Napoleon Dynamite (2004)- Cult High

*

This was another one of those pleasant T.V. moments that I could only watch by default at the end of my channel flipping, having had my share of classic senior high flicks.  Napolean (Jon Heder), an Idaho high school teen, leads a cast of iconic roles that you can wallpaper memes about.  With its bare bones cinematography, Oscar nominated music, and Millennial humor, it remains a cult classic! Director and Writer Jared Hess proved that gems can still be produced with low budgets and gifted professionals.
The movie pulls you into a caricature countryside, making you savour every key detail so much that you dread leaving it.  Napoleon struggles to mature through "babes," bullies, and bed wettings. He refreshes our bittersweet high school moments, more relatable to the turn of the century. He's no athlete, so he sticks to tetherball and doodling. Napoleon befriends Pedro (Efren Ramirez) and everything turns around for him.  Yes, Pedro casts the stereotypical Mexican immigrant, but he made it hilariously in good taste, running for class president.  There's still the usual popular kids like Summer (Haylie Duff) 'Barby' with her 'Ken' jock boyfriend Don (Trevor Snarr), yet he charms with his silent movie wit.  Napoleon's socially awkward brother Kip (Aaron Ruell) is a freeloading bachelor in his 30s obsessed with internet love.  They are raised by a hardy, single llama-owning grandma (Sandy Martin), who gets injured offroading on her motorbike, leaving the boys to fend for themselves in the hands of Uncle Rico (Jon Gries), a remnant of the past century bravado.
As you can see, the roles crisply bring Millennials to the fore.  Dance crosses racial barriers, bringing R&B to the mainstream and rehashing retro.  These teens have no money, as Napoleon is seen constantly perusing the local thrift shops and others keep breaking out with entrerprising ventures. Napoleon's fantasy personas drive the narrative, finding a crush (Emily Kennard) more creative than him.  Minorities enjoy more empowerment, as my son noticed he recently saw a "Vote for Pedro" shirt.  Mixed couples are center stage with the unlikely courtship of dimunitive Kip and his online date bombshell, LaFawnduh (Shondrella Avery), who likes to dress Kip up with 'hotline' bling.
Indeed, subcultures and race differences were explored with clean boundless humour, without controversy.  Napolean rises to hero status by sheer determination to realize lofty dreams and display today's brazen entitlement.  We even get an encore scene after credits.  This is no doubt a TOUCHDOWN!

* Fox Searchlight Pictures/ Paramount Pictures.  "Discover Ideas About Funny Quotes."  Pinterest, TheZodiacCity, Rose Wellborn, https://www.pinterest.com/pin/50947039505502988/

The First Purge (2018) - Part 4 Prequel

*

The First Purge takes us back to its anti-holiday origins.  I've guiltily enjoyed this franchise's reign of anarchy that James DeMonaco, active in each episode as director and now producer, presented with each Purge, refreshing frightening images and draconian resolutions to our worst problems in the most politically incorrect ways.
Yet, this Purge falls way off that delicate balancing act that it could still call entertainment.  The First Purge was limited to Staten Island, New York as a 'national experiment.'  People were compensated to participate voluntarily.  Not enough people were killing each other so the new NFFA government director Arlo Sabian (Patch Darragh) contracted Aryan-looking killing squads against the African American citizens and his own staff, revealing what the Purge was about all along.  Yet, why were only poor African Americans dominating the scene?  Every Purge episode had racial tensions, but this time it was completely Whites vs. Blacks.  What happened to the immigrant cultural diversity of Staten Island?  The most infamous purger is an African American homicidal maniac, Skeletor (Rotimi Paul).  The neighborhood hero, Dmitri (Y'lan Noel), is a Black gangster.  He protects the small archetypal cluster trying to survive the night led by his African American ex girlfriend and Purge protest activist Nya (Lex Scott Davis).  Unfortunately, Dmitri glorifies the drug trade and black-on-black crime, while being the moral center of the movie.
Also, this film missed too many connections.  The government coup d'etat forming the NFFA was mentioned only matter of factly.  That was THE MAJOR EVENT creating the Purge holiday. The First Purge was too unamerican with mercenaries invading a U.S. inner city.  Part of the previous episodes' appeal was how the media and business' advertising worked to sell this national morbid holiday to society.  This film used most of the same slogans and images from prior episodes, failing to create the shock value left by prior scary party girls and clown faced yuppies of past Purge flicks--I couldn't even find a good meme.  Plus, how would they cover up all the soldier corpses lying around?
Indeed, Part 4 failed to sell The First Purge to its own citizens.  There was so much hype leading up to this, and viewers flocked to the box office again, so it was watchable once.  Worst of all, there was no star appeal as if no major actor wanted a part of this.  Even outside the U.S., people that I saw this with were disappointed.  This makes me leave it at the Losing 45 yd. Line.

* Universal Pictures.  "The First Purge."  Love This Pic, http://www.lovethispic.com/image/329343/the-first-purge

Mission: Impossible - Fallout (2018)- M: Inconceivable 6

 *

**

Mission Impossible continues to create the 'impossible' American version of James Bond.  At least 007 was debonair in merely attempting to perfect his skill and gadgetry.  Agent Ethan Hunt (Tom Cruise) and Co. now battle rogue plutonium bomb planting villains.
Don't get me wrong.  Every time I watch an episode of M: I, I want it to surpass Bond.  Yet, there's always one most improbable stunt scene that's genre transforming into fantasy.  This time, Hunt is battling his new nemesis, John Lark (Henry Cavill).  He is desperately trying to remove an atomic detonator from Lark.  The detonator sits at Lark's side during a helicopter chase.  In a crescendo of impossibility, Hunt chases Lark in a helicopter like a pro, by reading the labels on the helicopter pivot.  Hunt rams the helis, leaving Lark's hanging along an icy crag.  Meanwhile, Luther (Ving Rhames) is giving two other agents instructions to simultaneously disarm atomic bombs over a cell phone.  The detonator end up perched on the edge of the cliff.  Hunt locates it in the middle of climbing out of the wreckage.  "Showtime" takes over, diluting the super spy narrative.
In defense, an increased attention to quality was obvious.  Christopher McQuarrie created Parts 5 & 6, and brought in J.J. Abrams and Cruise into the production team.  The villain is elusively hidden throughout, CIA and MI6 add to the mix, multiple key players are involved like the White Widow (Vanessa Kirby)-an arms dealing mediator-, and Soloman Lane (Sean Harris) returns as the bomb mastermind.  Cruise continues to do some of his own stunts and even breaks an ankle (see above).
For a Part 6, this was quite a sleuth movie, but with Abrams involved, it was bound to go over the top. His sensationalism is only tolerable in sci-fi.  It still read too much like the comic book-type style of the original 60s series.  Millennials enjoy a good spectacle, but some change is required over time for us movie buffs, as the Daniel Craig Bond movies accomplished.  I bring this up to the Winning 35 yd. Line.
* Paramount Pictures.  "Tom Cruise Breaks His Ankle (Mission Impossible 6 Stunt)"  imgur, redditmason, Video to GIF, Jan. 26, 2018, https://imgur.com/gallery/DGPsOlg.

