MONSTERS UNIVERSITY Is Much More Than OK

After the lack-luster performance and quality of last year's BRAVE followed up the complete and utter dumpster fire that was 2011's CARS 2, many, including myself, wondered if Pixar had lost its touch. And after hearing that the animation giant's next film would be yet another rehash in the vein of TOY STORY 3 and the aforementioned CARS 2, I was of two minds. Yes, I absolutely adored 2001's MONSTERS INC. But I worried that it was yet another hint that the creativity and originality that put Pixar on the map was gone forever. Luckily, the results squash any fears I might have had. MONSTERS UNIVERSITY, which has Billy Crystal's one-eyed, quick talking Mike Wazowski and John Goodman's fuzzy, blue-haired scarer extraordinaire James P. Sullivan beginning their undergraduate scaring educations, is true to the spirit and tone of its predecessor while never feeling like its simply treading (or slithering) old ground. 

The film begins with a brief prologue that depicts a middle school incarnation of Mike. He's not a natural scarer by any means. But during a field trip to Monsters Inc. (Hey! That's the title of the last film!), a chance encounter with both famed frightener Frank McCay and the human world sends him on his way to study at the acclaimed Monsters University School of Scaring. Unlike Mike, who is the ideal student that gets good grades but doesn't have that special something that one has to be born with, Sully is a natural and has the jockish attitude of someone who comes from a long line of acclaimed boogeymen. But success only seems to come easy to Sully. During the scare finals that conclude the monsters' first semester of scaring, the short comings of both Mike and Sully become apparent. And after they try to reenter the program (and avoid one of the more "boring" career tracks like scream canister manufacturing) by winning an annual scaring competition, the pair's strengths and weaknesses come to the forefront. Mike is talented academically. But his desire to be the greatest scarer of all time is like a short, skinny kid wanting to play in the NFL; there's a possibility, but not in the way he hopes. (Better get those kicking shoes warmed up!) Sully, on the other hand is a smart ass coasting on his name alone. He's not as skilled or imaginative as everyone likes to think he is. And as a result, he has morphed his underachieving into a defense mechanism to hide his overwhelming fear of failure. 

And before you ask (and I know you totally were), there's a reason I've spent so much time on Mike and Sully's characters. That's because the scaring duo are two of the most completely realized characters on screen this year. In terms of psychology, physicality and voice-acting, Mike and Sully are pretty much perfect. Creating characters that feel more fully realized than even those from most of their "real" counterparts has been, and continues to be, one of Pixar's greatest strengths. Sully's a bit thinner this time around and sports a faux hawk hairdo. When he first barges into his and Mike's first scaring class (as loud as he is late), the way he plops himself down in his seat, slightly leaning back with a look on his face that says, "This is all just a formality, bow down to my greatness," tells you everything about the character without him saying a word. Likewise and in complete contrast is Mike, whose slouchy, cheek-clenching walk and preemptive flinching cement that the outcast middleschooler we see trying to find a field trip buddy at the beginning of the film is still searching these many years later. Pixar's ability to set up these contrasting personalities so fully and so vividly that is what makes the eventual relationship between the pair so believable and equal to their outstanding dynamic in MONSTERS INC. 

But, in reality, this ability to create complete and interesting characters isn't limited to the mon-stars. When Mike and Sully must join a fraternity in order to compete in the annual Scare Games and win back their spots in scaring school, the only one that will have them is Oozma Kappa. (We're OK!) This rag-tag group are the unhippest of the unhip. They're the classic, REVENGE OF THE NERDS underdogs. But, because Pixar is so good at being able to fully individualize even the most minor of characters, the brothers of OK are as endearing as they are bizarre. There's Don Carlton (Joel Murray), a middle-aged nontraditional student and former salesman with tentacles and bat wings that form his mustache and side burns. There's the purple, fur-laden Art (Charlie Day), a hippie (or the monster equivalent of a hippie) philosophy major who is basically legs with a face and Terry and Terri Perry (Dave Foley and Sean Hayes), two halves of the same two-headed monster, one of whom is a dance major while the other... isn't. And there's a multi-eyed cutie named Squishy whose mom's residence acts as the OK frat house. There's the obligatory jock fraternity populated with the self-entitled, "best of the best" and a sorority filled with bubbly, cheerleader-type monsters who dress in pink and seem harmless but harbor a hellish, EXORCIST-like intensity that would make even Linda Blair scream. 

