Robocop [2014] Thriller // Action ------ vs Chapie [2015]

C-
Stars: 5

Glitch why are you reviewing Robocop to Chapie and not the original? Isn't that an unfair comparison?


What's up internet: Today I'm going to do my review of Chapie and compare it to Robocop. {blah blah}

[Break away to prerecorded rant]


The scene where (Spoiler alert) this assclown, distraut, proclaims that "There's nothing left!" "noooooooooooo.wav" and all I could think was "jesus...there was nothing but a heart and lungs of this movie anyway...




What am I supposed to say? This movie accomplished exactly what it set out to do. Squander its potential and spend the budget on marketing. It does exactly what it proclaims to be...a passably watchable action flick,  and nothing more. The three step plan: Rip off old work. Half ass everything. Rake in the cash. I'll bet those smug fucks even patted themselves on the back as a bonus step.

This movie was so ridden with uncreative tropes and cliche plot lines it wasn't even funny. I really mean this in a literal sense. It wasn't funny. Even the few fleeting comic relief moments were just direly in need of some better writing. In fact, this movie may well have been better suited (no pun intended) if it had gone the route of Iron Man and actually embraced the comedy.

I think it's a crying shame that what could been a much  darker, grittier, more profound and intricate story line was instead reduced to lowest common denominator action figure or comic book level--and not in a flattering sense. Now before anyone tries to cut my internet throat over that statement and tell me "But Glitch! It's supposed to be cliche! It was a comic" I have news.

People of Intent....The comparison you are making, in this straw-man argument with myself, is that because a movie has been done before and because media exists in a cliche and narrow scope in a similar capacity or name, that the writers should cast aside all aspersions to be innovative or make an insightful and meaningful movie with impact. Sure not every movie aims this high...but why the fuck do we excuse the bar so low?

 We could have been given a masterful work of fiction...

Instead, we were shoveled shit in its truest sense. The directors and writers and producers laughed at all us all the way to the bank. They even had gumption to put Samuel Jackson in as himself in a parallel universe to introduce the movie.

Let's compare this to other movies before comparing to Chapie...

The Avengers:  This movie, although not in my top 10 favorites, was pretty damn good. The action was amusing, the characters, however played out, are compelling or at least engaging enough. They're fun. They're unique. The writing in terms of dialogue and diction is spot on, and the tone is consistent for what it is--a super hero flick. The averages is a good movie. The ending, as can be expected, concluded it nicely and sent us off with a satisfying bang (and a secret trailer at the end!)


Robocop: This movie, easily in the bottom 10, was pretty fucking awful. The action was half-assed and the danger never felt real.

http://imgur.com/gallery/vFRISBn



The characters, or lack thereof, yanked and demanded the spotlight with their flashy CGI suits, and then proceeded to do precisely nothing novel. The writing in terms of everything was horrific and so far off the mark they even threw in a tone breaking Sam Jackson sequence to close. It's felt like the writers flipping off the audience, not sending a message. There was nothing remotely satisfying about Sam Jackson dropping the F bomb.


Terminator Salvation: A movie that suffered from a few flaws, but overall made for an engaging, albeit a bit overly cliche and plot lacking experience. The CGI was decent, notwithstanding some cartoony parts, and the character arcs believable. It brought to question a few profound questions about man and machine and where the future will take us. Well executed, although still not something to write home about.

Robocop: A movie that died from its fatal flaws and made no attempt to stop bleeding. The CGI was akin to video game graphics, which I'm sorry Superman and {something else}, but that just doesn't cut it in 2014. We've got movies like Transformers 4 and dare I say it Jupiter Ascending. Mixing Guardian's of the galaxy cartoony fantasy graphics with Robocop just isn't working for me...

