Look ma, 'Bears'

Sky and Scout pictured in a scene from Disneynature's "Bears." Photo by Adam Chapman © Disney.

You can't really watch the film “Bears” with any expectation of plot or even a plethora of factoids for your kids to spout off randomly in the car. There are a few of those for sure (did you know that a bear's sense of smell is seven times stronger than a blood hound's?) but the film's purpose is evoke as many “awwwwwws” and “squeeeees” from the titular animals’ escapades as humanly possible.

Another entry in the Disneynature documentary series – others include such efficiently titled films as “Oceans” and “Chimpanzee” – “Bears” is about, well, bears. There's a momma bear and two cubs, and the film follows their Alaskan adventures – from finding food to not becoming somebody else's food – from the end of one hibernation cycle to the start of another. Oh, and the voice of narrator John C. Reilly bounces about through the film's blessedly brief run time.

That last line is often used as an insult, but it's honestly a compliment to the filmmakers, who opted against making an unnecessarily long movie and created something quick, painless and fairly entertaining. Props are also due to anyone willing to cut down a year's worth of footage – hours upon hours of film to process and ounces of pride to eat – to 13 minutes short of an hour-and-a-half movie.  What's left is a film lacking in meat and burdened by both the “G” rating and the Disney label, which combine to diminish the documentary’s danger. Nature is a cruel, cruel mistress, but “Bears” only hints at what those animals face – in this case a lone wolf and a couple of enormous male bears lacking food – and the attempts to add a little drama are dampened by the inevitable happy ending. In other words, “Bears” won't create those childhood mental scars in your kids like “Bambi,” “Old Yeller” or “Up” did to you. 

 

 Countdown to tears in five, four, three, two ...

Also missing is the educational experience one expects from a nature documentary. Sure, you get a few tidbits to dispense at parties (the one mentioned above is the only one that sticks out for me), but viewers won't learn much more about bears than they did before entering the cinema. To repurpose a Rick Pitino quote, David Attenborough isn't walking through that door, Morgan Freeman isn't walking through that door.

Speaking in their stead is Reilly – an odd character actor who revels in comedies starring rather abnormal people (see Brule, Dr. Steve) yet remains a capable and competent dramatic actor in films like “Gangs of New York” and “Magnolia.” His serious side pops out in “Bears” whenever danger begins to waft through the atmosphere, but his overall tone is light and impeccably goofy and includes tangents that criticize a bear's lack of game in his pursuit of a mate.

The light touch percolates into “Bears'” tone and matches the actions of the central animals, who frolic about in fields, roam around, get into fights and spend days searching for sustenance, and the highlights of those bear-like activities belong to the misadventures the two goofball cubs get into. They're curious, energetic and cute as all heck, whether they’re gallivanting through the snow or taking a nap in the middle of a watery field, and the filmmakers play that up for all its worth. It's effectively manipulative, and convinces viewers that bears aren't just godless killing machines (at least for 77 minutes). 

No good can come from a creature that tries to eat Colbert and Costello in the same Christmas special.

If “Bears” does have one aspect with some depth to it though, it's the way it portrays nature as a place defined by survival. Certain animals are treated as enemies to our family of bears, but the filmmakers don't try to force reasons for their actions, nor do they create true villains. Rather, the animals’ motivations are rooted in their nature and quest to survive for as long as possible, just as it is in the natural world (except for dolphins; those guys are jerk faces).

 

Not so high and might now are you, Jeffrey?

The honest look at the nature of nature is appreciated, but “Bears” is far more interested in the shenanigans of the titular characters than any deeper point. No complaints here on that; those cubs are just the sweetest little things.

Click here for a link to the trailer

Rating: Three out of Five Stars 

Ask Away
Target audience: Families and bear enthusiasts.

Take the whole family?: There is a hint of lewd humor during the John C. Reilly’s voiceover, but the animals' tame nature makes “Bears” more than fine for even the youngest kids.

Theater or Netflix?: Wait for it to come to you.

What other animals could carry their own documentary?: Aside from animals that have or will on have their own documentaries like bears, apes, monkeys, penguins and meerkats, I'd spend $10 to watch films devoted to honey badgers, hummingbirds and mongooses. The former had a brief life as an Internet celebrity a couple of years back due to its lack of regard for anything; the mechanics behind a hummingbird's flight is awe-inspiring; and the interest in the lattermost is tied to a few readings of “Rikki-Tikki-Tavi” as a kid, as well as respect for any animal that takes on cobras.

Watch this as well?: “The Adventures of Milo and Otis” has the same loose vibe thanks to Dudley Moore's narration efforts, and there are also a ton of nature documentaries worth a look. You're in good hands if either National Geographic or David Attenborough is involved.

Rating: G

Run time: 77 minutes

Genre: Documentary

There’s no way out of ‘Raid 2’

Iko Uwais as Rama and Cecep Arif Rahman as The Assassin in a scene from "The Raid 2."

