Moonfall Has Roland Emmerich At His Most Ridiculous Though Still Providing Serviceable Thrills

 

      When it comes to destroying the world, no one does it like Roland Emmerich. The blockbuster director known for delivering end of the world spectacles such as 1996's Independence Day, The Day After Tomorrow, and 2012, gives audiences another apocalyptic ride with Moonfall which has Oscar winner Halle Berry and Patrick Wilson as the main leads. Carrying a budget of $140 million, Emmerich sets out to destroy the world again while utilizing familiar formulas and tired character cliches that come with a traditional Emmerich flick. The end result is a mildly fun though forgettable Sci-Fi disaster movie, that ultimately delivers on its promise of destroying the world in extremely cheesy B movie fashion.

      Moonfall's plot places the world on the brink of annihilation when a mysterious force knocks the moon from orbit, sending it on a collision course with Earth. With just weeks left until impact, it's up to NASA executive Jocinda "Jo" Fowler (Halle Berry) to team up with a fellow astronaut from her past and a conspiracy theorist (Patrick Wilson and John Bradley) for an impossible mission into space to rescue humanity. Moonfall's story feels like it would land right at home with 90's style disaster movies like Deep Impact and Armageddon with the plot being absolutely absurd and including key scenes involving the worlds destruction that showcase impressive CGI. The film both looks and feels very much like a Emmerich style disaster flick with the same generic scenario being used along with stereotypical character tropes. Although it's certainly not a film that one would view as being particularly good, it's story is so over-the-top and ridiculous that it can be serviceably fun to watch under the right expectations.

      When it comes to performances, Moonfall's cast does well in elevating it to the point of being watchable with Halle Berry and Patrick Wilson make the most of their roles as former NASA astronaut now Deputy Director Jocinda Fowler, and Wilson as the latters former colleague and disgraced former astronaut Brian Harper. Both actors not only showcase strong chemistry, but look as if they're having a blast with their roles. Berry nails the strong female astronaut turned administrator and mother fighting to save the world role perfectly. John Bradley hammers it up as conspiracy theorist K.C. Houseman, who uncovers the Moon being artificial and heading towards Earth. In a role that feels as if it would've been better suited for someone like Josh Gad, Bradley provides the appropriate goofiness and brains that his character requires. Though his character isn't given much to do, Michael Pena is likeable as Brian's ex-wife's husband Tom. Other noteworthy performances include Charlie Plummer as Brian's estranged son Sonny Harper with foreign exchange student and Jocinda's nanny Kelly Yu. Donald Sutherland appears in a blink and you'll miss it role as a former NASA official Holdenfield, and Eme Ikuakor as Jocinda's ex-husband and Four-Star United States Air Force General Doug Daviddon. Overall, everyone doing a fine job of selling the worlds perilous state in Moonfall.

      Like Emmerich's other disaster films, he applies large scale destruction here with the film being full of intense destruction sequences which include tsunami super waves, flooding, and meteors detonating like bombs. When it comes to destroying mankind, Emmerich does so in epic fashion while appearing to have a blast doing so. He provides enough eye candy for the audience with the films stellar visual effects, that have become a massive staple with his previous disaster works. In addition to presenting numerous scenes including world destruction, the space scenes shown draw strong comparisons to both Gravity and 2001: A Space Odyssey. With its two hour running time, the films pacing always remains fast-moving with the world's destruction never feeling as if it overstays its welcome. With Moonfall, Emmerich gives audiences another global destroying spectacle that's a visual sight to behold as mankind's demolishing steadily progresses. While not the most groundbreaking of Emmerich's films technologically, it boasts enough visual flare for the eyes.

      Despite dazing audiences visually, Moonfall's scriptwriting finds itself on uneven ground with its premise relying heavily on familiar character tropes and subplots lifted from other Emmerich directed disaster-themed films. The characters of Jocinda and Brian are established well enough to make them workable as the films main characters, though K.C feels strikingly similar to Jeff Goldblum and Matthew Broderick's characters from Independence Day and Godzilla. Emmerich recycles the same formulaic character structure of an intelligent yet nerdy individual who discovers what's happening, and becomes the only person who can figure out how to save mankind. Brian is shown as being a neglectful father to his estranged son, yet conveniently redeems himself as the end nears. Such a subplot feels lifted from Emmerich's The Day After Tomorrow with the audience questioning why they should get behind his character besides saving the world considering he ending up getting terminated, divorced, and ultimately broke from a space mission that went bad years prior. The rest of the characters are serviceable with some even feeling borrowed from Emmerich's other films (Tom's character is the typical throwaway stepfather that audiences rooted against in 2012). In terms of writing, there is no originality present with characters existing solely to move the films plot along to the next big destruction sequence. 

