Guardians of the Galaxy Vol. 2 (2017)

 

Guardians of the Galaxy Vol 2

 

Released: May 5, 2017. Directed by: James Gunn. Starring: Chris Pratt, Zoe Saldana, Dave Bautista. Runtime: 2h 16 min.

Guardians of the Galaxy Vol. 2 manages to be as fun and original as its predecessor.

It feels fresh as it sets itself apart even in its opening action sequence as a space beast tries to take batteries the Guardians are protecting.

These batteries are a power source for the Sovereign, a race that’s hired the Guardians to kill the beast and in exchange they’ll release a thief to them: Gamora’s sister, Nebula (Karen Gillan).

We get a different perspective as Quill, Drax (Dave Bautista), Gamora (Zoe Saldana) and Rocket Raccoon (voiced by Bradley Cooper) fight the behemoth in the background and Baby Groot (voiced by Vin Diesel) does a dance to “Mr. Blue Sky” in the foreground. It’s creative as we watch his antics and it’s like a great opening act before the main event.

After they complete the job, Rocket steals the batteries and naturally, they want them back. The leader of the golden conceited douchebags, Ayesha (a statuesque Elizabeth Debicki) pursues the Guardians. Our heroes are helped from the situation by Ego (Kurt Russell), who ends up being Quill’s father and we learn about Peter’s familial lineage.

We learn the source of Peter’s charm and slight arrogance from Ego. He’s portrayed well by Russell, and the character takes superiority and egotism to the max – his name is literally Ego. Pratt plays Quill so well and has the charm for the role and gets some really good laughs. It’s intriguing learning about his background and their relationship is one of the many interesting dynamics and a focus of the film, and Pratt and Russell carry it well.

The narrative is fast-paced but it’s more complex than the first film’s simplistic story. It gets unfocused on the road to the end, but it finds its way back on track. It’s still a really entertaining story, and the same zany sense of humour and creativity in writing shine through. The characters themselves drive the action-packed space opera.

The dynamics between characters work well, especially as we learn more about the sister rivalry between Gamora and Nebula. Saldana and Karen Gillan play their respective characters well and are both kickass, and Nebula is a stronger character this go around. Gamora doesn’t have a whole lot to do in this sequel – at least compared to the first film.

Guardians

The Guardians of the Galaxy. (Source)

Rocket gets slightly serious as we understand him more, and his chemistry with Yondu (Michael Rooker) is good. Yondu has a bigger role and he’s a pleasant surprise as he becomes integral to the story. It’s delightful learning about his backstory, and he’s a memorable part of many scenes.

Dave Bautista is hilarious as Drax, though his growth as a character is stalled – most of his backstory was handled in the first movie, so we don’t go much further into his development and he’s mostly a source of humour here. He ribs on new character Mantis (Pom Klementieff) a lot, and they’re fun together. She’s a good addition and the make-up is great considering she’s lovely outside the character. Drax points out multiple times Mantis is only beautiful on the inside.

Baby Groot is also great. He’s adorable and a joy whenever he’s on-screen. They’re able to create such a different character with the baby version since he’s aggressive instead of his calm, adult version of himself. This Groot is always up for a fight. Vin Diesel does the inflexions of “I am Groot” so well that it’s believable when Rocket translates for us.

I love that the characters are fractured in some way emotionally with their pasts, and it’s nice that they get through it together. The group’s closeness and how they create their own family makes the film surprisingly moving. The family dynamic enriches the chemistry, and it’s just so endearing because they’re all so different.

I just love the relationships director James Gunn and the cast bring to life. Gunn is such a good fit for the franchise and his comedy flows through the story well. This has so much heart and all the characters have a chance to shine, and it all leads up to a visually dazzling finale.

Plus, the soundtrack is great. I hadn’t heard a lot of the songs before the film – my favourite has to be Looking Glass’ “Brandy (You’re a Fine Girl)” – but I’ve been listening to the soundtrack basically on repeat since seeing this. You probably will, too.

Score: 80/100

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The Circle (2017)

The Circle poster

The Circle. Released: April 28, 2017. Directed by: James Ponsoldt. Starring: Emma Watson, Tom Hanks, John Boyega. Runtime: 1h 50 min. 

