A Christmas Story Christmas

Director: Clay Kaytis
Starring: Peter Billingsley, Erinn Hayes, Julie Hagerty, Scott Schwartz, R.D. Robb, Zack Ward, Ian Petrella, River Drosche, Julianna Layne
Running Time: 98 min.
Rating: PG

★★ ½ (out of ★★★★)

"You'll shoot your eye out" might be one of the most quoted lines in all of movies, but there's no Red Ryder Carbine Action 200-shot Range Model air rifle to be found in A Christmas Story Christmas, director Clay Kaytis' agreeably pleasant sequel to the 1983 holiday staple. An initial flop in theaters, annual TBS marathons and decades worth of reappraisal significantly bolstered A Christmas Story's reputation, but as strange as this sounds, the nostalgic, coming-of-age classic is still underrated. And this follow-up mostly serves to hammer home just how well made it was, deliberately trying to replicate the feelings we had watching it, but unable to escape the original's shadow. Stuck between a rock and a hard place, it acknowledges its predecessor, while still attempting to spiritually recreate it with many of the same characters and situations in a new story. Complicating matters is that many of those scenes are the weakest ones, honoring the original by reminding us of everything it did better. 

Far superior to 2012's forgettably embarrassing straight to DVD follow-up, A Christmas Story 2, this at least has a sensible plot that uses the first film as its guidepost, reuniting original cast members and even occasionally capturing its tone and warmth. Unfortunately, it isn't all that funny, with an assortment of call-backs and gags that sort of fall flat, making its 98 minutes sometimes crawl by. But fans will be extremely happy to know that most of what works can be attributed to star Peter Billingley, revisiting his most famous role after spending some time behind the camera. All that wide-eyed enthusiasm he effortlessly projected as a child actor carries into adulthood, as he displays impeccable timing and conveys a sincerity that redeems a lot of the material. And while it may have been interesting to see what he could do with a stronger script, this still had a very high bar to clear.

It's December 1973 (33 years after the events of A Christmas Story) and Ralphie Parker (Billingsley) is living in Chicago with his wife Sandy (Erinn Hayes) and two young children Mark (River Drosche) and Julie (Julianna Layne). Taking a year off from work to pursue a career as a sci-fi novelist, Ralphie's met with constant rejection from publishers who find his writing overly long. Ready to abandon his dreams and return to a 9 to 5 grind, his mother, Mrs. Parker (Julie Hagerty, taking over for Melinda Dillon) calls, breaking the news that his father, "the Old Man," has died. Devastated, the family makes their way back to Ralphie's home of Hammond, Indiana to spend Christmas with the grieving Mrs. Parker. 

Ralphie's return to his old stomping grounds sees him reconnecting with old friends like Flick (Scott Schwartz) and Schwartz (R.D. Robb), as well as his childhood nemesis, Scut Farkis (Zack Ward). Faced with the impossible task of taking up the mantle of Christmas from the Old Man, Ralphie must show his own kids the true meaning of the holiday, as they too face neighborhood bullies, store Santas and bodily injuries. Struggling to write an obituary for a parent who defies description, Ralphie must also avert disaster to somehow make the holiday as special for his family as the Old Man did for him.   

In concept, this was the right approach. Having the story take place thirty years later with an forty something Ralphie taking his family back home to help Mrs. Parker deal with the Old Man's death is a viable sequel idea. Add on top of that a bunch of returning characters most didn't expect to see entertainingly reprising their roles and it's kind of a shock this didn't turn out better. Billingsley's a wonderful presence in carrying it, but the more Kaytis attempts to put a fresh coat of paint on some of the original's more famous sequences, all the ways this falls short become clearer.    

Billingsley does fine job handling the voiceover narration, but there's something special about an older person looking back on their childhood that just can't be duplicated here. Or more accurately, it's Jean Shepherd, whose iconic and sweetly sardonic delivery in the '83 film perfectly complimented the absurdity unfolding in front of us. It certainly helps too that he wrote it, but given his passing over twenty years ago, this was an unavoidable obstacle with any sequel. Adult Ralphie's voiceover seems to be narrating things as they occur, and there's a little too much of it, sometimes underlining action rather than providing invaluable reminiscences and sarcastic quips that enhance what we're watching. 

Having the plot revolve around the Old Man's death works in tying the two films together while also functioning as a fitting tribute to the late Darren McGavin, who's a primary reason that Bob Clark's original has endured for so long. His straight-faced exuberance at the leg lamp's arrival is what made that sequence so hilarious, and given all the call-backs, it's kind of surprising Kaytis elects not to do something (anything!) with the lamp again. Then again, maybe he should be praised for his restraint since an early dream sequence involving Ralphie's writing that pays homage to the original isn't successful in either timing or execution. They try this a few more times throughout with mixed results but the more subtle nods that advance this story tend to land better.

While A Christmas Story contained more than a modicum of dark humor and fear that reflected how a child would view the world, this tackles the much heavier issue of losing a parent. It makes you wonder whether Clark's film could even include a storyline like that and still be remembered as fondly. Luckily, it never needed to, so it's somewhat of a miracle that this is handled well enough to result in a touching pay off that makes sense in justifying what some might consider a surprisingly depressing start. 

Julie Hagerty's a solid choice to replace the now retired Melinda Dillon as Mrs. Parker since they share similar dispositions and personalities on screen, but even putting aside the continuity issue, the character's sort of portrayed as an airheaded lush. Erinn Hayes isn't asked to do all that much as Ralphie's wife, Sandy, but she delivers, sharing good chemistry with Billingsley and radiating a down home perkiness that enhances the proceedings. It's no fault of the child actors that the slightest material involves them, as they're saddled with recreating original Ralphie milestones, including an underwhelming bully subplot and a visit with the Higbees department store Santa that doesn't really go anywhere.  

When the movie stops pretending it's about anything other than Ralphie coming to terms with the loss of his dad and becoming a published writer it starts blossoming, leading to its two best sequences. One involves a variation on a certain triple-dog dare and some drunken sledders, while the other sees Ralphie having a much anticipated rematch with Farkus, with Zack Ward flawlessly recapturing his character in middle age as if no time's passed at all. Another highlight is the reappearance of Ralphie's little brother Randy (Ian Petrella) who's strangely still recognizable, whining and crying like a baby. 

Moments like the ones with Farkus and Randy, or even the retro title credits, go a long way, even if the insertion of flashbacks from the original are an unnecessary distraction we could have used less of. But sequeling a classic is a thankless task, so A Christmas Story Christmas probably turned out better than expected given the many challenges. This was at least approached with the right intentions, even as it too frequently invites unavoidable comparisons to a movie it's sincerely trying to celebrate.                                    

Top Gun: Maverick

Director: Joseph Kosinki
Starring: Tom Cruise, Miles Teller, Jennifer Connelly, Jon Hamm, Glen Powell, Ed Harris, Val Kilmer, Lewis Pullman, Monica Barbaro, Charles Parnell, Danny Ramirez, Bashir Salahuddin, Manny Jacinto, Raymond Lee, Lyliana Wray, Jean Louisa Kelly
Running Time: 130 min.
Rating: PG-13

★★★★ (out of ★★★★)

When the final book's written on Tom Cruise's career, it's a pretty safe bet that Top Gun: Maverick, the long awaited follow-up to his 1986 blockbuster, will be one of the primary talking points. The actor not only reenergizes familiarly nostalgic material so well you'd think he never left his rule-breaking pilot behind, but director Joseph Kosinki delivers a film that summons the spirit of Tony Scott's original. Expertly made with the sensibilities of a huge 80's action spectacle, it takes everything that was special about its predecessor and expands upon it, resulting in a pitch perfect sequel that surpasses the highest of expectations. On a technical level, there's little doubt these action scenes are superior, but what's more impressive is Kosinki's firm grasp on what was needed for this to really work, just as he previously proved with his criminally overlooked TRON: Legacy. 

