CinemaNick

Summer movie season is to a greater extent the "final frontier" for audiences to discover and adopt films (which usually result in franchises) that are both popular and critically acclaimed. Each decade is fortunate enough to witness its share of acclaimed blockbuster franchises. The 2000s were graced with the Toy Story and Lord of the Ring franchises, and this decade (for lack of a better term the tweens) just experienced the sweeping conclusion to Christopher Nolan's Batman trilogy. It seems that another summer movie "Triple Crown" is upon the masses with the release of pop culture wizard J.J. Abrams' Star Trek Into Darkness.

Beginning where Abrams' electric and revisionist origin story of the original crew of the U.S.S. Enterprise in Star Trek (2009) left off, this second entry places the recently forged company of heroes into the dark and lethal challenges that traditionally inhabits the second act of the hero's journey. The first entry details how a colorful group of dreamers, schemers, and heroes find themselves on the bridge. Star Trek Into Darkness (as the title indicates) places the relatively inexperienced crew as the lone defenders of not only Starfleet but the entire universe against potential destruction from one of the greatest villains in Star Trek mythology. 

The ensemble enjoyably rises to the occasion and provides dramatic flair and frailty in equal measure. Hardly found in the summer season, the acting credentials of the cast propels this galactic special effects spectacle from a shiny action movie into the elevated morality tale that the show, in whatever iteration, presented at its best: fun yet intelligent entertainment.

Chris Pine is given the opportunity to demonstrate his acting chops with the story of Darkness ostensibly centering around his growth from a lovable jock with reckless abandon (which was how Kirk was presented in the first film) into an actual leader of men, capable of self-sacrifice and humility. Though Pine participates in his fair share of conventional action movie fight scenes and one liners, Pine's sensitive and vulnerable portrayal of Captain Kirk provides new life for a character completely overshadowed by the eccentric acting mannerisms of William Shatner.

In equal measure, Kirk's foil, friend, and second-in-command Spock grows emotionally and personally along with his wily captain. The half-Vulcan, half-human peals away the stoic logic and control that has always defined the character as the evils the Enterprise faces forces him to sacrifice the rules in order to care for the ones he loves. Zachary Quinto delivers an enthralling take on the character he adopted from Leonard Nimoy and the climactic fight/chase scene is one of the most enjoyable and cathartic action sequences made in recent memory. Kirk and Spock share and swap characteristics through the course of their shared crisis. Kirk absorbs Spock's logic, discipline, and dedication whereas the composed Spock inhabits the brash daring and burning passion of Kirk. The success of the series relies on this duo's balance on screen. Kirk and Spock are perfect foils, and when each one reflects the actions and lessons from the other, it produces a dual character transformation that has rarely been as satisfying or exciting to watch. 

And one would be derelict in not mentioning the Enterprise's ominous foe this time around, played with hair-raising vileness by British import Benedict Cumberbatch. Most known in the states for his fierce and fast-paced portrayal of Sherlock Holmes in the modernized adaptation in the BBC's Sherlock, Cumberbatch handles the role of the super villain with acute awareness and chilling delight. If the general American public were not aware of the British thespian's existence, his blazing portrayal lights up the screen. Quite simply, he is cinema dynamite.

In addition to Pine, Quinto, and Cumberbatch's striking performances, the rest of the ensemble provides the humanity and humor to balance out the dark themes and tones of the film. Uhura (played by Zoe Saldana), Bones (Karl Urban), Scotty (Simon Pegg), and Sulu (John Cho) provide a much need familial warmth and makes the audience wish they could beam aboard for their own permanent stay on the Enterprise. 

J. J. Abrams' has performed the illusive cinematic hat trick; creating a sequel that is as good as and arguably better than its acclaimed first installment. Star Trek Into Darkness flies above and beyond expectation and is perhaps the best blockbuster that will come out this summer. When I heard about Abrams receiving the directing helm for the next addition to the much beloved Star Wars franchise, I was understandably apprehensive. But after seeing this latest effort, I would happily select Mr. Abrams as my space captain every time. Whether you are a first timer or an avid Trekkie, you are doing yourself a disservice in missing out on Star Trek Into Darkness. Space may be cold and filled with peril, but it has never felt warmer. 

