Rogue One clearly satisfies (no spoilers)

rogueone_one-poster

The latest in the Star Wars galaxy of offerings launched last night to rousing applause, and I was there, in the audience, wearing my 3D goggles.

What did I think of the movie? I’m not really sure that it matters.

Like so many movie franchises out there, if you have bought into the Star Wars series, you are going to see this movie and there is damned little that any number of reviewers could say to dissuade you from that. Personally, I have been invested in this cultural icon since it first launched almost 40 years ago.

So, what is the point of reviewing the movie? None, other than an effort to satisfy my own self-importance.

This was a good movie that opens slowly, offers little in the way of character development, fulfills all of the expected (demanded?) tropes of battles and mentors and silly robots, and essentially adds nothing to the canon of Hollywood history or the art of filmmaking. I don’t know that the movie ever had the opportunity to be great, but if it did, it certainly walked the other way.

That said, the audience applauded or cheered several times throughout the movie, and I think it is fair to say that pretty much everyone left the theatre satisfied with their experience.

And there is my problem with the series, as much as the movie: satisfied.

[Hereafter, I will talk more about specifics within the movie, so you may wish to stop reading now. I will avoid spoilers, speaking more in generalities out of respect for movie-goers.]

star-wars-universe

Ep IV and V changed movies forever. Everything else was merely adequate.

Movies have evolved extensively since the launch of A New Hope in 1977, especially in the area of special effects. With franchises like Alien and Star Trek getting complete reboots, comic book universes unfolding in myriad interwoven ways, and standalones like Interstellar and Inception dazzling the eye, it is becoming increasingly difficult for individual movies to stand out from the crowd, to chart new ground.

If for no other reason, this is why I raved about the recently released Arrival (my review), which stands apart not through its special effects, but rather the execution of its central theme. There is great intelligence behind a beautiful film.

When A New Hope arrived on the scene, it changed the game of movie-making by bringing the scale of a biblical epic to hokey old Westerns and WWI dog fight movies. If Jaws initiated the summer blockbuster craze, A New Hope solidified the idea. And if that’s where it stopped, this crazed then-teenager would have been quite satisfied.

But then came The Empire Strikes Back, which somehow managed to make A New Hope look hokey and dated, although I still contend that the first movie had a better, more complete story. For a young movie goer, The Empire Strikes Back was like riding in a bullet train only to have someone throw on after-burners; it was a whole new level of acceleration that pinned me to my seat.

That feeling has never been duplicated by a Star Wars movie since.

[In fairness, there is one interesting technical achievement in Rogue One, but to describe it would be to spoil a couple of moments in this film.]

Hollywood, instead, has caught up and moved past the franchise. And perhaps even more broadly, entertainment has surpassed even Hollywood in the form of immersive video games, which I do not play.

For its part, the Star Wars universe struggles to achieve the bar, if it really even tries. And each successive movie feels like it was designed with a check list of tropes George Lucas did not invent, but that he executed perfectly in the early films.

Thus, for a Star Wars film, Rogue One is completely adequate.

rebel-crew

Adequate to their task, offering little more

Character development has largely been dispensed with. As the movie opens, we are presented with a seminal moment in the life of Jyn Erso (Felicity Jones), the central character of this movie, and then we catapult ahead 10+ years to find her in imprisoned, where our adventure begins. And with the exception of the odd note dropped into the dialogue, we have no idea what happened in those lost years.

The same is true for almost all of the other characters. Each offers the briefest allusions to why they have arrived in this place at this time, but there is little to hold onto as the story careens forward. Cassian Andor (Diego Luna) has done some bad things in the name of the Rebellion. Chirrut Imwe (Donnie Yen) clings to his belief in the Force like a child clutching a blanket, while his partner Baze Malbus (Jiang Wen) scoffs good-naturedly, mourning his lost faith.

And I have to say that I have no idea why rebel renegade Saw Gerrera (Forest Whitaker) is even in this movie. If his subplot had been written around, the story would not have suffered one iota. Like so many other movie franchises these days, I will put this choice down to something in the cartoon, novel or comic book series.

Perhaps this reveals something about me, but much as I did with Prometheus, I found the robot character to be the most evolved. In Rogue One, K-2SO (Alan Tudyk) stole the show, having the best lines of dialogue and routinely offering broader perspective on the chaotic stumblings of the inferior humans around him.

And as with the original movies, the villains proved the most exciting element of the story.

krennic

Mendelson’s Krennic brings life and depth to this movie

Somehow, the writers and director managed to make Darth Vader even more imposing than he was in any of the other movies. This was something between the uncontrolled fury of Anakin Skywalker in Revenge of the Sith and Lord Vader’s iron control in The Empire Strikes Back. Here, Vader was a cold-hearted menace who toyed with his food as time allowed, but was also happy to get his light saber dirty.

And then we have Orson Krennic (Ben Mendelson), the man charged with the construction of the Death Star and who, but for an inability to tap into the Force, might have made a delicious challenger to Darth Vader. If they do more parallel timeline movies in the future, I would love to see the evolution of this character.

Aside from these few characters, however, the movie was merely passable as a Star Wars film. The plot was straightforward, if a little padded in places, with well-choreographed battles and requisite deaths (no spoilers).

And there must be at least 837 easter eggs in this movie, tiny moments that tie in to the other movies in the series, and as my friend Danny tells me, into the cartoons, as well. While a younger me might have been enthralled by these inserts, the present day me found them distracting, particularly as they almost always served no purpose to the plot and jerked me out of the story as I realized, “Hey, those are the guys from…” (no spoilers).

