Reel Facts & Opinions: Return of the Jedi and the Smuggler

When the credits rolled on George Lucas’ sixth STAR WARS film in 2005, there was a general assumption that there would be no more movies or stories to tell from that famed galaxy which lived far, far away. Fast-forward to today where series-creator Lucas has sold his empire to Disney, and it seems we can’t go more than a few days without more news to digest concerning more STAR WARS. The series, which embraced episodic storytelling with six films from 1977 to 2005, has a full slate of movies on the horizon, with some of the biggest and interesting news breaking just this week. 

The first shot across the bow of the starship concerned Disney’s STAR WARS ANTHOLOGY films, which will be a sub-series of STAR WARS movies which take place inbetween episodes. The first offering, sub-titled ROGUE ONE, will be released in 2016 inbetween Episodes VII (2015), and VIII (2017), and concerns a character who is considered to be one of the most iconic in cinema history…Darth Vader. 

Vader, who first appeared in the original STAR WARS trilogy and had his Jedi backstory told in the Prequels, will make his big-screen return in ROGUE ONE, which is set inbetween the events of Episodes III and IV. This is huge news for STAR WARS fans who loved the heartless killing-machine version of the character they were first introduced to, but couldn’t quite embrace his origin story. Vader, listed as the third-greatest movie villain by the American Film Institute, has been making appearances in the STAR WARS REBELS TV series, but will be making his first big-screen appearance since 2005. For many fans, Darth Vader is STAR WARS, which makes this a welcome return. 

Also making a return, although with a little more apprehension from fans, is another beloved character from the original STAR WARS, Han Solo. The character, which was originally played by Harrison Ford in 1977, will appear again in this year’s Episode VII THE FORCE AWAKENS, but Disney has announced that the character will appear in a younger form in his own ANTHOLOGY film set for release in 2018. The film will be directed by Chris Miller and Phil Lord (THE LEGO MOVIE), and will be written by STAR WARS veteran Lawrence Kasdan…who has written the screenplay for THE FORCE AWAKENS, and THE EMPIRE STRIKES BACK (Episode V, 1980). 

The (ahem) "solo" film is a strong contrast to the announcement of Darth Vader’s return. The new adventure of everyone’s favorite wisecracking space-smuggler is said to feature a younger version of Han and to explore his origins, which is exactly what fans groaned about with Vader. A lot of the success of a young Han Solo film depends on who is cast in the role, as the shoes of Harrison Ford are not easy to fill. Having a strong writer like Lawrence Kasdan is a big plus (he also wrote RAIDERS OF THE LOST ARK, which also starred Ford), and directors Miller and Lord have proven themselves to be more-than competent directors with the wildly successful THE LEGO MOVIE and the JUMP STREET series. 

Disney is certainly taking  a gamble by taking two beloved and heralded characters and giving them new things to do, as a lot of fans prefer to remember them in one way and one way only; in the past. The new plans for the characters are certainly bold and ambitious, and they seem committed to exploring all of the unseen and unheard of corners of that far, far away galaxy. Apprehension is understandable, but these are two great characters living in a great universe born for the big screen. 

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STAR WARS EPISODE VII: THE FORCE AWAKENS arrives December 18^th, 2015.

STAR WARS ANTHOLOGY ROGUE ONE lands December 16, 2016.

STAR WARS ANTHOLOGY (as yet untitled Han Solo film) is set for May 25^th, 2018. 

A Reel 20: The Year in Film 1995

Twenty years ago, one of the last great years in film before our current era was upon us, and in some ways, was responsible for where we are today. It was an industry on the verge of a new world, and a year of great film. 

The year began with a bang in the early Summer Movie Season, when John McTiernan’s third film in the DIE HARD franchise, subtitled WITH A VENGEANCE, exploded into theatres. A high-energy film with a great cast of Bruce Willis, Samuel L. Jackson, and Jeremy Irons, WITH A VENGEANCE would eventually be the top domestic money maker of the year. On the opposite side of the theatre, Mel Gibson’s BRAVEHEART would open wide the same weekend. Epic in scale and still memorable to this day, BRAVEHEART would not crack the Top 10 overall domestic box office that year, but it would win the Academy Award for Best Picture and solidify Mel Gibson as a top-tier Hollywood director. It was also one of the last films to win Best Picture released outside of the Fall and Winter months. 

