Episode 208: Die Hard

For December’s Donor Pick episode we tackle a Christmas classic and discuss what makes this action spectacular tower above the competition.

Die Hard Review – 0:00:57

The Connecting Point – 0:57:19

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Episode 206: Star Wars: The Rise of Skywalker

We chat about the final film in the epic Skywalker Saga. Does it satisfy? Does it entertain? Do we want more? Just like this film, there is a lot stuffed into our conversation as we work through our conflicted feelings for Episode IX.

Star Wars: The Rise of Skywalker Review – 0:02:50

The Connecting Point – 1:38:14

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MOVIE REVIEW: Star Wars: The Rise of Skywalker

“Star Wars: The Rise of Skywalker” faced a nearly impossible task: end one of the grandest, most-beloved ongoing stories of all-time in a way that would universally appeal to what has become a largely fractured, and always passionate, generation-spanning fan base. It was never going to succeed at this, and what happens within this final film will most certainly have fans divided once more. Much of the reason for mixed opinions will, naturally, come down to story decisions such as the answer to Rey’s parentage, the conclusion of Kylo Ren’s character arc, and the reasoning behind why Emperor Palpatine has reappeared to be woven into this final trilogy. In order to ensure the mystery remains for readers, all that I can really say on this front is that I emerged from my viewing of the film conflicted – appreciating some of the directions director JJ Abrams went while being both baffled and extremely frustrated by others. If you were hoping for a wrap-up that would be loved and praised by all, well, I can simply say that you’re not going to get your wish.

“The Rise of Skywalker” is a lot of movie. A lot, a lot. It’s nearly two and a half hours of non-stop, action-packed, exposition-filled, video game quests. I happen to enjoy the style of adventure video game progression that we see emulated and so I had quite a bit of fun with the planet-hopping escapades of Rey, Poe, and Finn. But I also can acknowledge that this will absolutely not be everyone’s cup of tea. Hard and fast editing cuts, the quick pace of new information being revealed, and frequent tying up of plot points made it hard to remember details upon exiting the theater. Even now, less than 24-hours since seeing the film, I couldn’t recount the plot trajectory to you without going back to look at my notes. Exciting and not without spectacle, but also very, very messy.

Things that worked the best for me were some emotional moments between main characters, a healthy dose of smartly included fan service (much of which makes sense for story reasons), and the way in which General/Princess Leia is sent off. One major thing that did not work for me was the details surrounding the reappearance of Emperor Palpatine, his motives, his level of power, and ultimately his place in this saga. Other elements that bothered me were the lack of defining set pieces to rival the greatest ones the series has offered and a story that feels like it was written specifically to cater to those who’ve expressed disappointment with “The Last Jedi”. It is very clear that this was not a three-part story arc planned out from the beginning, and the way in which this film treats its direct predecessor is pretty rude. The film also frequently creates high stakes only to undo them moments later, draining a much stronger potential emotional investment away. With regards to Palpatine, his inclusion has the unfortunate effect of altering the impact of certain events from Anakin’s past in ways I did not appreciate. And also he yells… often and loudly. The action, while quite nice to look at, never provided me the kind of unforgettable single scene that I was hoping for, like the Holdo Maneuver, taking down an AT-AT with tow cables, or the Millennium Falcon navigating an asteroid field against overwhelming odds. Just as with superhero films, the more frequently we see amazing action sequences in this universe, the harder it becomes to stand out from the crowd. 

“The Rise of Skywalker” is epic, though, without a doubt, and resembles a condensed mixture of all three original trilogy films, for better and worse. It features immersive, loud sound effects and another incredible score by John Williams, is beautiful to look at, provides opportunities for our heroes to shine, and lets us once again have a blast experiencing stories in a galaxy far, far away. There’s slightly more good than bad, but this is yet again a Star Wars film that will be debated for years (if not more) to come. Like many of the Millennium Falcon’s landings, JJ Abrams brings this nine-film saga to an end in a gloriously cinematic but messy crash. Not ideal, but also not fatal. It gets the job done.

Rating:


Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on the emotional experience he has with a film. Follow him on Facebook and Twitter to be notified when new content is posted.

