiting the trials and tribulations of others for the sake of ratings while the truth threatens to get lost in all the hoopla. It also serves as an indictment of a society quick to believe what they are told instead of recognizing a person is innocent until proven guilty. But at the heart of the movie is this question; how well do we know the person we choose to spend the rest of our lives with?

We see people reaching out to Nick Dunne in sympathy, but they just as quickly turn on him when evidence suggests he may have murdered his wife. From there, it becomes a constant game of media manipulation as the characters work furiously to get the upper hand on those who have deceived them and to sway public opinion in their favor. We live in a world of sound bites where information comes to us quickly and not always in an accurate manner. By the time we get to the truth, it may already be too late to view it objectively.

Over the years, many have described Ben Affleck as being this horrible actor who never had any business working in movies, but I’ve never agreed with this assessment. Yes, he has given some bad performances in “Pearl Harbor” and “Gigli,” but then again “Gigli” didn’t do anyone any favors. In “Gone Girl,” Affleck succeeds in giving one of his best and most naturalistic performances to date as he gives us a character who is not altogether likable, but who is still a complex individual caught up in a situation beyond his control. Nick is a complicated character who we are quick to make assumptions about, but what we think of him ends up saying more about us. I love how Affleck makes Nick a deeply mercurial character whose motives you can’t help but be suspicious of, and a scene where he sways the public back to his side during an on-camera interview with shows him at his conniving best.

I remember Pike from her early appearance as a Bond woman in “Die Another Day,” and she has gone on to give unforgettable performances in “An Education,” “Barney’s Version” and “The World’s End.” But when it comes to describing her work in “Gone Girl,” a flurry of adjectives cross my mind to where I have to be careful of what I say. What I can say is she is endlessly mesmerizing in a role which has her exploring every single facet of her character to where she surprises us in such an unnerving fashion. It’s a truly fearless performance you won’t soon forget after you leave the theater, and Pike doesn’t hold anything back.

“Gone Girl” also has a great supporting cast, and each actor sinks their teeth into their roles with relish. Kim Dickens is a delight as the cynical and yet slightly mischievous Detective Rhonda Boney, and she is blessed with a lot of great dialogue throughout. Patrick Fugit, almost completely unrecognizable from his “Almost Famous” days, is a snarky delight as Rhonda’s partner Detective Jim Gilpin. Neil Patrick Harris gives a charming and yet enigmatic performance as Desi Collings, Amy’s ex-boyfriend who looks like he can be trusted, but there’s a certain creepiness about him to where you wonder what’s really going on in his head.

Even Tyler Perry shows up in a very non-Medea-like role as Tanner Bolt, a somewhat devious attorney far more interested in winning the most impossible to win cases in court and playing the media like a piano to his clients’ benefit. Knowing how Perry caters mostly to the church going audience, I’ll be interested to see what they make of his time in Fincher’s dark world. I got a kick out of watching Perry here as he keeps his cool even as Nick’s case spins out of control.

You also have Missi Pyle on board as Ellen Abbott, a character clearly designed to remind you of Nancy Grace and of how annoyingly abrasive television hosts like her can be. Acting so entitled to her point of view even if the truth is not in her favor, Pyle makes her into a shameless individual who doesn’t apologize for anything even when she’s proved wrong.

But one supporting performance I really got a huge kick out of in “Gone Girl” was Carrie Coon’s as Margo. Coon is sarcasm incarnate right from the first moment she appears onscreen, and her scenes with Affleck are filled with love and devotion as well as a lot of anger at his foolish mistakes. I’m not too familiar with Coon’s work as she has appeared mostly in television and made a name for herself in various productions of the famed Steppenwolf Theatre Company, but I hope to see more of her in the future. She makes Margo a strong and fiercely independent character in a movie filled with so many morally clueless ones who get away with far too much.

The movie also marks Fincher’s third collaboration with composers Trent Reznor and Atticus Ross, and the two succeed in putting together another unforgettably creepy film score. What’s fascinating about their music here is it starts off sounding nice and inviting, but soon it becomes overcome by discordant sounds which imply there is something seriously disturbing going on in this quiet suburban neighborhood. Just when you think you can pull yourself away from the nasty voyage Fincher is taking you on, Reznor and Ross’ atmospheric score sucks you right back in and refuses to let you go.

Fincher’s “Gone Girl” is definitely a movie for these crazy times we live in now, and it is likely to make many out there think twice about getting married. Heck, even eloping sounds like a bad idea after watching this. But amid this tale of deeply flawed individuals and industry types more interested in their own celebrity than anything else, it makes one wonder whether we can ever really know someone completely. We’d like to think we know everything about our significant other, but can we really? This movie seems to imply we can’t, and Fincher makes you see this is one of the most frightening truths of all.