The character not once faced an enemy, be that an evil robo-cop, an assassin, a government agency. The character was simply thrust into a world where we are left to grasp at straws as to the bigger implications, while see the world through the narrow and extremely trite view of man's wife. When the POV literally switched to the wife, I knew there was a problem with more than just the tropes and poor execution of social {qusetioning?}. But we'll get back to that in a minute


Anyway,

A fucking love story as the main engine behind ROBOCOP!? A cybernetic man suit killing machine sociopath judge fucking dread shoot 'em up metal crusader and you're going to fucking go with a LOVE STORY?! ARE YOU OUT OF YOUR FUCKING MINDS?!

You have a character, who similar to {Who} in Terminator Salvation is LITERALLY A HUMAN MACHINE and the most you can think to fuck with is his relationship with his wife and son? Who gives a fuck! Show us the politics besides a half-ass plot device called the "Drifus" act, flimsy and uninteresting police "drama" (the 4th amendment mentioned exactly never), or just the ever present evocation of the proverbial badman...DRONNNESSS ARE SCARRYYY D: D: D:

This movie felt like diving into an empty pool and it broke my skull just trying to reconcile what I'd just watched. This movie poked so little at the personal struggle or moral implications inherent with this type of technology that I just accepted defeat.

Instead, this movie poked at the social implications like a dead animal. What I mean is, the plot took a backseat to what we've seen a hundred times in more elegant form in movies made in the last 5 years alone. That's right. THE PLOT TOOK A SECOND SEAT TO THE BULLSHIT. Like Ro-Bro...are you even trying?

Terminator, {Other movies with A.I.}. This is nothing more than the common denominator smashed into your brain at 100 miles an hour.


There wasn't even a car chase scene.

The bad guys in this movie were basically just ...the same bad guy as every fucking movie...



And the good guy is just as Dreadful. *rim shot*

What makes a good movie is the ability to disguise these questions and implications, not flaunt them around and shake for an audience to see. That's hostage taking. It's not profound. I want my money back.

http://imgur.com/gallery/5y8yq -- Although I claim no credit for this, I think it's pretty funny and wanted to share. 

_____



Chapie here --







Next video we'll discuss -- "I'm horrified to imagine Ghost in the Shell with Johanson has Motoko. "

Jupiter Ascending [2015] Sci-Fi // Fantasy // Romance

C-
STARS:  4/10


If you're considering whether to watch Jupiter Ascending, ask yourself the following question:

* Do I like sci-fi?

* Do I like good sci-fi?

If you've answered yes, you should probably just stop now and skip this movie.

* Do I like inconsequential action, where the heroes always feel a half-step under immortal?

* Do I enjoy trying to piece together chaotic and incoherent plots?

* Do I enjoy flimsy characters about as compelling as a moldy ham sandwich?

* Do I like dead end sub-plots with as much forethought as the green-screen smorgasbord story-bording this movie's "Writers" used to piece it together?

Suffice to say, this movie was downright atrocious. Fully every aspect of this movie has been done before and done better. I will admit that watching Channing Tatum be out acted by real life Meg Griffin for the first 6 minutes was interesting, but suffering through another hour and fifteen minutes just hardly seemed worth it, despite how hot she is.

No amount of random space elephants, space dragons, fairy-sexual androids, or holographic cyber-tech could make up for the trope infested fiasco that Jupiter Ascending was. I could have perhaps forgiven the worst of the {adjective} pervasive Cinderella cliche's, had they at least incorporated humor in a "not even the writers could take this one seriously fashion" as we got with Guardian's of the Galaxy, but instead all we got was over an of Channing Tatum fruit-booting around a post-effects rendered scene. At least Mila Kunis is still hot.


http://www.imdb.com/media/rm550173952/rg1374984960?ref_=rgmi_mi_all_sf_44


Anyway, this movie was neither funny nor interesting. Just about the only thing going for this movie was the CGI.

So where did most of this outrageously inflated $176 million budget go? I'll tell you where it didn't go. The script. Comprised of some of the most trite scenes in existence, this movie is more filled with plot holes and technology inconsistencies than my {Something witty}. If I had a dollar for every time this movie ripped off another I'd have enough money to make a movie of my own...A better one.

