Welcome To Earth (Again): Review of Independence Day Resurgence

Independence Day: Resurgence

Director: Roland Emmerich

By Alex Watson

When the first trailer hit, it seemed that Roland Emmerich's sequel 20 years in the making might have hope to it. Alas despite being visually breathtaking, Independence Day: Resurgence falls short. The fundamental issue is a poor script from returning scribes Emmerich and Dean Devlin which seems genuinely confused how to handle a second alien invasion. There is plenty of bang for your buck and this picture has the entertainment factor nailed down, but this proves little more than just another underwhelming summer blockbuster.

20 years after the alien attack, Earth has rebuilt itself and peace has been declared. Former President Whitmore (Bill Pullman) is traumatized by the events he witnessed while his grown daughter Patricia (Maika Monroe) serves the current Commander in Chief. David Levinson (Jeff Goldblum) is now heading up the countries defense project. While on the moon, US Pilot Jake (Liam Hemsworth) discover that another invasion is imminent from their old Alien pals. Is Earth ready to withstand another battle?

Although Emmerich will keep his crown as the king of big, silly popcorn entertainment, Independence Day: Resurgence doesn't break any new ground. It's not to say that this picture does not have its merits because the thrill factor does rank highly. Watching the 3000 miles long Alien ship re-enter Earth and cause mass devastation is as good a 3D experience as you will have this year. What is lacks is a clear cut hero- the absence of Will Smith is felt greatly throughout and despite his son Dylan (Jesse Usher) being written in, he doesn't have the natural charisma to carry the picture. The returning old guard do a good of reminding us of what made them memorable. Thomas Whitmore is now a shadow of the leader he was and is suffering from PTSD. Levinson is still the same dry humored soul we all remember and is placed under the complex problem of dealing with invaders under an impulsive President (Sela Ward).

Frequently through this picture, there are unresolved narrative threads, for example, what precisely is the relationship between Levinson and Dr. Catherine Marceaux (Charlotte Gainsbourg)? Also was it entirely necessary to give extended screentime to the assumed dead Brakish Okun (Brent Spiner)? Brought on as comedic relief, here his over-excitable presence gets under our skin quickly. Chinese fighter pilot Rain (Angelababy) draws the short straw and is giving the character depth of a shallow pool. The new addition Jake does give this movie some life with his shoot first ask questions later attitude. Orphaned by the first alien attack, he is running on pure adrenaline looking to avenge what took his family. He is also engaged to Patricia which gives us reason to root for his survival. The storytelling does make the story creak as it feels like it tries too hard to focus on the more technical side of the alien invasion rather than letting us sit back and enjoy it.

When the visual moments hit, they are a swift reminder of what a good eye Emmerich has for chaos. London and the Burj Khalifa in Dubai become rubble in a matter of seconds "They like to get the landmarks" muses David. These are the moments we pay admission for and this does for a short time improve our enjoyment of Independence Day: Resurgence. World destruction never looked so good and Emmerich gives a number of eye-popping visuals such as a hive of swarming alien ships, or an Asian freeway being slowly lifted to its doom. While the script and story may feel like a real test, including some corny dialogue "Great ready for a close encounter bitch!" this man is at home with allowing the visuals to just tell the story. If there had been more of this it could have been an easier ride. After feeling audiences wrath after attempting drama with 'Stonewall' this is could possibly be considered something of a return to natural ground.

Jeff Goldblum is a capable leading character but without Will Smith, his humor is not as memorable as before. Again David Levinson is a smart and fast thinking guy, but so much of the movie revolves around his technical plans to save Earth. Bill Pullman possibly walks away with the most eye-opening performance with his now troubled Whitmore. Under the influence of an Alien queen, he knows what is about to go down but is powerless. Though we have to suspend our disbelief watching him pull on the flight once again. Liam Hemsworth gives this picture a fresher feel, it's not a role that will boost his star potential but does again prove him to be a solid player in blockbusters. As Madame President, Sela Ward is given a fraction of the screen time required and is given little else to do other than order people to shoot.

It may be yet another big money disappointment, but Independence Day: Resurgence is still a good dose of big and dumb fun. Roland Emmerich may yet be back for another close encounter soon, next time just stick to the basics.

Keep Swimming: Review of Finding Dory

Finding Dory

Director: Andrew Stanton

By Alex Watson

You always forget what emotional experiences Pixar movies can be and how often they seem to always triumph with sequels. Finding Dory is no exception and wonderfully conjures up what was so magic about the first experience and also adds a new poignant emotion that new animated studios offer. Once more dazzling our eyes, this whole adventure feels like a fresh and new swim through the ocean. All the while director Andrew Stanton also makes us think hard about the notion of family and longing to be reunited.