The Circle is a familiar and generic corporate thriller about the dark side of technology, but it’s disappointing because it doesn’t go into enough depth.

Mae (Emma Watson) gets a dream job as part of the customer experience team at a tech company called the Circle which creates one single online identity for users. The work environment looks a lot like Google, which seems obsolete in this near future (we never get a specific year). The campus itself is in the shape of a circle – obviously to remind workers they’re working at the Circle, not the Pentagon. Eventually Mae uncovers a nefarious agenda, but she takes awhile to get to that.

The Circle’s world is working towards transparency, where you can’t have moments alone or private conversations. Everything you do is public and there are cameras everywhere. It’s like everyone’s a celebrity and there are paparazzi at every turn. The lack of privacy is also like the Edward Snowden conspiracy of the government watching, but taken to an extreme and it becomes far-fetched.

It’s a generic sci-fi thriller with an intriguing high-concept. The writing never creates compelling dialogue and its attempts at suspense are predictable. Its themes of the importance of privacy it tries to depict don’t feel significant enough, and the film generally places concept above any substance or in-depth character development.

The Circle itself is led by charismatic CEO Eamon Bailey (Tom Hanks), who’s like Steve Jobs if he were a social media obsessed cult leader. The Circle feels like a cult, especially when people think it’s weird Mae hasn’t connected her social media accounts to the Circle after her first week.

It’s a weird scene as Renata (Ellen Wong) and Matt (Amir Talai) tell her that she’s an enigma because people across campus don’t know her. They question why she wasn’t here on the weekend doing activities, and when she says she went kayaking they’re surprised because that’s not on her social media. Matt says, “I love kayaking. We could have gone together.” It’s awkward, drawn-out scenes like these that show everyone’s super weird.

Mae’s initially a breath of fresh air because she likes privacy and she’s a cute little guppy (what newbies are called at the Circle), but she soon gets eaten by the weird piranhas. Like the rest of them – she drank the damn Kool-Aid.

The Circle has a high-tech allure, but it’s not convincing when Mae willingly gives up her privacy because of a dumb reason.  Emma Watson’s great as Mae, but if it any other actress were playing her, she wouldn’t get much sympathy or have the same kind-of magnetism. She commands a crowd in public speaking and brings a natural charisma. Mae isn’t well-developed, and at times it feels like the only thing we know about her is that she likes kayaking when things get too hard.

The Circle movie

Emma Watson in The Circle. (Source

The only time I cared about anything happening is because I feel like it affected Emma Watson. She’s a great actress, even when she plays a poorly developed character whose motivations are hard to understand.  It’s surprising the film manages to create such a good cast, but doesn’t rise to the occasion in any other aspect.

Tom Hanks is fine as Bailey, even though he’s a generic CEO wanting to change the world. He gets less screen time than one might expect. Patton Oswalt is more generic as the company’s Chief Officer of Operations, Tom Stenton.

John Boyega gets a disappointing amount of screen time as his character, but he’s fine when he’s there. Bill Paxton plays Mae’s father with MS in his last theatrical film. His character is a reason Mae is more developed than most, since she wants to help him get better. Karen Gillan’s a good surprise as Annie, too, and she gets to her use her natural Scottish accent here.

I must talk about Mercer. His sub-plot about making deer antler chandeliers and Mae’s parents trying to play matchmaker for him and Mae is silly. His character could be written out entirely and wouldn’t be missed. He’s played by Ellar Coltrane, the kid who grew up in Richard Linklater’s Boyhood. He plays an everyday worker man who likes privacy, and Coltrane looks incredibly uncomfortable on-screen. He’s so bad and awkward, and it reminds me of how uncomfortable Kristen Stewart looks in the Twilight films.

Director James Ponsoldt doesn’t bring any charm from The Spectacular Now. He and Dave Eggers co-write a screenplay based on Eggers’ own novel that’s a mess. The Circle’s plot wanders around aimlessly and doesn’t find a coherent storyline. It’s like Ponsoldt and Eggers played Hide ‘n Seek with a good story, couldn’t find one, and gave up.

