Tag Archives: Alex Kurtzman

Star Trek Into Darkness (2013, J.J. Abrams)

For Star Trek Into Darkness, J.J. Abrams operates with an “if it ain’t broke” mentality. It serves him–and the film–fairly well. Except Michael Giacchino’s music. While Abrams goes for sensationalism every time, he does it competently. The Giacchino music, however, is never competent.

This Trek tries hard to create mainstream post-modern; it’s a sequel to the first movie, yes, but it’s also a remake of a television series and a movie series. Not to mention Abrams and the writers gleefully wink at the franchise’s more memorable details. Into Darkness does have some serious moments and even tries hard to work arcs for some of its characters (it loses them too often), but it’s all for fun.

So why do Abrams and company get away with it? Usually the acting. Benedict Cumberbatch is fantastic as the villain, a 23rd century terrorist. If he wanted, he could act circles around Chris Pine and Zachary Quinto, but Cumberbatch gives them time to catch up. He’s the very special guest star, after all.

Both Pine and Quinto are good. Pine’s likable and believable but the script coddles him. He doesn’t have to run the movie. Karl Urban’s great as Bones, Simon Pegg’s fun as Scotty. John Cho and Anton Yelchin lack personality–the script doesn’t give them enough to do. Zoe Saldana’s okay, the script giving her too much to do.

Sadly, Peter Weller’s weak. He’s obviously stunt casting.

Into Darkness succeeds. Hopefully the next one will be more original.

CREDITS

Directed by J.J. Abrams; screenplay by Roberto Orci, Alex Kurtzman and Damon Lindelof, based on the television series created by Gene Roddenberry; director of photography, Daniel Mindel; edited by Maryann Brandon and Mary Jo Markey; music by Michael Giacchino; production designer, Scott Chambliss; produced by Abrams, Bryan Burk, Orci, Kurtzman and Lindelof; released by Paramount Pictures.

Starring Chris Pine (Kirk), Zachary Quinto (Spock), Zoe Saldana (Uhura), Karl Urban (Bones), Simon Pegg (Scotty), John Cho (Sulu), Anton Yelchin (Chekov), Benedict Cumberbatch (John Harrison), Alice Eve (Carol), Peter Weller (Admiral Marcus) and Bruce Greenwood (Captain Pike).


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Cowboys & Aliens (2011, Jon Favreau), the extended version

Five screenwriters get credit on Cowboys & Aliens. I wonder which one (or ones) are responsible for the stupider “twists” in the plot. Cowboys is stupid the entire time, of course, but it gets even dumber as it progresses.

The movie’s big problem is director Favreau. He isn’t just incapable of directing actors (Olivia Wilde’s performance is atrocious beyond belief), he can’t keep track of a big cast. He’s constantly losing track of the characters, usually in action scenes when he needs to be paying attention.

I assume he’s also responsible for telling cinematographer Matthew Libatique to shoot the film through a muddy lens and he okayed Harry Gregson-Williams’s lame score too. In short, Favreau’s a disastrous director for this movie. It doesn’t even feel like he’s seen a Western before.

For example, Daniel Craig’s supposed to be playing a “Man With No Name” type. Except he’s kind to dogs so the viewer knows he’s really all right. While Craig’s lack of personality is partially his own fault (the script and Favreau do no favors), he’s visibly contemptuous of the material. It’s obvious he thinks it’s stupid.

And it is stupid. It’s terribly stupid. But Harrison Ford manages to give an all right performance, even with a dumber character arc than Craig’s got.

There’s some outstanding supporting work from, no surprise, Sam Rockwell and also Paul Dano and Keith Carradine. Walton Goggins shows up in way too small a part and is great.

Cowboys & Aliens‘s imbecility, surprisingly, overpowers its incompetence.

CREDITS

Directed by Jon Favreau; screenplay by Roberto Orci, Alex Kurtzman, Damon Lindelof, Mark Fergus and Hawk Ostby, based on a story by Fergus, Ostby and Steve Oedekerk and a graphic novel by Fred Van Lente, Andrew Foley, Dennis Calero, Luciano Lima, Luciano Kars, Silvio Spotti and Jeremy Wilson; director of photography, Matthew Libatique; edited by Dan Lebental and Jim May; music by Harry Gregson-Williams; production designer, Scott Chambliss; produced by Brian Grazer, Ron Howard, Johnny Dodge, Kurtzman, Lindelof, Orci and Scott Mitchell Rosenberg; released by Universal Pictures.