The movie knows what it is and wastes no time getting there, making for one of the breezier, endlessly enjoyable 130 minutes you could spend watching a huge budget franchise movie. And while a quintessential big screen experience, it's still not hard to imagine viewers returning to it from the comfort of their own couches for a while to come. And by providing thrills that go beyond the adrenaline-fueled flight sequences, it further establishes Cruise as an expert at managing his own brand, again navigating the line that separates movie star and actor. This is the best possible combination of both, proving an ideal showcase for his talents and a welcome surprise for those understandably complaining they just don't make them like they used to.

Over 30 years after graduating from the TOPGUN program, U.S. Navy Captain Pete "Maverick" Mitchell (Cruise) is a test pilot whose constant insubordination and recklessness has kept him from rising up the ranks. But upon hearing that Rear Admiral Chester "Hammer" Cain (Ed Harris) is shutting down his jet program in favor of funding killer drones, Maverick responds by flying a prototype jet beyond Mach 10 and into high-hypersonic in a last ditch attempt to save the program.

Just as Caine intends to ground him for the stunt, Maverick's old friend and current U.S. Pacific Fleet Commander Tom "Iceman" Kazansky (Val Kilmer) intervenes to save his career, assigning him to NAS North Island, where he's ordered to train an elite group of TOPGUN graduates for an extremely dangerous mission. As a disinterested Maverick is tasked with leading a new team to the bottom of an enemy nation's canyon to destroy an unsanctioned uranium enrichment plant, Naval Air Force Commander Beau "Cyclone" Simpson (Jon Hamm) takes a strong disliking to the cocky, headstrong pilot, based mostly on reputation alone. 

Further complicating matters is that one of Maverick's students is Bradley "Rooster" Bradshaw (Miles Teller), son of his late best friend, Goose, who resents him for intentionally sitting on papers that held up his military career. He'll not only have to earn Rooster's respect, but that of the team's other pilots like flashy LT Jake "Hangman" Seresin (Glen Powell), determined LT Natasha "Phoenix" Trace (Monica Barbaro) and the unassuming oddball LT Robert "Bob" Floyd (Lewis Pullman). Struggling to let go of the past, Maverick reconnects with ex-girlfriend and bar owner Penny Benjamin (Jennifer Connelly). But he'll need to step up, as the future of the entire TOPGUN program and the safety of these pilots now falls entirely on him.

Where Maverick's head is at decades after the original's events concluded makes sense given what we've known about the character. He definitely wouldn't be a higher ranking officer given his rebellious propensities and was inevitable he'd still be punishing himself over Goose's death all these years later. But screenwriters Ehren Kruger, Eric Warren singer and Christopher McQuarrie use this as a jumping off point to inject fresh blood into the story, returning a beaten down but still highly skilled Maverick back to his old stomping grounds, as the last remaining vestige of a bygone era. 

Disrespected and underestimated by establishment loyalists like Cain and Cyclone, he's viewed as a hotheaded liability standing in the way of evolving technology. He's warned his day is coming, an ironic statement given how the film's built on honoring the past, or more specifically, repurposing the strengths of Scott's original for modern audiences. Middle-aged Maverick is still the same daredevil, but those tactics are frowned upon and whatever remains of his career depends on Iceman keeping him afloat.

Iceman gives Maverick this assignment not as some kind of favor, but because he's the right man for the job and the pilots need his guidance to form a cohesive unit. Iceman knows Maverick's his own worst enemy and their emotional scene together draws parallels between the characters' shared history,  weaving Val Kilmer's own cancer struggle into Ice's narrative in a manner that feels inspiring rather than tasteless. What Kilmer does in place of his vocal limitations makes this brief reunion soar, with the actor saying more with his eyes and facial expressions than most actors could in words. Cruise matches him beat-for-beat and the events that follow only lend more weight to a conversation that will have more than a few fans fighting back tears.

Rather than take the predictable, unimaginative way out in having Rooster blame Maverick for his father's death, the script tackles their tension from a different angle, with the mentor determined to keep a well-intentioned promise that's no longer as relevant as he thinks. The idea he's still suffering from PTSD of sorts over his best friend's death has led him to fear history repeating itself with Rooster, creating an intriguing dynamic and tension that permeates through their scenes together.

Rooster and Hangman's feud mirrors Maverick's classic one with Iceman and largely stems from their wildly different flying philosophies and hunger to be the best. Unfortunately, Rooster hasn't yet fully harnessed his capabilities and plays it safe while Hangman's showboating arrogance endangers everyone else. A well cast, mustachioed Miles Teller seems every bit Goose's son (especially in his scenes opposite Cruise) as Glen Powell channels Harrison Ford's Han Solo with a memorably charismatic supporting turn. 

The rest of the team have easily identifiable personality traits and quirks that make them easy to root for, but aren't overdone. The pilots have a job to do and the disciplined script keeps the focus there, with some well placed character moments and Top Gun call backs to compliment it. The original's campier elements are toned down, with the iconic but undeniably silly beach volleyball sequence channeled in the form of a similar football game that does a better job moving the story forward while eliminating the cringe factor.  

The Maverick and Penny romantic subplot cited by some as a weak spot is actually far from it, serving as a blueprint for exactly how such a storyline should be handled in this kind of picture. Casting Jennifer Connelly was a masterstroke, but the writers take a throwaway reference to this unseen admiral's daughter character from the original and cleverly expand upon it, correctly assuming diehards will get onboard and the uninitiated won't feel lost. That the pair already have an established shorthand and rocky history spares us an awkward introduction or feeling out process.We know just enough. 

Connelly never makes single mom Penny a Kelly McGillis replacement, but rather the only character besides Iceman who understands what makes Maverick tick having come from a similar world. As the rare age appropriate on screen love interest for the actor, she and Cruise share an effortless chemistry, now giving the long underrated, swooned over Connelly greater exposure with that elusive blockbuster hit she's deserved for decades. She also brings something completely different out of Cruise, who's probably never been this likeably human as a romantic lead before.  

The exhilarating last act utilizes practical effects along with some seamless CGI and VFX for the awe inspiring flight scenes. It probably helps that the actors are actually inside the cockpits with the cameras, and though they're not piloting the jets, were extensively trained as if they are. While the closing mission visually and narratively recalls the destruction of the Death Star at the end of Star Wars: A New Hope, it takes a turn with Maverick and Rooster relying on each other to survive what seems like an insurmountable predicament.

Kosinki and Cruise's Mission: Impossible editor Eddie Hamilton earn credit for keeping everything tight and exciting, leaving viewers hanging off their seats as they hurl toward a rousing resolution that doesn't overstay its welcome. Claudio Miranda's amazing aerial cinematography, Han Zimmer's throwback score (incorporating elements of the original's theme), and yes, even Kenny Loggins' "Danger Zone," bolster the overall package, ticking every box possible for a legacy sequel. 

