Author: Jan Wilson

A published author with a life-long passion for writing fiction and reviews. Enjoys attending pop culture conventions and having a creative critical outlet for sharing her love of films, particularly science fiction. BA (Hons), Grad Dip Ed.

CHiPS

Rated: MA15+CHIPS

Director: Dax Shepard

Producers: Ravi D. Mehta, Dax Shepard, Andrew Panay, Rick Rosner

Written by: Dax Shepard

Based on: CHiPs TV series created by Rick Rosner

Starring: Dax Shepard, Michael Peña, Rosa Salazar, Adam Brody, Vincent D’Onofrio, Jessica McNamee, Kristen Bell, with Jane Kaczmarek, Maya Rudolph, Ed Begley Jr, and Josh Duhamel

The original television series of CHiPs (1977-1983), was an action ‘dramedy’ dealing with the daily crime fighting of the California Highway Patrol officers on their motor cycles. Two of its main characters were played by Erik Estrada (macho, trouble-pronue probationary Officer Frank “Ponch” Poncherello), and Larry Wilcox (strait-laced field training Officer Jonathan “Jon” Andrew Baker).

My memories of this TV show are vague as I only ever saw a few episodes, so I had little idea of how this updated cinema version would compare to its predecessor.

I will happily admit that I found the film to be a guilty pleasure. It was rude, profanity-laden, sexist and with an over-reliance on visual gags and nudity, and it will never win any awards for subtlety. But it was also quite funny and engaging, and in some strange way had its heart in the right place, especially with the depiction of the relationship between its lead characters.

In a reversal of the original TV premise, Officer Jon Baker (Dax Shepard) is now the probationer. A beaten-up former pro motor biker, he is trying to put his life and marriage (to Kristen Bell’s character) back together. Baker is touchingly loyal to his ex-wife and desperately keen to make something of himself. His honesty and odd personality quirks, as well as a running gag based on his unusual reaction to household smells, makes him very appealing. He reminded me of Zach Braff’s character in the TV comedy Scrubs, with both actors sharing a goofy, endearingly naïve charm.

Castillo (Michael Peña) is now a cocky undercover Federal agent masquerading as Officer Francis “Frank” Llewellyn “Ponch” Poncherello, assigned to investigate a multi-million dollar heist that may be an inside job, inside the California Highway Patrol. Ponch is a bit sleazy yet still has some of the boyish charm on show in his earlier comic roles in Ant Man and The Martian.

It doesn’t give the plot away, such as it is, to know that Ponch doesn’t always obey the rules, and has little patience with his naïve rookie partner as he tries to uncover the criminal element within the CHiPs organisation. The plot of this film is not particularly strong or original, and the audience is kept entertained enjoying the visual and verbal humour on display between the two leads.

There were many opportunities to showcase a range of stunts, and by enlisting renowned stunt performer Steve De Castro, plus pros and the best stunt riders for the trickiest and most spectacular manoeuvres, director Shepard ensured these aspects of the film were executed effectively. When Shepard’s character speeds along Californian highways and we get his point of view, the scenes are breathtaking, visceral and convincing, almost making me wish I could ride at all.

Cinematographer Mitchell Amundsen (The Bourne Legacy, Mission Impossible 3 and Transformers 1 and 2) made every action sequence zing, while Los Angeles was impressively utilised in the location scenes.

There were some humorous cameos from comic actors including Jane Kaczmarek and Maya Rudolph as senior police officers, and a brief stint from Josh Duhamel, but the movie belongs to Ponch and Jon and their budding bro-mance.

Beauty and the Beast

Rated: PGBeauty and the Beast

Director: Bill Condon

Producers: David Hoberman, Todd Lieberman

Screenplay: Stephen Chbosky, Evan Spiliotopoulos

Based on: Disney’s Beauty and the Beast, and Beauty and the Beast by Jeanne-Marie Leprince de Beaumont

Music: Alan Menken (composer), Howard Ashman (lyricist), new material by Tim Rice

Starring: Emma Watson (Belle), Dan Stevens (Beast), Luke Evans (Gaston), Kevin Kline (Maurice), Josh Gad (Lefou), with Ewan McGregor (Lumiere), Emma Thompson (Mrs Potts), Ian McKellen (Cogsworth), Stanley Tucci (Cadenza), Audra McDonald (Madame Garderobe) and Gugu Mbatha-Raw (Plumette)

Watching the live action re-make of Disney’s Beauty and the Beast, which has been successfully updated without losing the original’s charm, the first thought that occurred to me was why has it taken so long to make this film?