Score: 40/100

Phoenix Forgotten (2017)

Released: April 21, 2017. Directed by: Justin Barber. Starring: Florence Hartigan, Luke Spencer Roberts, Chelsea Lopez. Runtime: 1h27 min. 

Phoenix Forgotten is like one of those films that come out of nowhere, but this is because of a quiet marketing campaign. It tries to replicate the success of 1999’s The Blair Witch Project, and it’s disappointingly mediocre (especially with the involvement of Ridley Scott’s production company Scott Free Productions).

Integrated at the centre of the story is the Phoenix Lights, a triangular light formation that was seen from Phoenix, Arizona in March 1997. It’s never been explained, and is the most famous so-called UFO sighting in the world.

The fictional story comes with three teens – Josh Bishop (Luke Spencer Roberts), Ashley Foster (Chelsea Lopez), and Mark Abrams (Justin Matthews) – who disappeared without a trace investigating the Phoenix Lights. 20 years later in 2017, Josh Bishop’s sister Sophie (Florence Hartigan), 26, is investigating the disappearance. She discusses it with her own parents and Ashley’s parents as she makes a documentary.

It’s interesting learning about the Phoenix Lights. It’s famous, but I never heard about it, so it’s intriguing. I thought it was just making a generic UFO sighting and developing mythology; instead, it interestingly blends some truth with a lot of fiction, and the unexplained phenomena has some intrigue. That’s what makes some of the first hour interesting.

The story doesn’t flow well as it skips between Sophie making a documentary in 2017 about the disappearance, and back to Josh and Ashley making a documentary about the Phoenix Lights in 1997 (Josh was an aspiring director, so he filmed everything). It thereby mixes some docu-drama with found footage.

Sophie mostly just talks to her parents and other experts who give lots of speculation. They say forgettable stuff, and there are so many boring interview subjects that I found myself forgetting who was who. It’s interesting how Sophie’s parents were affected after Josh has been missing for 20 years with no closure. It’s heartbreaking, but besides them, the emotional connection is non-existent; as the characters are one-dimensional.

Phoenix ForgottenJosh is single-minded and becomes obsessed when he gets an idea in his head. I liked seeing in his room that he was sci-fi enthusiast with X-Files and Alien posters all over his room. Ashley’s more interesting, since she’s open-minded and interviews well as an aspiring journalist. One interview features local astronomers talking about how they think the lights were flares.

Mark just feels like he’s kind-of there, since he has a car. He’s a friend but he’s almost has no dimension. The little-known actors aren’t memorable, but they do serviceable jobs. Chelsea Lopez as Ashley brings some charm.

The cinematography is stronger in Sophie’s documentary, but her film is way less interesting. Her documentary feels distinctly incomplete even when she has a chance to make an ending, and the film doesn’t execute.

It’s also silly that she waits 20 years to investigate the disappearance, and like the documentary, this feels like it’s made a few years too late, especially after the release of The Phoenix Incident in 2015 (a docu-drama about the real-life disappearances). It’s especially late since Adam Wingard released Blair Witch last year, and this is essentially a carbon copy of The Blair Witch Project mixed with a some of The X-Files.

The film’s a puzzle as they try to explain what happened to these 17-year-olds. The mystery’s never been solved because they stopped filming at one point. It’s the one video that promises something happening, as most of the videos are uneventful. Sometimes they investigate the Lights, but other times they just go for a hike hoping something will happen.

The videos are amateurishly shot and Josh annoyingly can never keep the camera on the action, and it’s hard to see what’s going on. The camera’s consistently shaky, but the visual effects are cool when we see it long enough. The filmmakers make it look like the videos were filmed in 1997. It has a VHS quality, and it adds realism.

The horror relies on psychological aspects of paranoia, lots of bright lights and loud noises instead of jump scares, which makes it refreshing. In that way, it does something different from most found-footage films, and part of the reason why I’m giving it a passing score.

The tension is palpable because of chilling sound design. It feels more like freaky, sci-fi scares than anything and when I’m talking about horror, it’s only existent in the film’s final 15-20 minutes when we get the last piece of the puzzle. It’s a good finale.