** Paramount Pictures.  "Showtime."  gfycat, #missionimpossible, https://gfycat.com/gifs/detail/GloriousMasculineHoatzin

Jurassic World: Fallen Kingdom (2018)- Part 5 Dinos Arrive

* Part 5, is the second installment to the new trilogy, of the Jurassic Park/World keeping our favorite dinosaurs alive.  The cloned prehistoric creatures finally make it to civilization, but leave us with more hmms than awes.
This sequel to Jurassic World, continued many franchise trademarks.  There were more double crossings: Eli Mills (Rafe Spall) converting Lockwood's (James Cromwell), the partner of Jurassic Park cloner and creator John Hammond, legacy into his own ambitions; children played key roles: Maisie Lockwood (Isabella Sermon) became the whistleblower vs. Assistant Mills.  Also back, are Blue the velociraptor, a recloned Indominus Rex, Owen Grady (Chris Pratt), Bryce (Claire Dearing), and even Mr. Wonderful himself, with a meme following, Dr. Ian Malcolm (Jeff Goldblum).
Unfortunately, the hyperbole from Jurassic World resurfaced as well, but this time the magic began to wear off.  The problem with this trilogy is it didn't reproduce the sheer eye-gaping realism from the initial Spielberg trilogy.  Jurassic World dared introduce floating Harley-style motorbikes riding alongside Blue's pack and the hybrid super T-Rex Indominus, whom cloaks its heat signature, as if dinosaur cloning was not enough.  Now, all the drama is limited to the Lockwood estate where a black market dinosaur auction ensued. The reptilians are sold and shipped like eBay luxury specials in a warehouse, really.  One innovation is instead of keeping the dinosaurs caged, Bryce's Dinosaur Protection Group and Co. nobly attempt to free the dinos from their entrepreneurial masters.
The ending is soured by the battle vs. Indominus Rex being rehashed.  The slogan is that after creating them, now we must learn to live with these monsters.  That message is not clear and no wonder, because the subtitle doesn't make sense either,... which Fallen Kingdom?
I actually like Fallen Kingdom more than Jurassic World, even though the latter won 7 Guinness World Records.  It's still more rewatchable.  I always wanted to know more about how these dinosaurs would fare in our world.  I give this film a Winning 35 yd. Line for holding my attention but tiring me after seeing dinosaurs run around, ala Jumanji, in a mansion, instead of keeping me awake, which would be true to its franchise.

*Universal Pictures.  Movie GIF/quote of dinosaurs fleeing volcano destroying Isla Nublar.  The Infinity Curry, Ghost, June 24, 2018, https://infinitycurry.ghost.io/jurassicworld2/.

Blade Runner 2049 (2017)- VR L.A.

* Blade Runner Part 2 is a work of art, cementing a cult status!  The new rogue replicant (android) hunting detective, "K...," AKA 'Joe,' (Brian Gosling), is well, an android himself.  I thought it would never work, especially since he's searching for the "miracle" child, Dr. Ana Stelline (Carla Juri), born of human and replicant parents...what did I just say?  Such leaps of imagination don't matter as much when you enjoy the experience.
Denis Villeneuve directed and reproduced the peculiar film noir (1940s) flavor of the original Blade Runner (1982).  Remember that cool sci-fi movie that gave precedence to sensory ambience like origami still shots and a final battle in a limelit downtown Bradbury Building--now replaced with whittling and Sin City casinos under an amber radioactive haze?  Villeneuve actually improved on it after all these decades, Ridley Scott, the original's director, aided him in the production dept.
This film is an organic and synthetic cocktail of L.A., across past, present, and future Southern Cali.  K tracks down the detective of the first movie, Rick Deckard (Harrison Ford), who's every gesture spoke volumes--like fine wine.  K thinks he's the child of an android mother.  The cloners that make the replicants are now the Wallace Corporation and they have commercialized to make replicants serve humanity's every pleasure, headed by the ruthless Niander Wallace (Jared Leto), killing you softly, and his murderous administrator Luv (Sylvia Hoeks).  Dr. Stelline lives in a bubble and became famous by reproducing realistic memories in her holographic studio.  VR is already exploding today with people marrying anime and robots and social media influencing culture.
It won Oscars for Cinematography and Best Visual Effects, not to downplay its excellent sound editing, lighting, and musical score that heightens the melancholic search for a raison d'etre: what makes us human.  This unique mood is embellished by a glitching Elvis Presley Las Vegas cabaret, giant interactive naked holo advertisements, a portable Wi-Fi holographic girlfriend (Ana D Armas) superimposing herself onto a live prostitute replicant (Mackenzie Davis, like you never saw her before).
Yet, the crowds were tuned off with such artsiness where they expected to see more laser battles and techiness.  This movie has that too, like Luv getting a manicure while using Google-type sunglasses to direct missile targets.  What it lacked was simple clarification.  I'm still connecting the dots.  Like true art works, this film deserves appreciation, and it grows on you, but that doesn't mean we have to keep guessing at interpretation.  Thus, I leave this at the Goal Line.

*Warner Bros. Pictures.  Movie GIF/quote of K questioning Deckard.  JFC8 - Movies, tumblr, Jan. 
       29, 2018, jfc8movie.tumblr.com/post/170266918978/runner#notes.

Fury (2014)- Tank

* We're going to start rolling out our movie profiles in meems/quotes, yaaay!  Fury puts you right behind the tank driver's seat.  We cruise along Staff Sgt. Don Collier's (Brad Pitt) U.S. Army Sherman tank in World War II Germany.
I'm thrilled that this resurgence of WWII movies continues.  Brad Pitt owns this genre, remembering the _Bastards, Allied, etc.  Again he was at his best, but so were his crewmen.  Pitt genuinely portrayed the extremes of Collier from vengeful to nurturing, abusive to selfless acts.  "Bible" Boyd (Shia LeBeouf) allows Shia to portray a new character.  "Machine" Norman (Logan Lerman) mimics the role, from Saving Private Ryan of cowardly Corporal Upham (Jeremy Davies) surrounded by war-hardened grunts, reducing the originality of the movie; yet, he was the only awarded actor.  Jon Bernthal plays a mean bully as "Coon Ass" Grady, finding new life after TWD.  "Gordo" Trini (Michael Pena) reps. Latino vets.  They all partake in award winning stunts, fighting the feared Tiger tanks.
David Ayer directed and wrote the script.  He filmed in England and added to the realism by filming in actual rain.  The actors and their clothing were so naturally grimy, I've never noticed Brad Pitt's eyes were so bright blue.  Private Norman was the weak link, n the Sherman as well as in the movie. His development from cringing coward to bellicose "Machine" was disturbing.  The movie gave him substantial minutes, but didn't bother to elaborate that transformation.  
The ending is a key crossroads battle, soldiers opting to stay, overwhelming German forces, the leader sacrificing everything, being too caught up in the trauma of war, reminiscent once more of Saving Private Ryan.  Notwithstanding, it engages you with the continuing debate of which were better: Tigers or Shermans.  I lay this on the Winning 25 yd. Line.

*Columbia Pictures/QED International.  Movie GIF/quote of Don Collier smoking inside Fury.  imgur, BigSpamBall, Video to         GIF, Aug. 23, 1917, imgur.com/gallery/PyRiRKo.

Succession (HBO 2018)- The 10 %

*Succession is one of those cable shows that just catch your attention across interest levels.  It covers a multimillionaire family going through the passing of power from the retiring company founder Logan Roy (Brian Cox) to his family and board members.  Yes, it represents everything negative we attach to filthy rich people, but the curious chemistry of how the 10% lives might reveal something about our own drive for survival of the fittest after the Great Recession peters out and money trickles once more into our coffers.
This drama in a fishbowl keeps the sequence flowing due to a gifted group of actors and producers.  Will Ferrel is one of the producers, adding to the peculiar humor.  Such comedy is manicured by Adam McKay, another co producer who directed various Will Farrel comedies.  Indeed, the frame by frame subterfuge adds an interactive quality.  It teases you to partake and predict scenarios.  That is what this family does!  Every favor, suggestion, and word is a power play.  Deals turn into a "big d_ck competition."  Many sources were consulted, such as Lifestyles of the Rich and Famous, to reproduce what it's really like at the top.
I usually avoid these empire-building/office melodramas, but this one hooked me.  Logan is as ruthless as they come; yet, we also see his frailties.  His family magnates are all colorfully frayed characters like recovering drug addict Kendall Roy (Jeremy Strong), who feels entitled to be first in line, along with the predatory, obnoxious Roman Roy (Kieran Culkin (with a role made for him), the aggressive driver Shiv Roy (Sarah Snook), and the out of touch eldest brother Conner Roy (Alan Ruck).
There's still much to weigh out after the second episode just aired Sundays.  The Office-like humor is an experiment at this loftier level, and it'll take consistent creativity to keep it in sync.  A lot of  content was already unloaded, creating high interest.  Thus, first impressions are excellent, so I lay it on the 10th & Goal.

