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.