Oscars 2014 Preview

It's my favorite time of the moviegoing year- Oscar Season! While summer movies can be nice, Oscar season is (ideally) filled with critical darlings and films that will be fighting for a spot on a critic's Top 10 list- not the Top 10 at the domestic box office. And great movies are only the tip of the iceberg- predicting who will be nominated (and win) at the Academy Awards, which will be held on March 2nd, is a lot of fun on its own. And while I'll be getting into my Oscar predictions next week (starting Sunday, to be exact) I think it's time we break down what films we will be talking about this fall. So, without further adieu, let's kiss Summer 2013 goodbye and say hello to our new batch of Oscar contenders.

ALREADY A CONTENDER

While this spring/summer wasn't necessarily ripe with major Oscar movies, we do have a fair share of potential contenders and even a few potential locks for a nomination. While they may have been critical darlings, I don't think we can expect to hear much from Spring Breakers, The Place Beyond the Pines or Mud later this fall. Spring Breakers is far too edgy and strange for the Academy's tastes, and I feel that too much time has past since The Place Beyond the Pines has been released. Mud made a huge smash in the critical community (it's sitting pretty at 98% on Rotten Tomatoes), but I think its best (and only) chance for a nomination would be in the screenplay category.

Perhaps the biggest contender released thus far is Lee Daniels' The Butler, a film which, as I mentioned in my review, is the definition of Oscar bait. While I don't think it's a major contender for this season, you can believe a mega-producer like Harvey Weinstein's will certainly make sure the film gets noticed. It's best chance for a nomination is Oprah Winfrey, but it could make a dent in Best Adapted Screenplay, Best Actor and possibly Best Picture. Woody Allen's latest, Blue Jasmine, also has a chance at reaping some Oscar gold, primarily because of Cate Blanchett's brilliant lead performance. She's a major contender in the Best Actress category and the closest thing to a lock so far this year. Outside of Blanchett, however, the film isn't really a lock anywhere else. It certainly has a chance in Best Original Screenplay and potentially Best Picture, though I wouldn't bet too much on that just yet. Finally, Sundance sensation Fruitvale Station has the potential to be a Beasts of the Southern Wild-esque success, though that will really depend on if the Weinsteins can drum up more excitement for it late in the year. Still, it has a chance at Best Picture, Best Actor, Best Supporting Actress, Best Original Screenplay and potentially Best Director if the producers can play their cards right. Finally, we come to the best reviewed film of the year so far- Before Midnight. While the trilogy has never been a favorite with the Academy, I think it's a very strong contender for Best Adapted Screenplay- and potentially more. But the real Oscar contenders will come out of the woodwork in September...

SEPTEMBER

September is, essentially, preseason for the Oscar contenders. While there aren't many films being released during this largely unpopular month at the box office, film festivals are being held throughout the world where many potential contenders will premiere, helping to give everybody a better idea of how each film will fare. But September is not without it's buzz-worthy releases, and the biggest from September is the latest film from Ron Howard.

Rush, an F1 racing drama chronicling the legendary rivalry between James Hunt and Niki Lauda, has the potential to be one of the biggest films of the season. While it's potential for box office success may come into question (is anyone in the US interested in F1?) the film was helmed by a former Oscar winner and tells a story that has the potential to put audiences on the edge of their seat. From a technical standpoint, the film could break out in everything from sound editing to makeup and even cinematography, while Best Picture is not entirely out of the question either. Best Director and Best Supporting Actor for Daniel Brühl (who's playing Niki Lauda) is also a possibility, though it's critical reception will obviously determine that.

The other high profile film from September is Denis Villeneuve's Prisoners, a thriller starring Hugh Jackman that will be playing at the Toronto International Film Festival next week. While I wouldn't call the film a major contender, it certainly has the chance to break out in a few categories. Namely, cinematography, as legendary ten time nominee Roger Deakins is the director of photography for the film. The film also boasts an impressive cast of Oscar nominees/winners- Hugh Jackman, Viola Davis, Jake Gylenhaal, Melissa Leo and Terrence Howard- so completely ruling the film out in those categories would be foolish. Though, based on the trailer, the only actor I can seriously see competing for a slot is Hugh Jackman. Though that could all change once we start getting reviews for the movie over the next few days.

