It’s “Die Hard” meets “The Towering Inferno” in “Skyscraper,” a mindless summer popcorn action thriller that despite its obvious influences is very entertaining.
Dwayne “The Rock” Johnson stars as Will Sawyer a former FBI hostage rescuer-turned-security adviser who is contracted to inspect the tallest skyscraper in the world, a 3,500-foot tower in Hong Kong. However, just as the state-of-the-art top half of the skyscraper is about to open to the public, terrorists set the 90th floor on fire, and since they’ve highjacked the security system and fire safety mechanism, the blaze is spreading upward. That’s a big concern to Sawyer, since his wife (Neve Campbell) and two kids are on the 98th floor.
AUDIO: Click above to listen to Tim’s review of “Skyscraper” with Tom Barnard on “The KQ Morning Show.”
The action scenes in “Skyscraper” are over-the-top ridiculous (in one scene he leaps from a construction crane to a broken window in the tower while 100 stories up), but who cares? The movie is intense, the special effects are spectacular (those with fear of heights might get queasy) and the always likable Johnson is exactly the sort of action hero needed for the role.
AUDIO: Click here to listen to Tim’s review of “Skyscraper” with Paul Douglas on WCCO-AM Radio (segment begins 8:30 in)
Sure, The Rock doesn’t measure up to the “King of Cool” himself, Steve McQueen, from “The Towering Inferno” nor does he have the snappy one-liners Bruce Willis made classic in “Die Hard” (Yippie Kay ki ya mother f … anyone?), but he certainly gets resourceful like Willis’ John McLean does by putting duct tape and other items (his prosthetic leg) to good use. All told, “Skyscraper,” is just a fun summer romp.
Lammometer 7.5 (out of 10)
Tim Lammers reviews movies weekly for The KQ92 Morning Show,” “KARE 11 News at 11” (NBC), WCCO Radio, WJON-AM, KLZZ-FM, “The Tom Barnard Podcast” and “The BS Show” with Bob Sansevere.
Following the grim ending of “Avengers: Infinity War,” Marvel Studios has lightened their cinematic universe considerably with the “Ant-Man” sequel “Ant-Man and the Wasp,” an insanely entertaining sequel to the 2015 hit that’s much different in tone and style to the studio’s early summer blockbuster. Once again starring the always hilarious Paul Rudd as Ant-Man and ass-kicking Evangeline Lilly as the Wasp, the film is fast, funny and has plenty of heart to win fans of the franchise over.
“Ant-Man and the Wasp” begins with Scott Lang (Rudd) under house arrest following his capture under the guise of Ant-Man in the big showdown during “Captain America: Civil War.” Since he went into the battle using Ant-Man’s suit without the knowledge of Dr. Hank Pym (Michael Douglas) or Hope van Dyne (Lilly), Scott’s arrest soured his relationship with the duo, which particularly stings because it put the Pym and his daughter on the run from federal agents. Making matters worse, the arrest caused a major rift in the romance between Scott and Hope, and from a professional point-of-view, Hope is miffed because she insists Scott wouldn’t have been busted during the events of “Civil War” had he asked his then-girlfriend – who since assumed the identity of the Wasp – to take part.
AUDIO: Listen to Tim’s review of “Ant-Man and the Wasp” on “The KQ Morning Show.”
The trio reunite, however, when Scott has what he thinks was a dream, but it turns out to be some sort of visual implant Hope’s long-lost mom and Hank’s wife, Janet van Dyne (Michelle Pfeiffer), put into the Scott’s head when he Ant-Man ventured into the Quantum Realm at the end of the last film. Gone for 30 years, the “antenna” Janet has placed in Scott’s mind is essentially providing a road map to where Hank and Hope can find her, but much to the chagrin of Hank, they need the help of one of his old rivals, Dr. Bill Foster (Laurence Fishburne) to help get there.
But Hank and company aren’t the only ones who have an interest in the Quantum Realm: A shady, high-tech parts dealer, Sonny Burch (Walton Goggins) sees the mysterious inner space dimension as a gigantic business opportunity; while the literally unstable Ghost (Hannah John-Kamen) needs the energy that Janet has amassed in the Quantum Realm if she is to avert certain death.
The third release from Marvel Studios this year, “Ant-Man and the Wasp” is much different in tone than “Black Panther” and “Infinity War.” Like the first “Ant-Man,” the sequel plays more like a caper and chase film, and while the stakes are high – Scott, Hank and Hope are essentially trying to save Janet’s life – the narrative doesn’t have world-ending implications like the carnage that consumed several of the Avengers and half the universe in “Infinity War.”