Photo by Akhirwan Nurhaidir and Gumilar Triyoga, Courtesy of Sony Pictures Classic

I usually rely on my notepad as a refresher while writing a review, but the notes I took for “The Raid 2” read like the gushings of an 11-year-old's diary entry; “awesome” and “ridiculous” make appearances, and there are repeated uses of the F-bomb as adjectives. But there are two words among the half-page of chicken-scratch drivel that are useful to describe this strange, enchanting Indonesian action film: epic and experience.

We'll start with epic, which describes a deep and complex story soaked through with themes of family, loyalty and pride, as well as the moral complexities that come from straddling whatever line exists between right and wrong. That last one forms the storyline for the heroic Rama (Iko Uwais), who was last seen in “The Raid: Redemption” fighting his way through hundreds of well-armed opponents in a drug lord's tenement.

Things were simpler back then – that divide between good and evil deep and thick – but circumstances change from the get-go when honest cop Bunawar (Cok Simbara) sends Uwais undercover to infiltrate a major crime family. The objective is to find a way into the good graces of Uco (Bruce Campbell look alike contest winner Arifin Putra) – mob boss Bangun's (Tio Pakusadewo) only son and heir to his syndicate.

Once in the family's inner circle, Uwais assists Putra and mob consigliore Eka (Oka Antara) as the criminal organization conducts its usual business (money shakedowns, beatings, etc.) and maintains peace with the gang belonging to formal rival Goto (Kenichi Endo). But Putra isn't satisfied with the status quo and wants to take over his father's kingdom, which leads him to team up with the mysterious and power-hungry Bejo (Alex Abbad).

That's when everyone goes to the mattresses and all hell breaks loose.

I hopped over a few details because “Raid 2's” machinations are more complicated than the average action flick, or even its predecessor. Then again, “Raid: Redemption” is more of a B movie in which the plot is a device that guides the audience into effective and well-choreographed fight sequences – in other words a pretty standard action film.

“Raid 2” distinguishes itself from its papa from the very first scene – one rather reminiscent of an infamous moment in “Casino” – that ups both the stakes and the brutality from “Raid: Redemption.” It’s not like the first “Raid” film is kid friendly – the fight scenes are real bone breakers – but “Raid 2” is something else entirely; a brutal, vicious film containing innumerable shots that cause a person to bite his or her knuckle to avoid actively squirming or squealing in shock.

Though stomach-shifting in nature, those action sequences are brilliantly staged, and each one contains its own little quirks to reduce redundancy. Some are a little more comical and reminiscent of old Jackie Chan films, while others maintain a devastating gravitas the renders viewers bewitched. A prison-yard melee shot in rain and mud fits that second description; it's a remarkable battle between a collection of men with little loyalty and, really, nothing to lose. The jaw-dropping battle also pushes the plot forward and reflects the early changes in Uwais' moral boundaries, which turns what could be a standalone fight into an important and organic part of the film.

I'm an unabashed fan of films that at least shoot for grandiosity – I'm one of an apparently small collection of people who appreciate messy films like “Prometheus” and “Southland Tales” – because it takes guts to aim for epic. But any film that even gets within spitting distance of that status is at the very least memorable and deserves a few viewings to figure it out. (“Southland Tales” is a great example for this; the film has enough flashes of excellence and all-around insanity to make it unforgettable.)

                                                       Just try to erase this from your mind

While those two films are off target, “Raid 2” writer/director Gareth Evans has rather good aim and creates movie that’s really more of an experience; its operatic intentions, viciousness and magnetizing choreography whip the audience to and fro for more than two and a half hours. I was worn down to a nub and borderline speechless when I left the screening, frazzled in my efforts to unpack what I had just witnessed, but I walked out with loads of respect for what I bore witness to.

I'm still a tad mystified (enjoyably so) despite having some time to decompress and think about “Raid 2” a little more, but I can say the film is a piece of raw brilliance. It's something that is rough around the edges and difficult to witness, yet the amount of skill and talent that went into making this wonderful film really needs to be seen to believe.

Rating: Four and a half out of Five Stars


Ask Away 


Target audience: Action diehards willing to dive into international waters.

Take the whole family?: Let's just say “Raid 2” earns that “R” rating.

Theater or Netflix?: Theater if you can find it.

Best action film ever?: “Raid 2” is terrific, but I wouldn't go that far. “Die Hard” has what should be a permanent spot on the top of the list, as all the essential film elements in play – directing, cinematography, script, acting and action sequences – are as close to perfection as an action, or any, film can achieve. This isn't the most original concept, but “Die Hard” has become the gold standard for action films, and any aspirations of trying to equal or surpass it are quixotic.

Watch this as well?: The underpinnings of the plot trace back to “White Heat.” Even if you haven't watched the film, you're probably familiar with James Cagney's legendary “Top of the world!”
proclamation.

Rating: R
Run time: 150 minutes
Genre: Action

(Click here for a link to the trailer)

Captain America rises again for new, complex adventure

Captain America/Steve Rogers (Chris Evans) and Black Widow/Natasha Romanoff (Scarlett Johansson) in a scene from "Marvel's Captain America: The Winter Soldier." Ph: Zade Rosenthal..© 2014 Marvel. All Rights Reserved.

