Akting Out

In Brightest Day, In Blackest Night
Please Do Not Believe The Hype
Let Those Who Watch The Lantern’s Flight
Go See This Movie
It’s Almost Right.

When you take into account that this movie has essentially failed at the box office, and it has been horribly panned by critics and fans alike, I was leery of seeing it. I might have passed it up altogether if a friend of mine hadn’t extended a last-minute invitation. I had multiple reservations about this film from the moment it was announced; foremost was Ryan Reynold’s ability to play a convincing Hal Jordan. Discussing the movie with a friend, and my hesitation to see it (he was in favor), we started discussing Ryan Reynold’s range. I asked him to give me a case where Ryan Reynold’s played the bad guy.

Being a fan of Green Lantern, it wasn’t just this story I was interested in. Of course, this movie is an origin story, telling the story of cocky pilot Hal Jordan’s acceptance of the ring of power from the dying Abin Sur, the reluctance of the long-established Green Lantern Corps accepting a human, and the inevitable first conflict that would establish Hal Jordan not only as a capable Green Lantern, but the one who would rise to become the greatest of them. Yes, most of us know that story.

A lot of us don’t know that Sinestro, once their finest warrior, would become their greatest nemesis. A lot of us don’t know that Hal Jordan would eventually be driven mad (check out the Death of Superman to see how it starts) and nearly destroy the entire corps while becoming one of the DC universe’s most tragic characters. Whoever played Hal Jordan didn’t just have to sell me on the cocky pilot; I wanted to see the seeds planted of what he would become in this film as well. I wanted to see Sinestro’s infallible arrogance.

For the most part, I wasn’t disappointed. The movie is far from perfect, in fact, it’s not even great, but it’s still a good time.

Hollywood has to walk a fine line with films like these; paying close attention to the fans, who will eviscerate something if they feel it’s done wrong, while being accessible to newcomers. Despite heavy doses of fan service, Green Lantern falls off the line occassionally. While stalwarts will recognize the hand of Geoff Johns, so much canon is ignored that it’s nearly offensive. This is especially true in the case of Parallax’s origin, which will surely cause a few “WTF?!” from fans.

Casting in this film is both hit-and-miss. I was blown away by Ryan Reynold’s portrayal of Hal Jordan, who transitions from arrogant pilot humble hero-in-training. Like most aspects of this film, his character development is often hurried, but he took the role seriously and you can tell in his performance. One can believe Ryan Reynold’s Hal Jordan will one day go nuts, if Hollywood chooses to go that route (are you reading, Hollywood? Go that route, please). Another pleasant surprise was Michael Clarke Duncan as Kilowog, drill instructor to the Green Lantern Corps. Again, when I heard this, I rolled my eyes. Big black guy playing big bad drill instructor? Seriously?

Instead, Michael Clarke Duncan brings a lot of heart to the character, turning what could’ve been a cliché performance into a role we would’ve liked to see more of. Mark Strong is another surprise as Sinestro, although there’s more talking than action from him. Sure, he can rouse the troops, but we never really get to see why he’s revered as the greatest Green Lantern. No shortage of arrogance on his part, and it’s in the lines he doesn’t speak. It’s in his eyes as he addresses the Guardians and meets Hal Jordan. The only real miss here is Tim Robbins as a Senator Hammond, a complete throw-away character, and I think he knew that.

The special effects are what they should be, but nothing jaw-dropping. A chief complaint I have with the film is that they did not use Parallax’s true form, which I think would’ve been a lot scarier than the thing they dredged up.

Top: The True Form Of Parallax

Bottom: The Film Form Of Parallax

Overall, Green Lantern isn’t nearly as bad as what you’ve been led to believe. I thoroughly enjoyed it, as both a fan of the series and a filmgoer. Most performances are surprises and the special effects are plausible, if nothing special. This is good Saturday afternoon fun, and if you don’t expect strict adherence to the canon, you’ll have a good time.

(c) Avery K. Tingle for Akting Out LLC

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Worthy

While I’m a huge comic book fan, until recently, my preferences have run more towards DC. Even as a Marvel fan, I never really cared for Thor. When the movie was announced, I wasn’t that enthralled by the previews; Sir Anthony Hopkins as Odin was my primary reason for wanting to see this film. Although I read up on recent events on Thor’s timeline to be a little more familiar with what to expect from the movie, I went into this with almost no expectations. I came out believing that Thor may be one of the best films Marvel Studios has ever produced, right up there with the original Spider-Man.

