FILM REVIEW OF ''JOHN WICK: CHAPTER TWO" (2017)

Hollywood makes out two types of sequels.  First, those sequels that aren’t as good as their forerunners.  Second, those sequels that surpass their predecessors. Basically, sequels are either better or worse than what spawned them.  “John Wick: Chapter 2” (***1/2 OUT OF ****) belongs to the second category.   Stunt double Chad Stahelski and scenarist Derek Kolstad respectively return as director and writer for the bullet-riddled bloodbath “John Wick 2,” and Keanu Reeves reprises his role as the invincible, sharp-shooting assassin who doesn’t aim to please.  No, Wick’s new pet pooch doesn’t die in this installment.  Moreover, no other animals are harmed.  Anybody who saw the original “John Wick” knows the villains spoke in awe about John Wick’s lethal use of pencils.  Appropriately enough, Stahelski stages a pencil scene for the sequel, and you will have an entirely new respect for yellow number two pencils.  We’ll have to see if something like this doesn’t ultimately winds up as merchandise to advertise the franchise.  This unbreakable pencil preserves its point throughout a slam-bang combat encounter that would shatter a regular pencil.  Audaciously preposterous, hopelessly predictable, but thoroughly captivating nonsense, “John Wick 2” pushes everything to the limit except the number of lines uttered by Keanu Reeves.  Tired of gun shy, shoot’em ups that confine their mortality rates to single digits? “John Wick 2” boasts a triple-digit body count with an alarming number of head shots.  Typically, our bruised and battered hero pumps two slugs into an adversary’s torso and then polishes them off with one in the noggin.  When he exhausts his ammo, he resorts to battlefield salvage and appropriates another man’s weapon so he can keep on killing. Meaning, if you require discretion in the depiction of violence, you may have complaints about this exciting, atmospheric, and elegantly lensed action thriller with lots of colorfully illuminated settings.  Incidentally, “John Wick 2” reunites Reeves and “Matrix” co-star Laurence Fishburne for a couple of scenes. Were it little more than the original, “John Wick 2” wouldn’t be as memorable, but it is something more with some imaginative tweaks that its predecessor lacked.

“John Wick: Chapter 2” picks up where the previous epic ended.  Since Wick has acquired a new dog, he searches now for the car that his enemies stole, and the film opens with an over-the-top, car-smashing, body-crashing encounter in a rival mobster’s garage with our hero relying on wits, fists, and martial arts.  Like a respectable sequel, “John Wick 2” reminds us what was at stake in the first film as well as the character of our hero.  A relative of the mobsters who shot Wick’s puppy dog and then beat him senseless, Abram (Peter Stormare of “22 Jump Street”) is preparing to clear out since he fears Wick is coming after him next.  While Wick dispatches Abram’s army of thugs and mechanics, Abram’s eyes bulge with abject terror, and Stormare gives a great performance by his reactions to the arrival of his adversary.  When they finally meet after our hero has cleared a gauntlet of killers, Wick pours Abram a drink and proposes peace with a toast.  The two gulp their liquor and forge an armistice.  Abram bids Wick a happy retirement.  Naturally, however, nothing of the sort is going to happen either for Wick or the audience.  In a bit of backstory, we learn that John Wick indebted himself to a treacherous, high-ranking mobster, Santino D'Antonio (Riccardo Scamarcio of “Loose Cannons”), with a blood oath marker so he could retire and live peacefully with his wife Helen.  Now, after wrapping up his revenge, Wick discovers to his chagrin that Santino is calling in that marker!  Although Wick is in no position to refuse an assignment from Santino, he refuses to accommodate Santino because he is weary of all the shooting and killing.  A disappointed Santino leaves Wick’s house and then shoulders an awesome incendiary weapon and fire-bombs our hero’s house, blasting Wick off the premises but not killing his dog.  Resigned to his fate, Wick sits down with Santino and agrees to carry out one final mission.  The evil Santino wants the seat on an international crime council that his late father willed to his older sister, Gianna D'Antonio (Claudia Gerini of “Deceit”), and he stipulates that our hero must ice her.  Off to Rome flies Wick where he acquires an arsenal that James Bond would envy, a dark tailor-made, bullet-proof suit, and the blueprints to infiltrate Gianna’s inner sanctum and surprise her.  What Wick doesn’t plan for adequately is Gianna’s steadfast bodyguard Cassian (Common of “American Gangster”), and these two titans tangle in a blood and guts tango that ends abruptly after they crash into the sacred Continental Hotel in Rome, run by Julius (Franco Nero of “Django”), where mobsters must cease and desist because it represents the equivalent of a gangland church that grants amnesty.  At this point, Wick realizes that the scheming Santino has double-crossed him.  Santino points out he wouldn’t be much of a brother if he didn’t avenge the murder of his sister.  When his own gunmen cannot liquidate Wick, Santino offers a $7-million-dollar bounty, and hitmen from every corner of the globe swarm after our resilient hero.

