Allegiant

The story drags itself onward, but doesn't quite reach the end with this third installment to the Divergent movie series. The biggest surprise for me is how this film is actually better than Insurgent in many ways. It's worse in some ways too, but I thought it would be all terrible.

Um. Did Tris just become Jeanine??? She looks exactly like her, and is about as relevant as her too -- and Jeanine is dead.

I actually gave a positive review to Insurgent after seeing it in theaters, and then promptly forgot it existed, which made me rethink that score. Insurgent somehow did a better job assimilating the appearance a decent quality movie while showing us nothing interesting or memorable. Maybe it reminds us of Divergent, which, whatever its flaws, was at least entertaining and a clean, straightforward adaptation of its source material.

But Allegiant strays even further from both the source, and the story's original starting place. It does away with the Factions -- the highlight of interest for the series -- and starts feeding us things about "pure" and "damaged" like that's what the story had been about the whole time. Then it takes us out of the dystopian walls of the crumbled Chicago into an otherworldly orange and red landscape and shiny floating futuristic cities. The only thing that connects this film with Divergent is that middle movie, which I've seen twice now and I still can't remember what the actual heck happened in that film.

The movie started with the same group on the run who were on the run at the beginning of Insurgent. With a handful changes they could have skipped that movie altogether!

In that way Allegiant feels even less like a Divergent Series movie, but in straying so far away, it stumbled on something that the last movie lacked in spades: memorability. A handful of things stick out as memorable, and, granted, some are not positive, but giving the movie some unique points made it more enjoyable than expected -- in spite of decidedly worse scripting and acting, and a random plot that goes nowhere. Of course I said Insurgent was memorable too at some point, so maybe a couple days from now I'll have forgotten about this one too. Here are a few reasons why I think I'll remember:

Bad special effects. With recalling the striking red landscape outside the wall comes the image of our heroes (and anti-hero Peter!) floating around in those transport bubbles. That was hilariously, awfully, painfully bad. The futuristic city had cool design elements to it, but most of the time when it was being shown along with characters, green screens and CGI was obvious and cheap. It was weird, like a cool scifi world had been created somewhere, and then all the characters from Divergent jumped over from a different universe and began to populate it, but don't fit there because they're worn out and dry. That feeling was enhanced by the city residents knowing who they are -- like they were movie characters brought into reality.

This is concept art. Someone obviously worked hard to make this place different and interesting. Then they tried to populate it with dead characters for cheap.

And like they would in reality, these characters begin to crumble in front of their new backdrop. Like in the book, Tris' character fades away, while Four finds himself the main character in every actually compelling scene. Hardly anyone is trying at this point, but Shailene Woodley isn't even pretending. She stares, she delivers her lines, and she's forgotten. Theo James manages to keep whatever interest he had from before, and could have carried the whole film decently on his own if he had been allowed, but half the movie still focused on stale Tris. Poor Miles Teller yet again makes the most of what he has, and all I can say is congrats dude on surviving these movies with your career intact. I can hardly believe how bad Ansel Elgort is, especially after being so enjoyable and capable in Baby Driver. Every scene Caleb is in is physically painful to watch.

I'm glad I waited until after I saw IT to watch this though, because Bill Skarsgård is in this, and he amused me to no end by making subtle faces in the background that reminded me of Pennywise. And maybe I only noticed because I was paying attention to him, but his character Matthew was a decently interesting character. I know he was in the book, but I swear I don't remember a thing he did, so the mystery of whether he was good or bad worked on me. Plus the bit he's a part of where Four tells him to tell David (Jeff Daniels) that Four left him behind so that Tris would know he was lying and find out the truth -- well, if I forget the rest of the movie I think I'll at least remember that bit.

Also the bit when he smiles at Tris while disappearing behind elevator doors. Made me laugh.

I just remembered that there's a whole plotline with a memory-erasing serum. I keep talking about forgetting and remembering, but didn't remember that element until right now. The serum is used for the movie's climax where it works terribly and makes no impression. And when it ends, there's no real conclusion in sight, because the final film has been abandoned. Yep, not even cool art design, rabid fans, or a freaking Skarsgård can save this directionless rust-bucket. Now my spirit is with Peter, jumping around and waving in front of the invisible gate, begging to please please pretty please be let back into the super cool futuristic city -- where characters resemble real people instead of dead horses.

The Martian

Mild Spoilers.

Six astronauts are sent to Mars for the Ares 3 mission -- Melissa Lewis (Jessica Chastain), Alex Vogel (Aksel Hennie) Chris Beck (Sebastian Stan), Rick Martinez (Michael Peña), Beth Johanssen (Kate Mara) and Mark Watney (Matt Damon). Their mission on Mars was supposed to last 31 sols (Mars days), but on the 18th sol, a huge storm blows in, forcing them to abort their mission. During their escape, they lose one of their men; the lowest ranking, the botanist, Mark Watney.

In any other space movie, this would just be the first casualty of probably many (with six people, you have plenty to spare) but this cheeky lighthearted botanist doesn't get the memo: he wakes up on Mars, alone, with an antennae stuck in his gut, and decides that he's going to live. On Mars. With limited food. In a Hab meant to last 31 days. For 4 years. Until the next Ares mission will come, and he can hitch a ride home. How? Science.

