Deja Vu

The thought of time travel in film rattles my brain. It's never as simple as John Smith goes back in time and explores. There are dire consequences and horrific consequences for each and every action!!! Cue intense, foreboding music! When handled correctly though -- or as much as my feeble mind can grasp -- it can be a gem, like 2006's Deja Vu.

It's Fat Tuesday in New Orleans when late in the morning the Canal Street Ferry explodes in a fiery blast that claims 500-plus lives. There is little doubt the attack was the work of a terrorist with countless law enforcement agencies descending on the town to investigate. Among them is ATF agent Doug Carlin (Denzel Washington) out of the New Orleans office. A dogged investigator, Carlin follows the clues, trying to find out why a suspicious corpse ended up in the explosion's aftermath. He's approached by an FBI agent (Val Kilmer) leading a special investigative team that has some special technology at its disposal. They say it enables them to compile satellite images to see what happened some four days before. Carlin goes along with it, starting to piece it all together, all in hopes of finding some clue that will lead them to the terrorist bomber. It isn't long though before he figures out the "satellite" description is garbage. Somehow, some way, he's literally looking back in time...

What a fun, smart, stylish movie. Like I mentioned, time-travel movies are inherently complicated to the point it is difficult/impossible to 1. Keep up with it and 2. Not shake your head at the goofiness of it. With director Tony Scott at the helm, it has some of the stylistic elements of his previous efforts, especially Man on Fire, Spy Game and Enemy of the State. The quick cuts, the rapid camera movement, the unique shooting angles, it's all there, combining with a memorable score from Harry Gregson-Williams to add that great secondary layer to the story.

For me though what sets 'Deja Vu' apart from so many time travel movies -- Back to the Future to The Terminator, Looper to Planet of the Apes and many more -- is its creativity. It seems to revel in that creativity, that original, generally unique idea. How so? SPOILERS Carlin figures out they're not looking back in time, they're literally watching the past happen through some time-bending technology this investigative team has stumbled upon. Plot holes, time discrepancies aside, it's so cool as a premise. Scott's clearly having some fun with the time-bending concept, especially with a bit of technology that allows Carlin to wear a goggle headset so the time-traveling moves with him, what he sees through the goggles is what happened previously. Wwwwwhhhhaaaatttt? The premise injects some crazy energy into the always fun car chase sub-genre. Just watch this extended chase scene, sit back and smile, take it all in.

There is something eternally watchable about Denzel Washington in just about any movie he does, from heavy drama like Philadelphia or Glory to more mainstream, fun affairs like 2 Guns, Out of Time and Deja Vu. His Doug Carlin is a career agent with the ATF, and a good agent at that. He's a dogged investigator, stubbornly pursuing his cases, especially a terrorist attack that tears apart a city with the deaths of 500-plus people. Washington is so good, so effortless, it's just a pleasure to watch him do his thing. He's calm and cool...until he isn't like when he pieces it all together and figures out exactly what kind of technology he's working with. The case develops around the dead body of a beautiful young woman (Paula Patton) from New Orleans, Carlin wondering what he could have done to save her. Could he have done something different? Not one of his best performances, but just about any Denzel is good Denzel.

Dezel is the star, and Paula Patton gets a chance to shine in the final act, but who else to look for? Doc Holliday himself, Val Kilmer, has some good chemistry as Carlin's quasi-counter, not always telling the full truth while not lying either. His team includes the always reliable Adam Goldberg, Erika Alexander and Elden Henson. As for the villain who we see in all sorts of different ways courtesy of the time-bending story, Jim Caviezel is perfectly creepy, a so-called patriot but an unhinged one willing to go to horrific measures. Bruce Greenwood is a high-ranking FBI official on the case while Matt Craven appears briefly as Doug's long-time partner in the field.

