What The Purge: Anarchy has going for it is ambition. Founded on a brilliant premise (almost all crime is legal for 12 hours a year) and backed up with cool, social commentary-lite ideas (an auction-like arena where the wealthy pay to hunt the poor, for instance), Anarchy (as well as the original Purge film) think big, yet execute small. Abandoning almost all horror film classifications for an underwhelming, low-risk action narrative, director James DeMonaco has many great ideas, and no idea what to do with them.
The sequel smartly expands the films’ (series’? soon-to-be franchise’s?) universe beyond the home-invasion setting of the first to the entire city of Los Angeles on annual Purge night. While Leo Barnes (Frank Grillo) suits up for some good old-fashioned revenge purgin’, mom and daughter Eva and Cali (Carmen Ejogo and Zoe Soul) are kidnapped from their apartment by a mysterious army of Purgers. Meanwhile, soon-to-be-separated couple Shane and Liz’s (Zach Gilford and Kiele Sanchez) car is sabotaged just before the Purging begins, abandoning them downtown with no place to go.
Something’s familiar. 22 Jump Street is 21 Jump Street gone undercover, with slight upgrades in budget and meta humor. The sequel directly takes the storytelling formula from the first and plays around with it minimally, but still manages to deliver the same, if not a bigger, amount of laughs.
Channing Tatum and Jonah Hill have enough comedic chemistry that they could probably compete with the likes of Tina Fey and Amy Poehler, and both have improved since last time. Tatum especially, who so carefully and cleverly plays the buffoon cop Greg Jenko, who loves to dance and climb buildings but hates to improvise. Hill’s Morton Schmidt is more of the brains of the operation, which is pretty terrifying considering his slam poem dedicated to late college student Cynthia amounts to “Cynthia is dead now” repeated a few times. And he’s supposed to be the one who’s good at improvising.
In a summer that will inevitably contain some truly awful blockbusters that excel at the box office, it’s a shame that Edge of Tomorrow, a witty expedition as well oiled as the machines it features, is doing so not-amazingly in ticket sales. Those lucky enough to see it can attest for its unwavering entertainment value in the form of time travel and robot-verses-demon squid battles, because it’s that kind of movie, and a huge success at it.
In 2014’s iteration of standard Tom Cruise action fanfare, Cruise plays Major William Cage, who is forced to take up combat in the human’s war against invading aliens called Mimics despite not actually being a soldier, thanks to the vague illogic of plot convenience. (Though, it is refreshing to see Cruise as someone other than the guy-in-charge for once). Stripped of his rank, Cage finds himself literally flung into a doomsday battle against the Mimics on the beach, equipped with a highly destructive exoskeleton he spent the previous day not learning how to operate. The humans are taking a slaughtering, except for propaganda figurehead Seargent Rita Vrataski (Emily Blunt), complete with her tentacle-lopping sword – oh wait, she just melted. And Cage did too, realistically, after a scrimmage with a large blue Mimic known as an Alpha.
What you wanted
For a story about an ill-fated romance between two cancer-stricken youths, The Fault in Our Stars is natural and restrained in bringing the torrential downpour of tears from its audience. Not that the storytelling isn’t worthy of the teenage blubbering it inevitably caused, but the delicate subject matter of youth (or anyone of any age) dealing with cancer is handled with a level of honesty that demands to be simply recognized rather than pitied. The film (and its novel source material written by John Green) uses subtle brutality to prove that any life, no matter how short, can burn as bright as it wants to. This particular film burns radiantly.
Though the dialogue sometimes walks a thin line between genuine life wisdom and assault via Hallmark get-well-soon cards, leads Shailene Woodley and Ansel Elgort (both now firmly solidified in their own stardom) make even their cheesiest lines heartfelt and natural. The two play a pair of disease-ravaged teens who instantly bond over their mutual dislike of a support group that Hazel’s mom (Laura Dern) forces her to attend in attempts to give her a ‘normal’ teenage social life.