      Whether one enjoys Moonfall depends on their tolerance of previous Emmerich disaster-oriented works as its story structure is repetitive with the main threat being the moon. The film is one that knows exactly what it is and bears no shame in carrying out its story in B movie form. This feels like the type of Saturday night disaster flick that audiences would've eaten up a decade or so prior. Though its plot won't engage anyone's brain and is perhaps the most laughable of Emmerich's movies, Moonfall still manages to pass off as being fun Sci-Fi disaster mayhem that delivers in the moment but will become instantly forgettable afterwards. As long as one doesn't look too much into it's plot, they'll have a reasonably fun time. 

Final Verdict: If there's nothing else to watch, why not. 

Images Courtesy of 20th Century Studios

King Richard Delivers As A Refreshingly Inspirational Sports Drama That's Powered By Will Smith's Towering Performance

      

      When it comes to sport stories, the most inspirational ones are those which showcase ones perseverance in making their dreams become a reality. Before King Richard, sports stories generally tackled issues pertaining to race and family with the latter aiming to present a new kind of sports drama to audiences that's character-driven. Elevated by Will Smith's commanding performance and solid storytelling, King Richard is a profoundly moving look at parental perseverance that resulted in a remarkable triumph. 

        Following the life of Richard Williams, whose father and coach to tennis players Venus and Serena Williams, King Richard shows their training on the tennis courts in Compton CA to them becoming tennis superstars through their dads coaching. The film shows Richard shaping the girls unyielding commitment to playing the sport while teaching them to be humble in their victories and losses. Their defying of insurmountable odds and prevailing expectations placed infront of them to become legendary tennis players is also presented. The story for King Richard is handled in a way that's respectable and paints a powerful portrait on the notion that success can be fostered by supportive families.

      As for acting, King Richard is powered by the performances of its cast with Will Smith delivering a towering performance as Richard Williams. He portrays the latter as being an inspiring and visionary father whose determined to go to extreme lengths in giving his daughters a better life. Not since his work in The Pursuit Of Happiness has Smith delivered such a powerhouse performance that shows his true range as a performer. Aunjanue Ellis is equally phenomenal as Richard's wife and mother of Venus and Serena, Oracene. She shows their mothers tender side while being supportive of their dreams. Both Smith and Ellis provide strong chemistry with the latter shown as being a faithful wife, though not always agreeing with her husband's methods of pushing their kids to become the greatest tennis players. Saniyya Sidney and Demi Singleton largely impress as Richard's daughters Venus and Serena. Given that both actresses were required to learn how to play tennis in order to make their matches believable, they do a very convincing job along with showing the thrill of winning each game while maintaining their close bond. Other strong performances come from Tony Goldwyn and Jon Bernthal as the girls tennis coaches Paul Cohen and Rick Macci, who both see the potential in the girls playing but question Richard's decision making regarding their careers. The acting in King Richard is a significant part of why the film is so effective as a sports drama with everyone playing their parts to maximum effect, while doing justice to their real life counterparts.

      The directing by Reinaldo Marcus Green is well-handled with the film showcasing stunning cinematography, particularly scenes involving tennis. The dramatic moments are brilliantly filmed with the camera following the main characters, along with performing close-up shots in capturing the actors emotions. One example is the films kitchen fight scene between Richard and Oracene. Rather than having the camera in their faces, the scene is shot from a distance, allowing for the performances to dominate the screen. The Tennis matches are filmed outside the court, though the players reactions are shown up close like the victories Venus achieves or the worried look she gives her parents during losses. One of the films inspiring shots includes Venus and Serena riding in a shopping cart full of tennis balls that's being pushed by Richard. Although the film carries a running time of nearly 2.5 hours, the pacing never feels boring. Overall, Green carefully builds up the audiences connection to the Richard family with tennis coming in second to the story. 