It can be so easy with time-traveling stories for things to derail and do so quickly. That's not the case here with a story that manages to hold it all together under some post-movie scrutiny. The multiple storylines (and timelines) hold together when you really (really) think about it. Through it all, it's fun, even a final act that comes across as a little forced, a little too gimmicky. Still, 'Deja' is ridiculously fun from beginning to end with a finale that's frustrating a touch, but mostly, it just works so well. So freaking entertaining. Highly recommended, a great time-bending thriller.

Deja Vu (2006): ***/****

Star Trek Into Darkness

One of the most popular franchises in pop culture history, Star Trek has been on the public mind since it debuted on TV in the 1960s. It has spawned spinoffs, films, countless iconic characters and pop culture moments. In 2009, it got a franchise reboot of sorts with the highly successful and very entertaining feature film, Star Trek. It took a couple years, but the sequel hit theaters this past spring/summer and was just as good and just as entertaining. Warp speed to 2013's Star Trek Into Darkness.

It's the year 2259 and Captain James Kirk (Chris Pine) remains the commander of the U.S.S. Enterprise, one of Starfleet's most important ships. Following a mission on a primitive planet that forces Kirk to disobey orders and put the crew and ship at risk, Kirk has the Enterprise taken away from him and much of his crew reassigned to other ships. The reassignment is put on hold though when a former Starfleet officer, John Harrison (Benedict Cumberbatch), leads a brutal attack on a Starfleet officer with horrific casualties inflicted. Harrison escapes Earth into deep space, but Kirk isn't far behind. He's been placed back in command of the Enterprise and must pursue Harrison. His orders seem suspicious though, and as Kirk, Mr. Spock (Zachary Quinto) and the crew of the Enterprise draw closer to their destination, they all begin to suspect what they've been sent to do.

Before seeing the 2009 franchise reboot, I had no experience with the Star Trek world(s) other than the most prominent cast members and a pop culture reference here and there. It's everywhere. You've got to pick up some stuff almost incidentally, right? I headed into both these movies with no real expectations. I wanted to be entertained. So what have I taken away from both these science fiction flicks? One word, and that's F-U-N. These are good, old-fashioned science fiction films with tons of action, very cool characters, and the necessary imagination to explore all sorts of far-off worlds with the energy of a little kid. I liked this sequel as much if not more than the original, 133 minutes of pure fun. It's a little long but the movie itself is never slow. If you're a fan of the franchise, series or just the original, you'll definitely like this one.

Whatever director-writer-producer extraordinaire J.J. Abrams seems to touch, he does so with a golden touch. I think his genuine love of what he's doing translates to his stuff, TV shows like Lost, the Star Trek movies, his Mission: Impossible entry. He's like a kid at heart. Above all else, Abrams' goal seems to be to entertain. With a science-fiction story like this, there's a natural dependence on CGI, but 'Darkness' never overdoes it. Sure, it's obvious we're watching CGI, but it blends in seamlessly with the action. We've got cool, roguish heroes like Pine's Kirk, a great villain in Cumberbatch's Harrison, a very solid supporting cast and action around every corner with all sorts of very visual, very colorful planets and aliens to explore and meet. Also worth mentioning is composer Michael Giacchino's score (Giacchino, a frequent Abrams collaborator), helping pump the action and story along. 

Playing the iconic Captain James Kirk (still no William Shatner cameo), Pine again brings a great energy to the lead role. He's funny, cocky, a very capable officer, always looking for a new adventure, and always, ALWAYS looking out for his ship, his cast and his friends. The dynamic between Pine and Quinto's Mr. Spock is pretty perfect, two polar opposites managing to make their friendship/relationship work so well together. Kirk is all about impulse and in the moment, not always thinking about the long-term consequences. Spock, a Vulcan (look for the pointy ears), is all about logic, what should be done, and the percentages of getting the job done. They play off each other effortlessly, Kirk trying to humanize Spock, Spock trying to bring Kirk back down to some sort of Earthly norm. Also look for Leonard Nimoy in a quick appearance.

