"A Him gets Noticed. A Her gets Ignored, and for once we want to be Ignored." Ocean's Eight Review

Ocean's Eight

1.5/5

Directed by: Garry Ross

Rated: PG-13

          Debbie Ocean just got out of prison. She told the officers she wants to purse "the simple life," such as getting a job that can pay the bills, but the job she's got in mind will pay her bills for the rest of her life. Debbie is getting together a group of six women, herself included, so she can rob snooty rich person, Daphne Kluger. Their goal is to get Daphne to want to work with stylist Rose Weil, so she can convince Daphne to want to wear a $150,000,000 dollar necklace at the Met. Gala, so they can then attend the Met. Gala and steal the necklace and other paraphernalia, while Debbie also gets some revenge on the side. Does it sound familiar? Well whether you like it or not, Ocean's Eight is in theatres.
          This movie stars some of the greatest performing artists currently on screen. Some audience members who will recognize this movie's fantastic performers (Sandra Bullock, Cate Blanchett, Helena Bonham Carter and Anne Hathaway) may feel their talents are squandered on this movie. They have much more to offer to their roles, but instead most of these performers play the same character type (a high strung woman who is occasionally emotionally hidden and has a "you can't tell me what to do" attitude). They blur together, save for the two or three scenes where they stand out from each other. Aside from these performers, the rest of the main cast (Mindy Kaling, Rihanna, Sarah Paulson and Awkwafina) are not interesting enough to warrant mentioning. While some audience members might find this movie's performances entertaining few will find them memorable.
           With these uninteresting characters leading the movie it is no wonder Ocean's Eight's big heist is also uninteresting. While it is intriguing finding out how these seven people plan on stealing a necklace right off of someone's neck, it is poorly executed. The lead up to the heist is not detailed enough to intrigue most audience members, as it leaves out crucial parts of the plan so the movie can have a few plot twists. These plot twists, however, can be predictable and even more interesting than the movie's claimed premise. It is not uneducated to believe the movie would have been entertaining, if the focus was on how this team would keep their plan's plot twist a secret from the people at the Gala and not the audience. In addition to this, during the heist, nothing goes wrong or slightly awry that is not resolved in less than 30 seconds. The only noteworthy aspect of the heist is that the Gala features a few interesting cameos and some well designed dresses and regalia. Enthusiastic viewers may want to see this scene on home release, but this heist would be best not seen in theatres. Tension and suspense are not utilized well, and it can cause some audience members to recline more into their seat.
           Aside from this, Ocean's Eight is a sequel and a reboot of Steven Soderbergh's Ocean's trilogy. Ocean's Eight, though, features more than just some nods and call backs to its predecessor. For the most part this movie matches Soderbergh's unique crime heist film Ocean's Eleven (2001) in a way that could be considered theft (yet another heist this movie could not execute well). From similar music choices (which work well in the first film, but feel unjustified in this movie) a few near exact edit cues (which are seen as stylish in the first film seem out of place in this movie) to practically verbatim dialogue exchanges between characters (which is best described as this movie copying off of Ocean's Eleven's screenplay and then hiding their plagiarism by changing a few lines) Ocean's Eight's first and second act mimics Ocean's Eleven's tit for tat and tats for tits. While Ocean's Eight's brief third act (featuring an alright performance from James Corden, which might convince some audience members that the movie should have been about his story) is different from Ocean's Eleven's, it is executed just as poorly as the rest of the movie.

Verdict: Ocean's Eight is a boring movie, featuring bland performances from talented performers, an uninteresting heist that could have been better and blatant theft from its more stylized predecessor.

"We don't stop Playing, because we grow Old. We grow Old, because we stop Playing." Tag Review

