Movie reviews: ‘Our Brand is Crisis,’ ‘Scout’s Guide to the Zombie Apocalypse’

Sandra Bullock in "Our Brand is Crisis" (photo -- Warner Bros.)

“Our Brand is Crisis” (R) 2 1/2 stars (out of four)

A terrible title is not the only thing wrong with “Our Brand is Crisis,” a political dramedy based on a 2005 documentary of the same name. Starring a stunning Sandra Bullock and talented cast of co-stars including Billy Bob Thornton, Anthony Mackie and Zoe Kazan, the film — about dueling political strategists in the 2002 Bolivian presidential race — will likely only appeal to political junkies that is if they aren’t already burnt out by America’s exhausting race for the White House. Ultimately, though, the film is hurt by its own identity crisis.

Bullock stars as “Calamity” Jane Bodine, a whip-smart former political strategist coaxed out of retirement to help former Bolivian President-turned Sen. Pedro Gallo (Joaquim de Almeida), who is struggling in the polls to regain his old job. With only 90 days to go before the election, Bodine must find a way to boost Gallo 30 points in the polls – that is if she can find a way to out-maneuver her old nemesis Pat Candy (Billy Bob Thornton), who is helping the election’s frontrunner.

Bullock’s talents as both a comedic and serious actress are put to good use in “Our Brand is Crisis,” although the film (produced by George Clooney and Grant Heslov) is too silly sometimes for its own good. And therein lies the biggest problem of “Our Brand is Crisis” – looking for a platform for Gallo to run on, Jane stresses how the politico should stress the “crisis” the country is going through, so suddenly, the madcap antics of the strategist feel awkward when the film gets serious. On top of that, Jane, as it turns out, has some complex issues plaguing her psyche, which are revealed as the film unfolds.

Character issues aside, “Our Brand is Crisis” is ultimately about politics, and politics being politics, the candidates eventually show their true colors and reveal themselves as slimy politicians that steal and lie; and the strategists do their best to manipulate the outcome of the election with their dirty, underhanded tricks. If anything, the film is a disheartening, defeating peek behind-the-curtain of the political system as a whole, and sadly, the world is just as scummy as you would expect it to be. There’s a crisis alright, and it starts with the people constituents put in charge to prevent them from happening in the first place.

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In brief:

“Scouts Guide to the Zombie Apocalypse” (R) 2 1/2 stars (out of four)

In a film and television world over-saturated with the zombie genre, it shouldn’t come as a big surprise that the gory comedy “Scouts Guide to the Zombie Apocalypse” is death warmed over. A cross between the clever horror classic “Shaun of the Dead” and the amped-up zombie sensibilities of “World War Z,” “Scouts Guide” starts off in a deep grave before the film miraculously climbs out for a wild and inventive final half. Tye Sheridan (“Mud”) is sharp as the leader of a trio of teen Boy Scouts who put their skills to expert use when a zombie epidemic takes over a small town, and Sarah Dumont adds some edge to the film as an ass-kicking cocktail waitress who joins the teens in their plight for survival. David Koechner and Cloris Leachman are hilarious in their supporting roles as a trooper leader and neighbor lady, respectively. In the end, “Scout’s Guide” really works best for millennials and older teens, as the humor in the movie is squarely aimed at the key demographic.

Reviews: ‘Rock the Kasbah,’ ‘The Last Witch Hunter’

Bill Murray in 'Rock the Kasbah' (photo -- Open Road Films)

By Tim Lammers

“Rock the Kasbah” (R) 3 stars (out of 4)

Bill Murray once again plays a role tailor-made to his keen comic sensibilities in “Rock the Kasbah,” an amusing tale about a over-the-hill rock tour manager who’s seeking redemption in the unlikeliest of places. Murray is great as usual, even though the plot of the film – grounded in the plight of a real Afghan woman – is hopelessly contrived.

Murray stars as Richie Lanz, who finds a silver lining in a very dark cloud over his doomed music management career when he gets an invite to bring his last client, Ronnie (Zooey Deschanel) to play a USO tour in Afghanistan. Once Richie and Ronnie get there, though, they find bombs going off and talk of getting body armor if they want to stay safe. Freaking out, Ronnie steals Richie’s money and passport and secures a trip to Dubai, leaving the down-on-his-luck tour manager stranded in Kabul with no means of getting out anytime soon.