The rest of the ensemble cast fills in the parts nicely around the leads. Returning from the original as the crew of the Enterprise are Karl Urban as Bones, the medical officer, Zoe Saldana as Uhura, the communications officer, Simon Pegg as Scotty, the ship's fiery Scottish engineer, John Cho as Sulu, the helmsman, and Anton Yelchin as Chekov, the ship's navigator. New to the crew is Alice Eve as Carol, a weapons specialist who knows more than she's letting on. Also returning is Bruce Greenwood as Starfleet officer and mentor to Kirk, Admiral Pike. Peter Weller plays Fleet Admiral Marcus, one of the highest ranking Starfleet officers around. In the villain department, Cumberbatch is perfect as Harrison (but that ain't his name....wink, wink), a more than worthy foe to Kirk and the gang, a villain potentially for many movies to come.

For the diehard Trekkies, there's also some cool nods to the franchise. Most importantly though, it knows where the franchise, series and characters have come from, but it creates its own legacy. These movies were meant to be fun and eaten with a big tub of popcorn, basically the definition of a summer blockbuster. It made almost $500 million worldwide so audiences are clearly eating it up. From the opening chase on a primitive red-planet to the non-stop chase through the second half of the movie, it's one fun scene after another. It's not a great movie, but it's not supposed to be. Popcorn, summer blockbuster = epically fun.

Star Trek Into Darkness (2013): ***/****

The Place Beyond the Pines

It's been about 24 hours since I saw 2013's The Place Beyond the Pines in theaters, and I'm still processing the film. Reviews were uniformly positive, the trailer instantly hooked me as did the cast, and my first thought was that it resembled an art-house crime drama like a Melville film or a moody 1970s American flick like The Driver. So yeah, I'm still processing it, but in a good way for a change. I liked it a lot, just deciding if maybe I loved it too.

A stunt motorcycle rider at a traveling carnival, Luke Glanton (Ryan Gosling) meets Romina (Eva Mendes) as the carnival returns to towns it visited the summer before. She has a shock for him; she had a baby, and it's his, the product of their one night together the year before. Romina has moved on, but Luke wants to help raise his son. He starts work as a mechanic, hoping to provide for his boy, but the money just isn't there. With a co-worker, he starts to rob banks, netting more than enough money to give Romina and his son everything they need. The plan can only work for so long though, and Luke's actions have put him on a path that will have him cross ways with Aaron (Bradley Cooper), a talented if inexperienced cop dealing with his own issues in the department.

I don't usually do this, but here goes. This is a review that's going to be somewhat difficult to write without giving some spoilers away. I won't be giving away any MAJOR SPOILERS -- and there are some surprising twists -- but be forewarned. There are some storytelling twists that I will have to talk about to be even remotely coherent.

Director Derek Cianfrance's follow-up to his uniquely interesting -- some would say odd -- 2010 film Blue Valentine, 'Pines' is a gem of a film. I fell for it the second I watched the trailer. It is an artsy, well-told and unique story that doesn't settle for any semblance of the status quo. The developing story has a lyrical feel to it, based in this world but in an almost ethereal feel to it. Cianfrance filmed on location in Schenectady (where the story takes place), a city in eastern New York that feels removed from the congestion and business of everyday life. It's a town that looks like any number of small towns across the country. Maybe the best thing adding to the mood and tone is the soundtrack from composer Mike Patton. It is a perfect mix of trance, subtle electronica, choirs, and quasi-religious church hymns. The score is perfect, giving it an authentic sense of the ethereal, the other worldly. Give it a listen HERE for the best track. 

Here comes the semi-spoilers so again, be forewarned. At 140 minutes, 'Pines' is broken down into three separate segments. The first has Gosling's Luke trying to provide for his son in desperate fashion, turning to robbing banks. The second has Cooper's Aaron trying to carve a name out for himself as a young police officer dealing with quite a legacy. The third actually fast-forwards 15 years as Luke's son, Jason (Dane DeHaan), meets Aaron's son, A.J. (Emory Cohen), at high school, the two teenagers not knowing that they're somehow connected through their fathers. Each segment is given equal time, about 45 minutes, each given a chance to breathe and develop without feeling forced. Don't be confused. They are connected, one part of the story transitioning seamlessly into the next. It's rare to see a story develop like that, and 'Pines' does it well. It's different from most films which isn't necessarily a good thing, but this one is a huge positive.

