TRON: Legacy

When TRON was released in 1982, I didn't really get it. While the visuals were intriguing, the story just didn't hold my attention the same way the awesome arcade game did. But looking back, the first TRON really was ahead of its time, predicting the rise of an open system not unlike the internet we all use today. By the end of the movie, the Master Control Program (MCP) was defeated and the future of the grid looked promising. But TRON: Legacy has a more pessimistic view of technology, showing how good intentions can go awry. In 1989, Kevin Flynn, creator of the grid, was trapped inside the TRON world, betrayed by his own creation, Clu. Fast forward to the present day, Flynn's now grown son Sam also gets trapped in the grid, meeting his father after more than 20 years. Reunited, father and son must find a way to stop Clu and escape the system. While the stage is set of a dramatic adventure, the movie doesn't quite play out like that. There's a lot of back story to cover, most of which is accomplished through flashback sequences. While this is necessary to fill-out the story, it really slows the pacing of the film. However, there are still plenty of great action sequences, my favorite being the light cycle battle at the beginning. But even the action sequences feel a bit long and tedious as the film approaches and surpasses the two hour mark. That isn't to say this is a boring movie. Fans of the original will love diving into the deep lore of the grid. But those with shorter attention spans will probably walk out of the theater yawning, despite the impressive production values. As a casual fan of the original, I enjoyed the movie. But it wasn't the epic I hoped for.

Harry Potter and the Deathly Hallows: Part 1

The Harry Potter franchise is perhaps the finest example of serial story telling in film history. Really, can you think of anything else that comes close? This is the seventh film and there's still one left to go. While the earlier films were somewhat light and formulaic, director David Yates has done a masterful job of gradually shifting the tone since Order of the Phoenix. The bleak tone established at the end of Half-Blood Prince carries over immediately to Deathly Hollows as Harry and his friends are fugitives on the run from the usual dark forces. This is a welcome change-up from previous installments, though I sort of miss Hogwarts. One of the strongest sequences has Harry, Ron, and Hermione sneaking into the corrupt Ministry of Magic while donning some crafty disguises. The scene has all the pacing of a tense espionage film. Other parts feel more like a road movie, but without a car. Harry and friends are truly outcasts and spend most of their time in the wilderness, seeking out Voldemort's Horcruxes. Apparently these magical items must be destroyed to defeat he who must not be named. But despite the destruction of one Horcrux, the dark lord appears to be just as powerful as ever, as revealed in the final scene. For the most part, this film is a setup for the final confrontation between good and evil. But at no point does it feel like filler before the main event. There's a lot going on here, particularly when it comes to the development of the core trio the series has been following all these years. I've never read the books and have avoided spoilers as much as possible, so I really have no clue how this all will end. Looks like I'll have to wait a few more months.

Let Me In

Count me as one of the skeptics who thought this remake was totally unnecessary. Now that I've seen Let Me In, I still feel the same way...for the most part. Let the Right One In was one of the most original takes on the vampire genre ever, offering a nice break from the innocuous territory tread by the tween-friendly Twilight series. Like most foreign films, Let the Right One In never quite gained the mainstream traction or exposure it deserved upon its initial release. Instead, it was one of those word-of-mouth films that most people discovered on video. And judging by the recent box office numbers, Let Me In might follow the same pattern. As American remakes go, this one is about as good as it gets. It remains extremely faithful to the original, despite taking place in 1983 Los Alamos, New Mexico instead of Sweden. Director Matt Reeves nails the tone and avoids any major deviations from the original's story. Chloe Moretz (from Kick-Ass) is good as Abby, the mysterious girl who moves into an apartment complex. But Kodi Smit-McPhee (from The Road) is even better as Owen, a troubled 12-year-old who eventually befriends Abby. Little by little Owen discovers that Abby isn't quite what she seems. If you've seen the original, you know exactly what to expect from each scene, with only a few minor tangents. But for those who missed out on Let the Right One In or simply can't handle subtitles, Let Me In is a worthy alternative, giving English-speaking audiences no more excuses for familiarizing themselves with this great tale.

