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to Section One | to Arts & Entertainment
posted Friday, April 15, 2016 - Volume 44 Issue 16
Movie Reviews
Arts & Entertainment
ALL STORIES
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Violent Criminal a psychologically conflicted thriller
by Sara Michelle Fetters - SGN A&E Writer

CRIMINAL
Now playing


Director Ariel Vromen's (The Iceman) cold-blooded psychological thriller Criminal is a movie I appreciate more than I actually enjoy. Douglas Cook (The Rock) and David Weisberg's (Double Jeopardy) science fiction-flavored scenario attempts to have it multiple ways, on one hand playing events with deathly, bleakly murderous seriousness while at others crafting a comic book flavored absurdist vibe where anything and everything is suddenly possible. The alliance isn't an easy one, and while the ruthlessness of it all is oddly refreshing the rampant silliness coupled with the continual brutality makes enjoying the finished film itself an incredibly difficult thing to do.

After crack CIA operative Bill Pope (Ryan Reynolds, making a cameo appearance) is murdered while carrying out a secret task in London, his immediate superior Quaker Wells (Gary Oldman) turns to human brain researcher Dr. Franks (Tommy Lee Jones) to help him pull off the impossible. Turns out, his agent was the only one who knew the whereabouts of brilliant hacker Jan Stroop (Michael Pitt), the fate of the U.S. nuclear arsenal at stake if they can't find him before cutthroat anarchist Hagbardaka Heimbahl (Jordi Mollà) does. Dr. Franks is on the cusp of being able to extract human memories from one person and implanting them in someone else, but Quaker needs him to advance his research and make the theoretical actual within the next 48 hours or it's likely game over as far as America's military might is concerned.

Enter hardened criminal Jericho Stewart (Kevin Costner). He has a frontal lobe injury that makes him unable to feel the majority of what would be considered normal emotions, most notably empathy for other human beings. He's the perfect host for Dr. Franks' technology, his advancements implanted in exactly the area of the brain Jericho is incapable of using. Problem is, this transference does not work entirely as expected, and while the convict does begin to experience and relive many of Bill Pope's memories, doing so doesn't instantly make him a better person.

Reminiscent of 1990's action-heavy sci-fi thrillers like Face/Off and Freejack, as well as in some small way last year's Ryan Reynolds' misfire Self/less, Vromen's movie lives up to its R-rating, refusing to soften Jericho in almost all ways one would normally expect for this kind of motion picture. This isn't a good guy. He doesn't understand the difference between right and wrong. While he doesn't want to kill anyone, he's not above shooting a supposed ally in the chest or burning an innocent bystander in a car in order to facilitate an escape or get what it is he thinks he wants.

This is actually a good thing, and Costner's portrayal doesn't flinch or give in, not for a single solitary second. This has the odd effect of humanizing the character, making him weirdly relatable no matter how abhorrent his actions might become. More, when emotions do kick in, pertaining only to Pope's wife Jill (Gal Gadot) and their daughter Emma (Lara Decaro), Costner allows Jericho's growing affection for the pair to happen organically, making his final decisions have more meaning and impact all thanks to his refusal to soften the rest of his character's cutthroat edges.

On the flipside, Cook and Weisberg's script is unrelentingly stupid. Jones has no character to play, doing his best to do what is given him but mostly just showing up to pick up what must have been a relatively easy paycheck. Same goes for Alice Eve, Scott Adkins, Colin Salmon and Antje Traue, all portraying a variety of good guys and bad who all have precious little of import to do. As for Oldman, Quaker Wells might be the single dumbest CIA station chief in the history of cinema, and while that's a little bit of hyperbole on my part it certainly doesn't feel like it while one is watching the movie itself. This guy, all he's good at is shooting himself in his own foot, and if he'd just acted reasonably and not like some schizophrenic, Adderall-addicted madman, it's likely he'd have found Stroop in about five minutes ending this particular crisis long before it spiraled out of his control.

Vromen stages a couple of terrific action sequences, the efficiency of them reasonably striking. He also plays the movie as a drama, which at times gives it far more immediacy and relevancy. Unfortunately, it also makes the sillier and more absurd aspects of the narrative feel even dumber than they maybe actually are, undercutting things in a way that gets more and more noticeable as events progress to their climax. Additionally, matters are not helped by the fact that Mollà is a relatively lame villain, and other than his early interrogation of Reynolds, which is terrifically repellent, he just doesn't do enough to make his anarchist worthy of being frightened of.

I do like the fact Vromen and company stay true to the antihero at the story's core. I also really love Costner's take-no-prisoners performance, the veteran actor fearlessly going for broke for all of the film's 113 minutes. But the script's equilibrium is just too out of sorts, too unbalanced, the rampant stupidity driving a few of the characters and their actions impossible to ignore. As a movie, there's plenty here to respect. As entertainment, however, this is tough one to enjoy, all of which makes Criminal a vexing spectacle that's hard to watch all the way through to its end.


Disney's return to Kipling's Jungle Book an entertainment necessity
by Sara Michelle Fetters - SGN A&E Writer

THE JUNGLE BOOK
Now playing


Director Jon Favreau's (Iron Man, Chef) and screenwriter Justin Marks' (Street Fighter: The Legend of Chun-Li) take on The Jungle Book represents Disney's third time putting their theatrical bucket in Rudyard Kipling's literary well. The first, of course, was the studio's classic 1967 animated version featuring the great Phil Harris as the voice of Baloo the Bear and the Academy Award-nominated song 'The Bare Necessities' written by Terry Gilkyson (with the remainder of the catchy tunes penned by veterans Richard and Robert Sherman). The second, and sadly less well-known (even though it's kind of excellent), is a 1994 live action version directed by a pre-The Mummy remake Stephen Sommers and starring Jason Scott Lee as the adult 'Man Cub' Mowgli.