The unifying link among the three segments is the relationships between fathers and their sons, a story arc used in everything from Field of Dreams to The Godfather and countless others. Luke sees he's made a mistake and wants to right those mistakes. He's so driven to do that, he turns to crime. Aaron similarly wants to care for his infant son, but he doesn't know if the career he's chosen is actually the right one. Cianfrance's script shows how one decision affects another, one action leads to another. The relationship between a father and son is a simple and complicated relationship at the same time. Without sounding pretentious, the artsy story uses the notion that the universe is connected, people who are supposed to meet will meet. Some paths and individuals are destined to cross no matter what happens.

There isn't a weak performance in the bunch. Semi-channeling his part from the equally impressive Drive, Gosling is a gem. His part as Luke is the perfect doomed, moody anti-hero. We know from when we meet him his path will not be a smooth one. Luke's scenes with his baby boy are perfection, including one silent scene after some startling violence. He continues to impress me as an actor. Arriving about the 45-minute mark, Cooper takes a familiar part -- young cop dealing with corrupt police force -- and makes it his own. He's a hero on the force and struggling to deal with his newfound fame. Relative newcomers DeHaan and Cohen more than handle themselves well in the final act. The high point of the story was Gosling's portion, but I enjoyed it all from beginning to end.

Playing a key supporting part, Mendes too is very solid as Romina, the mother of Luke's child who has moved on, moving in with Kofi (scene-stealing Mahershala Ali). Without being obvious in her part, Mendes does a good job making Romina human without being obnoxious or hamming it up. Ben Mendelsohn is similarly a scene-stealer as Robin, Luke's boss at a fix-it shop who turns him onto bank robbery. Rose Byrne plays Aaron's worrying wife while Harris Yulin plays his famous father. Bruce Greenwood makes an effective, quick appearance as a district attorney while Ray Liotta plays (GASP!) a dirty cop recruiting Aaron. All solid parts supporting the leads.

I'm liking this film more and more as I write the review. The third part drags a little bit, and I would have liked a more definite ending, but it works just the same. Cianfrance's script has everything coming full circle (well, almost), wrapping up everything in a moving, at times heartbreaking finale. The title comes from the Mohawk translation of Schenectady by the way. I loved this movie. It starts with a worthy start, an impressive tracking shot following Luke as he walks through the carnival, and never really lets up. Well worth seeking out, and definitely a change of pace from most movies.

The Place Beyond the Pines (2013): ****/****

Flight

Released in theaters in November 2012, director Robert Zemeckis' film Flight has generated all sorts of positive buzz. It received almost uniformly glowing reviews, and star Denzel Washington has earned a Best Actor nomination for his lead performance. It's a decent enough film, but seriously....did I miss something? I came away hugely disappointed, even bored, with this one.

A longtime pilot, Captain Whit Whittaker (Washington) heads to the Orland airport to pilot a quick flight from Orlando to Atlanta, barely in the air for an hour. But as the flight nears its destination, Whittaker's co-pilot (Brian Geraghty) freaks out when the plane's controls go dead in his hand. Whittaker calmly tries to right the ship, but nothing he do seems to help, especially when the airliner starts to nose dive straight down to the Earth. With time running out, Whittaker does save the day, controlling the plane and turning it so he's actually flying upside down. He puts the plane down in a field, and 96 of 102 people onboard make it through the horrific incident. Whittaker is a hero, or is he? A toxicology report says otherwise, and an investigation reveals a much deeper, darker side to the supposedly heroic Captain Whittaker.