* HBO.  T.V. GIF of Logan Roy inside his car.  

Harsh Times (2005)- Real Times

David Ayer you are becoming one of my favorite directors, also writing and co producing this film, after I dug this out from the past.  Harsh Times brings to life intense situations narrated with engaging personalities unique to their settings, like in his other movies such as Fury, Bright, and Suicide Squad.
This movie is about inner city "harsh times."  Jim Davis (Christian Bale) is a former Army Ranger trying to relocate and get a decent job.  His streets are too tough and he lives them rougher with PTSD.  Ayer entertains us through Jim's job interview processes.  His friends are caricatures of some you might know. There's Mike Alonzo (Freddy Rodriguez), who is the gullible, but faithful, one trying to hold onto his explosive friend even if it means leaving his hot "old lady," Sylvia (Eva Longoria).  Toussant (Brown university's Chaka Forman) is that crazy party animal down for any last minute craziness.  Well, they go all over L.A.'s ghettoes and wind up in T.J., where Jim's fiancee lives in a classic paisano shack by the water. They go on a drunk road trip, tempers flare, and guns get involved when their adrenaline peaks.
Christian Bale continued to refine his bad guy role begun in American Psycho (2000).  He plays a great 'homie.'  He is more of a bad boy; the kind that you hope makes it.  Jim goes from one extreme to another.  His Mexican girlfriend, Martha (Tammy Trull), adds even more reality to barrio life, seems plucked right out of pleasant memories.  Ayer had to live in South Central, as I did, for his characters to be so real.
Just a few drawbacks...The film fails to identify PTSD as the main villain, not hood rats.  That would've raised so much awareness to the cause.  Also, it's not explained how Jim, being Anglo, is so caught up in South Central L.A. and T.J.  It didn't really matter, hood life has overlapped into mainstream, but it still leaves a big gap in the narrative.  I leave this on the Winning 25 yd. Line.

In the Valley of Elah (2007)- Distress Call

*Tommy Lee Jones and Charlize Theron team up for an unconventional war movie!  Army vet Hank Deerfield (Jones) is investigating the death of his son (Jonathan Tucker), a soldier, at an army base in the U.S.  Detective Emily Sanders (Theron) is the only one to take on his case, and together they tackle this mystery.
T.L. Jones shows why he deserved his Oscar for The Fugitive (1993), also nominated for this film.  He actually acted out more dramatic scenes this time, even tearing up.  It's an emotional movie.  Charlize also deserved an Oscar nomination, allowing us to see more than just her exceptionally pretty face: single mom, harassed female worker, bloody nosed, hostess, police pursuer, fierce investigator, and frustrated yet compassionate bureaucrat.
The movie explores controversial issues with candid bluntness--many thought too intensely.  What other way is there to cover war?  Director, producer, and screenwriter Paul Haggis, also known for his Oscar winning screenwriting, maintained a raw, unfiltered perspective.  Boob bars had well, boobs in your face, causing Mr. Deerfield to blush.  On that same score, we witness Iraqi children being run over and left to die, U.S. infantrymen torturing Iraqi suspects, and major problems at army bases, like soldiers going AWOL.  Post Traumatic Stress Disorder (PTSD), the film's theme, doesn't get enough coverage, as it took this long to enact the recent multi-billion 2018 VA law.  Justice is rendered out with nobody really satisfied.
Despite giving us a better view than other flicks of the returning soldiers from the War in Iraq, this scrutiny didn't go far enough.  We know about controversies like good cop vs. bad cop.  PTSD was hardly mentioned, if at all, remaining such an untouchable subject.  In the end, our soldiers handled it with what honor they could muster across generations. Tommy Lee Jones still made it work.  He questioned everyone, even his own townsfolk, but never dissed the army, trying to make the best of a bad situation, yet wore the burden on his scraggly face.
There's a great moral in the title: war is hell, for even after David slew Goliath, he was persecuted by his own King Saul of Israel.  For making my tear ducts open up too, having a son moving out into the brave new world, I move this up to 10th & Goal.

*Warner Independent Pictures.  Movie GIF of raised upside down U.S. flag.  

Solo: A Star Wars Story (2018)- Stellar not Star Wars

 * 

The legendary Ron Howard directs Solo.  He succeeds in part by drawing us deeper into the mysterious Star Wars pirate universe.  Solo (Alden Ehrenreich) now sports a double chin, but with an all star production crew, it's convincing enough.
Howard portrays another side of Solo and introduces new elements to a Star Wars flick.  Starting in Corellia, we learn more about this much mentioned planet, taking us into areas of Han's gritty youth. Then, we accompany Solo in a few action-packed smuggling missions.  Most of the movie, he struggles with his love for street urchin turned mafia lieutenant Qi'ra (Emilia Clarke). This fatal attraction added a new drama curve to Star Wars' idealistic fairy tale western romances. Solo's mentor, Beckett (Woody Harrelson) also injects a fresh role of unpredictability as only Woody brings to stage.  We are treated to seeing Solo's swashbuckling persona evolve toward the end.
The movie also benefits by injecting extra doses of classic Star Wars (fitting the title).  Various story lines, up to 10 some sites say, are explored.  George Lucas took more of a role in this movie than the other Disney episodes; actually starting the story since 2012.  The score returns to Star Wars Oscar winning composer John Williams.  Plus, there is a cameo appearance by an infamous past villain, leaving us with a scent of a sequel...
I really liked this movie, but I step this back to the Winning 25th yd. Line due to some continuity issues.  Ehrenreich had huge shoes to fill and wasn't Harrison Ford enough.  He seldom gives us that outlaw toothy grin and juvenile humor.  Chewbacca (Joonas Suotamo) deserved more development.  He's not just a "Beast."  I like the chapter book version, as a slave of the spice mines.  Lando Calrissian (Donald Glover) was too scrappy and not charming and womanizing enough.  The main problem, though: the action was very edge-of-your-seats, but that distracted us from noticing the lack of cinematography by Bradford Young. So Young received such an Oscar nomination in Arrival.  That movie was a still life compared to this, which was Young's only sci-fi experience.  Star Wars requires shock and awe vistas, so far achieved by the other Disney episodes.  The Millennium Falcon was only briefly panned inside and out, nuf said.

*Lucasfilm/Disney.  Movie GIF of Solo and crew aboard the Millennium Falcon during a battle.  Alloy, Nicole Pomarico,                February 5, 2018, www.alloy.com/news/solo-star-wars-story-trailer-dropped/.

