Kingsman

Good news everyone: I just came back from seeing the new Kingsman movie, so today I will review both of the movies. First, let’s take a look at “Kingsman: The Secret Service,” released in 2015. Peter Travers started his review by saying, “As sadistic toys go, I prefer the spy gadgets Harry Hart (Colin Firth) unleashes in Kingsman: The Secret Service to anything Christian Grey brings out of his room of pain in Fifty Shades of Grey. But, hey, that's just me. Caught between straight-up James Bond and the Austin Powers parody version, Kingsman is a high-octane combo of action and comedy that breathes sweet and surreal new life into the big-screen spy game where Bond meets Jason Bourne and Jack Bauer.” Adapted from Mark Millar and Dave Gibbons’ 2012 comic book series and directed by Matthew Vaughn with the same anything-goes originality he brought to “Kick @$$,” “Kingsman” is all over the place, sometimes to its disadvantage. However, you won’t want to miss the surprises it brings in enjoyment.

In a role that fits him like an adapted suit, the great Colin Firth is everything you want in an international spy man. His smooth British agent Harry Hart, code-named Galahad, plays by the rules of a spy business, led by Arthur (Michael Caine), who names its agents after kings of the round table. Since Lancelot (Jack Davenport) died saving Galahad 17 years ago, Galahad decides to return the favor by enlisting Lance’s teenage son, Gary “Eggsy” Unwin (Taron Egerton), into the secret service. The problem is Eggsy is a thug, a street kid who looks like he wants to be arrested instead of the graceful locality of Kingsman, a show off tailoring shop on Saville Row that is the façade for the Secret Service.

Travers said, “Got that? Now add the posh young recruits that Eggsy must vie with to achieve a place at the table. My advice? Just jump into the action and go with it. That's what Vaughn does.” The beginning segment, a flashback, introduces Richmond Valentine, an affluent super-villain played to infinity and beyond by Samuel L. Jackson with a Mike Tyson lisp, but with an evil streak Goldfinger would desire. Valentine has a girl named Gazelle, played by Algerian dancer Sofia Boutella, whose prosthetic legs are equipped with blades Colonel Rosa Klebb would desire. Too much James Bond references for everybody? The movie is filled with them, including a cameo from an unrecognizable Mark Hamill and a exposition on Bond villains from Firth and Jackson. Travers credited, “Newbie Egerton holds his own with a cast of pros and I loved his twist on an 007 martini — "gin poured while glancing at an unopened bottle of vermouth." I could go on.” The movie does just that, with Vaughn and co-writer Jane Goldman throwing grenades into the plot every chance they have. Travers said, “The big set piece, and it's a wowzer, involves a church massacre provoked by lethal SIM cards that Valentine installs in cell phones.” Even when it stops making sense, “Kingsman” just keeps being a fun film.

“Kingsman: The Secret Service” is definitely a great homage to the James Bond franchise. If you love the James Bond movies and haven’t seen “Kingsman” yet, you should. You will have an enjoyable, fun time watching it. It was definitely one of the best films that was released in 2015.

Next up is “Kingsman: The Golden Circle,” which came out last Friday. The silly spy-parody is based on the 2012 comic book The Secret Service by Mark Millar and Dave Gibbons, with an all-star cast and intelligent but not really smart writing by director Matthew Vaughn and Jane Goldman. The sequel to the 2015 amazing and high grossing film, reprises the cast of Taron Egerton, Colin Firth, and director Matthew Vaughn. It also includes great location areas, so much Bond-like gadgets, amazing action scenes, a smooth but head-scratching script and a basic humor that’s not for everyone. It looks like a messy film that has a long runtime and has much cartoonish violence and a liking for silliness. Dennis Schwartz stated in his review, “But, if looking solely for escapist entertainment, it is amusing in spots.”

The former gangster turned secret spy, Eggsy appears outside of his tailor shop spy headquarters in London when he’s attacked by a Kingsman reject Charlie, played by Edward Holcroft, and his new cyborg arm. Their serious deadly fight continues in a taxi speeding through the night streets of London, as the song of the late Prince’s Let’s Go Crazy is playing at full volume. At first, Charlie is thought to have been murdered but survives over a computer glitch made by Eggsy, and we learn he is working for the uncontrolled boss of an ambitious international drug league.

