Star Trek Into Darkness: Short and Sweet

I may not be a “Trekkie,” but I loved 2009’s Star Trek, where J.J. Abrams teamed with Chris Pine and Zachary Quinto to breathe new life into the historic science fiction franchise.  As far as high-profile sequels go, Star Trek Into Darkness may not have had the pedigree benefitting Iron Man 3, but Paramount Pictures was still swinging for the fences with its marketing campaign priming what could be the biggest blockbuster of the 2013 Summer Movie Season.  The first nine minutes of footage from sequel featured before The Hobbit were spectacular, and with high-energy trailers and creative partnerships alongside everyone from Microsoft to Esurance, even the most casual of audiences were ready for a cinematic event.  In terms of the new cast members, a majority of the buzz surrounded Benedict Cumberbatch, whose villain was being universally lauded, and the male demographic had to appreciate the shameless inclusion of a scantily-clad Alice Eve.  The 3D post-production conversion was going to amplify the already-impressive action sequences and critical reception was off the charts, so I couldn’t wait for Michael Giacchino’s epic score to strum up and signal another voyage of the starship Enterprise.

Chillingly exciting, visually spectacular, and filled with truly enjoyable character performances, Star Trek Into Darkness is a must-see for fan and non-fan alike, making this sequel one of the strongest action blockbusters of the year.  Whether Spock is deactivating a live volcano, Kirk is diving through space at high-velocity, or the Enterprise is crashing towards Earth, there is enough special-effects driven action to given adrenaline junkies the goose bumps...3D and IMAX are a damn-worthy investments.  And while the return of familiar dynamics like the friendship between Kirk and Spock or the indignation of Scotty and Bones is enjoyable, Benedict Cumberbatch is the scene-stealer.  An elusive and mysterious antagonist, Cumberbatch is downright venomous and the type of iconic villain that will be discussed for years.  Finally, the script stripped away the complicated story arcs that plagued the original, leaving Star Trek Into Darkness as a memorable cinematic adventure representing the perfect kind of summer movie.

   

Overall Recommendation: Very High

Star Trek Into Darkness: Full Review

Star Trek Into Darkness - (May 16^th, 2013): PG-13

Distributor: Paramount Pictures

Opening Weekend Box Office: #1 with $70,165,559

Domestic Box Office Gross to-date: $156,013,879

Gross Revenue: $258,113,879

Production Budget: $190 million

Director: J.J. Abrams

 

If you think comic book fans are picky, imagine the meltdown that would have occurred amongst sci-fi fanatics had J.J. Abrams failed to do justice to the Star Trek franchise back in 2009; luckily, his efforts were lauded and audiences were left eagerly awaiting a follow-up chapter.  When the trailer for Star Trek Into Darkness was first released back in December, the Internet went into overdrive analyzing every small detail and potential Easter egg that might reveal some details related to the heavily-guarded script; but aside from the novelty of seeing the original cast return, the core story still remained shrouded in mystery.  Chris Pine and Zachary Quinto charmed everyone with their surprising portrayals of iconic characters Kirk and Spock, but all discussion related to the cast for this sequel revolved around Benedict Cumberbatch, BBC’s Sherlock Holmes, who has remained relatively unknown to American audiences outside of a few small roles…a small flub by Entertainment Weekly revealed his character’s identity months before release, but Paramount was quick to squash those “rumors” and instead focus attention on the actor’s strong performance.  And as far as partnership and marketing tactics go, Paramount wasted no effort in positioning Star Trek Into Darkness as THE high-profile release of the summer; you couldn’t turn on a television without hearing the epic score or seeing either Spock in a volcano or Alice Eve in her lingerie (a fact for which Abrams had to later apologize), but my personal favorite promotion for the popcorn blockbuster involved the Esurance commercial where members of Starfleet get into an outer space fender-bender.  Fans and non-fans alike had to appreciate that this newest sci-fi adventure was going to be a fun and adrenaline-filled time at the theater, and with showcases of large-scale action and overall critical approval, audiences were not going to be disappointed by another journey to the final frontier.

