Jay & Silent Bob Reboot- Reboot, says it all.


jay-and-silent-bob-with-kevin-smith-tickets_02-26-20_17_5d7be09140a63.jpg(Image Courtesy Saban Films. Jason Mewes and Kevin Smith in Jay & Silent Bob Reboot!)


Twenty-Five years have come and gone for Writer/Director Kevin Smith, although it’s been thirteen years since Jay & Silent Bob last appeared on-screen in Clerks 2 (2006). Reboot’s open is memorable and fun as the cult duo is told once more that they are being given the Hollywood treatment. Thus, the middle aged stoner’s make yet another trek to the city of angels to stop the making of Bluntman V Chronic. However, the journey isn’t as fun and too many of its set pieces simply fall flat.

Taking a pit stop in Chicago to grab a bite, jay (Jason Mewes) discovers he’s a father to Milly (Harley Quinn-Smith). Having reconnected with old flame Justice (Shannon Elizabeth) who informs him that he is anything but Daddy material. Alas, Milly asks jay if he would bring her and friends out to LA to visit Chronic Con. Naturally jay obliges, and the misadventure continues.

The film has its ups and downs, but nevertheless it’s a Kevin Smith film at its very core. It’s not the unexpected hit that Tusk (2014) has become or even earlier View Askew entries. Reboot struggles to find its voice, as it becomes a show put on by Smith. The famed director appears as himself and Silent Bob in the same scene while putting on an event that would actually take place at Chronic Con. Meanwhile, pulling off sound moments that Jay finds with Milly; making it the family film Smith has promoted it to be.

As expected there are various nods and prods at modern and past Pop Culture. Smith does not hesitate to make fun of himself either as he is ultimately the “bad guy” in making the Bluntman V Chronic film that Jay & Silent Bob set out to stop. The Dialogue is well written, but the plot and story mechanics are familiar at best. There are several cameos throughout, but not everyone makes a return. Had Reboot been given a wide release, something that Smith no longer has the opportunity to do, it might actually do some business. As his Road shows are selling out across the country.

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Joker – a film that would’ve fared better as an indie featuring anyone, but the infamous Batman villain.


joker-c-f7c7.jpg(image: Warner Bros. Joaquin Phoenix plays Arthur Fleck in Todd Phillip’s Joker (2019)). 

Despite the “controversy”, threats of violence at random locations, and the promise of something bold & original. The Todd Phillips-Joaquin Phoenix team up: Joker; although an improvement over Jared Leto’s street thug take on the crown prince of crime in David Ayer’s Suicide Squad(2016). Is a misfire on many levels and is ultimately a film that would’ve fared better as an indie featuring anyone, but the infamous Batman villain.

Joaquin Phoenix whom turns in an Oscar worthy performance plays Arthur Fleck, a “Party Clown” by day and aspiring stand up comedian by night. Struggling to support his fading mother Penny (Frances Conroy), whom loves to burn the midnight oil watching “Live with Murray Franklin”(Robert De Niro); think 80’s David Letterman. However, it’s through this hour of family TV time that Arthur learns of his connection to Thomas Wayne (Brett Cullen) and his mother’s former occupation at Wayne Manor.

Not everything is doom and gloom for Arthur as he hits things off with single mother Sophie Dumond (Zazie Beetz), whom lives down the hall in his decrepit apartment building. Leading Arthur to invite her to one of his open mic nights in downtown Gotham. A highlight of the film, but the levity stops here. This a Joker film after all.

Writer/Director Todd Philips who’s known for creating memorable comedies such as Road Trip (2000) and The Hangover (2009). Creates a dreary and downbeat film that’s easily depressing just to sit through. Granted, this Jokerfilm is not considered part of the greater DC Extended Universe and for good reason.Jokerwas designed to be alternate take on how the green haired baddie became to be. However, with the film’s open we’re given an awkward subway ride ending with Arthur handing out a laminated card explaining his condition of uncontrollable laughter. This defining moment signaling that we’re in for an off-the-rails adventure, however, it’s lacking the sinister madness that the joker’s known for.