 We also see Eggsy still mourning the loss of Harry, his mentor, and has become Harry’s Galahad in the “Kingsman” business, and he is now in the process of getting engaged to the Swedish princess Tilde, played by Hanna Alström. There are some funny moments as Eggsy eats with her royal parents (Lena Endre) and answers her father’s (the late Bjorn Grannath in his last role) insane questions by cheating, thanks to his fellow agent (Sophie Cookson). Everything gets distracted when that night a bomb lands on the Kingsman’s suit store headquarters and all the agents (Michael Gambon and Calvin Demba) are killed. The detection goes to the villain responsible for the international drug league called the Golden Circle run by the sycophantic, psychopath Poppy, played by Julianne Moore, who lives in a diner copy in a secluded hidden jungle complex filled with so many 1950s retro items and is heavily guarded by humans and robots. She plans to control all of the drug traffic on the planet by mixing the drugs with a deadly virus and she is the only one with the cure. What she wants from every world leader is drugs to be legalized and she wants to be chosen as the drug supplier for the world, and if this is not given she will allow everyone infected to die but if agreed then she will immediately give the antidote.

The remaining spies on Kingsman, Eggsy and the Q of the team Merlin, played by Mark Strong, see they do not have any weapons to go after the woman alone but figure out that in Kentucky there’s a spy organization called The Statesman that’s backed by a liquor operation and is similar to their business. In Kentucky, they meet the boss of the Statesman, Champ (Jeff Bridges), the team’s Q Ginger Ale (Halle Berry), the cocky modern lasso-swinging agent Whiskey (Pedro Pascal) and the mistake making agent Tequila (the amazing Channing Tatum). They also find out that Harry is with them and is now wearing an eye-patch, and he did not die after being shot in the eye but just lost his memory and has gone back to being a butterfly collector.

The film is well focused as a spoof on the “War on Drugs” and the good bankruptcy of the U.S. President, played by Bruce Greenwood, it can also be looked at as leaving us the political message to “just say no to drugs” or to legalize it so it can be sold as any keeping pace food as the more sensible solution to the drug problem.

Schwartz mentioned, “Noteworthy attention grabbing scenes feature a clownish Elton John, being a pretty sight in pink feathers and playing a red grand piano as a captive of Poppy, and a well-shot scene of an out of control cable car spinning down the snow covered Italian Alps.” A love scene has Eggsy in Glastonbury for the music festival putting a device “inside” Charlie’s girlfriend, played by Poppy Delevingne.

It’s the type of film you can hate or love, or just think of at it simply as a guilty pleasure.

However, I think this film was actually better than the first one. I know that this film hasn’t been well-received by critics, but I’m just a casual movie watcher. I thought this film had better action, better camera movements, better villain, and it was a lot of fun that was done in a very nice style. I understand this might be the same story, but it was bigger and better, but done with a lot more style. Definitely go to the theater to check it out and decide for yourself.

There’s also a possibility for a third movie with Dwayne “The Rock” Johnson as the villain and a possible spin-off, but we’ll just have to wait and see.

Alright everyone, stay tuned tomorrow for the finale of the 31 day marathon of “Halloween Month.”

Joseph: King of Dreams

Sensibly released during the Christmas and Hanukah exchanging of gifts, “Joseph: King of Dreams,” released in 2000, undeniably will be on the shelves forever. The first direct-to-video animated movie from DreamWorks, this is a follow-up – or, if you like to call, a prequel – to the other Bible animated masterpiece, “Prince of Egypt.” Joe Leydon stated in his review, “Unlike many similar small-screen sequels from Disney, however, “King of Dreams” has just as much cross-generational appeal as its predecessor, and doesn’t make the mistake of skewing primarily toward moppets.” In other words: This is family entertainment in the best meaning of the word, for many families will be ultimately thankful.

Leydon stated, “Fancifully embellishing Biblical narrative, “King of Dreams” takes a respectful but hardly reverential approach to dramatizing events described in the Book of Genesis. (To preempt possible criticism, pic begins by acknowledging “artistic and historic license has been taken.”)”