I feel like the problem is we're still trusting these two with colossally over inflated budgets,

...Just because they got lucky with The Matrix doesn't mean they're going to deliver another masterpiece. Did we forget Ninja Assassin? The Invasion? Speed Racer? Cloud Atlas--a movie not even Tom Hanks could save. Jesus could we put a more forgettable duo on the case? I swear this movie would have been better cast, directed, and edited by these two.

You know a movie is awful when the theaters it plays in gives the iMax showing to Spongebob...after 9:00 PM. Who the fuck wants to watch Spongebob? Well...I guess more people than want to watch these two deep and engaging characters.... Angry immortal guy.....rat person...

And what the hell is with these English speaking alligator dragons, anyway? Where did they come from, what are they doing there and what's the point? This movie was so off mark, I felt like I was watching Fear and Loathing in Outer-space.

But at least it was creative...From the novel and innovative settings like, Naboo's royal palace. Startrek's bridge, Hogwarts...


Don't get me started on the wildly inconsistent technology. -- And what the hell was that "Tax Bureaucracy" scene, justifiable only for its "comic relief", something this movie needed like this show needs a Holocaust scene.




{Insert clip of burning rainbow village here with screaming and sounds from the movie rambo or something}

Anyway, Jupitar Ascending is to Starwars, what Pluto is to Earth...or Earth to Jupitar....or the SUN.
I wouldn't watch this movie again if you paid me to....maybe on acid. This movie was a trip, a crash and a burn in all senses of the word. From the floating beastiality space orgies to the  "we just build with wooden desks in space because of ...space trees" fully nothing came together and I'm sorry I ever watched it.

Only after writing this review did my buddy remind me of "what about Sean Bean's character?" a character so forgettable, I honestly didn't remember he was even in this film. No hyperbole. I'm serious. It was like Gary Oldman in Tinker Tiger Soda...butts...


Fuck this movie.

Django Unchained [2012] Comedy // Action // Period Piece

Django Unchained [2012] Comedy // Action // Period Piece
8.6
Stars: 4

"A violent and bloody satisfying film through and through. Not explicitly a comedy, it delivers tastefully the stark realty of American slave history while still managing to poke fun at the past. It is both a profoundly honest portrayal of human depravity, and a hilarious absurdity can only be described as an emotional roller coaster. This film does little to sugarcoat reality, and goes so far as to characterize in absurdest fashion at every applicable opportunity. With compelling characters and an equally compelling plot, this film accomplishes just about everything it sets out to and does so brilliantly."


Guys. I love this movie. Full disclosure, I really have a distaste for other Quentin Tarantino flicks, but this one is an exception. This is the type of movie that both takes itself incredibly seriously, while at the same time making fun of anything it can--and that's a large scope.


I don't even know where to begin. The acting is brilliant, of course, but I think what really sells this film for me is the character. The extreme absurdity behind lifting Django [1966] and making him a slave, is absolutely brilliant. The mannerisms that Jamie Fox recaptures are what sold me. The first time he takes a puff that cigarette and looks away from who he's talking to...it's just so god damn perfect!

Minus a few laggy transitions (Tarantino does a nice drop building suspense but I think he often misses the mark--this is highly subjective) the pacing was brilliant. I can think of so many absolutely perfect moments, from comic delivery, to juxtaposition exposing cinematography, to brilliant dialogue and amazingly choreographed

The color contrast in this film is again very Tarantino, and is done so brilliantly. The blood spattering the cotton is perhaps the best example of this. The camera work is great, from the all too Tarantino zooms, to the slow motion swivels, this film breathes life into an already vibrant world.

Every aspect of this film from start to finish had something new to enjoy. It is an emotional roller coaster and for the first time since I can remember I actually left a movie theater smiling and today still smile every time I watch it.

It's just so perfectly absurdest. This movie is a must watch!

