Category Archives: Film

Movie review: Despite tired genre, ‘Double Tap’ welcome return to ‘Zombieland’

October 17, 2019 Tim Lammers Leave a comment

“Zombieland: Double Tap” (R)

Ten years after the inspired original, Woody Harrelson and his band of fellow zombie hunters are back with “Zombieland: Double Tap,” a sequel that is every bit as entertaining as the first “Zombieland” in terms of its comedy, but nearly is a dated concept when it comes to the listless zombie movie genre.

Just like cinema’s overwrought obsession with vampires with the “Twilight” movies that began just over a decade ago, “Double Tap” tries its best to put a spring into the steps of the walking dead — an effort that would have failed in the hands of lesser filmmakers and talented actors like Harrelson, Jesse Eisenberg, Abigail Breslin and Emma Stone, and new additions including Zoey Deutsch and Rosario Dawson as an Elvis-loving match for Tallahassee.

“Double Tap” picks up 10 years after the events of the original, where Tallahassee (Harrelson), Columbus (Eisenberg), Wichita (Stone) and Little Rock (Breslin) find themselves living safe and comfortably at the abandoned and well-stocked White House in Washington, D.C. And while Tallahassee and Columbus seem content with their cushy surroundings, sisters Wichita and Little Rock appear to be restless. Now coupled, Columbus wants to marry Wichita – an idea she’s not down with; and Little Rock feels a void in her life that could only be fulfilled by being with people her own age.

AUDIO: Hear Tim’s review of “Zombieland: Double Tap” with Tom Barnard on “The KQ Morning Show” on KQRS-FM. Segment is brought to you by Michael Bryant and Bradshaw & Bryant.

Ready to put themselves in harm’s way once again, the sisters hit the road, where they meet up with a peacenik hipster, Berkley (Avan Jogia), who strives to live in the utopia called Babylon. Little Rock loves the idea so much that she runs off with Berkley, giving Wichita no choice but to return to the White House to get Tallahassee and Columbus in a bid to find and rescue her little sister, and they’re joined by a bubble-headed blonde, Madison (Deutsch), for the ride.

Like the original, “Double Tap” is directed by Ruben Fleischer and co-written by Rhett Reese & Paul Wernick (the “Deadpool” movies), and team effortlessly brings the same smart and funny dialogue to the film, which is brilliantly realized by the always great Harrelson and the playfully wry Eisenberg. Deutsch adds an extra comedic punch as the ditzy Madison, a role that moviegoers will likely find hilarious or grating, depending on their tolerance for Valley Girl speak.

Naturally, the film is loaded with action and is punctuated by several gross-out zombie death moments, which are ultimately funny because they’re so outrageous. The big key to the success of the film is whether audiences who are over the whole zombie craze will want to revisit genre, which, as demonstrated by the dwindling ratings of AMC’s “The Walking Dead,” has almost completely run its course.

The filmmakers at least try to change things up by making the zombies smarter and more aggressive in “Double Tap,” but even that angle at this point feels all-too familiar. If it weren’t for the talent involved (also look for entertaining turns by Luke Wilson and Thomas Middleditch), this “Zombieland” would definitely feel (double) tapped out. The only possible thing better at this point would be a sequel to Simon Pegg and Nick Frost’s “Shaun of the Dead.”

Lammometer 7 (out of 10)

Tim Lammers reviews movies weekly for “The KQ92 Morning Show” on KQRS-FM, “Paul and Jordana” on WCCO Radio, “It Matters with Kelly Cordes on WJON-AM, KLZZ-FM, “The Tom Barnard Podcast” and “The BS Show” with Bob Sansevere, and reviews streaming programming on WCCO Radio’s “Paul and Jordana” as well. On TV, Tim has made hundreds of guest appearances on “KARE 11 News at 11” (NBC).

Tim Burton Book 2 — Click book cover for info on how to buy!

Film, Movie Reviews

Review: Will Smith is back (and then some) with impressive ‘Gemini Man’

October 10, 2019 Tim Lammers Leave a comment

“Gemini Man” (PG-13)

Following the smashing success of Walt Disney’s “Aladdin,” where he got to play Genie in both magical and human form, Will Smith is once again getting the best of both movie worlds in “Gemini Man,” an exciting sci-fi action film where the 51-year-old Will Smith faces off against his younger, “Fresh Prince”-era self to impressive effect.

Smith stars as Henry Brogan, a tired and weary military-trained sniper who after more than 70 kills has decided to call it quits. But instead of living out the rest of his days on a fishing boat, Henry comes into crucial, classified information about his latest kill that attracts the attention of a cutting-edge military contractor led by his former commander and combat trainer, Clay Veris (Clive Owen), who orders a hit on his former protégé.

AUDIO: Hear Tim’s review of “Gemini Man” with Tom Barnard on “The KQ Morning Show” on KQRS-FM. Segment is brought to you by Michael Bryant and Bradshaw & Bryant.

