Avoid ‘The Man from U.N.C.L.E.’, especially if you liked the TV series
By Steve CrumRemember the 1964-68 TV series, The Man From U.N.C.L.E.? If you do not, this lackluster redo bearing the same moniker might be passable entertainment. Those who liked the TV series should avoid this new take. It’s new, yes, but in no way improved. In fact, it is barely recognizable as a Man from U.N.C.L.E. template.
In fairness, producers of the 2015 U.N.C.L.E. stress that it is “based on” the old TV series. Translated, that means the three main characters, Napoleon Solo, Illya Kuryakin and Alexander Waverly, are back for the spy ride this time around. Oh…and both versions have a matching title. Outside of Solo and Waverly being respectively American and British, and the Soviet Kuryakin, that is pretty much the similarity. Then again, both the TV series and this movie are set in the Cold War 1960’s. So this take is 50 years retro, going a bit further back than the TV series time frame. Solo and Kuryakin are at the outset enemies operating on respective sides of the Berlin Wall. That makes The Man from U.N.C.L.E. motion picture a prequel.
Ian Fleming, James Bond’s creator, suggested both the Solo character as well as the overall spy concept for the TV show. Five decades later, Guy Ritchie (who also directs) and Lionel Wigram adapted the original concept into an action film that mixes action, intrigue and humor—a combo that the TV series worked well. Unfortunately, those elements don’t quite jell in this 2015 wannabe. Dialogue tries to be James Bondish tongue-in-cheek, but more often becomes awkward innuendo. Particularly notice an implied sex scene with Solo (Henry Cavill). 
Speaking of Cavill, who has recently played a stoic Superman as well as bumbling Clark Kent, his Napoleon Solo is dapperly dressed (as was Robert Vaughn in the original) and mannequin-stiff. (Vaughn was never so proper.) That is doubly bothersome because of Cavill’s hunky physique. I could not help thinking of him as Clark Kent without glasses, in this case unhesitatingly hopping into bed at the drop of a negligee. Casting another towering stud, Armie Hammer as Illya Kuryakin, is somewhat problematic as well. David McCallum (TV’s Illya) he is not. Then again, who would want an exact duplicate of actors? Not me. I just expected more brain than brawn here. 
The first third of the movie moves along with the enemy secret agents literally at each other’s throats over the rescue of garage mechanic Gaby Teller (Alicia Vikander). The plot involves both sides trying to get to her German scientist father first. Solo and Kuryakin’s reluctant teaming up occupies the second act, while by Act III, the two spies have become friends and compatriots. That is when Hugh Grant’s Mr. Waverly enters. He eventually becomes the head of the spy agency. Again, this is before the U.N.C.L.E. agency of the title has been conceived. (That stood for United Network Command for Law and Enforcement…for those taking notes.) Calling this movie The Man from U.N.C.L.E. is misleading. Naming it The Future Men from U.N.C.L.E. is probably too cumbersome, but truthful. 
It is an odd coincidence that Armie Hammer starred as the masked man in 2013’s bomb, The Lone Ranger. Not faulting Hammer, but that rehash of the radio and TV classic was skewed as well. It should have been renamed Johnny Depp’s Tonto Movie.
Like the TV original, The Man from U.N.C.L.E. movie is not a spy spoof like Get Smart! or In Like Flint. That is a given. But a few more laughs placed in a more clever script would have helped. In addition, inserting Jerry Goldsmith’s classic TV theme, even burying it in the crawl, would have been a fitting homage for this TV codger.
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GRADE on an A-F Scale: C-
So-so ‘Ant-Man’ should especially appeal to pre-high school kids
By Steve CrumAnt-Man will appeal mostly to ant-people. Translated: children. Factor in fans of Paul Rudd and Marvel superheroes, and you could have a box office community picnic. (Sorry, I’ll try to contain any more ant references.) That also translates to family viewers, since kids are involved. Those who either do not have kids or are high school age and above should be leery of Ant-Man. Besides its slow pacing, the movie’s predictable plot could be excruciating for adults. Considering the target audience, the 117-minute running time should have been pared way down.