The new version is vibrant, entertaining, full of catchy songs, impressively realistic sets and gorgeous costumes plus energetic choreography, making the transition from animation to live action most effectively.

I watched the original version again after seeing the new film, and aside from a few lines of dialogue or moments of visual humour not being retained, the live action version works better because it provides the opportunity to create beautiful costumes and sets, and enlarge the number of performers in crowd scenes.

There are also new songs, which have transformed some characters from stereotypes to convincing individuals.

I particularly loved the Beast’s new song “Evermore” (sung with throbbing undertones by Beast Dan Stevens during the film and less heroically by Josh Groban over the end credits).

The townspeople clearly indicate their opinion of Belle as being odd in the rousing song “Belle”, which is how it was originally, but apparently the actress Emma Watson wanted Belle to be more in keeping with modern feminist portrayals so her independent streak seems stronger and she has added talents beyond being just a supportive daughter.

Although Emma Watson is not a strong singer, her solemnity and occasional hints of humour allow her to carry off her role with conviction, as she shows bravery and selflessness and is more than a match for the moody yet fascinating Beast.

A few scenes have been added or extended which help make Belle and the Beast’s burgeoning love seem more convincing as they go from being “barely even friends” to something more.

The updated screenplay has fixed a few plot-holes, including how long the curse has been in place. There is also an underlying urgency to end the curse because of the long-term effect it may have on the Beast’s servants, who have been animated beautifully, making me long to buy some of the merchandise.

The servants’ rendition of “Be our guest” is an absolute showstopper, this time with the added benefit of wonderful special effects and a fuller-bodied orchestra and chorus.

The villain Gaston is played with relish by Luke Evans, who is fêted during the boisterous tavern scene by faithful sidekick Lefou (a delightful Josh Gad). Gaston’s penchant for antler décor and his skill at “expectorating” are still laugh-inducing but he doesn’t appear as two-dimensional now, despite still being vain and self-centred. Ironically his inflated ego marks him as more “monstrous”, making him a far greater beast than the titular one.

A lot has been said about Gaston’s sidekick LeFou, who was an under-developed bumbling fool before, but who is now given depth, partly through his implied sexual orientation.

It’s pleasing to see Disney is trying to reflect modern-day sensibilities, while the racial diversity amongst the townspeople and servants at the castle is also refreshing.

I thoroughly enjoyed myself and could barely resist humming along.

This version has refreshed and updated the original film without losing any of its enduring appeal, and no one should be “gloomy or complaining” about the result.

A visual and aural delight for young and old.

Power Rangers

Rated: MPower Rangers

Director: Dean Israelite (Project Almanac)

Producers: Haim Saban (Power Rangers creator), Brian Casentini (Power Rangers TV series), Wyck Godfrey, and Marty Bowen (The Twilight Saga, The Fault in Our Stars, The Maze Runner franchise)

Executive Producers: Allison Shearmur, Brent O’Connor, John Gatins, Joel Andryc, Takeyuki Suzuki

Screenplay: John Gatins (Kong: Skull Island)

Story by: Matt Sazama & Burk Sharpless (Dracula Untold) and Michele Mulroney & Kieran Mulroney (based upon Power Rangers created by Haim Saban)

Starring: Dacre Montgomery (Jason Red Ranger), Naomi Scott (Kimberly Pink Ranger), RJ Cyler (Billy Blue Ranger), Becky G (Trini Yellow Ranger), Ludi Lin (Zack Black Ranger), featuring Bill Hader (Alpha 5 cyborg), with Bryan Cranston (Zordon) and Elizabeth Banks.