Aside from Keanu Reeves’ typically stoic performance, “John Wick: Chapter Two” features a sturdy cast, with Ian McShane reprising his role as Winston, the manager of the New York City Continental Hotel--where mobsters are prohibited from fighting with their adversaries, and Lance Reddick as the accommodating desk clerk Charon.  John Leguizamo appears briefly as the body shop repairman who helped Wick locate his Mustang, and Bridget Moynahan appears in a flashback as Wick’s late wife Helen.  Director Chad Stahelski, who once earned his living as Keanu Reeve’s stunt double, need never look back.  Slated to helm the new “Highlander” reboot, Stahelski keeps things thumping throughout this two-hour plus neo-noir thriller.  The hall of mirrors scene where Wick stalks Santino rivals the original scene in Orson Welles’ iconic thriller “The Lady from Shanghai” (1947).  

FILM REVIEW OF ''FORCE OF EXECUTION" (2013)

An above-average Los Angeles crime thriller about a power struggle between two rival gangs, “Force of Execution” (**1/2 OUT OF ****) manages to be a predictable but entertaining B-movie actioneer that eschews both romance and sex. Ostensibly, Steven Seagal takes top billing, but newcomer Bren Foster of "War Flowers" handles the heavy lifting.  Apparently, Seagal and Foster constitute co-stars of a sort, with the demographic appeal of both actors covering the 15-to-4o year old audience.  The old will ogle it for Seagal, while the young will undoubtedly identify more with the younger, athletic Foster.  As the feared but respected crime boss Mr. Alexander, Steven Seagal wears a sculpted Van Dyke beard and rules the neighborhood with a sense of violent compassion.  Above all, he is the kind of crime boss who resents being told what to do.  Before he embarked on his criminal career, Alexander refined his art of warfare during his service to the government.  Since then he has parlayed his on-the-job government training to maintain his own criminal empire. As Mr. Alexander's most trusted executioner for 15 years, rugged Bren Foster plays Roman Hurst.  Hurst performs a hit in prison for Mr. Alexander during the first quarter hour of the action.  Based on the duplicitous word of a Judas-minded inmate, Iceman (Ving Rhames of "Pulp Fiction"), Hurst killed the wrong guy. Afterward, Hurst has to fight his way, one guard at a time, out of the prison.  Not only does Hurst admit failure but also he willingly accepts any punishment that Alexander feels appropriate. Alexander turns Hurst over to the African-American gang, and they wield hammers without mercy on his hands. Basically, when they conclude their anatomical retribution, the best that Hurst can do is spiral into alcoholism until the urge to straighten himself and a Mexican witch doctor revitalize him. 

The themes of reformation and rejuvenation pervade “Force of Execution.” "Maximum Conviction" director Keoni Waxman along with "Cold Sweat" scenarist Richard Beattie and freshman scribe Michael Black have enlivened this formulaic crime thriller with the maimed warrior plot.  This plot usually occurs in martial arts movies and westerns.  Roman Hurst becomes a "Django" type hero who has to rehab himself with the help of a Hispanic witch doctor, Jimmy Peanuts (Danny Trejo of the "Machete" movies), who cooks for Mr. Alexander in one of his diners.  The use of scorpions to convert our hero's lax hands into weapons of lethal power seems wholly improbable, but the idea sounds cool and the sight of Trejo fiddling with the critters is neat. The chief problem with "Force of Execution" isn't the action-laden plot with a body count, but the pedestrian dialogue and the shortage of cool Seagal scenes. Every good Seagal movie and some of his bad ones always boast a memorable combat scene where our soft-spoken hero demolishes the opposition with minimal force. “The “Under Siege” movies as well as “The Glimmer Man” exemplify Seagal at his coolest with several spectacular kick ass scenes.  "Force of Execution" lacks those cool scenes.  Roman Hurst has some nice fights that generate terrific velocity.  He specializes in a spinning kick like Jean-Claude Van Damme, but Hurst doesn't flaunt much personality in his characterization. Grim, tough, resourceful, he appears to be channeling Daniel Craig, but he needs to develop a personality.  It is like having a stunt man play a leading role.  Nothing really makes him sympathetic.  His miraculous recovery is difficult to accept.