Less than a month later, Ron Howard would enter both the early Oscar race and the box office competition with APOLLO 13. Based on a true story, APOLLO 13 would bring the early efforts of NASA back to the public conscious, earn nine Oscar nominations, and would dazzle audiences by filming scenes in reduced gravity aircraft. APOLLO 13 would also take advantage of early CGI techniques; a small step into the larger future ahead. Also making headlines that month was Walt Disney Pictures’ 33^rd film, POCAHONTAS; which would win two Oscars for its music and earn big at the gate. 

As the days of autumn grew darker, so did the movies. David Fincher’s psychological thriller SE7EN entered theatres in September and melted the brains of audiences with its knockout ending. Another hit at the box office, it would raise Fincher’s name into the upper-class of filmmakers. Later in the fall, Nicolas Cage would surprise everyone with his work in the tortured-soul drama LEAVING LAS VEGAS; work which would eventually earn him an Oscar. 

In the packed month of November, Rob Reiner would romance the hearts of the country with THE AMERICAN PRESIDENT; a film which would eventually be considered to be one of greatest love stories by the American Film Institute. Later that month, James Bond would return after a six-year hiatus with Pierce Brosnan in the role in GOLDENEYE; his first of four appearances as 007. A box office hit, GOLDENEYE would modernize Bond for the times and secure the future of the franchise at least into the new millennium. 

And that new millennium would start early. In late November of 1995, Pixar Animation Studios changed the world with their first feature, TOY STORY. Directed by John Lasseter and featuring the voice talents of Tom Hanks and Tim Allen, TOY STORY was the first feature-length computer-animated film and would usher in an era of CGI…along with signaling the end of the hand-drawn animated film. TOY STORY would become a box office hit, spawn two sequels, and would be the first of many triumphs for Pixar. An animated film meant for kids with multi-layered storytelling which spoke to adults as well, TOY STORY re-invented the animated film genre overnight and changed the industry forever. 

Other notable releases in 1995 were Sam Raimi’s THE QUICK AND THE DEAD, Wolfgang Petersen’s OUTBREAK, Tony Scott’s CRIMSON TIDE, Clint Eastwood’s THE BRIDGES OF MADISON COUNTY, Bryan Singer’s THE USUAL SUSPECTS, Martin Scorsese’s CASINO, Kathryn Bigelow’s STRANGE DAYS, Michael Mann’s HEAT, Terry Gilliam’s 12 MONKEYS, Kevin Smith’s MALLRATS, Robert Rodriguez’s DESPERADO, the Liam Neeson-led Scottish adventure ROB ROY, the Robin Williams-led fantasy JUMANJI…along with some notorious releases such as CUTTHROAT ISLAND,  SHOWGIRLS, BAD BOYS, BATMAN FOREVER, and Kevin Costner’s WATERWORLD. 

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In 1995, we were six years away from CGI-heavy fantasy epics like THE LORD OF THE RINGS and HARRY POTTER, and George Lucas had not even begun to tinker with his original three STAR WARS films as a test-run to see if a Prequel Trilogy could be done. But the seeds that were planted in 1995 would bring all that about and more. It was a year of benchmarks for Pixar and for filmmakers such as Ron Howard, David Fincher, and Mel Gibson…and overall a year which offered quality films for everyone; comedy, fantasy, action, family, drama, and romance…1995 did it all. 

A Reel Review: TERMINATOR GENISYS

Audiences may rightfully ask for a lot out of their movies, but there is an unwritten golden rule that a movie should not ask too much out of its audience. Science fiction films like the now-thirty-year-old TERMINATOR franchise have always asked audiences to buy into high concepts of time-travel and killer robots, but there was always a limit to how much they were selling or how difficult it was to buy into. TERMINATOR GENISYS, the fourth sequel in the franchise, does indeed ask a lot out of its audience, which is the very least of the mistakes it makes. 

