[Review] Jigsaw

I don't know if anyone was asking for another Saw film, but a new one has been dumped on us whether we like it or not. The only good thing I can say about Jigsaw is that it's short. But even though it clocks in at just 80 minutes, it's still 80 minutes too long.

Basically the same setup as the others -- a group of strangers trapped in a warehouse are forced to endure and escape a series of tortuous "games". As the victims pop up in grisly scenes around town, law enforcement identifies the killings as the work of the infamous John Kramer. But it can't be, can it? He's been dead for 10 years! The film repeats this in case you didn't get it the first time.

Jigsaw never adds any fresh pieces to the already tattered franchise. It's aggressively more of the same, and it's loathsomely repetitive and void of surprises or shock. Any sense of intensity is dwindled to a shrug. You could probably garner more satisfaction from a "Criminal Minds" episode. And despite all the sharp objects and needles, the story feels more pointless than ever. The face-grinder, throat-choker, and laser contraption setpieces might give hardcore fans a brief rush, but I think most filmgoers are either desensitized to or just plain sick of this sort of thing. And a problem that plagues this series is that there's no reason to really give a damn about these characters. Some of the decisions they make are so stupid that they probably deserve to die a brutal death.

Jigsaw is like an actual jigsaw puzzle - in that once you've done it once, you're probably a lot less compelled to want to do it again.

( 4/10 )

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[Review] Thor: Ragnarok

Dropping in as the third solo Thor installment and the I lost count addition to Avengers universe, Thor: Ragnarok is a wildly warping adventure of cosmic revelry.

Suiting up again in the role he was born to play, Chris Hemsworth returns as Thor, and this time around, the God of Thunder finds himself stranded on the other side of the universe without the help of his trusty and powerful hammer. From there, Thor encounters old faces and new on his crazy journey back to Asgard, as he attempts to save his kingdom from mass destruction.

First of all, this film is all over the place. But I don't necessarily mean that in a bad way. As long as you can get down with all the dimension-transporting, an incredibly loopy tone, and the film's ever-quirky sense of humor, you're in for a mega fun time. Director Taika Waititi, who has a bunch of indie and international gems under his belt (including What We Do in the Shadows and Hunt for the Wilderpeople), makes an impressive leap to blockbuster fare -- his signature eccentricities come through in the film's spunky and colorful visuals as well as the kooky characters. Jeff Goldblum shows up as an amusingly flamboyant persona called Grandmaster, while Waititi himself voices a rocky fellow named Korg (this guy rules), who's one of the film's biggest sources of comedy. The script is stuffed with witty exchanges, hilarious one-liners, and tons of slapstick with gut-busting timing.

Along the way, this jamboree blasts through trippy, psychedelic, fantastical, godly and mythological worlds, as if a mighty set of hands squeezed elements from Guardians of the Galaxy, Doctor Strange, Star Trek, and Lord of the Rings and pounded them together into a frenzied fever dream. Speaking of Lord of the Rings, a couple of alums show up here, including Karl Urban and Cate Blanchett -- who superbly plays Thor's long lost evil sister Hela. Also great is Tessa Thompson (Creed) as a warrior with a significant past.

This film doesn't exactly subvert the Marvel formula, but it does what people love about these movies really, really well -- and without taking itself too seriously. Simply put - Thor: Ragnarok is a smash.

* 8.5/10 *

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[Review] Brawl in Cell Block 99

Even though he's mostly known for his comedic chops, actor Vince Vaughn is no stranger to the darker and serious roles, and that's exactly what he pulls off in the rough-and-tumble Brawl in Cell Block 99 -- a ruthlessly violent crime drama of intense prison life, gritty fisticuffs, and skull-crushing.

Vaughn plays Bradley, a former heavyweight boxer turned heavyweight drug-runner. Oh yeah, and he has a huge tattoo of a cross on the back of his shaved head. Anyway, when an exchange turns deadly, Bradley winds up in prison where he must fight to stay alive -- quite literally.

Shot in a brooding light, this thoroughly engrossing film gets off to a deliberate and strategic start before throwing its haymakers. It's directed by S. Craig Zahler, who helmed last year's cannibal western tale Bone Tomahawk, so you know you're in for some unflinching mayhem, especially as the prison setting practically takes on the form of a dungeonous battleground.

It takes a few moments to get used to seeing Vince Vaughn like this, but he does the hardened tough guy part very well here. It also helps that his character is given dimension beyond the exterior. He's a wisecracker; he has a strict moral compass; and he's very matter-of-fact about his situation and self-aware about his own contradictions. And that's essentially what the film is about -- crime doesn't pay, but some people are driven to it and dig deeper and deeper -- until there's no way out.

( 8/10 )

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[Review] The Meyerowitz Stories (New and Selected)

Indie stalwart Noah Baumbach is back again with another nuanced family dramedy. It's called The Meyerowitz Stories (New and Selected), and the film has made its home on Netflix.

Adam Sandler, Ben Stiller, and Elizabeth Marvel star as siblings who are at very different points in life, but they all have one thing in common -- they're contending for the respect of their (sort of) prestigious artist father (played Dustin Hoffman), while also attempting to escape his shadow.

The script delves into bittersweet family dynamics and explores the interpersonal complexities of strained relationships, and like all Baumbach films -- it's full of chuckle-worthy chunks of dialogue and distinctly-developed characters. Adam Sandler emerges as the stand out -- you heard that right. It's ones of those rare roles where you don't want to smack him in the face. This character feels like a genuine human being, rather than an obnoxious ball of over-the-top schtick.

By design, The Meyerowitz Stories does have more of episodic structure, and it can seem a bit meandering at times. And while the film isn't as thematically pointed as the recent While We're Young, and it doesn't hit the emotional notes or achieve overall charm of Mistress America, Baumbach once again proves that greatly detailed writing and lived-in performances can go a long away.

( 8/10 )

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[Review] Only the Brave

Based on the true story of an elite firefighting crew called the Granite Mountain Hotshots, Only the Brave is a high-stakes film that burns with intensity and emotion.

Josh Brolin, Miles Teller, James Badge Dale, and Taylor Kitsch play the rugged crew of firefighters who bust their butts to ward off treacherous flames in the hilly forests outside of Prescott, Arizona.

The film carries the same gritty, rah-rah spirit that you'd witness in a recent Peter Berg film (Lone Survivor, Deepwater Horizon). Director Joseph Kosinski makes sure to pull us into the heart of the dangers and dilemmas -- the obvious ones, as well as the ones we might not think about.

The special attention to character development here gives the action extra weight. Brolin's character is so full of pride and love for his crew and he's hellbent on saving lives, but deep down there's something about his profession that's eating away at him. Then there's Teller's well-played slacker, who joins the force to steer away from his drug addiction and to support the surprise newborn daughter in his life. A commanding Jeff Bridges even swoops in to deliver one of the film's best lines: "The only place you'll find sympathy here is in the dictionary...somewhere between 'shit' and 'syphilis'." Thankfully, there's a nice amount of humor in the script to balance out the heat.

Only the Brave is all about dirt, sweat, hard work, and camaraderie. It's a hard-hitting tale that is as inspiring as it is devastatingly tragic.

( 8/10 )

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