Delayed in post-production with multiple writers attached, few took Top Gun: Maverick seriously going in. But again we underestimated Cruise's superhuman ability to enforce quality control in his projects. He'll eventually have to move onto smaller, more character driven parts, but that he can make this feel like one of those is why we can wait. A seamless blend of action and plot, he takes us on the ultimate ride, proving his onscreen authenticity and understanding of what audiences want is what's always separated him from the pack. After watching it, that Days of Thunder sequel suddenly doesn't seem like such a bad idea anymore.                                                

Cobra Kai (Season 2)

Creators: Jon Hurwitz, Hayden Schlossberg and Josh Heald
Starring: William Zabka, Ralph Macchio, Courtney Henggeler, Xolo Maridueña, Tanner Buchanan, Mary Mouser, Jacob Bertrand, Gianni Decenzo, Martin Kove
Release Date: 2019

★★★★ (out of ★★★★)

**Spoiler Warning: The Following Review Reveals Some Key Plot Details From The First Two Seasons of 'Cobra Kai' **

When YouTube Premium's Karate Kid sequel series, Cobra Kai, premiered last year, the big shock wasn't it being far better than anyone expected, but in how it made you re-examine the original film with fresh eyes, now working with the knowledge of what would become of All Valley Karate rivals Daniel Larusso and Johnny Lawrence thirty years later. Jumping off a very good idea that the latter viewed himself as the bullied victim in his high school war with Daniel, creators Jon Hurwitz, Hayden Schlossberg and Josh Heald's introduced us to a present-day Johnny frozen in '84, unable to fully move past his biggest defeat. And despite the fact Daniel's married with two kids and running a successful car dealership, something's missing, as he still struggles to find his way without the guidance of Mr. Miyagi.

As good a starting point as this was, there were many ways it could have gone terribly wrong. If their characters seemed to be a betrayal of who they originally were or the creators failed to recognize how much more the actors were capable of, it all could have been a disaster, joining the pitiful ranks of other reboot and sequel hatchet jobs. This represents the polar opposite, as the team behind this series use every minute of  second chance to deepen our appreciation of the franchise, while successfully pushing it forward. 

Cobra Kai's Hawk, Johnny and Miguel

Reluctantly taking a young pupil under his wing and resurrecting the Cobra Kai dojo as an unlikely sensei training a group of misfits, we got the Johnny we never knew we needed. And watching him again go face-to-face with Daniel under different, but not entirely dissimilar circumstances, we're reminded just how they bring out both the best and worst in each other. their feud trickling down to the new generation of characters we've grown to care about just as much.

Coming off a suspenseful first season finale, Cobra Kai has proven thus far to be the template for resurrecting an already existing property, delivering a second season that's just as strong, if not stronger. It's accomplished this by expanding the show's universe, further developing the characters and capitalizing off last season's tournament showdown that not only ended with a shocking twist, but the return of an infamous figure from Johnny's past who could again prove to be his, and Daniel's, biggest threat. But the series' more lasting accomplishment is what it's done with the newer characters, whose arcs take yet another turn in this year's finale, topping any previous episode in terms of adrenaline and suspense. Forget about measuring up to the original's legacy. You could easily make a case that this show is already well on its way to surpassing it. 

When last season concluded Johnny (William Zabka) had accomplished his liftetime goal of bringing the first place All-Valley Under-18 Karate Championship Trophy "home" to Cobra Kai after training bullied teen Miguel Diaz (Xolo Maridueña) to victory over his own estranged son, Robby Keene (Tanner Buchanan) in the final. But at what cost? With an injured Robby's new sensei, Daniel LaRusso (Ralph Macchio) looking on, Miguel wins by employing the same mean streak and cheap tactics the Cobras were known for over thirty years ago, in the process driving away his girlfriend (and Daniel's daughter), Samantha (Mary Mouser).

Johnny gets a visit from an old friend

Now with a tainted trophy and a relationship with his son seemingly broken beyond repair, the first glimpses of true regret come over Johnny's face as he realizes the Cobra Kai mantra of "No Mercy" may have corrupted Miguel just as it had him years ago. But before that feeling can fully settle in, a shadowy figure appears at the door: Presumed dead sensei John Kreese (Martin Kove), the founding father of Cobra Kai who led Johnny to his greatest heights as a teen, before turning on him. Declaring himself a changed man, the Vietnam vet memorably humiliated by Mr. Myagi in the parking lot all those years ago, is just looking for a second chance, and hoping his former pupil will give it to him.

Much to wife Amanda's (Courtney Henggeler) chagrin, Daniel leaves most of the responsibilities at LaRusso Motors to her as he doubles down on his efforts to open Miyagi-do Karate, making his inaugural students Samantha and Robby, who's now moved in with the LaRussos as the teens grow closer. Miguel meanwhile forms a bond with new bad girl Cobra Kai recruit, Tory (Peyton List), who's also taken Sam's best friend Aisha (Nichole Brown) under her wing. The violent, agressive direction of the group has also caused a further rift between bullied nerd turned badass, Eli "Hawk" Moskowitz (Jacob Bertrand) and his neurotic pal Demetri (Gianni Decenzo). With all these conflicts building toward an explosion as summer comes to a close, Cobra Kai and Miyagi need to somehow co-exist, before Daniel and Johnny's continuous feud threatens to hurt those closest to them.

One of the biggest highlights of last season was seeing a middle-aged Johnny trying to function in the 21st century and discovering it's exactly as we thought. The drinking, music, sexism and xenophobia confirmed Daniel's former bully wouldn't have a softer edge, at least at first. But he was trying, and if his scenes teaching a new class saw him initially coming off as politically incorrect as possible, the thought of a returning and bitter Kreese being dropped into this environment is sort of terrifying, not to mention ripe with creative possibilities, many of which are still not even entirely exhausted by the season's end.

The manipulative Kreese (Martin Kove) returns

Zabka and Kove play off each other so well that we do actually want to believe Kreese is a changed man and the backstory given to explain his absence sheds further light on the unrepentant figure who made Daniel and Johnny's lives a living hell in different ways. But the writers trust its audience enough to know that he hasn't returned to play nice and peacefully co-exist with Johnny.

Something's up, and this season will at least partially be about this disgraced mentor slithering back into his life when he least needs him. And we get this, because for all the misery the original Cobra Kai brought Johnny as a kid, it still holds for him a soft spot in that it provided an escape from his miserable home life. Kreese knows that all too well, pushing the right nostalgia buttons in him to get his foot back in the door. Johnny may resent him, but still can't help but seek his ex-mentor's approval.

Just as compelling is Johnny's students' reactions to Kreese, whose return becomes the driving force behind much of this season's drama, allowing well-traveled character actor Kove to give a different, more nuanced take of his classic, but previously somewhat one-dimensional role. It isn't long before his and Johnnny's dueling philosophies about where Cobra Kai's been and where it should go start to clash, with their students caught in the middle. And no one seems more conflicted than Miguel, whose emerging mean streak at the end of last season caught everyone, especially Robby and Daniel, off guard. But it also took Johnny by surprise, reminding him what Cobra Kai, at its most brutal, really means, and whether that's a road he ever wants to travel down again.

Some of Zabka's very best scenes again revolve around Johnny simultaneously trying to both relive and escape his past, coming to terms with his mistakes and attempting to be "the bigger man" by not getting sucked back into his feud with Daniel. Whether that's reuniting with his original Cobra teammates Bobby, Tommy and Jimmy (actors Ron Thomas, Rob Garrison and Tony O'Dell reprising their roles) for an emotional joyride, figuring out how to use a laptop or a dating app, or having a really awkward dinner with Daniel and Amanda, Johnny's impossible to dislike because we hold out hope he'll eventually get his act together. For the show's sake, it's probably the last thing we should want, but can't help ourselves because Zabka's so good at making us root for his redemption.      