      The writing for Richard focuses the narrative on showing the families struggle with living in Compton as they're frequently harrassed by local gangs while playing tennis at the court. Richard is shown as being extremely protective of his daughters, while envisioning their future as professional tennis players. Richard's tirelessness, and perseverance in pushing for his daughters to advance in the world of sports is heavily emphasized with him also shown pushing back against tennis coaches and club presidents in safeguarding his children's dreams while stating "Im in the champion raising business." The script also shows Richard's methods of coaching his daughters to be questionable to others as well as frustrating like him leaving his kids behind to walk home solely because they weren't being humble with their victories or a key scene in which Bernthal's character is visibly frustrated with Richard over his managing of the children's time with him taking them on a trip to Disneyland instead of training. The script shows Richard's character as someone whose ambitious in his desire to teach his children to be the best tennis players while remaining lovable towards them. He's also shown to be deeply encouraging to them in a subtle though powerful moment in which he tells a disappointed Serena that she will become the greatest tennis Player of all time after not being able to train with Venus. King Richard makes no attempt to sugarcoat the resistance Richard and his kids experienced in trying to get trained by professional coaches for free, yet shows how extraordinary their success became in a predominantly white sport. 

      With Richard, the film doesn't just show the triumph that Venus and Serena achieved in becoming terrific tennis players, but also that of their father who envisioned his girls becoming masters at the sport he admitted to have fought against gangs to be able to play on a Compton tennis court. Audiences will find themselves genuinely inspired by his relentless determination in giving his kids a better future. Whereas most sports dramas place the sport first, King Richard does the exact opposite with the tennis accompanying the rest of the story. It serves as being a powerfully affecting tale regarding a father's vision for his kids which through extreme courage and perseverance, ultimately becoming not just a reality but also a true cinematic triumph.

Final Verdict: For both tennis and Will Smith fans, King Richard is an engrossing sports drama that's well worth the time. 

Images Courtesy Of Westbrook Studios

Death On The Nile Is A More Focused, Confident, And Enjoyable Murder Mystery Than it's Predecessor

      

       In making an effective murder mystery piece, two essential ingredients are required in making it a successful effort with the first being a reliable cast who brings believability to the story and the second being the skillfulness of a talented director, who can craft a slick thriller that's engaging from start to finish. With 2017's Murder On The Orient Express, director Kenneth Branagh delivered a stylish remake to its classic predecessor that boasted an all-star cast which made it enormously fun to watch along with the latters craftsmanship as a director. Five years later, Branagh gives audiences another  Clue-style mystery with Death On The Nile. Boasting a new ensemble cast, the sequel builds on the originals established world, while painting a more intimate portrait of its main detective.

      Based on Agatha Christie's best-selling novel of the same name, Nile's plot brings back the famous Belgian detective, Hercule Poirot (Kenneth Branagh) with him investigating the death of an heiress (Gal Gadot) during her honeymoon in Egypt. While doing so, he must discover the identity of the killer before he/she strikes again. What made the previous film fun to watch was not just its striking visual scenery, but Branagh utilizing his impressive cast to maximum effect while creating suspicion with each character, making it hard to uncover the killers identity. Nile maintains its predecessors look and grandeur while presenting a new story that's old-fashioned and solidly entertaining overall. If one found themselves having tremendous amounts of fun watching Orient Express, they'll be shocked to discover that they'll enjoy Nile even more. 

      When it comes to performances, Nile's cast is fantastic with everyone delivering exceptional work, as well as being surprising in some cases. With the sizable ensemble, the audience has Branagh to guide them through the story as detective Hercule Poirot. He plays his character as being extremely observant and able to put together clues in solving cases. Arnie Hammer delivers strong work as Simon Doyle, husband of wealthy Linnet and Jacqueline's former lover. Gal Gadot gives a fine performance as Simon's wife and former friend of Jacqueline, Linnet. Gadot makes her character not only beautiful and captivating, but also fearful of her husband's former lover plotting to do harm on them. Emma Mackey shines as Linnet's jealous former friend Jacqueline with Mackey showing obvious anger and obsession towards the newly wed couple. The rest of the cast presents strong work with Tom Bateman as Poirot's friend and confidant Bouc, with Annette Bening doing equally well as Bouc's mother and renowned painter Euphemia. Other performances include  Letita Wright as Linnet's old classmate and Bouc's lover Rosalie with Jennifer Saunders as Linnet's godmother Marie. Russell Brand is completely unrecognizable as Aristocratic doctor Linus Windlesham, whose later revealed to be Linnet's former fiance. The rest of the cast is noteworthy with Ali Fazal as Linnet's cousin and lawyer Andrew, Dawn French as Mrs. bowers, Rose Leslie as Linnet's lady's maid Louise, Sophie Okonedo as Rosalie's aunt and Jazz singer Salome, and Susannah Fielding and Poirot's deceased former lover Katherine. As a whole, Nile's cast is both glittering and effective.