However, and this is a huge however, star Paul Rudd also contributed dozens of funny lines to help spice up the story and turn Ant-Man into something more like a comedy-superhero flick. That would make the movie either a comero or a supedy. The laughs are appreciated and much needed, particularly during the non-action sequences where too often there are lengthy explanatory speeches delivered by Michael Douglas’ Hank Pym character. Digital effects, such as numerous shrinkings and miniaturized action among an army of ants, are impressive. Truthfully, I was just as impressed, maybe even more, with the non-digital miniatures in Honey, I Shrunk the Kids—26 years ago.
Director Peyton Reed (The Break-Up) and his screen scribes (Edgar Wright, Joe Cornish, Adam McKay, and Paul Rudd) have taken a relatively minor Marvel comic book superhero, Ant-Man, and launched him toward either his own franchised movie series or as another teammate of The Avengers in that franchise’s future films. (Not to go ballistic spoiler, but stick around during and after the end credits.) IF this Ant-Man kills at the box office, then both choices are possible. I understand that Ant-Man comic book fans (I am not one of them) already know what the Marvel future holds in this regard.
Regarding Ant-Man’s predictable plot, we get a deranged scientist who has his eyes on monetary profit and earth’s dominance (Corey Stoll as Darren Cross/Yellowjacket). Factor in Dr. Hank Pym (Michael Douglas), whose miniaturizing technique has been stolen by the evil Cross. Enter Paul Rudd’s Scott Lang, an ex-con (for burglary) recruited by Pym to wear his Ant-Man suit to organize actual ants to help defeat Cross. Later in the film, Cross dons his own suit, that of the imposing Yellowjacket. 
As a turn on most superhero movies, Lang has an ex-wife, Maggie (Judy Greer) and young daughter. Maggie has married a policeman (Bobby Cannavale), which adds a unique layer to the storyline. To balance the love subplot, there is Pym’s scientist daughter, the unmarried Hope (Evangeline Lilly). Well, Lang is single now, so….
A definite plus of Ant-Man, outside of some clever action sequences, is Michael Peña’s funny Luis. A former cellmate of Scott Lang, Luis joins the Lang-Pym team as comrade-at-arms and sidekick-comedy relief. Ant-Man is highlighted by bursts of fun special effects (thousands of ants and miniaturizing sequences) and tame violence.
Addendum: I confess that throughout Ant-Man I was looking for Marvel comics guru Stan Lee (who always appears in cameo during a Marvel movie) to pop up as a cricket.
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GRADE: On an A to F scale: C+
‘Jurassic World’ terrifies with squirm in your seat fun
By Steve CrumBeing a huge Jurassic Park film fan, I was very excited about Jurassic World, the impatiently awaited fourth installment to the dinosaur franchise. Fellow enthusiasts, prepare for a towering T-rex, calculating raptors, and much more. Jurassic World is just what the pterodactyl ordered.
The film succeeds, despite the gamble this is the second time a Jurassic Park work has not been directed by its mentor, Steven Spielberg. (Joe Johnston helmed the third one.) That is no slight to World director Colin Trevorrow, whose major stylistic difference is the near absence of take-a-breath time between numerous heart-pounding action sequences. The only flaw is pretty much unavoidable in that everything is highly predictable.
We know, we expect, we savor man-eating creatures breaking loose from their caged confines and preying upon any nearby human. We also know the humans will fight back and eventually win. The fact the CGI dinosaurs appear absolutely real is also a given expectation. The basic plot structure was set in 1993 with the first film, Jurassic Park, and copycatted through its sequels, The Lost World (1997) and III (2001).