At the time according to screenwriters Eugenia Bostwick-Singer, Raymond Singer, Joe Stillman and Marshall Goldberg, Joseph (Ben Affleck), the favorite son of Judah (Mark Hamill) is sold into slavery by his jealous half-brothers (Tom Virtue, Steven Weber, Jeff Bennett, Jess Harnell (who also voiced Wakko from "Animaniacs") and Matt Levin), and taken from the fertile mountain of Canaan to faraway Egypt.

Sold to Potiphar (James Eckhouse), captain of the Pharaoh’s (Richard McGonagle) guard, Joseph proves to be a hard-working and capable servant. Unfortunately, Joseph also gets an eye from Zuleika, voiced by Judith Light, Potiphar’s skinny wife. When he refuses her romantic offers, she lies that results in putting him in jail. Joseph does survive – and succeed – through his truly tested belief in God, and his innate ability to interpret dreams.

Leydon said, “Although “King of Dreams” largely downplays the religious elements that loomed so large in “Prince of Egypt,” the vidpic stops far short of secularism. Indeed, the best of the songs by John Bucchino, “Better Than I” and “What Road Lies at Your Feet,” are unabashedly soaring anthems that accept and celebrate the divine. Both tunes have potential to become standards for both mainstream entertainers and Christian music performing artists.”

Directors Robert Ramirez and Rob LaDuca effortlessly combine a variety of animation styles, running the scale from Vincent Van Gogh-influenced dream scenes to computer-generated graphics in a pretentious nightmare.

Leydon credits, “Among the well-cast vocal talents, Ben Affleck makes a thoroughly persuasive and aptly compelling transition from feckless youth to wise adult as Joseph, while Jodi Benson (of “Little Mermaid” fame) hits the right notes of girlishness and seriousness as Asenath, Joseph’s eventual wife, who encourages her husband to forgive the trespasses of his half-brothers.”

Leydon goes on to say, “Chief among the extra features offered in the DVD edition of “Joseph: King of Dreams” is an “outtakes” section that will be of interest to movie buffs and animation aficionados who might wonder how pics evolve from the drawing-board stage.”

Leydon continues, “Co-directors provide storyboard illustrations and interesting commentary as they explain why they plotted, then discarded, a seriocomic depiction of the newly enslaved Joseph’s arrival in Egypt.” Ramirez and LaDuca picked a more serious way, heavily enhancing the final product of the scene that appears in the completed movie.

In the end, if you liked “Prince of Egypt,” then you should check this one out as well. I know this is a direct-to-video film, but it’s still a good one to see. It’s short, straight to the point, and actually tells the story in a quick, straightforward way. There is not filler but does add a lot of the major points that were in the Bible. Definitely see this one if you haven’t, I say it’s worth a watch.

Thank you for joining in on my second entry of “Religious Epic Month.” Stay tuned tomorrow for a review on two films that are equivalent to the James Bond series that I'm really looking forward to seeing.

Barabbas

Our next installment today is the 1962 classic, "Barabbas." What was the last thing that happened to the punished thief, Barabbas, which is stated in the Bible that he was spared from crucifixion by Pontius Pilate when he might have spared Jesus Christ? Bosley Crowther stated in his review, "That unresolved question is answered — suppositionally, at least — in a huge, turgid color film, "Barabbas," which came, appropriately, to the DeMille last night." 

Here is what happened to him, according to the film: He spend a long life in miserable slavery – and he still was put on a cross. 

Crowther stated, "During his years of cruel enslavement in a Sicilian sulphur mine, as a farm hand for a Roman consul and as a third-string gladiator in Rome, he was endlessly puzzled and troubled about the man who died in his stead." He kept trying to understand Christianity, the religion that the followers of Christ believed in, but he just couldn't understand it somehow. The rule of "love-thy-brother" was too deep for him. He still hadn't understood completely when he was crucified for having helped to set fire to Rome. 