Fincher is a guy who never plays it safe, and “Gone Girl” is the latest example of that fact. Seriously, this is the most subversive and darkly funny take on marriage since Danny DeVito’s “War of the Roses.” I have not yet read Gillian Flynn’s book, but I really want to now. A woman sitting next to me at the screening confirmed the book is a great read and that she was very satisfied with Fincher’s adaptation of it. I’m fairly certain she is not the only one who feels this way.

* * * * out of * * * *

Argo

Posted on by The Ultimate Rabbit

Argo movie poster

After the one-two punch of “Gone Baby Gone” and “The Town,” Ben Affleck should not have to prove what a great movie director he is. But for those who, for some utterly bizarre reason, still believe they need further evidence to support this conclusion, I give you “Argo.” His third movie as a director tells the story of how CIA specialist Tony Mendez went about trying to extract six U.S. diplomats out of Iran during the 1979 hostage crisis. It proves to be a very intense experience watching this movie, and I also got a huge kick over how it skewers Hollywood and the business of making movies as well.

I loved how Affleck really went out of his way to make “Argo” look like a 70’s movie. He even included the old Warner Brothers logo (referred to as the “Big W” logo) which preceded the studio’s movies from 1972 to 1984. I’ve really missed this logo for the longest time.

Anyway, when Iranian revolutionaries ended up storming the U.S. embassy in Tehran, six diplomats manage to evade capture and find refuge in the home of Canadian ambassador Ken Taylor (Victor Garber). Meanwhile, back in the United States, the State Department has learned of the escapees and their predicament, and they start looking for ways to get them out of Iran. It is Mendez who comes up with the idea, after watching “Battle for the Planet of the Apes” on television, to create a cover story of how the six are actually filmmakers from Canada who are scouting locations for a fake sci-fi movie called Argo. This looks to be one of those “so bad it’s good” kind of movies, and it would have been fun to watch for all the wrong reasons had it ever been made.

The scenes where Mendez goes to Hollywood are among my favorites in “Argo” as he works with movie business veterans who are keenly aware that lying to others is part of their job description. John Goodman and Alan Arkin are priceless as make-up artist John Chambers and film producer Lester Siegel, and they are given great pieces of dialogue to speak throughout. The lines Arkin is given are especially biting:

“You’re worried about the Ayatollah? Try the WGA!”

The tension is then ratcheted up tremendously when Mendez heads over to Iran to prep those six diplomats on how to get out of the country alive. You feel their collective anxiety as they become fully aware of how one little slip up will get them quickly executed in public view, and you are with them every step of the way as the walls continue to close in on them. Emotionally speaking, “Argo” is the first movie I have found myself crying after in a long time, and the tears I cried were from sheer relief.

“Argo” is based on a true story and, while this remains a serious pet peeve of mine, this is one which needed to be told. It wasn’t until 1997 that this rescue operation was declassified for all the world to know about, and it speaks a lot about how two countries can come together in a tough situation (in this case, the U.S. and Canada). Yes, portions of the story were fictionalized for dramatic purposes, but that’s always the case so just get over it.

Affleck casts a lot of great acting veterans in “Argo,” and kudos to him for doing so. I’ve already mentioned Goodman and Arkin, but you will also find Bryan Cranston, Kyle Chandler and Philip Baker Hall doing terrific work here as well. As for the diplomats, they are played by such actors as Clea DuVall and Tate Donovan among others, and they all are uniformly excellent.

In addition to directing this movie, Affleck also stars as Mendez and gives a particularly understated performance. I know we all love to pick on him as an actor, but he’s a better one than we give him credit for. Not once does Affleck try to steal the show from the actors around him, and his work is commendable as acting and directing a movie at the same time can be a real pain in the ass.

“Argo” has more than earned its place among the best movies of 2012, and it makes clear that Affleck’s success as a director is no fluke. This is a guy who has seen the heights of success and the utter embarrassment of failure, and he has come out the other side of it all proving he is a great talent whether he’s in front of or behind the camera.

Be sure to stay through the end credits as well as there is information you will need to hear about this true story.

* * * * out of * * * *

Suicide Squad

Posted on by The Ultimate Rabbit

Suicide Squad poster

Oh lord, what happened here? This was supposed to be the movie of the summer where, for a change, we got to root for the bad guys. “Suicide Squad” was a movie I couldn’t help but have high expectations for as I was expecting something along the lines of John Carpenter’s “Escape From New York” which had us rooting for a sociopath more interested in his own survival than saving the world. Instead, we got a mess of a motion picture which is not the least bit exciting. While the previous DC comic book movie, “Batman vs Superman: Dawn of Justice,” proved to be a dour experience, “Suicide Squad” is just flat out boring.