“Ant-Man and the Wasp,” as a result, arrives with a lighter mood, not only thanks to Rudd’s comedic gifts, but the amusing extra dynamic that Scott’s crew – Luis (Michael Pena), Kurt (David Dastmalchian) and Dave (Tip “T.I.” Harris) – bring to the film. Capitalizing on the hilarious dialogue and sight gag in the first film, director Peyton Reed ingeniously finds a way for Luis to spin another tremendous yarn (this time about how he met Scott), while Dastmalchian is given ample opportunity to show his comedy talents when gets to playfully demonstrate the nervous superstitions of his Russian hacker character.
Like “Ant-Man,” Reed once again has an expert handle on the direction of “Ant-Man and the Wasp,” achieving the rare feet of equally if not topping the original film with a perfect blend of action, dazzling special effects and humor. Most importantly, though, it has a relatable narrative that keys in on the importance of family from all aspects, whether through the ties that bind Hank, Janet, Hope and Scott together; as well as Scott and his daughter, Cassie (Abby Ryder Fortson), and Scott and his fellow ex-con crew members.
Like previous Marvel films, fans need to make an appointment to stay until the very end (after the very inventive cast credits), where the separate narratives of “Infinity War” and “Ant-Man and the Wasp” come together. And while the future is uncertain for all The Avengers from here on out, but hopefully Marvel will find a way to bring back Ant-Man, the Wasp and everybody else in the film for a third solo movie, since “Ant-Man and the Wasp” once again proves that the best presents come in small packages.
Lammometer: 9 (out of 10)
Tim Lammers reviews movies weekly for The KQ92 Morning Show,” “KARE 11 News at 11” (NBC), WCCO Radio, WJON-AM, KLZZ-FM, “The Tom Barnard Podcast” and “The BS Show” with Bob Sansevere.
Josh Brolin and Benicio Del Toro are back with a vengeance in “Sicario: Day of the Soldado,” a compelling crime drama with heavy-duty, real-life overtones relating to the problems the government faces with cartels on U.S.-Mexico border. The follow-up to director Denis Villeneuve’s acclaimed 2015 original, “Day of the Soldado” doesn’t so much feel like a sequel than it does a continuation of an expansive story line, where the focus on drug trafficking shifts to human trafficking and the threat of terrorists infiltrating the U.S. with the help of the cartels.
With Emily Blunt’s idealistic FBI agent from the first “Sicario” no longer a part of the equation, “Day of the Soldado” keys in on CIA heavy Matt Graver (Brolin), who is saddled with the daunting task of trying to derail a major cartel’s human trafficking operation and new practice of smuggling in ISIS terrorists into the U.S.
Hear Tim’s review of “Sicario: Day of the Soldado” with Tom Barnard on “The KQ Morning Show.” Segment begins 10 minutes in.
But since the mission is off the books and no use of military is involved for political reasons, Graver convinces U.S. Secretary of Defense James Riley (Matthew Modine) that the best way to take on the cartels is to start a war between them, which is done by kidnapping cartel kingpin Carlos Reyes’ young teen daughter (Isabella Moner) — and setting it up to look like another cartel is responsible. To help execute the mission, Graver brings back his mysterious Mexican operative Alejandro (Del Toro), whose stake in the game remains very personal since Reyes’ is the man responsible for killing his family.
Even though the film maintains the foreboding tone of he original “Sicario,” “Day of the Soldado” isn’t perfect, and it particularly gets muddled as director Stefano Sollima tries to juggle the main narrative with a sub-narrative about a teen boy (Elijah Rodriguez) getting in over his head as he joins a human trafficking operation. Fortunately, the film comes together when the story lines intersect, leading to brutal conclusion that leaves as many questions as there are answers.
While Brolin and Del Toro are terrific as usual, the real MVP of “Day of the Soldado” is screenwriter Taylor Sheridan, who wrote the script for the first “Sicario,” as well as “Hell or High Water” and “Wind River” (which he also directed). He has an incredible handle of bringing dark and violent tales of realism to light, and miraculously makes his stories engaging even though they can be depressing as hell. And while “Day of the Soldado” is coming out at an odd time as a summer movie release, hopefully the film will gain enough momentum for Sheridan’s screenplay to gain some recognition come fall. It’s far too important a story to ignore.
