'Bad Times at the El Royale' Review

Seven strangers, each with a secret to bury, meet at Lake Tahoe's El Royale, a rundown hotel with a dark past. Over the course of one fateful night, everyone will have a last shot at redemption before everything goes to hell. 

Bad Times at the El Royale is the second feature film to be written and directed by Drew Goddard following The Cabin in the Woods. In the vein of a Tarantino film, Bad Times at the El Royale is a crime thriller with a stylish retro aesthetic and plenty of pulp to spare. However, non-chronological storytelling is the one Tarantino trademark which ultimately restrains the narrative flow of Bad Times. Goddard's assembled a star-studded ensemble of eccentric personalities, so you're invested in uncovering their backstory, but Goddard often does so at the expense of the moment - frequently inserting flashbacks in the midst of a tense scene to stretch out the runtime and deflate the suspense.

This is by design, but you can't help but wonder if this story would have been better paced if told differently. While this approach undoubtedly uncovers the layered nature of this collection of characters, the trade-off seems geared towards enhancing subsequent viewings. Otherwise, the story's got plenty of exciting twists and turns that will surely maintain your attention while the cinematography, camera-work, production design, soundtrack, and score are all aces!

Meanwhile, the film's main draw is its all-star cast, and they each deliver in spades. Between the likes of Jeff Bridges, Cynthia Erivo, Dakota Johnson, Jon Hamm, Cailee Spaeny, Lewis Pullman, and Chris Hemsworth, a wide variety of seedy types interact with one another and their layered dynamic proves to be the pinnacle of this pulpy mystery. While the entire cast fires on all cylinders, I'd declare Bridges, Erivo, Pullman, and Hemsworth as the stand-outs.

In spite of some pacing problems, Bad Times at the El Royale upends its namesake. Whatever you do, don't let the title fool you. You're sure to have a good time if you book a two-and-a-half hour stay at the El Royale! 

Film Assessment: B

'Tag' (2018) Review

Tag follows a group of friends who have been playing the same game tag for over 30 years. The five highly competitive friends annually travel across the country, willing to go to whatever lengths lengths necessary to tag one another so they can keep the game and their friendship alive. However, when the untaggable Jerry is looking to settle down and get married, the group see it as their golden opportunity to finally pin him down and tag him once and for all. 

Tag's premise is as about as zany as it gets, so it may surprise you to learn Tag is actually based on a true story (stick around through the beginning of the credits to see some footage of the real life friend group that inspired this film). Jeff Tomsic directs Tag as his first feature film while Mark Steilen wrote the screen story based on the Wall Street Journal article "It Takes Planning, Caution to Avoid Being It" in addition to penning the screenplay alongside Rob McKittrick. As a comedy first and foremost, Tag needed to deliver plenty of laughs to be deemed a worthwhile venture, and I feel it was successful on that front as I hardly stopped laughing once the over-the-top hilarity ensued. 

The extremes which these adult men are willing to go to in order to tag one another is funny in-of-itself, but Tomsic continually escalates the action to another level when things go full slo-mo and Jerry analyzes his friend's sloppy tactics with an inner monologue before thwarting their futile efforts to tag him. Just combine the fast reflexes of Neo, Spider-Man, and Guy Richie's interpretation of Sherlock Holmes and you've got Jeremy Renner's Jerry. Renner may have played a super-spy, government agent, and an Avenger elsewhere, but Jerry would probably wipe the floor in a brawl with Aaron Cross, William Brandt, and Hawkeye because the skillset of those characters doesn't come close to Jerry's. And that's precisely what made Tag such an enjoyable movie-going experience. It over-exaggerates the events to such an absurd degree that you'll have a difficult time keeping a straight face. The physical comedy is far-and-away what will leave you rolling over in laughter, but Steilen and McKittrick's script is full of some clever zingers as well. 