In charge of everything is Dean Hardscrabble (voiced wonderfully by Dame Helen Mirren), the dragon-centipede hybrid mistress of Monsters University and founding member of both the School of Scaring and the Scare Games. She is hard-nosed (which isn't easy when you don't have one), by-the-book and doesn't suffer fools gladly. She expects the best from her students and removes those whom she deems unworthy or mediocre. Throughout the film she appears almost petty in her treatment of Mike and Sully, engaging in childish bets and continually putting them down even when they are successful. But as the film progresses, it becomes clear that the vibe she radiates is due to her immense dedication to her students and her extreme desire to see them accomplish everything within (and maybe outside of) their potentials. 

MONSTERS UNIVERSITY is not a deep film. But it's not trying to be. It's trying to be a fun and enjoyable ride for kids and adults alike that also teaches the benefits of friendship, teamwork and trust in one another. Anyone that's seen ANIMAL HOUSE or REVENGE OF THE NERDS or really any underdog sports film knows how this one is going to end and MONSTERS UNIVERSITY hits every single beat it has to. But while the story may be nothing new to movie-goers, Pixar seems to realize that and plays with it. When a moment doesn't feel right, there's a reason it doesn't. And the film's ability to anticipate that feeling in its audience members and tease it out before explaining what's really going on is a layer that will be completely ignored (and rightfully so) by the kids, but that makes for an incredibly fun viewing experience for seasoned film junkies.  

There is just so much to love about this film. Its script is incredibly quotable, both for lines that are simply hilarious, and for lines that are surprisingly thoughtful and wise such as Mike explaining to Sully that, "The best scarers use their differences to their advantage." Yes, it is a little disappointing and really downright confusing that after BRAVE there is no truly strong female character with significant screen time (apart from the hard to connect with Dean Hardscrabble). And yes, it's derivative of many college-centric comedies that have come before it. But within every scene of MONSTER UNIVERSITY there are multiple things to love. Be a quick line or the brilliant cinematography, an expertly timed sight gag or a group of insignificant details that help flesh out this already immersive and stunningly gorgeous world, the film has so many joyful and pleasurable things going on at once. The way Pixar is able to make a world filled with colorfully manic monsters feel so human is remarkable. 

In a summer populated with so many dark and gritty films, having something as joyous and heartwarming as MONSTERS UNIVERSITY is a sight for sore eye. (Right, Mike?) And it's the film's moral core that really makes it something special. It teaches children (and reminds adults) the rewards of being truly honorable, honest and loyal to your friends. When a character does something morally wrong they are punished for it. When they get away with it, it's their conscience that does the punishing. But the life lessons the film teaches are never conceited. They're always supported with empathy for the shortcomings of the characters. 

It may not be deep, but the film is sweet, adorable and perfect family entertainment. And just like the monster brothers of the Oozma Kappa Fraternity, MONSTERS UNIVERSITY is much, much more than simply OK. 

9 out of 10

MAN OF STEEL... Literally

MAN OF STEEL's trailers were amazing. The second trailer in particular was pretty much perfect. It was gorgeous, mysterious, had intense and absorbing action and introduced some very thought-provoking themes for a summer blockbuster. Basically it was representative of everything anyone could hope for in a superhero film. Sure, it was odd to see Jonathan Kent so cynical, suggesting that maybe Clark should have just let those kids in that sinking bus drown. But he's Kevin Costner! And I didn't think too negatively about it. I mean it's produced by Christopher Nolan and looks like a Terrence Malick movie! But Terrence Malick and Christopher Nolan, Zack Synder is not. And while the film had the same gorgeously shot action scenes and intriguing questions of those impeccable trailers, what appeared mysterious and absorbing in the trailers is exposed to be a cold and joyless film populated with heavy-handed homilies and mindless destruction. 

MAN OF STEEL is essentially an origin story. It begins on Superman's (Henry Cavill) home planet of Krypton which faces imminent destruction from an unstable core. The rebel, General Zod (Lexington's own, Michael Shannon), is attempting a coup because of his unwavering belief of the ruling council's incompetence with, literally, matters of life and death. On the opposite end of the spectrum, scientist Jor-el and his wife Lara (Russell Crowe and Ayelet Zurer) decide to launch their naturally conceived child, Kal-el (the planet has instituted genetically-controlled births in order to control population growth and create the most efficient society possible), on a spacecraft towards Earth, infusing his cells with their genetic codex in the hope of preserving the Kyptonian race. In the process, Jor-el is murdered and Zod is sentenced to 200 cycles in the Phantom Zone (an extreme, alien form of solitary confinement). Meanwhile, Kal's ship makes it to Earth and is found by Jonathan and Martha Kent who take him in as their son and give him a new name - Clark. As Clark Kent grows up, Zod, who has escaped from the Phantom Zone after the destruction of Kypton, begins his manhunt for the key to his race's survival - sending the two on a crash course towards one another that leaves the fate of our planet hanging in the balance. 