The final major contender from the film is one that I don't think will be as widely seen as the last two mentioned. Salinger is a major contender for Best Documentary and one that is always generating a lot of buzz. The film, which takes a look at legendary but reclusive author J.D. Salinger, will take a look at the impact The Catcher in the Rye had (and possibly still has) on society, while also looking into the mysterious author's secret life. But perhaps most surprising is the revelation that five yet-to-be published books from the author will be released to the public shortly. With the Weinsteins at the helm, Salinger is bound to be one of the most talked about documentaries of the fall and will no doubt be a serious threat for the Best Documentary award come Oscar night.

Outside of those three films, however, there isn't all that much to anticipate in regards to Oscar movies. Personally, I can't wait to see Joseph Gordon Levitt's directorial debut, Don Jon, but the only shot that movie has is in Best Original Screenplay and even that's a long shot. And can we, perhaps, predict Cloudy with a Chance of Meatballs 2 for a Best Animated Feature slot? I don't think it's a total lock, but it certainly has the potential. But, September will, for the most part, be a quiet month, the calm before the storm that is October rolls in...


OCTOBER:
While November and December are typically the biggest months for Oscar movies, it seems like producers are trying to pack as many films as possible over the course of the next three months. So, October is surprisingly busy this year with a number of major movies on the horizon. The biggest film of the month? Well, it's a tough call, but 12 Years a Slave seems like the movie with the most potential for Oscar glory.

While Steve McQueen's last film was snubbed by the Academy, 12 Years a Slave is within the Academy's ballpark and it's highly unlikely that the Academy will once again ignore one of the most buzzed about young directors working today. The story of Solomon Northup, a free man who was kidnapped and sold into slavery, is a powerful one and if McQueen delivers another critical darling we could be looking at one of the biggest movies of the year. The film could be a major contender in many different categories. Best Picture is an obvious one, as is Best Actor for Chiwetel Ejiofor. But what else? After being snubbed for his last collaboration with McQueen, Michael Fassbender has a chance to score his first ever nomination in the Supporting Actor category, while Alfre Woodard and newcomer Lupita Nyong'o could make a dent in the Supporting Actress category. Adapted Screenplay, a plethora of technical awards and Best Original Score are also possibilities and, if the film lives up to its full potential, Steve McQueen could find himself a nominee for Best Director. While the film opens in limited release on October 18, we'll start hearing reviews over the next few days as the film will be featured at TIFF and (possibly) Telluride.

Moving away from historical epics and into the realm of technical achievements, Alfonso Cuarón's Gravity could be this year's Life of Pi- a visual marvel that absolutely dominates the technical categories and makes a valiant effort for Best Picture. Having recently premiered at the Venice Film Festival to near universal raves, the Sandra Bullock/George Clooney vehicle will almost definitely find itself nominated for Best Cinematography, Best Visual Effects and Best Sound Editing/Mixing, but why stop there? Alfonso Cuarón could follow in the shoes of James Cameron and Ang Lee and find himself a Best Director nominee. As for Sandra Bullock, I wouldn't be surprised if the film's technical merits outshine what is essentially her one-woman show, but she stands a decent shot at a nomination. And, finally, Best Picture seems likely at this time- though the critical reception of this year's other films could make or break that.

Next we have Paul Greengrass's Captain Phillips, a film I can't quite place my finger on. It looks good, but there is something... off about it. As for its awards prospects I feel it may be too similar to last year's Zero Dark Thirty to really be in contention, especially since that film underperformed last year when all was said and done. But awards for cinematography, editing and possibly Best Actor are somewhat likely- though I think Mr. Hanks has a much better chance with December's Saving Mr. Banks. Another film I'm having trouble prediciting is J.C. Chandor's All Is Lost. After premiering at Cannes the film received unanimously positive reviews but I really don't see this appealing to the Academy at all, especially since they have a big budgeted picture with a similar theme being released this year (the aforementioned Gravity). But the legendary Robert Redford is a very strong contender for Best Actor and, if the film performs well once it opens, I wouldn't be surprised to see it sneak in.