Michael Crichton’s 1990 best selling novel, Jurassic Park, formed the template, so why mess with huge profits? It worked in the book, the first three versions, and it works with World. It has also worked via comic books and video games. Expectation is everything, folks, which is why there are so many movie sequels down the pike.
As we learned in the previous three films, business profiteers are the root of all murderous problems. If they don’t directly cause mayhem, they trigger its occurrence.Wherein the genetically engineered dinosaurs were created by visionary John Hammond for the sake of scientific as well as public observation, there is always some corporation out there scheming to exploit the creatures to turn big bucks. With Jurassic World, logically set 22 years after the first movie, big business has finally taken over the remote dinosaur island, and packaged it as a Disneyland-like zoo for big budgeted families. Jurassic World is the theme park’s name. Simon Masrani (Irrfan Khan) runs a hands-on show as CEO of the Masrani Corporation owners. 
Enter Owen Grady, a Velociprator trainer, who lives pretty much independently on the island, outside the zoo area. Chris Pratt portrays Grady, and this is the first time we have seen Pratt in a role virtually absent of any humor. Nonetheless, Pratt realistically personifies the hero. 
Bryce Dallas Howard is Claire Dearing, the prim, all about business park operations manager who has to deal with the obstinate Grady, two visiting nephews, and an internal struggle for power. Add an uncontrollable, hybrid dinosaur known as Indominus rex, sporting multiple breeds of dinosaur genes, and a humongous sea creature that does dolphin theatrics to thrill the JW crowds. Oh yes, there are also birds…dirty, lousy, stinkin’ birds—big ones that like tourists for snacks. And all is displayed in very effective 3D.
It is obvious by the end of Jurassic World that in no way will another sequel occur. Pause. Reword. Due to the huge profits Jurassic World will undoubtedly rake in, in every way another sequel will occur. I’ll be first in line.
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GRADE on an A-F Scale: B+
Jason Patric prefers indie films
This Jason Patric piece appeared in The Kansas City Kansan, Nov. 21, 2002. Since that time Patric has appeared in 20 movies, including his role as Jim Bowie in 2004’s “The Alamo,” and Lt. Kirklander in “In the Valley of Elah” (2007). It is no surprise that most of the 20 are indies.
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By Steve CrumJason Patric is prepped to talk. It is Thursday, Nov. 14—the Kansas City map dot on a multi-dot promotional tour for this star’s movie, Narc, which opens in several weeks, Jan. 10.
The star whose career really began 15 years ago as the endangered teen amongst vampire buddies in The Lost Boys sits in a private dining area in the Plaza’s Fairmont Hotel. At 36, Patric barely resembles his role as Narc’s haggard and beleaguered undercover cop, Nick Tellis. His beard is shadow faint now, fashionable.
An actor who prefers roles in small budget, independently produced films, he was drawn to Narc.An “indie” from the get-go, it became big time after industry buzz and Tom Cruise’s championing attracted Paramount/Lions Gate to distribute.
These 30 minutes with Patric are mainly about the business of Narc. Unmentionable is any reference to his late grandfather, TV’s “Great One,” Jackie Gleason. He has said his grandfather was never a part of this growing up. And stay away from the time he ran off with Julia Roberts on the eve of her marriage to his pal Kiefer Sutherland. Verboten. Patric is now attached to super model Christy Turlington. Although his late dad, actor-playwright Jason Miller, star of The Exorcist, was a writer most his life, the son has no such aspirations.
Patric does talk about his sporadic film career peppered with little known independent titles (3 Days of Rain, Denial), a TV movie (Geronimo: An American Legend), and Hollywood product (Your Friends & Neighbors, Rush, Sleepers). Little is said of his star spot in the poorly received Speed 2: Cruise Control. “1997 was a bad year,” he recalls. “There were Sleepers, Incognito, and Speed 2.” He then chose to produce and star in 1998’s Your Friends & Neighbors. “I enjoyed the production end, but it takes a lot of time.” A half smile. “But it’s worth it.”