Starring Daniel Craig (Jake Lonergan), Harrison Ford (Woodrow Dolarhyde), Olivia Wilde (Ella Swenson), Sam Rockwell (Doc), Adam Beach (Nat Colorado), Paul Dano (Percy Dolarhyde), Keith Carradine (Sheriff John Taggart), Clancy Brown (Meacham), Noah Ringer (Emmett Taggart), Ana de la Reguera (Maria) and Walton Goggins (Hunt).


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Transformers: Revenge of the Fallen (2009, Michael Bay)

I thought I could watch Transformers 2, or whatever it’s called, but I can’t. I made it through the first one, maybe because it followed some kind of traditional narrative structure, but the second one is unbearable. It’s just incompetently told. I’ll read plot details and they seem interesting, but there’s no way I’d ever make it to see them.

Bay’s got to be the most worthless director working today. His composition is so spectacular, his editing, while frantic, at least has a rhythm his imitators don’t have, but he apparently likes the dumbest scripts and has the dumbest ideas (his director’s cut to Pearl Harbor being a testament to his needing a firm producer).

The CG is great, but who cares? As such a long-time opponent of CG, it’s interesting I’ve gotten to the point where I can respect it, but it’s gotten so blasé it’s ineffective. Sure, the Transformers transforming is lifelike and all, but there’s no wonderment to it. Bay shoots the thing like the Transformers are the scale the viewer is supposed to be accustomed to, not the people affected by the action. It makes it silly and cartoonish.

The writing is particularly awful, whether the dialogue or the plotting.

The voice acting is bad. Peter Cullen apparently hasn’t done any real acting in thirty years–sorry, cartoons don’t count–and it sounds idiotic. The trailer guy would have been better. It doesn’t help the audio mix of the voice acting is crap.

It sucks.

CREDITS

Directed by Michael Bay; written by Ehren Kruger, Roberto Orci and Alex Kurtzman; director of photography, Ben Seresin; edited by Roger Barton, Tom Muldoon, Joel Negron and Paul Rubell; music by Steve Jablonsky; production designer, Nigel Phelps; produced by Ian Bryce, Tom DeSanto, Lorenzo di Bonaventura and Don Murphy; released by Dreamworks Pictures and Paramount Pictures.

Starring Shia LaBeouf (Sam Witwicky), Megan Fox (Mikaela Banes), Josh Duhamel (Major Lennox), Tyrese Gibson (USAF Master Sergeant Epps), John Turturro (Agent Simmons), Ramon Rodriguez (Leo Spitz), Kevin Dunn (Ron Witwicky), Julie White (Judy Witwicky), Isabel Lucas (Alice), John Benjamin Hickey (Galloway), Matthew Marsden (Graham), Rainn Wilson (Professor Colan), Peter Cullen (Optimus Prime) and Hugo Weaving (Megatron).


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The Island (2005, Michael Bay)

I know The Island bombed but I can’t believe anyone thought it wouldn’t. It’s incredible such a large budget was given essentially to a future movie–it takes place in 2015 or something, it’s never clear, but there’s a lot of future stuff–and I had no idea it was a future movie. Bay’s got future cars and future trains and future motorcycles and he’s the worst person to do a future movie, because he’s incapable of wonderment. The Island plays out like Freejack on overdrive.

The plot is ripe for all sorts of metaphors–this island paradise, whatever–and the film ignores all of them. Instead it’s a wholly competent, completely unexciting summer action movie. Scarlett Johansson plays a twit well and Ewan McGregor’s a solid lead in a vapid role–it’d have been really funny if the pair had been cloned from their actors, who they then had to duke it out with.

Djimon Hounsou is wasted, as he always is, cast as the tough black guy with the accent. Sean Bean’s good as the villain, even if his dialogue is crappy. Steve Buscemi’s awesome in a small role; he really has fun, maybe more than anyone else, just because he’s not pretending about what kind of movie he’s making.

