Cowboys and Aliens

Westerns and sci-fi films. Although most would like to forget, the two genres have crossed paths before. In 1990, Marty McFly traveled back in time to 1885 to rescue Doc Brown and bring him back to good old 1985 in the final installment of the Back to the Future series, and nine years later, Will Smith and Kevin Kline stop an ex-Confederate scientist from destroying the United States with Jon Peters’ giant pet robot spider (see An Evening with Kevin Smith for Jon Peters reference) in Wild Wild West. With those two films heavily panned by critics and moviegoers, it takes another flash forward to 2011 before director Jon Favreau’s Cowboys and Aliens wrangles up Harrison Ford and Daniel Craig to fight off an alien invasion in an attempt to triumph over those two aforementioned films and crown an undisputed champion in this spliced category. Not exactly a hard fight to win, but disappointingly Cowboys and Aliens only manages to walk away with a TKO.

Jake Lonergan (Daniel Craig, Casino Royale) wakes up in the desert with no memory of who he is or where he’s been. A strange mechanical bracelet is locked to his left wrist and everyone is trying to capture or kill him for being a wanted man. As he tries to piece together his fragmented brain, he settles in a small upstart town where a man named Woodrow Dolarhyde (Harrison Ford, Extraordinary Measures) is the backbone of the economy. When Dolarhyde hears that Lonergan is in his town, he seeks retribution for crimes supposedly perpetrated by Lonergan, who cannot remember if he is guilty of such accusations. Everything then comes to a standstill as flying machines invade the town and snatch up townspeople like they are cattle. The aliens’ presence activates Lonergan’s bracelet and proves to be the only weapon capable of substantial firepower against them. The cowboys put away their differences amongst one another and their human adversaries to fight a common enemy as they try to rescue their loved ones and rid themselves of this new and deadly threat.

If actor/director Jon Favreau ever lived in the old west himself, he would certainly never be labeled as “yella.” Whether you’re a fan of his work or not, the guy takes plenty of gambles in his career, which so far have paid off in spades. In his latest “double down,” Favreau tries to successfully mesh a serious western with a science fiction, extra terrestrial flick.

In a microcosm, Cowboys and Aliens is the Citizen Kane of this Frankenstein genre. The film actually does convey the tone of a serious western before all of the alien madness begins. The only problem is that Favreau might have opened the film too well. The aliens seem to have ruined what could have been an even better movie. Great westerns rest heavily on deep and rich characters and intense nerve-racking standoffs, whether they are exchanging bullets, words, or even glares. With its first-class cast, this film has the inherent components to pull off such a story, but just when things start to get good, aliens show up with their photon guns blazing and erase all the great, pent-up drama. Instead of propelling each other, the colliding of these two genres inhibits either one from ever reaching their apex, like an infinite game of tic-tac-toe.

The plot drags slowly through the middle as the two genres intertwine, culminating in a more violent Independence Day-esque type of climax. The script takes more and more liberties as to just how vulnerable the aliens are to the cowboys’ gunfire, wavering in believability on just how effective a small army can be against such a technologically and physically advanced species. And although very plausible, the entire reason for the alien’s presence on Earth is explained in a very lazy manner.

In a purely visual aspect, the aliens are surprisingly original. Creating a monstrous alien that actually raises the brow of jaded audiences is a victory in itself. They are actually scary, noting specifically that they are not the cookie cutter, faceless, oversized reptiles that have become the default in the industry. They’re able evoke fear through expression as well as physical prowess.

The only thing that stops a film with a title like Cowboys and Aliens from getting thrown right into the “straight to DVD” pile is when names like Daniel Craig and Harrison Ford are attached to it. Craig and Ford have chemistry on screen together without even saying a word. It’s almost a shame that the duo had to team up to fight aliens instead of playing out their original conflict. Ford plays a different kind of hero in this film, one that the audience is never quite sure they even like until the very end. And few actors say as much with a blank expression as Daniel Craig, which works phenomenally in a western or action setting. He’s just got that intangible badass tone to him and he actually says more with less dialogue.

