Wednesday, September 19, 2018

Unbroken: Path to Redemption / zero stars (2018)

“Unbroken: Path to Redemption” is a film that begins and ends with one fatal mistake: forgetting to tell its actors that they are accomplices in a cheap, patronizing melodrama. All the dramatic cues are there, and many of the faces convey an eagerness that is admirable, but every simpering scene of false sincerity moves to the rhythm of some shallow after-school special, where most of the conflict is resolved by broad strokes and nonsensical flash-forwards. For this, yet another aberration in a growing list of exercises by director Harold Cronk – and one that shamelessly follows a far better retelling of this story from only four years prior – the offense is greater: he takes a potentially meaningful discussion point about the traumatic aftermath of war veterans and reduces it to an arrogant demand for Christian unity. That some of it plays as convincing to these on-screen players indicates he has assembled a plausible ensemble to sell his message; that he doesn’t bother to supply them with a shred of intellectual context makes the film not only bad, but irresponsible and corrupt.

Monday, September 3, 2018

The Meg / ** (2018)

A band of rich investors, marine biologists and deep-sea divers gather aboard an underwater laboratory in the middle of the pacific to plunder the secrets of the deep, and while searching through a new hidden habitat hidden they inadvertently unleash one of the murkiest special effect creatures seen this side of the Anaconda. Among them, a wisecracking daredevil who once assisted in an ill-fated rescue emerges as the lone force of reckoning who can challenge it in the open waters, where it threatens to destroy an entire eco-system (not to mention feast on the swimmers of public beaches). His sarcastic demeanor, of course, comes as a lighthearted contrast against the more sobering faces of the others, who regard their predicament like slabs of bait waiting for a noon feeding. And why wouldn’t they? The story will rarely provide them, after all, with a chance to flee the danger or head for land, because that would negate the opportunity for them to become casualties in the hungry jaws of a monster. Assemble any number of these clich├ęs together and you create the cheerful delusions of a modern creature feature; supply them further with a studio budget and familiar names, and you get something resembling “The Meg.”