It’s really cool looking–the future designs and all–and Bay does a decent job. But when the music (a good score from Steve Jablonsky) comes up, it doesn’t matter what the movie is–Bay’s directing another commercial.

CREDITS

Directed by Michael Bay; screenplay by Caspian Tredwell-Owen, Alex Kurtzman and Roberto Orci, based on a story by Tredwell-Owen; director of photography, Mauro Fiore; edited by Paul Rubell and Christian Wagner; music by Steve Jablonsky; production designer, Nigel Phelps; produced by Walter F. Parkes, Bay and Ian Bryce; released by DreamWorks Pictures.

Starring Ewan McGregor (Lincoln Six Echo), Scarlett Johansson (Jordan Two Delta), Djimon Hounsou (Albert Laurent), Sean Bean (Merrick), Steve Buscemi (McCord), Michael Clarke Duncan (Starkweather) and Ethan Phillips (Jones Echo Three).


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Star Trek (2009, J.J. Abrams)

There really isn’t anything to dislike about Star Trek. Well, maybe the music, which isn’t bad, just isn’t as good the rest of the music in the series. There’s a lot to like–Chris Pine (though the wife disagrees), J.J. Abrams’s direction is outstanding, there’s some nice little stuff (Zoe Saldana’s Uhura and her romance, Leonard Nimoy’s reaction to Pine, Karl Urban’s woefully underused McCoy). Oh, wait. What’s his name… Eric Bana? Was it Eric Bana? He was awful. Oh, and Ben Cross. He was lousy too.

The problem with the film is its uselessness. I saw it in a theater packed with college students who hooted and hollered during the Transformers sequel–Abrams isn’t exactly going for a high brow audience. The script, from Roberto Orci and Alex Kurtzman (who often really stink), isn’t bad. There are some lame moments, but the dialogue’s solid–Pine delivers it with an unbelievable swagger, playing Kirk as a superhero, something Shatner never really recognized in his essaying of the role–and there are some neat developments. But it’s really all about Abrams’s direction. Whether it’s the–as far as I know, I haven’t seen the more recent Star Trek films–outstanding CG space shots (Abrams’s composition of these scenes is utterly unlike any other Star Trek direction I’ve seen, much more visceral… in fact, it sort of resembles the new shots from Bob Wise’s Star Trek: The Motion Picture director’s cut), amazing action scenes. Abrams, on his second film, does a fantastic job.

So Pine’s excellent, something he establishes from his first scene. Saldana’s good, playing well off Pine and Zachary Quinto. Quinto’s okay… adequate. The problem is how good Nimoy is in his scenes. His link to the original incarnation, not to mention his lovely (there really isn’t any other word for it) scenes with Pine… Quinto can’t really compete. Maybe in the next one (in this one, there’s a hint at a solid chemistry between Pine and Quinto). And, really, all Star Trek is about is waiting for the next one.

Because Karl Urban? He’s really not in this one enough. He probably gives the best performance and, even without a lot of back story, has the most interesting character.

Bruce Greenwood’s kind of useless. Abrams should have tried harder to get Tom Cruise.

Simon Pegg’s hilarious as Scotty. John Cho and Anton Yelchin are kind of useless too. They’re both all right, but there’s no part for them in the film.

The script’s got a bunch of logic holes and probably many more if one were to think about them, but one isn’t supposed to think about Star Trek. One’s supposed to enjoy the action, laugh at the jokes, get the references. And it works.

For an absolutely pointless two hour franchise “relaunch,” it’s about as good as it could be and it’s pretty good.

CREDITS

Directed by J.J. Abrams; screenplay by Roberto Orci and Alex Kurtzman, based on the television series created by Gene Roddenberry; director of photography, Daniel Mindel; edited by Maryann Brandon and Mary Jo Markey; music by Michael Giacchino; production designer, Scott Chambliss; produced by Abrams and Damon Lindelof; released by Paramount Pictures.