War for the Planet of the Apes (2017)- "Ape-ocolypse"

The simian pre-sequel trilogy ends with the best episode in this series.  The ape leader, Caesar (Andy Serkis), has a new nemesis, the Alpha-Omega human army, led by Colonel McCullough (Woody Harrelson).  They make battle in a decisive clash.
A bunch of nominations and no major awards is a disgrace for the crowning work of director and co writer Matt Reeves.  Reeves turned Caesar into a convincing protagonist that made you feel his pain and hopes, making us forget he was a CGI creation--even as The Colonel said that  Caesar's eyes looked so "intelligent."  The "bad apes" of the 1968 versions, quoting the comic relief chimpanzee (Steve Zahn), were transformed into 'good apes' (no easy feat).  Finally, other gaps were filled and we now understand why the humans Charlton Heston met in their cages used to be so primitive. Honestly, I didn't know where this new trilogy was headed, because it wasn't clear how a mere troop of genetically clever apes was going to defeat modern human armies and take over the whole world.
The movie succeeds by finally remapping former roles and standing on its own survival legacy regardless of other episodes.  The apes became more diversified in character, demonstrating their progressing intellect.  They strategize, sacrifice themselves for others, recant, and empathize.  Woody Harrelson reminded us what a great anti-hero role he can play.  His villainous portrayal cemented what the trilogy seriously lacked.  Also, Caesar's heroic actions converted him into a more well-rounded counterpart.  The tragic musical theme by Michael Giacchino eloquently narrated the gripping struggle of the apes.
It's a great ending to this apocalyptic tale that reminds us that nature can go on without us.  I will lay it on the Goal Line.  It's just shy of a TD, because the direction of the series and its links to the original classic was not clear until this movie.  That forced this film to answer all the mounting questions up till now, which distracted my focus from the constant action, while I was busy connecting the dots.

Very Bad Things (1988)- Anxiety Thing

Very Bad Things had a great cast, great comedy, and a great message for all of us living in the grind. After a bachelor party gone bad in Las Vegas, '"things" keep getting worse for this circle of friends and relatives as one crisis leads to another, unraveling their cookie-cutter suburban lives.  It relates to our multi-phobic, intensifying times.
Peter Burg's directorial debut added his first facets to his future action movie gem collection.  Many critics disagreed, but this film satirically caters to a well of urban anxiety brimming in all of us.  From the start, it hooked me.  I was caught by all these actors arguing with each other.  Something in Adam Berkow's (the prolifically funny Daniel Stern) panic attacks caught my attention.  One of the band of guys just killed a prostitute in Vegas, Michael Berkow (Jeremy Piven), and it's tearing Adam up, his brother.  Adam's nervous breakdown causes a chain reaction during an already tense build up to Kyle's wedding. Through it all, trophy wife-to-be Laura (Cameron Diaz) is trying to marry Kyle (Jon Favreau), amping up the frustration.  For the first time, I could see Cameron Diaz as a total actor.
Yes, it's hyperbolic.  Yet, the movie resonates by leading us to think of how we might be dealing with our "things," and which actor you identify with the most.  Some respond from the passive spectrum like Charles Moore (Leland Orser) to the alphas who have to take over control at all costs like Michael, Laura, and Robert Boyd (Christian Slater). This black comedy works with such an excellent chemistry of actors.  OK, so siblings don't usually kill each other.  Again, it makes you wonder what people are really capable of.
The ending is predictable, as it keeps boiling over.  Berg showcases the driving self destructive nature of unchecked stress while reaching for the American Dream--essentially this was about a couple just trying to have the perfect wedding.  In its fatalism, it's comedic when it connects with us at some crisis or another, demonstrating that life can always be worse.  Don't be scared; just laugh at it and don't take life so seriously.  Berg, for daring to diversify your skillset early on, I lay this on the Winning 35 yd. Line.  

The Beguiled (2017)- Seduces

My first 'chick flick' and many more to come with all due respect, and APOLOGIES for the delay... Colin Farrell, as Corporal John McBurney, costarring with Nicole Kidman, as Martha Farnsworth the head of an all girl's boarding school in Civil War-raged Virginia are hard to pass over.
Sofia Coppola wrote and directed this tale of Union Cpl. McBurney, who is rescued by women, whom tend to his wounds at their Confederate girl's school.  This is a remake of the 1971 film in which Clint Eastwood played McBurney (got to see that).  Coppola adds a female point of view, imbued with more seductiveness.
The movie itself was beguiling.  Authentic antebellum wardrobe and props plant us in the Old South.  Manners are pure southern belles and gentlemen to the tee. Filming took place in actual plantation mansions and Louisiana locales.  Music from the students, full tea and chinaware, and candlelight put a ribbon on it.  The acting raises the drama feverishly.  As John begins to heal, I wouldn't want to leave either with all the women swooning over him.  Especially, since besides Ms. Farnsworth, he also attracts the attentions of the beautifully coy Alicia (Elle Fanning) and the plainer Edwina (Kirsten Dunst).  Manipulation, rivalries, and violence ensue, resulting in John's rages against Martha's questionable surgical decision.  Due to such precision and engaging acting, Coppola actually won Best Director for it in the Cannes Film Festival.
Yet, it was a Southern lemon pie that turned too sour, ending suddenly.  Coppola failed to stretch out more dramatic story lines as her dad would have done to conclude such a good thing.  I'm sure the book it takes its name after, by Thomas B. Cullinan, had more to supplement our viewing pleasure. As soon as Mcburney became a domestic abuser, it ends with abrupt drama.  The idyllic caregivers transform into murderers led by their 'witch.'
The victorious outcome of female empowerment gets lost amidst the morbid finale: all the children carry out a corpse toward the gates, down to the solid black background of the credits, accompanied by a funeral drone-like country hymn and monotones. I will leave it on the Winning 45 yd. Line for enticing me to see it to the end.
  

Alien 3 (1992) - 3rd Time's...

After two stellar successes, 3rd time was definitely the charm with Alien 3, and they should've left it at that.  Sijourney Weaver returns with one of the great heroine roles of cinema as the undaunted Lt. Ellen Ripley, and co producer, to fight off the alien of aliens "Dragon" (Tom Woodruff, Jr.).  Who didn't return makes a greater difference.  No more blockbuster directors like Ridley Scott or James Cameron.  Only the recent, Alien: Covenant, was able to return the series to its former luster.
Rookie Director David Fincher did beguile us, creating another geunuinely alien world, true to its franchise known for Oscar-winning attention to details.  Lt. Ripley crash lands onto maximum security prison planet Fiorina 161.  Oil rigs bedeck the dreary landscape as monk-like convicts roam the oil slicked beach.  The appearance of the orphan girl and the beheaded remains of android Bishop from Aliens provides great continuity.  Clemens (Charles Dance) plays the prison doctor, cold and utilitarian, as the previous androids, but bonds with Ripley like none of them could.
Both Fincher and story creator Vincent Ward botched the rest by drawling out a new format.  'Dragon' almost instantaneously reached its birthing stage bursting out of one of the oxen's stomachs during the first quarter of the movie; yet, an alien queen embryo resides in Ripley throughout the film.  The prison is more of an insane asylum.  With no armed guards, the only thing keeping the prisoners in line is the gritty leadership of religious zealot Dillon (Charles S. Dutton).  That fits the mold for a futuristic prison, but it's wrong for this series.  The actors seem sucked out of a Mad Max movie: British accents, peculiar gestures, unpredictable schizos and all.  Hallway chases increase a dreamy, hellish effect augmented by an operatic score.  Dragon deevolves back to the nearly indestructible quadrupeds from the prequel Alien: Covenant.  Yet, the enemy is not just the xenomorphs anymore.  
The ending recovers some of the Alien trademark.  It is Ripley to the "core."  The visual effects that ruled the franchise kick in with the close camera shots of Dragon teasing Ripley.  Bishops' maker (Lance Henriksen) even shows up to represent a "friendly face" for the ruthless company.  Again, the real battle is between the Big Brother world superimposing their bottom line vs. the human dignity of life.  The climactic ending allows me to tip it over to the Winning 45 yard Line.