In the future, mankind has been nearly obliterated by the Skynet supercomputer and its army of mechanical Terminators. Sensing defeat, Skynet sends a Terminator back to 1984 to kill Sarah Connor (Emilia Clarke), who is destined to give birth to John Connor (Jason Clarke), the future leader of the resistance. After the Terminator is sent back, Connor sends Kyle Reese (Jai Courtney), who is destined to become his father, back in time to protect Sarah. But when Reese arrives in 1984, he finds that Sarah already has a protector; another Terminator (Arnold Schwarzenegger). 

The opening moments of GENISYS take place during the events of the first TERMINATOR film and recreates those events nicely; there is a great feeling of nostalgia present as audiences can relive the moments of that classic film. Once things begin to unfold, the first big item that GENISYS is looking to sell becomes clear; this is now an alternate timeline which wipes out the events of the original TERMINATOR movies. Just how much fans of the long-running franchise can buy into that goes a long way into how much they can enjoy GENISYS. 

While the first time-jump to 1984 complicates things, it’s nothing compared to yet another time-jump which sends the characters ahead to 2017, where the film becomes a bag of pretzels. John Connor shows up having made a time-jump himself with a whole mess of his own secrets, and much of the film is spent unraveling who sent whom to what year for what purpose. It becomes way more convoluted than it needs to be and nearly requires a scientist drawing on a blackboard to keep up. On top of that, despite all of the time-travel gobbledygook, by movie’s end it becomes clear that GENISYS is nearly a carbon-copy of the first film in structure in broad strokes, as characters wind up doing the same things they would have done prior to all of the time-jumping. 

The heavy-lifting involved to get through the overcomplicated plot can be forgiven, but where GENISYS fails completely is its blocky narrative structure; it’s action-scene followed by talking followed by action-scene followed by more talking. It’s clunky and has no chance to develop characters, depth, or any sort of emotional weight. While the action-scenes are well constructed by director Alan Taylor, in the end they don’t mean very much other than filling time. Visual effects are a treat, with the highlight of the film taking place in the early going when a 1984 version of Schwarzenegger’s Terminator dukes it out with the 2015 version. 

Acting is a mixed bag. Emilia Clarke gets to play tough and does it very well, but is never given the opportunity to show any emotion beyond that. She spends most of her time bickering with Jai Courtney, who does nothing to shed his reputation as a human doorknob. J.K. Simmons shows up as the only cop in the world who knows what’s going on and he is great comic relief but is grossly underused. And speaking of underused, Arnold Schwarzenegger barely feels like a character in his own movie. He is basically used to explain things to the audience and doesn’t do much else. 

After a an overlong end-battle in which its easy to forget who is trying to do what, the film settles into a nice ending which offers a final resolution to the humans vs. Skynet problem…and feels like a satisfying wrap. All that is negated when a second ending appears out of nowhere, which then makes the events of the film GODDAMN POINTLESS despite the new timeline and clean slate; everything winds up the same no matter what. With nowhere to go and nothing to do, TERMINATOR GENISYS has nothing of value to sell. 

BOTTOM LINE: Fuck it 

A Reel Preview: The Year in Film 2015, Episode VII

 The current movie industry loves to move the goalposts around, as studios release Summertime fare in the Spring and possible awards contenders in the Summer. This July is an example of that way of thinking; as it is packed with light-hearted action, comedy, along with a few possible peeks into Oscar-land. Here are the notable films for the month of July. 

It all travels back with…

TERMINATOR GENISYS – The fifth entry in the sci-fi franchise with the bizarre sub-title features Arnold Schwarzenegger reprising his role as the killer cyborg from the future. This time around, the role of Sarah Connor is held down by Emilia Clarke (GAME OF THRONES), with the human doorknob, Jai Courtney (A GOOD DAY TO DIE HARD) playing Kyle Reese. Co-stars J.K. Simmons (WHIPLASH) and Jason Clarke (ZERO DARK THIRTY). Directed by Alan Taylor (THOR: THE DARK WORLD). 