This may feel like a strange and delicate fiction that looks like a three-hour film – and that it is, without a doubt, when you see how everything resolves. Crowther stated, "For what there is of simple beauty and possible symbolic point in "Pär Lagerkvist's haunting fable, upon which the film is based, either has been missed or is undeveloped in the uncertain script of Christopher Fry, and the spiritual subtlety of it has been buried under 10 tons of spectacle." 

Crowther goes on to say, "Now the man Barabbas, as played by Anthony Quinn, is but a great brute of a fellow who falls into and endures a succession of melodramatic adventures that are the raptures of a spectaclemaker's dreams." When he is captured in a fight with Roman soldiers (which is after he has seen Christ crucified, the evidence of the Resurrection and a girl, played by Silvana Mangano, stoned to death for worshipping Him), he is slaved in a mind, where the labor is long and tiring. Barabbas goes through this exile with amazing pain. 

Then, after the mine has exploded and he has come out with a friend, played by Vittorio Gassman, with much difficulty, he goes through another painful set of years as a draft horse on a field. Finally, enlisted as a gladiator, he goes through an entire period of training and fighting in the arena with thousands of participants or audience members. 

Anthony Quinn is an amazingly believable. He grunts and sweats and struggles with more believable vengeance and effort than any actor we could think of. And the difficult stuff is horrifying. The explosion of the mind and the gladiatorial fights are as bloody as we think of. The producer, Dino De Laurentiis, who made this film in Italy, did not waste expanse to match it, as much, with "Spartacus" and "Ben-Hur." Also, Richard Fleischer, the director, has, as Crowther states, "dipped a bit from those wells." 

However, there is no personal drama. Barabbas is just a huge fool, and no one else is really developed to give much interest or sympathy. Gassman as the mind friend and an early Christian does great in his role. Crowther said, "He makes a handsome suffering zealot, but he gets dumped like everyone else." Among those are Arthur Kennedy as Pontius Pilate, Mangano as the worship girl, Harry Andrews as the Apostle Peter and Jack Palance as a gladiatorial champ. 

Even before the intermission, interest and point are not in here. What's here is a long and massive flounder in a great deal of blood, sweat and pain. 

Despite all of this, "Barabbas" is a good epic to check out. This is a believable movie about a man who did not understand Christianity, as there must be a lot of people today that don't completely grasp it. If you have seen any of the others I have reviewed, don't miss this one. 

Stay tuned next week to see what I review to end "Religious Epic Month."

Ben-Hur

Next up in “Religious Epic Month” is the 1959 classic, “Ben-Hur.” This film won 11 Academy Awards including Best Picture after it came out. William Wyler directed this epic production with 350 speaking roles and over 50,000 extras. Frederic and MaryAnn Brussat said this in their review, “The long-awaited DVD contains the following special features: commentary by Charlton Heston; the new digitally remastered picture and final soundtrack; screen tests of the cast; the addition of the seldom-heard Overture and Entr'acte music by Miklos Rozsa; a behind-the-scenes documentary, Ben-Hur: The Making of an Epic; the original theatrical trailer; and an on-the-set-photo gallery featuring Wyler, producer Sam Zimbalist, cameraman Robert Surtees, and others.”

The film is told by events in the life of Christ starting with his birth in a stable where the three kings give their gifts and end with a marvelous healing after the crucifixion. The main theme of “Ben-Hur” is forgiveness. Brussat mentioned, “Henri J. M. Nouwen has written: "The only people we can really change are ourselves. Forgiving others is first and foremost to healing our hearts."” That’s true, but with a long process and a painful journey can be when a vengeful person has turned to stone!

Ben-Hur (Charlton Heston) is an affluent prince in Jerusalem when his childhood friend Messala (Stephen Boyd) returns as second-in-command with the Roman army in Palestine. This determined young man is a passionate believer in the Emperor and wants to make an impact on him by restoring law and order to the country. When Ben-Hur refuses to give him the names of Jews against the Roman rule, Messala ends the friendship.

When an accident happens during the welcome parade for the new governor, played by Mino Doro, Messala blames Ben-Hur and imprisons him into slavery. His mother (Martha Scott) and sister (Cathy O’Donnell) are placed in a dungeon. His loyal warden (Sam Jaffe) is beaten while his daughter, Esther (Haya Harareet), waits for her master to come back.