The coolest interplanetary scientist on the planet.

Okay, I just have to say one thing before I can fully concentrate on this movie: The book was better. And once you finish reading this review you'll know that I say that only to emphasize how remarkably, incredibly amazing the book is, not to say that this movie is in any way lacking. Because it's not. Anyway, with books, you can't include an awesome soundtrack!

This story's greatness comes mainly from its stranded hero, Mark Watney. In spite of his nearly hopeless situation, he stays optimistic, and works determinedly to solve the daunting problems in his way with a cheerful attitude. This creates a lot more humor than one would really expect out of a space survival movie, and Matt Damon is the ideal person to play this endearing every-man and unconventional hero. The ability to become a person who can crack a joke while losing a staring contest with death isn't really definable by what one would normally call "talent" -- it's a quality that you either have, or you don't. Well, Matt has it.

He's the same from beginning to end, never going through a "heroic journey" or any character change at all. It's unusual. I love it.

Damon fills the personality of the lonely Martian comic perfectly, and then puts his talented efforts into portraying the serious and intense drama realistically. Charm isn't something that Damon's characters ever really lack, so it's no surprise Watney has that, but the level of vulnerability we see in him is less expected. If you don't absolutely adore this character after the first 30 minutes, you have a heart of stone. Rooting for a hero with complete abandon has never been so effortless and inviting.
 
He may be the lone man on Mars, but he is certainly not alone in the movie. The rest of the crew mentioned above all have their part and do their share. Particularly outstanding is Chastain as the ship's commander. She gives a deep and elegant performance. I also just really love Michael Peña. He always keeps thing up-beat and interesting. I wished to see more of Stan's doctor Beck, but when you're the strong and silent type, that just how it goes. Hennie's German scientist keeps up with the bigger names easily, and Mara hits the mark for the geeky and kinda weird cute girl.

You're awesome, you're awesome... you're ALL awesome!! Sadly Michael Peña is absent in this photo. Michael, you're awesome.

On Earth we have another cast, and another story line, as NASA does their part to bring Watney home alive as well. There, we have Jeff Daniels as the head of NASA, Chiwetel Ejiofor as the head of the Mars missions, Sean Bean as the Ares flight director, Kristen Wiig as NASA's media relations, plus Donald Glover, and Mackenzie Davis. These guys almost split their screen time with Damon, and while none of them come close to having the captivating charm of his Watney, they all do a great and commendable job. Standouts here are Ejiofor, who comes across effortlessly, and controls the screen while he's on it, and Glover who's just... unexpected.

And you, sir, are a steely-eyed missile man.

Fact: space movies are better with a soundtrack from the 70's. This movie uses that knowledge to full advantage, by including several musical working-montages, that are, to be perfectly blunt, epic. This really is the one thing the movie could do that the book couldn't, and it was beautiful, and sometimes very funny, and beautiful. In fact this whole story is a balance of beautiful and funny. The comedy comes too often and is way too unique and funny to be classified as just comic relief, and in the hands of Ridley Scott, the look of the film is consistently breathtakingly gorgeous, and beautifully foreboding. It gets every bit as edge-of-your-seat intense and despairingly emotional as you'd expect from such a hardcore survival adventure, but remembers to give us plenty of relief too -- via wit and fun and grandeur and many glorious moments of triumph against the odds.

Starman, waiting in the sky....

Adaption-wise, there was a lot that was word-for-word the same, and there were some changes; some that I expected and some that I didn't. But, the reason why I love this story so wholeheartedly is not because of the events that take place, and in the end, even the few bigger changes made no real difference because the heart of the film stayed exactly the same. This story focuses on sincerely connecting with its audience, giving us a straightforward story full of simple truths and raw honesty, instead of coolly trying to impress us with cheap, contrived, and empty parlor tricks.

I was wowed by the visual feats and impressed by the practiced, involving film-making. I had tons of fun listening to the musical montages and Watney make sarcastic quips with all that Matt Damon charm. And the fact that most of the film is scientifically viable is endlessly impressive. Those things all make a good, enjoyable movie, but this achieved greater heights than that. I don't abandon my cynicism and reserve while watching movies lightly, but here I willingly fell head over heels, because I found something that was worthy of investing my cares in. A genuine, everyday, unlikely fictional hero set in a story that is designed to sincerely engage and inspire us through him.

The all natural, organic, Martian-grown potato farmer.

The Martian resonates because of a striking harmony of simple, but powerful details. Mark Watney is a good guy, put into a near-impossible situation. Totally alone, he scrapes and fights with an uncrushable spirit. He may feel it, but he's not truly alone; on Earth, complete strangers pitch in valuable time and resources to his desperate cause. And Watney's crew all happily risk their lives for him. The fact that this story is technically science fiction, set on Mars, using real science theoretically in order to create a realistic backdrop, is just that; a really, really, really neat and fantastic backdrop. The core of the story itself as real as it gets; affirming the inexhaustible value and wonder of human life.

On Mars. To the tune of David Bowie. And ABBA. With science!