Joaquin Phoenix provides an excellent and offbeat performance as the joker in this unexpected meditative look at mental illness in a failing society. However, Joker, is not as advertised. Despite, recognizing and fully owning the fact this is a dark film in nature. None of it is memorable as Arthur and his troubles would fit into another Independent film, without its ties to the Joker mythology or the greater DC comics’ universe.

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Avengers: Infinity War- All Bets Are Off


Image Credit: Marvel From Left Danai Gurria as Okoye, Chadwick Boseman as Black Panther, Chris Evans as Steve Rogers/Captain America, Scarlett Johansson as Natasha Romanoff/Black Widow, and Sebastian Stan as Bucky Barnes in Marvel’s Avengers: Infinity War.


It’s been a well-structured ten years since Iron man graced the silver screen as an independent film full of integrity and ready to be the game changing summer Blockbuster that it was. Ten Years later and a week earlier (Iron Man originally came out on May 2nd), Marvel has studios has released Infinity War. Easily, the penultimate experience brought you courtesy of the Marvel/Disney team that only dreamt of producing films of this magnitude as Iron Man went into production with Jon Favreau lensing the picture.

Infinity Waris pretty straightforward; Thanos (Josh Brolin) sets out to collect all six-infinity stones. Already in possession of the Power stone and the space stone, Thanos seeks out the Time stone worn by Doctor Strange (Benedict Cumberbatch), the mind stone embedded in the head of Vision (Paul Bettany), The soul stone, and the reality stone. However, Thanos’s task is anything but easy as he puts all on the line to achieve this task. Which creates casualties early on and throughout the run time of the film, which should come as no surprise as Marvel must not only keep the show interesting, but it must go on.

Bringing together the Guardians of the Galaxyand The Avengers, Infinity Wardirectors Joe and Anthony Russo handle character introductions with ease. Which there are in abundance here as the film picks up where the others left off. We find Black Panther (Chadwick Boseman), Steve Rogers (Chris Evans), Bucky Barnes (Sebastian Stan), and a blonde Black Widow (Scarlett Johansson) in Wakanda, Thor (Chris Hemsworth) and Hulk (Mark Ruffalo) aboard his ship with the remaining Asgardian survivors, Doctor Strange at his Sanctum Sanctorum in New York, Vision and the Scarlett Witch (Elizabeth Olson) in Scotland. All of which must band together to fight the mad titan and stop him from becoming the single most powerful entity in the known universe.

Infinity War does anything but disappoint. From here on out all bet are off, as the Marvel universe not only continues to expand and flourish with these vast characters: it will continue to set the stage for future crisis such as this.

If you went to the theatre this weekend the look of astonishment on fellow movie watcher’s faces is something that hasn’t been seen since The Matrix Reloaded dropped in late 2003, and that’s truly saying something; As online message boards, podcasts, and general conversation amongst those familiar with the comics or not will theorize and dissect the film with a reinvigorated spark.

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Star Wars: The Last Jedi- A missed Opportunity.


(Image Credit: Youtube) Daisy Ridley as Rey Mid-fight in Star Wars The Last Jedi.

A new Star Wars film has arrived bringing with it more blaster fire, extravagant lightsaber fights, and the good old-fashioned good vs. evil seen across the board since the inception of storytelling. This go-round Rian Johnson writes and directs the newfound band of heroes. Having earned his Hollywood credibility with sleeper indie hits such as Brickand the lengthy time-travel-yet-down-to-earth Looper.The Last Jedipromises originality but instead delivers a blatant retelling of Empire Strikes Backwith an adrenaline-fueled injection of Return Of The Jedi.

If JJ Abrams reignited the essence of Star Wars with The Force Awakens; a reimagining of A New Hopewith enough refinery to keep it interesting. Rian Johnson has certainly perfected the formula that Abrams and Disney set out to create. The Last Jediis laden with quick jokes of character and doesn’t hesitate to hold back on exposition running a solid two and half hours. All of which could be told within ninety-minutes or less, had Johnson cut the excess baggage. Nevertheless, Johnson manages to that mid-ground that will resonates well with both adults and children alike. Disney, having paved the way with superhero films in the Marvel Cinematic Universe well beforehand. Thus, everyone appreciates a good joke or two, but Johnson let the dog off the leash and never seemed to chase after it. Potentially wiping out iconic moments for future generations.