Miyagi-do's Robby, Sam and Daniel

While not on as tumultuous a journey as Johnny, Daniel's determination to get Miyagi-do off the ground is as much planted in his fear of failing his late mentor as it is sticking it to his longtime rival. It's ironic that in trying so hard to live up to the Miyagi legacy, Daniel's training scenes with daughter Sam and temporary houseguest Robby end up being the most repetitive of the season until an influx of new recruits come in and join them,and Cobra Kai takes the feud to a whole new level of personal.

That there's more at stake with Sam and Robby's personal relationship than in Daniel's quest to carry on Miyagi's teachings is kind of the point since it's through his connection to the Larussos that Robby's able to momentarily shed his badboy reputation as Johnny's son. His Cobra Kai nemesis, Miguel, appears to also be on the edge of redemption until Tory enters the picture, tempting him in the worst of ways with a mean streak of her own.That we care as much about this high school rivalry as much as the one still raging between the two adult characters speaks to the writing and performances from Maridueña, Buchanan, Mouser and series newcomer, Peyton List. Really, the feuds become one in the same.

Tory and Sam's climactic face off in Ep. 2.10, ("No Mercy"')

Although Johnny resists Kreese's desire to bring merciless vengeance back to the dojo he founded, his reappearance gives Daniel another reason for justifying his contempt for all things Johnny Lawrence. And after undergoing one of the more drastic transformations last season, Jacob Bertrand's Hawk plays an even bigger role this time around, soon embodying Kreese's ruthless philosophies by becoming the very thing that forced him to adopt this persona, going so far as to turn on his closest friend (despite Demetri's crippling neurosis being the season's only grating element).

Daniel vs. Johnny. Miguel vs. Robby. Sam vs. Tory. Hawk vs. Demetri. Johnny vs. Kreese. Cobra Kai vs. Miyagi-do. All these feuds simmer throughout the season, before finally exploding in a school-set brawl that can best be described as the show's finest 20 minutes, both in terms of storytelling and martial arts choreography, ending with a shocking event that brings these characters the closest they've come to full-on tragedy. Shaking the show's foundation, it's a culminating moment that can be traced to the previous nineteen episodes, while also working as a logical fallout to last season's closer, setting the table perfectly for Season 3.

Johnny at a crossroads

The defining event finds Johnny back at perhaps an even darker, sadder place than when he was initially reintroduced, opening up a whole new set of possibilities for where his feud with Daniel could go, or even whether it should continue. While hints have been dropped since the beginning, the writers also lean even further into teasing a potential return many probably didn't think was possible when this story began, or rather began again, for these characters. It's basically the final piece of the puzzle fans have been clamoring for. And now that the timing feels completely right for this exciting development, there's good reason to believe it will be handled as expertly as everything else. It's a deserved show of faith for a series that's proven how little interest it has in merely delivering a glorified reunion.      

Halloween (2018)

Director: David Gordon Green
Starring: Jamie Lee Curtis, Judy Greer, Andi Matichak, James Jude Courtney, Will Patton, Virginia Gardner, Haluk Bilginer, Toby Huss, Jefferson Hall, Rhian Rees, Dylan Arnold, Miles Robbins, Drew Scheid, Jibrail Nantambu
Running Time: 106 min.
Rating: R

★★★ (out of ★★★★)

Of all the horror sequels, prequels and reboots, none have beaten into the ground quite like Halloween. Michael Myers' origin story has been told and retold so many times that you have to wonder how even the hardest of hardcore fans haven't reached the point of complete exhaustion. How many times can The Shape escape from the mental hospital and wreck havoc on Haddonfield? Or come back "home" to the Strode house? Even with this newest Blumhouse-produced incarnation of the property directed by David Gordon Green and co-writtten by Danny McBride arriving in time for the original's 40th anniversary and being co-produced and endorsed by John Carpenter himself, its biggest hand was already been played. Jamie Lee Curtis reprised her legendary role of Laurie Strode in 1998's underwhelming Halloween: H20 with mixed results, mostly due to the lack of any long-term vision for the character.

Now accompanying Curtis' return is a pesky continuity problem that Green and McBride believe they can solve. Just retcon the whole thing. Or at least every film that followed the 1978 original, which remains highly regarded enough to make this experiment worth a try. Gone are all the returns of Myers, who we now learn has been confined to a mental hospital for the past four decades following his October 31st killing spree. Wiped away with it are any revelations that came in subsequent installments, including the big one that Laurie is Michael's sister.

While all of this sounds fine and good on paper and it's tough to argue few better options exist, it sure is asking a lot from fans. Or is it? Aside from the Myers-less, but underrated Halloween III: Season of the Witch and Rob Zombie's polarizing Halloween II, none of the previous entries have ever truly attempted something different. By committing to this crazy idea, Green's film forces the series to go a little out of its comfort zone, resulting in one of the more skillfully made outings since Carpenter's classic. Given the talent involved, that isn't much of a surprise. even if it comes at a cost. Whatever disappointment comes from the realization that it still, for better or worse, feels like a Halloween movie, stopping short of transcending the genre to become something more. You could argue that would always be too tall an order, but this sequel does feel as steeped in the year it was made as the original likely did in 1978.

With the "#MeToo" movement permeating through its female-driven empowerment narrative, it does away with away attempts to "understand" Michael Myers, even going so far as to mock the current criminal psychology boom surrounding serial killers. A welcome return to Carpenter's initial idea of the faceless, random form of evil known as the "Boogeyman," this had to be one of the toughest installments to plan. The results aren't always entirely successful, but Green deserve credit for not only pulling this off, but crafting a worthy successor that's as thrilling to discuss and dissect as it is to watch.

The 40 years since towering, emotionless killer Michael Myers terrorized Haddonfield on Halloween night haven't been kind to Laurie Strode (Curtis). Psychologically traumatized by his attack, the now sixty-something survivalist is twice divorced and estranged from her adult daughter, Karen (Judy Greer) who was removed from Laurie's care years ago when the state determined her overprotective, vigilante parenting methods crossed a line. Living in an isolated compound decked out with heavy artillery and security, she drinks a lot and obsessively prepares for Michael's potential return, waiting for the moment she can finally get her revenge.

Laurie's only lifeline is Karen's teen daughter Allyson (Andi Matichak), who, despite her mom's desire to shut the door in any relationship with Laurie, feels a connection to her grandmother. But the past returns in a big way when true-crime podcasters, Aaron Korey (Jefferson Hall) and Dana Haines (Rhian Rees) arrive at Warren County Smith's Grove's Sanitarium to visit Michael before he's transferred to a new facility while under the care of his long-time psychiatrist, Dr. Ranbir Sartain (Haluk Bilginer). Seeing dollar signs in both exploiting and humanizing Michael, they plan to stage a reunion between him and Laurie under the guise of giving her "closure."  Laurie wants none of it, but may not have a choice when his transport bus crashes and he comes home. This time she's ready, but all three generations of Strode women will have to band together in order to defeat the embodiment of pure evil.

Aside from the spectacular opening title sequence that pays direct homage to the '78 original, but with a clever twist, the first half-hour of Green's picture is its weakest. This isn't to say it fails or even takes too long to get going, but rather that our entry point hinges on three unlikable characters we don't know and aren't particularly invested in. So even while the idea of introducing true-crime podcasters trying to drum up publicity and sympathy for Myers' cause is a timely one, something still feels off about the execution. Early on, we sniff out their only purpose in the story: Allowing Michael to reclaim his mask.