Penned by J. Michael Straczynski (scribe of the incredible Superman: Earth One) and aptly directed by Kenneth Branagh (Harry Potter and the Chamber of Secrets), Thor is success on almost all levels; stellar character development performed by a top-flight cast, sweeping views of Asgard’s majesty fused with up-close, dirty takes on small-town Earth life, rousing action sequences and story that dares to be just a little original.

Newcomer Chris Hemsworth shines in the title role, displaying all ranges of emotion from arrogant warrior to fallen hero to reborn heir-to-the-throne, and Natalie Portman keeps up in her role as astrophysicist/love interest Jane Foster. She appears to be enjoying herself a lot more in this film than in the last two Star Wars movies. Sir Anthony Hopkins is, as always, brilliant in his portrayal of Odin; here is a king and god who is very much aware of his own shortcomings, especially when it comes to his two children. Every decision visibly weighs heavy on him. Idris Elba (Luther, Daddy’s Little Girls) is impeccable as the all-seeing Heimdall, and Colm Feore (Face/Off) was chilling, pun intended, as Laufey, King of the Frost Giants. The standout performance has to go to Tom Hiddleston, who played the god of mischief so well that he nearly steals the spotlight from Thor. This story is not just about Thor’s beginning’s; it’s about Loki’s as well, as he discovers his true origins and turns sibling rivalry into a very deadly battle with millions of lives on the line. What I liked most about Tom Hiddleston’s performance is that I couldn’t help but pity Loki and the little-brother syndrome, despite everything he does, in the end, he just wants to be loved and adored like his big brother. Tom Hiddleston brought plausibility and humanity to the role of Thor’s arch-nemesis, and in my opinion, is the best role in the film.

The soundtrack and scenery are epic; ranging from the glorious, beautiful city of Asgard to the dusty streets of middle America, this is a gorgeous film. This is also testament to the proper use of 3D, which may not have been necessary for this film to succeed, but its usage here is subtle and hardly noticeable, without inducing headaches. This is the best 3D film I’ve seen since Tron: Legacy.

We’re also treated to a cameo appearance of Clint Barton (future Avenger Hawkeye) well-played by Jeremy Renner (The Hurt Locker).

Overall, comic book fan or not, almost all moviegoers should enjoy this film. It has a compelling, well-executed story, beautiful scenery, a moving soundtrack, and a good sense of humor. Whosoever shall see this movie shan’t be disappointed, but thy fans eagerly awaiting the Avengers film hast more to look forward too.

PS: Want a second opinion? Hop over to Josiah Muskrat’s Facebook page and check out his review of Thor.

Thanks for reading.

(c) Avery K. Tingle for Akting Out LLC

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The ‘Fast’ Franchise Cashes In

Ten years after the first film’s release comes (what should be) the climax. This enjoyable, albeit predictable film serves more as a thank-you to longtime fans at the expense of those who’ve never seen any of the movies.
All of the major players from the last four films are accounted for, brought together for one last run. This film is heavy on character development and fan service, eschewing fast rides and blistering races. Whether or not you enjoy this movie may depend on your familiarity with the universe.

Fast Five picks up immediately following the conclusion of the fourth film, where O’Connor (Paul Walker) and company have managed to spring series antihero Dominic Toretto (Vin Diesel, who is all but typecast at this point in his career) in an exciting, yet completely implausible escape sequence.
In the time that’s passed, O’Connor and longtime girlfriend Mia Toretto (Jordana Brewster) have fallen on hard times, living as federal fugitives constantly on the run.
In the midst of an unexpected complication, the two turn to old friend Vince (Matt Schulze, the script overlooked no one) who hooks them up with a risky, but high-paying gig. Despite Dominic’s intervention on this job, things go wrong, and suddenly the group escalates to, as O’Connor puts it, “The top of the wanted list.”

With the walls closing in, Toretto plans one last job that will enable them to disappear. In order to pull it off, they need to pull in the best. And we’re off to the races. Pun intended.

Justin Lin has helmed the franchise since the dubious Tokyo Drift, and he doesn’t let up here. This film is an action flick through and through, tightly shot and expertly paced, while the action sequences themselves are frenetic, but not jarring. The result is a film that is very well put together.