MAGIC MIKE XXL – The sequel to the male-stripper comedy-drama from 2012 arrives with Channing Tatum (FOXCATCHER) returning in the buff. Co-stars Joe Manganiello, Andie MacDowell, Amber Heard, Jada Pinkett Smith, and Elizabeth Banks. 

MINIONS – Those funny little yellow bastards from the DESPICABLE ME films get their own spinoff. This computer-animated romp features the voice talents of Sandra Bullock, Jon Hamm, Steve Coogan, Geoffrey Rush, and Michael Keaton. 

SELF/LESS – In this mind-messer-upper sci-fi flick, Ben Kingsley (IRON MAN 3) is a dying wealthy man who transfers his consciousness into the body of a healthy young man (Ryan Reynolds). 

BOULEVARD – The late Robin Williams, in his final screen role, plays a man in search of himself in this drama. Directed by Dito Montiel (EMPIRE STATE). 

ANT-MAN – Marvel Studios wraps up Phase 2 of their ongoing series of connected films and kicks off the third with one of their more obscure characters from their catalog. Paul Rudd (ANCHORMAN) plays the shrinking hero, and he is joined by Michael Douglas (!), Judy Greer, Corey Stoll, John Slattery, Hayley Atwell, and Evangeline Lilly (THE HOBBIT). 

TRAINWRECK – This screwball comedy has Amy Schumer playing a career-minded woman finding true love. Co-stars Tilda Swinton, Bill Hader, Colin Quinn, Ezra Miller, Marisa Tomei, and Daniel Radcliffe (HARRY POTTER). Directed by Judd Apatow (THE 40 YEAR OLD VIRGIN). 

MR. HOLMES – In what may an early Oscar contender, Ian McKellen (X-MEN, THE LORD OF THE RINGS), plays a 93 year-old Sherlock Holmes who is called out of retirement to solve an old case of his. Co-stars Laura Linney and is directed by Bill Condon (GODS AND MONSTERS, DREAMGIRLS). 

IRRATIONAL MAN – Another possible awards-contender, Woody Allen writes and directs this mystery drama in which a philosophy professor finds himself in an existential crisis. Joaquin Phoenix (HER), plays the professor, and he is joined by Emma Stone and Parker Posey. 

PIXELS – Based on the most-excellent short-film of the same name, classic video-game characters from the 1980’s come to life and attack the Earth. Stars Adam Sandler, Kevin James, Peter Dinklage, Michelle Monaghan, Brian Cox, Sean Bean, Pac-Man, and Donkey Kong. 

SOUTHPAW – Another early hopeful-contender. Jake Gyllenhaal (NIGHTCRAWLER), plays a boxer trying to keep his family together. Co-stars Rachel McAdams, Naomie Harris, Forest Whitaker, Victor Ortiz, and Tyrese Gibson. Directed by Antoine Fuqua (TRAINING DAY), and written by Kurt Sutter (SONS OF ANARCHY). 

AMERICAN HEIST – Loosely based on the 1959 film THE GREAT ST. LOUIS BANK ROBBERY, this heist film has two brothers pulling off a major score. Stars Adrien Brody (THE GRAND BUDAPEST HOTEL), Hayden Christensen (STAR WARS), and Jordana Brewster. 

VACATION – In the fifth installment of the NATIONAL LAMPOON’S VACATION series, Ed Helms (THE HANGOVER), plays a grown-up Rusty Griswold taking his family on vacation. Co-stars Christina Applegate, Chevy Chase, Beverly D’Angelo, and Chris Hemsworth (THOR). 

MISSION IMPOSSIBLE: ROGUE NATION – The fifth installment of this franchise has Tom Cruise back as super-spy Ethan Hawke. Co-stars Jeremy Renner (THE AVENGERS), Simon Pegg (SHAUN OF THE DEAD), Alec Baldwin, and Ving Rhames. Directed by Christopher McQuarrie (JACK REACHER). 

