I haven’t wanted to walk out of a movie I paid for in a long, long time, but I damn near walked out of this one. “Man of Steel” is ridiculously awful. At best (if I weren’t a Superman fan), it’d be “Transformers 4”, another busily boring, loud, emotionally bankrupt piece of nauseating, over-indulgent, digital miasma. But if you are a Superman fan, this film is downright offensive and insulting.
It takes a while for Sam Raimi’s Wizard of Oz prequel to pull its shit together and make you care a little about what’s happening, but the final act’s (digital) pyrotechnics and displays of combative sorcery help pull the movie just barely into the safe zone. The casting leaves something to be desired. James Franco, whom I normally like, is surprisingly bland in a role where he desperately needs to carry the film. He gets better as the film goes, finally reaching his stride as Oz the Great and Powerful makes his thundering debut to the citizens of the Emerald City.
I wasn’t a huge fan of the first two Iron Man movies. A little snarky Robert Downy Jr. goes a long way with me. I like him better when he’s part of an ensemble (like in The Avengers). So while it may be faint praise, I did enjoy this third film in the series most of all.
Mild Spoilers Ahead!
J.J. Abrams (TV’s Lost and Alias) serves up a second, solid entry in the rebooted Star Trek franchise. Into Darkness is equal parts action and character-driven charm, with an emotional climax and a terrific villainous performance from Benedict Cumberbatch. You don’t have to be a Trekkie to enjoy this flick, but it will add immeasurably to your enjoyment if you’re familiar with the original crew’s feature films, particulary Star Trek II: The Wrath of Khan. If you want to bring it out for inspection, the film does have something to contribute to a discussion on terrorism, but Abrams’ approach is decidedly less didactic than Gene Roddenberry’s. This Star Trek is just for summer movie entertainment.
If you wanted to remake William Lustig’s 1980 slasher cornerstone with an abundance of point-of-view shots, you probably couldn’t do a better a job than Franck Khalfoun did with this remake. Maniac is beautiful and imaginative, photographed almost entirely from the killer’s (Elijah Wood’s) point of view. You really only see him in mirrors and other reflective surfaces. On one hand, the conceit is clever and cool, but on the other hand, it ends up being what I’m paying attention to — not the thin storyline or the operatic depiction of its psychologically scarred central character. I think less would have been more where the back story is concerned, and I’m not sure the perpetual POV tactic is the best way to tell this story.