Star Wars: Episode I - The Phantom Menace (1999)- Love it or Leave It

The franchise catalyzing Episode I continues tol ead off marathon binging for Star Wars as it nears Episode IX and Han Solo's flick comes out this month, May 2018.  Ergo, an updated redacting is due.
Episode 1's characters remain iconic.  However, in light of the new trilogy, they appear more robotic than ever.  Solemness masks every face and tone from Queen Amidala's (Portman) monotones, the Jedis', the aliens', and the evil ones' too.  The trademark humor is reduced to a babbling Jarr Jarr Binks CGI.  Obi Wan (McGregor) cracks a few jokes but barely stifles a smile.  Liam Neeson also failed to add his golden noble touch as the leading Jedi, Qui-Gon Jinn.
The former Blue Ray, HD, and recently remastered soundtracks of the 2018 versions have added some polish.  Magnificent scenes, like the Coruscant skyscape, were never possible before. Still, there are too many computerized characters, and by adding a poorly pixeled Yoda (suppossed to look younger), they really crossed the digital line.  I will not bore with more familiar critiques.  Debatably, it showcased the best Star Wars chase of all in the podrace.  With surround sound and a large flat screen, you don't even need the 3D version.  The pod race allows you to virtually off road these worlds like never before.
The final battle, akin to the land, space, and hero duels of Episode VI, starts this trilogy with a 'big bang,' marking Star Wars' return.  While young Annakin (Lloyd) was not spot on acting, leading to his premature retirement, it was high time a child starred in this series, catering to its children's base.
In sum, while some think this was the worst of the episodes, I differ.  Phantom Menace was still epic!  It audaciously recreated the Old Republic, despite huge shoes to fill.  Also, it broke new special effects ground again, experimenting with the limits of CGI, taking us across the galaxy like Lucas did with the first trilogy.  I dare to lay it on the Winning 25 yd. Line.

Pele: Birth of a Legend (Netflix)- C 4 Center

Netflix dared to portray the great soccer legend in Pele.  They did it with 3 actors: child (Leonardo Lima Carvalho), teenager (Kevin de Paula), and even a cameo and narration by the man himself, do Nascimiento, AKA Pele.  The movie was made in 2014 and largely forgotten with negative reviews. Yet, it deserves a second look, at the eve of soccer's coming of age in the U.S.  In 2018, at this writing, Los Angeles just inaugurated its second MLS sports team, LAFC, in its state of the art arena: Banc of California Stadium.
Much to its credit, Netflix educated moviegoers.  Pele was a slur name.  His larger than life fame overshadowed his surprisingly impoverished origins.  Pele's style derives from 'Ginga': actually based on 'Capoeira,' the resurgent, yet centuries old Brazilian flowing martial arts.  The movie devotes much time to Pele's roots, giving us the most intimate look into his upbringing.
Even so, Pele is shallow.  17 year old Pele is confused in the halftime's locker room of the 1958 World Cup semifinal against Russia, and suddenly transforms after a brief chat.  More shallowness bubbles up in other scenes like Pele's almost nondeveloped relationship with his Coach Feola (D'Onofrio).  Only one familiar Hollywood face, the Swedish finals Coach Raynor (Colm Meaney) did not add much star appeal.
In its defense, Brazilian soccer is presented as a wholly unique style, "a beautiful game," said their coach.  Once more though, it barely makes note of Pele's excellent wingmen, Zagallo and Vava, who scored most of the 1958 Final's goals.  Filmed in Rio, authentic colors and vibrant street scenes give it authenticity.  The film scores by allowing us a smidgen of Brazilians' fanatical love for their national sport which had always eluded me.  Those that had nothing are suddenly catapulted to the world stage.
For all its shortcomings, it is brief and concise.  No other Pele flick even comes close.  I will leave it on MIDFIELD for its youthful scope and leading effort.  

American Psycho (2000)- Kill Him

American Psycho portrays a New York City CEO sociopath, Patrick Bateman (Christian Bale), before the 2008 stock market crash.  Patrick descends deeper into his serial killer psychosis as the reel rolls on.
The film saturates itself in eeriness.  This is Chrisitian Bale's first bad guy role, that I can recall. He reacts with ecstatic laughter and toothy grins. He laughs while he hates his friends.  The whole effect accentuates his insanity.  Patrick's apartment suite is ghostly pale.  He leers at his business colleagues, competing to even outdo their bling business cards.  Detective Donald Kimball (Willem Dafoe) adds to the intensity, glaring back with psychotic glares and bared teeth during Patrick's person-of-interest interviews.  Batemen takes us through his obsessive personal routines--Bale builds up a great physique for this movie.
I didn't get this title at first.  It's actually about time they sculpt a villain like this.  The white-collar monster is the embodiment of power hungry ruthless CEOs.  Patrick's despicable toward women.  I kept watching, hoping he would get caught.  Where the flick falls short is by giving into the invincibility delusion of a serial killer.  Even after Bateman made too many errors, like running naked in his rich loft building with a chainsaw roaring, Bateman still gets away with it.  Is this a science-fiction?  One neat effect, though, was making a circle of CEOs seem like narcissists on the brink of committing their own crimes.  Yes, hoods are not the only centers of crime.
The ending was sudden, yet due.  The homicidal maniac had done everything to get caught.  FOR THAT ALONE, IT WARRANTS THE SEQUEL.  My Millennial kept begging me to let him see it.  It definitely caters to their modern dark humor.  I can only move it up to the Winning 35 yd. Line. 

The Crown (Netflix 2016)- Dimmer

The Crown began as an astounding portrayal of the English monarchy, immediately after World War II, at the latter days of King George VI (Jared Harris) and the rise of Queen Elizabeth II, his daughter (Claire Foy).  Peter Morgan, formerly The Queen writer, leads the production reviving this climactic time in history.  A second reason to follow this series is a study on how the crown functions in relation to the British Parliament, which had a closer influence than I ever imagined.
You don't have to be a monarchist bug to enjoy the talented cloned cast along with the impeccable full regalia. Morgan takes you to the intimate corners of the royal family.  I was enjoying the travails of King George VI so much that I mourned at his passing too.  Then, the joy picks up as Winston Churchill (John Lithgow) seems to be brought right back from the grave, temperament and fallacies and all.  He trains the young queen like a protege.  I hated to see him go too.  Now, we learn so much about this beleaguered family's crown abdication, cancelled wedding plans, and Queen Elizabeth's own inner struggles to shore up her own marriage to Prince Phillip (Matt Smith).  I avoided all the gossip tabloids, so at least Morgan delivers mounting credibility.  Even the intrigue of the royal staff and bureaucracy is engaging.
Season 2, though, dims the lights on and off.  Taking place in the 1950s-Kennedy presidency, it dulls by focusing on the ebb and flow of the royal couple.  Then it tries to pick it up with the unimportant controversies of Princess Margaret (Vanessa Kirby).  All dynamics in Parliament and the royal underlings dwindled to a bore. The U.S. is practically absent along with the other world players (until Episode 7), despite the eve of the Cold War and the demise of monarchies internationally.  Finally, the last 3 Episodes returned to Year 1 quality.  Prince Charles's depiction of his youth was gripping!
Season 3 is poised to make a full 360.  The monarchs are aging so there will be a new cast.  There are already casting problems.  The new queen role (Olivia Colman) even admits it will be "huge shoes to fill."  Indeed, Colman is no double like Foy.  The desired Prince Philip (Paul Bettany) has already bailed out. You would think this was better planned out after such success.  In fairness, I move it up to the Winning 25 yd. Line, speculating it will only improve in its projected 6 seasons; yet, halfway into Season 2, the excellent cinematography and props finally wore off and I almost quit watching.

