'Zombieland: Double Tap' Review: Hilarious and Zombie-Filled Continuation

Rule #1 in watching Zombieland, just enjoy the ride.

Photo Credit: Columbia Pictures

A hilarious, zombie-filled continuation of its predecessor, Ruben Fleischer's Zombieland: Double Tap brings us back to where it started and adds new characters to join the fun of the star-studded, all Academy Award-nominated foursome of Woody Harrelson, Jesse Eisenberg, Emma Stone, and Abigail Breslin. It's as if nothing has changed with these characters even though in real life, there have been monumental changes to their careers. For one, Emma Stone is already an Academy Award-winning actress, but her character Wichita is still the same Wichita we know from Zombieland.

It's literally a continuation only with additional characters that either add spice or create conflicts to their established dynamic. Presently, the gang lives in the White House. Stone's Wichita and Eisenberg's Columbus are still a couple, while Breslin's Little Rock and Harrelson's Tallahassee have an unspoken bond of a father and a daughter. The core four is still together killing zombies, living together despite their differences. Columbus still abides by his rules, Wichita and Little Rock still don't like to be attached, and Tallahassee continues to tolerate them despite being out of his comfort zone. Only time will tell when they start growing tired of each other.

Even zombies have some developments. They now have names for each kind of zombies: 'The Homer', which are the stupid and slow zombies; 'The Hawkings', a.k.a. the thinking man's zombies which were named after Stephen Hawking; and 'The Ninjas', these zombies appear out of nowhere. But these are the same zombies they've initially encountered so they took it to the next level by including running zombies that are difficult to kill. Imagine the zombies in World War Z. They called it, the T-800.

But then again, as much as I love seeing zombie action more than anything in a zombie movie, what makes Zombieland, both 1 and 2, even special is the comedy between the leads. They could make a TV series out of them and we wouldn't get tired of seeing them interact with each other despite their obvious disparity. It's what makes the "Zombielands" watchable, even if it lacks the gruesome and offbeat zombie killings it's known for and even if some of the jokes don't land well. Double Tap actually lacks the zombie action and the natural & fluid humor of the first, but it makes up for new and unforgettable characters you wouldn't mind joining the foursome in future sequels. Most especially Madison, a hilarious character turn for Zoey Deutch, who got fascinated by Columbus' rules and ended up being the third party in the Wichita-Columbus central relationship. She's the third party that you wouldn't mind messing an already cute and formed relationship because she's that funny and outstanding.

But despite Madison, the foursome remains the heart and soul of the film, with Tallahassee having the most heroic arc of the four. The final scene in a new placed called Babylon where guns are not allowed and hippies kumbaya with each other is a little bit short of the exhilarating theme park scene of the first, but thanks to another character played by Rosario Dawson, it got a short four-wheeler truck action that's fun to watch.

Zombieland: Double Tap has the same formula of the first which you wouldn't mind especially when you go out of the theater smiling because of its silly but happy ending. It makes  you want to see more of them. The good news is, the actors seem 'game' for more.

'Gemini Man' Review: Clones, Not Clowns, Rule

To talk about Gemini Man is to talk about Ang Lee's ongoing journey in making 120-frames-per-second film-making a trend in the world of cinema, or at least, in his world. Pioneering this technique on his 2016 military drama Billy Lynn's Long Halftime Walk, it lapsed to eye-catching but divisive reception. But obviously, it did not stop Lee from pursuing it.

Instead, he ventures with an explosive and action-packed material, not necessarily turning his back from what he's used to shooting. After all, one of his films was Hulk. But it's certainly a change from his emotion-filled film streak.

Photo Credit: United International Pictures

Gemini Man stars Will Smith as Henry Brogan, a first-class assassin ready to retire but was suddenly chased by a young operative leading them to a global game of cat and mouse like any other action movie in recent years. The twist is they seemingly could predict each other's move. Smith is joined by Mary Elizabeth Winstead who showed minor action skills, Benedict Wong as Smith's sidekick, and Clive Owen, a former Marine officer seeking to create his own military organization of elite soldiers through clones.