Alas, The Last Jedipicks up amidst that memorable cliffhanger at the end of The Force Awakens. Rey (Daisy Ridley) handing Luke (Mark Hamill) his father’s Lightsaber. However, what happens next is not quite what you’d expect. As Luke gives it a solid hard look and amiably tosses it aside. Meaning that Rey, has been provided with yet another uneasy task, as she must convince the curmudgeon Jedi his job isn’t done yet. Granted, Luke saved the Galaxy three and a half decades ago from the Empire, but Rey’s prowess could use some fine-tuning from a learned master.

Meanwhile, General Leia (The Late Carrie Fisher) is picking up shop on D’Quar and headed out as The First Order has discovered their base. Attempting to outrun the First Order in the process, which fails as they are tracked through Hyperspace leaving General Leia out for the count. What follows is a space race to nowhere as Poe Dameron (Oscar Issac) and Admiral Holdo (Laura Dern) fight for control of the ship. Finn (John Boyega) feels the need to take off again, that is until he is stopped by the emotionally torn Rose Tico (Kelly Marie-Tran). Although, in an attempt to stop the First Order from further tracking the Resistance, Finn and Rose lead a trek to Canto Bight to find a code breaker (Benicio Del-Toro).

Rian Johnson makes a valiant attempt at recreating that dark atmosphere in Empire Strikes Back, but in the end, delivers a missed opportunity at best. As set pieces like Canto Bight and the mutiny aboard the freighter could’ve been saved for another story. An original storyline could’ve been the result as well, instead Johnson delivered an upside down and introverted version of a classic film known worlds over. Which leaves scene structure and editing up for question, as suspense takes far longer to build than past entries in the franchise have.

Daisy Ridley proves once more she has the mantle to carry the Star Wars saga onward. Adam Driver’s Kylo Ren does have some growth in the villain department and does provide weird and unexpected sexual tension with Ridley; its just not what one may be expecting. Oscar Issac, John Boyega, Benicio Del Toro and Kelly Mare-Tran are given next to nothing to do in their respective roles. Leaving the door wide open for future plotlines without meaning in episode nine. Not exactly providing a wholesome experience for the Star Wars fan new or old.

Not all questions posed in Force Awakensare given answers either; in fact they are more or less ambiguous now then when originally asked. The Last Jediis anything but a classic Star Wars Film, but it is a mildly entertaining fanfare for those looking to kill an afternoon.






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Fate of the Furious-Fast & Furious Meets Human disconnect



Image Courtesy of Celebzee.com From Left Charlize Theron as “Cipher and Right Vin Diesel as Dominic “Dom” Torretto In “The Fate of the Furious”.

If XXX The Return of Xander Cage is a mind-blowingly stupid film then, Fate of the Furious is a far more enduring film. The problem here may be, the lack of a real human connection. As the film hangs on one and without it entirely comes apart. For those having paid careful attention to the events in the franchises last three films will not surprised by the twist that the audience is given in the film’s first act, but it’s the sole reason Dom (Vin Diesel) has gone “Rogue” as the trailer suggests. It’s also the Reason Cipher, Charlize Theron appearing blonde and braided down to the bum, has complete control over him in the octennial entry to the “Furious franchise”.

Assembling the team seems to take no effort today as it shouldn’t, which traditionally in the past was an excuse visit an exotic locale or to set up an impromptu race. Fate seems to spend no time on this clocking in at 2hrs and 16 minutes with bumper-to-bumper action and explosions, which must get tiring for the director. As the franchise has made this position quite a revolving door having been ignited by Rob Cohen and Fate employing Italian Job director F. Gary Gray. However, Director of photography Stephen F. Windon having recently lensed Star Trek Beyond has been with the franchise since Tokyo Drift, nonetheless having mastered the Furious look.

Luke Hobbs (Dwayne “The Rock” Johnson) loves his time off from work and as direct result of it has become his daughter’s enthusiastic soccer coach. That is until works knocks on the door in the form of DS Allan (Patrick St Espirit), because an EMP device has been stolen. Which brings the team together in Berlin to retrieve it from an un-mentioned evil-doer. Knowing little about Dom and Cipher’s plans for it.