I'm vastly disappointed that I have to say I was hugely disappointed with this film. The combination of Washington, Zemeckis and a strong supporting cast seemed like it would be all I needed to go along with this one. So what happened somewhere along the road? I'm not quite sure. The best I can come up with is that I don't really know the point of the movie. I don't know what Zemeckis and screenwriter John Gatins are trying to say. The movie clocks in at 138 minutes, and we get our money's worth. It feels long, very long. The story isn't quite episodic, but that's only because nothing really happens. We see Whittaker talk to a long list of people, all in hopes of figuring out his own fate and involvement with the crash. There are some truly dumb transitions, plot twists and turns that are horrifically stupid, but the story needs them to happen. That's never a good reason. Dumb rarely helps a smart movie.

All I can come up with as to Zemeckis and Gatins' intentions is a character study of a truly unpleasant, very dark, flawed individual. Washington has done dark before, but nothing quite like this. His Whit Whittaker is one of his most easily hated characters. SPOILERS STOP READING SPOILERS Whit is addicted to all sorts of drugs and is a functioning alcoholic. He flies the plane drunk and with drugs in his system, most notably cocaine. Was it his fault? No, it was a mechanical issue, but how can anyone trust him? Does he want anyone to trust him END OF SPOILERS KEEP ON READING I don't need a main character to be 100% sympathetic -- I love dark main characters -- but here, I was actually rooting against Whit. He is offered help by everyone around him, and still he refuses. It's a decent enough performance from Washington, but Oscar nomination worthy? I think not.

Where the movie doesn't fall short is in the supporting cast. Bruce Greenwood plays Charlie Anderson, the pilots' union representative working closely with Whit as the crash investigation grows. Don Cheadle plays Hugh Lang, a top-level lawyer who knows every nook and cranny, and he's going to use all of them to help get Whit off unscathed. I liked both performances a lot, two men genuinely trying to help Whit even though they're rebuffed at every opportunity. John Goodman hams it up as Harling Mays, Whit's drug supplier, who is around for three quick scenes. Along with Geraghty, Nadine Velazquez and Tamara Tunie play two of the flight attendants on the doomed flight. Kelly Reilly plays Nicole, a woman in her late 20s struggling with drug addiction who meets Whit following the crash. And last, Melissa Leo plays Ellen Block, the head of the NTSB investigating committee.  

Is the point of the movie to show a truly flawed, not particularly likable character like Washington's Whit Whittaker? I feel like there should have been more going on than just that. Flaws are interesting, but alcoholism doesn't translate well in the interesting department. Similar to Days of Wine and Roses, it isn't appealing in the least to watch an individual keep regressing into their own inner demons. How many times can we see the same thing before it gets repetitive? I was intrigued by Whittaker, but that's all. I was never truly into the character, the film, or the story. His budding relationship with Reilly's Nicole doesn't go anywhere and drags down an already slow-moving story.

Some scenes do work. The opening plane crash sequence is startling and unsettling, but it doesn't come as much of a surprise. If you've seen the trailer, you've seen it. Just the same, the image of Whit's plane flying upside down is an amazing visual to watch. As well, the final scenes at the NTSB hearing are solid as Whit is interrogated, his inner demons torturing him as he decides how much to admit to. The build-up to those scenes feature some of those awfully dumb twists that come across as unnecessary. I just don't know. Almost all the reviews were positive, but I just didn't like this film enough to recommend it. Very disappointing.

Flight (2012): ** 1/2 /****

Star Trek

Thanks to his work with ABC's Lost, director/producer extraordinaire J,J. Abrams has basically got free reign if you ask me. Anybody who produces a show as good as Lost gets the benefit of the doubt, even if MI:3 was a bit of a disappointment. He seems to have a golden touch with whatever he goes after so when a teaser trailer was released for an updated version of Star Trek, more than a few eyebrows were raised. With a franchise as hugely popular and successful as Star Trek, anyone taking that on has got some guts.