MOVIE REVIEW: Spies in Disguise

Based on Lucas Martell’s 2009 short film “Pigeon: Impossible”, in which a pigeon briefly becomes a spy and almost sets off nuclear war, “Spies in Disguise” remixes the story by having a spy become a pigeon instead. The premise is nonsensical and silly, of course, but that’s not a criticism. Early on we meet Walter Beckett (Tom Holland), a young inventor with a passion for creating non-violent gadgets and a dream of helping to save the world, who is written off by most who meet him as “too weird”. Walter eventually grows up to work for a super-spy organization of which its star operative is none other than the smooth-talking, ultra-fly Sterling… Lance Sterling (Will Smith). After Sterling is framed by a mysterious villain for stealing a dangerous piece of tech, he is forced to go on the run from Internal Affairs agent Marcy (Rashida Jones) and her sense-focused investigative team of Eyes (Karen Gillan) and Ears (DJ Khaled). This leads to a team-up with Walter and an accidental transformation into a pigeon. Yes, it’s ridiculous. But also, it absolutely works! 

“Spies in Disguise” makes no apologies for referencing the spy films we all know and love. In fact, its narrative emphasizes Walter’s journey as much as Sterling’s, giving it a balance that most live-action star-driven franchises don’t have. Imagine a movie that focuses on the career goals of Bond’s research specialist Q, and allows him to be present in James’ adventure and necessary to the plot instead of just a behind-the-scenes supplier of cool toys, and you’ll have an idea of the dynamic “Spies in Disguise” operates with. Walter believes in teamwork and has an emotional backstory that is easy to empathize with, but his pacifist views are in direct conflict with Sterling’s more aggressive, pro-violence, fight fire with fire and always fly solo methodology. It’s a wonderful theme to explore within this animated world and the relationship between the two isn’t just fun and exciting, it’s quite touching as well. 

The evil cyborg villain, Killian (Ben Mendelsohn), doesn’t have a lot of screen time but is perfectly voiced. Mendelsohn has a way of sounding cleverly sinister like few actors can. His motives are not revealed early on and one thing that sets “Spies in Disguise” apart from typical kid-friendly animation is just how evil Killian can be. The tech he steals is an assassin drone and several murders are very clearly committed on screen. His menacing nature makes him feel like a legit threat and not the bumbling idiot or goofy bad guy that you might expect. 

Another area where “Spies in Disguise” separates itself from other PG films is in its writing, which is very funny but definitely skews more toward teenage sensibility than that of younger children. There is even a “50 Shades of Grey” joke that is just as hilarious as it is surprising. The film is still great for all ages, however, with slick animated action set pieces set to a hot soundtrack, an abundance of cool spy tech, and plenty of bird-related shenanigans while Sterling is a pigeon. 

It might sound shocking, but “Spies in Disguise” takes advantage of the charisma and swagger that Will Smith brings in a way that few films this decade have. Holland is the perfect sweet, geeky companion and going on this adventure with them is a purely joyful experience. It’s hard to imagine a better blend of silly children’s animation with the genre-defining elements of spy films that fans love. The story sets up perfectly for sequels and I, for one, am absolutely here for it. Bring on more avian hijinks. #TeamWeird all the way!

Rating:


Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on the emotional experience he has with a film. Follow him on Facebook and Twitter to be notified when new content is posted.

MOVIE REVIEW: 6 Underground

After more than 20 years deep in the scene of Hollywood, Michael Bay has become set in his ways. During a blast of a start with blockbusters such as “Bad Boys”, “The Rock”, and “Armageddon”, Bay looked like he was headed on a fast track for bigger and better things. Over time, the excitement dwindled into apprehension and caution. Instead of testing out new frontiers for his imagination, complacency became the new buzz word surrounding his films, with them featuring an increase in bolder and audacious action set pieces while there was a steady decrease in any figment of story or cohesiveness within the structure of his projects. Bay is a frustrating director to watch as he continues to settle for the bare minimum and not tap into his potential greatness. “6 Underground” is the action film that is the sum result of who Bay has become over the last decades – a generic filmmaker.