Tag

3.5/5

Directed by: Jeff Tomsic

Rated: R

          Some friends get together and play golf. Some friends meet up and go on cruises. Some friends hang out and just chat. This group of friends, though, is not like those groups. For more than 25 years these friends have been playing the same game of tag. Every May tag is in session. There is no base. There are no tag backs. There is no adult supervision. As long as these five friends don't break their tag bylaws, anything goes. From their backyard playgrounds in their hometown of Spokane, Washington to all across the U.S.A. there is no place too far away that these friends won't go and no antic too ludicrous that these friends won't do to be not "it." Based on a true story, this is Tag.
           Jeff Tomsic's Tag is a thrillingly fun film starring a great cast of childlike best friends...who became adults. Hogan (Ed Helms) is the brains of the group (not the smarts, but the brains). His wacky plans have a way of hilariously backfiring on him, but his strong companionship for his friends and his love for his extremely competitive wife Anna (Isla Fisher) keep his heart grounded and his head in the right place. Bob Callahan (Jon Hamm) is a CEO, the image of class and financial and success, and a complete fanatic for his favorite May past-time. His smooth words always bode smooth sailing, and even if his ship does crash it's going to look good doing it. Chilli (Randy Johnson) is the group's residential pot-head. He gets high with a little help from his friends from playing tag and spending time with them. Kevin Sable (Hannibal Buress) is the most innocent and paranoid member of the group. He likes to try to stay cool and play things safe, but he likes playing tag more. There are no winners in tag. There are only those who are not "it," and Jerry (Jeremy Renner) has never been "it." He's a suave, calculating, action hero that's untouchable. Following this group around is Wall Street journalist Rebecca Crosby (Annabelle Wallis) whose knack for finding stories is only matched by her insatiable curiosity. Every single one of Tag's main performers offers a memorable, unique and humane performance full of heart and sportsmanship.
          With a group of characters this crazy there is little knowing what lengths they would go to not be "it," and these lengths are fully stretched to their maximum and beyond. Tag's chase scenes are exhilarating. Each chase is unique from all the others, and each has its own surprises ramping up their comedic factor. The stunt-work showcased in these scenes is precise, daring and totally nuts. Watching these performers flip onto chairs and dive off staircases is incredible, and seeing these characters doing it adds to this film's fun. Based on the characters created, Tag's stunt work is believable, if a little over zealous.
           With the combination of this movie's ingenious premise, crazy characters and exhilarating chase sequences the whole film adds up to being a fun theatrical experience. On top of this, the humor in this film is hilarious. From the subtle yet clever dialogue between characters to the ridiculous slow motion chase scene moments this film offers laughs and gives audiences jokes that land. Aside from one or two scenes with excessive running gags, and some crude humor dialogue that can make some audience members uncomfortable, this film is well executed. Tag is a fun and friendly childhood playground dream experience for adults.
           On top of all this, Tag is also based on the true story of the "Tag Brothers" of Spokane, Washington. Though none of the characters in this film exist in real life, they are all inspired by real life people. Tag is not an accurate retelling of true events, but it features nods and scenes directly inspired from real life events. Audience members enthusiastically curious about Tag should see it in theatres, and even those who are unsure about it should at least check it out on home release.

Verdict: Tag is a friendly fun cinematic experience, featuring a crazy group of heartfelt characters, terrific performances, outlandish chase scenes, clever humor and an ingeniously well executed premise.

"I wish You hadn't met Me. Then, You wouldn't be in this Mess." Adrift Review

Adrift

1/5

Directed by: Baltasar Komakur

Rated: PG-13

           Based on a true story: Tami Oldham (Shailene Woodley) and Richard Sharp (Sam Claflin) come from two different backgrounds, one from Tahiti and the other from Australia, but their common ground is their love for the water and each other. On a fateful voyage from Tahiti to California a storm wrecks their ship and sends their lives and their ship into disarray. After the storm, Tami wakes up and realizes she is too far from California to make it to shore on her broken boat. She will have to head for Hawaii, a rather tricky target reaching, especially when your ship has lost all forms of digital navigation. Will she survive, or will she die alone at sea? Who cares?
          Adrift is abysmal. Nearly every aspect of this film is not noteworthy, including Adrift's performances. Woodley portrays her intrepid survivor with a dwindling and unsure voice and a series of facial expressions all saying, "I can't do this. It's too hard." When she is not playing the role of survivor, she is making googly eyes at her boyfriend, Richard. While it is clear Woodley is making sure audiences know her character wants to be with Richard, Woodley is unable to portray if her relationship with Richard has depth. From her first meeting with Richard to her moments with him on the ship there is little to no discernible difference between how she feels about him. Claflin, however, does not help Woodley out, as he offers a less adequate performance. Claflin's few emotional displays include being happy and being concerned. Nearly every thing else in between is portrayed by a lifeless and vapid face. Other than being Tami's love interest, it seems as if Claflin's character has no other purpose for being in this movie. Whether his character were dead or living, it would not make a noticeable difference.
           In addition to Adrift's lifeless performances, this movie has a poorly constructed screenplay. This movie's dialogue is atrocious, and it is also relayed in a lack luster careless manner. An example of this is when Tami and Richard are quietly sitting in a cabin talking with each other, and then Tami calmly says, "Can I ask you a question? How'd your mother die?" Then Richard calmly answers the question, as if it does not greatly concern him. In addition to this, the way in which this movie plays out is tropic and cliche. There are two different stories plying out in Adrift, the story of survival and the story of how they fell in love. Both of these are bland. Tami does not have to struggle for survival on her disheveled boat, as anything she attempts to do she successfully does her second try. Most audiences will not feel inclined to root for her survival, because, like her love for Richard, it is never in question. Her relationship with Richard is played out through romantic outings at scenic Tahitian locations and through hollow private conversations between her and Richard. Both of these stories lack intrigue, and have even less impact due to their pacing. The survival story is interwoven with the love story, but it is not edited together in a way illustrating parallels or greater depth. Once the love story takes place on the boat, it can be difficult discerning love scenes from survival scenes, as Woodley's demeanor does not drastically differ between the two stories. Most audiences will feel the movie would be better if it played out chronologically, some audiences may not mind Adrift's back and forth nature, but either way Adrift's screenplay has little to no substance.
           Aside from Adrift's lifeless performances and lacking screenplay, this movie features scenes most audiences will find bizarre. The dialogue between characters can start to make audiences uncomfortable, and some audience members may release this discomfort through stifled laughter. There is a scene between Woodley's and Claflin's character where they partake in the consumption of peanut butter in a manner that can cause cringing. There is also a scene where Woodley is naked. She's on top of the boat and she's naked. Though nothing explicit is directly shown, the camera gets close. There is no given reason for Woodley's nakedness, nor does it progress the story. She's just naked for 30 seconds. This along with other moments make Adrift somewhat disturbing. Aside from Adrift's few interesting long take scenes, this movie is a tiresome experience that can cause some audience's minds to drift somewhere else.

