NOW YOU SEE ME 2

Mark Ruffalo   Lizzie Caplan   Daniel Radcliffe   Jesse Eisenberg   Dave Franco  

Morgan Freeman   Woody Harrelson   Michael Caine   Sanaa Lathan

          Dazzling sleights of hand, cat and mouse chases, vengeance, and power struggles continue the essence of the Now You See Me films (#3 is already planned).  Revelations about mysteries left unresolved in the first picture are cleverly revealed, specifically with regard to Thaddeus Bradley (Freeman).

        The Four Horsemen of Now You See Me have been in hiding for a year after they robbed their sponsor’s Parisian bank account during their performance in New York to give the spoils to their audience, many of who were victims of Hurricane Katrina.  They have been in training for the next big caper, the details of which have not been revealed.  They’re restless and resentful that the secret society from whom they receive their instructions, the Eye, has not provided them with more challenges.  The sponsor of their original show, Arthur Tressler (Caine) of Tressler Insurance, had not been generous to the victims, so the Horsemen considered themselves Robinhood figures who give to the poor what the rich have withheld.  Now, finally, the magic troupe has plans to reappear by usurping a major advertising promotion by the company Octa in London, 

         But the FBI is after them for their previous heist, along with Thaddeus, in jail for his role in the previous story, and Tressler, who lost millions in one of their heists.  Along for the venomous ride this time is Tressler’s son Walter (Radcliffe) who has a big investment in pleasing and redeeming his father.

         Sanguine truths are sprinkled about through this story to at least give it some depth.  Walter, who has learned from his father the value of secrecy, says, “True freedom is not being seen”, an astute observation of one who wants his actions and behavior to remain anonymous.  Another character emphatically refers to the “power of an empty fist”, so useful in magic tricks.  And finally, in the last few moments, Thaddeus observes that “Seeing is believing…” but he thinks it’s important to ask whether what’s seen is truth or lie.  (It’s noted that belief has ‘lie’ in the middle of the word.) 

        When the film begins, we learn that one of the Horsemen (played by Isla Fisher) is missing, and the team needs to recruit another.  After some disagreement, cheeky Lula (Caplan) is accepted and wins their respect for her skills.  Magic tricks are very similar to those in the first film, and all the actors are captivating in their renditions.  Radcliffe does a fine, convincing job in being evil with daddy issues.

          The last scenes are clearly set-ups for Now You See Me 3.

If you liked the first one, you’ll probably enjoy Now You See Me 2.  If not, skip it.

           

Grade:  C+                        By Donna R. Copeland

WARCRAFT

Travis Fimmel   Ben Foster   Dominic Cooper   Paula Patton   Toby Kebbel  

Robert Kazinsky   Ben Schnetzer   Daniel Wu   Anna Galvin

          Warcraft, based on the “World of Warcraft” videogame, involves a complex story pitting different nationalities together, mixing in magical feats that can ward off predators and transport people through space.  The human magicians are called “guardians”, but like everyone else, they have vulnerabilities.  Humans live in a place called Azeroth, and peace has reigned between them and the Orcs for hundreds of years; however, a new predator has come on the scene that sets out to destroy both civilizations.  They are about to wipe out the Orcs, who are now going after humans and their lands to survive.

          Major players in Azeroth include King Llane Wrynn (Cooper), his leading soldier Lothar (Fimmel), the guardian Medivh (Foster), and an aspiring guardian Khadgar (Schnetzer).  There is a power struggle among the Orcs for chiefdom.  Gul’dan (Wu) is the current chief (evil) in desperate need of more fuel (his plans are to use captives for that purpose), and sends his “horde”, including Durotan (Kebbell) and his pregnant wife Draka (Galvin), and others into Azeroth for an initial attack on humans. 

         Amidst this attack, we’re introduced to Garona (Patton), half-Orc/half-human as a result of her parents’ mating, and now an outcast chained to one of the Orc warriors.  Lothar rescues her for the purpose of getting intel about the Orcs and promises to take care of her if she will help them, which she does, making her walk the line of divided loyalties.

This film throws a lot at the viewer to process, and many of the Orc characters look so much alike it’s hard to tell them apart.  Moreover, it’s so loaded with CGI, that aspect almost overwhelms the story.