Picking up well after the events of the first film, Star Trek Into Darkness opens with Captain James T. Kirk (Chris Pine) and First Officer Spock (Zachary Quinto) violating Starfleet’s Prime Directive while trying to save a primitive civilization, actions that lose Kirk his command of the USS Enterprise.  However, Kirk is soon thrown back into action when former Starfleet agent John Harrison (Benedict Cumberbatch) bombs a secret installation in London and attacks a meeting of the high command, killing Admiral Christopher Pike (Bruce Greenwood) in the process.  Reinstated as captain, Kirk is ordered by Admiral Alexander Marcus (Peter Weller) to hunt down and kill Harrison with the help of prototype photon torpedoes and new science officer Dr. Carol Marcus (Alice Eve), but Chief Engineer Montgomery “Scotty” Scott (Simon Pegg) resigns in protest of the new weaponry.  Aided by Communications Officer Lieutenant Nyoto Uhura (Zoe Saldana) and Chief Medical Officer Dr. Leonard “Bones” McCoy (Karl Urban), Kirk tracks Harrison to the Klingon home world of Kronos, and after a brief but brutal battle, the dangerous villain inexplicably surrenders despite having the upper hand.  Beginning to question these strange turn of events, Kirk stumbles upon Harrison’s true identity and a dark conspiracy, one which puts every member of the Enterprise from Navigator Pavel Chekov (Anton Yelchin) to Helmsman Hikaru Sulu (John Cho) in mortal danger, and one which requires the brash captain to discover the true meaning of being a leader.

Between its ridiculously entertaining action sequences, its nods to longtime fans of the source material, and focus on overall character dynamics, Star Trek Into Darkness takes every element that made its 2009 predecessor so enjoyable and sends it into overdrive.  The action sequences of this sequel are so imaginative and grand in scale that they make for the perfect immersive experience, one which will keep audiences on their seats and demands viewings in an IMAX and 3D format.  For instance, while watching Spock dive into a live volcano is exciting enough, nothing compares to the scene where Kirk and Harrison execute a high-velocity space dive amongst wreckage debris…talk about setting the bar high for any future entries in the sci-fi adventure genre.  And longtime fans of the franchise have to appreciate all the attention that was given to the subtler character interactions so that each of the favorites was given adequate time to shine; whether you are watching Spock and Kirk’s friendship grow, Bones and Scotty freak out with righteous indignation, or Sulu being given a turn in the commander’s chair, you have to enjoy the passionate references to canon.  However, even with all of these strong elements, one component of Star Trek Into Darkness outshines all the rest, and that is the villain brought to life with chilling efficiency by Benedict Cumberbatch.

While critics have absolutely adored the multiple filmmaking elements showcased by Star Trek Into Darkness, the one accolade receiving the most attention is the performance of Benedict Cumberbatch, who delivers easily one of the best cinematic antagonists in recent memory.  While I won’t reveal his true identity (a twist that most longtime fans have likely already reasoned-out), suffice it to say that Cumberbatch is such a venomous and calculating onscreen presence that I haven’t enjoyed an interaction between hero and villain this much since Heath Ledger donned clown makeup.  And when you add such a character to a script that foregoes complicated plot threads for purer, if rather formulaic, storytelling, the end result is a remarkably enjoyable adventure that represents perfect cinematic escapism.  Now, some critics have drawn associations between certain plot details and current politics and terrorist attacks, while others have complained at the over-sexualized nature of Alice Eve’s character, but I think too many are simply overthinking a fun movie…and trust me, no red-blooded male can ever complain about Alice Eve.  In the end, while I am sure that there were some needs for fine-tuning within Star Trek Into Darkness, I was far too thrilled and charmed by this successful sequel to needlessly nitpick, so I’m sure it wouldn’t hurt anyone to just sit back and enjoy.       

Given the success and reputation of its predecessor, I was a little surprised to see Into Darkness tracking nearly identical numbers to 2009’s Star Trek over the course of its opening weekend, and a $70 million first place performance, while respectable, fell far short of the projected $89 million and $117 million 4-day receipts.  This underwhelming debut certainly doesn’t spell disaster for Paramount, but it may indicate that a lengthy 4-year-gap between original and sequel and a competitive May schedule can overshadow even the cleverest of marketing campaigns.  And, in retrospect, it may have been more prudent to just reveal Cumberbatch’s character and appeal to lifelong “Trekkies,” who may have chosen to forgo this update…lord knows that everyone at Marvel can attest that villain “twists” can have adverse effects.  Still, with an established international presence, this sci-fi sequel has already recovered an intimidating $190 million production budget, so this series shows no signs of slowing down and I cannot wait for another entry.  If you are still on the fence, trust me, you cannot afford to miss Star Trek Into Darkness, which is an early contender for the best film of the 2013 Summer Movie Season.