Having never seen an episode of the original Mighty Morphin Power Rangers TV series (1993), loosely based on the Japanese 1970s Super Sentai TV series, I had no preconceptions or even expectations about the latest incarnation, Saban’s Power Rangers.

From the brief snippets I had seen, I knew there were energetic people who dressed in colour-coded costumes and leapt about doing heroic things, but that was the extent of my knowledge. So I was pleasantly surprised to find the new Power Rangers film entertaining, humorous, with effective use of the latest in spfx technology, and awesome Ranger suits designed by Weta Workshop.

The action is set in the small American fishing town of Angel Grove, and focuses on five teenagers, each with their own particular problems, who stumble upon an ancient, alien spacecraft and five coloured “coins” which bestow upon each of them extraordinary power and the ability to morph into Power Rangers, as they face a world-wide threat from an evil alien.

Television producer Haim Saban, who produced the original Mighty Morphin Power Rangers TV series, wanted the updated cinematic version to retain the original’s idea of five teens with attitude who must battle evil whilst also dealing with “today’s issues of cyber-bullying, peer or family pressure and the uncertain future.”

I appreciated that sufficient time was spent to develop each Ranger’s backstory so that they all emerged as clearly defined individuals rather than anonymous teenagers, one with a “spectrum” disorder, another dealing with their sexuality and another with a sick parent.

For established fans of the series, the carefully plotted introductions of each teenager may drag, but I appreciated how their trust issues and self-imposed isolation made it difficult for them to quickly achieve the required togetherness necessary to become a team of Power Rangers.

The fact that they trained, fought and had their own individual problems to overcome before they could become a united fighting team made their eventual transformation feel more “earned” than if it had occurred within a shorter time frame.

Other supernatural hero films often lavish huge chunks of screen time on drawn-out action sequences where entire cities get obliterated in mind-numbing CGI effects extravaganzas, and

I find those types of films to be boring and non-engaging.

The battle sequences in Power Rangers still occur, but because they don’t happen until the last section of the film they seem more effective.

There is one rather large plot loop-hole involving the Power Rangers and their evil opponent Rita Repulsa (played with relish by The Hunger Games’ Elizabeth Banks in a gorgeously over-the-top green and gold costume), which would have ended the battle very quickly and with far less destruction, but aside from this, the story line and character arcs were all well written and believable within this specific world.

The fact that there was no swearing was a big plus in this age of profanities, which makes this a great family-friendly film, which won’t disappoint anyone seeking an entertaining and well-made diversion. (The version of the song “Stand by me” used during one scene made me want to dash out and buy the soundtrack.)

Fist Fight

 Rated: MA 15+Fist Fight

Director: Richie Keen

Producers: Shawn Levy, Max Greenfield, John Rickard, and Dan Cohen

Executive Producers: Toby Emmerich, Richard Brener, Samuel J. Brown, Dave Neustadter, Charlie Day, Ice Cube, Marty P. Ewing, Billy Rosenberg, and Bruce Berman

Screenplay: Van Robichaux & Evan Susser

Story by: Van Robichaux & Evan Susser and Max Greenfield

Starring: Ice Cube, Charlie Day, Tracy Morgan, Jillian Bell, Dean Norris, Christina Hendricks, Dennis Haysbert

The last day of high school, referred to as ‘Muck Up Day’ in Australia, but ‘Senior Prank Day’ in America, is the backdrop for the new comedy film ‘Fist Fight’ from director Richie Keen, whose first foray into feature films bears a strong resemblance to a bland television movie, with unflattering lighting, poor pacing and pedestrian scene set-ups.

Ice Cube (‘Straight Outta Compton’) plays the strict, by-the-rules history teacher Ron Strickland (get it?) and Charlie Day (‘Horrible Bosses’) is the younger, popularity-seeking, wimpy English teacher Andy Campbell. Following a major meltdown by Strickland during a class, Andy Campbell is forced into exposing his colleague’s behaviour in order to protect his own employment at the school, leading to Strickland being fired. Frankly, after watching Strickland’s appalling behaviour, I would not only have dismissed him, but also imprisoned him for attempted assault.