Similar claims can be leveled at the character of Dr. Sartain, who could easily be labeled as a poor man's Dr. Loomis until the full complexity of his motivations come into play. And even then, the unflattering comparisons to Loomis (whom he "studied" under) are inescapable. But at least leading off with the Sanitarium spares us enduring yet another "It's Halloween in Haddonfield. Will he show up?" opening. It also provides us the most visually arresting image of the entire film,a wide shot of the hospital's courtyard with patients lined up on what looks like a giant chess board, with a maskless Myers' back turned to his nervously approaching visitors. It works on many levels, including the obvious one, that these three are really only pawns in his game, one in which he'll soon be claiming new victims. 

Myers has had a lot of returns home to Haddonfield throughout the illustrious history of this franchise, but Green makes a number of different choices that stand out, resulting in the one of the stronger stretches of both physical and psychological suspense we've seen since the series' inception. While the killing starts early, Green recognizes, with one or two big exceptions, the need to not show us everything, leaving at least a little to the imagination. It's pretty much the opposite of Rob Zombie's gorefest, which worked to a certain point for the type of movie he made, for all the good and terrible that entails. But Green's more of a chameleon who can slip in and out of different styles and is capable of hiding a few tricks up his sleeve. The film's middle portion is a showcase for that, as he not only manages to hide some of the more tired genre tropes with visually interesting choices, but also slides in a few winks and nods for fans that make sense for this story without excluding more casual viewers.

The screenplay succeeds in getting back in touch with Michael as this random, undiscriminating killer, which seems to have fallen by the wayside in recent installments. It feels like Halloween night with the streets lined with kids everywhere as Myers just aimlessly walks on the streets and sidewalks and through the crowds scoping out houses. While more establishing shots of Haddonfield would have helped in establishing a greater sense of time and location (something the original had in spades), the newest generation of supporting characters are given suprisingly adequate development, unburdened with carrying the entire film on their shoulders like so many other unsuccessful entries horror entries. This time, most of the heavy-lifting is done by Curtis, who we know can handle it, and does.

Treating the assault she suffered 40 years ago at the hands of The Shape with the gravity and seriousness it deserves, Curtis is afforded the opportunity to add a dimension of reality to the character she originated that some of the goofier sequels prevented. H20 attempted this approach, but it's refined here. The hunted becomes the hunter, as years of buried trauma create this alcoholic, PTSD-suffering survivalist whose obsession with revenge ruins whatever relationship she could have with her own daughter.

Judy Greer's Karen has gone in the opposite direction, believing her mom to be a drunken kook, compartmentalizing her own childhood and choosing to instead see the world as all sunshine and rainbows. We know what will eventually occur to destroy that illusion, but it's hard not thinking this continues the streak of movies underutilizing Greer, with a role that exists primarily as a bridge for Laurie passing the torch to granddaughter Alysson. Still, it was smart making Curtis again the franchise's centerpiece and having her family's legacy be the orbit around which the story revolves. Nor does it hurt that the film inadvertantly walked into a cultural moment involving attack victims and survivors.        

In her first big screen role, Andi Matichak isn't yet called upon to be the "new Laurie" as Scout Taylor-Compton was in Zombie's reimagining, but acquits herself well as the smart, head-strong Allyson. She's caught in the middle of the family feud between her mom and grandmother and a sub-plot involving boyfriend Cameron (Dylan Arnold) that seems to come and go, despite his faint ties to the original film. Of course, she'll eventually come face-to-face with Michael and while Matichak's role isn't huge, she definitely leaves her mark, instilling some optimism in those wondering if she's capable of taking the wheel of the inevitable sequel(s). But it's the interactions with her friends that provide more of the film's meta social commentary, including a take on why anyone should still care about Michael Myers' crimes in a day and age where mass killings seem to occur every other minute.

Despite her biggest jump scare being spoiled by the trailer, Virginia Gardner also manages to leave a lasting impression as babysitter Vicky, briefly bringing charisma and personality to the most thankless of horror movie characters. Her verbal interplay with young Julian (Jibrail Nantambu), whom she watches, is such a highlight you wish there was more. But we're quickly brought back down to Earth and reminded that, yes, we're still just going through the motions of a requisite Halloween entry where characters exist solely to bolster the kill count or advance plot. Adult characters are even more disposable, treated as an afterthought with little or no development at all.Will Patton's Sheriff Hawkins has a very tangetial connection to the '78 killings that seems tossed in, while the great Toby Huss does what he can with the limited role of Karen's husband and Allyson's father, Ray.

Between nameless cops and bystanders, podcasters and a Dr. Loomis stand-in, there are a lot of superfulous characters whose chief narrative purpose is to get Michael to Laurie's safe house for the eventual showdown. But even with more plot than seemingly necessary, we're treated to some real flashes of brilliance along the way, including a suspenseful kill sequence involving motion sensors that's heightened by John Carpenter, Cody Carpenter and Daniel Davies' new score. Remaining faithful to the original while adding guitar flourishes that bring it into the modern era, this is the best Halloween's ever sounded. Directors scoring their own films was pretty rare in '78 so having Carpenter return to the studio alongside his two collaborators, not only feels and sounds like the right choice, but utilizes him for more than just his usual story or producing credit. And his work couldn't have turned out better, offering a welcome twist on one of cinema's most famous musical compositions.

Other call-backs are less obvious, like P.J. Soles' cameo as a teacher or the original Michael, Nick Castle, making an extremely brief apperance behind a mask now being occupied by actor/stuntman James Jude Courtney, who does Myers' justice in both movement and mannerisms. Every new film seems to spark a discussion about the mask, and this one looks good enough, appropriately reflecting the decades of age and wear you'd likely anticipate. If there's any problem with it it's that it bares almost too close a resemblance to Zombie's grungy version.

It's a testament to just how much this franchise has been through that even on the heels of a financially and creatively fulfilling sequel like this, it's still somewhat difficult to get excited for more. Jamie Lee Curtis returned as Laurie and faced off with Michael. Now what? The sequels following H20 all dealt with this conundrum and we've even seen the problem manifest itself in a non-horror capacity in the newest Star Wars series. It's tough finding that balance between the old and the new. Pleasing original fans while still attracting newer ones. No matter how many times you emphasize a fresh start they'll always be that temptation to lean back into the past, "come home" so to speak. It's a tricky balance that will only get trickier with each succeeding installment.

Halloween 2018 comes from a strange place in wanting to completely abandon and even occasionally send-up the films that came before, while remaining slavishly devoted to them at the same time, even going as far as to pay homage to certain scenes, story points and characters. In so far as translating those admittedly mixed signals in the screen, Green does as good a job as any current director could. Considering a trip back to Crystal Lake or even Elm Street would seem to hold more appeal and possibilities than yet another entry into this series, it all worked out. By reminding us of everything we've loved and loathed about the series, it pushes us forward us into the next chapter. And whatever that is, there's little doubt Michael Myers' legacy will remain at the center of it.

Creed

Director: Ryan Coogler
Starring: Michael B. Jordan, Sylvester Stallone, Tessa Thompson, Phylicia Rashad, Tony Bellew, Graham McTavish, Wood Harris, Andre Ward, Gabriel Rosado, Ritchie Coster
Running Time: 133 min.
Rating: PG-13

★★★ ½ (out of ★★★★)

If it's true that everything starts with an idea, it helps to have a really good one and the ability to deliver on it. I'd imagine director/co-writer Ryan Coogler's pitch of a new Rocky film was initially met with a skeptical eye roll from both studio executives and maybe even a few of the actors he approached to be a part of it. And given the state of the franchise after some underwhelming sequels and a disappointing 2006 curtain call, it's hard to blame them. Despite not counting myself a huge fan of the original and among those frequently questioning its 1977 Best Picture victory in a highly competitive year, even I'd have trouble denying its cultural impact. It's one of the few Oscar winners still remembered and talked about to this day, regardless of the extent to which its sequels somewhat tarnished its legacy.