Blue tang fish Dory (Ellen DeGeneres) has begun to recover memories of her old life with her mother Jenny (Diane Keaton) and her father Charlie (Eugene Levy). She was separated from her family as a child and has been searching ever since. When suddenly it hits her that her family lives in California she along with her long-suffering friend Marlin (Albert Brooks) and his son Nemo (Hayden Rolance) set out on another across ocean adventure. Along the way, they will become acquainted with slippery Squid Hank (Ed O'Neill).

Breathe easy (without gills) Pixar fans, Finding Dory lays fresh new ground and doesn't make any of your fond Finding Nemo memories feel trodden on. Starting with a poignant and gut wrench introduction to Dory's early life and her separation from her parents, the hardest heart will melt into a pool of water. Happily settled into her over and over again routine with Marlin where she literally tries his patience, one day her mind reawakens an old memory that makes her world change. Remember she has a family makes her set out to find them but more than that she needs to discover the hows and whys that left her lost and stranded. This is more of a movie of self-discovery than about recovering the past.

Across the ocean (aided by old Nemo favourite Crush the turtle) Dory's adventures takes to the Marine Institute of California (complete with Sigourney Weaver voiceover). While quarantined, she crosses paths with Squid Hank, who is desperate to be sent to a Cleveland aquarium rather than be released into the ocean. The trip through the park is like a mini odyssey in itself as the duo cross paths with a struggling beluga whale Bailey (Ty Burrell) and a near-sighted whale shark (Kaitlin Olson). Best of all are a pair of boisterous sea lions (Idris Elba and Dominic West) who aide Marlin in his quest to find his lost friend. Although the road is bumpy and wet, Dory and Hank strike up and unusually close friendship and it appears the trickster may have more heart than we think (three hearts in fact).

What really scores Finding Dory big points is Stanton's expert handling of the emotional content. Our hearts go through the grinder as each little bit of hope both whithers and dies. Dory is desperate to find her way home but there is a firm lack of closure throughout and a part of us wonders will a happy ending be in store? While it may not elevate itself above Up or Inside Out in terms of storytelling, this picture is a realistic depiction of the horrors children and adults experience someone goes missing. The main element to this tale is about Dory's finding herself again, part of her feels guilty for losing herself in the first place due to her short term memory loss and she is determined to retrace her steps. Her constant in and out memory is smartly not made the butt the films jokes and instead it is a firm message about a child feeling stranded and alone in this world.

Ellen DeGeneres has proven the perfect choice and her chatterbox persona has suited this blue tang like a glove. Impressively she is at ease with the heavier side of this character and effortlessly convinces during the movies sadder content. Albert Brooks reminds us just what a fine voice actor he is (Just watch his Simpsons appearances) and Marlin is the type of overly cautious yet big-hearted character he was born to play. As Hank, Ed O'Neill threatens to steal the picture out from under the two leads with a confident yet neurotic turn. Hank desires to live in a tank for the rest of his life, but Dory might just help him overcome his fear of the ocean.

Finding Dory might just prove to be the big summer competition for Captain America: Civil War and offers the first glorious family offering the year. No one does magic like Pixar and unless animation stops entirely they are unbeatable!

I'm On a Boat: Review of Chevalier

Chevalier

Director: Athina Rachel Tsangari

By Alex Watson

The limits of male competition are pushed to the edge during Athina Rachel Tsangari's Chevalier. A wonderful absurdist comedy, the deadpan humour and increasingly erratic competition made this rightful winner of the 2015 London Film Festival. Out on the Aegean sea, six men put themselves through physical and mental strife to prove themselves the best. There is a light political side to this whole debacle and undoubtedly this is a commentary on male antagonism. What is contains though is the most natural humour of 2016.

Six men are out on a cruise through the Aegean sea, in between their bonding and their discussions over their wealthy lifestyles they propose a wager. Whoever can prove himself to be 'The Best in General' will win the elderly doctor's Chevalier Ring. With their minds on the prize, each man both adds and subtracts points for a number of different things. To prove their worthiness all of them will put themselves through a number of alpha male test to claim glory.

Chevalier is a simple premise but there is also a slightly sociopathic edge to it. Early on we notice that the age gap between each man is very high, also we are not sure precisely how close these friendships. Plus each man occupies a different place on the male spectrum such as Dimitris (Makis Papadimitriou) an awkward, tubby guy who still lives with his mother and was invited out of pity by his bullying brother Yannis (Yorgos Pirpassopoulos). The Doctor (Yorgos Kendros) is the man whose boat they are enjoying themselves on and he runs the top of the three with a calm authority. Men like the young and handsome Christos (Sakis Rouvas) and Josef (Vangelis Mourikis) are rooted firmly in this middle, though Josef's possibly impotence is continually picked on.