Now other than some pop culture references (for one, George Costanza screaming 'Khan!'), I have no background in the Star Trek universe. Sure, I've heard of Captain Kirk and Spock and the Enterprise and all that good stuff, but I've never seen even a minute of any of the different shows or movies that so many fans swear by. In that way, I'd like to think I'm in the target audience for Abrams' movie, noobs almost completely oblivious to the series and franchise. With a sequel already announced after the huge success Star Trek had this summer -- over $250 million-- the opener in what could be a long series is an entertaining flick that sets the groundwork for fans new and old to the series.

In the year 2233, a Starfleet ship, the U.S.S. Kelvin is destroyed by a monstrous Romulan warship deep in space with first officer George Kirk (Chris Hemsworth) ordering an evacuation before sacrificing himself and the ship. One of the people escaping is George's pregnant wife who gives birth to a son, James. Flash forward some 20 years later and James T. Kirk (Chris Pine) is all grown up. Meeting a high-ranking Starfleet officer, Capt. Pike (Bruce Greenwood), Kirk is convinced into joining Starfleet where he enters officer training. After three years of study --taken care of quickly with a 'Three Years Later" title card-- Kirk does not get the orders he wanted, a position on the fleet's flagship, the U.S.S. Enterprise.

But with some help from friend and medical officer Bones McCoy (Karl Urban), Kirk gets on board as the flagship takes off leading the fleet on a dangerous mission. Reaching their destination, they find the same Romulan warship that destroyed the Kelvin almost 25 years earlier waiting for them with maniacal leader Nero (Eric Bana) in command. Having heard how his father died, Kirk suspects the fleet is flying into a trap and must do his damnedest to save the fleet, including taking over the Enterprise. There's elements of time travel and changing the future too so brace yourself for a handful of scenes that make your head hurt with some fast-paced conversations.

It's refreshing to see a big budget action movie with lots of style and glitz that is, well, good. Star Trek isn't just good in one aspect, it's a solid movie across the board. There's great action sequences blending CGI and actual stunts on a more personal level to go with believable and interesting interactions among a long list of characters. As the special features documentary mentions, Abrams has the ability to blend both the large and little scales, hitting you with an over the top space fight and then intimate moments after the battle. At just over 2 hours long, you won't even notice as the time flies by.

From what little I know of the franchise, this reboot sticks close to all the versions that came before it. Pine is a strong choice to play Kirk, and thankfully he doesn't do his best Shatner impression. He makes James T. Kirk a cocky but likable character that is easy to root for and get behind. The other key character is of course, Spock Prime, played to perfection by Zachary Quinto. Spock is half-man, half-Vulcan so he blends the characteristics of both species, the logic of a Vulcan and the fire and emotion of a human. The natural rivalry and subsequent bonding between Kirk and Spock is a key one that will almost assuredly be carried into later movies.

As for the rest of the cast, Abrams assembled a strong group of young, up and coming actors who will provide a strong springboard into the series. Urban plays McCoy, the medical officer, Zoe Saldana is Uhura, the linguistics expert, scene-stealing Simon Pegg is Scotty, the engineer, John Cho as Sulu, the Enterprise's pilot, and Anton Yelchin as Checkov, the navigator. Other than Pegg, no one really shines here but most of the group's screentime is setting up who they are and what they do. It will be interesting to see how they develop. Bana is a good villain if a bit underused, but it's the original Spock, Leonard Nimoy, that makes a great extended cameo. An all-around solid cast that helps bring the movie up a notch.

A pleasant surprise for another franchise rebooting, which I've got to say is not necessarily a bad thing with Daniel Craig reinvigorating the Bond series, Christian Bale doing the same for Batman, and now Abrams, Pine and Quinto stepping up to the plate with one of the most popular science fiction franchises ever. If you're concerned about not knowing anything about the series, don't be. The movie is a polished, exciting, well-told story. Don't miss it.

Star Trek <----trailer (2009): ***/****