Extinction... and not for the last time, either

The alien invasion plot is an industry standard that is now as boilerplate as Batman’s origin and Netflix’s Extinction upholds this formula in a by-the-books thriller yet manages to present the film in a slick and entertaining way. Yes, there is a plot twist deep in the third act that is satisfying and, believe it or not, even a little surprising, which helps provide an explanation in a Marvel No-Prize sort of way for the rather stilted performance from a usually affable Michael Pena.

For all of the standardization this film brings, such as video-game quality f/x and aliens that look like extras from the set of Doctor Who, Extinction does succeed with showcasing the family dynamic during wartime. Pena’s Peter is not a macho alpha male who goes all John McClane when the bullets start a’flying, but instead pauses, and thinks; he plans on how to get his family to survive. His actions are believable and are truly what makes an average direct-release sci-fi flick all the more enjoyable.

Plus, Sweet Christmas, Luke Cage guest stars.


As Always,
theJOE

ANON: SciFi blast for cliché crime caper

The future can be scary, and that’s exactly how writer/director Andrew Niccol (Gattica) likes it. Niccol’s latest, Anon, directly distributed by Netflix, takes social media privacy scares and concerns and makes those issues a substantial threat as every event every single person sees is stored forever in an Orwell-ian cloud. Anon presents an original, albeit disturbing, viewpoint on how deep privacy can be regarded making this future world as scary as it is believable. Digital ads the size of buildings can be seen as an on-board Alexa/Siri/Samantha can direct listeners for every step they take, as someone is always watching you, until they hack you.

Clive Owen stars as a detective in a nameless city under a perpetually gray twilight sky who has access to these personal, individual records. He’s a gruff, tired-looking cop who smokes (so hey, at least that vice is still around in the near future) as much as he plays voyeur into his, as well others’, memories. However, hackers who work off the grid can be paid in order to edit, thus hide, certain memories. One hacker has taken to killing such individuals and Owen is tasked to stop the murderer.

Anon, played by Amanda Seyfried, is a hip hi-tech cat that proves her prowess by slowly hacking into Owen’s own visuals, distorting what he is seeing, be that a clear intersection that is actually jamming, or an empty elevator car instead of an empty elevator shaft. The tech premise is extraordinary, tempering the best of what science-fiction at its core is supposed to offer, as the presented threat is real and believable.

Alas, all good science fiction does have its limits, as does Anon, and this neo-noir thriller exposes its fatal flaws in the programming. Once this world and its technology have been explored to its limits, the crime element of the narrative forgoes all its collective coolness resulting in a typical whodunnit-style mystery that fizzles into a who-cares climax. Owen makes a good cop, but apparently gumshoe clichés, like tobacco and the vintage cars driving throughout, remain woefully relevant. Maybe the true magic lies ahead in allowing rogue editor to hack together a more fitting finale.


As Always,
theJOE

Dope

Icarus, much like its mythological namesake, starts out openly enough. Writer/director Bryan Fogel, obviously undergoing a mid-life crisis, seeks to rise above his competition and win an long-eluded amateur bike race by subscribing to a doping program ala Lance Armstrong and Tyler Hamilton. His gonzo-ish film about cheating the system then takes a serious turn as he flies extremely close to the sun by becoming involved with Russian doping superstar, Grigory Rodchenkov, just prior to the 2016 summer Olympics and Russian scandal – the doping scandal that is, taking into consideration another very serious scandal that occurred in the United States later that year in November, an event this film alludes to.

Fogel’s film presents a complete analysis of Russia’s athletic doping program and its pervasive influence on all of its athletes while providing a revealing look at how the conspiracy came to light leading to the eventual banning of 68 Russian athletes from Rio. The documentary is so compelling you cannot look away.

Rodchenkov, who comes across as a favorite crazy uncle, blasts away on camera with truths and proofs that lead to WADA and the IOC’s landmark decision. Rodchenkov equally has no problems with broadcasting his opinions concerning President Vladimir Putin’s fear-laden regime. If Putin and the KGB can easily evade the IOC, imagine what other high-level larceny exists that can be used to, ahem, trump other standards.

Icarus presents art dictating life, where one rather flaky story uncovers a very-real conspiracy that affects so many. This is not merely a sports documentary, rather a politically human one with real consequences, and needs to be viewed. Here’s hoping the Academy’s nomination committee is taking note, as Icarus has the potential to win gold of its own.


As Always,
theJOE

Video-Game Action; Direct-Release Scripting

Let’s play nice and call Spectral an homage to a heap of sci-fi films and not a mash-up of clichés from all that has come before. A mash-up, yes, but certainly a nice-looking one at that.

 

James Badge Dale, proving he had leading-man chops, as evident from HBO’s The Pacific, stars in first-time director Nic Mathieu’s sci-fi muscle film that provides more hardcore military meat than a Michael Bay Transformers film. Dale plays a scientist invested in designing protective tech for the US Army of the very-near future when he is assigned to accompany a Delta Force unit on the field in Moldova who have encountered, well, ghosts. Ghosts that can fly through walls and humans, the latter of which immediately perishes upon contact.

Mathieu’s constantly-moving camerawork and in-your-face visuals are slick and surprisingly high-quality, thanks to the use of Weta for the F/X work. The story, however, is nothing more than an outline for the big-bang shoot ‘em-ups and creepy apparitions. The Delta Force team members are mostly faceless fodder smacking of, but lacking the charisma of, the marines from Aliens; they even rescue a blonde girl who has been scavenging and hiding out safe from the ghosts in the inner workings of an old factory. Later, when Delta has the chance to regroup and restock, they are luckily holed up with enough provisions and workable gear that would make B.A. Baracus smile with glee, welding torch in hand.

The overall premise of Spectral makes for fun viewing. The film’s a fast-paced video game where the viewer doesn’t mind playing the third person role. And while the story briefly describes the HOW of the ghosts, the WHY is untouched resulting in an unfulfilled feeling as the convenient failsafe stopping the threat is thrown allowing the credits roll. The quick wrap-up makes you think that if there were a couple more available quarters to feed into the slot, the story could continue with a more satisfying ending.

As Always,

theJOE

CAGE needs more Power, Man

Marvel has had a successful outing on Netflix, and the latest, Luke Cage, certainly has all the makings of a another hit by the numbers. Critically speaking, this is the most disappointing of Marvel’s three series. By no means is Luke Cage  awful, rather, lacking at best and, for two episodes anyway, even downright boring.

Huge props to Mike Colter who plays the titular hero with swag, class and charm. This series has definitely shown that not only is he a good actor, but he can definitely lift the lifeblood of a show on his large, 2XL-shoulders, something that was questionable during his guest-star appearances on Jessica Jones.

What Luke Cage was lacking was an intense, and let’s face it, better-written villain. Mahershala Ali’s Cottonmouth had the potential to be something great – a Kingpin for Harlem, a character that has good intentions, but uses questionable means for execution – but was dispatched entirely too early for the inevitable rise and fall. Erik LaRay Harvey’s Diamondback was an ill-fitting substitute antagonist; a cliché comicbook villain with a one-note revenge scheme and an invisible moustache to twirl.

Marvel has been doing its best to ground these Netflix heroes, but in doing so, should have looked to past, counter to what Pops always told Luke, and instead of creating a super-powered force for the big street brawl, and maintained a Lou-Ferrigno-as-the-Hulk beat-down of goons with guns while smashing through walls. Sweet Christmas, that would have shown some power, man.

As Always,

theJOE