The supporting cast is filled with actors that would have been great characters but did not get enough screen time due to the whole fighting aliens thing, including Olivia Wilde (Tron: Legacy) as Ella Swenson, Sam Rockwell (Iron Man 2) as Doc, Keith Carradine (Dexter) as Sheriff Taggart, Paul Dano (Knight and Day) as Percy Dolarhyde and Clancy Brown (The Shawshank Redemption) as Preacher Meacham. They all get pigeon crumbs of backstory, which does add to the plot, but overall these characters feel mostly hallow and incomplete.

Cowboys and Aliens may be its own worst enemy, but it’s still intriguing to watch two of the most classic categories of characters in the history of film interact. And even with all of its flaws, in no way is the film a lost cause. It just comes off as more of a prototype. Perhaps after this type of film is reworked over and over again, it would evolve into something really incredible, scaling back the alien presence and using it only to further enhance an already powerful western storyline.



Story: 6.5
Acting: 7.5
Writing: 6.5
Captivation: 6.5
Replay Value: 6.5

Total = 6.7 out of 10

Captain America: The First Avenger

Mascots, war bonds and comic book characters are just a few of the many symbols created during the WWII era in an effort to raise the hopes and morale of Americans. One of the most famous examples is the Uncle Sam “I Want You” posters, and even Superman was thrown into the war with some of the Fleischer cartoons. But the award for the most blatant example of pro-American WWII pop culture would have to go to Captain America. Dressed like a big American flag and fashioned with a bold letter “A” right on the top of his head, the character was immensely popular during the Nazi fighting days of the early ‘40’s. However, as the war concluded so did the clamoring for super heroes, particularly Cap himself. But when it comes to characters in soap operas and comic books, never say, “die.” Just like in his own storyline, Captain America has once again been resurrected. No, it wasn’t being thawed out from a big block of ice that led to the character’s resurgence, this time around it was something even more frigid and unforgiving . . . Hollywood.

Steve Rodgers is a nebbish of man with the heart of a gladiator. Wanting nothing more than to do his part for America in the war effort of the early 1940’s, Rodgers goes as far as to falsify information of his background so he can apply at multiple recruiting centers, only to be perpetually rejected due to his diminutive stature. Refusing to quit, his determination is noticed by Dr. Abraham Erskine, a scientist heading a top-secret program to create the perfect super soldier. Lacking physical attributes but gifted with all of the mental requirements, Rodgers is offered the position of test subject by Dr. Erskine. The experiment transforms Rodgers exterior to match his interior, manifesting in the perfect physical specimen of human ability.

Captain America: The First Avenger is the final stepping stone to Marvel Studios’ incredibly ambitious and unprecedented The Avengers project. Although, director Joe Johnston (The Wolfman, The Rocketeer) made sure that this film was more than just propaganda material. Borrowing from his creative pool during his days on The Rocketeer, Johnston once again sets the quintessential tone of the WWII era by breathing life and a third dimension into Norman Rockwellesque illustrations while still maintaining the ambience already established by the previous Marvel films in The Avengers continuity.

The writing in this film might be unfairly and ironically criticized for sounding like something out of a comic book. However there is a big difference between bad and purposeful dialogue. The script of this film resembles the latter, what could be mistaken for lazy or cheesy writing actually emulates a simpler time period where actions spoke much louder than words. Also, the method in which Captain America is first used by the Army is very clever and poignant to the period, not to mention mirroring the main reason the comic book character was created in the early ‘40s to begin with. The story definitely feels a little frantic in the 2nd act with what seems to be a rushed storyline by way of montage, but Johnston’s intention was to mimic the quick pace of the old-time newsreels that appeared before films in movie theaters of that era. Unfortunately, more of that footage should have focused on Captain America learning how to use his new abilities and wield his shield properly, à la Tony Stark in the first Iron Man film. Instead Rodgers is just inherently able to fight flawlessly and toss the shield around like he’s been doing it all his life. All is forgiven though with the very entertaining 3rd act that invokes some real emotion and pulls the audience deep into the film just in time for its conclusion.