Richie’s fortunes change, though, when he meets a couple of shady American arms dealers (Scott Caan and Danny McBride), who send him on a mission to sell ammunition to a tribal leader who is trying to protect his people from rivals. By happenstance, Richie stumbles across the tribal leader’s daughter, Salima (Leem Lubany) singing in a cave in the desert, where she dreams of being on the country’s televised singing competition “Afghan Star.” Richie wants to get Salima there, but he’s going to have to be creative because the country’s culture forbids women from singing and dancing in public.

While it’s not nearly as funny or poignant as Murray’s stellar dramedy “St. Vincent” from last year, “Rock the Kasbah,” ably directed by Barry Levinson, is still a good comedy that will please fans of the legendary funnyman. He’s aided by a fantastic supporting cast, including Kate Hudson as an enterprising American hooker building up a nest egg in Kabul, as well as Bruce Willis as a hard-nosed mercenary who helps Murray out of some serious jams. Lubany also shines as the would-be Afghan singing star, even though the plot comes off as highly implausible.

Thankfully avoiding any sort of political commentary (which you would expect given the film’s Afghan war setting) “Rock the Kasbah” works, if anything, as a rock ‘n’ roll fantasy. You just know Murray would never survive these sorts of circumstances in the real world, but as Richie Lanz, he rocks the house.

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“The Last Witch Hunter” (PG-13) 1 1/2 stars (out of 4)
Fresh off the blistering success of “Furious 7,” Vin Diesel’s latest star vehicle, the supernatural action adventure “The Last Witch Hunter,” hits the wall even before the movie has a chance to get revved up.

Diesel stars as Kaulder, a medieval axe and sword slinger who is cursed to live forever by a powerful witch in the 13th century in the film’s prologue. The bulk of the movie, though, is set 800 years later, when a long-dormant coven made up of the most evil witches and warlocks threaten to emerge and wreak havoc on the world, and only Kaulder and a pair of priests (the always great Michael Caine and Elijah Wood) can stop them.

Without the type of insane “Furious” car stunts and action sequences to distract the audience, Diesel’s limited acting range becomes painfully obvious in “The Last Witch Hunter.” While he appears to be an affable actor, Diesel’s delivery in “The Last Witch Hunter” is horribly a one-note performance, and the run-of-the-mill creature effects that creep up throughout the film aren’t much better.

In a movie that has no sense of humor about itself (a key to the “Furious” franchise’s success), Diesel, for the lack of better words, is running on fumes. He needs to get back on the “Furious” trek – and fast – if his career is to going to last.

Interview: Director Jon M. Chu talks ‘Jem and the Holograms’

Aubrey Peeples and Jon M Chu on the set of 'Jem and the Holograms' (photo -- Universal Pictures)

By Tim Lammers

Jon M. Chu has always been a resourceful filmmaker, dating back to his childhood when he shot mini-movies in his backyard with G.I. Joe action figures — experience that became particularly helpful when he made “G.I. Joe: Retaliation” a couple years back.

Fortunately, the “Jem and the Holograms” director also had sisters with “Jem” dolls, that yes, were featured in his movie mix. Talk about a guy with foresight.

“Since I was surrounded by sisters, we had a lot of ‘Jem’ dolls in the household. We had a giant bucket of toys and we would always fight over them,” Chu told me, laughing, in a phone conversation Thursday. “Jem was definitely included in the movies, out in the dirt with G.I. Joes. Those dolls got really, really dirty, but there was some glitter around, too.”

Opening in theaters nationwide on Friday, Chu’s feature film version of “Jem and the Holograms” — a live-action adaptation of the Hasbro animated TV series/toy line — stars Aubrey Peeples as Jerrica, a small-town California teen who in a month’s time is catapulted from an underground Internet video sensation to a global rock star.

Signed by a conniving music agent, Erica Raymond (Juliette Lewis), Jerrica, marketed as a mysterious girl named Jem, quickly gets caught up in the pitfalls of fame, and her sisters/fellow band mates Kimber (Stefanie Scott), Shana (Aurora Perrineau) and Aja (Hayley Kiyoko) become her biggest casualties on the way to the top.