Easy A

Judging from the trailers, Easy A looks like another cookie-cutter high school movie. But this isn't some cheap Superbad knock-off. For one, it has a great cast lead by Emma Stone playing the typical socially-invisible teenager. But when false rumors begin to circulate, her social standing changes dramatically. Instead of fighting the rumor mill, she embraces her new role as the campus harlot, even going so far as wearing a scarlet A. Of course, it's all an act, leading to some genuinely awkward, but hilarious encounters. The writing is snappy and delivered with comedic perfection by Stone. I liked Stone in Superbad, The House Bunny, and Zombieland. Here she proves she has the talent to carry a movie on her own. But she has plenty of help from a surprisingly esteemed cast including Stanley Tucci and Patrica Clarkson as her eccentric parents. Thomas Haden Church is a laid-back English teacher married to a high-strung guidance counselor played by Lisa Kudrow. Malcolm McDowell even gets some decent screen time as the school's principal. Then there's a small and somewhat underutilized Fred Armisen as a local pastor. Altogether it's a solid movie filled with rich comedic performances. And if you grew up on John Hughes movies during the 80s, you'll certainly appreciate the way this film pays homage to those classics.

Salt

Salt appears to be an attempt to launch a new Bourne-like franchise starring Angelina Jolie as a spy with a mysterious past. But to call this film a Bourne knock-off isn't completely fair. Salt does have a lot going for it, including a strong cast lead by Jolie and Liev Schreiber. If you've seen the trailer, you already know the premise. Jolie's Evelyn Salt is a CIA operative accused of being a Russian double agent tasked with killing the Russian president. But just when you think this is a simple Fugitive-like setup, the film takes some unexpected turns. At times I admit I wasn't quite sure of Salt's true allegiances. But the movie doesn't give you a lot of time to think. This is a frantically paced action movie with plenty of chase sequences, fight scenes, and gun battles. As she's proven over and over, Jolie is a natural action star making even the more preposterous setups feel credible. But she also has the acting chops to give the character an emotional depth and sense of vulnerability. There's a turning point in the film where Salt's humanity comes bubbling to the surface in a deliciously brutal sequence of calm rage. At this point all bets are off. You never quite know what she's going to do next. It's this unpredictability which is the film's greatest strength. Plus, you can't go wrong with the near-perfect pacing. While this may not be the most memorable spy movie you'll ever see, it certainly is entertaining. After all, isn't that why we go to movies in the first place?

Inception

Have you ever woken up from a dream with an unshakable idea? If so, Christopher Nolan's Inception will give you plenty to think about. Of all the movies releasing this summer this is the only one that I felt any sense of excitement about. Like everyone else, I had no clue what the film was really about, but the trippy visuals in the trailers and Nolan's track record for constructing complex narratives were enough to pique my interest. At it's core, Inception is a heist movie. It's about a group of criminals, led by Leonardo DiCaprio's Cobb, who enter people's dreams to steal information. But in their latest job, they must implant an idea in their target's head, something referred to as inception. But like any good heist movie, things don't exactly go according to plan. Cobb's own psychological turmoil introduces several obstacles to the dream scape as the group dives through multiple layers of subconsciousness. The dreams within dreams concept is handled extremely well producing at least three simultaneous narratives, all featuring the same characters attempting to accomplish some sort of goal within a finite time frame. Simply keeping up with what's going on in each dream layer is somewhat exhausting, but it's also completely engaging. I think it's safe to say my mind hasn't had this kind of a work-out since Memento. And like Memento, I think I'll need to see Inception a few more times before I get a good idea of what's really going on. But I do have a theory...