Overall Recommendation: Very High

The Great Gatsby: Short and Sweet

With its originally slated December 2012 release, The Great Gatsby was the perfect star-studded romantic drama to charm audiences during the critical-darling-heavy winter release schedule, but with a delay to Summer 2013, several obstacles arose for this newest look at the Roaring Twenties.  Most moviegoers had read F. Scott Fitzgerald’s 1925 classic novel at some point during high school, and both DiCaprio and Maguire were perfect casting choices for the leads, but would that be enough to draw ticket sales away from other blockbusters?  To their credit, Warner Bros.’ marketing department went above and beyond to paint Gatsby as a high-profile and stylish cinematic event, complete with glamorous promotional partnerships and one of the single best film trailers in recent memory.  As the release date drew closer and closer, television spots focusing almost exclusively on the contemporary soundtrack felt a little desperate, but I do have to admit that positioning the film for the female demographic as a Mother’s Day gift was a stroke of genius.  I may have foregone 3D, but I wanted to see The Great Gatsby in the fanciest way possible; so sitting in the leather recliner of a luxury theater with a “West Egg” cocktail in-hand, I was primed for a wonderfully inventive adaptation of historic American Literature.

Wildly immersive and saturated with a grace and flair that perfectly updates and energizes the spirit of the original novel, The Great Gatsby boasts remarkable acting and storytelling that results in a thoroughly entertaining film.  DiCaprio is flawless in his portrayal of the title character, boasting a charisma that matches with Maguire’s earnest humility to make for a perfect chemistry that reflects the pair’s longstanding off-screen friendship.  And with the stylish direction and upbeat soundtrack, the party sequences are almost hypnotic, more than enough to have a few moviegoers dancing in their seats.  And yet, some of the metaphors and symbolism of the original novel are lost in the transition to the big screen, so deeper enjoyment of the film may evade those who didn’t love the book.  Still, putting all of it together, The Great Gatsby more than holds its own as an effective and entertaining drama for the 2013 Summer Movie Season.

Overall Recommendation: High

The Great Gatsby: Full Review

The Great Gatsby - (May 10^th, 2013): PG-13

Distributor: Warner Bros. Studios

Opening Weekend Box Office: #2 with $50,085,185

Domestic Box Office Gross to-date: $96,257,089

Gross Revenue: $138,357,089

Production Budget: $105 million

Director: Baz Luhrmann

With Hollywood focusing on visiting the worlds of angst-filled vampires and government-sponsored adolescent bloodbaths, mass audiences had likely forgotten the feasibility of an adaptation built on classic literature.  Enter Baz Luhrmann, the Moulin Rouge director with an aptitude for opulence and extravagance, who was charged by Warner Bros. to reunite with his Romeo + Juliet prodigy in order to resurrect the character of Jay Gatsby and bring his story and social commentary back to the limelight.  Having read the admittedly tame novel back when I was in high school, I was impressed with marketing efforts detailing how the slow-paced story was now infused with energy and considerable charisma…not many were going to spring for the 3D glasses, but the soundtrack featuring everyone from Jay-Z to Fergie was more than enough to keep even the most skeptical of moviegoer interested.  There have been many cinematic recreations of this insight into The Roaring Twenties over the years, but by all appearances, this entry would finally be able to establish the tale as a legitimate blockbuster destined for more prominence than mere classroom discussion.  The big-budget romantic drama may have felt a little out of place alongside the established blockbuster sequels that usually inhabit the start of the Summer Movie Season, but with the perfect casting of familiar faces like DiCaprio, and Maguire, The Great Gatsby was going to find an audience, especially amongst those who didn't necessarily want to spend Mother’s Day Weekend watching a superhero.