The first hour has 15 minutes of interesting material, but it’s boring and not scary. Since only a fraction of this is thrilling, it doesn’t work as a feature film. It would be better as a 30-minute segment in an anthology franchise like V/H/S because there’s not enough material here, and Josh’s sister making a documentary in the present day often feels like filler. Director Justin Barber fleshes it out to about 80 minutes and it doesn’t feel like a well-rounded feature. The last piece of the puzzle is the only good part. Otherwise, Phoenix Forgotten is already fading from my memory.

Score: 50/100

Logan (2017)

Released: March 3, 2017. Directed by: James Mangold. Starring: Hugh Jackman, Patrick Stewart, Dafne Keen. Runtime: 2h 21 min.

In 2016, Deadpool really started to push the limits of the superhero subgenre, but with Logan, director James Mangold takes the envelope, slashes it apart and creates something that reinvents the idea of what a superhero film can be.

I love it when superhero films offer something different than we’re used to seeing. Mangold does just that with Logan, as he takes a beloved character and creates something so different and original.

The year’s 2029 and Logan (Hugh Jackman) is working as a limo driver and is taking care of Professor Charles Xavier (Patrick Stewart) on a border town in Mexico. Logan’s aging and weary and is trying to hide from the world. His existence is upturned when young mutant Laura (Dafne Keen) arrives and is being pursued by mysterious forces.

Logan feels different because it’s so grounded in realism, and a limited use of CGI helps with that. The world created is fascinating: Everyone’s heard of the X-Men because they’re written about in comic books, and some characters are even Wolverine fans. The world feels real and it looks great. Its setting gives it a Western movie feel and its cinematography complements the story’s raw mood.

The atmosphere and style truly capture the story, and even the score feels like it becomes a character. The story is character-driven, and you feel everything these characters are going through, which makes it so human. It sends you on a roller coaster of emotions and it makes the experience gritty and unique.

Logan’s also raw because our heroes are so vulnerable. Logan has a vulnerability in his older age as he’s past his former glory and isn’t as invincible as he used to be. Even the villainous Pierce (Boyd Holbrook) notes, “Seeing you like this breaks my heart.”

It’s more heartbreaking seeing Charles Xavier in his state. I don’t want to spoil it but I’ll say his condition creates some compelling sequences. It’s enlightening seeing Charles in old age, to know that even the greatest mutants grow old, and Patrick Stewart delivers a striking and vulnerable performance.

His relationship with Logan features the usual tough-love and fatherly vibe, and Charles’ guidance creates great dialogue. Their chemistry’s endearing and their banter finds new life with an R-rating, because it’s so damn funny. Logan’s become self-loathing, and our anti-hero finds purpose with Laura. Logan’s relationship with Laura is great; their chemistry is entertaining to watch as it evolves. Their dynamic is cool where they eventually have to talk, and it’s not cliché banter. Laura is largely mute for the film and emotes distrust well and has a heartwarming curiosity.

Dafne Keen is charming and fiery as Laura, and it is such a good debut. Keen captures the character’s rage so well with a convincing ferocity. She’s great in action, and handles drama even better.

Logan

Hugh Jackman in his last hurrah as Wolverine in Logan. (Source)

Hugh Jackman effectively portrays Logan’s depression. The R-rating allows writers to explore adult themes like this as it reaches a level of sophistication rarely seen in a comic book film. In other X-Men films Logan does feel haunted, but with the mature storytelling, you truly feel and get a sense of how haunted he is at this point in his life.

Jackman is so great physically and moving emotionally. He’s so visceral in rage, and even though the character’s older now, he’s badass and still strong enough to break a shotgun over his knee. His last outing as Wolverine is easily his most remarkable.

Back to the writing. I can’t give enough kudos to writing team James Mangold, Scott Frank and Michael Green, who take X-Men storylines (namely “Old Man Logan”) and mix them into such an original story. They take time telling it, and there are intimate moments and poignant drama throughout.