In the beginning, circa 1987, he was cast with fellow teens Kiefer Sutherland, Corey Haim, and Corey Feldman in a tale of urban vampirism, The Lost Boys.“I never made the Brat Pack movies after that,” he says, even though he had every opportunity to follow his colleagues. Movies like License to Drive and Young Guns were typical for them. Instead he chose movie roles like the Afghan tank driver in The Beast, the kind of film that artistically satisfies Patric.
Along came Narc with an economical location shoot in Ontario, substituting for Detroit. “It was shot in 28 days,” Patric says. “The budget allowed the launching of some careers.” One hopeful is rapper Busta Rhymes, who plays a drug dealer.
After the low budget Narc wrapped, Patric and co-star Ray Liotta knew they were part of a superior crime drama, and got caught up in the word-of-mouth publicity snowball that led to major studio backing.
As for his Nick Tellis, the gritty undercover cop/harried family man: “My character is haunted by something he cannot get away from” Actors often draw characterization from experience. “I know a cop in New York,” Patric says, “and I know about the men who are thrust in this situation.” In the film, Patric’s Tellis teams with Liotta’s Henry Oak to solve the murder of a fellow narcotics policeman.
The future looks like more indie movies for Jason Patric. “Larger movies have a mainstream audience to be fed,” he says. He prefers the opposite. “In independents, (as an actor) you project yourself upon them, so you are or you know one of those characters.”
‘True Story’ needs more action, pacing—truly
By Steve CrumTrue enough that there is plentiful cat-and-mouse interplay between the two leads, that the movie is based a truth-inspired memoir, and that a compelling plot line hooks the viewer pretty much throughout. But the truth of True Story’s failing lies is in its pacing and character development. Casting a limited actor like Jonah Hill in one of the two leading roles does not help elevate the film above C level.
As refreshing as it is not to see a comic book, slam-banger movie this close to summer releases, the talky True Story could use some movement. Adapting it as a stage play seems more plausible.
That said, True Story’s director, Rupert Goold, teamed with David Kajganich to adapt Michael Finkel’s best selling book into an intriguing screenplay. This is Goold’s first feature film after helming a smattering of PBS-TV Masterpiece Theatres. At the story’s outset, Finkel (Hill) is covering a human interest story in Africa about the slave trade. The story is lauded and featured on his paper’s front page, the tenth time his stories have achieved New York Times cover status over the last three years. Finkel and his wife, Jill (Felicity Jones), enjoy a comfortable life outside the city.
Then complications ensue as hell breaks loose. Christian Longo, creepily and believably portrayed by James Franco, is arrested in Mexico. Longo has been on the lam since his wife and three small children were found brutally murdered. The twist is he has been hiding out by using the name Michael Finkel.
Concurrently, the real Finkel is fired from his job for falsifying his African story. Soon after, Finkel learns of his namesake’s activities. It does not take long for him to visit Longo at prison with the hope of writing a book recounting the heinous murders. It echoes Truman Capote, but with a same-name angle. However, Longo has other ideas which jeopardize the credibility of the already disgraced Finkel. James Franco really carries the film as the questionable suspect, while Hill’s Finkel comes across as naive and witless—so out of character for a guy who was once a major journalist with the country’s top newspaper.
Mentioning Felicity Jones as Mrs. Finkel is hardly worth a sentence since her role is pretty much nondescript, except for pouting her lips.
Jonah Hill deserves a plus for stretching his screen persona from daffy teen airhead (21 Jump Street; Superbad) to two Oscar nominations (Moneyball; The Wolf of Wall Street). True Story is a very serious film, and Hill gives it his best. But maybe it is a loft out of his reach since this time he is one of the two stars, not a supporting actor. Throughout he seems to carry the same impassive look.Releasing True Story now is timely in lieu of reporting scandals over the past months by Rolling Stone magazine as well as NBC’s Brian Williams.
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GRADE on A to F Scale: C