Determined to prove their manliness, each challenge brings out a new side in each character. The continual one-upmanship brings along as much comedy as it does drama, such as watching Dimitris lip-sync and break dance to 'Loving You' is the high point of laughs. Things do occasionally take a bizarre turn such as Josef's drunk and naked rant about having the perfect erection. The infighting among men is like something you would see in an all female comedy and Tsangari seems to take relish in pointing this out. Christos stands in the mirror ranting at himself that his thighs are not fat which is just one incident among many insecurities brought to the surface. The point system is grading through everything such as what degrees to you caramelize your balsamic vinegar? This pettiness brings about a great comic touch.

Smartly Tsangari doesn't seek to influence our conscience in any way and she gives each character a different empathetic side. There isn't one character who stands out from the rest, although the more laid back and confident Yorgos (Panis Koronis) is possibly the only one able to relate to each member. Thankfully this rivalry doesn't give way to violence or murder and both direction and script are measured as such that they reflect the absence of vanity on screen. There is no telling whether these friends/frenemies will ever be as close or far apart as they once were. In the end, these are not the kind of questions that we ask, we just go with the ride and wait for any potential fireworks. Although be warn, it might make you your own friends start a grading system like how many beers at a Leafs game?

In the performance department, we are given six turns of equally measured quality starting with Panos Koronis' turn as the more social Yorgos. He is the one character able to swim through multiple channels and as time will tell, the boldest of all them. Makis Papadimitriou holds our sympathies as the put-down Dimitris, we've all had that one guy brought along out of pity and we try desperately to make him fit. Vangelis Mourikis has the most fun at the middle-aged and keen to impressive Josef. Whether showing off on his jet-ski or recounting his days of sexual glory, Mourikis hits the comedic nail on the head. As the affluent and slightly hypocritical Doctor, Yorgos Kendros has a lot of fun his attempts to hide his smoking continue to amuse.

Chevalier is a picture that does deserve your time as it will serve as a key example to the roots of male competition. Just be wary of what may happen to your friendship as a result.

American Idol: Review of Popstar: Never Stop Never Stopping

Popstar: Never Stop Never Stopping

Directors: Akiva Schaeffer and Jorma Taccone

By Alex Watson

Mockumentaries are a hard act to pull off but Popstar: Never Stop Never Stopping comes closest to nailing the humour of Spinal Tap. The first movie by comedy troupe, The Lonely Island, this piece is almost an extended gag that could easily have taken Youtube by storm. Featuring a number of wonderfully silly ideas and some well-placed cameo appearances, this is a movie you can just disengage and enjoy. It might not always hit the high notes, but it has enough fluff in it to make it an easy ride.

Connor Friel aka Connor4Real (Andy Samberg) is an ex-member of the popular boyband Style Boyz who has recently hit gold with a solo career. When his overproduced second album 'ConnQuest' tanks, he has to resort to some desperate measures including on stage gimmicks and a bizarre marketing campaign to make the album sell. Also, he has to contend with his persona alienating his DJ and former group member Owen (Jorma Taccone) and his disgruntled ex-lyricist Lawrence (Akiva Schaeffer).

Popstar: Never Stop Never Stopping isn't concerned with taking itself seriously and its decision to be played purely for laughs is a clever one. The first concerns Connor's career hitting the skids, mainly due to unwise decisions like his cringing LGBT anthem 'Equal Rights' which two-thirds dealing with the fact he isn't a gay.  Also, he is convinced by his publicist Paula (Sarah Silverman)  to launch his album via an appliance company where his songs are played through refrigerators- a national blackout is caused and his image is tarnished. Connor has surrounded himself with a dopey entourage of yes men, Owen is able to stick around but his role as DJ basically means his pushes play on a iPod. His manager Harry (Tim Meadows) is attempting to keep his ego in check, but with ConnQuest steadily falling, his work is cut out.

The jokes don't always work, although Will Arnett's recurring send-up of the lead TMZ presenter kills. On stage is where the movie makes its most impact during the number of hilarious send-up songs. A diss track about Mona Lisa being a 'Basic Bitch' will bring the most laughs. His desperation to promote sales leads to some awkward stage gaffs like him doing a Silence of The Lambs style nude reveal on stage. Music industry cameos come thick and fast such as Mariah Carey, Seal, Simon Cowell, Adam Levine and Pink and these succeed in giving this movie a authentic feel that a cheap shot at Justin Bieber. There are some bizarre ones such as Martin Sheen shouting 'ATTICA!!' but who needs to complain? A threat to his career comes in the vein of crazed underground rapper Hunter The Hungry (Chris Redd) who becomes the usurper to his former mentor.