I am temped to cut this review short, because I really would just end up gushing about each individual scene. By the time RICK FUCKING ROSS started blasting, I knew this movie was something to write home (or at minimum the internet about).

Go into this expecting to be entertained and I promise you will be.

Take Shelter [2011] Drama // Thriller

2/13/2015
Take Shelter [2011] Drama // Thriller
Stars: 9.3
Grade: A

"Powerful. Gripping. Suspenseful. Immersive. Compelling. These are just some of the words I would use to describe this master piece. A strange mix of fantastical cinematography, Take Shelter comes together with a subtly not often found in modern cinema. Culminating in one of the most memorable and emotionally evoking drama I have witnessed this century."

Take Shelter is a gripping film that pulls you into the life and mind of an extremely compelling character, portrayed brilliantly by Michael Shannon. There are many layers to this film to peel back. Lots to analyze. Take Shelter shoots for realism and minimalism in its portrayal of a mentally ill protagonist, suffering in his blue collar life with the onset of schizophrenia. Suspension of disbelief be damned. I found a hard time finding any facet of how real life could be much different.

The cinematography makes for a gorgeous viewing experience, with a setting that adds to the layer of profound realism. In post editing, sound effects, as well as what I suspect are computer generated skies are the only my belief of realism was suspended, but what makes this film so brilliant is that it is done so with purpose. You are supposed to feel like things aren't real. You are seeing a world through a schizophrenics eyes, doubting the reality with the character.

I suspect the only reason Shannon doesn't appear in more "major block busters" is by personal preference. In fact, I would say he's probably one of the greatest actors of this generation. I am not exaggerating when I say I think he's on the tier as Pacino or De Nero.

Legends of the Fall [1994] Drama, Romantic Movie

2/14/2015
Legends of the Fall [1994] Drama, Romantic Movie {On Netflix!}
Grade: C-
Stars: 6.5
"It's a movie that shot for the stars and burnt up on reentry. It's a melodramatic smorgasbord of improperly paced and overreaching plot arcs. It felt like an entire first season of Dowton Abbey being broken down into pieces and slammed together into just over two hours. Everything but the thematic portrayal worked. Visually stunning, great acting, but in no way was the movie compelling or captivating--the two most important parts of a drama/romance."

Legends of the Fall is a shot at being an "instant classic" that really fell short. Like many movies in the 1990's, it's basically just a Broadway show come to life on the silverscreen. Ooooo...Ahhhh! But the issue is, it's just too dramatic. It's too much. It's a constant tone of theatrical nonsense. The characters feel larger than life, and as a result, I found myself actively disintered in many of the MANY MANY MANY sub plots. It felt like watching Dowton Abby's entire first season compressed down into two hours. It was too much. It was bloated and melodramatic. 

I think the scope of this movie overreached and to be honest I found some moments, as well as full 'short story' arcs trite. By the end, I found myself actively disinterested in fully every plot line, unable to distinguish which was the most important driving core and which elements really mattered. Compounding this issue is the fact that the ending story arc was not in any way a conclusion. It was just the end of the movie.

With a confusing narrator, and extremely unclear POV, it took great effort to try and really care for anyone. The cherry on top is that in the course of the entire story, the actors never age...and I think it takes place over 30 years? I shouldn't have to put a question mark. Maybe I'm just stupid. I don't think so.

After about the fifth "letter read in characters voice over music while watching random horse riding", I started rolling my eyes. However, even though 50% of the story takes place in ambiguous cowboy wonderland, the film was filmed in Alberta and British Columbia, Canada, and I must say it's downright stunning visually. I want to visit.

The tone is consistent, however for a rate R movie, I must say it felt very PG-13. If you remove the few totally unnecessary fuck words, and two shots of tasteful boring nipple, this movie really is PG-13. In fact, even in current form, I would let kids watch this. The blood isn't overly bloody, and I think taking away from that even more is the fact that so many die. I mean seriously, so many people just keep dying...