This finds Hobbs locked up and without options until Mr. Nobody (Kurt Russell) and his replacement in training Little Nobody (Scott Eastwood) show up offering a hand. What Hobbs doesn’t expect however, is that he’ll be accompanied by Dekard Shaw (Jason Statham). Creating an unexpected duo that is polar opposite to events seen in Furious 7.

The loss of Paul Walker’s Brian O’Connor is felt here and it can’t seem to be helped either as mention is made of the happy life he created for himself in the last installment. Reactions are heartfelt, but a promise was made at some point to leave him out of it. Possibly for the better, as Vin Diesel and universal have plans for two additional installments within the franchise.

Fate of the Furious is an altogether entertaining film with an over the top opening sequence, that has if noting else become a staple, in a starting-to-fade franchise. If Vin Diesel could stir this franchise to a more philosophical standpoint, something memorable may be created from it. However, the film has one scary sequence in which Cipher takes over auto-piloted vehicles to go after a desirable target of hers. Notwithstanding, things continue onward without a moment’s hesitation, but then again so has the franchise.

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Collide- An American Fantasy on the German Autobahn


Nicholas Hoult as Casey stein and Felicity Jones as Juliette Marne in “Collide” Image courtesy of Comingsoon.net

“Is that a Line?” Juliette Marne proclaims with a hint of laughter as she shrugs off Casey Stein’s pass at her about the possibility of two americans attending the same Rave in Cologne, Germany. A conversation starter nonetheless, but it’s only bears enough fruit to push the mechanics of the plot along for any unsuspecting attendees. Thus, the irony is that both Leads Nicholas Hoult and Felicity Jones respecitvley, hail from England as do their co-stars Ben Kingsley and Anthony Hopkins. A true American as the film is produced and sold for couldn’t be further away from the film’s plot or exotic locations. However, such an ideal couldn’t have been dreampt up in any other capacity than by up and coming American Writer F. Scott Frazier. Whose Recent credits include the lackluster XXX: Return of Xander Cage and the semi-thought provoking john Cusack Starrer The Numbers Station. Collide is a far more enduring outing than Frazier’s aformentioned work, but it is also due in part to Welcome To the Punch Director Eran Creevy.

Once Niecties are exhechanged Casey (Nicholas Hoult) and Juliette (Felicity Jones) are shown happily in love through an invasive lip-locking montage ending in naked drunkness and ultimatgely a hospital trip, as juliette collaspes. Prompting, a kidney transplant that neither can afford nor will local healthcare providers assist with. Which finds Casey returning to his former employer aberrant mobster boss Geran (Ben Kingsley), whom also seems to be having a hard time with his own superior Hagen (Anthony Hopkins). As to be expected things don’t bode well for Casey which leads him on a chase across the German countryside from Hagen’s thugs and time is of essence as he’ll either return to the love of his life or get killed in the proccess.

Felicity Jones whom appears with shoulder length blonde locks, has appeared in massive tentpole one right-after-the-other. Most Notably as Rebel Leader Jyn Erso in LucasFilm’s Rogue One: A Star Wars Story, but also in  A Monster Calls and the film adapation of Dan Brown’s Inferno. All of which saw Jones provide strong supporting characters that you wish you knew more about. Collide sees Jones take a backseat for the bumpy ride and its a fair one as the Birmingham Britt has had a busy year.

Nicholas Hoult is far from leading man material, but his determination as the down and out Stein is an all out scene stealer as he wrecks vehicle-after-vehicle on the German Autobahn, the film’s original title, as he races through Germany’s highway system. This also happens to be where Eran Creevy and Cinematographer Ed Wild let their cameras loose as Oners and extensive sequences unfold edit-after-edit.

Collide is whithout doubt a holdover film, but once over its minor speedbumps is worth the watch as the film is equal parts thriller and roadrace extravagansa. Veteran actor Ben Kingsley appears to have had fun as exuberant mobster Geran and that hasn’t been truly appeciated in the right light as his Trevor Slattery in Marvel’s Iron Man 3 could be seen as a distant relative. A better title, despite many collisions within the film’s action Sequences, would’ve done the film better as it’s closer to Romeo and Juliet (1966) with a touch of Smokey and The Bandit (1977). 