Starring Chris Pine (James T. Kirk), Zachary Quinto (Spock), Leonard Nimoy (Spock Prime), Eric Bana (Nero), Bruce Greenwood (Capt. Christopher Pike), Karl Urban (Dr. Leonard ‘Bones’ McCoy), Zoe Saldana (Nyota Uhura), Simon Pegg (Scotty), John Cho (Hikaru Sulu), Anton Yelchin (Pavel Chekov), Ben Cross (Sarek), Winona Ryder (Amanda Grayson) and Chris Hemsworth (George Kirk).


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Mission: Impossible III (2006, J.J. Abrams)

After two asinine outings, Tom Cruise finally figured out how to get a Mission: Impossible to work. There’s an actual story–the viewer’s engagement with the plot doesn’t revolve around one’s appreciation of Tom Cruise and his frequent grin. The difference is in Cruise himself. He’s no longer charming the women aged twelve to fifty-two in the audience, he’s widened his scope–he’s trying to present an affable lead… to everyone. It’s amazing how little the film needs to engender some real concern for the character. Give him a girlfriend, a pre-exisiting girlfriend–does wonders. Throw in Ving Rhames putting his foot in his mouth while talking about the girlfriend. Rhames and Cruise, after two chemistry-free occasions, finally work well together. They’re finally believable as friends… or friendly acquaintances. Again, all seems to be Cruise.

There’s the other development–a personable team. Maggie Q and Jonathan Rhys Meyers don’t exactly have a major part in the film, but there’s a definite sense they work together and know each other. It’s a very welcome feel, since Mission: Impossible kind of suggests them having a team. It changes the kinds of stunts Cruise gets to do–he still gets to run a lot and there’s a motorcycle sequence–but having to involve his teammates… I don’t know if it makes Mission: Impossible III more possible (there’s a lot of silliness, down to the secret underground base), but it makes the concept a little easier on the senses. Instead of whacking the viewer’s cognitive reasoning centers with a two by four, it’s a more acceptable amount of disbelief the film’s requesting suspended.

J.J. Abrams and crew present a rather simple spy plot–it’d work, easily, for a James Bond, a Lethal Weapon or even a Die Hard (all, obviously, with significant changes)–and do it well. It doesn’t really matter if this one’s a sequel to the other two Mission: Impossible movies. It’s a spy getting married movie, they’ve made these for a long time. Cruise works–and works quite well with love interest Michelle Monaghan. Monaghan and Cruise have a really great scene–one where Abrams’s directorial abilities come through–and Monaghan’s just too good for this kind of material… and she can even pretend she doesn’t know it.

Cruise assembled a great supporting cast–Laurence Fishburne (in the kind of role he should have been doing for years), Billy Crudup, Simon Pegg and Philip Seymour Hoffman. Hoffman should have been playing the cooly evil villain for years–he excels at it. The scenes where he’s playing Tom Cruise playing Philip Seymour Hoffman are comic gems.

It isn’t just Abram’s story–he put together a great crew. Daniel Mindel’s a fine cinematographer–Mission: Impossible III has a bunch of CG composites and the lighting is never off, which is a not insignificant achievement. The music–by Michael Giacchino–is fantastic. It’s never bombastic (like a composer I’ve actually heard of) and occasionally feels like cheap TV music–a perfect match for Mission: Impossible.

Given the first two movies, it’s hard to believe III even has a chance. But, almost immediately, it’s a fine diversion. It just gets better throughout, even pulling a couple nice saves throughout (especially at the end).

Abrams is an impressive feature director.

CREDITS

Directed by J.J. Abrams; screenplay by Alex Kurtzman, Roberto Orci and Abrams, based on the television series created by Bruce Geller; director of photography, Daniel Mindel; edited by Maryann Brandon and Mary Jo Markey; music by Michael Giacchino; production designer, Scott Chambliss; produced by Tom Cruise and Paula Wagner; released by Paramount Pictures.

Starring Tom Cruise (Ethan Hunt), Philip Seymour Hoffman (Owen Davian), Ving Rhames (Luther), Billy Crudup (Musgrave), Michelle Monaghan (Julia), Jonathan Rhys Meyers (Declan), Keri Russell (Lindsey Farris), Maggie Q (Zhen), Simon Pegg (Benji), Eddie Marsan (Brownway) and Laurence Fishburne (Theodore Brassel).