Primarily, Popstar: Never Stop Never Stopping is concerned about getting the band back to together. Connor's success has come down to his associate with Lawrence and Owen and due to some selfish past events Lawrence retired to Colorado to become a farmer. Essentially the boys need enough to kick start a career which steadily decaying. There is an element of fun in this reunion because Style Boyz are like every 2000s boyband we came to love who then all but one disappeared. Their old dance move 'Donkey Roll' is an excellent original creation, this might just have made Gangnam Style sweat. On his own Connor cannot expect to achieve the same measure of success days with the Boyz brought. Though for the finale, those who loved Lonely Island's 'Jack Sparrow' are in for a treat.

Andy Samberg is able to inject is the lovable dopey charm that we have come to adore on TV's Brooklyn 99. A thinly veiled sketch of Bieber, Connor is a man who is about his image and his acts to ruin it are carried off effortlessly by Samberg. Whether it be taking a dump in the Anne Frank house or any number of his terrible lyrics, somehow we root for this guy. Taccone has always proven to be a reliable guy when called upon and those familiar with his prior cameo as Booth Jonathan on Girls will remember. As Owen, he has a smile that is gradually fading, especially when forced to wear a giant Daft Punk style robot helmet on stage. His idea of 'Parent Trapping' Connor and Lawrence together makes him the real heart of the group.

Popstar: Never Stop Never Stopping is a movie that won't break any boundaries but is just damn good fun. Director's Taccone and Schaeffer take it easy of the celebrity front (though full marks for Ringo Starr) and the picture is a good daft slice of satire.

Ivory Tower: Review of High Rise

High Rise

Director: Ben Wheatley

By Alex Watson

Although the anger and the socially divided filled world of JG Ballard still dazzle on screen, Ben Wheatley cannot make High Rise the memorable effort we desire. His depiction of a high rise building divided by class does fester with a wonderful malevolence but feels confused as to what approach he really desires? The wonderful ugly/beautiful cinematography of Laurie Rose both arrests and horrifies the eyes and this one world we are sucked into with no escape in sight.

Dr. Robert Laing (Tom Hiddleston) has recently moved into a luxurious high rise complex where its inhabitants are buying a piece of the future. He makes fast acquaintances with the residences such as the flirtatious Charlotte (Sienna Miller), the fiery Wilder (Luke Evans) and the wealthy Anthony Royal (Jeremy Irons). Soon it becomes apparent there is a growing tension within the building and soon a violence threats to break apart this pristine society.

While High Rise, for the most part, is a well acted and immaculately produced work, it is not able to move into classic status. Wheatley is faithful to Ballard's and takes us into a world which is shiny and new on the surface but rotten to the core underneath. Foreseeing all the greed that was to come during the Thatcher era of Britain, this building gives us a group of well to do individuals obsessed with status right down to the car they drive. The way that Laurie Rose shoots this dazzles us early on and leaves a disturbing ambience which becomes the stuff of nightmares. In particular, a bizarre sequence when Laing is booted out of a fancy 18th-century party hosted by Royal.

Early on it becomes apparent this building has a social hierarchy that is causing a few issues. Power outages, garbage chutes blocked are just a few of the triggers that lead men like Wilder is cause a fuss. While Royal and his snobby wife Ann (Keeley Hawes) look down on the residence from their penthouse, the whole places is shaking with a barely contained anger. When it erupts the images are so striking it is impossible to tear our eyes away. Moment simple moments such as Evans crashing a pool party or a paint covered Hiddleston are so beautifully conveyed it like a hypnotizing nightmare. This might interrupt the flow of the story, but even if a Wheatley film isn't complete it always keeps us watching.

High Rise's story is the real source of the problem because while the novel is still relevant today, Wheatley and co-worker Amy Jump are unable to give it a smooth transfer to the big screen. The story never quite grasp its premise and moving into thriller territory knocks it off balance. The idea that people are buying the future but cannot shake their lower past is fascinating and the eventual decay of social order is excellently presented. However, the plot has a tendency is walk all over the place and never firmly snaps itself into place. Those who have read Ballard's novel will agree this is a difficult novel to pace and Wheatley deserves credit for taking this far. But no end of visual feasts can distract this picture for feeling slightly lost.