Dwayne Johnson is a great, two-dimensional addition to the cast as Federal Agent Hobbs, who channels Tommy Lee Jones in his relentless, southern-spoken pursuit of Toretto. Johnson was introduced to threaten Toretto, whose ruthlessness and physical superiority has been a staple of his character. Watching Johnson and Diesel play off of each other, building to the inevitable showdown between the two, is one of the film’s highlights. The fight is worth the wait, but again, you may have to suspend your sense of belief for a bit.

Unfortunately, it looks like gorgeous rides and generous blasts of nitrous are no longer necessary at this point in the series. There is one flat-out race in the entire film, and even then, all participants drive the same car. If you’re movie to see rides shown off at top speed, you will be may be disappointed. The story is absolutely mediocre as well, even though it’s still a lot of fun. In the end, after all the planning and sophisticated trick driving, it comes down to…well, you’ll see. The climax is implausible but a blast to watch, more reminiscent of the Italian Job than The Fast and The Furious.

Fast Five’s selling points are also what works against it; the characters, the camaraderie, and the banter are enjoyable if you’re new to the series, but a lot of the inside jokes will be lost on you. Still, for an opening summer flick, this film is very much a lot of fun and worth eight bucks at the door, even more so for longtime fans. Old-schoolers and action-film fans will enjoy this, but newcomers may want to wait for Vudu.

(c) Avery K. Tingle for Akting Out LLC

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The Child Assassin Misses The Mark By A Wide Margin

Hanna (Saoirse Ronan, The Lovely Bones) is not your average teenage girl. She can speak Spanish, Italian, German, and Arabic like a native. She can bring down a two-hundred and fifty-pound buck with near-pinpoint accuracy. She is a deadly close-quarters combatant with a diminished capacity for fear and a high tolerance for pain. Hanna has lived sequestered from the rest of the world, raised by her rogue CIA-agent father Erik Heller (Eric Bana, The Time Traveler’s Wife). But as children tend to do, Hanna desires to see and explore the outside world, despite the enormous danger the revelation of her existence would put her in. She convinces her father that she is ready for this by first disarming, and then reversing, a fatal situation in her sleep.
So, with a flip of a switch that places father and daughter back on the grid, the film begins.

And pretty much ends there, as well.
An excellent cast and veteran acting skills are not enough to save this cinematic hodgepodge.
All of the ingredients are here for a great film; the naïve, but deadly child assassin who wants to know who she is, and what her place is in a world she’s never known, the equally deadly but aging father who bravely accepts the inevitable by releasing his daughter into the wild, to the highly-ranked, cold blooded agent (aptly played by Cate Blanchett, in a far cry from The Lord Of The Rings) tracking them both, this movie should’ve been much better than it actually was. Joe Wright’s direction is disjointed and disorienting at times, meant to demonstrate the frenetic pace at which Hanna must take in her new situation, but actually jarring the viewer. The pacing is abhorrent, with long, sometimes unnecessary scenes of Hanna trying to fit in with an offbeat family. These scenes might have worked had the characters been fleshed out at all. Instead, the family is only used for about a third of the film, and then cut loose.

Chemical Brothers provide decent music that doesn’t match the film. It comes off as inspired by the Bourne franchise (as does much of the movie), but the electronic tempo moves faster than the jagged action sequences. Speaking of the action sequences, they’re nothing spectacular. Eric Bana looks physically in shape, but much more time should’ve been spent on executing the choreography. Saoirse Ronan moves quickly, fiercely, and fluently, with the training of someone who began studying only a year ago; just well enough to pull it off.

The ending is horribly predictable and insulting, the climax falling flat.

In good conscience, I can’t recommend spending money on this movie. It feels like several average ideas thrown in with a few great ones and then put on film. Instead of “Adapt Or Die”, the tagline should be changed to “See And Regret”.

(c) Avery K. Tingle for Akting Out LLC

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Fluid, gripping, and utterly violent, Batman: Under the Red Hood provides a condensed telling of Batman’s greatest failure and the subsequent rise of one of his most tragic villains. Strikingly animated, with gorgeous action sequences and fight scenes that would do Yuen Woo Ping justice, DC’s latest entry into its animated portfolio is a very good example of animated storytelling for the grown-up crowd.

This is also easily the most violent entry in the animated series; one characters death is graphically depicted and the Joker cuts some poor schmo’s throat with a broken drinking glass. Not for kids.

That being said, there’s very little to complain about here. The animation is fluid and moves without a hiccup. We see more of the Batman universe explored here than any other animated outing, and although fan-favorite Nightwing is a welcome addition, it would’ve been nice to see him get a little more screen time. Still, the relationship between Dick Grayson and Bruce Wayne is represented well here. The dialogue does a good job of depicting their history without getting too much backstory.