While walking through the desert, Ben-Hur and the other slaves reach Nazareth. There a nice and compassionate man gives the dehydrated Ben-Hur a cup of water that energizes his body and restores his soul. During his three years as an oarsman on Roman Ships, Ben-Hur’s want for revenge is what keeps him alive. After rescuing the captain, played by Jack Hawkins, of the ship, Ben-Hur is taken to Rome where he is a successful as a chariot racer. Tiberius, played by George Relph, adopts Ben-Hur as his son, but he decides to return to Jerusalem where he is reunited with Esther. Ben-Hur and Messala face off against one another in a thrilling chariot race in front of the Jewish people in games hosted by Pontius Pilate, played by Frank Thring. Afterwards, he returns the kindness of Jesus of Nazareth, played by Claude Heater, by offering him a cup of water as he is carrying the cross to Golgotha.

“Ben-Hur” is famous for its shows but it is most inspiring in the small moments. The harsh treatment of Jesus is really helpful – we never see his face. Perhaps the most believable scene is when we look over Jesus’ shoulder to the look on the face of a Roman soldier at the well in Nazareth – the man just steps back from his godly presence. Near the end of the film, Jesus being taken to the cross gives a powerful cure to Esther and everyone, and Ben-Hur’s vengeful heart begins to change.

Bear in mind: this film is really long. If you can sit through an over three hour movie, that’s actually a job well done. However, if you watch it in parts, like I did because I was exercising, then that is probably better. People might say this is boring and the chariot race is the only worth watching scene, but that’s wrong. You should see the whole movie.

Look out next week when we look at the next epic in “Religious Epic Month.”

Demetrius and the Gladiators

In "Demetrius and the Gladiators," released in 1954, which Twentieth Century-Fox has made in Cinema Scope and color as a sequel to its film version of "The Robe," Bosley Crowther said in his review, "the boys out on Pico Boulevard have cast off the wraps, as it were, and got right down to the business of making a good old-fashioned Roman circus film." 

The conflict of Christian faith versus pagan ruling, which was really the issue for discussion in most of the two hours of "The Robe," as Crowther states, "underlies the dramatic action in this sequel at the Roxy, to be sure, but the conflict between the two forces is expressed in more direct and muscular terms." 

Now the focus of Demetrius, "The Robe's" freed Christian slave, who – along with Caligula and Peter – is the only recurring character in this film, is, as Crowther said, "not of such paralyzing gravity that it keeps him from wading in, when occasion demands, and knocking tigers and gladiators all over the place. Nor is his spirituality so unswerving that he doesn't backslide just a bit when the young wife of Claudius vamps him and hauls him off to a villa by the sea." 

In all honesty, you have to credit Producer Frank Ross and Philip Dunne, the writer who made this film out of everything instead of "The Robe." It looks like they understood that religion may make people go to church, but it has to be more besides the action to get them in the seats. 

Crowther said, "And so they have millinered this saga along straight Cecil B. Devotional lines, which means stitching on equal cuttings of spectacle, action, sex and reverence." They have got Demetrius, reprised by Victor Mature, as a prisoner of the Romans and a selectee at the gladiator school. Crowther described, "This place, which has a strong resemblance to the training camp of the Chicago Bears, is presided over (of all people!) by the fellow who played Fatso in "From Here to Eternity."" It doesn't take long before Demetrius is not only taking abuse but also finding good reasons to do so, gracefully. 

At the same time, his holy resistance to Susan Hayward, who plays the wife of Barry Jones' stumbling Claudius, breaks eventually before the hissing passion of Hayward and a few jabs of circumstance. That's not until Michael Rennie, as Peter, arrives like an accountant and tells him that he needs to get himself together. 

Crowther said, "Meanwhile, Mr. Ross, Mr. Dunne and Director Delmer Daves have dropped in a vast lot of slamming and banging of gladiators, dancing by gauzy handmaidens, rolling around on the floor by assorted female entertainers and general raising of hob." Here and there, Jay Robinson, who didn't get tired of playing the role of Caligula, the evil emperor in "The Robe," makes the gracious effort to finish what he started in the same role. If we never see him again, we will not be sad. 