Anyone looking to recapture the feelings of goodwill that first film generated in so many you'd need a really strong narrative hook. With Creed, Coogler finds it. And in doing so he makes the ultimate Rocky movie and the one everyone's been waiting for without knowing they wanted it. In the most purely honest way possible, he tricks us into watching another entry by not making one. It isn't until the last scene that you realize what happened, and by the point, you're at too much of an emotional high to get hung up on it. By their very nature, sports movies follow a certain formula, but in the best ones there's this magic that takes place that transports audiences and makes them forget, even as the script and its characters sink deeply into it. Formulas do exist for a reason, but a good director, like a magician, never reveals his tricks. In Creed, all the wheels are turning but we're never consciously aware of the machinations.

Cleverly, the sequel/spin-off is jump-started with one question: What about Apollo Creed? We know Rocky's opponent, friend and mentor (played by Carl Weathers) died in the ring, but he left someone behind. A son from an extramarital affair named Adonis "Donnie" Johnson (Michael B. Jordan), who's been fighting and starting trouble since his days at a youth detention facility in the late 90's. It wasn't until Apollo's widow, Mary Anne (Phylicia Rashad) took him in that he started to have anything resembling a normal upbringing. Fifteen years later, he's on the fast track to a promotion at a Los Angeles-based financial firm, even as something eats away at him. He goes down to Tijuana on the weekends to box, demonstrating the burning desire to fight that's persisted since childhood.

After being rejected at his father's gym, he quits his job and heads to Philadelphia, landing at the doorstep of Adrian's restaurant and in front of the only man he knows can train him: His dad's opponent, friend and mentor, Rocky Balboa (Sylvester Stallone). Initially reluctant, Rocky agrees, but when word gets out that Donnie is Creed's son, the marketing potential of that teaming can't be ignored, so despite being nowhere near ready, Donnie must prepare for the fight of his life against the world lightweight champion, "Pretty" Ricky Conlon (Tony Bellew), an intimidating British brute preparing for a retirement bout before he heads to prison. And in doing this, Donnie must not only come to terms with taking on his late father's name, but do justice to his legacy even as he struggles with his own.

All this manages to work so well due to a series of creative decisions made by Coogler that are played to perfection, each piece of the puzzle organically falling into place to create a maximum entertainment experience from start to finish. It isn't much of a stretch to buy that Apollo Creed has an illegitimate son who felt abandoned, or that he'd harbor much of the rage his father did, not to mention many of his fighting skills. And it's even less of one to believe that the emotionally beat down Rocky we see here (an incarnation that's a far cry from any previous outing) wouldn't want to be near the ring again in any capacity, either as a cornerman or trainer because of what it dredges up. But we also know that he can't resist and as much as the underdog story parallels that of the original, it's surprising just how different it feels in both tone and execution, shot and edited to more closely resemble something grittier, like Southpaw or The Fighter. And Ludwig Göransson's soundtrack effectively pays tribute to pieces of Bill Conti's original score without attempting to slavishly mimic or overuse it.

There's an urgency here that went missing through most of the sequels and a familiarity in also acknowledging their purposeful existence in getting the characters to this point, most of whom we're meeting for the first time. The result feels new and fresh, releasing the franchise of the baggage and stigma that's weighed it down over the past couple of decades. This is the mentor role Stallone should have probably played already, but feels strangely even more appropriate now because he's at the stage of his life and career where he's caught up to us, and feels ready. In a way, it's similar to Mickey Rourke's role in The Wrestler in how it works on this meta level that almost makes it impossible to separate the role from what we know about the actor playing it. He's not at all "playing himself" but rather using his and the character's rich history to create this whole other layer from which he draws from to create this deep performance, his strongest and quietest dramatic turn since Copland.

When a development occurs that turns Rocky's world inside-out it should feel manipulative, but doesn't because Coogler and co-writer Aaron Covington understand that this is the natural progression for a lonely guy who's world really ended when Adrian died. Much like the series itself, he was just going through the motions. Training Donnie briefly alleviates that and Stallone's scenes opposite the perfectly cast Jordan are magnificent, recalling not only the best training sequences from the Rocky films, but some of the more memorable mentoring relationships captured on film, like that in The Karate Kid.

Previously working with Coogler when he played shooting victim Oscar Grant in 2013's Fruitvale Station, Jordan gave a superb performance in service of a film that didn't completely return the favor. With it came the responsibility of playing a real-life figure whose death ignited a firestorm of controversy. Here, he's shouldering a different kind of responsibility, and as the centerpiece and driving force behind an iconic franchise, he's the new Rocky. Or more accurately, the first Adonis Creed, with Jordan drawing on his own physical preparation for the role and natural charisma and intensity. He leaves little doubt Adonis is very much his father's son, and it's only when he comes around to fully accepting that, will he be able to step out from behind his shadow.

But his trajectory does seem to mirror Rocky's more than his dad's with not only his untrained underdog status as a fighter, but burgeoning relationship with Bianca (Tessa Thompson), a hearing impaired musician in his building whom he starts to date. Even this is handled exceptionally well, as intrinsically weaved into the plot as Rocky's romance with Adrian. It helps that the completely engaging and likable Thompson shines in every scene she's given, sharing excellent chemistry with her co-star. It's kind of one of those happy surprises that this turns out as well as it does, while also managing to be subtly touching at times, never forcing the issue. Just two great actors doing their thing.

For the first time in a while it feels like we're building to a fight worthy of the hype it's gotten through faux HBO video packages cleverly interspersed into the film, raising the stakes much higher than they've been in the franchise's recent history. Creed's opponent is a monster who carries himself like a serial killer and has about ten times the experience, practically mirroring Balboa's predicament in the original. With an outcome that's legitimately in doubt, the final fight is masterfully filmed and edited, giving us room to breathe and take in the action, showing just how far the staging of these sequences have come since the worst of the previous installments. Everything about this carries a "big fight" feel, and the result is the right one, despite my worries of its implications for the franchise moving forward.

As much as I care what happens to these characters, I'm still hesitant in wanting more. While I loved what we got, and maybe even prefer it to the original in many ways, part of me wishes they'd stop here before it's too late. We all know that won't happen as long as there's money to be made, but the last thing we need is a succession of inferior sequels made by rotating directors that devalue the achievement of Coogler and his talented cast. But who knows? Maybe it's possible to craft a worthy Creed follow-up if everyone's on the same page. But it'll be tough to top the rush you get here when the Rocky theme swells up at just the right moment, knowing it's being played again in a movie that's truly earned it.

Jurassic World

Director: Colin Trevorrow
Starring: Chris Pratt, Bryce Dallas Howard, Vincent D'Onofrio, Nick Robinson, Ty Simpkins, B.D. Wong, Irrfan Khan, Jake Johnson, Lauren Lapkus, Judy Greer, Katie McGrath 
Running Time: 124 min.
Rating: PG-13

★★★ ½ (out of ★★★★)

It always seemed the one lost opportunity in Steven Spielberg's Jurassic Park trilogy was actually setting the action in a fully functioning amusement park filled with people. You'd think adding that element of unpredictable danger to the plot could only heighten the stakes and danger. The entire amusement park concept has been gestating so long that we figured Spielberg must have been saving it for a sequel. Then 15 years passed. And now after sitting in development hell for almost two decades the franchise is resurrected with Jurassic World and the timing strangely seems just right for that big money storyline. Amidst an overcrowded field full of unnecessary remakes, reboots, sequels and prequels, this is the one that feels closest to being necessary because we never really got what we came for.