The film’s only real flaw is in the voice-casting. It’s not horrible, and Jason Isaacs (of Harry Potter fame) brings an impressive Ras Al-Ghul to life. Neil Patrick Harris also does a pretty good job as Nightwing. Notably absent from the cast is Kevin Conroy, who has lent his voice to Batman for almost twenty years now. Bruce Greenwood is passable at best as the Dark Knight, but often comes off as trying too hard. He often sounds more like a Dirty Harry knock-off than Batman, but his performance isn’t so bad that it takes away from the film. John Di Maggio’s Joker is hit-and-miss; never very funny, never all that scary, either.

The DVD retails for $15 or $20 (the $20 version is a special edition which includes a free preview of Jonah Hex). Either way, this is money well-spent. Batman: Under the Red Hood very much worth the asking price and a great addition to any fan’s collection.

3.5 out of 5 stars.

(c) Avery K. Tingle for Akting Out LLC

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Clash of the Titans (4/10)

I’ve enjoyed Sam Worthington since his scene-stealing performance in Terminator: Salvation. I expected the cast he was surrounded with to bolster the Clash of the Titans remake. It did, but not beyond mediocrity. The film also breaks the number one rule of the action/fantasy GENRE; it’s BORING.
Louis Leterrier gets excellent performances out of his actors; Ralph Fiennes is a little creepier here than in his outing as Voldemort, and with Sam Worthington, all one has to say is “be intense.”
In 3D, the special effects are gorgeous and the monsters are truly something to behold (Medusa scared the hell out of me), but the film spends too much time winding up and then not paying off. The few action scenes are trite and predictable, and then it’s back to the long windup. The 3D outing isn’t worth the price of admission, and not even the special features can justify a thirty dollar price tag when the inevitable special edition comes out. Save your money.

Why Did I Get Married Too (7/10)

I loved the first movie because it was hilarious; it was hilarious because it was real. There was also a strong undercurrent of hope throughout the film that resonated in a very satisfying conclusion. The sequel isn’t quite as funny, lacks the same undertone, and is a lot more visceral, but it’s still a good movie. All of the actors from the first film return, including an enhanced Janet Jackson.  The couples retreat has been moved from Colorado to the Bahamas. Of all the couples, Troy (Lamman Rucker) and Sheila (Jill Scott) have come the furthest, but are arguably on the hardest times. This made them the best couple to watch, the ones you want to see work out. Marcus (Michael Jai White, who again showcases his acting talent) and Angela (Tasha Smith) still provide most of the film’s laughs. You learn in the previews that one couple does not make it, and this is where the film falls short. The breakup is ugly, friends are divided, and a couple of brutal scenes make this film much darker than the first one. The inevitable ending isn’t quite as satisfying as the first film, feeling rushed and hackneyed. One scene in the film showcases two great actors but felt more like a deleted scene than anything else. Still, the darker tone of the film isn’t enough to make it unwatchable, and it’s still an enjoyable, relatable experience.

Death at a Funeral (7/10)

I may never understand how you can cast Chris Rock, Martin Lawrence, and Tracy Morgan in the same film and then give James Marsden the best scenes. In a nutshell, this is a good movie, funny, but nowhere near as funny as it should’ve been, considering the talent showcased.
This is a remake of the 2007 British film directed by Frank Oz; Chris Rock (who also produced) is the harried, underappreciated head of household who takes on the enormous responsibility of assembling (and paying for) his father’s funeral. Martin Lawrence is the family favorite, Chris Rock’s older brother who is also a published author (something Chris Rock’s character is not allowed to forget), Danny Glover is awesome as mean-ass Uncle Russell, and Columbus Short of Stomp the Yard fame is Jeffery, the shady pharmacology student.
Don’t get me wrong, the movie is funny, and well worth the price of admission, it’s just nowhere near as funny as it was supposed to be. A lot of this movie is spent on little laughs waiting for the big one that never comes. It may depend on your sense of humor, but one scene is so far beyond nasty that it nearly ruins the film. James Marsden easily gets the funniest scenes in the movie.
Still, this is a pretty good way to see some of the best comedians of our generation slowly begin to fade into the sunset. Good, but nowhere near a great movie.
Thanks for reading.

(c) Avery K. Tingle for Akting Out LLC

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