All posts by Tim Lammers

Interview: Director Christopher McQuarrie talks ‘Rogue Nation’

Acclaimed filmmaker Christopher McQuarrie has officially worked on four projects with actor-filmmaker Tom Cruise, from writing “Valkyrie” and “Edge of Tomorrow,” to directing the action superstar on “Jack Reacher.”

Yet no matter how convicted Cruise was on those projects, McQuarrie said there was something extra special watching Cruise come to life as Ethan Hunt in their latest collaboration, “Mission: Impossible – Rogue Nation,” and proving that the life of a legendary super-spy isn’t as perfect as you would expect.

“What was especially great in this one was Tom’s ability and his willingness to not only to have fun with himself, but with the character,” McQuarrie told me in a recent phone conversation. “It was fun to direct Tom in a scene where he was supposed to jump over the hood of a BMW. Your expectation is that it’s going to be this movie star hood-slide, but instead, he trips and takes a face-plant on the hood. That part was improvised. He said, ‘I got something, just roll the camera,’ and he did this great sight gag.”

Photos: Paranount Pictures

New on Blu-ray and DVD on Tuesday (Paramount Home Media Distribution), Cruise again embodies Hunt, a rogue agent of the Impossible Mission Force (IMF) and bane of CIA honcho Hunley’s (Alec Baldwin) existence. Tired of the destruction Hunt continually leaves in his wake, Hunley finally manages to convince the government to absorb — and effectively, abolish — the IMF program. Apart from his past misgivings, Hunley is also fed up with Hunt’s obsession with the terrorist organization known as “The Syndicate” — a group that the CIA claims is a product of Hunt’s (Cruise) imagination.

However, a deadly encounter with The Syndicate’s head (Sean Harris) confirms Hunt’s suspicions that the group is indeed for real, and he needs to enlist the handful of his IMF colleagues (Simon Pegg, Jeremy Renner and Ving Rhames) to bring the group down. The situation is so desperate that Hunt is forced to take a leap of faith and trust Ilsa Faust (Rebecca Ferguson), a Syndicate agent who for reasons unexplained, helps him escape torture and certain death at the hands of her employer.

“Rogue Nation,” like the previous “Mission: Impossible” installments, is chock-full of death-defying stunts, not the least of which Cruise’s heart-pounding scene as he clings to the outside of a cargo plane. Despite all of the planning that went into the scene, McQuarrie doesn’t deny that it’s the stuff nightmares are made of, especially for the guy directing the film.

“His falling off the plane was actually the least of my concerns,” McQuarrie said. “It was the debris on the runway and potential bird strikes that made me worry about him being torn off of the plane rather than falling. We realized as we got closer and closer to that stunt that there was really nothing we could do about it. You were really doing something that had never been done before, and you had to go with a ‘Let’s see what happens’ approach. It was pretty terrifying.”

The interesting thing about the shot is that the cat was let out of bag early about it. Not only was the sequence heavily featured in the film’s trailer and TV spots, it was depicted on the film’s theatrical poster. Because of that, McQuarrie used the scene very early in the film, and surprised many viewers in the process.

“We knew instinctively that it was the right thing to do to put the scene where we did,” said McQuarrie, the Oscar-winning screenwriter of “The Usual Suspects.” “If we built the whole movie about that shot and put it at the end, it simply wouldn’t be fresh or satisfying.”

Perhaps one of the freshest surprises to come out of “Rogue Nation” is Ferguson, a Swedish actress relatively new to the Hollywood film scene. McQuarrie, who will be back with Cruise for yet another “Mission: Impossible” film in 2017, said he hopes Ferguson will be a part of it.

“Since I had such a great experience working with Rebecca, I would love, love, love to work with her again,” McQuarrie enthused.

Then, the writer-director suddenly remembered how “Rogue Nation” effectively catapulted the actress to superstardom.

“Unfortunately, everybody else in the world loves her as much as I do now. I only hope she’s available,” the director added with a laugh. “I just hope she returns my calls.”

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Movie review: ‘In the Heart of the Sea’

'In the Heart of the Sea' (photo: Warner Bros.)

By Tim Lammers

“In the Heart of the Sea” (PG-13) 3 stars (out of four)

Director Ron Howard skillfully navigates some treacherous waters in “In the Heart of the Sea,” a riveting whale tale that only suffers from its shaky imagery during the film’s most pivotal moments. Realism is a good thing in films, but in this case, the turbulent depiction of the high seas is too much of a good thing.

The film uses the classic literary work of Herman Melville’s (Ben Whishaw) “Moby Dick” as a framing device, as the author convinces Tom Nickerson (the always great Brendan Gleeson) – one of the few survivors of the shipwreck of the Nantucket whaling vessel, the Essex, in 1820 – to open the deep wounds he’s kept tightly sealed for 30 years. Melville is obsessed with the legend of a monstrous, 100-foot-long white whale that purportedly destroyed the Essex, and Nickerson is the only person the writer can locate to validate the tale.