This wafer-thin premise sets up the rest of the film’s action, such as it is, which consists of Strickland’s irrational challenge to Campbell for an after school fist fight, and Campbell’s escalating panic and extreme counter measures to avoid being beaten up.

Charlie Day (from TV’s “It’s Always Sunny in Philadelphia”, also directed by Richie Keen), relied on high-pitched or whiny yelling in place of acting, which wore thin very quickly, while his sneaky way of avoiding trouble didn’t endear him either.

Ice Cube fared better, with his inscrutable, intimidating manner well suited to the role of an old fashioned teacher fighting a losing battle to educate his students and instil authority.

Ice Cube featured in one of only two scenes I found genuinely amusing, where students and staff at the school speculate about his past before he was a history teacher, and a montage shows him as possibly a solider in Iraq, a rogue ex-cop, an assassin, or even a world-class pianist. Nobody ever discovers the truth, which makes this the only touch of wry sophistication in the film.

For the most part this wasn’t a style of comedy that I find appealing, as it lacked wit or originality, relying instead on excessive swearing, juvenile sight gags and offensive language for its laughs. Director Richie Keen and the writers had apparently heard about the kind of pranks that are unleashed on long suffering teachers at American schools, including parking a car in the main hallway, or letting a drug-affected horse roam the school corridors (not funny), so included these in this film (although I did find the recurring Mariachi band was an amusing touch).

Tracy Morgan (‘30 Rock’) successfully plays a not very bright coach; Jillian Bell (’22 Jump Street’) was frankly unfunny bordering on repellent as a guidance councillor with drug and sex issues; while it’s a mystery why Christina Hendricks (‘Mad Men’) or Dennis Haysbert (‘24’) lowered themselves to be in this frat-boy outing.

According to interviews, the cast and crew had a lot of fun making this film, but little of that hilarity appears to have ended up on the screen.

Fifty Shades Darker

Rated: MA15+Fifty Shades Darker

Director: James Foley

Producers: Michael De Luca, E L James, Dana Brunetti

Based on the novel by: E L James

Screenplay by: Niall Leonard

Soundtrack score: Danny Elfman

Starring: Dakota Johnson, Jamie Dornan, Kim Basinger, Marcia Gay Harden, Eric Johnson, Bella Heathcote, Rita Ora

The second film in the Fifty Shades series, based on the novel Fifty Shades Darker by E L James, is lame, tame and generally depressing, especially when compared with Fifty Shades of Grey, which had some lighter moments associated with the excitement of first love.

The second film was like watching a Mills & Boon telemovie with a wanna-be feisty heroine, brooding hero, and situations where the characters are forced to admit How Much They Mean to Each Other, set amidst a backdrop of obscene wealth (why are the heroes never accountants?).

Originally an e-novel loosely inspired by the Twilight saga, Fifty Shades of Grey ended with heroine Anastasia Steele (perky breasted Dakota Johnson) breaking up with gloomy yet ripped businessman Christian Grey (Jamie Dornan) because she couldn’t be the “submissive” he needed.

In Fifty Shades Darker she now claims “things are different”, deliberately teasing Christian and trying to seduce him in the Red Room, totally negating the strong stand she took earlier.

The Fifty Shades books and films have been criticised for glamorising domestic violence and abusive relationships. The books certainly depicted Christian as being oppressive, sexually deviant and overbearingly bossy, whereas the films portray him more as a once-victimised and still vulnerable person who has to be in control, and who probably just needs a good woman’s love to redeem him.

I don’t find the criticisms about emotional/physical abuse valid because Ana returns here of her own free will, makes conditions and often instigates the sexual interludes with Christian, who says that although he desires the kinky stuff, he needs her more. She seems compelled to test his resolve by deliberately encouraging him in sexual activities that are like awkwardly shot soft porn but curiously lack any arousing power, and which interrupt the actual story, such as it is.

Christian’s work life barely gets screen time (how does he make all that money?), while we’re supposed to believe Ana is a gifted business woman because she pitches one idea breathily at a board meeting to publish “new” writers instead of just established ones, which is received as though no-one had ever thought of it before.