Primarily for Warcraft game enthusiasts who favor CGI over story.

Grade:  D                         By Donna R. Copeland

ME BEFORE YOU

Emilia Clarke     Sam Clafin     Janet McTeer     Charles Dance     Brendan Coyle     Jenna Coleman

          This movie was in very good hands, beginning with the novel and screenplay by Jojo Moyes, direction by Thea Sharrock, accomplished actors, and music by Craig Armstrong.  It illustrates the joys and hardships of a serious medical condition and models constructive ways to deal with it.  Will Traynor (Clafin) has had a serious accident that injured his spinal cord and keeps him confined to a wheelchair.  Before that (as in the title, Me Before You), he seemed to have everything:  looks, successful job, privileged loving family, and a beautiful blonde girlfriend.  Keenly aware of his losses, he is acerbic and bitter most days or simply silent.

        Will needs a new caretaker, so his mother (McTeer) interviews a young woman who has clearly not been coached in her responses to questions, but allows enough of her bright, giving personality to shine through for Mrs. Traynor to see enough of her good intentions and warm heart to give her a chance.  Enter Lou Clark (Clarke) with her sunny disposition, old-fashioned charm, funky clothes, and a bit of clumsiness into this well-to-do setting with an educated but embittered young man.

       The film is engaging in the way it takes us through the collision of two classes of people, one highly educated and wealthy, the other scraping by economically but demonstrative and outspoken.  The collision is only a little fender-bender, as Will and Lou gradually develop a friendship that is beneficial to both.  It goes through stages from initial guardedness, to some straight talk (her letting him know he needs to shape up), to friendly competition, to kidding, and finally to genuine enjoyment in each other’s company.  He makes playful comments like “Your life is duller than mine” and “Where did you pick up your exotic tastes?” (referring to her choices in clothes and shoes).  She gets him back in touch with simple enjoyments in life in the past and the present.  There is a good lesson in the film here for people in wheelchairs:  Don’t just hibernate at home.

         People need people, and thus the film shows the value of a sister’s (Emilia’s, played by Coleman) advice and encouragement, a father’s (Emilia’s, played by Coyle) empathic support, the reasonable wrestling with a big decision by Will’s father (Dance) and mother, and Will’s plea to Emilia for her understanding of his decisions and her standing by him. 

        Me Before You is thoughtful and provocative, true to life, and full of pointers for people undergoing trauma, as well as those around him/her.  It helps us see that significant events and relationships may change us across time in unpredictable ways, but it’s generally in a positive direction given sufficient support and comfort.  Lou brightens Will’s life considerably, and he helps her realize her potential in ways she probably would never have imagined without his prodding. 

          Clarke and Clafin make this film what it is to moviegoers, and the viewer is transfixed watching them.  Behind them is the sensitive, knowledgeable novel and screenplay by Moyes and the astute direction of Sharrock (her debut of a feature film direction).  Bravo!

I hope everyone gets the important message of this film:  Individual freedom to choose.

Grade:  A                                    By Donna R. Copeland

TEENAGE MUTANT NINJA TURTLES: OUT OF THE SHADOWS

Megan Fox   Will Arnett   Laura Linney   Stephen Amell  

Noel Fisher   Jeremy Howard   Pete Ploszek   Alan Ritchson  

Brian Tee   Tyler Perry   Gary Anthony Williams   Stephen Farrelly   Brad Garrett

      There is a new villain in TMNT:  Out of the Shadows, who plots with the imprisoned/escaping  Shredder (Tee) for world domination through extraterrestrial means.  Kraang (Garrett) has a robot body that has a pink tumor-like head thrusting out of its midsection to snarl and threaten whoever comes into its path.  It and Shredder have enlisted the aid of Baxter Stockman (Perry) and his lab to assemble the necessary materials for achieving their ends.  The assembly requires obtaining three critical parts scattered around the world.  It also involves a purple substance that when ingested will transform two criminals, Rocksteady (Farrelly) and Bebop (Williams) into a rhino and a warthog who will be super soldiers for Shredder.  The thunderously bumbling antics of these two provide some of the better humor of the film.