However, there’s more to the story that Melville ever expected, as his confessions reveal Nickerson (played in flashback by Tom Holland), First Mate Owen Chase (Chris Hemsworth), his longtime shipmate Matthew Joy (Cillian Murphy), Captain George Pollard (Benjamin Walker) and a handful of others resort to desperate, dark measures to survive. Not only does the whale continue its rampage after he sinks the ship; the survivors are also floating aimlessly 2,000 miles off the western coast of South America with no hope in sight.

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“In the Heart of the Sea” reteams Hemsworth with Howard two years after the woefully underrated Formula One racecar drama “Rush” make a quick and quiet exit from theaters in 2013. Much like that reality-based drama, Howard goes to painstaking efforts to put you aboard the Essex, bringing to life in great detail the inner-workings of a whale ship as it defies the elements of nature to harvest blubber from the benevolent sea beasts for oil. To that end, “In the Heart of the Sea” is a fascinating voyage, as Howard puts you squarely in the shoes of the people who endure, what is still one of the world’s most dangerous professions.

Sadly, the display of danger is where “In the Heart of the Sea” takes a huge plunge, as the scenes of the ship being rocked at sea by storms – and eventually, the whale – simply become too chaotic. Imagine a shaky cam amped up to violent extremes, which really does nothing more than threaten to nauseate the most sensitive of viewers’ stomachs. Fortunately, a weak 3D presentation doesn’t enhance the sea-sickening experience, and only makes the image more distorted. If the 3D would have worked as intended, the film might have been too dizzying for its own good.

While “In the Heart of the Sea” falls short on its overly-ambitious visual effects, it’s hardly a failure. The calmer scenes of the whale will no doubt leave you awestruck in the creature’s presence, especially during its unexpected final confrontation with Owen and his dwindling number of crew members. While still a sight to behold on the big screen, “In the Heart of the Sea” will likely find a friendlier reception in the closed quarters of viewers’ homes. As a film immersed in a screen too big to escape, the experience will likely make you feel more wobbly than wowed.

On the plus side, you have to commend Howard for opting not to make another “Moby Dick” film, and instead examining a fascinating story that inspired the beloved Melville classic. The film feels fresh despite its faults, and another trip with Captain Ahab would have felt waterlogged.

Movie review: ‘Legend’

Tom Hardy in 'Legend' (Universal Studios)

By Tim Lammers

“Legend” (R) 3 1/2 stars (out of four)

Tom Hardy continues his steady rise to the top with a knock-out dual performance in “Legend,” a fascinating look at London’s notorious Kray brother – a set of identical twin gangsters who ruled the criminal underworld in the East End of the city in the 1950s and ’60s. While the film doesn’t feel as epic in scale as the equally riveting “Black Mass” and the rise of Whitey Bulger (Johnny Depp), it has the equal sort of vicious impact without being nearly as dark and violent.

Hardy stars as Ron and Reggie Kray in “Legend,” which for all intents and purposes only covers a few years of the gangsters’ reign in the mid-1960s. It picks up with the paranoid-schizophrenic Ron’s shadowy early release from a mental institution, and together with the charming and charismatic Reggie, crush the Richardson gang to become the “legendary” criminals as the title of the film suggests.

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The most impressive part about “Legend” is how Hardy immediately establishes the distinct personalities of the Kray twins, making you quickly forget that you’re watching impressive camera tricks. Granted, “Legend” isn’t the first film to feature one actor playing two roles, but it’s not easy to convince audiences that they’re watching two different characters who convincingly interact with each other. On the face of things, the identical twins look exactly like one-another, apart from the fact that they have different hairstyles and Ron dons horn-rimmed glasses. But that, thanks to brilliant turns by Hardy – is where the similarities end.

There’s violence in “Legend,” naturally, especially in a pivotal fight scene with the Krays and members of the Richardson gang; as well as a couple of brutal murders later in the film. Still, the film – thanks to its swinging ’60s tone and suave characters – seems to have a lighter feel to it. Make no mistake, though; writer-director Brian Helgeland doesn’t glorify the existence of the twin thugs, even though the filmmaker seems to focus more on the brothers’ protection racket than their other spates of criminal misgivings. The film’s only sympathetic character is Frances Shea (a terrific Emily Browning), Reggie’s girlfriend and eventual wife who lived a tortured existence while dealing with her husband’s life of crime.

Movie reviews: ‘Creed,’ ‘The Good Dinosaur’

Michael B. Jordan and Sylvester Stallone in 'Creed' (photo: Warner Bros.)