Chris Evans (The Losers, Fantastic Four) may not be the Captain America equivalent of actors, but he does bring the inherent heart needed to fill the role. Incredibly endearing, he embodies the pureness of the character and exerts believability to Cap’s personality. Lines like “I don’t want to kill anybody, I just don’t like bullies,” are definitely cheese infused to the point where Pizza Hut would like to throw it on their menu, but Evans delivers them with conviction, as if he was actually portraying a character from a comic book. Imagine that!

Evans also had the advantage of some crazy-good supporting actors around him, including Stanley Tucci (The Devil Wears Prada, The Terminal) as Dr. Erskine and Tommy Lee Jones (The Company Men, No Country for Old Men) as Colonel Chester Phillips, the stereotypical hard ass career Army man played with the meticulously precise amount of deadpan humor that few other actors can portray.

Howard Stark, the father of Tony Stark, aka Iron Man, also appears in this film and is an integral plot piece played with just the right amount of demur by Dominic Cooper (The Devil’s Double, Mama Mia). It’s no mistake that Howard Stark is Tony’s father, but Cooper is able to play the role without going into an all out Robert Downey Jr. impression, giving the character his own unique personality.

The Red Skull has to be one of the most evil characters in the Marvel Universe, not only does he want to enslave the entire world but he’s a Nazi to boot. There may only be a handful of actors that can match the intensity needed for such a character, Hugo Weaving (Lord of the Rings, The Matrix) would definitely be a prime candidate. Weaving, whose real name may actually be more intimidating than the villains he portrays, delivers his lines with diction so perfect that it actually becomes unnerving. The Red Skull is also one of the most challenging characters visually that Marvel has ever brought to life. Weaving’s makeup for his character was perfect, some might even say too perfect. The effects on the Red Skull looked very smooth, shying away from the grotesque shock value like that of Aaron Eckhart’s Two Face in The Dark Knight. But for the tone of this film, the production designers chose wisely. That kind of realism would feel out of place in the more stylized and lighter Marvel films. The Red Skull still looked very convincing, much like the character was transposed right out of the pages of the comics themselves.

Other visual effects in this film range from the “not quite ready” to “standout brilliant.” As astonishing as it is to see Chris Evans’ emaciated face on an even more emaciated body before Rodgers goes through the super serum experiment, there are some instances where it just looks a little off, particularly when he speaks. Then there are other scenes when it is rendered flawlessly and the phrase, “how the hell did they do that” rushes through the viewers mind. Overall the effect works more than it doesn’t and is only used for part of the first act anyway.

Another production quality that impresses is the final costume donned by Captain America. It’s probably one of the best movie costumes ever made for a comic book character. Not only does it pop off the screen like it’s made out of living watercolors, but it remains very functional and appropriate for the time period.

Captain America: The First Avenger definitely reaps the benefits of being part of The Avengers hype machine, but as a standalone film it’s the best Marvel Studios has produced since the original Iron Man. It might even be strong enough that after all the hoopla of The Avengers is over, moviegoers will still get in line to see Captain America throw his mighty shield a few more times.

Story: 6.5
Acting: 7.5
Writing: 7.0
Captivation: 7.0
Replay Value: 7.5


Total = 7.1 out of 10

Harry Potter and the Deathly Hallows: Part 2

“Unprecedented” and “epic.” Terms that are attributed far too casually in today’s pop culture but remain the embodiment of what the tale of “the boy who lived” has accomplished over the past decade. But no matter how amazing, how grand or at what heights a saga can climb, it will only ever be as strong as its climatic conclusion. This is the heavy burden carried by Harry Potter and the Deathly Hallows: Part 2.

Resuming very near the instant where Deathly Hallows Part 1 closed, Harry, Hermione and Ron continue on their mission to destroy the remaining horcruxes of Lord Voldemort in an effort to make him vulnerable. With very little to go on and still piecing together the significance of the Deathly Hallows, the trio make their way back to Hogwarts to confront the now Headmaster Snape and take back the school. With each horcrux Harry destroys, Voldemort becomes more unhinged and he sets out to kill Harry once and for all.