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Clearly, Chu, 35, is not one to shy away from challenges, and his film resume validates that. He’s done everything from dance movies (“Step Up 2” and “Step Up 3D”), documentaries (“Justin Bieber: Never Say Never”) and of course, action adventure with “G.I. Joe: Retaliation.” Basically, he’s of the mind that any type of film genre is fair game.

“It’s so fun, but it’s also really scary,” Chu said. “By doing different types of films you learn about what you’re capable of doing and what you need to get better at, but I love that. I got into storytelling to be able to jump into different worlds and absorb myself in those worlds. When I did the ‘Step Up’ movies, I didn’t know a lot about dance — I had done some dance shooting but not in that world — so I absorbed myself in it and now people think I’m a dancer or a choreographer because of it.

“When I got into Justin Bieber’s film I didn’t know who Justin Bieber was but now I’m an expert,” Chu added with a laugh. “With ‘Jem,’ it was really fun to be able to take this beloved ’80s cartoon and try to translate it for a new generation 30 years later.”

Part of translation, Chu said, was to not throw viewers into the world of the plot of the animated series, but go back a bit further to examine how Jerrica was before “Jem and the Holograms” — and then introduce them to more familiar territory.

“In the ‘Jem and the Holograms’ cartoon there is a band called The Misfits that wants to destroy them, and not just in a band wanting to beat another band sort of way. They want to destroy them by trying to kill them,” Chu explained. “When you bring that to live-action, something like that just seems crazy and you just can’t throw that on an audience (new to the story). So we knew from the start, ‘Let’s get there. Let’s just take our time and build the story.”

To build it, Chu said, you have to start with a strong protagonist. “The No. 1 thing in a movie is that you have a great character that you can root for, cry for and celebrate with, so we changed our focus to make it less about ‘Jem and the Holograms’ and make this more about Jerrica,” Chu said. “We’re looking at the girl behind it, sort of like ‘Batman Begins’ to ‘Jem and the Holograms.’

“Once we changed the focus, it freed us of sticking to the stuff of the ’80s, and helped us look at who this girl is now, and how she would become famous now; how she lives her life and express her identity now. That’s allowed us to make a great story and follow a great character,” Chu added. “We slowly but surely infuse the crazy world of ‘Jem and the Holograms’ in the story, but as the story gets crazier and crazier, you still have a person at the foundation of it that is a girl that you relate with and you know.”

Of course, to bring that vision to life, Chu needed a capable perform to not only act the part of Jerrica, but sing the songs of Jem — and he feels extremely fortunate to have found that person with “Nashville” series star Peeples. “I hadn’t watched a lot of ‘Nashville’ before making the film, so when she walked into audition room, I just went, ‘Whoa,'” Chu said of the 21-year-old actress. “She has everything. She sings and is an amazing actress, and outside of that, she lives a real analog life. She drives a VW Bug that almost got towed the day she auditioned for us. She was everything you would want Jerrica to be in a natural, real way … whether she knew it or not, she had an analog style about her that works in a digital movie.”

Movie reviews: ‘Steve Jobs,’ ‘Crimson Peak,’ ‘Bridge of Spies’

Michael Fassbender in 'Steve Jobs' (photo -- Universal)

By Tim Lammers

“Steve Jobs” (R) 3 1/2 stars (out of 4)

Michael Fassbender gives one of the year’s best performances in the title role in “Steve Jobs,” a fascinating look into the complex mind of the Apple Computers genius. Foregoing the traditional biopic format, director Danny Boyle successfully opts to tell Jobs’ story in three thrilling acts, each taking place before product launches of the Macintosh Computer in 1984, the NeXT black box in 1988 and the iMac in 1998.

Unlike the previous Apple co-founder biopic — the 2013 Aston Kutcher bomb “Jobs” — “Steve Jobs” pulls no punches when illustrating the Jobs’ scornful behavior.  Some of the most notable scenes chronicle his ugly child support battle with his ex-girlfriend Chrisann Brennan (Katherine Waterston), the public lambasting of co-founder Steve Wozniak (Seth Rogen, in a familiar feeling portrayal), and Macintosh co-designer Andy Hertzfeld (an excellent Michael Stuhlbarg); as well as an examination of his volatile relationship with Apple CEO John Sculley (the always great Jeff Daniels).