      With directing, Branagh gives the sequel the same lavish production that Express had with the film boasting gorgeous cinematography accompanied by remarkable set and costume designs. The film carries an exotic production which gives it a strong presence in the story, almost to the point of feeling like a character itself with the Egyptian setting heavily influencing the plot. Along with the films visual style, Branagh presents the story with the same style of wit and humor that was prevalent in Orient Express. He keeps the story moving at a steady pace while building the suspense with making each character suspectible to murder. In comparison to his work previously, Branagh crafts a slicker, more visually appealing, and tightly-paced murder mystery while appearing to have a total blast in doing so. 

      When it comes to writing, Nile faithfully adapts Christie's work in thrilling form while providing a compelling character study. Whereas audiences received little background with Hercule Poirot's character in Orient Express, Branagh goes further here with providing a tragic backstory to his character that covers his service during World War l with an opening sequence that shows him receiving a facial wound that led him to mask it with his mustache. It's also revealed that his past lover, a World War l nurse named Katherine, was tragically killed during the War. Along with exploring Poirot's character, the story places the characters of Simon, Linnet, and Jacqueline front and center with their melodrama serving as the spark that ignites the events in the story. The audience sees the amount of jealousy that Jacqueline holds for Simon choosing Linnet over her with the tension between the trio building up. The stories first half is spent appropriately setting up the characters, giving everyone a motive for Linnet's murder while pushing the audience to have a greater emotional attachment to Poirot. In doing so, the script succeeds while making the other characters just as richly painted as the ones from Orient Express. The core of Nile's story however, is stronger with the killers reveal being a complete surprise, along with the final scenes significance for Poirot's character being emotionally satisfying in bringing his character arc full circle. 

      As a story which shows that love can drive people to extremes, Nile's is hugely effective and visually striking, making it hard for audiences not to enjoy. Everything that audiences found themselves enjoying about the original film is on  display here with the sequel not only being engaging but also serving as a striking visual feast. Combined with a terrific all-star cast and Branagh's profound love and admiration for Agatha Christie's work, Death On The Nile proves itself to be a brilliant follow-up to Murder. As Linnet's character proclaims in the film with there being "enough champagne to fill the Nile", audiences will believe so as there's enough witty dialogue and who-dunnit suspense present to make for an thrilling ride.

Final Verdict: If one enjoyed Kenneth Branagh's remake of Murder On The Orient Express, they'll find themselves enjoying Death On The Nile just as much or even more.

Images Courtesy Of 20th Century Fox Studios

The Kings Man Delivers A Faithful, If Uneven Prequel That Maintains The Originals Wit And Charm

   When it comes to making prequels to well-established storylines, the results have most attempts paling in comparison to their predecessors with the Star Wars prequel trilogy being a prime example despite few occasions where such attempts have proven to be surprisingly decent like Disney's Cruella or Matthew Vaughn's X-Men: First Class. With The Kings Man (Also co-written written and directed by Vaughn), the film aims to show the formation of the Kingsman agency that was established with Vaughn's 2015 hit Spy action/comedy Kingsman: The Secret Service. The former maintains its predecessors tone of stylistic filmmaking and unique world building, ultimately making a faithful prequel that's consistent with the original. 

      Set before the events of The Secret Service, The Kings Man's plot revolves around one mans race against time to stop histories worst tyrants and criminal masterminds as they join forces to plot a war that could not just wipe out millions of people but destroy humanity. What drew audiences to the original Kingsman was it's combination of James Bond mixed with a more over-the-top and silly tone. The prequel keeps in line with the originals twisting of historical events while surrounding them with thrilling fiction. Though the film is uneven tonally speaking, the newest Kingsman doesn't cease to squeeze every bit of entertainment out of its story, despite how absurd it appears. Despite not matching the quality of The Secret Service, the prequel marks a strong improvement over its follow-up Kingsman: The Golden Circle.