Tom Hiddleston does prove to be a perfect choice to bolster this tough piece and his slick yet troubled Dr. Laing is the perfect face for eventual destruction. Using all the charm we have seen in his priors like The Night Manager or Crimson Peak, Hiddleston is a morally complex man who lives the high life but fears to do so. Sienna Miller's unrepentant mistress is a sly and attractive look at the blaze view of corruption. Luke Evans is the real star of the piece and hot-tempered Wilder is a thumping presence. Wonderfully capturing the frustrations of the people in the floors below, Evans is the very of what will come to be.

Ben Wheatley's biggest budget piece by far, he does manage to pull off a tough act but those hoping for one of the great movies of the year might need to lower expectations. High Rise is a luscious bad dream which will make the descent into mayhem look glorious.

Take Care Of My Cat: Review of Keanu

Keanu

Director: Peter Atencio

By Alex Watson

Key & Peele's first foray into the big screen is one of the most pleasant surprises of 2016. Keanu might longer than it needs to be but the amount of laughs provided will more than makeup for the flaws. Over the five seasons, these two have proven to be a natural duo and onscreen their chemistry flows. Director Peter Atencio does well to keep the action-flick cliches in check and with a witty script at their disposal this picture is a lot of fun.

Rell (Jordan Peele) has just been dumped by his girlfriend but finds hope in a new feline buddy who he names Keanu. His cousin Clarence (Keegan-Michael Key) is a married father of two who is adjusting his new suburban life. Keanu and Rell instantly bond and he inspires a new creative streak in him. When his kitty is stolen in a house burglary Rell is determined to get back his friend. The problem is he is now the property of drug lord Cheddar (Method Man) which forces these two to come up with new identities.

Keanu is a movie that is way smarter than its premise makes out. It may lose its way slightly towards the end but otherwise, it has solid laughs. The early stages of watching man and cat bond have the cute and funny factor sold as Rell makes a Keanu calendar of movie different movies like Mad Max: Fury Road and Crimson Tide. This cat has a prior history that becomes important later on  as he has just escaped from a drug dealer who was killed. When Rell's place in ransacked, his only concern is to get his buddy back. Finding out that psycho drug dealer is now in possession of this cat and calling him New Jack is a bullet wound through the heart.

Infiltrating the gang brings about some of the biggest laughs of Atencio's film. These two middle-class men attempt to adopt new gang persona's Tectonic and Shark Tank, "You sound like Richard Pryor impersonating a white guy!" one of them mocks at an early stage. These two have found a way into the Blips Gang (made up of ex Bloods and Crips) by pretending to be gangland legends from Allentown.  to prove their worth, the pair are forced into doing a risky drug deal for Cheddars product 'Holy Shit'. Convincing this gun hungry mob is no easy feat but somehow they manage to strike a cord. Watching Clarence educate his new acquaintances on George Michael raises a smile, particularly as he attempts to make he is black. Though the sequence where Rell and Hi-C (Tiffany Haddish) attempt to sell drugs to an intoxicated and violent Anna Faris almost steals the picture.

Things to do take a difficult turn during Keanu's final third when we are introduced to Luis Guzman's drug lord Bacon Diaz. Atencio is aware of this fault and covers for it by laying some well-executed action gimmicks. The cat might not be present in every scene but his influence is always felt and aside from being adorable, this furry creature is worth fighting for. Possibly the best sequence of the film comes from when Clarence accidentally ingests Holy Shit. Referred to by Cheddar as like "Smoking crack with God" he comes before Keanu who then proceeds to give some wise words. No prizes for guessing who the voice belongs to! If the music doesn't give it away then I can't help you. Aside from the late blips (no pun intended) this is still a well-measured comedy and gives hope to Key and Peele's ability to hold a feature film.

At the centre Key and Peele hold this affair together well, Many thought this was going to be a John Wick rip-off (coincidentally starring Keanu Reeves) but these two make good work of turning two Surburbanites into wannabe gangsters. Peele, in particular, is able to conjure up several emotionally relevant moments. Key's love of George Michael is easily the funniest aspect and he lip synches along to 'Freedom'. One unexpected bonus is watching Will Forte's white gangster Hulka, a turn so outlandish we're in shock for moments afterwards. Forte is an underrated comic talent and his work here makes me want to see Hulka get his own picture. Method Man has also proven to be a good villain on his on shows such as The Wire (ironically he was called Cheese on that show) and Cheddar is exactly the sort of man gang's fear.

Keanu is one of the better comedies you will see this summer and once more proves that George Michael songs are very much the trend of 2016.