A scene has our trio eating dinner with a family they’ve met and it’s funny and has great banter. The film has a great capability to slow down and show charming, human scenes like this that develop characters. It shows patience in storytelling, and it shows a comic book movie doesn’t need relentless, non-stop action to be supremely entertaining. The bursts of action are still amazingly directed. They’re bloody and brutal, and just a hell of a lot of fun.

With Logan, I’ll only complain about its villains. Boyd Holbrook is menacing, yet destructible, and has presence as Pierce, but there’s something to be desired since we don’t know who he works for as they make it mysterious in the beginning. Instead of feeling mysterious, it’s often confusing and frustrating. When we find out who they are and what they’re doing, it’s great and interesting, because it strengthens the story.

This gears up to a great finale that is well worth the wait for action junkies. It’s bloody and thrilling. It’s a bittersweet end to an era since Jackman’s been Wolverine for 17 years. As the credit rolls, a chapter of film history rolls with it. Logan is the best of the Wolverine trilogy and it’s just the fitting send-off that Hugh Jackman deserves.

Score: 95/100

Power Rangers (2017)

Released: March 24, 2017. Directed by: Dean Israelite. Starring: Dacre Montgomery, Naomi Scott, RJ Cyler, Ludi Lin, Becky G. Runtime: 2h 4 min. 

Nostalgia is a big appeal of this Power Rangers reboot, and as a 90s kid, the Rangers were definitely a part of my childhood. A problem of the original TV series, or at least the Mighty Morphin’ Power Rangers: The Movie, is that it feels like it runs out of budget before the big finale.

This fixes it because the final battle with the Rangers’ Zords against Goldar is great, visual eye candy. The cinematography also captures the settings well and the film looks great.

It’s fun mecha action and it’s great that there’s enough budget for a solid finale, even if it feels derivative of The Avengers and Transformers, but it’s still fun. And that’s one thing about this reboot: It’s fun.

The new Rangers crew meet in detention and their introduction feels like The Breakfast Club. At least Saban’s Rangers have super powers – and John Hughes’ crew only power was teenage angst.

Jason Scott (Dacre Montgomery) is the team leader looking for redemption after losing a football scholarship, and now has a chance to lead the Rangers. Montgomery (in his first blockbuster) has enough presence to be a believable leader, even as a bland character.

Billy Cranston, the Blue Ranger (RJ Cyler), is a lovable tech wiz of the group and he works as comic relief and being one of the most interesting characters. Zack Taylor (Ludi Lin in his English-language debut) is the Black Ranger and he’s the most forgettable Ranger.

Naomi Scott as Kimberly Hart (the Pink Ranger) is impressive, convincingly playing a bitchy side while trying to be a better person. We catch her in a transition from Queen Bee to social pariah with the popular kids.

Trini Kwan (Becky G) is the Pink Ranger and is one of those characters who has trouble fitting in – which makes her relatable. Bryan Cranston is a compelling Zordon who unites the crew and offers guidance.

The Angel Grove crew gain super strength after finding the Power Coins entrapped in crystal. The Coins are there after a prehistoric fight between Zordon and the treacherous Rita Repulsa (Elizabeth Banks). To protect the Zeo Crystal (which can destroy planets) against Rita, Zordon had to order a meteor strike which sent Rita to the bottom of the sea.

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Naomi Scott, RJ Cyler, Dacre Montgomery, Ludi Lin and Becky G. in Power Rangers. (Source)

This is basically The Breakfast Club with mecha action. The crew even have a heart-to-heart around a campfire. Their comradery’s realistic, and it’s nice watching their bond grow after being strangers. The casting of little known stars is smart. I only recognized RJ Cyler for Me and Earl and the Dying Girl and Becky G for that annoying song “Shower” about singing in the shower.

Tonally, the film’s wobbly. The movie writes a love letter to the campiness of the original TV series, but it’s hard to see what mood the writers and director Dean Israelite are going for.

It tries to be a dark and mature origins story (like Chronicle, and there’s also a bit of that film’s visual style). It also has enough angst to make John Hughes blush. The film also takes itself too seriously and Rita Repulsa (Elizabeth Banks) feels so out-of-place because of it. She has the most personality but she’s so campy that it doesn’t work when she tries to make threats and be serious. There are times when her character is so silly that I couldn’t contain my giggles.