Con Air (1997)- Star Lines

Con Air is pure action entertainment.  Big stars, big stunts, and big suspense sends us on a flight to remember.  There are no lulls with such a crew; the action starts fast and in your face.
Jerry Bruckheimer produced another blockbuster gem.  The main con is Cameron Poe (Nicolas Cage), plays his trademark loveable bad guy on a flight transferring prisoners.  Despite Cage's bad acting rap, he pulls off the right effect... AGAIN.  So his southern accent fades back to his Angelino surfer guttural; he's still the glue of the movie.  Officer Vince Larkin (John Cusack) allies with Poe to stop the cons, who are led by evil mastermind Cyrus (John Malkovich).  Malkovich is at his perfect creepiness with a role written for him.  The prisoners provide plenty of character roles with "The Marrieta Mangler" (Steve Buscemi), "Johnny 23" rapist (Danny Trejo, clean shaven), "Pinball" (Dave Chappelle), and others.
Each detoured plane landing ripples the dramatic sine waves.  We are hoping for Poe to survive it all and be able to see his daughter and wife (Potter and Albright) as intended.  Amidst the subterfuge of each convict's conniving, there are big smash-em-up scenes and you never know will die next. Their C-123 plane con transport goes through hell, being tied down, hauled out of desert sludge, and crash landing for the second time in Sin City.  Other massive movers get blown apart, ala Terminator chase scenes, some famous landmarks, and even a classic luxury car that leave you between awe and laughter.
The ending is climactic, keeping it barely believable despite the catastrophic damage laid on the Las Vegas Strip.  There isn't much more substance beyond.  For its rousing role players and smashing scenes alone, I give it a Winning 25 yd Line.

The Big Lebowski (1998)- Coen Cult

A movie that defines what it means to attain 'cult' status.  Every line, every actor, every tune, and every prop counts.  The Coen brothers created another cult masterpiece, showing the essence of cinema: classic monologues, aesthetic cinematography, and mood-setting soundtrack; a detour from today's popular pair of CGI and violence with little substance.
The "Dude," Jeff Lebowski (Jeff Bridges), is the quintessential laid back, free spirit bachelor in L.A. devoted to recreation.  He stares blindly at the similar brands of creamer on the lonely market aisle. He introduced me to white Russians and Creedence, the movie's motif.  Just watching the movie, you feel buzzed.  The Dude gets connived to deliver a ransom which disrupts his otherwise uneventful bowling and toker lifestyle.  His friends get sucked in, whom are just as colorful: Walter (John Goodman), aplha male Vietnam vet solves everything with bowling strikes and loudness and Donny (Steve Buscemi), playing straight guy prompting along.  Their exchanges involve excellent timing and memorable quotes: "That's like your opinion, man," among Dude's many Dudeisms; "Cut off your Johnson?" Uli the German nihilist kidnapper (Peter Stormare); "Sometimes you eat the bar, and sometimes the bar eats you," the Stranger cowboy character actor (Sam Elliot); and Walter's many memes like "I don't roll on Shabaz!"  I could go on and on about almost every single actor in the film. ...that's rare!
The cat and mouse sequence gets a bit convoluted, but is overshadowed by subsequent hilarious, legit urban parodies.  "The Jesus" (John Turturro) makes love to his bowling ball, as a rival bowler, while making fake threats in his purple jumpsuit.  The rich Jeffrey Lebowski (David Huddleston) is the snob with all the labels and talk, but ruled by his vanities.  The final funeral scene is one I've walked into before: the perfect funeral house tilework and furniture, the rigid suited funeral rep speaking compassionately, concluding with the scary bottom line.
The Dude gets to dupe all of these icons of our beloved big cities.  Yet, he is a "f___ing loser."  A TOUCHDOWN in every sense!
   .

Holes (2003)- Holes

Holes is based on the voluminous book by Loius Sachar.  Excellent acting draws you into this peculiar desert world until more questions than resolutions arise.  A juvenile detention center in the middle of a dry Texas lake is the setting for the exploits of teens condemned to dig holes there.
If Sachar also wrote the script, I'm confused why the story and movie diverge toward the end.  Half of the movie has great impulse due to the vivid performances by the main prisoner Stanley, "Caveman," (youngest Shia LeBeouf), his dad Stanley Yelnats (Henry Winkler's comeback), Warden Walker (the ever sexy Sigourney Weaver in a rare bad role), caricature boss-man Mr. Sir, running the prison, (Jon Voight), and even Laker champion Rick Fox in cameo appearances.  Prisoners dig holes, because the warden is bent on looking for a personal hidden treasure.  The movie branches off into different timelines while engaging us with the colorful lives of the prisoners.  Shia charms with his bad boy persona.  While Stanley looks for the treasure, he must deal with a family curse that he has inherited, prison bullies, and corrupt prison staff.
The movie ends too abruptly with little fanfare amok its own tangents.  In the story, Stanley's lawyer (Roma Maffia) takes a bigger role to make sure Stanley gains his release.  In the movie, she just rushes babbling in and out. Stanley also makes sure that his lawyer is able to free his best friend "Zero" (Khleo Thomas).  The movie omits that if Zero stayed, he was going to be killed, ignoring the urgency.  In the book, it's a suitcase; not a pirate-like treasure chest.  In the movie, it was not made clear that surviving on sweet onion juice is what kept the poisonous lizards away from Stanley and Zero when they were trapped inside a pit full of the lethal reptiles.
These 'holes' in the storyline are confusing, rushing to an ambiguous ending to a good thing.  I leave this on the Winning 35 yd. Line.

Die Hard 2 (1990)- Much Harder

Officer John McClane (Bruce Willis) is back with the same game plan on a grander stage, Washington Dulles Airport.  With his wife (Bonnie Bedelia) in danger, he's pissing off the security experts, squirming through the airport's entrails, punishing his body, and frustrating a new evil mastermind, Col. Stuart (William Sadler).  As his wife said, "Why do these things keep happening to us?"
A franchise is reborn, crowning its champion.  Remember the Iran hostage crisis that spilled into the 80s?  President Reagan tried to mend things, but we still suffered as the world's punching bag with the Beirut bombings of the Marine barracks bombings of 1983 and the spread of communism into Central America the same decade.  Who can bail us out of such Vietnam trauma?  McClane is that hero.  The excellent writing for this is attributed in both films to Steven E. de Souza, with Doug Richardson sharing this script.
That's why Die Hard can never be matched using the same blueprint.  McClane continues to interrupt international plans for mayhem since Col. Stuart was trying to secure the landing of escaped Gen. Ramon Esperanza (Franco Nero), a corrupt dictator being brought to justice ala Noriega.  Yet, this movie secures itself as a cult series by raising the intensity.  McClane's job is harder.  Now he's trying to save an international airport and battle with more bureaucrats and rank and file employees.  He's attempting to stop jumbo jets not helicopters.  And yes, there is more human collateral damage.
The ending is sensationalism that works, uttering anew from me a huge whoop!  The movie feeds into your raw gut emotions activated by growing up in those decades.  Sensations so strong, my teen is a follower too after viewing: fighting a tow and parking ticket to the end, wife in peril, janitor wisdom, and good ol' mouse and dagger.  Definitely, rewatchable at the Winning 25 yd. Line.

The Postman (1997)- Delivers

Kevin Costner attempts to improve his rep in the post-apocalyptic genre, after lukewarm reviews for Waterworld a few years before this.  As for me, the Costner thespian we know is back as the selfless, out of touch, unlikely hero who attempts to uncover the best out of corrupt humanity.  Unfortunately, the box office didn't agree, and it remains underrated, mostly absent from air time.
Kevin Costner directs this antithesis to The Walking Dead.  Instead of the cliche end-of-the world visuals, like zombies, scorched cities, dying earth, we get to see new images like anachronistic postal service uniforms, Wild Western towns, and American flags...whaaat.  Maybe that was too different for the uncreative.  Yet, it makes fashion statements for its new society.  The unarmed 'Postman' takes it upon himself to wander around and give hope that a shadow U.S. government is in place by such nonthreatening means as the power of the pen.  O.k., so it might be too much to expect.  Yet, there is a reality check raised by the persecution of the 'Neegan-like' Gen. Bethlehem (Will Patton), leader of the ruthless new world order.  A guerrilla battle ensues.  The Postman's abnormal romance to Abby (Olivia Williams) reveals a stronger female role than the protagonist mail worker's.
The ending battle was also refreshing for the lack of a bloodbath.  The late legendary classic rocker, Tom Petty, dismisses himself from famedom, appearing as Bridge City Mayor--a genre role he had always pursued.  That adds to the idealistic chic of the movie that some thought as "goofy"--not quite, just a bit overoptimistic.  Still, I liked this better than the overbudgeted Waterworld blockbuster.  There were more relationships, as in TWD, and that's really what defines us.  Almost 3 hours is too long, but the subplots provided good sequence.  I give this a Winning 35 yd. Line.