By Tim Lammers

“Creed” (PG-13) 3 1/2 stars (out of four)

Sylvester Stallone is back and better than ever in “Creed,” a smartly plotted Rocky Balboa film that forgoes the formula of the previous “Rocky” installments and instead frames Stallone as a crucial supporting character. The film naturally feels like a Rocky film since it involves the family of his late formal rival-turned-friend Apollo Creed, yet moves the story of the boxer saga ahead with a fresh and plausible storyline.

“Creed” re-teams Michael B. Jordan and his “Fruitvale Station” director Ryan Coogler, and the actor and filmmaker deliver another solid one-two punch with “Creed.” Jordan plays Adonis Johnson, a troubled youth who, as it turns out, is the product of an extramarital affair Apollo Creed had near the end of his career. However, Apollo died before Adonis was born, and after his mother dies, the angry young son of Creed becomes a ward of the state. However, when Creed’s widow, Mary Anne (Phylicia Rashad) discovers the boy, she adopts him as her own and raises him into an upstanding young man.

Even though Adonis’ future appears bright, he can’t resist the urge to fight and pursue a career as a professional boxer. But if Adonis is ever to forge the same sort of path as his famous father he needs to find the proper trainer to guide him, and his only choice is Rocky. However, the former champ is worn down emotionally by a life that includes the loss of his wife, Adrian, and physically by years of beatings in the ring. But since Adonis is like family to Rocky, he reluctantly takes on the upstart Adonis, who clearly has the same fire in his belly as the father he never knew.

Naturally, “Creed” has a similar feel to the “Rocky” films, because you simply can’t have a story of a fighter without the requisite training and fight sequences if you’re going to properly tell the story. But that’s where the similarities begin and end. The key to the success of this film is the realistic storyline of a fighter who’s unwilling to fight under the name of his famous father, and the heartfelt connection between him and Rocky. Like the first two films in the “Rocky” saga, “Creed” contains both the raw intensity of the fight game, which is met in equal measure by an emotionally engaging narrative.

While Jordan displays a great range as the hungry Adonis, Stallone – who is clearly in his element as Rocky – is tasked with most of the emotional heavy-lifting. With “Creed,” we see a side of the character we’ve never seen before: a former champ nearing the final stretch of his life who is physically a mere shadow of his famous former self. Stallone is simply brilliant in the way he brings the character full circle.

The great thing about “Creed” is its one of those movies that seems to be going down a predictable path, until a vicious left hook knocks you for a loop and changes the way you’ll look at the outcome as the film plays out. Maybe “Creed” won’t end up being this year’s box office champ, but the film – and Stallone in particular – certainly have earned the right to be a serious contender this awards season. It’s a real winner.

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“The Good Dinosaur” (PG) 3 1/2 stars (out of four)

Pixar Animation hits paydirt once again following the phenomenal success of “Inside Out” with “The Good Dinosaur,” a prehistoric tale that doesn’t have quite the complexity of this summer’s smash brain tale, but contains just as much emotion and heart. Clearly tailored for the youngest of audience members, “The Good Dinosaur” still manages to entertain the kid in all of us with a parade of colorful characters, wondrous animation and lots of action to fill its vast landscape.

“The Good Dinosaur” begins 65 million years ago with a simple yet fascinating premise: What if the asteroid that once obliterated the dinosaurs completely missed Earth and the creatures lived? Because of that, the dinosaurs survived, evolved and thrived, and millions and millions of years later, they confront a completely different sort of animal.

Jeffrey Wright and Frances McDormand voice Poppa and Momma, an Apatosaurus couple who hatch three dinosaur babies: Libby, Buck and Arlo. As Libby and Buck grow they quickly adapt to their surroundings and find their place in their lives, but the under-sized Arlo (Raymond Ochoa), clumsy and fearful, never seems to fit in. Tasked to protect the family’s food supply, Arlo discovers the creature that keeps breaking into their storage is actually a wild cave boy – and while the young dino is on the hunt for him, he is swept up in a river current and finds himself lost, alone and far away from home. Saved by the boy, who he dubs Spot, Arlo befriends the curious creature, and the two team together as they begin a trek that will hopefully lead back to Arlo’s family.

“The Good Dinosaur” begins more as cute film that seems to only appeal to young kids at the outset, but once Pixar takes a page out of the Disney playbook and a tragedy rocks the narrative, it suddenly becomes emotionally engaging for the entire audience. While the film is at its core a heartfelt coming-of-age tale for both Arlo and Spot, it’s enhanced by every colorful character they encounter on the long and winding trek home. The voice cast is excellent (particularly Sam Elliott as a T-Rex named Butch), making for a completely lovable supporting cast (apart from a trio of bad creatures). A film ultimately about the importance of core families and adoptive families, “The Good Dinosaur” is a perfect family film for Thanksgiving weekend.