The thesping in "Force Execution" is okay. Trejo gives the most charismatic performance as a down-to-earth short order cook. He doesn't play his usual tough-guy type snd he doesn't shed his shirt to display his heavily tattooed physique. He qualifies as the most likable character in the action, while Jenny Gabrielle is both pretty and vulnerable as Karen. She plays the blond waitress & cashier at Alexander's protected restaurant who encounters trouble along the way. Bren Foster has a dynamic physical presence, while Seagal essentially plays an amoral but principled criminal who expects, deserves, and gives respect. Ultimately, at fadeout, he realizes the error of his ways and reforms himself. You don’t often see Seagal play a character who makes mistakes.  Ving Rhames makes a menacing antagonist who challenges our hero and tries to take over his empire by force. The Spartan combat sequences are helmed with skill. The typical Steven Seagal fan should enjoy the experience of watching "Force of Execution." Waxman doesn't let the film wear out its welcome. This 99 minute melodrama doesn’t rank as top-notch Seagal, but those minutes won’t feel like they were stolen from you.

FILM REVIEW OF ''GETAWAY" (2013)

Everybody gets taken for a ride in “Dungeons & Dragons” director Courtney Solomon’s “Getaway” (** OUT OF ****), co-starring Ethan Hawke, Selena Gomez, and Jon Voight.  Spectacularly staged car chases and slam-bang stunts cannot compensate for the scarcity of suspense and dearth of characterization in this low-octane vehicular evasion thriller.  Undoubtedly, whether they would admit it or not, Solomon and freshman scribes Sean Finegan and Gregg Maxwell Parker drew inspiration for their cinematic demolition derby from cult 1970s era automotive epics such as “Vanishing Point” and “Gone in 60 Seconds” as well as the recent trilogy of “Transporter” films.  Other movies swirled into the soup for the derivative “Getaway” are abduction opuses like “The Chase,” “Taken 2” and “Ransom.”  The speeding cars in “Getaway” are more interesting than the shallow characters.  Oscar nominated lead Ethan Hawke spends most of his screen time ensconced behind the wheel of an armored, 2008, Ford Shelby GT500 Super Snake Mustang.  Eventually, Gomez joins Hawke, but these two conjure up nothing in the way of camaraderie.  Oscar winner Jon Voight appears primarily in dermatological close-ups of his mouth and eyes as an anonymous villain reminiscent of James Bond’s arch nemesis Ernst Stavro Blofeld.  Voight spends virtually all his time on the phone droning on interminably with an ersatz Teutonic accent.  Occasionally, actors are ridiculed for giving performances with all the spontaneity of a telephone conversation, but this is precisely what Voight does.  He gives our hero his marching orders.  None of these characters, however, possess a shred of sympathy.  The cast does little to enliven them with either traits or memorable lines of dialogue.  Meantime, Ryan Dufrene’s Cuisinart editing; the CGI-free car and motorcycle crashes, and an amoral ending which provides an excuse for a sequel make the implausible “Getaway” palatable.  Although it coined less than five million dollars at the box office during its opening weekend, “Getaway” could still break even.  Warner Brothers produced it for $18 million.  The southeastern European city of Sofia, Bulgaria, served as the setting, and the film producers got more bang for their budget because production costs are far less expensive. 