Verdict: Adrift is abysmal, and it's lifeless performances, bland screenplay, off-putting dialogue, disorienting pacing and bizarre scenes make it a tiresome and somewhat disturbing experience.

"You now have full Control again, Grey." Upgrade Review

Upgrade

4/5

Written and Directed by: Leigh Whannell

Rated: R

           Grey Trace is a human living in a world of machines. He accepts no cybernetic implants or the digital enhancements his neighbors have assimilated. His preferred form of transportation is a nonelectric car without navigational systems or automatic pilot. The only thing in this mechanical world that makes Grey elicit positive emotion is his wife, Asha Trace. She, however, will perish in an assassination, which will also cost Grey the ability to move his arms and legs. As a quadriplegic, Grey believes his life is over, until an experimental neural networking processor, Stem, is implanted into Grey's spine. While Stem gives Grey the ability to walk again, it also enhances other aspects of his life. Stem can help Grey find and eliminate the men who killed Asha.
          Leigh Whannell's Upgrade is an incredible and foreboding tale. The most immediate aspect Upgrade's viewers will latch onto are its performances. Logan Marshall-Green expertly embodies Grey Trace's humanity and moral imbalance. Grey's character is someone audiences can easily relate to, and Marshall-Green does an exceptional job playing this memorably naïve everyman. Grey is naïve, because he underestimates Stem's capabilities. Though Stem does not have physical form, their voice is supplied by Simon Maiden who offers a vocal performance that is both artificial and earnest. Maiden's performance makes sure audiences know Stem is not alive, but it makes audiences question whether Stem is inanimate. Accompanying these two remarkable performers are Betty Gabriel as the intrepid and righteous Detective Cortez, Benedict Hardie as the conniving and bloodthirsty Fisk and Harrison Gilbertson as Stem's intelligent creator Eron.
           Whannell's control of this film is uncanny. This is strongly illustrated through his screenplay and his direction. The dialogue between characters illustrates their relationships and exemplifies their goals and motivations. The dialogue between characters also makes each human and nonhuman within this film feel real and tangible. Every character's success, malfunction or termination is felt and may even be internalized by some audience members. Upgrade's screenplay is full of tragedy, drama, comedy and palpability, which is only greater exude through this film's extraordinary direction.
          Whannell's execution of his film is unpredictable and awe-inspiring. Each frame contains energy, and this energy is always sufficiently used. Upgrade's most remarkable scenes are its euphoric action sequences, where Grey gives Stem his permission to have full control over Grey's body. Stem then quickly dispatches all of Grey's opponents using Grey's body. During these scenes, the camera is moved and angled so as to make Grey look as if he is always standing motionless. Despite that Grey's body is performing efficiently executed stunt work, these scenes visually show Grey as being a bystander in his own battle, unable to take down his opponent without Stem. This is also illustrated through Marshall-Green's performance clearly depicting his shock at his body's movements and Stem's control. These combative and violent scenes give audiences a rare exhilaration they do not usually feel.
          This adrenaline rush audience members may experience would continue, if not for how each bloody confrontation ends. Stem sees people as technology that can be broken, and so Stem does not hesitate nor does Stem worry about murder. The murders exhibited within this film are gruesome. They are designed to terrify audience members and make them question their morality the same way Grey does. Along with this film's surgery scenes where humans are opened up like computers, it is not recommended that the easily squeamish enter this film unaware. The makeup and viscera exhibited in this film should not be underestimated, and viewers should take extreme caution before submitting themselves to Upgrade's experience. If audience members can dare to open their eyes and take in this film's violence, open their minds to this film's message on the importance of knowing who is in control and open their hearts to this film's depiction of good and evil, then Upgrade's experience will linger in their minds long after the film finishes.