The Sorcerer's Apprentice

Although I like Nicholas Cage, this is a movie I had absolutely no intention of seeing. But sometimes situations arise that one must take advantage of. Such was the case here when I had the chance to go to a movie with my niece and nephews. If you've seen the trailer you have a good idea of what this one is about. Cage plays a centuries-old sorcerer in search of an apprentice (known as the Prime Merlinian) capable of defeating the evil sorceress Morgana. The apprentice he finds is a NYU physics nerd played by Jay Baruchel. Together they must stop Morgana from reanimating the world's long-dead evil sorcerers, thus saving the world. With a premise like that, the script pretty much writes itself with all the expected Bruckheimer set pieces one would expect from a summer movie. This is one of those movies that just washes over you without engaging your brain. In fact, it's best not to apply any sort of logic or rational thought into this one. Just let it unfold in front of you, preferably while laying on a couch when the remote control is just out of reach. However, I did appreciate one aspect of this movie. It tries to apply science to the world of magic, but not in a disappointing midi-chlorian sort of way. Ultimately, the physics nerd makes a great sorcerer because of his understanding of science. While I'm not confident this movie will inspire anyone to pick-up a science textbook, I thought basing the magic in real-world physics was a nice touch.

The Twilight Saga: Eclipse

Twilight clearly isn't my thing. But I can certainly understand the appeal, especially to tweens, their mothers, and every other female on the planet. This is pure soap opera drama with a supernatural element. After all, what girl (or disillusioned soccer mom) wouldn't want to have a pasty vampire and hunky werewolf fight over them? Eclipse offers more of the same as the Edward/Jacob rivalry intensifies. But at some point the boys must work together to protect Bella from a vengeful Victoria and her army of newly turned vampires. But this epic alliance between the (good) vampires and werewolves takes a backseat to more creaky dialogue, something that has become a series staple. Though I admit, there are far fewer cringe-inducing lines here than in New Moon. But then there's the tent scene which is just so shamelessly contrived that even the actors seem to have a hard time keeping a straight face. Having never read the books I can't say what twists and turns await us in Breaking Dawn, the saga's final chapter. Bella's future seems decided by the end of this film given her impending nuptials with Edward. But I do know that Breaking Dawn is largely hated by the fan base, so perhaps there is still hope for this franchise?

Toy Story 3

This is just about as good as movies get. Given the series long hiatus, I was a bit nervous about how this one would turn out. But the story does a great job accounting for the passage of time and reacquainting the audience with the key characters. Andy has grown up and is preparing for college. As a result his toys face an uncertain future during the universal sorting process we all go through at some point. Will Woody, Buzz and the others be kept, donated, or just trashed? But that's just the earliest dilemma. Like the previous films, the toys find themselves on an epic adventure outside the safe confines of Andy's bedroom. Along the way they meet several new characters and face numerous challenges. Of course, there's plenty of humor and action. But Toy Story 3 also hits a strong emotional chord, not unlike WALL-E and Up. This is where Pixar shows they're light years ahead of the competition, and not just in the field of animated films. They haven't made a movie for kids that grown-ups can merely tolerate. This is good old-fashioned entertainment for everyone, something reflected by the diverse audience in attendance on a Saturday afternoon. And judging by the tearful moments and applause at the end, this is a movie that everyone loved, myself included.

Splice

Wow. This is one messed up movie. But in a good way. Judging by the underwhelming trailers this looked like an average Alien-style horror flick. But it's something else entirely. It's incredibly smart and fearless. Although Splice could be classified as a sci-fi movie, it doesn't feature distant technology like flying cars or spaceships. The science behind the story is very real and contemporary. Perhaps that's one reason I found the film so unsettling. What you have here is a modern take on Frankenstein with all the familiar science vs. ethics themes. But what happens when you throw complex emotions into the equation? Sarah Polley and Adrien Brody play a couple who have attained rock star status in the field of genetics. Specifically, they've become famous for splicing genetic material from multiple organisms to create new lifeforms. But things get a bit out of control in their next experiment when they recklessly create a human-animal hybrid. This is where the film could have gone straight into paint-by-numbers territory. Instead, it takes several unexpected turns as the scientists become emotionally invested in their creation. It's very challenging material, and at times, difficult to watch with more than a handful of cringe-inducing moments. But it's a film with heart and a brain which is a lot more than you're likely to find in the cineplexes this summer.