The narrator of The Great Gatsby is Nick Carraway (Tobey Maguire), a young bond salesman who moves to the Long Island village of West Egg in the summer of 1922; though Nick has acquaintances across the bay in the form of his cousin Daisy Buchanan (Carey Mulligan) and her husband, Tom (Joel Edgerton), the young Midwesterner is most intrigued by his mysterious next door neighbor.  The mansion next door is owned by the newly-rich Jay Gatsby (Leonardo DiCaprio), a charismatic gentleman who holds insanely lavish parties and quickly befriends Nick in order to ask for a rather odd favor.  It turns out that Gatsby once shared a romance with Daisy in his youth and now wishes to rekindle the romance with Nick’s help, a task made easier by the fact that Nick is made aware of Tom’s own infidelity with another married woman, Myrtle Wilson (Isla Fisher).  Though Nick initially enjoys all the parties and extravagance, especially alongside his new love interest Jordan Baker (Elizabeth Debicki), he soon notices how Gatsby earnestness and positive outlook contrasts sharply with the shallow priorities of the other members of the upper class.  As the mystery of Gatsby’s past and the source of his wealth come to light alongside the numerous infidelities of the Buchanan family, the glamour of the Roaring Twenties soon fades into a world of moral decay and emptiness, one that conflicts with the very notions of love and friendship that our protagonists have always admired.

As anyone who ever had to write a paper on the original novel in high school can tell you, the central story of The Great Gatsby is anything but a thrilling joy ride, but thanks to ambitious production design, sharp direction, and smooth acting, Baz Luhrmann is able to infuse the classic tale with considerable energy.  The central themes of the book involve extravagance and opulence, so in retrospect, Baz Luhrmann was the perfect visionary to bring those notions to life; the beauty of the mansions, the immersive nature of the parties, the attitude of the music…it all works together brilliantly to keep the audience hooked.  And in terms of casting, there isn’t one misstep amongst all the choices; Mulligan is flighty, Fisher is naïve, and Edgerton is downright reprehensible...personalities identical to the original characters.  However, despite being a romantic drama, the strongest relationship within The Great Gatsby is undoubtedly between DiCaprio and Maguire; Leo may not get the Oscar he has always hoped for, but the chemistry between the different personalities of the longtime friends shows through and is easily the most enjoyable dynamic of the film.  Adding it all together, The Great Gatsby is a remarkably strong film, but it is one whose full enjoyment requires the viewers to have appreciated and fully understood the deeper undertones of the book.

If there was one consistent quality about the required readings of literature courses, it was that each book be filled to the brim with metaphors, symbolism, allusions, and foreshadowing; while many books stretched to convey depth, The Great Gatsby had some truly brilliant undertones that didn’t necessarily translate from paperback to silver screen.  That is not to say that the filmmakers ignored the academic undertones, but unless you understood and remember the discussions from your classroom days, the focus on these elements feel out of place and strange.  So, needless to say, if the original book doesn’t represent one of your fonder literary memories, you may not enjoy the film much beyond the novelty of seeing DiCaprio onscreen with off-the-charts panache.  If such is the case, don’t worry, because even though the 3D technology wasn’t necessary and a few entries of the soundtrack feel out of place, it is still enough to make the end result interesting and worth seeing.  To put it simply, there may be one qualifier that prevents The Great Gatsby from being the game-changer that Warner Bros. would have wanted, but from a sheer filmmaking perspective, there is nothing weakening this film.

  

In terms of box office numbers, absolutely no one had any delusions of Jay Gatsby taking down Tony Stark, but Warner Bros. has to be happy with a rare and albeit impressive 2^nd place haul of over $50 million.  Add that to the positive word of mouth and a surprisingly strong foreign presence, and The Great Gatsby has already recovered its substantial production budget and is currently chipping away at marketing expenditures.  All things considered, I still feel that Gatsby would have dominated the Holiday Season box office, but thanks to considerable star power and clever marketing tactics, a financial disaster was averted.  And like I mentioned earlier, DiCaprio’s performance may not have been Oscar worthy, but the man’s continued showcases of talent make the elusiveness of that golden statue all the more baffling.  If you are looking for a thoroughly creative drama, or simply want something different from the popcorn blockbusters, then you cannot go wrong with The Great Gatsby.

  

Overall Recommendation: High