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Rogue One: A Star Wars Story-A companion Piece that surpasses yesteryears episodic fanfare



Image Credit: Comicbookmovie.com From left Felicity Jones as Jyn Erso and right Alan Tudyk as K2SO in Rogue One: A Star Wars Story.

Despite no verbal acknowledgement of events preceding George Lucas’s saga starter Star wars (1977), aptly subtitled Episode 4 A New Hope after the creation of the prequel trilogy, does one begin to ponder Rogue One’s inspiration. For those unfamiliar with the franchise’s famous crawl summating events prior to those taking place in the viewer’s choice of an episode. A New Hope’s crawl describes the Rebellion’s first major victory against the newly formed empire. That withstanding insurmountable odds a group of rebels pulled through and secured the plans to the Death Star, the Empires most fearsome weapon. Rogue One defiantly excels expectations and tells a more than satisfying story to a forgone conclusion.

Former Imperial scientist Galen Erso (Mads Mikkelson) is summoned by newly minted Commander Orson Krennic (Ben Mendelsohn) to complete work on the Death Star. Leaving his young daughter Jyn on a farming planet she knows nothing about, an orphan. Rebellious Radical Saw Guerra (Forest Whitaker) friend of Galen finds the young girl and raises her as his own. Jumping ahead twenty-five years jyn (Felicity Jones) is thrust into a galactic civil war that she could care less about. Fighting alongside her is slippery Cassian Andor (Diego Luna), Reprogrammed Imperial Droid K2SO (Alan Tudyk), the trusty Baze malbus (Wen Jiang), recently turned rebel pilot Bodhi Book (Riz Ahmed), and the force mumbling blind monk Chirrut Îmwe (Donnie Yen). Jyn is the ragtag group of rebel’s not so obvious leader, as her father’s choices ultimately became her burden to bear as events have been forced upon her. Unlike Daisy Ridley’s Rey where the situation was more less rolled into her lap via stubborn Astro Droid BB-8. Jyn’s stance is her birthright, providing her the upper hand when it’s needed the most. Allowing Oscar nominee Felicity Jones to be the leader as her other roles were strong in support. This opportunity also paved the way for her to be the second consecutive empowered female in the ever-expanding Star Wars Cinematic universe.

Rogue One is the darkest Star Wars film to come around since The Empire Strikes Back (1980) closely followed by Revenge of The Sith (2005). Although children in droves will be seeing the film, its Jedi free atmosphere may leave them wishing they just stayed at home and watched A New Hope instead as this will play better for adults having viewed Star Wars when it revolutionized cinema back in the late 70’s.

Rogue One achieves many things, but for certain it’s a pure anthology film harkening back to decades old cannon in need of burying old plot holes. Gone are the days of fans constantly relying on the publication of a new book or video game that would further expand upon such a vast universe, when the Disney engine is now pumping out a new film for fans to chew on every December. Granted, this won’t stop the need for it, but will add a certain authenticity Star Wars has never had the benefit of. With that said, that anything written before The Force Awakens is not considered part of the expended universe.

Monsters (2010) Director Gareth Edwards delivers a film worthy of multiple viewings albeit his lackluster attempt at revamping Godzilla (2014) two years prior. Lucasfilm President Kathleen Kennedy saw to it that Edwards watch Twelve o” Clock High (1949), as the classic Academy Award winning film deals with the perils of war and the effects of steadfast leadership under pressure. The Gregory Peck starrer also incorporated real footage footage of soldiers in action combined with authentic flying shot to match it.

Rogue One is a winner in every way imaginable and its re-shoots proved to be nothing if nominal as every film undergoes re-shoots in the middle of post production no matter the size or scale. What Disney and Director Gareth Edwards have shown here is that if enough care is taken franchises can expand infinitely if enough latitude is present from past installments. Much like Cinderella (2015) Rogue One is stunning companion piece that far surpasses episodic fanfare of yesteryear while making a sturdy existence rooted right at the heart of it.