If it’s to be believed (Apple and Jobs’ widow have raised objections over the film), Jobs was hated by most everybody he worked with (the exception being his loyal marketing guru Joanna Hoffman, expertly played by Kate Winslet). The interesting thing is, Boyle, through Aaron Sorkin’s searing script, tries to examine just why Jobs was the way he was — mostly because he was a socially inept genius who simply thought about things on an entirely different plane.

There’s a telling line early in the film where Jobs tells Sculley something to the effect of, “I like you John — you’re the only one who sees the world the same way I do”; to which Sculley responds, “No one sees the world the way you do, Steve.” In a way, it tells us that Jobs’ prickish behavior wasn’t necessarily born out of hatred, but rather his frustration that people simply don’t understand him. There’s no question Steve Jobs was one of a kind, and so is this movie.

“Crimson Peak” (R) 2 1/2 stars (out of four)

Gifted filmmaker Guillermo Del Toro sadly falls short of delivering on his film’s promise with “Crimson Peak,” a beautifully constructed and admirably acted Gothic horror thriller that is hobbled by its predictable story-line.

Mia Wasikowska (“Alice in Wonderland”) stars as Edith Cushing, an aspiring American Gothic romance novelist in the late 1800s who is swept off her feet by Thomas Sharpe (Tom Hiddleston), a charismatic British aristocrat. After marrying Thomas, Edith moves to her husband’s native England along with his suspicious sister, Lucille (a creepy Jessica Chastain) — only to discover their family’s mansion houses gruesome secrets, and there is no way to escape.

There’s no question Del Toro has an incredible handle in filmmaking, as he artfully brings back to life the types of settings and atmosphere that gave the Hammer horror films of the 1960s and ’70s a special brand of eeriness (plus, Edith Cushing’s surname is an obvious ode to late, great Hammer star Peter Cushing). While at its heart “Crimson Peak” is a haunted housed thriller (Del Toro’s ghosts are as creatively fashioned as anything you’ve seen in his previous thrillers), the script feels as vacant as the sprawling Sharpe mansion. True, the scenes with the specters of Edith’s, Thomas’ and Lucille’s haunted pasts are thrilling, but ultimately, the motivation of the siblings and their lurid back story come as no big surprise when they’re finally revealed.

Ultimately, “Crimson Peak” isn’t a bad movie; just a disappointing one that fails to meet its potential given the level of talent involved.

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“Bridge of Spies” (PG-13) 2 1/2 stars (out of four)

“Bridge of Spies” has almost everything you would hope for out of a Steven Spielberg film: It transports you back to an important set of events in U.S. history, while being beautifully photographed and having a cast of colorful, convincing characters, including an Oscar-worthy performance by Mark Rylance. The theater veteran’s performance is so strong in fact, that it can’t help but highlight the film’s glaring weakness, involving someone in the cast that you’d least expect.

Tom Hanks stars as James B. Donovan, an idealistic New York City attorney tasked by the government to represent Rudolf Abel (Rylance) after he is detained in the city and accused of being a spy at the height of the Cold War. Asked to go through the formalities for a quick and speedy resolution — effectively, to put on a show so that no accusations could be levied saying that Abel didn’t have fair representation — Donovan instead represents the alleged spy in earnest. It’s a move that ultimately saves Abel’s life, and makes him a valuable asset for trade when an American pilot is shot down during a spy mission over East Germany.

Spielberg effectively presents “Bridge of Spies” in two acts: first, as it concerns the trial, and second, the exchange of spies with the Soviets in East Germany. For those looking for an intense spy thriller, you’ll only get it in the second act, and the thrills are limited at best. Action-wise, “Bridge of Spies” only has one scene of note, when the American pilot’s plane is shot-down in the enemy’s air space.

While “Bridge of Spies” has several strengths, the biggest problem with the film, honestly, is its leading man, as Hanks’ umpteenth turn as the good guy is starting to wear dangerously thin. There’s no doubt that Hanks can act, it just at this point feels like he playing the same type of role over and over again. It would have been interesting to see him take on Rylance’s role, which is played with brilliant ambiguity. Instead, we get another film where it feels like Hanks is just reading lines. In the wake of “Bridge of Spies,” somebody needs to infiltrate Hanks’ management and urge that the Oscar-winning actor start taking more risks. His career will be all the better for it.