Verdict: Leigh Whannell's Upgrade is a foreboding tragedy about the importance of good and evil control illustrated through an incredible cast, an uncanny screenplay, euphoric direction and terrifying violence.

"If you come with us, you're in this Life for Good." Solo: A Star Wars Story Review

Solo

3/5

Directed by: Ron Howard

Rated: PG-13

          In the deepest far reaches of space only the most daring pilots fly. The infinite black skies are home to scoundrels, treacherous rogues and harsh environments. Ordinary pilots face death against these almost unnavigable dangers. Anyone with a brain stem would never voyage into the galaxy's deadly outer rim, if it were not for the valuable resources found there and the crime lords who will pay to get them. Though the rewards from lawlessly venturing in the outer rim are plenty, the risk of losing life, limb, your ship and not getting paid is high. The odds are never in anyone's favor, but there's a pilot who doesn't want to hear them. He's going to become the best pilot in the galaxy, and his name is Han Solo.
           Solo is the next exciting adventure in the Star Wars universe. The titular role is played surprisingly well by Alden Ehrenreich. He offers charm and charisma consistently showing faint glimmers of his future self, while also giving attention and weight to his current self. Along Solo's journey he encounters a gallery of different characters. Joonas Suotamo plays Solo's Wookie companion, Chewbacca, with a level of humor and heart crammed into one walking carpet. Emilia Clarke plays Solo's dear friend Qi'ra, making the character appear interesting but somewhat flat. Woody Harrelson plays the outlaw Beckett, in a careless manner making it possible for some audience members to forget he is in the film. Paul Bettany offers an intriguing portrayal of crime lord Dryden Vos, but his lack of depth and control of a room mark him as a lesser threat. Donald Glover plays the galaxy's most charming swindler, Lando Calrissian, but his performance seems to ride by on sweet looks, insatiable coolness and looking like he knows what he's doing. Although Solo is lead by an alright cast, only performers playing characters attached to future versions in the Star Wars saga give iconic performances, because they adopt their future characters' traits.

          The best this movie has to offer is its action sequences. Though the pacing and dialogue between these scenes can drag, Solo's adventurous aspects are adrenaline pumping. Shootouts between the film's heroes and their foes are full of energy and punch. Gambling matches between unlikely allies are fast paced and fascinating. Better than all of these are Solo's chase scenes. From speeder cars racing through the streets to one really lucky spaceship soaring through a storm of trouble, Solo's chase scenes deliver nonstop thrills, laughs and excitement, rivaling those from other Star Wars films. As Solo is aware audiences will not worry whether Solo dies or not, as his character is alive in later Star Wars films, the film makes up for this, by placing Solo in impossible danger. As audience members not ask, "Will he survive?" the film makes them ask, "How will he survive?" This not only makes Solo's action scenes memorable, but also makes them worth the price of admission.
           While Solo is an adventurous romp audiences can enjoy on its own, it is apart of the larger Star Wars saga. Any entry in this massive series will naturally be met with expectations. In comparison with previous Star Wars films, Solo's experience has good pay off for fans, including dialogue, sight gags and running jokes similar to those found in the other Star Wars films. Solo even features a high spirited original score from John Powell echoing John William's grand orchestral style. Solo also includes an original composition from John Williams that stands alongside his other great themes. Unlike other Star Wars films, Solo does not have the depth or story richness its counterparts do. While the film's story does a good job leading into its next action sequence, the parts in between feel slow and repetitive. Couple this with an ending stunning and confusing audience members, and it adds up to Solo being an unimpactful film. If Solo was not a Star Wars film, audiences would not consider watching it. Since Solo is lucky enough to be apart of the Star Wars saga, it has the budget to create its incredible action set pieces and it has the familiarity that any fan of the franchise will be able to jump into it and can have a blast experiencing it in theatres.

Verdict: Solo is a fun adventurous romp with well intentioned characters, being placed in daring situations and dangerous chase scenes, altogether offering pay off and possible enjoyment for Star Wars fans.