          Meanwhile, we can savor the interactions of the four Turtle brothers horsing around, eating pizza, quibbling with one another, and going after the bad guys.  They are chafing at having to remain underground so they won’t frighten American citizens but will still be on call to rescue their beloved New York City when necessary.  Their reporter friend April (Fox) is excellent at snooping around and uncovering evil plots where the Turtles can intervene.  In addition to April, their team is able to call on diffident Vernon Patrick (Arnett) who took credit for the Turtles’ saving New York previously to keep the true heroes’ identity secret, and Casey Jones (Arnett), a vigilante with an assortment of sporting goods.

         April has uncovered the plot being set in motion and calls the Turtles into action.  Along the way, she will need the help of Patrick the “Falcon” and Jones, despite the latter’s offending Police Chief Vincent (Linney) and warrants for the arrest of the Turtles.

          I think one goes to see movies like this for the special effects and stunts rather than for the story, and in that respect, the film is entertaining and will appeal to mainstream audiences who like this genre.  Subjects did arise that would be worthy of discussion, such as arguments for and against the Turtles’ using the purple substance to transform themselves into human shapes, the struggle to maintain leadership and teamwork among the Turtles, and the “no honor among thieves” theme in regard to the villains. 

If you like the Turtles, you’ll probably like this; otherwise, skip it.  You won’t miss a thing.

Grade:  C                        By Donna R. Copeland

ALICE THROUGH THE LOOKING GLASS

Mia Wasikowska   Johnny Depp   Helena Bonham Carter   Anne Hathaway   Sacha Baron Cohen   Alan Rickman

          Constant artificiality in the emotional exchanges and CGI effects makes much of this film meaningless.  It’s like a stroll—or a run—through a garden of artificial flowers or being stuck inside a video game, as in the Russian film Hardcore; only this is for kids.  Case in point, Alice is congratulated profusely in the end, but it’s not very clear exactly what she did other than sail/burst around in a time machine that pops her out on the ground or the floor.  Traditionally, the hero(ine) is sent by fate through trials that establish her mettle, but we see none of that here.  The main point of the film—which is that you can’t change the past—is obscure, until Alice talks about learning her lesson at the end.  Otherwise, all the action of the film is trying to do just that, change the past.

         The film opens with Alice the captain of a ship in dangerous waters where she is willing to take risks (she doesn’t believe in “impossible”), even against the advice of her crew.  Of course—this being Alice—she makes it safely to her homeport, pumped about the next adventure.  To her dismay, her benefactor has died, and his son Hamish (a rejected lover) wants to reclaim her boat, has made a spurious deal with her mother regarding her home, and now wants her to work as a clerk.  What to do?

          As she is mulling this over, Alice gets a message from the Blue Caterpillar (Rickman) that she is needed back in Wonderland, so she goes through the glass portal to see what is wrong.  It’s the Mad Hatter (Depp), who has slipped into a dangerous depression following the disappearance of his family.  After discussing it with the White Queen (Hathaway), Alice pursues the possibility of going back in time to “get” his family and bring them up to the present.  The person in charge of the “Chronosphere” is Time (Cohen), and he warns against the plan.  Not to be deterred, Alice gets her hands on it anyway, and proceeds.  There follows lessons about the folly of trying to change the past, side issues of sibling rivalry, and the values of home and family.

        With CGI overwhelming the story, it’s difficult to see how children would really come away with the messages—as mundane as they are.  They are likely to enjoy the production design (Dan Hanneh) and special effects in and of themselves and the costumes (Colleen Atwood), but as far as deriving any edification about sibling rivalry, undoing the past, or the rights of females, I doubt those things come through.

A CGI bloated production with a weak storyline.

Grade:  C-                                    By Donna R. Copeland

NEIGHBORS 2: SORORITY RISING

Seth Rogen     Rose Byrne     Chloe Grace Moretz     Dave Franco     Selena Gomez

       Neighbors 2 is essentially the same as Neighbors (2014), except that gender stereotypes are even more pronounced, although the filmmakers try to promote women and gays in a more positive light toward the end, as if to make up for earlier scenes.  In earlier scenes women are shown as giggly, squeaking, sobbing uncontrollably at a sad show on television, and on and on.  They’re depicted as dumb (e.g., not knowing what ‘escrow’ is, not recognizing the implication of water breaking in a pregnancy, and immediately accepting of a man who appears authoritative to them and promises rescue).  Note that all the writers are male, so expect this to be a male fantasy with a few curbs just to be politically correct.