Action sequences in the film are arcadey and mayhem populates the screen, bloating it with a constant supply of weak enemies, chrome cars, bullets, blood, and extravagant stunt work. Adding on to the claustrophobia, the jagged editing is enough to trouble even people with the highest of attention spans. Many moments possess so many cuts in a short time that there is no room for the frames to breathe. When people fight hand to hand, you don’t see any of the blows connecting or landing at their destination. There is a heavy emphasis on explosions, even when you are not sure how cars and objects are easily combustible. Some of these sequences feel much longer than they need to be; the continuity required to allow momentum to build and deliver on its promise gets lost. On the contrary, elements of entertainment such as this would make for a fantastic video game. The film has frequent callbacks to games like “Call Of Duty” and “Grand Theft Auto” that will melt the heart of teenage boys everywhere with its hyper and energetic tone.

Wernick and Reese’s script is immature, barebones, and filled with a weird love affair for dated pop culture references – just like they’ve done in the “Deadpool” and “Zombieland” franchises. References span from “Breaking Bad” to Britney Spears to “Butch Cassidy and the Sundance Kid” to “Nick at Nite”, and then there is a painfully cringe-inducing rendition of the opening lines of Eminem’s “Lose Yourself”. The release date says it’s the year 2019 but this film will have viewers thinking they are still operating in the mid to late 2000s. What passes for humor is stereotypical quips on different ethnicities, raunchy middle school sex ponderings, and lame use of poorly timed punchlines. We are in the mind of screenwriters who are trying to create mindless entertainment that is “cool” and “flashy” to stand out. The story is the last thing anyone is paying attention to; if anyone can crack the code as to why we have this group of wannabe mercenaries going around looking to take out villains on high pedestals, more power to them. Nothing makes sense as to why and how these characters came to be. The audience is told (through copious amounts of exposition) that a billionaire just decided to fake his death and become dead to the world. This techie then goes around looking for other people willing to share in the same sacrifice and become a part of this “ghost” team and make the world less evil to live in. Sounds great on paper but the choppy emotional beats and awkward time jumps make it difficult for anyone to wrap their arms around this material.

“6 Underground” is a playground that looks exciting to play in but nevertheless leaves nothing memorable to latch on to. Michael Bay is who I thought he was: a one-note director practicing the golden rule of insanity, making the same film over and over again expecting a different result. “6 Underground” is an audacious mess of the action experience.

Rating:


Caless Davis is a Seattle-based film critic and contributor to the Feelin’ Film Podcast. He loves any discussion of film and meeting new people to engage in film discussions on any subject. You can follow him on Twitter and Instagram.

MOVIE REVIEW: Jumanji: The Next Level

Finally… The Rock, has come back… to Jumanji!

Two years ago, “Jumanji: Welcome to the Jungle” released around Christmastime with relatively little hype and plenty of critical reluctance. It proceeded to shock the world with a nearly $1 billion box office haul. Audiences everywhere fell hard for contemporary changes that the sequel to Robin Williams’ 1995 film made – primarily the fact that its characters were stuck inside of a video game and not a board game, as in the original. The film also surprised by having its four primary characters – Spencer (Alex Wolff), Bethany (Madison Iseman), Fridge (Ser’Darius Blain), and Martha (Morgan Turner) inhabit the bodies of four avatars instead of playing the games as themselves. This gender-bending, personality-conflicting experience provided for hilarious comedy and the sequel does the same.

After saving Jumanji and returning to their lives with a new bond between them, the primary foursome has now graduated high school and are dealing with new challenges. Spencer and Martha are no longer dating and he, apart from the group due to attending college away from them in New York City, is experiencing a lack of confidence. In an effort to regain what he once felt while playing as Dr. Smolder Bravestone (Dwayne Johnson), Spencer pieces together the old broken console he’d kept hidden from his friends and makes the dangerous and reckless decision to go back inside of the game alone. Eventually, his crew follows him to Jumanji in an attempt to ensure he survives and bring him home, but Spencer’s grandfather Eddie (Danny DeVito) and his former restaurant co-owner Milo (Danny Glover) are accidentally sucked in as well.