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Yoga Hosers- A Relaxing Sequel true to it’s podcast Origins


From Left Harley Quinn-Smith and Lily Rose-Depp in Kevin Smith’s ” Yoga Hosers”

Kevin Smith’s “True North Trilogy” continues with Yoga Hosers, a subsequent monster adventure ridding the coattails of Tusk. That Finds “The Colleens” Harley Quinn-Smith and Lily Rose-Depp, stumbling upon dormant Canadian Nazis at work. Instead of going to that awesome senior party, an event both girls cherish second only to their cellular devices. A stigma that allows Director Smith to provide a hilarious social commentary on the overuse of social media, while creating homage to Clerks and creating an environment based on shenanigans from his massive podcast empire.

Working Manitoba’s Eh-2-Zed is tough beat for Both Colleen Collette (Lily Rose-Depp) and Colleen Mackenzie (Harley Quinn-Smith). So to relieve stress the girls temporarily close the store and perform tracks “I’m the man” and “O’ Canada” with heavily tattooed Ichabod (Adam Brody) in their off the books band. Only to re-open the Zed’s doors to unsatisfied customers followed by an offering of a satirical bushel of “Sorry aboot that” for the anxiously waiting customers. The following day at school where the girls get a lashing from gym teacher Mrs. Wicklund (Genesis Rodriguez) for going on selfy craze and potentially disrespecting their fellow classmates. The girls are then visited by Guy Lapointe (Johnny Depp), questioning the disappearance of a man whose only crime was purchasing toilet paper (Harley Morenstein). Lapointe ultimately leads the girls on an adventure that neither wanted nor expected, to the bowels of Manitoba. That is of course after Colleen C’s dad (Tony Hale) and insufferable store Manager girlfriend Tabitha (Natasha Lyonne) head to Niagara Falls leaving the store for the girls to deal with.

However, as this is a monster film entwined around lighthearted comedy taking place in a convenient store nonetheless, its not all that shocking that the food comes to life via Bratzi (Kevin Smith). As convenient store food is sometimes the stuff that procures nightmares and in this case the direct inspiration for comedic material. As the girls fight against sauerkraut filled sausages that like to kill their victims first anally penetrating and then protruding though the victim’s mouth squealing “wundabar!” Granted, its not until the girls have honors history with Mrs. Maurice (Vanessa Paradis) that the first sign of any of this is going to take place as we’re given a brief overview of the connection between Adrien Arcand (Haley Joel Osment) and Andronicus Arcane (Ralph Garman).

Drawing inspiration from Tusk and subsequent smodcast episodes, Smith seems to have found himself as a filmmaker yet again. As Yoga Hosers finds clever ways to nod and in some cases outright make fun of recent comic book films while paying humorous homage throughout to his internet radio empire.

As the summer was chock full of sequels and prequels once more, Kevin Smith provides a fun filled adventure littered with millennial spontaneity that other filmmakers struggle to pull off in a convincing manner. Despite, Smith selling the film as child fanfare, Yoga Hosers would’ve thrived marketed to ages thirteen-to-thirty.

Those who attended the film’s roadshow premiere were treated to anecdotes from the cast and crew, but of note is when Smith mentioned that he even let Johnny Depp direct his own daughter in scenes, to the film’s benefit.



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Suicide Squad- A renter even if A Director’s Cut finds it’s way onto the Market.


Image Credit: ScreenRant.com From Left Will Smith as ” DeadShot and Right Margot Robbie as “Harley Quinn” In DC’s “Suicide Squad”.

“The Problem with Meta-humans is the human” Amanda Waller (Viola Davis) curtly pitches to a board of generals in response to the events of Batman V Superman. Thus, Waller is given the means to procure a crack team of baddies, should a need arise to deal with the next meta-human threat if and when it occurs. The Enigma of it all, its Waller’s dilemma to begin with as the “Enchantress” (Cara Delevingne) escapes custody and threatens all of mankind via the mystical portal above the city as seen in every sci-fi-ish tentpole to canvass the silver and small screen since Star Trek The Original Series. A common theme of late as it can be seen in Fantastic four (2015) and Both variations of Ghostbusters. As encroaching evil intimidates mankind, making Suicide Squad a dead-on-arrival attempt at creating a mismatched group of anti-heroes dissimilar to The Avengers forced into “saving the day”.