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Transformers (2007, Michael Bay)

Transformers features giant robots fighting each other. Such scenes look excellent, from a special effects standpoint. Depending on the specifics of the scene–how the giant robots are fighting, fists or guns, and whether or not there are humans involved–sometimes the scenes are very well directed. While Transformers does have a lot of action, the robot fight scenes are mostly reserved for the end… and then Bay either does well or poorly. He can’t compose a real–punching, kicking, scratching, biting–fight scene. If there aren’t guns and cars involved, while it looks cool with the CG, it’s a flacid.

Complaining about that particular defect of Bay’s direction of the movie is a little cheap, because there’s so many bigger complaints to make. To get them over with… Bay doesn’t really get interested in the Transformers themselves. They only have a handful of scenes with any attempt at characterization and only one of them goes well and it’s because it’s a comedy scene and Bay used to direct comedic commercials, so he does it well. He’s also more in love with his military story than Shia LaBeouf’s, taking to so far as to give Megan Fox’s stupidly written character a lot more emphasis. LaBeouf’s character is poorly written too, but Fox’s is worse. What else. Oh. It doesn’t look like Michael Bay. There’s no sensuality–did I really just say Bay has a sensuality to his style? He does: the overcooked thing. Transformers has maybe five or six of those Bay shots. The rest is style-less. The action scenes are great, the chase scenes are good, but there’s no personality. It’s like Bay didn’t want to get bad reviews for his fast cuts or something (Spielberg’s a hands-on executive producer when it comes to blockbusters… anyone else remember the rumor he added the T-Rex-sized ghost to The Haunting himself?).

Even Bay’s creative casting is gone. In his Bruckheimer days, Bay movies would be filled with recognizable faces. Not so with Transformers. I kept hoping for someone interesting, but no one popped up. Not well known actors in supporting roles (like Bernie Mac or Kevin Dunn), but recognizable character actors in small roles. Nothing along those lines here….

I thought it might be because the Transformers were going to be significant, but they aren’t (as characters, anyway… as giant robots fighting, they’re fine). The present action of the film takes place over three or four days, with the Transformers coming in the night before the last day. They’re hardly there, which is one of the script’s major problems. Though maybe not. It’s a problem, but the script is so bad, it’s difficult to make qualitative judgments. Even if the movie makes no sense, the Transformers don’t have to have terrible dialogue. But they do. The script hurries things along so much, flipping between LaBeouf and Josh Duhamel’s army story. LaBeouf is far from an acting giant, but the script really does him a disservice… it sets him up as a shallow jerk-wad. I heard one of the screenwriters compare it to E.T., but it’s like E.T. if the audience was supposed to hate Elliot (I’m sure it’s just Bay who dislikes LaBeouf’s character, since he doesn’t fit the Bay macho man mold).

I was hoping it’d be something like Jurassic Park or Twister, an effective summer blockbuster with some degree of wonderment at its content. It has none. Bay’s just not the right director for it, even though some of it looks really cool (but I think that credit belongs to ILM).

But, who knows? Maybe if Bay were working from a vaguely competent screenplay… But the Transformer based on Stripe (from Gremlins) was really funny.

CREDITS

Directed by Michael Bay; written by Roberto Orci and Alex Kurtzman, based on a story by John Rogers, Orci and Kurtzman; director of photography, Mitchell Amundsen; edited by Paul Rubell, Glen Scantlebury and Thomas A. Muldoon; music by Steve Jablonsky; production designer, Jeff Mann; produced by Don Murphy, Tom DeSanto, Lorenzo di Bonaventura and Ian Bryce; released by DreamWorks Pictures and Paramount Pictures.

Starring Shia LaBeouf (Sam Witwicky), Tyrese Gibson (Technical Sergeant Epps), Josh Duhamel (Captain Lennox), Anthony Anderson (Glen Whitmann), Megan Fox (Mikaela Banes), Peter Cullen (Optimus Prime), Hugo Weaving (Megatron), Rachael Taylor (Maggie Madsen), John Turturro (Agent Simmons) and Jon Voight (Defense Secretary John Keller).


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