Video Games Stuck in First Gear

Well, superhero films have gotten better. Why not video game movies? Wait, wait, I'm serious! I mean, many game franchises are almost interactive movies as it is, from Mass Effect, to the latest Tomb Raider, to Bioshock, to Halo, to Uncharted. With these games, playing is like penning your own screenplay AND performing the lead role at the same time. So with all these storytelling advancements in the genre, why does Hollywood continue to treat the video game adaptations like the lazy child that hasn't earned its place at the table? Aren't we far enough by now from the early days of Super Mario Bros and Double Dragon? It's tough to get excited about these movies when it's plainly obvious that the biggest studios, actors and directors don't really want anything to do with them. Instead, entire legions of fans are insulted by low budgets, casting of whomever was desperate enough to appear at the time, and even - if they're REALLY special - the execrable presence of Uwe Boll.

SOMEbody needs a booster seat!

And that casual dismissal of the genre is what doomed Need For Speed, the adaptation of the franchise street racing game of the same name, before it could pop the clutch: nobody cares about who made or is in this film, or why. The only reason anybody was interested in the project was because of the racing aspect, a genre already monopolized by the popular, peaking, and far more insane Fast & Furious series. It doesn't help that there's not much story to begin with. After spending the first act on pointless setup, Tobey Marshall (Breaking Bad's Aaron Paul) is released from two years in prison, immediately hatching a plan to get revenge on entrepreneur/racer Dino Brewster (Dominic Cooper), who framed Tobey for another man's accidental death. Naturally, revenge involves illegal street racing. Because this is a video game adaptation.

The closest you'll ever get to a "Bro" moment, thank God.

If you can't tell by now, I was thoroughly unimpressed by the hacktastic effort that was Need For Speed's story. Getting beyond the fact that it's an adaptation of a game series that hasn't been particularly popular or memorable in years, the tale is lazily scripted (by first-time writer George Gatins; what a SHOCK they didn't get a good screenwriter on board) and doesn't have nearly the plot to hold together the disconnected racing and chase sequences. The story is a dismal blend of tropes, from Getting the Band Back Together (despite the crew in question being largely inconsequential) to the required Will-They-Won't-They romance between Tobey and Julia - an exotic car dealer who would be completely forgettable were she not played by Imogen Poots - to Poetic Justice in the revenge storyline. There's even the idea of doing all this in the name of the film's most head-shakingly annoying character (why can't anyone genuinely interesting die in these movies?) to get it all started. The story has no flow, the characters have little motivation for their actions (at least, not beyond the usual stereotypical behavior), and there doesn't even appear to be anything akin to logic in the way the plot progresses. It's by-the-numbers blandness, from the pointless opening scene to the ultimately predictable conclusion.

Oh, hey! I was just thinking "Crash & Burn!"

But even Nicolas Cage movies have some redeeming value (Drive Angry was on TV, and now I've got Cage on the brain), and the same is true here. Most notably, it's the direction of stuntman-turned-filmmaker Scott Waugh that keeps things exciting on the screen. The focus on practical effects in the action sequences allows the film to stand apart from the Fast & Furious franchise, which had been defined more by their CGI effects in the more recent entries. And Waugh shows a great improvement in his style, judging from the differences between this and Act of Valor, the military flick he co-directed with Mike McCoy. The visuals are rarely too close to the action (except where understandable), and there really is a feel of excitement seeing these vehicles race, crash and - on occasion - soar like birds. My only complaint comes from the opening race, when we literally have no clue who is driving which car. Still, I can only imagine what Waugh could accomplish were he to have a serious budget on his hands, but he definitely shows a solid aptitude for this kind of noir action thriller.

He wears his sunglasses at night, too.

And despite the characters being written as though they were designed by a third grader on acid, the acting is actually pretty solid. Yes, there are the useless filler roles and Scott "Kid Cudi" Mescudi plays as token a black, flamboyant sidekick as he can possibly be (which is to say not all that well), the quartet of lead actors really do possess talent and take as much advantage of their screentime as they can. Dominic Cooper might be a six-dimensional actor confined to a one-dimensional stereotype, but he still brings menace to a role that wasn't so threatening as written. Michael Keaton steals the intermissions between action sequences as a cool-as-ice radio DJ pulling strings behind the scenes (and for the record, it's great to see Michael Keaton doing regular work again. He's a fairly amazing performer). Poots is strong as always, and I really can't wait for the young lady to break out as a Hollywood star, even as she seems to be stuck in these sad, third-tier roles. But Aaron Paul might be the biggest surprise. I still haven't seen Breaking Bad, but already it's easy to see why the actor has accumulated so many fans with one role. Yes, his voice is distractingly deep for a man NOTICEABLY only 5'8", and his dialogue borrows directly from "Emo 101", and again, Tobey's motivations as a protagonist are vague at best. Yet Paul commands a presence those unfamiliar with his work would NEVER expect. Simply put, he proves that despite lacking a large frame, he BELONGS front and center. He might be a little too old to enjoy a Tom Cruise-like career at this point, but if he can pull off something of a "Cruise-Lite" path from now on, he'll absolutely deserve it.