Banks finds a finesse of chewing the scenery so much that there’s a sense that she’s in on the joke of being campy and she embraces it. It’s great in that sense and Banks seems to be having the most fun out of anyone.

The film’s a good origins story, but it’s easy to get antsy on the road to the film’s finale because the crew don’t put on their Ranger suits until the last 30 minutes. It’s part of their development because the armour is this weird alien thing that needs to decide that they’re worthy to wear them. It’s super different from their usual spandex armour. It forces them to unite but it makes their training less compelling since they’re in civilian clothes.

The 22-year-old critical me has a few criticisms with this reboot but the 10-year-old me loves it. It’s fun and it writes a love letter to the original series’ campiness, while creating believable characters that are a good new team.

Score: 75/100

Ghost in the Shell (2017)

Released: March 31, 2017. Directed by: Rupert Sanders. Starring: Scarlett Johansson, Pilou Asbaek, Takeshi Kitano. Runtime: 1h 47 min.

In a futuristic world that’s trying to advance technology even further, Hanka Robotics takes a woman horribly injured in a car crash and puts her consciousness into a cyber-enhanced body and call her Major (Scarlett Johansson). She becomes a cyborg cop working in Section 9’s anti-terrorist bureau, fighting the world’s most dangerous criminals.

First, it feels necessary to talk about the whitewashing controversy – which has been dogging Ghost in the Shell’s production since Scarlett Johansson’s casting as Major Mira Killian. I haven’t seen the original film, but Johansson’s casting affects some believability. Even if you can get past the controversy, it’s still not that enjoyable.

It’s nice to have a female-led blockbuster but Johansson’s stiff, bland and robotic. I know she’s all robot except for her brain, but it would be nice if the brain would give her human emotion or personality. Her brain makes her an imperfect soldier because at one point she disobeys orders to try to save some lives. The character’s compassionate in the scene, but her face doesn’t get the memo and she doesn’t emote compassion or make me believe it. Major’s a hard character but it’s Johansson’s first performance I don’t like, mostly because she’s bland and there’s little depth.

The martial arts part of her character is cool – though an explanation for her powers of invisibility would be nice. The invisibility makes action scenes great when she’s fighting and flipping a guy in shallow water. The splashing and choreography makes great eye candy, and the visuals are the film’s strongest aspect. There are other fun action scenes, so it’s a shame so many other aspects are bad.

The world created is fascinating. The norm is for everyone who has enough money to have cyber-work done to enhance their bodies – one character gets a new liver so he can drink more booze – and it’s so normal that people ask you on the street if you want an enhancement instead of drugs. The skyline – full of Geisha and koi fish, indicating most likely they’re in Japan – is interesting but giant holograms in the background are so distracting that a man going for a casual jog becomes a scene-stealer.

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Scarlett Johansson in Ghost in the Shell(Source)

The world is as creepy as it is cool. Being fully human is weird now, and there are creepy characters galore – especially ones with jagged teeth, and robotic Geishas are the source of nightmares when they open their faces. There’s other nightmarish imagery abound, and if the world feels creepy in live-action – I’m curious to watch the original to see how it’s portrayed in anime.

Batou (Pilou Asbaek), Major’s partner, has rather creepy eyes, but his character design is based on the source material. The supporting cast’s generally fine and Michael Pitt is strong as Kuze, though he sounds like Stephen Hawking’s computer voice malfunctioning. I like the supporting players more than Major and their personality make this more bearable.

Takeshi Kitano plays Daisuke Aramaki, the unit’s Chief, and it’s jarring that he’s the only one who speaks Japanese in the film. Everyone responds to him in English – but can apparently understand Japanese. Since everyone has robotic upgrades – you’d think a language component can be downloaded that let’s you speak Japanese. While it’s never crystal clear if this is set in Japan, but if it is, it’s especially strange that he’s the only person who speaks Japanese.