The problem is, Henry is so skilled at what he does that Clay decides the only person who can outsmart Henry is himself, so he unleashes a clone of the former solider who is 25 years younger. Having raised the clone, Clay has dubbed Henry’s clone “Junior,” and taught him to exceed the skills that the older Henry has already mastered. There’s an X-factor though: Clay has raised a young man devoid of emotional damage and fear that has wracked Henry’s brain over the years, and he believes that the lack of such preoccupations will give Junior the leg-up in completing his deadly mission of killing his older self.

“Gemini Man” in less capable hands could have been reduced to a one-trick pony of a movie with the clone element, but thanks to the expert director Oscar winner Ang Lee, the film’s jaw-dropping, de-aging visual effects make for merely one of the many stunning elements that help the film rise above your standard sci-fi action fare.

AUDIO: Hear Tim’s review of “Gemini Man” with Paul Douglas and Jordana Green on “Paul and Jordana” on WCCO-AM. Segment is brought to you by Michael Bryant and Bradshaw & Bryant.

Lee’s direction is thrilling from the very start, as Smith teams with colleagues both old (Benedict Wong) and new (Mary Elizabeth Winstead) to stay one step ahead of hit squads and eventually, Junior, as they try to unravel the mystery behind the assassination attempt. Particularly impressive is the ingenuity that Lee brings to the film’s chase scenes, particularly a chase scene on motorcycles that employs invent shots (although the way Will survives the sequence is laughable). The film works on a cerebral level, too, as Henry literally stares mortality in the face as he battles head-to-head with Junior.

Even though “Gemini Man” likely won’t restore Will Smith to the sort of “King of Hollywood” status he enjoyed in the “Independence Day” and early “Men in Black” era of 20-plus years ago, there’s no question that the film will go a long way in keeping his career on track after the success of “Aladdin.” But as Genie, as entertaining as he was, Will was a supporting player. In “Gemini Man,” Will is back as the lead and then some.

Lammometer: 7.5 (out of 10)

Tim Lammers reviews movies weekly for “The KQ92 Morning Show,” WCCO Radio, WJON-AM, KLZZ-FM, “The Tom Barnard Podcast” and “The BS Show” with Bob Sansevere. On TV, Tim has made hundreds of guest appearances on “KARE 11 News at 11” (NBC).

Film, Movie Reviews

Movie review: Phoenix brilliant in flawed but riveting ‘Joker’

October 4, 2019 Tim Lammers Leave a comment

“Joker” (R)

Joaquin Phoenix gives a masterful performance in an otherwise flawed but still riveting movie in “Joker,” writer-director Todd Phillips’ heady examination of origins of the Clown Prince of Crime in what appears to be – at least at this point – a standalone movie in the DC Comics movie universe. Of course, the iconic Batman arch-nemesis originated in a comic book, but there’s no question Phillips wanted to take the character in the direction of the gritty, 1970s and ‘80s crime films by director Martin Scorsese, specifically “Taxi Driver” and “The King of Comedy.”

Phoenix mentally and physically transforms himself into Arthur Fleck, an extreme outcast and loner who works as a party clown and has grand aspirations of becoming a stand-up comedian. Living a meager existence with his damaged mother (Frances Conroy), Arthur is a man living on the edge of a mental breakdown, and after a couple brutal beatdowns by bullies, snaps with repercussions that he’ll never be able to recover from.

AUDIO: Hear Tim’s review of “Joker” with Tom Barnard on “The KQ Morning Show” on KQRS-FM. Segment is brought to you by Michael Bryant and Bradshaw & Bryant.

Forging a new identity as a murderer who masquerades in clown makeup, Arthur’s murderous ways inspires the malcontents of Gotham City to rise up against the rich, where suddenly powerful citizens like Thomas Wayne (Brett Cullen) become the target of hatred. Making matters worse, Arthur’s idol, talk show host Murray Franklin (Robert De Niro), crushes the fragile comedian wannabe when he mocks his stand-up talents on the air. Because the segment was so popular, though, Murray invites Arthur to appear on the show, marking Arthur’s complete transformation into Joker.

“Joker” without question takes a deeper dive into the character than we’ve ever seen on film, and it’s a blessing Phillips got somebody as enigmatic and talented as Phoenix to take on the ambitious role. With the edge taken off the challenge of being the first person to assume the role after legendary performance of Heath Ledger (Jared Leto was the unfortunate soul to do that with “Suicide Squad”), Phoenix clearly isn’t trying to outdo Ledger in Christopher Nolan’s “The Dark Knight” (or for that matter, the brilliant Jack Nicholson in Tim Burton’s classic 1989 “Batman” film), but make the role his own. His uncontrollable laughter (passed off as a medical condition) in “Joker” is chilling (and yes, somewhat grating), but his subtle behavior and the way he contorts his body are the attributes that make the ultra-intense performance complete.