Lammometer: 7.5 (out of 10)
Tim Lammers reviews movies weekly for The KQ92 Morning Show,” “KARE 11 News at 11” (NBC), WCCO Radio, WJON-AM, KLZZ-FM, “The Tom Barnard Podcast” and “The BS Show” with Bob Sansevere.
Oh, how the mighty have fallen with “Jurassic World: Fallen Kingdom,” the hotly anticipated sequel to the 2015 mega blockbuster “Jurassic World” and fourth installment in the “Jurassic Park” series. Dark and bleak with no real fun to be had, “Fallen Kingdom” isn’t a bad film, at least from the technical standpoint, where the dinosaurs are as big and loud and scary as ever. Instead, the burden falls on the creatives, who clearly found out that the once-inspired story line of bringing dinosaurs back to life through the wonders of DNA is close to running its course.
“Jurassic World: Fallen Kingdom” is set three years after the last film, and it appears theme park on the (fictional) Isla Nubar off Costa Rica is doomed by erupting volcanos. And while the island is unoccupied by humans, the government is faced with the excruciating decision of trying to save all the cloned dinosaur species or simply let the monolithic creatures become extinct once again, perhaps forever.
Tim reviews “Jurassic World: Fallen Kingdom” with Adrienne Broaddus on KARE 11.
Despite the havoc wreaked by the dinosaurs in the first film, Jurassic World operator Claire Dearing (Bryce Dallas Howard) is intent on preserving the creatures, and she seems to have found a viable solution when the partner to late Jurassic Park founder John Hammond (Richard Attenborough), Benjamin Lockwood (James Cromwell) funds a mission to transport about a dozen dinosaur species to an island sanctuary where they will be free to roam the way nature intended. The mission can’t be completed, however, without the help of Claire and dinosaur wrangler Owen Grady (Chris Pratt), who soon enough learn they are pawns in a plan to use the dinosaurs for sinister purposes.
AUDIO: Listen to Tim’s review of “Jurassic World: Fallen Kingdom” on “The KQ Morning Show” with Tom Barnard.
Admittedly, director J.A. Boyona and co-screenwriters Derek Connolly and Colin Trevorrow (who directed the first “Jurassic World”) are in a tough spot when it comes to expanding the already limited “Jurassic” saga storyline with “Jurassic World: Fallen Kingdom.” Let’s say they move the dinosaurs to a sanctuary where they live in peace and nobody sees or interacts with them, then you have a boring movie. If another park is created, then it’s a rip-off of the previous movies.
All that’s left, at least as far as this film is concerned, is having the dinosaurs fall into the wrong hands of people with (what else?) deadly intentions. Worse yet, the story is predictable almost from the get-go, from the time Claire and Owen meet the operation’s commander (Ted Levine) who is saddled with all the classic traits of ne’er do-well up to no good.
Despite its predictability, “Jurassic World” still manages to be entertaining, especially when its dinosaurs (in particular the genetically altered ones) go on the rampage against their weak human counterparts. No matter how many times you’ve seen it happen, whether in the original “Jurassic Park” trilogy or “Jurassic World,” there’s nothing that gets stale about an effective CG dinosaur relentlessly pursuing their human prey. In fact, like the first film, the sequences are so jarring that it makes you wonder just how the studio got away with a PG-13 rating, when the violence clearly merits an R.
While the first “Jurassic World” felt fresh, fun and inventive, “Fallen Kingdom” is doomed by taking itself too seriously. To begin with, while Pratt played his role fairly straight-up the first time around but was still amusing, he’s only afforded a few times to lighten the mood in “Fallen Kingdom.” Howard seems to be given less to work with in the film, too, including those pesky high heels which were swapped out for boots this time around. The biggest waste of talent, though, comes with the bait-and-switch move Universal pulled with original “Jurassic Park” star Jeff Goldblum, who reprises his Ian Malcolm for a pair of brief scenes where he shows none of his trademark, wry sense of humor whatsoever.
With any luck, Trevorrow, who is on board to helm the third film, will bring Goldblum back and give him some meaningful screen time if “Jurassic World” has any chance of being restored to its former glory.
Lammometer: 6 (out of 10)
Tim Lammers reviews movies weekly for The KQ92 Morning Show,” “KARE 11 News at 11” (NBC), WCCO Radio, WJON-AM, KLZZ-FM, “The Tom Barnard Podcast” and “The BS Show” with Bob Sansevere.