Essentially, “Getaway” amounts to little more than a tire-screeching Shelby Mustang advertisement.  Our protagonist, Brent Magna (a mustached Ethan Hawke of “Training Day”), is a former professional NASCAR driver who burned out on the circuit.  A gang of mysterious villains abduct Brent’s wife, Leanne (Rebecca Budig of “Batman Forever”), at Christmas and compel him to hijack a customized Mustang and then drive it wherever they say.  No, Brent doesn’t know these thugs, but he knows Leanne’s life hangs in the balance.  The entire film occurs at between dusk and dawn. At one point, the Voice (Jon Voight of “Heat”) orders Brent to careen through a crowded public skating rink.  Although our hero inflicts considerable damage to the premises, he doesn’t kill anybody like the homicidal Venice Beach maniac did not long ago.  Once he has trashed the area and stampeded the pedestrians, Brent receives orders to haul ass elsewhere.  Repeatedly, the Voice warns Brent if he doesn’t comply with his instructions that Leanne will die.  Along the way, our beleaguered protagonist encounters the Mustang’s owner, cherub-faced Selena Gomez, and this improbable pair collaborate to save Brent’s kidnapped wife.  The Gomez character doesn’t have name.  Officially, she is referred to during the end credits simply as ‘the Kid.’  She abhors the array of wireless, digital cameras that the villains have attached to her automobile, and her relationship with Brent gets off on the wrong foot.  The moment she jumps into the Shelby, the Kid brandishes a gun and tries to oust Brent from the vehicle.  The Voice knows everything that Brent and the Kid are doing because those cameras as well as a GPS keep tabs on them.  When our heroes aren’t trying to outwit the Voice, they have their hands full evading the local authorities.  Of course, Brent doesn’t have much trouble eluding those small Bulgarian police cars, but he faces greater challenges when the Voice dispatches cars and motorcycles driven by henchmen armed with bazookas and sub-machine guns.  The Voice plans to rob an investment bank where money is stashed in the form of computer files. 

Everything in “Getaway” has been meticulously scripted.  Brent serves as the hare who draws the hounds away from the Voice’s actual objective.  Later, we learn the Voice has admired Brent from afar and is giving the ex-NASCAR driver a chance to prove that he is still a top-notch driver.  Brent as well as the army of stunt car drivers displays some fearless, gear-grinding maneuvers.  The Kid isn’t just as kid.  She is a computer whiz with a tote bag of electronics gadgets, including a tablet.  She relies on her technical skills to thwart the constant surveillance that the cameras provide the Voice so he will always know their whereabouts.  As it turns out, the Kid’s father runs the bank where the millions that the Voice wants are stored.  “Getaway” is like a modular narrative.  Everything serves a purpose, but none of it is remotely credible.  Indeed, the filmmakers shun subtlety in favor of speed.  Ironically, despite all the mayhem both real and imagined, this 90-minute, PG-13-rated nonsense doesn’t have enough tread to be gripping.  Occasionally, something cool happens.  The henchmen at an intersection with a bazooka aimed at Brent get the surprise of the lives just as we do when the Voice pulls off his own amazing stunt. 

The cars and the stunt drivers qualify as the real stars of “Getaway.”  Presumably, Solomon and his 21 producers sought to make the stunts as genuine as possible because the script is a superficial, damsel-in-distress, crime thriller with one-dimensional characters.  The filmmakers smashed up 130 cars, and seven Shelby Mustangs were built specifically for the film.  Unfortunately, despite all the fascinating, behind-the-scenes, automotive trivia, “Getaway” runs out of gas long before its happy ending.  Stay away from “Getaway!”

FILM REVIEW OF ''WARM BODIES" (2013)

When Hollywood started making zombie movies, filmmakers used voodoo as the means of controlling the dead.  The first genuine zombie flick, "White Zombie" (1932), featured Bela Lugosi of "Dracula" infamy as a sinister zombie master who owns a sugar cane plantation and exploits zombies as his labor force.  While most zombie movies were set in the West Indies, Hollywood didn't confine its sub-genre of the horror movie strictly to the Caribbean.  For example, "Revolt of the Zombies" took place in Cambodia.  Nevertheless, standard-issue zombie movies, such as "King of the Zombies" (1941), "I Walked with a Zombie" (1943), and "Zombies on Broadway" (1936), clung to the traditional Caribbean setting.  Meantime, "Revenge of the Zombies" (1943) occurred in Louisiana.  A fiendish Nazi scientist toiled to forge zombies to supplement the ranks of Hitler's Third Reich.  Occasionally, exceptions to the rule cropped up, like the first Caped Crusader serial "Batman" (1943) where a devilish Japanese spy on American soil converted individuals into mindless zombies by means of electricity. Apparently, nobody felt like experimenting drastically with the zombie formula, aside from relocating them beyond the West Indies.