There is a quiet Southern beast of a film drifting into art house and popular cinemas this summer. And like the reeling Mississippi River where the film takes place, writer/director Jeff Nichols' third feature film Mud is an elemental force of nature. 

Nichols' third film continues the tradition of his first two impressive features (Shotgun Stories [2007] and Take Shelter [2011]) by presenting a simple story that as the film progresses comes to embody a multitude of themes usually only found in fine literature. Mud does not break this mold and deals with the themes of life and death and everything in between: childhood innocence, obsession, class distinctions, redemption, and family. All of these themes are wrapped in Nichols' patented neo-Gothic Americana aesthetic and setting, and the director places the film in familiar territory by placing the story in his childhood territory of southern Arkansas. 

Humble beginnings typically beget incredible journeys and Mud is no different. A Twain-esque tale of two childhood friends discovering an abandoned boat stuck in a tree on a deserted river island creates an incredible template for which Nichols and his cast flourish under the sting of the Southern sun.

Contrary to the poster pictured above, this movie's two protagonists are two relatively unknown young actors. Tye Sheridan (only previously seen as one of the children in Terrence Malick's The Tree of Life) and newcomer Jacob Lofland portray childhood friends Ellis and Neckbone. Through journeying and progressing through obstacles both extraordinary (assisting a violent fugitive) and typical (first teenage crushes), Sheridan and Lofland carry the weight of the movie's multitude of themes with the skill and maturity of actors twice their age. 

Besides the unexpected  performances of the two young male leads, Matthew McConaughey delvers yet another stunning turn as a romantic fugitive/vigilante named simply Mud. McConaughey is experiencing a joyous second act in his career where the actor mostly known for his shirtless portrayals of one-dimensional men in romantic comedies has been delivering hit after acting hit. Brooding, vulnerable, and saturated with Southern superstitions,  McConaughey shines as the title character. Over the past two years, the actor has blossomed with each successive performance and McConaughey's acting potential seems to know no bounds.

Also of note is the small supporting role of long time Nichols collaborator Michael Shannon as Neckbone's uncle and legal guardian Galen. Shannon's portrayal of a middle-age river pearl diver who has not quite yet grown up is immature but constantly grappling with his parental responsibilities. One particular scene between Galen and Ellis allows Shannon to embody an unorthodox father figures as he humorously attempts and fails to give romantic advice to the teenage Ellis.

Mud is a summer film that every movie goer deserves but rarely receives during this time of year when cineplexes are drowning in explosions, sequels, franchises, and super heroes. All of the film's components run together like the water of the Mississippi River and like the great river provides a refreshing adventure. The light of Nichols' film enlivens the horizon and the potential careers of all involved seem limitless. Do yourself a favor and see Mud where and whenever you can. It is pure Southern bliss.

Standing forlornly but resolute on his great dock jutting forth from his mammoth of a castle perched on the edge of West Egg, New York, Jay Gatsby resolutely proclaims to his confidant Nick Carraway, "Can't repeat the past?…Why of course you can!" However, the past that has repeated itself in this instance is the most recent cinematic adaptation of F. Scott Fitzgerald's seminal novel The Great Gatsby and the draining fact that this one is just another disappointing version of the brilliant book. 

The ringleader of this glitzy but underwhelming production is Baz Luhrmann. The Australian auteur behind the sweeping spectacles of Romeo + Juliet (1996) and Moulin Rouge (2001) takes the same cinematic formula of musical pomp and circumstance and transplants it upon the domain of Gatsby and the hustle and bustle of the romanticized New York City in the booming 1920s. Luhrmann orchestrates and conducts a literal technicolor circus placing the hectic and chaotic atmosphere of Manhattan with all of its wealth, adrenaline, and cheap liquor front in center. Spectacle is what Luhrmann does best and The Great Gatsby is no different. However, this dynamite jazz explosion of color, music, and clothes drains the focus and emphasis away from the real fireworks: the vulnerable but fiery love story between Jay Gatsby and Daisy Buchanan. 