While the core concept of Tag is really ridiculous and ripe for comedy, I was glad to see the writers didn't forget to bestow Tag with a beating heart amidst all the insanity. At its core, Tag is about the value of friendship and how games ultimately bring friends closer together and I found that message ideal for such a crazy comedy. The cast's commitment to the absurdity makes a huge difference though, as the silly premise is certainly elevated by their willingness to let their inner child come out and play. Renner got so into it that he wound up breaking both his arms on set, wearing green sleeves for his arms to be digitally recreated with CGI in post-production. I kept my eyes open for any noticeably uncanny arms along the lines of Henry Cavill's mustache-less mouth in Justice League, but I didn't catch anything so I suppose that's a good thing? Regardless, these behind-the-scenes CG-stories just keep getting stranger and stranger. 

The ensemble functions as a tight-knit group and have convincing enough chemistry for you to believe these characters grew up together. Ed Helms, Jon Hamm, Jake Johnson, and Hannibal Buress each attribute the proper personality to their respective roles and bounce lines off one another quite well. Helms is the every man, Hamm plays the cool business tycoon, Johnson is down-on-his-luck stoner, and Buress is the calm, collected awkward one. Though even outside the bro group, Isla Fisher manages to be a highlight as Hoagie's hyper-competitive wife. 

However, it's fittingly Jeremy Renner who runs away as the Most Valuable Player in this game. Renner delights in playing the all-star player and he bestows Jerry with a mischievous attitude viewers will relish in watching! 

Despite the all ages appeal of the game its based on, it should be known that Tag is not a film for the family. While it doesn't push the envelope of the "R" rating, the film's still raunchy. Regardless of that, Tag is truly a riotous time at the theater and the funniest film I've seen all year! Now that you've read this review, you're officially "it." I humbly request you see the film and tag someone else with your opinion to keep the game going!... And no tag backs of course!

Film Assessment: A

'Baby Driver' Review

Nominated For: Best Film Editing, Best Sound Editing, and Best Sound Mixing.

Baby Driver follows the antics of Baby, a gifted getaway driver, as he meets a lovely diner waitress and seeks a way out of the criminal world upon falling in love. Once he's payed off his debt, Baby's brought in for one last job that puts his love, livelihood, and freedom on the line.

Edgar Wright is one of my favorite filmmakers working today because he consistently puts out unique quality content and I can confidently say Baby Driver doesn't disappoint. Baby Driver is the first film to be written and directed by Wright following his departure from Ant-Man, so it's understandable that quite a bit of pressure surrounded Wright on this project. Thankfully, Wright proves he's not out of gas though as he rampantly revs his creative engine and shifts gears to bring audiences a heist film unlike no other.

Baby Driver differentiates itself from the rest of its genre by becoming a jukebox musical straight from the get-go thanks to a kickin' soundtrack. From beginning to end, Baby Driver is driven by music with marvelous meticulously staged set pieces and mere movements choreographed to near perfection. When the action accelerates, the music crescendoes with an encroaching accelerando that will have your heart racing. Wright's song choices not only suit the stunts but often times fit the circumstances of the story as well. The soundtrack featuring the likes of Queen and The Beach Boys enhances the events in a way I'm unsure an orchestrated score possibly could, even though Steven Price composes high caliber pieces for the transitional sequences. 

Every single frame of Baby Driver was conscientiously constructed with the intention of not only matching music but popping with a visual flair you'll be hard pressed to find anywhere else this summer. The editing's exceptional, the cinematography captures the pristine and grungy look of Atlanta perfectly, the color palette's as rich as La La Land, and the practical car chases have more hustle and bustle than any Fast and Furious entry. Also don't discount the auditory arena as I'm assured the sound design showcased won't be topped this year.

To top all of this off, Wright's script is roaring with heart, humor, and unpredictability. You'll think you know exactly how things are gonna play out but Wright will boldly blindside you time and time again till the story seems like it's spiraling out of control. Wright keeps a steady hand on the wheel though, taking audiences on a wild ride they won't soon forget. One element I was rather impressed by was how Wright naturally incorporated the rockin' tunes into his high flying narrative. I always admire when music is not only integrated in a film to sound cool but to serve a story purpose and Baby's funky playlist helps drown out the hum of Baby's tinnitus. But Baby doesn't just listen to these tracks to help him function. He has a clear appreciation for every ditty on his infinite iPods and they fully form Baby as a compelling character. There's a lot more under the surface of Baby than meets the eye and Elgort communicates it all with a poignant balance. 

