Neeson’s journey to B-action flick dark side complete

Just write “Taken 3.” “3” may be lite-speak for “E,” but that doesn’t mean it looks good. As a matter of fact, stylizing the title is never good. Photo courtesy 20th Century Fox.

The “It ends here” tagline plays heavily in the advertising, but there’s nothing material preventing a Taken 4.

In his third go ’round the super-retired-spy block, Bryan Mills (Liam Neeson) is now the target of a massive LAPD manhunt after his ex-wife (Famke Janssen) is murdered in his bed. Mills uncovers a vast criminal conspiracy aimed square at him, and, in Taken tradition, karate chops the whole damn thing in the neck.

Tak3n isn’t worth taking seriously — it’s bad, not for a particular reason as much as it’s just low-grade.

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Selma masterful, shows height of 1960s racism

Selma finished shooting in July, about a month before the shooting of Michael Brown. This is all just a big coincidence. Photo courtesy Paramount Pictures.

Martin Luther King Jr. accepts his Nobel Peace Prize. In the next scene, four black little girls get blown away in the 16th Street Baptist Church bombing, one of many acts of violence perpetuated a year earlier in Birmingham, Ala. over the city’s agreement to desegregate.

Selma follows King (David Oyelowo) through the three months leading up to the Selma-Montgomery marches directly preceding Lyndon B. Johnson (Tom Wilkinson) signing the Voting Rights Act of 1965, King’s crowning legal achievement. An ensemble cast includes Keith Stanfield, Oprah Winfrey (who also produces) and Tim Roth.

Ignoring, for a moment, its horrible timeliness, Selma is an incredible film. Where the past few months have been a sea of biopics that did everything wrong, Selma does pretty much everything right. The movie doesn’t pause to point out important characters and warn the audience what’s going to happen. Some extras are obviously important because Oprah is playing them, but it’s still a much more free-flowing story. Only history buffs will know when characters are about to die, and when they do die, it’s felt deeply because they were played as just another person.

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The title is referring to the game of imitating other movies that have won Oscars because that’s what this whole exercise was really about

They do a thing where the computer, which is of course 100 percent Turing’s project, is named after his first love, Christopher. In reality, it was called Bombe. Photos courtesy The Weinstein Company.

The Imitation Game is disheartening. It is a movie to be angry about and disappointed in, but also one which should never have been expected to be any better.

The movie is a biography of the sexy, new interpretation of Sherlock Holmes Alan Turing (Benedict Cumberbatch), hailed as the father of computer science. Turing, with the assistance and backing of the British military and mathematician Gordon Welchman with no help or encouragement, develops the world’s first computer to break Germany’s communication cipher at the height of World War II. Afterward, much higher levels of government Turing all on his own decides how many pieces of information to act on — the Coventry conundrum Turing Sherlock talked about in that one episode — because Turing is smart and special and talented and everyone else is just dumb. Later, Turing is persecuted for being gay, because you win Oscars for playing Gay People that Die.

This movie is an insult. Not just to Turing, not just to the British military, but to everyone who sees it. Every aspect of the story is dramatized into terms beyond black and white, beyond any need or even opportunity for the audience to participate in the film.

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The Woman in Black re-released

The Woman in Black’s strange re-release is… wait, was that supposed to be a different movie?

The movie puts Phoebe Fox through pretty much the same exact ringer Daniel Radcliffe went through in the first movie. No, really. Nothing changed. Photo courtesy Relativity Media.

According to the synopsis, this is actually The Woman in Black 2: The Angel of Death, set 40 whole years after the first one. In the height of World War II — oh, so that’s what all the airplanes were. It says here that several war orphans are transferred to the abandoned, haunted house of a woman who according to widely believed legend likes to make children kill themselves. Predictably, child suicide shenanigans ensue.

If… did I watch the right movie? I’d swear I just saw the first movie.

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The most important movies of 2014

Annual top 10 lists are stupid and easy and boring and no one likes them. On this blog, we try to track the path of movies over time, so instead of blindly stating what we liked and disliked about 2014 movies, we’re going to dig a little deeper and examine 10 movies that are important to the future of the art form and what their impact might be.

1) Paranormal Activity: The Marked Ones

“The producers of Paranormal Activity” have ruled horror for seven years now, for better or worse. Insidious, Sinister, Dark Skies and Oculus have all born the moniker as their primary selling point, none matching the quality of their namesake — until Oculus, which also came out this year.

Most of these movies don’t make huge splashes. Oculus grossed $44 million. Sinister took in $77.7 million and Dark Skies took in only $26.4 million. But the endless stream of Paranormal Activity and Insidious movies, sixth and third installments of which are due this year, continue to constantly break $150 million without any trouble.

Until The Marked Ones, that is. The fifth movie in the series, dumped unceremoniously on the first weekend in January, became the first Paranormal Activity movie not to break $100 million, clocking out with a lifetime gross of $90.9 million. It’s difficult to say this is any kind of a blow — the real innovation in these movies are how cheap they are to make. Even this throw-away represents a 1,718 percent return-on-investment. But these same people have been making the same scary movie for almost a decade now, and any potential for the genre opening to new ideas again is significant.

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