It is this unfortunate unbalance, with Luhrmann's circus overshadowing the subtle and tender performances of the main players, that plagues the film. Jay Gatsby is played with great aplomb and electricity by Leonardo DiCaprio (last seen as the satanic Calvin Candy in Django Unchained) who gives yet another fantastic performance depicting one of the most eccentric characters of his storied career. With added note is the radiant Carey Mulligan who delivers a quiet agony that is a rare thing to witness this time of the year when the cineplex is often overflowing with popcorn movie fare. And the faithful narrator Nick Carraway is portrayed with a tinge of soured innocence by Tobey Maguire (of Spider-Man trilogy fame). Carraway is hardly a heroic Peter Parker, and the older Maguire gets it seems the better his acting style suits his older and more disillusioned characters. And since Maguire serves witness to the crazed rise and fall of Gatsby, he acts as the audience member in walking through this strange new world of the whirling world of West Egg, New York.

And whirlwind is an understatement in describing the jarring pace at which the film unfurls the atmosphere of 1920s New York City. The swiftness of the cuts within the editing was especially alienating as the film bombards the audience with image after image with an almost improvisation and unnatural rhythm. Though this may have been to immerse the audience into the fast and furious tempo of the Jazz Age, it was at best alienating and any real satisfaction given by the wonderful clothes (impeccably designed by Catherine Martin) or the dazzling New York skyline is negated. Unfortunately, the soft and vulnerable moments between Gatsby, Daisy, and Nick are just space for the audience to recover from the roller coaster they were just subjected to and not appreciated for the rich subtle performances and romantic intrigue that the drive the novel and the film. 

Besides the great performances and costume design, the other surprisingly enjoyable aspect of the film was the modern soundtrack daringly used to frame the Age of Jazz. The soundtrack ranges from hip/hop to rock with such popular artists like Beyonce, Jack White, Lana Del Rey, Will. I. Am, and Jay-Z. The latter rapper/entrepreneur accrued the soundtrack and also has a producing credit for the film. Uptempo and overproduced, the songs on the soundtrack match perfectly with the temperament of the times that are all too similar to the urban modern world we live in today filled with shady business men, fun time party girls, and booze, booze, and booze.  

Baz Luhrmann's The Great Gatsby is a five ring circus in much need of a balancing act from its ring master. F. Scott Fitzgerald's introspective story of romantic intrigue and 20th century moral degradation and corruption is placed in the clothes of a film musical. But unfortunately no one in the cast is singing or dancing. The greatest hope that the film provides me is that this summer movie extravaganza will expose thousands of untold youthful readers of the world to the little novel that could. But in regards to the quality of the film, there is one phrase echoed by Gatsby that comes to mind. Close but no cigar "old sport," close but no cigar "old sport."

Before I begin the review of the first blockbuster of the very busy summer season that lies ahead, I would like to begin this review with a general mission statement. This tumblr account CinemaNick will be used as an outlet for my writing. This will become especially important in the coming months as I enter into the arduous and pressurized environment of graduate school. And since my graduate studies will require extensive amounts of writing, this internet outlet will serve as my personal film reviews for new releases and also to look back at old classics that are historically and culturally important in the world of cinema. So, to friends and strangers alike thank you for reading thus far and I hope you continue read my future reviews and personal musings here on the ole tumblr. Without further ado, on to the review.