Ansel Elgort portrays Baby with a cool-headed charm and straight-faced silence. Those may sound contradictory but Elgort makes it work. I believe Elgort is stepping into the leading man phase of his career and I can't wait to see what he has in store. Opposite Elgort, Lily James's Debora exhibits the attitude of the southern sweetheart and will delight the audience the second she strides in the background humming "B-A-B-Y." As for their chemistry, Elgort and James set off a spark the moment they step into frame together with their congenial connection.

The tactical team amassed to pull off the heist changes from job to job but the faces you'll see a majority of the time are Jon Hamm and Eiza González's lovesick Buddy and Darling alongside Jamie Fox's deranged killer Bats. Hamm demonstrates the most range of the bunch as he snaps from a calm, collected criminal to an unhinged psychopath in a matter of seconds. In the back seat, González disdainfully files her nails with troublesome thoughts crossing her mind and Fox is dripping from head-to-toe with shameless swagger.

Kevin Spacey delivers deadpanned dialogue like no-one else as the ringleader Doc, imbuing a cold, calculating demeanor while incorporating a sardonic wit when possible. You're never sure where his loyalties lie so he's a fascinating character in this crazy car chase movie. Filling out the ensemble, Jon Bernthal ensures Griff comes across as a gruff gangster and Brogan Hall cleverly quips his way into a memorable role as Doc's snide nephew Samm.

It's not too often I finish a film eager to watch it again right then and there, but I just knew I had to back up and see Baby Driver again after my first viewing a month ago so I naturally sped into the theater again premiere night. After seeing Baby Driver twice, I'd compare the experience to cruising down an unfamiliar street. You go in search of something fresh and exciting and are pleasantly surprised to discover everything you hoped for, never missing a beat along the way. That's why Baby Driver's now my favorite film from Edgar Wright in addition to being my favorite film released this year.

Film Assessment: A+

'Minions' Review

Minions is an enjoyable animated film that I promise children will love especially since the children in my theater were so energetic yet when the film started suddenly became deeply entrenched in what was going on onscreen. One thing that concerned me going into Minions was whether the film would contain the same heart that the Despicable Me installments had and I must say that it did to an extent. Throughout the film you watch these Minions go on an adventure to find a new master and really get to care for these characters as you see them journey for this goal that is necessary for their survival. Minions does in fact contain some cameos, easter eggs, and brief nods to the Despicable Me films if you pay close enough attention you will see these pop up a few times throughout the film and then towards the end a very obvious connection between Minions and Despicable Me. In terms of performance, Sandra Bullock was very enjoyable in the role of the eccentric villain Scarlet Overkill and definitely a highlight of the film. Jon Ham also manages to steal the spotlight as Herb, Scarlet's husband, as he was very hilarious with a few one liners. However Michael Keaton lends his vocal talents here but I wasn't able to pin down exactly who he was voicing until the credits rolled so I will say his character is enjoyable but I was never aware that Michael Keaton was voicing that specific character. Front and center in the spotlight as the protagonists of the film, the Minions were the main stars given this is their own adventure. Not that the Minions bring anything particularly "new" to the table since the film utilizes the same type of humor present in the Despicable Me films but they are quite enjoyable and made me laugh several times. This film is very hilarious with a lot of slapstick humor, as we'll as containing several jokes related to the 60's given that 'Minions' is a prequel that takes place in 1968. Overall, Minions is an enjoyable movie going experience that I highly recommend for parents to bring their children to as they will love it. Also be sure to stay through the credits as there are some scenes throughout and one scene at the very end of the credits. In regards to comparing Minions to other family friendly releases currently in theaters, Minions isn't quite as deep and intellectual as Inside Out as Inside Out was created for all ages while Minions is more geared towards children but can still be enjoyed by adults.

Film Assessment: C+