If anything is to be matriculated from the last DCEU outing its that Batman (Ben Affleck) who cameos here, can put up one hell of a fight and it’s not so far from the realm of possibilities that he alone could’ve dealt with this crisis. Alternately, those congregating to theatres will be given a choppy introduction of the nine different characters appearing in the film as Waller briefly glosses over dossiers while eating a steak dinner with her superior Dexter Tolliver (David Harbour).

As if this isn’t beguiling enough events appear to be happening simultaneously, while formalities are being exchanged among players such as Harley Quinn (Margot Robbie) and Deadshot (Will Smith) meanwhile, Enchantress has half leveled the fictional city of Midway. Which in some cases is a necessary evil, here it feels like its holding back the film’s painfully obvious conclusion. Which suggests heavy studio involvement in the editing process as re-shoots on key scenes took place in response to Marvel’s Deadpool. Despite, the fact the film had a more than competent editor in John Gilroy whose credits include Miracle, NightCrawler and Michael Clayton.

Taking inspiration and creating a similar environment seen in Adam Glass’s New 52 Run, which was eventually taken over by Matt Kindt, some relationships are in fact given credence. Elements from the Harley Quinn (Margot Robbie) and Joker (Jared Leto) affair is shot-for-shot from the comics, but once they’re given a mob like apprenticeship is when events take on a lethargic life of its own. Other task force-x members like Deadshot (Will Smith) and El Diablo (Jay Hernandez) are given faithful flaws as well, they’re just not front and center in that verdant limelight.

Suicide Squad features a great soundtrack however, as the film is not even five minutes in you’ve already burned through classics like Rick James “Super freak”, The Rolling Stones “Sympathy For the Devil”, and ACDC’s “Dirty Deeds Done Dirt cheap”.

An idea that has been used before to great effect simply because, excellent imagery will sustain onscreen and if excellent music is added it will support the image permitting an extended use of it, before a cut is necessary. However, this is not the case as the film cuts around trying to fill in expository information building to its eventual assembly of misfits.

Suicide Squad is far from the hit Warner Bros and Writer/Director David Ayer were hoping it would be. As the film fails to even ask the question of what consequences could be the end result of putting a rag-tag team of super criminals together be, like its predecessor Batman V Superman spent so much time contemplating. David Ayer whose strengths lie in telling gritty-yet moving crime dramas such as Street Kings and Training Day might be better off returning to those landscapes and leaving the Joker locked away at Arkham.

The highlight of the film here is Clearly Margot Robbie’s Killer performance as Harley Quinn. Which only seems to be weighed down by Joker’s (Jared Leto) appearance. Which of all things is odd as her origin is completely defunct without it. Otherwise, Robbie delivers her Bronx swagger superbly and even stops men from working while dressing for her venture into the world.

Will Smith’s Deadshot is okay, but believable enough to be the leader as he often is in similar roles, a favorite of Amanda Waller’s nonetheless as she continually comes to him in the film with specific requests. Viola Davis strands strong in the film as well, but it’s hard to like a character when her mistake pushes the formation of such a group in the first place.

Cara Delevingne’s June Moon whom becomes the embodiment of “Enchantress” is no doubt the weakest villain to gloss the DC screen in quite some time, but this isn’t due to a sour performance either; but overall poor development in general. As character isn’t given enough screen time to accurately gauge a performance, let alone justify the series of events leading up the eagerness to destroy Midway city, playing out in a miniscule flashback.la-times-suicide-squad

Suicide Squad may have attempted to fix problems brought on by previous DCEU films, but despite good trailers for the film, it made the problem far worse. Frankly speaking Superman isn’t dead and the idea of doing a live version of the death and lives story arc is about thirty years to late. Those familiar with Jon Scnepp’s The Death Of Superman Lives will know that this universe could’ve come to head much sooner, despite the effort of trying to create a moderately connected universe outside of TV Land; when the competition is clearly doing a far better job at it. Suicide Squad is a renter, even if a director’s cut finds its way onto the market.



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Jason Bourne- A Tired Forgone Conclusion.