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Next month, Reel Speak previews the final month of the Summer Movie Season. 

A Reel 40: JAWS - Part 4: On The Big Screen

This month marks the 40^th anniversary of Steven Spielberg’s JAWS. Widely regarded as one of the best films of all time, Reel Speak celebrates this game-changing film with a blog each week for the month of June. Part 1 (HERE) explored The Beginnings, Part 2 (HERE) examined Why It Worked, Part 3 (HERE) dove into The Legacy…and this fourth and final part is a review of the film’s return to the big screen. 

Based upon Peter Benchely’s novel in which a killer shark terrorizes a fictional resort town, Steven Spielberg’s JAWS was not just the film which wrote the book on today’s current summer blockbuster model; it was the movie that created the pages that book was written on. It was an instant smash on its way to becoming the No. 1 box office hit of all time (before being overtaken by STAR WARS just two years later), and one of the most endearing, respected, and beloved films ever. Forty years later, a true example of the film’s ongoing appeal was witnessed at the film’s limited re-release on the big screen; courtesy of Fathom Events and Cinemark’s Classic Series. 

The most cynical may ask why they should shell out cash to watch a movie they could easily view at home via DVD, Blu-ray, or even on any given cable or satellite channel. If the big-screening of JAWS which this Blogger attended this week is any indication, the most cynical can go swim with the sharks. This particular screening was not just a packed sold-out show, it was clearly attended by old fans along with a host of newcomers (more on that in a bit). The variation in age was all over the map; very young, very old, and everything in-between. 

The presentation of JAWS was nothing short of spectacular. From the deep blue of the ocean to the bloody reds, JAWS practically leapt off the screen and into the auditorium. It looked clear and crisp and rich…and the largeness of the screen allows so many little details to be seen on the sets; from the wood-grains of the boats to the labels on bottles of wine…the big screen treatment made the fun and horror of JAWS an immersive experience. Spielberg’s eye for filling a frame with all of the vital elements is on full display; offering a clinic for anyone who has ever picked up a camera. 

How a movie sounds is just as important as how it looks, and this is why JAWS belongs in a theatre. The audio is not just amplified, but more importantly, it sounds so very clear with the littlest dubbed-in sounds now audible. Background chatter can finally be heard, the screams of the shark’s victims are bone-shaking, the groaning of the sinking boat feels dreadful…and of course, John Williams’ iconic soundtrack has all of the low-end bass rumble strong enough to loosen the hardest of bowels. In the theatre, it's a new movie to take in and it has never looked or sounded better.

The audience this Blogger viewed the film with were 100% on-board with the experience. The many newcomers jumped and screamed and sent popcorn flying at all the right jump-scares and laughed in all the right places. Their reactions points towards Spielberg’s perfect balance of terror and humor in the film. The old vets, this Blogger included, sat back with a huge grin and took it all in…and still chuckled at the jokes and witty one-liners. Perhaps the best part about the screening was towards the end; when people gasped at the bloody demise of Quint, cheered at the bloodier demise of the shark, and applauded without shame when the credits rolled over the shot of Chief Brody and Hooper arriving at the beach. For a brief but wonderful two hours, that theatre was in 1975 again; when sharks and the men who hunted them were something new, and the names of Spielberg and Williams were just being etched into the pillars of filmmaking. 

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As a wee-lad in the 1970’s, this Blogger was much too young to see JAWS on the big screen in 1975, and it wasn’t until the later part of the decade when a new thing called HBO played the film in the family room; causing jumps, scares, cigarettes flying, and plenty of hiding underneath blankets. Since then, JAWS has been a constant favorite, and as the years have passed, an inspiration for filmmaking and storytelling. This Blogger has taken great pleasure in these JAWS blogs celebrating the 40^th anniversary, as it has served a way to rediscover the film and its impact across generations. Seeing it on the big screen for the first time felt like coming full circle, and one day a new circle will begin when JAWS is introduced to new wee-lads in the family room. The film is timeless, and that is perhaps the greatest compliment it can receive.