The Walking Dead (AMC 2010)- Couch Potato Z

At the eve of Mid-Season 8, headed to Season 9, TWD is the King of Binge Watching!  It takes place during a zombie apocalypse set in the southern United States.  The core group has gone through near obliteration since its 2010 debut numerous times.  They have experienced the rise and fall of diverse societies, including their own.  The worst horrors are not just zombies anymore.
Even though I love Z movies, I was late warming up to this one.  The leader from the start, Rick Grimes (Andrew Lincoln, a Brit with an acquired twang), appeared as a apparently boring unknown. Well, it seemed like there was too much development occurring outside of zombie encounters.  Suddenly, I realized that the human relations were the main component.  The role players have so much background that it would fill this review. Only five remain from Atlanta: indomitable Rick, his spitfire son Carl (Chandler Riggs), the homemaker turned Rambo Carol (Melissa McBride), Hillbilly menace Daryl (Norman Reedus has his own show now), and berserker Morgan (Lennie James), now in self exile and on his way to crossover to Fear the Walking Dead. Their lives become so intertwined, that I give a SOBS ALERT, because every year major characters are killed off.
Frank Darabont, executive producer, and Robert Kirkman, comic book creator, are geniuses for taking us on the greatest climax roller coaster of all.  NOW, a master villain has risen, Neegan and his army of 'Neegans'--a Machiavellian new order.  Others came close, but this one exacts tribute and demands that they can even own your wife.  The recent battles are so intense, we don't know who the real 'Walking Dead' are amidst the vicious struggles for survival.
The violence has reached such extreme Rated R levels, that Kirkman had to assure it will never get gorier than Season/Episode 7-1, the most violent ever on a cable T.V. show.  The Z make-up was life-like since Episode 1-1, and now it's incredible.  It will turn you into a couch zombie yourself just to catch up.  Winner of various Emmys and many accolades, I give it an easy TOUCHDOWN!

Yes Man (2008)- OK

Jim Carrey as straight guy Carl begins to experiment beyond his trademark hilarious roles that made him famous.  In this movie, he still finds a way to do both.
The film is a satire on the modern day lives many choose to live.  Some are drivers (alphas) and others proceed like Carl, playing it safely, and some are just in their own zone like Carls eccentric manager Norm (Rhys Darby).  Carl's life is normal enough that he still has a circle of party friends.  He even avoids risks like marriage after divorce and getting promoted at work. Then, he goes to a self-help convention where speaker guru Terence (Terrence Stamp) persuades Carl to say yes to all "opportunities."  What follows is always saying "yes" despite the risks, including bungee jumping, airplane piloting, and scooter driving.  Great supplements to the movie are his kooky girlfriend Allison (Zooey Deschanel) and Peter (Bradley Cooper), living the normal ideal.  Yet, as all nice guys, Carl begins to finish last.
We definitely see a new side of Carrey.  He plays guitar and speaks Korean.  He takes on some more serious acting and even goes risque with his first make out scenes--correct me if I'm wrong.
I think he was still funny even though the change was too much for my teens.  Carrey cracked me up even with his straight faces, but still distorted his putty features at times.  The end is pure Carrey!
I leave it at the Winning 35 yd. Line.  In my debatable opinion, Jim Carrey made a good transition. An actor has to progress.  He should've been more in control of directing in the following movies that led to his retreat from cinema to let his wacky side show through, as in this movie.  Figure it out; you made us laugh for so long Jim Carrey.

Wonder Woman (2017)- I Wonder

Wonder Woman (Gal Gadot, formerly Miss Israel) is as spectacular, or more, as her predecessor was, played by Lynda Carter.  I never thought anyone could even come close.  The movie rendition however, suffers from hyperbole but not at the box office.
Wonder Woman is a smashing hit!  It arrives with great timing.  Gadot eased us into Wonder Woman by first appearing in Batman vs. Superman.  A female heroine was a gaping hole in the movie comics genre.  Gadot is perfect for the role.  Her Hebrew accent validates her character's mysterious island roots.  She is a muscle-toned gladiator, full of feminism, and  infused with a progressive desire to improve a world divided at the seams.
Yet, the film makers were a little too eager to fill that vacuum.  Given she is a goddess.  It's a grand beginning, drawing us into Princess Diana's Amazon kingdom.  Wonder Woman arrives into World War I, and the enchantment wears off.  She throws tanks around like styrofoam, but the CGI was not convincing.  She storms across No Man's Land, the killing fields in WWI that were so impassable that the War ended in a stalemate, without a scratch?!?  She is not indestructible.  The movie only used the Lasso of Truth for battle instead of its known use as a truthsayer.  The scenes requiring more development were Diana Prince's, her civilian name, awkward adjustment to the modern world, revealing her witty vulnerable side.  Her persona was made too mythical and belligerent.  She is so dominant, Diana overshadows most good acting like that of her infatuated U.S. army spy Trevor (Chris Pine).
Wonder Woman battles her family's nemesis, the god Ares (David Thewlis), in the end.  As a former collector, it's cool to see DC Comics back on the map.  The sequel is expected.  I push it up to the Winning 35 yd. Line due to my teenagers being split over it and my initial impressions.

Jumanji: Welcome to the Jungle (2017)- Jeepers Creepers 2

Jumanji 2 was great teenage entertainment!  This time the players are transported into the game's electronic cassette version, and again play Jumanji with their lives on the line.
I liked it more than the first one, as we are sucked into the Jungle.  A great potion for success was bringing in serious Hollywood muscle as Spencer (the Rock), Fridge (Kevin Hart), Alex (Nick Jonas), and Bethany (gender crossing as Jack Black).  This troupe was hilarious.  The crowd responded to these icons' every gesture.  The action kept rolling, evolving into a climactic treasure hunt.  The villain, Van Pelt (Cannavale), was graphically violent.  He also wants the iridescent gem that our fab celebs are trying to return to the Jaguar's head mount.  The writing embellished the acting even more, by Chris McKenna and Erik Sommers.  My younger teenager never cackled so much.
I side with the masses, but the movie kept rehashing and making me cringe.  The fourth player Marth (Karen Gillan) appears and acts more like the Mockinjay (Lawrence) from the Hunger Games.  They actually mention that they are playing in "avatar" bodies, ala Avatar.  The CGI leopards sucked, looking more like Chicken Run animals.  Jack Black, more overweight, scrappier than ever, and middle-aged, gives CPR to a young hunk Jonas at super zoomed slow lens.  Did we need to see that in any gender?
Still, I appreciate a sequel that tops the original.  The grand finale was a crazy helicopter stunt akin to Mission Impossible.  Then again, the whole flick was built to laugh about and ends with positive morals.  I give it a Winning 25 yd. Line, pushed forward by my kids and the cinema crowd.  