But as I said at the beginning, none of this likely matters to you if you are a Star Wars fan. You will see this movie, enjoying some parts and complaining about others. It is just what Star Wars has become…and I find that a little sad.

InterOkay – review of Interstellar

interstellar-movie-banner

I can forgive writer-director-producer Chris Nolan for naming his movie Interstellar as few would be inclined to go see a movie entitled InterOkay and yet, that is what I thought of the movie. It was okay.

Not brilliant. Not amazing. Not a cinema-changing moment. Just okay.

Set in the near future, the Earth has suffered through a variety of crop blights and other unnamed disasters that has humanity at the brink of extinction. As one school principal puts it, the human race has become a caretaker generation, simply trying to manage the status quo in the hopes that something better might show up later.

Failed astronaut Cooper struggles to keep his family whole

Failed astronaut Cooper struggles to keep his family whole

Drop into this failed world the character of failed-astronaut now failing farmer Cooper (Matthew McConaughey) who struggles to protect his family—dutiful son, frustrated pre-scientist daughter, sage father-in-law—from the ravages of dust storms and drought. Through a series of odd events, driven by daughter Murphy, Cooper learns of a mission to explore planets in other galaxies in hopes of finding a new home for humanity. They will get there via a wormhole that suddenly appears near Saturn, sent by a mysterious ‘They’.

To get deeper into the plot of the movie here would be to trip all over spoilers and I don’t want to do that. It would also require that I better understand the various plot points, which would likely take a second or third viewing…call me when Interstellar makes it to Netflix.

In an acknowledged homage to every movie that has come before it—Grapes of Wrath meets Top Gun meets 2001: A Space Odyssey meets Close Encounters of the Third Kind meets The Right Stuff meets Waterworld meets Prometheus meets The Black Hole meets…you get the idea—Nolan and his cowriter brother Jonathan Nolan have woven together a vision of human spirit that is broad in scope, deep in meaning and soul-defining in spirit. Or at least that seemed to be their intention.

The ones left behind search for a way out (Jessica Chastain)

The ones left behind search for a way out (Jessica Chastain)

On paper, the most meaningful speeches seem to come across as cliché, trite or in the most offensive cases, Pablum. And it is only because the Nolan boys have put these speeches into the mouths of some great actors—e.g., John Lithgow, Michael Caine, Jessica Chastain—that the movie is not laughed off the screen. Only actors of this quality could breathe life into these leaden lines and hoary speeches.

For me, possibly the worst example of this is scientist-cum-astronaut Amelia Brand’s (Anne Hathaway) attempt to explain love as a higher dimension of existence, as something that transcends space and time and should thus be counted as at least an equal in making logistical decisions. I’m not saying that her argument is wrong (or right) but rather that the material comes across as angst-riddled teen melodrama, made all the worse because it’s coming out of the mouth of an adult.

Ferris Bueller with lipstick? (Anne Hathaway)

Ferris Bueller with lipstick? (Anne Hathaway)

Where I have to give the movie massive credit, however, is in the visual treatments. (Thank you, Director of Photography Hoyte van Hoytema and Production Designer Nathan Crowley.)

This is a visually stunning film where each image is inspired. You feel parched while witnessing the death of the American heartland and your eyes itch with the approaching dust storm. The other worlds are crafted with such realism that you sense the dampness or the cold. And for all its darkness, a black hole seems anything but black.

Without getting into spoilers, I found the story line challenging in some respects because it felt like the Nolans wrote a relatively short screenplay and then every time they asked someone to read it, they were asked “Yeah, but what about…?”

At least three times during the film, I caught myself thinking that this must be the end, only to have Nolan scream “plot twist” and have the movie spiral in another direction to tie up a loose end. Even as the credits rolled, I had the sneaking suspicion they would get half-way done and we’d have more scenes.

And the very last scene before the credits was either “Oh shit, we forgot about…” or was a ham-fisted attempt to set up the sequel (of which I have heard nothing).

bridesmaids_screenplay02

As friend and fellow blogger Danny F. Santos suggested to me recently, he thought the movie might have been better served by converting it to a mini-series and I can definitely see his point. Some aspects of the film seemed rushed, despite its lengthy running time of 169 minutes. (Danny’s blog)

Given the importance of the replacement Earths to the conceit of the story, however, amazingly little time was spent on these worlds. I appreciate that the Nolans may not have wanted to make it longer, but that just lends credibility to Danny’s idea (or they could have done a Peter Jackson-Hobbit impersonation).

To their credit, the Nolan boys have woven an incredible tapestry of plots and subplots, tapping into several deep questions about humanity, the explorer’s heart, interpersonal commitment, abandonment, the purpose of science and complicity in our own demise.

Unfortunately, they used so many strings that they seem to have suddenly found themselves with a lot of loose ends that they either tied off with a bow or tied to another string. For the latter of those methods, I am confident that they wanted me to experience a revelatory “Oooooh!” but too often I was left with a confused “Eh?”

For all my issues with plot points and dialogue, however, I do have to admit that the movie passed my butt test. At no point did I find myself squirming uncomfortably. As the credits rolled, I found myself comfortably rested and satisfyingly entertained.

Unfortunately, for a movie of the scale and scope of Interstellar, “rested” and “entertained” are an indictment, not praise.