In the span of just five years, the man in the iron mask has become the tent pole of a global cinematic franchise. The incredible critical and commercial success of the story of billionaire playboy Tony Stark's transformation in the original Iron Man (2008) is only eclipsed by the man in the metal suit's professional resurrection. Robert Downey Jr.'s career blossomed and is now flourishing due to his egotistical yet humorous take on the least likely of superheroes. Downey's dry wit and addictive presence have been fueling Marvel's cinematic universe for three movies now [Iron Man, Iron Man 2 (2010), and The Avengers (2012)], and now that the actor and the franchise have entered upon its fourth installment the franchise could easily fall prey to resting on its laurels and get rust upon its iron sheen.

However, due to directorial changes with original director Jon Favreau stepping down and Shane Black (of Lethal Weapon fame) taking control of the camera and the writer's room, Iron Man 3 is injected with a surge of new life that at some points is frustrating but overall gives a boost to Iron Man's thruster engines but more importantly Tony Stark's humility and conscience.

Iron Man 3 is unique among the Iron Man films because unlike Iron Man and The Avengers (and especially Iron Man 2 which was saturated with Downey iron clad the majority of the film) is predominately suit less and left to his own devices. This is Iron Man at his lowest and is fitting given the high of the Avengers last summer and is fitting considering Tony Stark and company haven't faced real hardships and an uphill climb yet in the franchise. And after following Nolan's sweeping yet anticlimactic conclusion to his own superhero trilogy featuring a broken and beaten protagonist, so too does Tony Stark get strewn into that bleak trajectory that is inherent upon the path of the modern day cinematic hero. 

And it is this chapter in the journey of the hero that Iron Man 3 focuses. The film begins with a look back into Stark's pre-Iron Man life and the audience gets transported back to the a Tony without humility and with his ego ratcheted up to record braking levels. This flash black laden with neo noir narrator voice over sets the scene and the conflict of the film and the audience is quickly introduced to industrial rival Aldrich Killian (played sinisterly by Guy Pearce) and the classic Iron Man villain the Mandarin (given a weighty vileness by Sir Ben Kingsley). Given this formidable array of combatants it would be an equal challenge to the incredible Iron Man. 

But Stark and thus Iron Man is burning at both ends and is fraying at the edge of his mental and physical awareness ever since tumbling through the worm hole in the Battle in New York in The Avengers. Stark cannot sleep, suffering from post-traumatic stress disorder, and is suffering relationship woes with his muse/girlfriend extraordinare Pepper Potts (Gwyneth Paltrow). Given Stark's already fragile state, Iron Man's rapid fall is not surprising but a welcome deflation of Stark's ego. And what is presented is a superhero film with the majority of its time presenting Tony Stark out of the suit, going back to the drawing board, and learning the basics of being a hero and being a friend and a man.

With a better than average story where it is more man than iron, Black presents a superhero film that reinvents a character that was in danger of becoming too comfortable and resting on its iron hi-tech laurels. In addition to the hero's rise from the bottom of despair, Iron Man 3 presents a harrowing parable on modern America's capitalistic system and the now elevated level of evil that terrorism and terrorists instill upon individuals. Though notwithstanding a plot twist that I won't spoil here, Kingsley's chilling embodiment of the Bin Laden-esque Mandarin brings a stark reality to the fantastic Iron Man franchise filled with geniuses and alien attacks and that what brings Stark down a peg is terrorist cell. 

Though Iron Man 3 forges into new territory for Stark and carried with professional humor and grace as always by Downey, Black's script carries with it traces of his 1980s action film tradition. The insertion of a cute child sidekick and an unnecessary camera man slash Iron Man obsessive fan feels forced and the humor is all but cliche at those moments. Black places Stark beaten and abandon in the frigid Tennessee wilderness. Downey's humor and inability to not be a smart ass would have created far more organic and funny if Black had left Downey to his own devices. 

But despite these flaws, Iron Man 3 is a much needed addition to the Tony Stark/Iron Man story and gives new life to a beloved character. The film is a great opener to the 2013 summer blockbuster season and is a comedic and fun statement regarding the current times we live in filled with corrupt capitalists and zealous but hallow extremists.