When it came to hair gel, no expense was spared...

(Oh, and for the few people who might have noticed that Dakota Johnson, the star of the upcoming 50 Shades of Grey, was in this: she still doesn't impress me. I don't know whether casting directors see something the rest of us don't, or if Johnson is the person they go to when NOBODY ELSE is interested in a role, but I'm really starting to think the latter is the more likely scenario. So, yeah, I'm really convinced 50 Shades will be a dud upon its release in 2015.)

I've got the Need! The Need for Speed! Trademark! 

But great actors and great action does not a great movie make, especially when they are hampered by the kind of script that makes David Goyer look like a certified genius. I don't know if video game adaptations will EVER get the kind of dedication and effort that superhero flicks are getting right now, but Need For Speed is one of those titles that suffers mightily from the connection to its original medium. Could it have been better? Absolutely. Could it have been great? Maybe. But make no mistake, this is a bad movie made worse by the fact that talented people were brought in to try and hide its flaws. The producers behind this movie simply didn't care whether or not it was any good, and despite some excellent visuals and a few more strengths, the evidence is still plain for anyone to see.

Movie Monday: Abraham Lincoln: Vampire Hunter

This Movie Monday is for a film both Todd and I have been looking forward to since trailers first aired, Abraham Lincoln: Vampire Hunter. Based on the "What If?" historical novel by Seth Graham-Greene, this movie is the type of peanut butter/chocolate mix of historical drama and bloodthirsty monsters that looked to go well together. We both enjoyed ourselves, and while it's not Top 10 material, you might still enjoy it if you like violent films like Underworld, Night Watch or Wanted.

After his mother is murdered by a monster in the night, young Abraham Lincoln plots revenge, which opens his world to the knowledge that Vampires are real and fighting for power in the United States. Trained by a secretive Vampire hunter, he learns that the Vampires rule the south and use slavery as a means to obtain cheap food and labor. With this information, Lincoln's ascent to the Presidency is meant to not only end slavery, but break the Vampires' hold in the United States and send them away for good.

Directed by Timur Bekmambetov, Abraham Lincoln: Vampire Hunter stars Benjamin Walker, Dominic Cooper, Mary Elizabeth Winstead, Rufus Sewell, Anthony Mackie, Jimi Simpson, and Marton Csokas. It is also produced by Bekmambetov and Tim Burton.

Click here to check out the whole review at Open Letters Monthly.

Rocket's Red Glare

The summer blockbuster train continues en route to 2012's Joss Whedon-directed Avengers movie, this time introducing to feature film audiences Marvel Comics' stalwart defender of freedom in Captain America: The First Avenger. Created by Joe Simon and Jack Kirby, Captain America was introduced to comic book fans in 1941 as a World War II hero who was made to be poster child for patriotism of the American soldier. Strong of mind but weak of body, Steve Rogers' bravery in volunteering for a risky procedure to fight the evils of Nazi Germany was the stuff of legends, and during the war Captain America was among the most well-received comic book heroes. That popularity faded with the War's end, but in 1964 he was brought back from the dead, revived from suspended animation to lead one of the most iconic superhero teams of all time... can you guess it? Yup, The Avengers team was partially as big and important as it was thanks to a thawed-out WASP from the forties. Since then "Cap" has been truly one of the most important characters in comics, though seemingly always overshadowed by flashier, grittier heroes such as Iron Man, The Hulk, Wolverine and Spider-Man. That lack of sparkle has always been a problem for him, and that was the main reason I wasn't sure whether I'd like this new film. Cap has always been relatively somber and focused, more of a sounding board for wittier men and women to bounce their best material off of, all the while unflappable and dedicated to his mission. This doesn't always make for a great main hero however, so director Joe Johnston was going to have to be near-perfect if he wanted this title to be close to Thor or the under-loved X-Men First Class in terms of sheer film quality.

Woah... Big Guns...

After failing at attempts to enlist in five different cities due to his physical malnutrition and stunted growth, Brooklyn-born Steve Rogers (Boston native Chris Evans) doesn't know what to do. Men less brave than he are headed overseas to battle the oppressive forces of Nazi-occupied Europe, and Steve so desperately wants to join their ranks. His desire is not to kill men, but to combat evil, and even seeing his best friend Bucky Barnes (Sebastian Stan) off to war without him is almost too much for him to take. He finally gets his chance when Dr. Abraham Erskine (Stanley Tucci) approaches him and offers a chance to get into the fight. Recruiting Rogers into his "Super Soldier" test program, Erskine injects Rogers with a secret drug that manages to transform the weak New Yorker into a bonafide power house, and eventually into a true-blue American hero.

Results are not typical. Do not take the Super Soldier Serum without first consulting your doctor.