Listen well, all of you
So, this was the curse Maleficent was talking about. After all this time she finally got her revenge on Sleeping Beauty. Adding backstory to an established character is fine, but altering the events of the original tale to make Maleficent look sympathetic is not going to sit well with a lot of people, myself included. It could have been forgivable, however, if the movie had not been awkwardly balanced between uninspired action scenes and painful child-catered sequences. It’s Wicked without the genius and Disney when it wants to make a quick buck while working on better projects.
Thank goodness for Angelina Jolie, whose sleek exploration of the title character is defined by her wonderfully thorny grin and graceful dimensionality. (Not to mention her knife-sharp cheekbones, which she probably uses to open canned goods.) Jolie guides the often-stumbling script with a performance that excels when she gets to be all-out villainous, and stays strong when she becomes an unexpected parental figure to Princess Aurora (Elle Fanning), a plot twist that, for me, was hard to swallow, but irresistible when offered by Jolie.
Did anyone else look at the list of movies coming out this summer and think, “Eugh, pass” like I did? Maleficent looks like it could be good, but now that I’ve publically documented that thought there’s no longer any conceivable scenario in which it won’t be awful. The Fault In Our Stars should be good. And Guardians of the Galaxy. And 22 Jump Street… maybe it will be a good summer for movies actually. I dunno. Summer.
Anyhow it’s that special time of year again where I rank every movie I’ve seen and reviewed in the past few months. This round the entrants are, in the order I saw them:
Welcome to the neighborhood
With its heaven-sent combination of actors and director, Neighbors could have been better. The film moved in to Nicholas Stolling’s impressive community of comedies (Forgetting Sarah Marshall, Get Him to the Greek, and The Five-Year Engagement), but that’s like comparing a modest abode to an opulent mansion. Neighbors is never as goofy or sentimental as it should have been. Still, it vaguely hits on both, and what more can you ask from a movie about a frat house?
Mac and Kelly Radner (Seth Rogen and Rose Byrne) are optimistic about their new house and neighborhood in which they plan to raise their new daughter, even if that means no longer going to spontaneous raves with their friends. Maybe they can start going to frat parties instead, because the house next to them is quickly claimed Delta territory. Frat leaders Teddy and Pete (Zac Efron and Dave Franco in the most significant pairing of actors in film history) promise to keep their partying down for the Radners as long as they leave the police out of it. Both promises are quickly broken, and soon it’s war between the neighbors.
Peter Parker has a lot on his plate. The Amazing Spider-Man 2 is more of a continuation of the character’s life than it is a sequel with a clear thesis, as director Marc Webb juggles numerous plotlines entertaining to watch alone, but muddled when played side-by-side. Which is why the movie reaches its Amazing potential in its second half, when the plot lines finally start weaving together.
There’s the thing with Peter and Gwen; there’s the thing with Electro; there’s that one thing with Harry Osborn, and then there’s that other thing with him. Last and definitely least, there’s the story with Peter’s parents, which began as an attempt to justify the reboot series’ existence, but is now unnecessary as the series has beyond proved its worth five short years after Sam Raimi’s trilogy.
Captain America: The Winter Solider is my least favorite movie of Marvel Cinematic Universe’s second phase. Which doesn’t mean it isn’t great (of course it is, if you haven’t noticed Marvel’s logo slapped all over it). Directed by Anthony and Joe Russo, the movie has arguably the best action sequences Marvel has produced so far. We finally have our first compelling villain since Thor’s Loki. But the overall product was bogged down by the story’s connection to SHIELD (a secret society that reaches between franchises to team up the likes of Cap and Iron Man, for those who haven’t been keeping up).
The film plays more like a build up to Avengers 2 than a Captain America solo adventure. It had everything that makes Marvel movies fantastic, but suffered from a sense of lowered risk, like watching a prequel to a movie you’ve already seen (come on, we all knew nothing would stop Cap and company from appearing in Avengers 2).