Despite unleashing a story that was a long time coming and injecting it with a meta subplot that pokes fun at the film's very existence, there were still a number of things that could have gone wrong. Poor casting, the wrong choice of director, bad GCI, a lackluster 3D conversion or an uninspired script could have easily sunk it. Instead, Safety Not Guaranteed director Colin Trevorrow delivers the type of ridiculously fun, pulse-pounding Spielberg-era thrill ride that even Spielberg himself can't seem to make anymore, or at least has chosen to move past after inspiring inferior imitations. This isn't one of them.

Twenty-two years after the horrific incident at Jurassic Park, Jurassic World is open for business and the park's operations manager, Claire Dearing (Bryce Dallas Howard) wants it to make as much money as humanly possible. A corporate ice queen, she brushes the park's sordid history under the rug as she unveils her newest attraction: a genetically modified Indominus rex dinosaur sponsored by Verizon. Inconvenienced by the recent arrival of her sister's (Judy Greer) kids, Zach and Gray (Nick Robinson and Ty Simpkins) to the park, she merely dumps them on her assistant for the day as Velociraptor trainer Owen Grady (Chris Pratt) is called in to evaluate the Indominus enclosure before opening. You could probably guess that what unfolds next is a crisis that makes the first three films look like child's play. It's up to Owen and Claire to contain it before lives in the park are lost, including their own.         

There's an early scene where a control room character played by Jake Johnson is showing off the vintage Jurassic Park shirt he won on e-bay, lamenting when the park used to be all about experiencing the wonder of a dinosaur. Now everything has to be bigger and more over-the-top. It's all about the money. While obviously referring to the Indominus attraction, he may as well have been talking about movies, particularly the one we're watching. But Jurassic World fully acknowledging forthcoming criticisms and actively poking fun at itself doesn't make it a good movie, nor should it. What does is the excitement generated on screen, since we're really there to see the dinosaurs wreck havoc.

Trevorrow wastes little time introducing us to the fully functioning theme park, which looks like a Sea World and Disney World hybrid with some surprisingly cool rides and features that seem believable within the confines of the fantasy world Spielberg initially created. As fast as the pace is, there is a considerable amount of time spent building up the first full-on appearance of the Indominus, which doesn't disappoint. It's definitely not Jaws in terms of impactfully limited screen time, but by today's impatient filmmaking standards, Trevorrow's approach is practically restrained.

Much to my relief, the CGI actually looks pretty good, as far as those go, rarely distracting from the action or story. It's also filled with some clever winks and nods throughout the park that let us know this is very much a continuation of the 1993 original and the sequels may as well not exist. Thankfully, John Williams' instantly recognizable, iconic score (the best of his storied career) still does, even if you could quibble with where it lands in the film and how quickly. But at least it's there, which was one of my big worries going in.

With employees clashing over their differing philosophies for the park, it's a given that the uptight Claire and cocky Owen will be brought together by the Indominus escape as she finally learns to care about something other than her job, namely her missing nephews. Her profit-driven approach starkly contrasts with owner Simon Masrani (Irrfan Khan), whose chief concerns are the enjoyment and safety of the guests. While both are seriously compromised by Claire's greed, InGen security head Vic Hoskins (Vincent D'Onofrio) is intent on militarizing the dinosaurs as government weapons, crreating an interesting Blackfish-like sub-plot about the humans' control over these creatures. This plays better than expected, with an inexplicably limping, head-tilting D'Onofrio throwing his weight around with the kind of bizarre performance only he could conjure up.

The casting is actually quite creative all-around, avoiding the same four or five names of actors and actresses who usually headline these blockbusters. Chris Pratt will soon likely be one of them, but for now we're still finding out what he can do and what's most surprising about his role is how humorless it is. More Indiana Jones than Han Solo. "Jurassic Parks and Rec" this isn't, as the former Andy Dwyer has to play it mostly straight in order to ground an already far out there plot.

If this is Pratt's Indy audition, he passes with flying colors, and despite being a longtime fan of the actor's work, he quelled most of my concerns that going this route would be a complete misuse of his talents. Instead, the action hero thing seems to suit him just fine and in his scenes opposite Howard he does manage to slide in some of the trademark sarcastic charm and charisma that got him here. He'll probably be cast in everything now, but if it has to be someone, at least it's Pratt, whose sheer likability and presence lifts this kind of material further than it would have otherwise gone.

While Pratt does exactly what's asked of him and surpasses expectations, he is still playing a one-dimensional hero opposite Bryce Dallas Howard's more intriguing character. When was the last time a money hungry, stuck-up corporate suit was the centerpiece of a summer action movie? Howard's always been consistently strong in various projects until disappearing for a while, only to now reemerge four years later in the last movie you'd expect to see her headline. And what a comeback it is, walking right up to that line of playing Claire as an unlikable bitch without ever stepping over it. As a result, the transition she makes to action heroine in the film's second half seems all the more seamless and reasonable, proving her an actress adept at rapidly shifting gears. In an effects driven project that too often relegates performers to window dressing, her performance is remembered. She's really playing two roles, each equally well.

Trevorrow was hired to do a job in which the understanding was he'd be relinquishing a lot of creative freedom. Yet within those parameters, he managed to slide his own vision in there to create something that feels like his rather than a tired retread. One can only hope that similar steps are taken when reviving other dormant franchises ripe for a reimagining or continuation of some kind. This is exactly the story that needed to be told in order to both honor the Spielberg film and move on from it. The final half hour featuring an epic dinosaur confrontation can compete in both scale and thrills with anything from the original. Rarely overstaying its welcome at a brisk two hours, it also features one of the few uses of 3D in recent years that at least seems defensible given the nature of the plot.           

It's funny how some critics have taken Jurassic World to task, making me wonder exactly what they expected or how it could have possibly been improved. It's everything a Summer blockbuster should be and a little more, which may represent the true root of their problem. For all the talk of the film's theme park being nothing more than a cash grab, the movie gets its job done by mocking exactly that, exploiting our fears that the wonder from the original can't be recaptured. The bigger question is why we'd want it to, especially when this sequel is such a worthy successor in its own right.               

Live Free or Die Hard

Director: Len Wiseman
Starring: Bruce Willis, Justin Long, Timothy Olyphant, Maggie Q., Mary Elizabeth Winstead, Cliff Curtis, Kevin Smith
Running Time: 130 min.
Rating: PG-13

***1/2 (out of ****)

Boy, what a great time I had watching this movie. Any director looking to make a successful action movie should watch Len Wiseman's Live Free or Die Hard and take notes. For every second and every frame of this picture's 130 minute running time it makes all the right decisions and doesn't step wrong once. This isn't just a great Die Hard movie or a great movie for the third sequel in the Die Hard franchise. This is a great movie. Period. Someone who's never seen any of the Die Hards would still love this, probably even more than someone who's seen them all. Those who have seen all the previous films are already debating this one's place in the pecking order. I may not be able to make a strong enough case it's the best in the series, but I can make one that it's the installment I had the most fun watching. By the end of the film I was asking myself the question: Why can't all action movies be like this?

The experience of watching this can best be attributed to eating at McDonald's. The meal has absolutely no nutritional value, but when you're hungry and need a fix, nothing hits the spot better. It's the ultimate summer popcorn movie that features a great cast, a frightening terror plot that unravels believably a layer at a time, not one, but two great villains, incredible action scenes and characters you actually care about. I would have given this movie four stars if it were just a little tighter and trimmed about 15 minutes. That's how good it is. Going in I wasn't expecting much and actually had some big-time concerns, but when it was over I could honestly say I saw the best action movie since John Woo's Face/Off was released ten years ago.