I’m not going to bother going over the plot of “Suicide Squad” as there wasn’t much about it worth remembering. All you need to know is the worst of the worst have been recruited against their will to fight an antagonist bent on (what else?) world domination. We do, however, get a laborious introduction to the squad of the movie’s title which includes characters who are so seductively evil. There’s Floyd Walton/Deadshot (Will Smith) who never misses a target, Harley Quinn (Margot Robbie) who has gone from being a psychiatrist to an insane supervillain thanks to the Joker (Jared Leto), the assassin Digger Harkness/Captain Boomerang (Jai Courtney), former Los Angeles gang member Chato Santana/ El Diablo (Jay Hernandez) who puts all pyromaniacs to shame, Waylon Jones/Killer Croc (Adewale Akinnuoye-Agbaje) who looks more like a reptile than a human being, and Dr. June Moone/Enchantress (Cara Delevingne) who is an archaeologist possessed by an evil spirit (is there any other kind?).

These characters represent a path to the dark side which moviegoers like ourselves are eager to eat up onscreen. It’s no secret we revel in their exploits which go against all the laws we grew up believing in as the movies are a great way to explore humanity’s dark side. Instead, their adventures are unforgivably watered down to where we wonder what he was thinking or if Warner Brothers meddled with his vision too much. The PG-13 rating should have been a warning as this kind of material demands an R like “Deadpool” did.

“Suicide Squad” was written and directed by David Ayer who has given us some strong motion pictures like “End of Watch,” “Harsh Times,” “Street Kings” and “Sabotage.” His movies never sugarcoat reality which makes them all the more viscerally entertaining, but here exits his comfort zone and has made a movie which is not the least bit visceral. It would have been cool to see Ayer combine his real world aesthetic with the DC comic book universe, but what we get instead is something which is astonishingly banal. Not even the appearance of Batman (Ben Affleck, once again proving he was a terrific choice to play the Caped Crusader) does much to make the proceedings the least bit interesting.

Furthermore, the movie is poorly photographed to where everything feels so drab and lifeless. From the posters it looked like this would be an infinitely colorful motion picture as the villains leave their mark on a society which has long since abandoned them. Instead, every scene looks like it was illustrated from the same pastiche which makes it all the more depressing to sit through.

This is also not to mention the choppy editing which robs the action scenes of any excitement they hoped to have. Not even the clever music selections of songs by Eminem, Kanye West or Queen does much to raise our adrenaline levels as the characters show off their devilish talents. Ayer also introduces certain character driven scenes at the most inopportune moments in “Suicide Squad.” While they are meant to give more depth to the characters, they instead slow down an already tedious movie that pretty much lost me from the start.

In terms of the acting, some performances here are better than others. Will Smith and Margot Robbie pull off strong turns as Deadshot and fan-favorite Harley Quinn, but they are saddled with an endless stream of pathetic one-liners which fail to amuse in the slightest. Other are not as lucky such as Jai Courtney who looks more like Tom Hardy to where I thought Hardy was cast as Captain Boomerang. As for Adewale Akinnuoye-Agbaje, he suffers the same indignity Oscar Isaac and Idris Elba endured in “X-Men: Apocalypse” and “Star Trek Beyond;” getting covered up with way too much makeup which robs him of his natural charisma.

One of the best performances in “Suicide Squad” comes from Jay Hernandez who makes El Diablo into much more than just a one-dimensional schmuck. While the other actors have little room to move around, he manages to humanize his character to where we see much beyond the various tattoos covering his body to where his plight is ultimately heartbreaking. Hernandez manages to generate some genuine emotion here, and it’s in a movie which could have used more of it.

But the big surprise is Jared Leto’s turn as Joker in that Cesar Romero’s was far more threatening and memorable on the campy “Batman” television show. Leto does make the role uniquely his own and has a chilling laugh, but there’s nothing particularly special or invigorating about his portrayal. He doesn’t have the ghost of Heath Ledger haunting his every move, but he never comes across as much of a villain. Instead, Leto’s portrayal is nothing more than a cartoon, and his performance here is more of a cameo than a starring role.

Looking back, the most threatening character to come out of “Suicide Squad” is not a superhero or a supervillain, but instead a government official named Amanda Waller. From start to finish she is ruthless and single-minded in her approach to forming this squad and infinitely devious in keeping the team of supervillains under her complete control. It also helps that Amanda is played by the always fantastic Viola Davis who makes this character into a fascinating psychological case study as she proves to be an even bigger sociopath than those she has employed to save the world.

I came out of “Suicide Squad” depressed and wondered how so many talented people came together to make a comic book movie so lifeless and boring. Even if you come into it with low expectations as many are doing now, there’s not much of anything to like here. I was hoping to see an exhilarating motion picture with a devilish sense of humor, but instead we got what is so far the most disappointing movie of 2016. Warner Brothers may have started their own cinematic universe with some success, but now they need to start making better movies because they are way behind Marvel Studios.

To all the DC Comics fans out there who enjoyed “Suicide Squad,” please believe me when I say I’m happy for you. It’s good to know somebody got something out of this movie because I sure as hell didn’t. Here’s hoping and praying that “Wonder Woman” and “Justice League” are infinitely better.

* out of * * * *

Copyright Ben Kenber 2016.