After the more thrilling Insurgent, this saga reverts to the talky style of the original Divergent movie, constantly explaining this post-apocalyptic world's convoluted mythology before indulging in whizzy action that has little to do with the story or characters. It's a strange step back for a franchise that has such a strong cast and high production values. And this movie also feels frustratingly incomplete, because it's only based on the first half of Veronica Roth's third and final novel (a fourth film, Ascendant, is due next year).
When we last saw our hero Tris (Shailene Woodley), she and her hunky boyfriend Four (Theo James) had overthrown the nasty Erudite leaders to create a "factionless" society in Chicago under new leader Evelyn (Naomi Watts), Four's mother. But Evelyn's willingness to indulge in military excesses causes a rift with the more peace-loving leader Johanna (Octavia Spencer), sparking a civil war. Bored with this, Tris and Four free Tris' brother Caleb (Ansel Elgort) from death row and escape over the walls out of Chicago along with cohorts Peter and Christina (Miles Teller and Zoe Kravitz). Fleeing into the fringe, they encounter a peaceful, futuristic community called the Bureau of Genetic Welfare, run by David (Jeff Daniels). There they learn new facts about their past, but they're unable to ignore the unravelling situation in Chicago.
As in the first film, this script is over-packed with long conversations about the society's complicated set-up, and the Bureau has its own set of issues. Some of this information provides welcome context to the earlier films, but the screenwriters also hold back a lot of key details for next time, so this episode is oddly inconclusive. And that also makes it feel dull and contrived, especially since it leaves the characters' motivations so badly muddled. There's also the problem that these movies continually steal ideas and imagery from other films (this time it's Mad Max and The Truman Show).
Continue reading: The Divergent Series: Allegiant Review
Like James Bond, wilfully anonymous driver Frank Martin is reborn as a new actor without any fuss, shifting the tone of the franchise from Jason Statham's knowing wink to Ed Skrein's stone-faced glower. But even though the new film is a lot less camp, it's still deliriously preposterous, pinging between dimwitted dialogue and jaw-droppingly silly action. It's utterly inane, but never dull and often very funny, sometimes intentionally so.
Skrein's Frank is still based on the French Riviera, where he has three simple rules to ensure plausible deniability about whoever or whatever he carries around in his shiny, seemingly indestructible Audi (product placement alert!). Then he's contacted by high-class hooker Anna (Loan Chabanol), who has escaped from her Russian mafioso bosses and is out for revenge. She hires Frank to carry her and a mini-UN of angry ex-prostitutes (Gabriella Wright, Tatiana Pajkovic and Wenxia Wu) to a variety of heists aimed at top Russians, with their final sites on kingpin Karasov (Radivoje Bukvic). When Frank balks at this, the women kidnap his father (Ray Stevenson) to force him to comply, and soon both dad and son are in the middle of the action themselves. Chases in cars, motorbikes, planes and boats ensue, as gangsters shoot at them and the police try to catch them.
Basically, this is a series of elaborately staged set-pieces held together by the bare hint of a plot, as this quartet of scantily clad women take on the macho thugs who have enslaved them. In the middle, Frank looks like a model in his sleek suit, while his dad provides some comical relief. It never makes much sense at all, and the action sequences aren't particularly well staged, relying on lots of slow motion to make everything look achingly cool. But there's a level of inventiveness in the mayhem that keeps us watching, as well as laughing along with everything that happens.
Continue reading: The Transporter Refuelled Review
Aside from impressive 21st century digital effects, this new take on the Moses story pales in comparison to Cecil B. DeMille's iconic 1956 version, The Ten Commandments, which is far more resonant and intensely dramatic. Biblical epics are tricky to get right, and Ridley Scott certainly knows how to make them look and feel terrific (see Gladiator and Kingdom of Heaven), but his films are generally about the spectacle rather than the human emotion. So this version of the biblical story will only appeal to viewers who have never seen a better one.
It's set in 1300 BC, when the Israelites have been in captivity in Egypt for 400 years. Now rumours of liberation are circling, centring on Moses (Christian Bale), the adopted son of Pharaoh Seti (John Turturro), raised as a brother alongside the future Pharaoh Ramses (Joel Edgerton). When it emerges that Moses is actually a Hebrew, he is sent into exile in the desert, where he finds a new calling as a shepherd and marries his new boss' sexy daughter Sefora (Maria Valverde). Moses also has a run-in with the Jewish God, who appears in the form of a young boy (Isaac Andrews), challenging Moses to free the Israelites. As Moses attempts to spark a slave revolt, God sends seven horrific plagues to convince Ramses to let his people go.
The script struggles to have its cake and eat it too, finding rational explanations for the plagues and miracles while still maintaining God's supernatural intervention. It's a rather odd mix that demonstrates just how compromised the movie is: it's a big blockbuster rather than a story about people. Several elements work well, such as depicting God as a boy, although the screenplay never manages to make much of the female characters. And only Ben Mendelsohn manages to inject any proper personality as the weaselly overseer of the slaves. Bale and Edgerton both catch the complexity of their characters' situations, privilege mixed with personal revelations. But Scott is more interested in parting the Red Sea than taking them anywhere very interesting.
Continue reading: Exodus: Gods And Kings Review
Bartleby (Justin Long) is a clever high school student, but not specifically good at working. He can trick people and has an unnatural ability with words, but he can't get into a college to save his life. Several of his fellow friends and classmates are finding the same problem. After a failed plan to trick his parents, Bartleby decides that the only way to quell his parents' worries is to get an acceptance letter from a fake college. So, on a whim, he and a pack of ravenously creative friends set up a website, buy a space, remodel it, and make it look about as college-like as possible. It works for Bartleby's parents, but soon, hundreds of students are at the gates of the school, ready to learn.
Continue reading: Accepted Review
Tailored specifically for packs of prepubescent girls, New York Minute will be eye candy for some and brain candy for all. It casts the camera-friendly siblings in a frothy Ferris Bueller-inspired day in the life of twin sisters spinning in opposite circles. Prim and proper Jane Ryan (Ashley) preps to give a speech at Columbia University that could earn her an Oxford scholarship. Slacker sister Roxy Ryan (Mary-Kate) just wants to skip school and stay one step ahead of a power-hungry truant officer (Eugene Levy) with cop envy.
Continue reading: New York Minute Review
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