All in all, it's a meh film that could have been epic with just a half season of Downton Abby compressed down, instead of the full season. It does have some profound moments stitched in, it does look beautiful, but for all the positives, it loses massive points for the various reasons mentioned. It's not awful, but given the length I can't say I would recommend this to folks who don't already really enjoy melodramatic and HIGHLY THEATRICAL flicks set in the early 1900's.

Blue Ruin [2013] -- Independent // Chiller

[TRAILER REMOVED--RUINS THE DAMN MOVIE]

(My advice? Watch it first [NetFlix Available in U.S as of 2015!] and then read this. Don't watch the trailer. Watch the movie.)

Grade: A
Stars: 9.1

"The directing style of Blue Ruin is akin to lighting a candle with a match, while most other 'major block buster' films in the same genre and category go straight for the flame thrower. . . A slow burn the entire way, the movie reaches a fever pitch quite quickly and culminates in a blood curdling and heart stopping ride that takes hold, and doesn't let go until it's over."

Blue Ruin is a spine chilling indie flick that kept my eyes glued to the screen until the extremely bitter end. A highly immersive slow burner from start to finish, I found myself staring with wide eyes even after the credits started to roll. It felt like I had been holding my breath since the first 10 minutes, which really took me by surprise. Rarely do films evoke this level of actual fear in me the way this did. Not since No Country For Old Men & Zodiac has their been an unsettling film to hold weight in this category that I can think of.

Blue Ruin is the type of film that shoots for theatrical realism and minimalism, and thankfully, through stroke of directing genius, accomplishes both. This is the type of movie that makes you acutely aware of how unrealistic other movies are. It is unnerving and toe-curling-violent like Last House on The Left, yet without any of the trite directing tropes or faux pas. The directing style of Blue Ruin is akin to lighting a candle with a match, while most other 'major block buster' films in the same genre and category go straight for the flame thrower.

I was impressed to say the least with how this flick artfully skated around back story dumping. Although the character arcs and back story was never expounded on in a traditional sense, I never found myself growing frustrated. You learn through immersion, which allowed for a slower, but by no means relaxed, extra thirty minutes of actual plot progression. Although I was curious to learn more, I never felt like I was being held hostage to a mystery; none of the vital pieces were missing and all major plot arcs were conveyed coherently and timely. The frustration I so often find with these types of movies was refreshingly absent.

In a similar vein as Take Shelter, the acting in this film is spectacular. Sure, there are no big A name actors, but I think many can agree these types of films would only suffer if someone like Tom Cruise stared. Given the unassuming, timid nature of the lead protagonist, a relatively or entirely unknown cast is exactly what is needed to bring it together. 

Reflective in the character's actions are traits most all of us can relate to. This isn't a movie where the hero's can't be harmed. This isn't a film where the antagonist knows karate for absolutely no reason. I found myself wondering what I might do in a similar situation if confronted by the same problems this character faces, and I think what is so unnerving about it is that none of the character's actions are too far off from what the average person might do in a similar situation.

The cinematography utilizes many brilliant techniques both elegantly and subtly, without coming off as pretentious or inundating the way so many other indie flicks like this do with some of the more ambitious shots. Sometimes, less creative is actually better and I think that's what makes this film so compelling. The plot is so heart breaking, and being portrayed with such grace is a real masterpiece akin to Hitchcock himself.

To put it simply, this film, from start to finish, doesn't fuck around.  Despite a lack of dialogue, the tone is consistent and the details down to the last drop of blood are compelling. When people talk, it matters. I think the most compelling aspect of the entire film, perhaps the very mission statement it set out to accomplish, was that there is not a single moment where disbelief need be suspended. It looks real, it sounds real, and it feels extremely real. A slow burn the entire way, the movie reaches a fever pitch quite quickly and culminates in a blood curdling and heart stopping ride that takes hold, and doesn't let go until it's over.

Blue Ruin is one of the best films I've seen in a very long time.

Watch. This. Movie!