‘Passengers’ a cliche-ridden mess

Images courtesy Columbia Pictures.

Passengers is a fantastic concept for a film and, starring the two hottest actors in the world, a guaranteed success, but inept, lazy filmmaking allows this concept to descend into cliche and disturbing moral carelessness.

Aboard the starship Avalon, more than 5,000 passengers and crew lie in a 120 year slumber on their way to Homestead II. When the Avalon’s shield allows a piece of debris to punch a hole in the reactor, the entire ship begins malfunctioning. One of the first malfunctions is the awakening of engineer Jim Parker (Chris Pratt) 90 years early, sentencing him to die of old age before he ever sees another human being again. Distraught in his isolation, Parker becomes obsessed with the story of another of the passengers, journalist Aurora Lane (Jennifer Lawrence). In an act of unspeakable selfishness and cruelty, Parker awakens her so she can share in his horrifying fate.

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‘Manchester’ bathes in critical acclaim despite being entirely unremarkable

Despite being a focal point of the marketing, Michelle Williams has about two scenes of dialogue in this. Images courtesy Roadside Attractions.

Manchester by the Sea is sitting at 97 percent on Rotten Tomatoes and is expected to garner several Academy Awards nominations. It’s not a bad movie, but it certainly doesn’t deserve that level of recognition.

The film follows Lee Chandler (Casey Affleck), a janitor locked in a self-destructive spiral responsible for several apartment buildings in Quincy, Massachusetts. Chandler’s brother Joe (Kyle Chandler) has a heart attack and dies, leaving Lee legally responsible for his 16-year-old nephew, Patrick (Lucas Hedges), and all their investments in Manchester-by-the-Sea, Massachusetts. This is a huge problem for Lee Chandler, for reasons that would spoil the movie to get into because of a combination of poor marketing and a structural weakness within the film itself. Additionally, the film jumps back and forth in time between the present day and Chandler’s marriage to Randi (Michelle Williams).

I’ve got a weak spot for broken timelines, but writer/director Kenneth Lonnergan writes Manchester by the Sea into a bit of a hole. The central conflict is Lee Chandler’s reluctance to take guardianship of his nephew, but it takes so long to reveal why he’s reluctant that the movie essentially wastes 45 minutes before showing the audience what’s really going on.

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La La Land classic Hollywood, everything great about going to the movies

Image courtesy Summit Entertainment.

La La Land is the movie you’ve been waiting for, the movie that’s been absent the past few years. It’s guaranteed to put a grin on your face and a dance in your step.

The film follows Mia Dolan (Emma Stone), an aspiring actress who begins a relationship with struggling jazz pianist Sebastian Wilder (Ryan Gosling) after several chance encounters. The couple sings and dances — literally — through paying their dues in the glitzy Los Angeles rat race.

La La Land is a big movie about big things. Big performances. Big romance. Big song and dance routines, all written specifically for this film. Big, saturated colors. Big lighting cues, melodramatic almost to the point of self-satire.

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Rogue One’s got jokes, all right

This image didn’t make the final edit of the movie. Images courtesy Walt Disney Motion Picture Studios.

Hell, it’s got Darth Vader (James Earl Jones) making puns.

At the start of Rogue One: A Star Wars Story, imperial weapons researcher Orson Krennic (Ben Mendelsohn) coerces scientist Galen Erso (Mads Mikkelsen) to work on the Death Star. Years later, Erso’s daughter, Jyn (Felicity Jones), has grown up under the care of anti-Empire radical Saw Gerrera (Forest Whitaker). Gerrera receives a transmission from Galen Erso detailing how to destroy the Death Star, and the rebel alliance recruits Jyn Erso to fetch it for them. Erso eventually leads a ragtag band of misfits in an assault on the Empire-controlled Scarif, where the plans are stored.

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The Open Bar Review – Westworld

Paul and I discuss the merits and flaws of Westworld, Anthony Hopkins’ effort level and J.J. Abrams’ role as the scourge of storytelling.

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