      As for The Kings Man's cast, the acting is terrific with Ralph Fiennes delivering a masterful performance as Orlando, Duke Of Oxford, whose shown to walk the corridors of power both as an ambassador as well as the founder of an invisible secret service organization, that's skillful in breaking the most secretive of codes. Along with Fiennes, Harris Dickinson impresses as Duke's son Conrad Oxford, who desires to be apart of his father's organization and shows open frustration at being intentionally sidelined. Both Dickinson and Fiennes show strong chemistry while making their father-and-son dynamic believable. Gemma Arterton does well as Orlando's housekeeper and love interest Polly Wilkins with Rhys Ifans in a ridiculously over-the-top performance as the mystical Grigori Rasputin. Other noteworthy supporting roles include Matthew Goode as the films overreaching main antagonist Captain Morton/Shepherd, along with Daniel Bruhl as Erik Jan Hanussen. Djimon Hounsou leaves an impression upon audiences with his role as Duke's servant Shola with Tom Hollander admirably performing multiple acting duties as King George/Percival, Kaiser Wilhelm, and Tsar Nicholas ll. Overall, Kings Man's cast is strong with everyone bringing performances to the table that deliver a enormous amount of energy.

      Returning to the directors chair is Matthew Vaughn, who helmed the previous entries in the series. Here, he gives the prequel a stunning visual look for its early 1900 setting with the World War l atmosphere boasting stellar set and costume design. Like the previous Kingsman's, Vaughn delivers the same over-the-top style of brilliantly assembled action and fight scenes which include tons of blood with sprinkles of gore. Such examples include Shola's fight with Rasputin, Conrad's nighttime descent into No Man's Land, or Orlando's character attempting to parachute onto a plateau, yet becomes trapped in the wing of his plane, and barely misses the edge of a cliff. As extreme as these scene appear, it's Vaughn's smooth style of directing that makes them thrilling. Given its two hour running time, Kings Man is steadily paced with the action complimenting the story and characters. With his directorial efforts, Vaughn maintains the same tonal atmosphere of the previous films with both the action and cinematography being striking to watch.

      When it comes to writing, The Kings Man's script pushes a strong nonviolence narrative with its plot exploring the formation of the Kingsman agency along with taking historical facts and adding fun twists to them. The heart of the story lies within the relationship between Orlando and Conrad with the former trying to keep his son from joining the agency at his mother's dying request. Their dynamic is highlighted with cleverly-written dialogue such as Conrad proclaims to his father: "You can't keep me locked away as the world burns." Rasputin's character is portrayed as being highly repulsive and intimidating with him shown to manipulate Russia's Tsar Nicholas ll by poisoning his hemophiliac son Alexi. The script takes extreme liberties with true events like Orlando and Conrad plotting Rasputin's assassination that's preceded by an extremely bizarre scene involving the latter attempting to heal Orlando's badly injured leg. Other random subplots include an incriminating sex tape involving a woman and then President Woodrow Wilson that's used as a form of blackmail. Though these switching of historical events with Shepherd's group engineering the first World War are outrageously far-fetched, it demonstrates cleverness with the film maintaining the series fun- spirit and charm yet finds itself switching over to a more serious tone when addressing war, politics, and pacifism, ultimately giving things an unbalanced feel. 

       The Kings Man's plot heavily centers around both legacy and family loyalty with Conrad fighting to follow in his father's footsteps in joining the organization despite the latters protectiveness which serves as the heart of the story. As fun as the movie is, it finds itself struggling with whether it wants to be more of a satirical piece or a serious drama. Just when the film begins to run-off with its gleeful tone, it switches things up with a direction that's more dramatic before reverting back. Despite this, audiences will undoubtedly get a kick out of seeing all the historical figures weaved into the films fictional story. It's not as well made as the first Kingsman nor as stylishly subversive, but it still delivers an admirable attempt at doing so while managing to be surprising on its own. Whereas most prequels end up falling short of doing their original counterparts justice, there's enough aspects of The Kings Man to make it a thoroughly enjoyable effort.

Final Verdict: Worth Watching if one enjoyed the previous Kingsman entries.

Images Courtesy Of 20th Century Studios