Braven is basically On Deady Ground/Above the Law/Under Siege/Out for Justice or any Steven Seagal masterpiece of the early 1990s meets one of the best movies of all time (Young Guns) meets one meets the best Christmas movie of all time (Home Alone). And I don’t know if that sentence is a ringing endorsement or enough to get you to stop reading right now. In all honesty, it’s both. Lin Oeding’s feature-length debut, Braven, is far from a perfect movie. It is very, very flawed. But it is also highly entertaining. If Die Hard is your thing, then the Jason Momoa-led (Aquaman, Justice League) Braven will also be your thing. I can’t say you’ll love or remember much from it 24 hours later, but you will enjoy it, especially if you turn your mind off. Also, if he wants it, Momoa can be the new Segal, though he’s already proven he has more acting range than the former ever showed.
Category Archives: Adventure
High Life (2019)
2001: A Space Odyssey, Moon, Prometheus, The Martian, Interstellar, Life, First Man, Passengers, Solaris, Alien, Apollo 13, Gravity, it is not. Claire Denis (Chocolat, Friday Night) ambitiously ventured into outer space territory, a territory she had previously not explored, and found herself with a movie that was hard to appreciate, very difficult to enjoy, and left you with a million burning questions, most of which you would never care if they were ever answered or not. I give Denis credit for ambition, just as I gave Alex Garland credit for in Annihilation, a movie that if you enjoy, you might also enjoy High Life. But much like that movie, its plausibility was tossed out the window from the start, and its uneven semblance left you looking at your watch more than it did trying to find answers.
Annihilation (2018)
It took me two watches, some 12 months apart from one another, for me to be able to say emphatically that Alex Garland’s (Ex Machina) Annihilation isn’t a great movie. While I appreciate its ingenuity and ambition, the overall execution, delivery, and continuity could not be overlooked. For as much as I was in awe of Garland’s 2015 directorial debut, Ex Machina, I was even more disappointed with Annihilation, a movie for me that came and went as it felt, broke its own rules, left me bored at times, and hoping for more, while knowing it was never going quite to deliver. With a critics’ score of 88% but an audience score of just 66%, I am comfortable saying that, after watching it twice, some artistry I was missing made this movie so likable by those who review movies for a living. I couldn’t help but remove myself from critic mode and, even after taking off that hat, couldn’t get behind Annihilation to come close to recommending it.
Revenge (2017)
Coralie Fargeat’s Revenge (a terrible title since it has the same name as the Kevin Costner 1990 movie, a 2002 Roman Polanski film, a 1971 Shelley Winters film, and more) might be the best movie of 2018 you have yet to hear about. However, I can’t think of a better one for a movie that makes no bones about it, a movie about revenge, and nothing more. Driven by a first-time director in Fargeat, a cast that has no one that you’ve ever heard of, and a marketing campaign that likely consisted only of trailers on just as unknown straight-to-DVD releases, Revenge earned less than $125,000 at the box office and its limited May 2018 release, the movie resonated with the critics (92% with 119 reviews) though, with more than 2400 ratings, just over half (55%) gave the movie a favorable review. Much more than a simple popcorn flick, Fargeat creates a highly likable protagonist in Jen (Matilda Anna Ingrid Lutz – Somewhere Beautiful, Rings) and three highly unlikeable antagonists, whom I’ll discuss in subsequent paragraphs. You’ll find yourself cheering hard for Jen and hoping, even if you are against violence, that those who have wronged her get what they deserve.
The Sisters Brothers (2018)
My first impression of the trailer of Jacques Audiard’s (Dheepan) The Sisters Brothers was that it too quickly and too easily reminded me of a Quentin Tarantino movie. The trailer teetered the line of whether it was a drama or a comedy, a comedy masquerading itself as a drama, a drama trying to go for so much dark humor, or a variety of other techniques made famous by one of our generation’s most recognized and revered directors. But, honestly, to compare Audiard’s film to one of Tarantino’s would be doing a disservice to Audiard because this movie is better than anything Tarantino has directed since Pulp Fiction, except for 2009’s Inglourious Basterds. This Tarantino was one that I liked, but one, like each of his movies, had more than a few scenes that were difficult to watch.