Ultimately, the film seems interested in a particularly engrossing theme and tries to present it in a way that hasn't really been covered in any Superman movie up to this point. The idea that Clark/Kal is equally as human as he is Kyptonian and the fact that this alienates him (pun slightly intended) from both of the societies that should accept him with open arms is as topical as it is poignant. However, the impotent script by BLADE scribe, David S. Goyer, is less philosophical and more like when a little kid asks a randomly insightful question and before you have time to answer is off trying to catch and eat that bug you told him to leave alone. Nonlinear flashbacks full of hamfisted metaphors and inconsistent characterizations kill any momentum that the film gets going and just when it seems like they're ready to delve into those questions and themes that made the trailers so captivating, BOOM!... Literally. Every time MAN OF STEEL starts to go someplace interesting, Zack Synder feels the need for another lengthy and bombastic action scene. Yes, Zack, the way you shoot action is beautiful to the point of being nearly hypnotic. But without letting the audience truly get to know your characters, you can't hope for them to be emotionally invested in anything you're showing them. Sure, when Superman and Zod battle throughout Metropolis it's brutally magnificent. But I don't care why they're battling because the essential relationship between the people of Earth and their savior, Jesus Clark Super-Kent, isn't established properly. What results is a lot of sound and fury signifying nothing. 

Yes, some things in MAN OF STEEL are good, even great. Hans Zimmer's score is easily one of the best of the year. The way Zimmer is able to capture everything that seemed to be promised in those spectacular trailers despite the failings of the rest of the film is stellar. The blending of electronic sounds and a live orchestra perfectly reflects the duality of Clark/Kal's identity and the way Zimmer is able to combine the two into one beautiful whole is an absolutely wonderful representation of what Clark must do to rise to his full potential. Likewise, as I've already touched on, the film is dazzlingly shot and the performances, though admittedly hit and miss, include some amazingly well done work. In particular, though laden with dialogue that sounds more like a fortune cookie than a human being, Kevin Costner delivers a very stirring turn as Jonathan Kent. Amy Adams as Lois Lane and Antje Traue as Faora, one of General Zod's warriors, also present something that is rarely seen in a Zack Synder film - strong women. Whether it's Lois going toe-to-toe with military personnel and aliens alike, taking an active role in figuring out how to help Superman save the world, or Farora  emanating a terrifying aura of invincibility and malice that rivals even the intensity of Zod himself, it's refreshing to see women (and other minorities such as Laurence Fishburne playing Daily Planet Editor in Chief, Perry White) taking such an active role in a Hollywood summer blockbuster. 

All of this, however, is not enough to save the film from it's own austere steeliness and abysmal script. While the chiseled Henry Cavill looks amazing, until the final scenes at the Daily Planet you never get to see any other side of Clark Kent than a tortured outcast. He is quite literally the Man of Steel. That's not to say that that can't work. THE DARK KNIGHT TRILOGY focused on a dark and nihilistic Bruce Wayne and those films (apart from the final piece) were amazing. The difference, however, is MAN OF STEEL has none of the gravitas or dramatic weight to actually make such a dark film viable. We've seen two major ways that superhero movies can be done and done well. Either you take the route mentioned above, or you have a movie like what Marvel is doing with THE AVENGERS and the IRON MAN films which deal with similar themes of world destruction and terrorism but do so in a way that doesn't erase every ounce of joy from the picture. Sure, it doesn't hurt when you have the comedic sensibilities of Joss Whedon or Shane Black or Jon Favreau involved, but Marvel seems to realize that it's hard to have such a big blockbuster and not give the audience a little bit of joy to help them connect with the characters and the actions onscreen. Obviously a film can be as dark as MAN OF STEEL and succeed. However, to do so it has to be truly great. It has to be, dare I say it, SUPER. 

And I think there's a reason that that word is nowhere near the title of MAN OF STEEL. 

5 out of 10

NOW YOU SEE ME, But Maybe You Shouldn't

The opening scene of Louis Leterrier's latest film, NOW YOU SEE ME, is strikingly similar to the beginning of Christopher Nolan's brilliant 2006 film, THE PRESTIGE. Just like Christian Bale and Michael Caine in Nolan's magical, mystery thriller, Jesse Eisenberg asks you watch closely. The difference however is what follows. Bale and Caine in THE PRESTIGE explain that you don't see what's really happening because you don't really want to know; you want to be fooled. What's so great about this line is that it captures not only the spirit of Nolan's film, but the spirit of magic itself. You crave that wonderment. You think you want to know the trick, but in reality you're happier being fooled and holding on to the unknown. On the other hand, Eisenberg and NOW YOU SEE ME explain simply that the closer you look, the less you'll really see. Unlike with THE PRESTIGE, there is no real mystery there. In fact, there's little substance at all. And, like the beginning quote, the closer you look at NOW YOU SEE ME, the clearer it becomes that the reason you'll see less is because there's actually nothing there. 