Gemini Man put clones in a nutshell, simplifying a complex idea in ways that are not necessarily new plot-wise. Not surprising considering that Lee has been eyeing this material for years and many films about clones have passed before this was even conceived. What stands out from other clone films, however, is Lee's continuous conception of fresh ideas to the way we see movies. It's really admirable considering he's been doing extraordinary things in what's typically viewed as usual film-making. Unfortunately, it doesn't always work especially the de-aging CGI effects. But the intention is very much appreciated. That's why, as cliche as this sounds, this should be watched the way Ang Lee intended it to be seen.

Photo Credit: United International Pictures

Seeing this in 120 FPS and in 3D or in the most immersive way possible would make the experience worth it. It's truly an experience and I seriously believe that Lee has given new meaning to the word cinematic. There are standout scenes that I haven't seen, experienced rather, in a cinema before even if the scenes include a usual motorcycle chase scene, or the leads running away from a thousand bullets. They're astonishing.

Apart from its action, it's about humanity--what's humane and inhumane about the process. But that's only a footnote from this movie and putting meaning to an obvious film about techniques and choreography, both cinematography and stunts, might even be a reach. This is sad because Ang Lee used to make films that bring out emotions in his audience even in his first effort in utilizing the technology. Gemini Man might seem to be the most immersive and hyper-realistic, but it's also the most emotionally distant.

'Joker' Review: A Commanding Joaquin Phoenix Acting Circus

Comic book movies found the newest light of day in Todd Phillips' Joker. Although light may not be the best term to associate it with, as it's definitely one of the grimmest movies of the year.

Photo Credit: Warner Bros. Pictures

With the surge of superhero movies, and now super villains, Joker took it up a notch with its approach and content--staying away from superpowers and focusing more on its subject's descent to madness. The declaration stating that there will be before-and-after Joker might be true after all. I wouldn't be surprised if the succeeding origin movies from now on will continuously reinvent the genre. If not, they'll sidestep to another existing genre that's rarely used in comic book movies. I'm almost already certain that Birds of Prey will use the same technique as this. Although this isn't that original anyway especially with Christopher Nolan's The Dark Knight that still feels fresh after a decade since its release.

But there's definitely a change. One that could surprise especially the superfans both in a good way and in a bad way. It's very much about Arthur/Joker and very little about his connection with Batman. There are no magic tricks, but what it has is Arthur's genesis that is disgustingly humane and harrowing. In a way, Todd Phillips' Joker asks the viewers to sympathize with this sad, sad creature but overall it feels wrong however unfortunate his past and present were.

It's a simplistic straightforward story but the journey to its core is startlingly dramatic. It turns from heavy drama to horror and it rarely takes detours to its descent. If it does, it's about his mother and his past. When it stops, it makes a commentary about the garbage situation of the contaminated Gotham city that's not exclusively referring to it as a place but rather as a community. "It's crazy out there", he says. Other than that, it's really about Arthur, his condition and his longing to belong.

As straightforward as it is, it has an incredible amount of craft injected into it. Hildur Guðnadóttir's score and Lawrence Sher's images complement the filth of Gotham, the madness and emotions of Arthur, and the overall eerie vibe of the film.

Then there's Joaquin Phoenix who might really be the best of his generation and with the Joker role, he's able to show what he has in him. Sometimes it's overbearingly good, and sometimes it's inordinately not. It's a commanding performance from start to end. One that's also associated with physical transformation. He pretty much utilized the material as his circus and it feels like he had a good time with it while taking it seriously at the same time. He can't not take it seriously because Arthur's origin is really dark and disturbing. His 'Joker laugh' is also pretty bothersome as it should, making it a scary disease you wouldn't want to wish even to your worst enemy.

'The Goldfinch' Review: John Crowley's Glossy Portrait Loses Its Hue

John Crowley's follow-up to his critically acclaimed Brooklyn is a film adaptation of the Donna Tartt novel 'The Goldfinch', and sadly, it's a bit of a setback. Crowley attempts to juggle all the characters and storylines at the same time that it seems like he's forgotten to imbue the novel's essence and moral. It's compelling in its seriousness and fun in its lightheartedness but together it feels like an explosion of tone that shifts from time to time to time and never established an overall distinct atmosphere.