Some action scenes are memorable – notably the finale – but the only source of good entertainment is the film’s final 30 minutes when the story goes somewhere and we get answers for Major’s visions and glitches. It’s the only point where Major is almost interesting. I say almost because she’s just so dull that there’s an emotional wall that makes it difficult to become invested in her story.

The plot itself has some surprises but it rarely enthralls. The futuristic world’s interesting, but it’s even more fun to leave because it’s so bereft of passion.

Score: 40/100

 

Life (2017)

 

Released: March 24, 2017. Directed by: Daniel Espinosa. Starring: Jake Gyllenhaal, Rebecca Ferguson, Ryan Reynolds. Runtime: 1h 44 min.

A crew at the International Space Station – two Americans, two Brits, a Russian and a Japanese dude – are tasked with retrieving a sample from Mars that could contain the first proof of extraterrestrial life, and the first evidence of life on Mars (hence the title of Life).

After it gets on board, things go awry – and they still have to get it home because of what it means for science. The cute little guy does look like the parasite at the beginning of The Faculty, and the life-form is given the name Calvin by an elementary school.

Sounds cute enough, right? Don’t let names fool you because it becomes quite frightening when it starts bulking up.

The British biologist on the crew, Hugh Derry (Ariyon Bakare) is the only one who actually calls the little thing Calvin, as he spends his time studying it. He nearly seems fatherly to it, which brings up interesting dynamics because others are extremely wary of it. They’re afraid of the unknown thing – and for good damn reason.

I liked Hugh’s story because there’s a heartwarming aspect that he’s wheelchair-bound on Earth, but when he’s in space he can float around and do almost anything his heart desires.

The rest of the crew includes Dr. David Jordan (Jake Gyllenhaal), an American medical officer, whose story is cool, too, because he likes the hum of space. The other American is system engineer Rory Adams, played by Ryan Reynolds.

Rebecca Ferguson plays Britain’s other representation Miranda North, who’s in charge of keeping the specimen in quarantine. Katerina Golovkina (Olga Dihovichnaya) is the Russian crew commander of the International Space Station. The crew pilot is Sho Murakam and is played by Japanese actor Hiroyuki Sanada.

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Ryan Reynolds in Life. (Source)

The cast assembled makes an impressive ensemble. So much screen time is shared that they’re all supporting performers more than leading, even though Gyllenhaal, Ferguson and Reynolds are the most recognizable of the bunch. Gyllenhaal and Ferguson also offer the most compelling performances. No one’s wearing the redshirt from Star Trek per se, but there are people who feel more expendable. Talents don’t get wasted – but some are less utilized than others. Naturally, the cast’s chemistry is good since they’re stuck on a space station together.

They all have nice banter and the dialogue’s well-written. It’s witty and best fit for Ryan Reynolds since it’s from the minds of Rhett Reese and Paul Wernick (writers of Deadpool and Zombieland). The writing pair also bring in a smart amount of scientific dialogue that’s so nerdy, you’re thankful that some characters dumb it down for us.

The story of Life wears its homage to Alien on its sleeve and while it is nothing new, it’s an entertaining and unnerving ride. It takes a hardcore horror route and it’s surprising in its brutality and it packs relentless, edge-of-your-seat thrills. It’s quite scary, and that’s what helps it be a great addition to the trapped in space genre.

The premise is just so terrifying, when they’re trapped with something they can’t permanently escape from, and it’s a hell of a long phone call away from Earth. It’s just freaky that they can’t be helped, and it shows how much can go wrong in the limitlessness of space. Some of the cinematography’s a bit too dark to see some aspects, but otherwise the visuals are great.

The only part of the writing that doesn’t compel is the beginning because it’s plainly trying to get into the story, but it’s helped by smart dialogue. When the carnage begins, it comes with a force that doesn’t let go. It makes at least an hour of this a lot of fun and scary, and the writers find a way to breathe fresh life into a premise we’ve seen before.

The writers can do it all when it comes to foul-mouthed superheroes, zombie horror comedies and now bat-shit craziness of astronauts being trapped in space with Calvin. He might not go down in the same infamy as the Xenomorph from Alien, but he’s memorable and I won’t be going to space anytime soon.

Score: 75/100