Director David Yates (Deathly Hallows Part 1, Half-Blood Prince, Order of the Phoenix) masterfully and slowly gradients his way out from the jarring, ominous tone he set in Deathly Hallows Part 1. Largely due to the main three characters emerging from their seclusion and the reappearance of the very important supporting cast, including the Hogwarts School itself. Even in its dark state, seeing the school again was extremely comforting after the manic transgressions of Deathly Hallows Part 1. Which may be where some reviews of “Part 1” were slightly short sighted, present writer slightly culpable. The exclusion of Harry from his friends, teachers and the school in “Part 1” is an integral component of what makes “Part 2” so powerful, but even more important, it may be the key to fully understanding one of the dullest, interesting, vanilla, complex characters ever created, Harry Potter himself.

I’m going to break my own rule of not writing in the first person for this review. Much like a narrator in a film like The Shawshank Redemption or Fight Club, the tactic only works if it truly adds depth and meaning that could not be achieved otherwise. I feel the need for this because I now believe that I have been something that I definitely do not like to admit being. That thing would be “wrong.” I’ve been wrong about the character of Harry Potter for seven films. I’ve had expectations that I had no right to presume, I’ve been advocating and petitioning for this character to act in a way he was never meant to act. I was not alone in my frustrations, and I take zero responsibility, no way, of course not. I was tricked, bamboozled, run amuck, led astray. I didn’t land on Hogwarts School of Witchcraft and Wizardry, Hogwarts landed on me! The realization that I’ve been so wrong is what sets the Potter "chosen one" saga apart from all others. Not because I’m a “know it all,” although that accusation has been cast my way more than a few times, but because being wrong about Harry, putting pressure on him, waiting for him to do something that is completely beyond his abilities, is exactly what the character feels in the story. I’m just another outsider, thinking this boy is “the chosen one,” waiting for his legend to come to fruition and defeat an all-powerful dark lord. Harry Potter is not Neo nor is he Luke Skywalker. He is simply a boy who was born into an impossible situation, trying to save the world even though he has no business doing so. This is not to say Harry does not have special abilities above all others as it becomes quite clear in this film why he has been so often compared to his mother Lily throughout the series.

Aside from the great storytelling, witty dialogue, and perfect chemistry you’d expect from actors that have been on the same job together for a decade, there are two standout performances in this finale. No, it’s not the nervous courage of Daniel Radcliffe as Harry or the immersive hopelessness once again perfected by Ralph Fiennes as Voldemort, this time around its Rupert Grint’s Ron and Alan Rickman’s Snape who exhibit the welcome evolution of a stronger and a vulnerable side respectively at symphonic moments in the story arc.

Deathly Hallows Part 2 also embraces a much grander Return of the King or Return of the Jedi experience, but makes sure to still spotlight smaller characters, which are so important to the drive behind Harry’s purpose. A good portion of the plot focuses on revealing the answers to many of the questions that fans who have only seen the films have had for many years, but the script is able to incorporate them into the story naturally to avoid feelling like a Wizarding World version of "This Is Your Life." Readers of the books, who will undoubtedly tell you every single thing that was left out or changed whether you elicit the information from them or not, should also be very fulfilled. Of course that’s taking into account they have enough inherent logic to comprehend if the films were a direct transcript of the books, we would still be awaiting the release of “Harry Potter and the Goblet of Fire: Part 3”

So with the triumph of Deathly Hallows Part 2, the question can finally be seriously debated, is the "Harry Potter Saga" the greatest film franchise of all time? Perhaps, perhaps not. It’s not really a question that would have had a definite answer whether this film emulated The Empire Strikes Back or Howard The Duck. The real achievement is that the franchise is now in the argument. Although, during such discussions an ironic parallel will undoubtedly and maybe even unknowingly be drawn to its title character. Against titans like Star Wars, Indiana Jones, Rocky, and The Godfather, advocates of Harry Potter will shout at the top of their lungs that it is easily the greatest film saga of all time and cannot be defeated. Detractors will claim the “Potter” films have no business being uttered in the same breath as those franchises. Others may even placate that they are greatly misunderstood, or say that they had so much potential to be greater than they are.

Before this film, if I had heard an argument such as that I would have aligned myself with one of those facets and fought for it vehemently. Now I would simply say . . .

Brilliant.



Story: 8.0
Acting: 8.5
Writing: 8.0
Captivation: 8.5
Replay Value: 8.5

Total = 8.3 out of 10