Star Wars Rebels (Disney XD)- Post Clone Wars

The Star Wars animated series takes over the timeline following after the Clone Wars Episodes.  It began in 2014 and has reached the point where it raised the attention of Darth Vader himself, before the events of Star Wars Episode IV.  Lucasfilm Animation is still the producer.
It was a slow start, but the series added to our understanding of the mysterious Force.  At first, we followed the exploits of the handful rebel cell aboard the Ghost led by Jedi Kanan (none other than Freddie Prince Jr.) and master Pilot Hera Syndulla (Vanessa Marshall).  They pick up a feisty young human, Ezra Bridger (Taylor Gray), now 17, who becomes Kanan's Padawan.  Ezra takes over the lead role.  He's reckless and has bouts with the Dark Force.  New Force wielders do the bidding of the Sith, like Inquisitors and their saber-wielding henchmen.  Darth Maul returns--not allied to any side of the Force.  Diverse Force tapping creatures and centers explore the dynamics of the Force.
The audience is aimed at children like the Clone Wars, but both also cater to adults.  The latest nemesis next to Darth Vader is Admiral Thrawn, the alien from the Timothy Zahn Star Wars novels. Despite the 3D CGI, my teens prefer the Clone Wars' animation.  The XD characters are stiffer and the pixels more angular.  They tend to be more relatable though, surviving with guerilla tactics lightened by the slapstick antics of the spirited droid Chopper, C1-10P.
Crossover characters keep us waiting to see more, adding validation to the role of the series in the Star Wars universe.  Former clone, Captain Rex (Dee Bradley Baker) is recruited.  Darth Vader even reencounters his old Padawan.  The Ghost crew is even seen in Star Wars: Rogue One.
Star Wars Rebels fed our Force lust when there was nothing, while Disney worked on the Star Wars sequels.  It has reached another nexus at midseason, where events are getting predictable again. Yet, every year it refreshes direction.  Rebels scores a FIELD GOAL at this point.

Logan (2017)- Legacy

The Wolverine trilogy concludes with wonderful poignancy led by the series drivers: a failing Wolverine (Jackman) and a Professor X (Stewart) with pre-Alzheimer's.  Hugh Jackman was given much input in the final portrayal of Wolverine, and he said he wanted the first R rating of his role for plenty of graphic violence.  He resurges with a bang alright, returning middle-aged but with the same bursting veined muscles.  Not to outshine his mentor, Professor X makes an encore of dignified vulnerability, hiding in a shipping container, and reminiscing about their past glory is heart-wrenching.  Patrick Stewart, found another way to never disappoint.
Marvel's X-Men universe's 10th movie is one of the best.  Confusing in their order and losing their air of expectancy, James Mangold creates a memorable one.  Wolverine has a daughter, Laura (Dafne Keen, see above), and a new breed of manipulated lab-modified mutants want her back.  Yes, the government has finally taken control of mutants for its own devises.  Laura is a mute for half of the movie, raised in Mexico with retractable claws and all.  Logan is half the man he was, barely healing himself, as he takes on the responsibility once more of protecting the hope of keeping the remnant Mutant children free.  They are persecuted as they race to a haven called Eden.
Plenty of great themes feed the crescendo.  Such as: dad heart-wrenching protection over daughter against overwhelming odds, a child mutant lacking muscle but with the fury of Wolverine at his prime, the last great stand of Mutants vs. masters, leaders being led, newbies taking over, and even a battle of the wolverines.  Kind of hard to end this right...?
The finale is one of those inconclusive scenarios that in this case, I don't mind.  The last of the Mutants fight for their lives in the lonely but majestic woods of New Mexico.  It was definitely appropriate to end with a Johnny Cash score from his last dark album The Man Comes Around with a black background for the credits.  The tragic ending is open to future possibilities.  Thus, I stop short at 10 & Goal.

Bright (Netflix 2017)- Tolkienesque

Ah shucks, Netflix found a way to merge Middle Earth with modern day Los Angeles.  An enigma I've been pondering for a while.  As a plus, they infused some star power with Will Smith and David Ayer as director, after Ayer's work on Suicide Squad.  Will Smith's string of sci-fi hit roles makes him a welcome presence!
Ayer simplifies it into street culture, and that's why it works, logging record views, in case too many people didn't understand J.R.R. Tolkien's Lord of the Rings movies directed by Peter Jackson. After the War of 9 Armies, all these fantasy Tolkienesque races have learned to live together after thousands of years.  Orcs swagger in gangs, dragons dwell in the shadows, Elves are the elite of course, and to keep the peace, magic users (Brights) are illegal.  LAPD Officer Ward (Smith) and his Orc partner Nick (Joel Edgerton) discover an Elf, Tikka (Lucy Fry), in possession of a magic wand.  Magic is a rare power that everyone lustily pursues these cops for it, including their corrupt beat Sergeant (Margaret Cho).  The main hunters for the wand are a band of Dark Elf Infernis led by Leila (Noomi Rapace).  They aim to prepare the return of their Dark Lord.  'Chosen one' prophecies, anachronistic props, feuding races, and exotic Middle Earth ambiences emerge.
Screenwriter Max Landis is souring this excellent form with sociopolitical tangents.  L.A. is a good choice due to its historic multiculturalism.  Police abuse and urban blight are central themes in the film, having deep roots in L.A. Yet, killing pesky fairies and barking, "Fairy lives don't matter," from an African-American off duty officer Ward, rings too close to home.  Also, the overlords are fair-complexioned Elves both in government, society, and the Inferni villains..hellooo!
You still have to admit, that this L.A. fantasy is a creative breakthrough in the rough.  Fortunately, Landis is being cut from the expected sequel, and roughing over of the strong ethnic overtones can begin.  This brims with potential.  Will Smith shines as his usual maverick self and some more Hollywood brass would add more luster.  Continue the social commentary strain that it began. A little truth doesn't hurt us, but don't let it polarize.  Due to my own hopeful elation, I have to push it up to the Winning 25 yard Line.
    

Running Wild with Bear Grylls (NBC 2014)- Celebrities in the Rough

Bear Grylls hosts multiple extreme nature survival shows, with his newest to open in May 2018 (prior episodes syndicated on Nat Geo).  In Running Wild, he challenges celebrities from 2014-2016, like Shak waking up in a bed of leaves and even President Obama, for us to see how they fare through the perils of nature.  It's NBC's hybrid replacement of its prior hit shows Survivor and Fear Factor. Kudos to NBC for continuing to innovate their reality nature genre!
Bear's popularity is booming, maybe due to his contagious childish enthusiasm with the outdoors.  It sparks something in our penned-in urban lifestyles from the times we used to run around exploring our local parks. Now, we get to see how the rich and famous react far away from their spotlights.  As a bonus, Bear makes some truly revealing fireside chats.  By removing all comfort zones, he gets our favorite celebs to open up and share truths that I never heard on other interviews; i.e. Kate Winslet confessed that she presented a bouquet to her audition because she wanted her Titanic role so badly.  
It's a reality show and much more!  Grylls has a hilarious knack for us to witness entertainers face their fears as they hunt, eat their kills, build shelters, and struggle through trepidatious hikes.  Bear is infamous for targeting peoples' phobias as in his past show Bear Grylls: Breaking Point (Discovery Channel).  He coaxed Drew Brees to rappel into a supposed deep viper-infested pit (Drew's two greatest fears), had sensitive Ed Helms help him kill a squirrel, and terrorized Today host Tamron Hall, standing on the side of a helicopter ride commando style.  Some of these famous people actually appear to evolve before us.  Along the way, we learn survival skills for ourselves.
Its star appeal is improving.  Some faces were not even recognizable.  Bear, that's what distinguishes this show from all your other ones, so focus on quality not quantity.  Also, Bear can get a bit extreme. I wouldn't eat putrefied decaying animals.  Regardless, it's worth watching for the dangerous nail biter treks themselves, and Bear's 'Crocodile Hunter'-like animal encounters.  Definitely, ready to progress from 10th and Goal.