While Phillips clearly creates a new back story for the main character (including a major plot twist that will have purists buzzing), “Joker” could still be considered a part of the DC canon. Not only does the action take place in Gotham pre-Batman, the inclusion of Thomas Wayne in the plot, as well as a young Bruce Wayne (Dante Pereira-Olson), eventually takes the story down the path readers associate with the character of Joker. If the story were to continue, it could easily turn into the classic confrontation of Batman vs. Joker; something Phillips has insisted will not happen, despite director Matt Reeves’ new version of the Caped Crusader called “The Batman” (starring Robert Pattinson).

AUDIO: Hear Tim’s review of “Joker” with Paul Douglas and guest host Mike Max on “Paul and Jordana” on WCCO-AM. Segment is brought to you by Michael Bryant and Bradshaw & Bryant.

While “Joker” populates the Gotham-centric story with Phoenix’s brilliance and solid performances from the likes of De Niro and Zazie Beetz (as Arthur’s neighbor and object of his desire), it’s far from a perfect film. The set-up lumbers along until the point where Arthurs is provided the tool that will lead to his self-destruction, and in-between, a huge plot device meant to be a twist screams predictability. Still, there’s no denying the overwhelming power of the third act, which despite the fact that you can see what’s coming, is a shocking piece of cinema, nonetheless. It’s here that fear in the news media about the film’s excessive violence finally presents itself, and it leaves you with a gut-sickening feeling long after you leave the theater. For all the different ways the character has been presented to audiences before, there’s no doubt that this “Joker” is no laughing matter.

Lammometer: 7.5 (out of 10)

Film, Movie Reviews

Movie review: With new ‘Rambo,’ Stallone doesn’t save best for last (blood)

September 26, 2019 Tim Lammers Leave a comment

“Rambo: Last Blood” (R)

Action star Sylvester Stallone is back — presumably for the fifth and final time — as former Green Beret-turned-mercenary John Rambo in “Rambo: Last Blood,” an ultra-violent revenge thriller that does nothing to add on to the Rambo lore apart from finding new and inventive ways for the indestructible screen hero to dispatch the bad guys.

Rambo starts “Last Blood” peacefully, as a rancher living in a southwestern town on the Mexican border whose biggest concern is the well-being of his niece, Gabriella (Yvette Monreal), a grown teenager getting ready to go off to college. Gabriella’s plans change, though, when a sketchy friend claims to have found the teen’s estranged father in Mexico, leading the naive girl into a trap of human traffickers.

AUDIO: Hear Tim’s review of “Rambo: Last Blood” with Tom Barnard on “The KQ Morning Show” on KQRS-FM. Segment is brought to you by Michael Bryant and Bradshaw & Bryant.

Determined to save Gabriella at any cost, Rambo crosses the border and confronts the traffickers, who brutally prove to him that they have no regard for human life. When Rambo exacts his revenge on the traffickers, they decided to take the fight to former soldier at his ranch, which the former military man has been meticulously prepared for battle.

“Rambo: Last Blood” feels like a combination of three movie series — “John Wick,” “Taken” and naturally, the previous “Rambo” films. And while the “John Wick” and “Taken” films mostly have positive outcomes and a sense of humor (well, at least “John Wick”), there’s no light at the end of the tunnel for Rambo. Since the film is rooted in a deep tragedy, there’s no way for the character to win, which ultimately makes for brutal, dark and deeply depressing movie. Sure, “Rambo” fans will delight in how Rambo gives the bad guys exactly what they have coming to them, but the story is paper think and does nothing to advance the story that began with 1982’s “First Blood” as a whole.

Whether there will be more “Rambo” after this or not is yet to be seen (and God forbid anybody utters the word “reboot”), but the end credits, which shows highlights from the “Rambo” series since the beginning, suggests Stallone is finally ready to let the character go.

If that’s the case, it’s shame it couldn’t be done more gracefully like the way his Rocky Balboa grew and transitioned to a supporting character in the “Creed” films, but storywise, it’s hard to do something with character like Rambo’s since exacting revenge is his clearly his game. Anything other than that wouldn’t make any sense. If Stallone wants to keep the action career going, perhaps he should reassemble “The Expendables,” which was clearly the best film series he’s taken part in after “Rocky” and “Rambo.” At least those films give us something to laugh about while entertaining us with over-the-top action. “Rambo: Last Blood” just makes you squirm and feel terrible afterward.

Lammometer: 5 (out of 10)

DirectConversations.com

Category Archives: Film

Movie review: Despite tired genre, ‘Double Tap’ welcome return to ‘Zombieland’

Review: Will Smith is back (and then some) with impressive ‘Gemini Man’

Movie review: Phoenix brilliant in flawed but riveting ‘Joker’

Movie review: With new ‘Rambo,’ Stallone doesn’t save best for last (blood)

Original Interviews, Reviews & More By Tim Lammers