The description says that the film starts were "The Robe" left off. It does – and they've included a part of the Crucifixion part from the previous movie as a type of dream. Crowther said, "But that is the sum and substance of it." This one is not more like "The Robe," than either of them is like nature or Roman history. 

If you saw "The Robe" and you loved it, then definitely check this one out. It's actually a good sequel, which got more praise than "The Robe." If you find it, give it a watch, but make sure you have seen "The Robe" first. 

Look out next week for the next installment in "Religious Epic Month." 

War for the Planet of the Apes

Tonight, I finally got a chance to check out the latest "War for the Planet of the Apes" movie, which came out in July. Tonight, I will post my thoughts on it. 

The best thing about the restarted "Planet of the Apes" trilogy has always been the apes. Magnificent on a technical way and a dramatic one, these motion-capture animals – embodying intelligent, even caring chimpanzees, gorillas, orangutans and bonobos – dominate their human equals when it comes to emotional connection with the audience. They may not be people, but they are, in every respect of the meaning, completely realistic characters. 

Michael O'Sullivan stated in his review, "The title of the newest installment in the durable franchise, “War for the Planet of the Apes,” is something of a misnomer." Seeing how it takes place 15 years after the injection test that started the smart, talking ape colony – and at the peak of damage between these intellectually advanced apes and the more violent of the people who would imprison them – the movie doesn't have that many scenes of serious fighting than parts of quiet thinking and conversation. (Note: Not all of the apes can talk. Many still communicate with sign language. On the other end, several humans have lost their ability to talk because of a virus called the Simian Flu.) 

O'Sullivan said, "All this is explained, for newcomers to the saga, in a short preamble to the action of the new film, which begins with the apes ensconced in their fortified encampment in the deep woods of Northern California. Although the apes just want to be left alone, and there is a contingent of humans who are inclined to leave them in peace, there is an incursion by renegade human commandos." Their leader is a bellicose officer called the Colonel (Woody Harrelson), who murders the wife (Judy Greer) and son (Max Lloyd-Jones) of the apes' peace wanting leader Caesar, reprised by the great Andy Serkis, whose expressive, raspy vocal performance and physical miming controls the film. 

Obviously, this starts a rancor between Caesar and the Colonel, whose men gather and imprison many of the apes, for slave labor at the same time, just as they are moving camp to prevent any other murders. Among those imprisoned: Caesar and his only surviving son, the infant Cornelius, played by Devyn Dalton. 

O'Sullivan mentioned, "With Caesar out of the action, though not out of commission — despite being tied, seething, to a wooden structure that lends him the silhouette of a crucified, simian Jesus — the story shifts to the small band of apes still at large, plus a couple of newcomers." This group includes the amazingly smart elder Maurice the orangutan (Karin Konoval), a mute little human girl whose parents are gone (Amiah Miller) and a loquacious yet scared pessimistic escapee chimp who introduces himself as Bad Ape. O'Sullivan credited, "In this last role, Steve Zahn delivers a memorable turn, transcending a part that might otherwise have been used for little more than comic relief, and leaving viewers with a sense of genuine compassion." 

However, much of this connection can be credited to the actors – and CGI experts – who give life to the ape characters, credit should also be given to the storytelling abilities of director and co-writer Matt Reeves, who did an amazing job with the previous films. O'Sullivan said, "Along with returning writer Mark Bomback, Reeves spins a gripping, visually stunning and emotionally complex tale of otherness — one that examines, against its us-vs.-them subtext, not just what it means to be human, but also humane." 

"War for the Planet of the Apes" may have the look of an action film, but it has the heart of a powerful drama and the intelligence of a political flick. 

This is, hands down, the best of the rebooted Apes trilogy. If you haven't seen this yet, see it if it's still playing in a theater near you. I think it's best to leave it off with this film and not make anymore, seeing how I'm not hearing any talks of another movie. Besides, this series is all about Caesar, so I don't see how they can continue after this film. You'll know what I mean after you see this film. I would say this is the best Apes film since the original. 

Thanks for joining in today, stay tuned this coming Friday for the next installment of "Religious Epics Month."