Iron Man 2

Growing up, I never was a huge fan of Iron Man. Tony Stark was just too much of an arrogant jerk. He didn't fit the humble superhero mold. But that's exactly why these movies work and it wouldn't be possible without Robert Downey Jr. This is quite simply the best casting in any superhero movie ever, and the fun continues in the latest installment. At the start of Iron Man 2, Stark's ego is on an all-time high now that the world knows he's Iron Man. But of course, there's plenty of people who aren't thrilled by Stark's sudden boost in popularity. Thus, conflict arises on multiple fronts. To make matters worse, Stark realizes that the suit's power unit is slowly killing him. Solutions to Stark's problems aren't apparent until Nick Fury (Samuel L. Jackson) and his S.H.I.E.L.D. operatives become involved. Geeks know that Fury has set the stage of something much larger, as evident by the discussion of the "Avenger Initiative." Be sure to stay around after the closing credits for an even larger hint at what the future holds for the Marvel Universe. But let's face it. Captain America and Thor have their work cut out for them. If the filmmakers stay true to the source material, these will be much different movies. So when it's finally time for The Avengers to unite, it will be a very interesting collaboration to say the least. Has the bar been set too high? Only time will tell.

Clash of the Titans

While I have fond memories of the original Clash of the Titans, it's not exactly a flawless masterpiece. That was readily apparent when I watched it a week ago. But it's still a fun movie with some very cool action sequences, despite the dated special effects and occasional cheese. So in my mind, a remake wasn't such an awful idea. For the most part, the core elements of the original story remain intact. We still get the scenes with the Stygian witches, Medusa, and the showdown with the Kraken at the end. But there are some alterations which are likely to draw the ire of many a fanboy. Zeus (Liam Neeson) and Hades (Ralph Fiennes) have much more screen time while Andromeda is practically kicked to the background. Then there's the new Perseus, played by Sam Worthington of Avatar fame. This Perseus is a fisherman turned badass warrior, motivated purely by revenge. It seems he could care less about Andromeda or the unsympathetic people of Argos; for him, killing the Kraken is a means to an end. These tweaks to the characters don't necessarily alter the story for the worse. In fact, I rather enjoyed the change-up. Still, the script is far from perfect. The pacing is a bit slow and tedious at the start, but the film eventually finds its stride in the final act. And as for the special effects? Sure, they're flashy but no more believable than the Ray Harryhausen creations from 29 years ago. Perhaps this will improve by the time this film gets remade?

Shutter Island

As a voracious life-long student of cinema, Martin Scorsese is easily one of the most knowledgeable filmmakers to have ever worked in the medium. Unlike some directors, he doesn't just throw images up on the screen and hopes it works out. Crafting effective sequences is more of a science than an art, and he knows exactly how to manipulate the ingredients to produce the desired outcome. Shutter Island is a good example of the master in his lab, tinkering with tried and proven potions to creep out and misdirect the audience. What starts out as a simple missing persons mystery slowly evolves into something else entirely. Clues are expertly dispensed throughout, hinting at, but never quite revealing the truth. For example, there's one blink-and-you'll-miss-it continuity error at the beginning of the film that makes more sense once the film is over. But as thorough as the final explanation is, the ending is somewhat open to interpretation. Exactly what does the last shot mean? Is it as straight-forward as it seems? While the story is compelling, it's the atmosphere that really stuck with me. Everything from the setting, to the music, to the trippy dream sequences all lend themselves to the eerie tone, which is maintained throughout. Like Memento, this is one you'll want to see a second time. But even then, I'm not sure I'll be able to put together the entire puzzle.