         Granted, men are portrayed as dumb and bumbling too (clueless about parenting, unable to pull off a heist) and prejudiced against gay men, but they’re also the ones with ideas and computational abilities.  Actually, the film for the most part is accepting of gays by portraying them more or less realistically.  I wish they had been as open-minded toward women.

        The first Neighbors chronicled the trauma of a young couple with a baby who is unlucky enough to have a fraternity move in next door (loud partying, mainly).  Things got partially resolved, and now that the couple is expecting another child, they want to sell their house and move somewhere else.  The problem is that just when they are getting close to finalizing the sale, a sorority moves in next door, which makes matters worse (Dontcha know—women are always worse than men!). 

          What follows is the same kind of one-upmanship that we saw in the first Neighbors, with ridiculous ideas turning slapstick bad.  The only time I really laughed was when a young person not knowing about landlines pulled the “old people’s” phone off the wall, not realizing it was attached. 

         Neighbors 2 is an excellent example of a film not needing a sequel, but filmmakers see the $$$ and do it anyway.  They recycle the same plot and jokes trying to refit it to be more politically correct (although they still don’t seem to be aware that the word “frat” is not really accepted in Greek communities at universities).  I didn’t hear too many laughs in the screening I attended with around 200 people.  Maybe it’s not so funny after all?

The not-funny-again sequel to the 2014 Neighbors.

Grade:  D                        By Donna R. Copeland

THE NICE GUYS

Russell Crowe     Ryan Gosling     Matt Bomer     Kim Basinger     Angourie Rice

          Holland March (Gosling) and Jackson Healy (Crowe) are like Abbott and Costello private detectives.  They argue, fight, and bumble their way through the plot of trying to locate a missing woman.  They’re often puzzled about what is transpiring, yet manage to get through all the scrapes.  Their characters are interesting, and Gosling shows more comedic chops and timing here than in his previous comedies.  March seems hopelessly incompetent and clumsy with a weakness for alcohol, yet has a brain and is well read enough that his vocabulary often stumps his competitor/fellow principal investigator Healy.  He also has a kind heart (placing a pillow under an unconscious foe), and is devoted to his daughter Holly (Rice) as best as he knows how.

           Healy, on the other hand, is very serious, doesn’t drink (much) on the job, and serves as the brawn to March’s brain.  He has a conscience and a kind heart too—at least for children—and is not quite as ready to stiff his clients as March is.  Crowe is perfect in portraying a street-smart brute who can lure his prey by distraction then deliver crushing blows.

          Neither March nor Healy is a very responsible adult for children, but quick-witted Holly inserts herself into their jobs and turns out to be a valuable, though unacknowledged, aide.  She lends her own wry, astute comedic observations of the adults and manages to be at the right place at the right time, uncovering important clues, and coming up with ploys or a gun that she knows how to use.  Although it is disconcerting to see, that along with the good values she has absorbed from her father, she has also learned techniques of sociopathic exploitation.

      This is a mess of a movie in some ways, with tons of violence and over-the-top ridiculous plot twists.  My impression is that this could have been a sensationally funny, dramatic hit with a message if the writer/director Shane Black and his co-writer Anthony Bagarozzi had chosen subtlety over unrestrained stunts and violence simply for effect.  For instance, it’s hilarious when one flirtatious character swims after mermaids and does a back flip over a wall to impress a woman, but ends up tumbling down a hill.  But this is not Shakespeare’s Midsummer’s Night Dream, a farce with multiple plot lines ultimately making a statement about the mysteries of love.

       If The Nice Guys has an underlying point, it may come at the end when the two protagonists are cynically reflecting on the corruption of justice and the manifold points of view that can come to bear on real situations.  It’s too bad the filmmakers did not elaborate more on this, Healy’s wrestling with his conscience (especially when it is pricked by Holly) and March’s coming to terms with his guilt about his wife’s death, which would have made the story more substantive and meaningful.

The Nice Guys is a farce with unrealized potential.

Grade:  B+                        By Donna R. Copeland