Fifty Shades Darker has quality production values, beautiful cinematography (by John Schwartzman) of mountains and rain-slicked city streets, and a bopping soundtrack. There are established actors in minor roles, including Christian’s adoptive mother (a dignified Marcia Gay Harden), and his former Dominant, Elena (a well preserved but wasted Kim Basinger), but other characters from the first film barely register.

A former Submissive (Bella Heathcote) stalks Ana and appears to pose a threat that is resolved too quickly. The villain here is Ana’s former boss Jack Hyde (Eric Johnson), who in one hilarious scene produces a printed photo of one he took earlier on his phone, just so he can evilly burn a hole through Christian’s face as a sign of future revenge in the third film.

Subtlety, credibility and entertainment are not hallmarks of this film, although there are some unintentional laughs. For sexual titillation watch the Sylvia Kristel version of Lady Chatterley’s Lover (1981), while for brooding romance you can’t beat Jane Eyre (Orson Welles version, 1943).

Patriots Day

Rated: MPatriots Day

Director: Peter Berg

Producers: Scott Stuber, Dylan Clark, Mark Wahlberg, Stephen Levinson, Hutch Parker, Dorothy Aufiero and Michael Radutzky

Screenplay by: Peter Berg, Matt Cook and Joshua Zetumer

Based on the book: ‘Boston Strong’ by Casey Sherman and Dave Wedge

Soundtrack: Trent Reznor and Atticus Ross

Starring: Mark Wahlberg, John Goodman, Kevin Bacon, J. K. Simmons, Michelle Monaghan

Based on true events surrounding the 2013 Boston Marathon bombings, Patriots Day details the hours leading up to, during and immediately following the attack which killed three people and seriously injured over 270 bystanders, sixteen of whom lost limbs.

Director Peter Berg and star Mark Wahlberg previously collaborated on the disaster flick Deepwater Horizon (2016), and their combined talents have enabled them to effectively recreate the Boston Marathon bombings with gritty realism.

Shot in a semi-documentary style, using hand-held cameras to capture the raw immediacy of events, the film effectively incorporates archival footage from the 2013 marathon. I think of this style as “shaky cam” and by the three-quarter mark of this 133-minute feature I was feeling very queasy, so if you prefer smoother camera work it might be best to sit far back from the screen. The synthesizer soundtrack music became repetitive and intrusive at times and a bit distancing, where silence might have worked better.

The actual bombing sequence wasn’t a surprise because most people know it happened, so the first half of the film focussed on establishing who would be directly affected by the bombings and allowed the audience to become attached to these people. The explosions were effectively staged and edited, and quite graphic without dwelling too much on the gruesome severed limbs.

After a slow patch the tension increased during the second half when the police and FBI manhunt turned to identifying and tracking down the perpetrators of the bombings.

Star Mark Wahlberg portrayed a fictional police officer, an amalgamation of several actual officers, and I felt he was the weakest link because he wasn’t based on a real person and his backstory was largely irrelevant. The sequence where the FBI call on his extensive knowledge of Boston streets to retrace the two bombers’ steps with technicians who then scroll through CCTV footage to find the culprits, really challenged credibility. Surely there would be effective IT software to achieve this without relying on the memory of one sleep-deprived man!

The home-grown terrorists (brothers) were not given much obvious motivation for their actions, aside from a short conversation with the owner of a hijacked car. The first shoot-out with the two terrorists when one of them was critically injured and captured seemed quite over the top with extensive gun fire, home-made bombs exploding and general mayhem ensuing, but a check of the facts indicates it really happened this way.

Boston and its people came across as the real heroes of this inspiring film, with the term “Boston Strong” becoming a rallying cry of hope and love in the face of horror.

What really got to me, however, was not the capture of the remaining terrorist but the photos of the three victims who had died at the scene, particularly the eight-year-old boy, whose sheet-covered body had to be left in situ until all crime-scene forensics had been completed.

That heart-rending photo of innocence really brought home the sheer waste and tragedy of this horrific event.