John McClane (Bruce Willis) is back and this time he's been thrust into a post-9/11 information age where all the rules have changed. He's a "Timex watch in a digital age," McClane's smooth adversary observes at one point during the film. And he's right. McClane has never seemed as out of his league as he does here. When he's called to Washington D.C. to pick up suspected computer hacker Matt Farrell (Justin Long, conveniently the star of those Apple Mac commercials) he's not sure why nor does he seem like he knows what a hacker even is. It turns out Farrell has unknowingly aided in a "fire sale" terrorist plot where everything must go. Everything being the nation's transportation, financial, power and utility systems. The man behind it is Thomas Gabriel (Timothy Olyphant), who's joined by his girlfriend, a sexy henchwoman named Mai Lihn (Maggie Q). They want Farrell dead, but they'll have to get past McClane to do it.

The two make an unlikely duo as it's up to Farrell's brain and McClane's brawn to save the country from the ultimate threat. One of the many terrific aspects of Mark Bomback's screenplay is how the villain actually has an interesting motivation for what he's doing and the terror plot has something important to say about national security and how safe we think we really are. This isn't one of those movies where nameless, faceless Arabs attack the country just because they hate us for some fanatical reason never explained. Bomback also takes the idea of computer hacking (which has been done to death in movies like this) and somehow finds a way to make it fresh and exciting. I can't completely claim that the events in this film are realistic but the movie presents things in such a way that something like it definitely feels plausible. There's one scene where Gabriel cuts into the national tv broadcasts and delivers his message in the scariest way I've ever seen a threat on this country depicted in a film. Ever. I was actually worried watching this movie that Bomback may have actually done too good a job writing a feasible terrorist plot, if you catch my drift.

There have been some complaints about the casting of Olyphant as the lead heavy in the film. These complaints mainly center on the fact that he isn't Alan Rickman or Jeremy Irons. It's true he isn't, but I'd argue we're in a different era now and it calls for a different type of villain. Rickman and Irons were great for then but this is now. I'd imagine the person who would stage an attack like this on our country today would be exactly like Gabriel: calm, cool and collected. He knows exactly what he wants and exactly how he's going to go about it. In a way, that's far scarier. His low-key manner fits what the movie is trying to say and the casting of Olyphant works perfectly. I thought he did an excellent job and deserves better than being compared to other Die Hard villains in films that required a different type of actor playing them. This is a different movie.

As good a job Olyphant does, however, he can't hold a candle to Maggie Q as Mai. She made a strong impression with a small role last summer's Mission Impossible III, but she makes a HUGE impression here. She's one of those rare movie villains that are so entertaining and so good at being bad you actually feel like rooting for them, if not for the fact they're trying to bring down the entire country. I'd honestly have to go back to the 1980's to remember a villain in an action movie that was this fun to watch. That she isn't bad to look at definitely doesn't hurt either. You know you're watching a real first-class villain when about half way through the film you find yourself scared she'll be killed off. When the possibility of that scenario presented itself I felt like screaming at the screen because I knew the movie just couldn't be the same without her.

The entire fight sequence between her and McClane (the conclusion of which involves a dangling car in an elevator shaft) is probably the most exciting 10 to 15 minutes I've had watching an action movie I can remember. Supposedly a lot of CGI was used for all the action scenes, but I couldn't tell. Everything looked realistic to me. One of the big complaints the movie seems to be getting is that McClane looks more like a superhero than an NYPD cop with all the stunts he pulls off, which border on and often exceed the ludicrous and unbelievable. I agree and there were points during the film I was actually laughing aloud at how over-the-top it was (especially toward the end) but you know what? Who cares?! This is an action movie not a documentary.

The things he did may be unbelievable, but the effects are so good that they never look unbelievable, which is all that counts. Plus, as far as I'm concerned the terror plot itself provided enough frightening realism to make up for any shortcomings in that department. Any concerns about the films PG-13 rating are unfounded. While I can't say I'm happy certain things had to be edited out to market the movie to a broader audience it isn't conciously noticeable watching the picture. In fact, I'm actually surprised the MPAA gave the film a PG-13 considering how much violence is in it. It should be interesting to see if an unedited director's cut is released on DVD and how much that differs from the product released in theaters.

So how about all those worries that Justin Long was going to become the Jar Jar Binks of the Die Hard franchise? Not only does that not happen the interaction he has with Willis makes the movie. The decision to pair the two of them together takes the movie to another level because they unexpectedly play off each other so well. They're complete opposites thrown into this situation together and the back and forth between them is hilarious (without ever becoming annoying) throughout the entire film. I also liked how they used Farrell to bring across the point of how out of touch McClane is with the current digital age, which is really the main theme running throughout the picture.

Long actually has what amounts to a co-starring role as he's onscreen as much as Willis and he not only doesn't drop the ball, he delivers in a huge way. His presence in this movie is every bit as important as Willis' and I'd even go so far to say that if there's another Die Hard (and I wouldn't complain if there is) I'd have no interest in seeing it unless Long's character is involved somehow. The addition of Long could and should have been a disaster but credit Bomback's script and his performance for turning the character into more than just a goofy sidekick. He actually adds another dimension to and enriches the McClane character.

At 52 years old, could Bruce Willis still deliver the goods as a viable action hero? He not only delivers the goods but you believe that this guy could kick anyone's ass. Willis often gets credit for being a great action star, but it's time to be completely honest: He's a good actor. In fact if someone asked me to point to a movie where Willis is at the absolute top of his game and at his very best I'd point to this one. John McClane is described sometimes as the "blue-collar James Bond." I love that description because it's so accurate. He may not be slick or suave or the smartest guy around, but he has street smarts, can blow things up and kick your ass right, left and sideways. That's John McClane and this movie captures it perfectly.

An interesting decision is made in adding another McClane family member we end up caring about. It's his college-age daughter, Lucy (Mary Elizabeth Winstead who, no complaints from me, seems to have appeared in every other movie I've seen in the past year). Her kidnapping at the hands of Gabriel comes so late in the film that me telling you about it could almost be considered a spoiler (if the commercials hadn't spoiled it already). Of course McClane has to have a strained relationship with his daughter, but I liked the way it was handled early on in the film. Bomback's screenplay doesn't push the buttons too hard and it feels just right. It's funny, yet relatable. Later on when she's in danger it becomes clear, much to our delight, she is very much John McClane's daughter. The casting of Winstead is perfect and when this was over I wished she had even more screen time because she was so believable and brought just the right amount of spunk to the role. There's also a hilarious cameo appearance from Kevin Smith (one of the few directors who can actually act) as a thirty-something computer hacker living in his mother's basement, which he's turned into a Star Wars shrine. Why do I suspect Smith probably has a room just like that in his home?

As the conclusion of the movie approached I realized something: I didn't want my time with these characters to end. That may not seem rare, but it is for an action movie. I could actually imagine a successful television series focusing on McClane and his daughter fighting terrorism with Long and Smith's characters along for the ride. We can call it The McClanes. For now though I'll take a sequel with those three returning. Bruce Willis gets a free pass from me to make as many Die Hards as we wishes, although part of me thinks it would be nice to end on the highest note imaginable, which this clearly is. One can hope when Harrison Ford dons the fedora and cracks the whip again next summer for the fourth installment of Indiana Jones, he has as much success as Willis does here. Honestly though, this will be tough to top. When the summer of 2007 comes to a close, Live Free or Die Hard deserves to go down as its biggest success story.