Of course, the story of Captain America is pretty much academic, and not at all the reason you're going to see it in the theater. You're going for the special effects, explosions and gunfire, as well as 3D imagery and IMAX surround sound, and for those attributes this film is not at all lacking. Though more circumstance than pomp reigns the film's first half, once the action kicks in there is very little not to glue your eyeballs to. Even many non-combat sequences are well shot, with choreography and cinematography working extremely well together. Say what you want about Johnston's body of work (Jurassic Park III and The Wolfman, take your pick), but he does occasionally make good use of the camera in front of him. Sound effects are also nice and loud, for those of you who have yet to completely blow out your eardrums. The only real complaint I had was with the 3D, as has often been the case this year. With most visual technology, the best thing you can say about it is when you can't tell it has been implemented. The Incredibles is my foremost example, when you see the near-real island forests in that film's final act. 3D doesn't work that way. When a film is 3D, the audience needs to feel immersed while also being aware at the enhancement, which to be fair is a difficult line to toe. It certainly isn't IMPOSSIBLE, but very few films have adequately used 3D to properly stand out from their typical 2D variants.

Steve Jobs' early attempt to harness iPod technology goes a bit awry

It seems odd that I name my blog after a line from Hugo Weaving when Weaving has barely been made mention of at all in my work. My Transformers review notwithstanding, Weaving has simply not been in too much that I've seen of late, and his 2010 effort The Wolfman was ignored by me on the recommendation of several others. Still, I've loved the effort he has brought to modern-day iconic titles like The Matrix and the Lord of the Rings trilogy, and nobody can doubt the talent he carries with him on the set. In this way, he is perfect as an unfortunately one-note villain, Captain America's arch-nemesis The Red Skull. Though Skull doesn't have too much depth to him, Weaving does his best to create a genuine menace around this simple character, one which dramatically poses while spewing generic. cliched bad guy lines, all the while berating his lackey (an underused Toby Jones) and rarely doing his own dirty work. That he still carries one of the film's better performances is as much a testament to his talent as one to the lack of strong character throughout Captain America. Chris Evans would not have been my first choice to play the eponymous superhero, but once again he surprises me with his ability to ease into whatever his director asks him to do, and that pure ability makes him worth more than a dozen Taylors (Lautner or Kitsch, or any other for that matter). If he's not one of the biggest stars in Hollywood a decade from now, something will have gone terribly wrong. And Stanley Tucci reminds us that he is in fact one of the businesses' best workers, giving a real heart to a character that probably would have been overlooked by other filmmakers. More than Evans, Tucci steals every scene in which he appears, the film being all the better for his abilities.

Putting her best chest... I mean FOOT forward

It's a shame the rest of the cast doesn't step up to the plate as much as those three. True, the simplistic dialogue and sparse character development is the biggest culprit, but the performers' inability to overcome these obstacles simply cannot be ignored. Best of "the rest" is Hayley Atwell as British Agent Peggy Carter, Cap's love interest and bad-ass soldier in her own right. A recent trend in the female hero community has brought us Scarlett Johansson as Black Widow and Natalie Portman as Jane Foster, strong characters that could go toe to toe with heroes and villains alike, whether by Jane's intelligence or Widow's more... PHYSICAL methods. The film tries to make Peggy Carter too much of both, and then fails to meet either standard. She does play well off of Evans, but in fairness so does everybody else. Relative unknown Dominic Cooper is fine and makes some waves as Howard Stark, father of the modern-day Iron Man, but is too patterned after Howard Hughes to be original in the slightest. Sebastian Stan tries his best as Cap's sidekick Bucky Barnes but doesn't quite fit the bill, while his character is marginalized to the point that true fans would (and do) cry foul. Tommy Lee Jones is by far the worst, playing the same damned tough-guy old man character you've seen him play a hundred times before. Sure, he chews up scenery like nobodies business, but there are no surprises with him anymore. Throw in a bunch of under-developed cannon fodder and you have a nice war film, but not one that capitalizes on the rich history of the comic book characters inherent.

Here's a nice action scene to soothe your palette

At about the film's halfway mark, the story breaks down to random battle scenes and violence that could only be referred to as gratuitious. While not BAD, it definitively strays from the strong narrative we that had been standard issue for Marvel Comics films this year. From this sequence, it takes far too long to get back on track, and it would have probably been easy to make a trilogy of films surrounding the shambles of bits and pieces strewn throughout. When you compare this tale to the cohesive stories of most of the other superhero films released in 2011 (and yes, by that I mean even Green Lantern), it's the one thing that prevents Captain America: The First Avenger from being among the best action films this year. A strong showing among that lot help damper excitement surrounding this title, especially with it being portrayed as an elaborate lead-in to The Avengers in the first place. As nice as it was to see the familiar red, white and blue hero make a successful transition to the big screen, Captain America works better in a group, and that's most of what I'm looking forward to in the 2012 blockbuster. Still, I had a lot of fun and would at least recommend checking this one out, at least as long as you avoid the useless 3D showings.