Unfortunately for the returning players, not all goes as expected and they end up inhabiting different avatars than before. This fresh take allows for new interplay to exist between the foursome of Dwayne Johnson, Jack Black, Karen Gillan, and Alex Wolff. I don’t want to spoil who ends up playing who, but both the chemistry between this group and their comedic talents shine as they portray different personalities than what you’ve seen before. It is simply a joy to watch them interact with one another, making this the kind of film you smile and laugh out loud throughout. 

The dynamic between Eddie and Milo is one of two old friends reconnecting after 15 years apart, trying to reconcile heated emotions around their different view of how their business venture ended, and it was my teenage son’s favorite part of the movie.  Whether it was the veteran comedy duo of DeVito and Glover or the hilarious way in which other actors portrayed their avatars as if they were those two, the age and physicality differences provided for fresh new comic material that was incredibly funny. Also making her first appearance in the series is Awkwafina, who continues to prove that she can do no wrong. Every scene she’s in is a treat, and the multiple characters she acts out are incredibly entertaining and hilarious.

“Jumanji: The Next Level” succeeds by once again reinventing its formula for a modern-day audience to great effect. The twist on who inhabits which avatar not only provides a wealth of humorous possibilities but some quality heartfelt moments of relationship building as well. Again the group is on an exciting adventure that takes them to interesting new locations and throughout the film, it is obvious the writers have looked to incorporate as many elements of current era action-adventure games as possible. In one sequence midway through, characters must retrieve a special item and to do so requires wall-running, jumping, and platforming that is heavily inspired by the Tomb Raider games. Later, during the film’s climax, a brilliant sequence includes characters activating unique player abilities, a full-on cinematic set-piece akin to what you’d see in the Uncharted video game series, and an awesome boss fight complete with multiple stages. There is even one moment toward the end of the film where a major action scene had me expecting giant buttons to pop up on the big screen, indicating a quick-time-event was taking place. Non-gamers may not recognize these elements being in the story, yet the film stands on its own just fine without that knowledge because it’s so much damn fun. And for those who do understand game design and can see the clever ways it is implemented in this sequel, it truly elevates “Jumanji” to “The Next Level”. 

If you go into this sequel expecting more of the same, you won’t be disappointed. This is a family-friendly adventure franchise that understands how to innovate while keeping the same creative tone that made it such a hit in the first place. Light on drama, heavy on action, with boatloads of fun and just enough emotional character development to make us care, “Jumanji: The Next Level” continues to break the Hollywood mold of disappointing reboots, remakes, and delayed sequels by providing an experience perfect for holiday enjoyment!

Rating:


Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on the emotional experience he has with a film. Follow him on Facebook and Twitter to be notified when new content is posted.

Episode 200.3: Indiana Jones and the Last Crusade

Wrapping up our 200th episode celebration, we discuss how this film is an origin story for Indiana Jones, and then generally gush while giving all of the reasons why this is our favorite entry in the series.

Indiana Jones and the Last Crusade Review – 0:01:08

The Connecting Point – 1:07:40

 

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Episode 200.2: Indiana Jones and the Temple of Doom

Continuing our journey through the greatest adventurer’s film trilogy, we compare the structure of this prequel to the film that came before it, admire a special relationship Indiana forms, and discuss whether or not this is a racially insensitive story.

Indiana Jones and the Temple of Doom Review – 0:01:16

The Connecting Point – 0:58:22

 

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Episode 200.1: Raiders of the Lost Ark

Happy 200th episode to us! In celebration, we are once again covering a favorite trilogy, beginning with this conversation about an adventure movie that would go on to define an entire genre and one that gave us an iconic hero for all-time.

Raiders of the Lost Ark Review – 0:12:50

The Connecting Point – 1:35:20

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Episode 198: Ford v Ferrari

We love biopics, and this week we’re excited to chat about director James Mangold’s newest that tells the story of the events leading up to and including the 1966 LeMans 24-hour race. With strong relationships throughout, the film gives us plenty to connect with and talk about in addition to just geeking out over the exhilarating racing sequences. 

Ford v Ferrari Review – 0:01:56

The Connecting Point – 1:02:20

 

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