Pittsburgh-based writer & director George A. Romero reimagined the zombie formula in 1968 with his classic chiller "Night of the Living Dead." Ironically, nothing like a global apocalypse had spawned zombies until Romero conjured up such a notion.  Romeo's zombie slayers aimed for the head when they shot zombies.  The next change came about courtesy of the Italian-made epic "Nightmare City" (1980) where zombies no longer lurched about but now ran like track superstars.  Aside from this minor formula tweaking, the biggest difference in post "Night of the Living Dead" zombie sagas has been the use of either an apocalypse or a virus to trigger an outbreak of zombie-mania. Just when you thought zombie films were stuck in a rut, Hollywood brought Seattle-based writer Isaac Marion's novel "Warm Bodies" to the screen, and movies about the undead will no longer will be the same. Simon and Schuster published the inventive book in 2010. 

"50/50" writer & director Jonathan Levine's adaptation of Marion's "Warm Bodies" is surprisingly captivating. A comparison between what occurs on screen and in Marion's book suggests Levine took minimal liberties with the source material.  This innovative makeover of a moribund genre takes matters beyond anything that either "Zombieland" or the "Resident Evil" franchise has tried in terms of permutation.  Basically, "Warm Bodies" takes zombie movies to the next level that gore-hound purists may not appreciate.  Levine doesn't pile up gratuitous amounts of blood and gore with shocking revelations to keep you stimulated.  Sure, zombies feed on the living, and they prefer the brain as an entrée. 

Nevertheless, Levine doesn't make a spectacle out of gut-munching for the sake of gut-munching. He obscures the feeding frenzy to accommodate a PG-13 rating.  First, the "Warm Bodies" zombies consume brains to experience the memories of those they've slain.  They just don't eat brains for no reason.  The idea you can derive knowledge from the consumption of an opponent's gray matter is fanciful.  Some cultures have argued eating the heart of an antagonist imparts strength to the victor.  Second, "Warm Bodies" has classified zombies as either good or bad.  Previously, all zombies were bad.  Creating a division between good and evil zombies endows the genre with greater sophistication.  In the "Warm Bodies" universe, bonies are the bad zombies.  Bonies are zombies who tear the skin off their bodies and resembled mummified skeletons. They move like lightning and they are treacherous.  They feast on the living as well as some of the dead. They are reminiscent of Ray Harryhausen's sword-wielding skeletons in the 1963 fantasy "Jason and the Argonauts."  Following Marion's lead, Levine has appropriated virtually everything else from the genre but cleverly has reconstituted the subject matter. 

Basically, Levine has synthesized the traditional zombie movie with a romantic comedy.  Like its literary source material, "Warm Bodies" makes allusions to Shakespeare's "Romeo and Juliet."  Indeed, there is even a brief balcony scene, though nothing like the Shakespeare version.  Our hero, a zombie known only as R (Nicholas Hoult of "X-Men: First Class") because he cannot remember his name, has spent most of the last eight years gnawing on humans.  When he doesn’t join his dead pals, like M (Rob Corddry), for group hunting trips, he enjoys his vinyl collection on a stereo in a derelict commercial jetliner.  You see, he holes up in an abandoned plane.  All the zombies congregate at the local airport.  Similarly, zombies in both George Romero's "Dawn of the Dead" (1978) and Zack Snyder's 2004 remake gravitated toward a shopping mall. After they became zombies, they were drawn by memories of the good times that they had had when they shopped together there.  Our lovesick zombie falls big-time for a young female zombie fighter, Julie (Teresa Palmer of "I Am Number Four"), after he chomps her boyfriend Perry’s brain.

Perry (David Franco), Julie, Nora (Analeigh Tipton), and others had left their heavily-fortified camp to scavenge the zombie infested outskirts of their fallen city for medical supplies.  When the zombies storm the medical supply room, R kills Perry, chews his brain, and feels smitten by Julie since he is seeing her from Perry’s perspective.  Incredibly, these sentiments of love reanimate his heart.  Now, R swears to protect Julie from the rest of his kind.  He escorts her back to his jetliner, and they grow to love each other.  According to this imaginative premise, biting into brains has the side effect of giving the undead a cerebral blast from the past.  If you shun run-of-the-mill zombie movies, "Warm Bodies" may change your attitude toward Z-pictures. This off-beat epic unites the living and the dead as allies in their collective war against the wicked bonies.  The happily ever after ending may curdle in the mouths of zombie purists. Nevertheless, "Warm Bodies" qualifies as the best thing that has happened to zombie movies since George A. Romero.