There are some other possible contenders set for release that month- While it will be unable to contend for best Foreign Language Film, the Palme d'or winner Blue is the Warmest Color is steadily building buzz around Adéle Exarchopoulos, the film's lead. But is a French, three hour long love story really up the Academy's alley? Only time will tell. The Counselor has a chance in Best Original Screenplay and a slim shot at getting a Best Supporting Actress nom for Cameron Diaz, though I don't think either scenario is all that likely. Meanwhile, indie flick Kill Your Darlings will only get a nomination if it breaks out upon it's domestic release- which I don't really see happening. And buzz for the JFK assassination drama Parkland and the Wikileaks thriller The Fifth Estate feel largely muted, though that could change once they premiere at TIFF. But, for the most part, this month belongs to 12 Years a Slave and Gravity, which will lead into a competitive November.

Movie Review: "Lee Daniels' The Butler"

The story of Cecil Gaines, inspired by the life of Eugene Allen, is truly extraordinary. Witnessing the entirety of the Civil Rights movement while serving five different Presidents, Lee Daniels' The Butler is a portrait of how far African American men and women have come over the past 80 years, depicting the many horrors they had to experience as well as the many different ways that brave men and women tried to overcome these horrors and fight for their rights. It's both an amazing story- and one that is bound to court major attention from the Academy. The problem is that Lee Daniels, screenwriter Danny Strong, and the film's forty producers seemed to be more concerned with preparing their Oscar speeches then they were with depicting this story in the best way possible.

The Academy Awards are sort of like a necessary evil for film lovers- they may often disagree with them, and will argue that the awards don't actually mean much in the long run (especially if they don't like the films that win), but it's hard to not get swept up in the season. And while almost any film would be happy with taking home an award come the big night, it's easy to tell which films fall into the category of "Oscar bait", something which The Butler most definitely does. You can almost hear the cast and crew begging for attention from Academy voters. Every scene is stuffed with melodramatic, manipulative emotional beats and brims with a sense of self entitlement. Whenever a historical event takes place or significant figure walks on screen, the actors practically wink at the audience, trying their hardest to ensure that the audience understands how important that particular scene is. Yes, Lee Daniels' historical drama is anything but subtle in its intentions. This movie wants some serious attention on the evening of March 2nd.

Thankfully, the historical events depicted in the film are considerably interesting. Between the evolution of the Civil Rights movement, the assassination of both JFK and Martin Luther King Jr., the Vietnam War, leading all the way up to the election of Barack Obama, some of the most interesting and influential historical events in American history are depicted over the course of the film's runtime. The fact that these events are, in fact, interesting is the movie's saving grace. The way the film depicts these scenes- in the plainest, safest way possible- doesn't help make these scenes all that memorable, but it's at least enough to hold the audiences' attention for two and a half hours.

I think a major reason these scenes feel so sanitized is that Lee Daniels didn't have any creative control. While I'm not necessarily a fan of his wild and unhinged directorial style, The Butler feels as if it's been directed by a studio executive trying to make a film appealing for the lowest common denominators. With dirty jokes being censored like the film was being edited for television and the movie's darker moments being largely glossed over, Lee Daniels' trademark edginess is almost entirely absent. The only sequence with his stamp clearly visible on the screen is when Cecil's son, Louis (David Oyelowo) takes part in a sit-in- a scene that is easily the highlight of the film. Powerful, suspenseful, dramatic and brilliantly edited, it's the only sequence in the film that feels dramatic and doesn't seem to be begging for attention. If only more of the film was like that.

And while much has been made of the A-list actors playing Presidents and First Ladies, these scenes are largely uninteresting and surprisingly distracting. Seeing Robin Williams, John Cusack and Jane Fonda take on these historical figures only to appear for a few minutes on screen prevents these moments from carrying any dramatic weight. And while the actors all inhabit their roles well, they really only feel like imitations- not performances. It's almost as if you're witnessing the most expensive, politically minded Halloween party that only respected actors have been invited to.