Writing about a sequel in the Marvel franchise is tricky because of the franchise’s incestuous nature. Iron Man, for example, has three movies of his own, a lead role in “The Avengers” and either stops by or is referenced frequently in the other Marvel films due to the ubiquitous nature of Stark Industries. All of those appearances and references serve as outlets to broaden every hero, so isolating Thor's actions in his franchise is impossible because of the character development he sustains in the tent pole film.

So it goes with Captain America, who evolves in attitude between his first film, “Captain America: The First Avenger,” and his newest one “Captain America: The Winter Soldier” via his involvement in “The Avengers.” And aside from sharing rather long titles when compared to the other Marvel flicks, the differences in themes and tone from Cap's first film to his second are enormous, so it’s more of an apples to orange comparison than apple to apples.

One thing I can say though is that my overall feeling for the “Winter Soldier” is the same as “First Avenger”: I like both, but don't feel too strongly about either.

Providing a proper outline on “Winter Soldier's” machinations would serve as an elongated spoiler alert, so let's keep it simple. Chris Evans dons the blue body suit once again as an employee of S.H.I.E.L.D – the Marvel universe's hyper-advanced blend of the CIA, FBI and every other covert American governmental branch.  A quick rescue mission alongside Black Widow (Scarlett Johansson) results in the recovery of encrypted files containing vital information about S.H.I.E.L.D’s new secret project. The security of those files is so strong even S.H.I.E.L.D head Nick Fury (Samuel L. Jackson), and he warns boss Alexander Pierce (Robert Redford) the issue could prove to be problematic to the project .

Things go all sorts of haywire from there, forcing Cap, Black Widow and new recruit Falcon (Anthony Mackie) on a mission to find the source of the files while evading the dangerous and elusive Winter Soldier (name withheld).

One of the things the filmmakers behind the Marvel franchise have done well is differentiate the individual films while keeping them linked to the franchise in ways both subtle and outspoken. (This film drops shout outs to Stark, Dr. Strange and the Fantastic Four; it's no coincidence the back two have new films in the works.) In “Winter Soldier's” case, the flavor is a retro-'70s political thriller complete with twists, counter twists and a man's brain lodged into a computer system.

It's a cool idea and a nice change of pace from the rest of the Marvel franchise, but the problem with turning a big-money franchise film into a thriller is the reduction in effectiveness of those twists and turns. Anyone who follows the Marvel films knows there are certain characters who cannot depart due to their importance in the series, so a few major plot moments in “Winter Soldier” are undercut by the demands of the comic book franchise because it's obvious that some characters are never in true danger. (Except when Joss Whedon is involved; that man is just cold blooded). 

 

Never forget

The sheer size and scope of the marvelous Marvel franchise is impressive, but the monetary reality prevents a full immersion and dampens the surprises.

Then again, it is nice that Captain America got to do something a little different than his friends that doesn't deviate from his natural progression. Unlike Hulk, Thor and even Iron Man, Captain America is a nuanced character who constantly wonders if he's doing the right thing, so having him wade into murky political waters is a logical step in his character development and something hinted at in “The Avengers.”

Unfortunately, “Winter Soldier's” obligation to portray large-scale fight sequences tips the balance between action and political thriller too heavily toward the former and forces the filmmakers to be more blunt than subtle in regards to the latter. Also aiding in this issue is the nature of the film; making it a political thriller at heart means a “Captain America” film focuses more on S.H.I.E.L.D than the titular captain.

Although the political thriller aspects fall flat, “Winter Soldier's” action side is filled with explosions, hand-to-hand combat, and a few moments of moderately witty banter. The performances are just fine too; Redford and Mackie are nice additions, and Evans has become much more comfortable and engaging as Captain America since his first time donning the shield.

Everything in that last paragraph is really all the matters to create a successful Marvel film, one that will keep devotees stoked until “Age of Ultron” comes out next year. (At least that’s the case with the audience at a screening earlier this week; the members hooted and hollered vociferously.) There’s also more than enough to general viewers entertained as well, which, really, is all you need in a Marvel film.

Rating: Four out of Five Stars 

Ask Away
Target audience: Anyone whose money is burning a hole in his or her pocket.

Take the whole family?: Depends on your view of violence; there is a lot of it in “Captain America,” although the bloodshed is light and the curse words are few and far between. Kids ages 8 and up should be alright.

Theater or Netflix?: Anyone gung ho on seeing it should check it out in theaters; the film is so grand a small screen wouldn't do it justice. Anyone who’s tepid, though, can wait a few months.

Which Marvel character should get his or her own film next?: Aside from the ones who are lined up already (Black Widow, Dr. Strange, Ant-Man, etc.), I have a soft spot for Quasar. A film based on Quasar could feature a hero with non-natural abilities but who’s still obliged to protect the universe from chaos, and it could combine the requisite action scenes with the existential dread of being effectively alone in the black void.

Watch this as well?: Wander a few steps back in the archives to find “All the President's Men” or either version of “The Manchurian Candidate.” For comic book fans, there's “Scott Pilgrim vs. the World” and “Guardians of the Galaxy,” although there's still a few months left until that one comes out.  (Here's the obligatory line to the trailer)

Rating: PG-13

Run time: 136 minutes

Genre: Action

Check out the trailer here