Image Credit SlashFilm.com From Left Matt Damon as the tile Character and Right Julia Stiles in “Jason Bourne”.

As if the forgone conclusion in Bourne Ultimatum (2007) wasn’t enough for Matt Damon’s Jason Bourne, he’ll once again reemerge into the crazy world he seemed pretty content leaving behind. Discovering more personal history about events leading up to that fateful day he signed up for Treadstone- the super secret blacks ops experiment run by the CIA he wish would cease to exist

If the CIA were handy at creating its “weapons” the need for creating experimental “Programs” with exorbitant codenames would cease to be a problem for this franchise. However, “iron hand” is the controversial government funded initiative that has Nicky Parsons (Julia Stiles) hacking the servers at Langley once again to “expose” the atrocity to the very unforgiving world. Bringing, Jason Bourne (Matt Damon) out of hiding and back onto most wanted lists. The conundrum for Parsons however, Bourne not only could care less, but would rather be bare-knuckle-brawling on the border between Albania and Tsamantas laying out the competition with one well landed punch after the other.

Academy Award Winner Alicia Vikander gives another excellent performance here as Heather Lee a Protégé of CIA Director Robert Dewey (Tommy Lee Jones). Dewey is war-torn and hands off, but vikander’s Lee sticks to her gut, as she is quick with a mouse and keyboard. Making a name for herself as she tracks Damon’s Bourne across the globe. Opening in Tsamantas and featuring locations like Italy, Germany,

Spain, and Reykjavik ultimately ending in Las Vegas. The problem here isn’t the screen time the character is given, rather the lack of character and a real task to accomplish. The same can be said for Vincent Cassel’s asset as he is thrust into the action after Bourne despite, the fact that two share a past that was never given credence before the events of this film. Cassel’s Asset is quick and certainly gives Bourne a run for his money, but much like Edgar Ramirez “Paz” in “ultimatum” the character feels more like a placeholder than formidable threat.

Veteran Actor Tommy Lee Jones’s Robert Dewey is a believable pencil pusher with a strong perceptive “seen it all before” attitude that makes decisions on whim or rather what his staff lets him believe, as someone must be willing to make decisions. It’s easy to understand why this role is essential to the film, but it appears rather glossed over as the character ultimately winds up serving the personal agenda of Heather Lee.

Riz Ahmed is wasted here as Aaron Kalloor the programmer of “Deep Dream”, a social networking site for hackers. As he shows up at a conference to meet with Robert Dewey about Parson’s hack, only to relay a diatribe on “privacy” and subsequently following it up with how he wants to help “authorities” bring down those involved with the incident to the media when he’s just as responsible. Lets not forget that Christian Dassault (Vinzens Kiefer) suggested going public with the records to Nicky in the first place. Perceiving the CIA as unjust for its “experimental Programs” and given Parson’s troubled past with Bourne. The only pay off this scene has is its social commentary on that of wiki-leaks creator Julian Assange going public years ago with similar information.

Jason Bourne is a highly entertaining film, but the suspense that carried the last three films in the franchise appears to be absent as writer/Director Paul Greengrass and Co-writer/editor Christopher Rouse give the film just enough screenplay for events to play out in a two hour time frame. Let alone build to a climax where past misgivings are actually retained instead of leading Bourne to believe that he’s on the path to full to retention.

However, this is easily the best-looking Bourne film since “Identity” as scenes are given graceful geography before the action explodes allowing editor Christopher Rouse to cut in and around a scene with fine precision. While not interrupting the flow of exposition and what little character development there is, time and space.

Granted, the conclusion in this film is already a forgone conclusion, Bourne gets brought back into the action, gets the bad guy, and like the film before last puts the CIA in its place once more and continues living life in the shadows.  A character like Jason Bourne will never be able to stop running from the world he once knew.

Had Tony Gilroy been given a second chance his Aaron Cross would’ve been a better choice that allowed for further character exploitation and would’ve been much more interesting because frankly, we know Jason Bourne. It also would allow Jeremy Renner to pick up right where he left off with cross and could continue that excellent chemistry with Rachel Wiesz’s Dr. Marta Shearing and could come to a head with his own Experimental program “outcome”. Instead of playing with tried old characters we already know.

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