The Goldfinch weaves between two periods in the life of Theo Decker, who was orphaned as a kid (Oakes Fegley) when his mother was killed in a terrorist bombing while they're at the Metropolitan Museum of Art, destroying precious pieces of art excluding The Goldfinch painting, which he took possession after a dying man from the explosion asked him to "take it". As an adult (Ansel Elgort), Theo still keeps the priceless painting reminding him both of the tragedy and his beloved mom.

Photo Credit: Warner Bros. Pictures

Like most literary material, it's one with a lot of side stories and characters that all revolve in the main character's life. It has Samantha (Nicole Kidman), a cold but kind socialite who took Theo in after the tragedy, Samantha's household which includes her children Platt, Kitsey, and Andy and her husband Chance, Theo's deadbeat father (Luke Wilson) and his promiscuous girlfriend, Xandra (Sarah Paulson), Pippa, Theo's unrequited love and obsession, Hobie, (Jeffrey Wright) as Pippa's guardian and later his mentor, and the side-character I enjoyed most, Boris (Finn Wolfhard) who was sort of a bad influence but ended up being one of his closest friend.

All of these characters and their relationship with Theo are distinct, compelling and pivotal to his story. And yet, their combination couldn't save the narrative that struggles to find its rhythm throughout the film.

Photo Credit: Warner Bros. Pictures

On a positive note, it looks glossy and gorgeous throughout. No surprise since Roger Deakins shot this. From the crispness of the images to the warmth of the lighting that exudes from the screen, it's one that could count as a masterpiece, if only the script could. There are several shots in the film that linger and there are also several scenes that have Deakins' signature where the subject is shot against the twilight. It's beautiful, but not enough to save the film.

Despite all this, it's still a compelling story, only told ineffectively. It was just a story, but nothing to take in. Theo's trauma remains his from start to finish.

'Ad Astra' Review: Brad Pitt's Melancholic Space Contemplation

In a decade where space films have become a norm, James Gray's own version emerges as he uses space only as a facade, a magnificent veneer exquisitely shot by Hoyte van Hoytema, to orbit the meaning of human existence.

In Ad Astra, Brad Pitt as astronaut Roy McBride travels to the outer ends of the solar system in search of his missing father and unravel a problem that's threatening mankind. But as vast as the universe is, the film goes beyond and larger than this plot. Like the space as a facade, this adventure is not just about finding a missing dad. Rather it ends up being about one's place and meaning in life and the universe.

Often shadowed with McBride's melancholic contemplation via confessionals or voice-overs, Ad Astra has a sincere and sentimental vibe to it. Max Richter's breathtaking score heightens this but it's also not devoid of gripping action that we mostly see in space movies. It's still complete with moon chase scenes, blood, and other space absurdities that are almost always imperative in sci-fi movies. Richter never falters whichever scene his music is in.

In a way, director James Gray still gives in to the unspoken requirement of a space movie but at the end of it, he still triumphs in what he does best--exploring human emotions in his own gentle way and he always does so by adding other layers like exploration or immigration and not just your ordinary day-to-day story.

I've only seen two of his movies before this, and it's impressive how each one is so distinct yet all are affecting. Once his films end and his name appears in the credit, there's an immediate feeling of reflection and extra sadness that goes with it. Says a lot by how perfect he ends his films--whether it's the lingering shot of The Statue of Liberty in The Immigrant or the wife's refusal to discontinue his husband's exploration of a lost city in The Lost City of Z.

Brad Pitt's expressive and nuanced performance is not to be taken for granted. His performance is just as good and appropriate as Gray's vision. Both of their hearts beat together in this "space of life" story. One could say that he's probably in a sad and reflective state while doing this which is perfect for the material.

Ad Astra overall does not have the action-packed excitement of other space films, but it's just perfect in its own unique way. As even in its reserved action elements, it's able to explore more techniques in showcasing what's out there beyond Earth and by the end of it, we contemplate with Roy not only about his life but ours as well.