This new interpretation of the Kipling stories and characters is a crafty mix of the two prior versions, one that leans heavily on the '67 animated film while at the same time employing more than a few of the same live action tactics of the '94 effort. It's a storybook adventure where a young Mowgli (newcomer Neel Sethi) can literally talk to the animals and they, in turn, can communicate back with him, allowing the so-called Man Cub to have a familial relationship with wolf mother Raksha (voiced by Lupita Nyong'o), panther protector Bagheera (Ben Kingsley) and newfound friend the giant bear Baloo (Bill Murray). A combination of motion capture, CGI, animated compositing, puppet work and practical effects, the film is a somewhat seamless visual marvel unlike little I have seen before, all of it pulsating to a jaunty beat that utilizes the songs and music of the Sherman brothers and fellow songwriter Gilkyson rather beautifully.

Thankfully, Marks' script is not a straightforward, beat-for-beat remake of the '67 version. Instead, he draws upon elements from both the film as well as Kipling's source material while also updating certain segments of the story for modern palates. He makes Mowgli less moody and self-destructive, not quite the petulant little brat he could be in the animated version. He also makes him something of a jungle MacGyver, able to engineer complex mechanisms allowing him to dangle from cliffs and save elephant pups from massive sinkholes, all with an excitable energetic eagerness that's both delightful and, at random times, slightly annoying. All-in-all, though, his screenplay allows the kid to evolve and mature in ways that are wonderfully believable, and as such allows the film's climax to sparkle with a mature eloquence children of all ages are almost certain to thrill to.

The basics as they pertain to the animated version remain more or less the same. Orphan Mowgli is taken by Bagheera to a pack of wolves to be raised as one of their own so that he'll survive in the wilds of the jungle. As he grows older, lethal tiger Shere Khan (Idris Elba) decides the Man Cub cannot be allowed to live, sending word he will kill any creature that keeps him from digging his claws into the boy's flesh. To protect him, Bagheera decides to take Mowgli to the man village. Along the way, the kid meets a variety of jungle creatures including the tricky snake Kaa (Scarlett Johansson), monkey leader King Louie (Christopher Walken) and, of course, the fun-loving Baloo. Through it all, Shere Khan remains fixated on Mowgli, everything leading to a face-off between the two only one of them will walk away from.

The pointless nature of the 3-D aside, visually this new The Jungle Book is a constant stunner. Awesomely shot by Bill Pope (The Matrix, The World's End), featuring visual effects that constantly astonish and amaze, the film itself has a look and a feel that allows its storybook narrative to come to life with mesmerizing genius. Favreau orchestrates things with a kinetic gracefulness that's absolutely outstanding. In fact, of all the films he's stepped behind the camera to lead, this one might be his most fully-formed, supremely confident outing, not a single facet failing to fit with those surrounding it, each piece fitting together with confident ease.

Which is not to mean every episode in this tale is as big a joy to watch as some of the others prove to be. While Mowgli's encounter with Kaa is suitably hypnotic, his encounter with King Louie - a deft Apocalypse Now joke notwithstanding - isn't nearly as divine. This initial encounter with Baloo is close to perfect, as is a sequence at a watering hole used by the jungle inhabitants in times of extreme drought, both sequences sparkling with a sublime fizziness where comedy, drama, suspense and action elements all combine magnificently. But a later moment between Shere Khan and the wolf pack after the Mowgli has left for the man village isn't as scary or as shocking as I felt it should have been. While reasonably well staged, in order to not jeopardize the PG rating its restraint means the moment doesn't have the power it needs to trigger the intended emotional reaction on the part of the viewer, the whole sequence coming to an end so quickly it's almost as if it didn't even happen at all.

But the voice work throughout is first-rate, especially on the parts of Murray, Kingsley and Nyong'o. But it is Elba who makes the biggest impression, the veteran actor inhabiting Shere Khan with an unsettling sincerity that got under my skin in ways that had me squirming in my seat. There is a moment around the midpoint where he's telling a story to a few of Raksha's captivated cubs that is all kinds of scary, while an earlier one at the watering hole where he addresses the jungle creatures is grippingly taut. Elba is on fire, doing something here that goes above and beyond the prior animated version, making one almost forget the character as he existed in the '67 film, and without a doubt this tiger will go down as one of the absolute best villains to hit cinema screens this entire year.

I cannot say any other single element will do the same, Disney's animated take on Kipling's stories as memorable and timeless a classic now as it has ever been at any point during the past 49 years. At the same time, Favreau's take on The Jungle Book is a revelation certain to thrill audiences for many decades to come, and trust in me when I say the bare necessity is to stroll right into town and be like the other ticket buyers tired of monkeying around with subpar cinematic options. No worry. No strife. Just glorious entertainment the whole family is virtually guaranteed to enjoy.








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BRASS: Fatal Footlights at Theater Schmeater
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New York-based artist Fernando Carpaneda's sculpture to appear at the Seattle Erotic Art Festival
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A message from Founder & CEO of Replacements Ltd. Bob Page
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Violent Criminal a psychologically conflicted thriller
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Disney's return to Kipling's Jungle Book an entertainment necessity
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