Okay, saying there's nothing there is a bit extreme. What's there is a lot of "could have been." The premise of the film is actually pretty cool. Four magicians - Daniel Atlas (Jesse Eisenberg), Henley Reeves (Isla Fisher), Jack Wilder (David Franco), and Merritt Osbourne (Woody Harrelson) - are brought together by a mysterious benefactor and one year later they're performing a show in Las Vegas entitled "The Four Horsemen" sponsored by insurance magnate Arthur Tressler (Michael Caine, yes he's in this one too). During one of their performances the team invite an audience member on stage to perform their final trick: robbing a bank. After it appears that the audience member is actually transported to his bank in Paris and that the money has indeed been stolen, the team are put on a crash course with FBI agent Dylan Rhodes (Mark Ruffalo) and INTERPOL agent Alma Vargas (Melanie Laurent) as well as ex-magician Thaddeus Bradley (Morgan Freeman) who are all looking to uncover the group's secrets as their tricks get increasingly daring and more and more life-threatening.

See! That sounds pretty intriguing, right? Obviously there's a very interesting parallel between magic and a film like NOW YOU SEE ME. Both magic shows and caper films require their ticketholders to engage in a certain suspension of disbelief in order to enjoy the wonder unfolding before them without ruining things by asking too many questions. However, when a film like NOW YOU SEE ME gives you so little to work with, it's impossible not to ask too many questions. This questioning doesn't ruin the film. The film does a good enough job of that on it's own - a basic idea that is highly compelling destroyed by so many twists and unexplained plot lines. Why is Melanie Laurent chosen to be INTERPOL's eyes even though she has never worked in the field before this? Why is it that these are the four magicians chosen by this mysterious benefactor? And on that note, who are these people really? 

Basically what I'm getting at is that NOW YOU SEE ME doesn't make any damn sense. It constantly opens up questions (even going so far as to have characters blatantly ask them) only to never actually answer them. The actors do a fine job (except Morgan Freeman and Michael Caine who couldn't be phoning in their performances any harder unless they actually did their lines over the phone and were CGI-ed in later), but their characters are so one-dimensional and lifeless that you never really connect with or feel anything for them. And the magic itself is amazingly even duller. A mix of terrible CGI and the atrocious choice by Leterrier to shoot everything in boring, monotonous steadicam shots don't grab onto that child-like sense of amazement. Instead they ignite the scoffing, cynical adult in you that makes you wonder how anyone ever thought this was a good idea. 

THE PRESTIGE was a film that never made you feel stupid. It showed you everything that was there and if you could figure out what was going on then that was good on you. And if not, when the final scenes pulled back the curtain completely you were left wide-eyed and wanting nothing more than to immediately see the entire thing again. NOW YOU SEE ME, on the other hand, thinks you're an idiot. In fact, it basically says so throughout the entire movie. Seemingly every line out of the magicians' mouths is some variation of, "Wow, are you really that stupid? How dumb can you be? You're fifty steps behind and somehow getting colder. How do you even remember how to breathe?" Not only is this poor writing, it's insulting. We're not fifty steps behind because we're dumb or because your movie is so clever. We're fifty steps behind because the story your creating couldn't make less sense. 

NOW YOU SEE ME tries to be what THE PRESTIGE was, even what OCEAN'S ELEVEN was. From the beginning those films have you wrapped around their finger and the endings become reminiscent of that feeling that magic shows used to give you when you were smaller (and, in my case, even now) - that feeling of being completely awe-struck, unable to believe how fully they had enraptured you. The twist ending of NOW YOU SEE ME is equally unbelievable. Unfortunately, that unbelievability doesn't come from magical story-telling or cinematic sleight-of-hand. It comes from the fact that the final reveal completely undermines EVERY SINGLE THING WE'VE SEEN UP TO THAT POINT. It's doesn't make any sense logistically and it doesn't make any sense in the context of the story. The only thing that doesn't feel out of place about it is Morgan Freeman's character yelling out, "Why?! WHY?!!"

I don't know, Morgan. Maybe we were just watching too closely. 

3 out of 10