In fact, the only performer that truly impressed me was none other than Oprah Winfrey. When an actor has a larger-than-life public persona, it's typically hard to separate them from their character- but Oprah manages to disappear into the role to the best of her ability. While virtually every one of her scenes feels like a potential Oscar reel, Winfrey dominates the material. She embraces her character, good qualities and bad, and manages to be dramatic without soaring over the top. Her best moments, to no surprise, are those in which she abandons her most popular qualities. There's an excellent moment where Winfrey, while drunk, attacks her husband's work ethic, the nation's obsession with Jackie Kennedy and perfectly embodies the loneliness her character feels. Even in her most over the top scene, when she slaps her rebellious son for disrespecting his father's political views- a scene that will no doubt be played to accompany her name on Oscar night- she manages to overcome the hokey material and deliver a powerful performance. While Forrest Whitaker is fine and David Oyelowo impresses throughout, it is Winfrey who runs away with the whole film.

But outside of Winfrey's performance (and some impressive make up) the film never really feels as powerful as it should be. In the process of trying to reap Oscars the film has neutered itself, depicting every single event in the life of Cecil Gaines in the tamest way possible. Compared to Lee Daniels' Precious, a film that bravely depicted the horrors of child sexual abuse, as well as his last film, The Paperboy, which showcased Nicole Kidman peeing on Zac Efron's face, The Butler comes off as a TV edited version of what could have been an excellent film. While the movie proudly displays its director's name in the title, Daniels really feels like a director for hire, forced to direct the film in a way that's safe and easily accessible. While the movie gets a mild recommendation on the grounds that it's entertaining and a showcase for one of the best performances of the year so far, Lee Daniels' The Butler depicts a fascinating story in the least interesting way possible.

My Quick Thoughts on the Films of the Summer

During my month long hiatus from blogging I saw 14 new 2013 releases. While taking the time to write a full review of each would be more exciting, I need the time to focus on my upcoming Oscar coverage. So, I've written some quick thoughts about each film and included a link to my Letterboxd account where you can find more detailed reviews of each film. Look for the first part of my Oscar coverage to go live this Sunday.

Spring Breakers (dir. Harmony Korine)

Harmony Korine's Spring Breakers is a neon drenched, dub step fueled fever dream of a film- as well as one of the more damning portrayals of today's party obsessed youth. I found the film hypnotic and wonderfully directed- Korine didn't compromise his vision in the slightest, making for a film that's as brave as it is entertaining. The movie also showcases phenomenal work from James Franco and Vanessa Hudgens, as well as the best use of a Britney Spears song imaginable. The final scene has stuck with my since I've seen it. While I'm sure this film isn't for everyone- the highly negative reaction my entire screenwriting class had is indicative of that- I think it's easily one of the standouts from the year.
OVERALL GRADE: A-

The Conjuring (dir. James Wan)

While it was certainly terrifying, James Wan's Insidious fell apart in its final third when it tried to set up an overly complex mythology in under 30 minutes. But The Conjuring is a good 'ol fashioned haunted house story through and through- and it's also the best horror film in almost ten years. Thanks to Wan's considerable directorial strengths and a strong cast, The Conjuring succeeds as both a well made horror flick and a genuinely great film. And, in a summer where many of the big blockbusters disappointed, The Conjuring has more than enough entertainment value to make up for it. I've seen the film twice now and I have a feeling I'll be re-watching many times in the future.
OVERALL GRADE: A-

Only God Forgives (dir. Nicolas Winding Refn)

Only God Forgives is a lot of things: pretentious, visually stunning, weird, melodramatic and, most of all, entertaining. While the film isn't anywhere near as great as Winding's Drive, I was never bored by Only God Forgives and really enjoyed the movie as a visceral experience- which the beautiful lighting, excellent score and the slow build towards brutal violence certainly added to. I don't buy into any of the subtext that many are subscribing to, and I think the film is a bit ridiculous at times, but I enjoy it enough to recommend it. And while Ryan Gosling's performance left much to be desired, Kristen Scott Thomas is absolutely phenomenal.
OVERALL GRADE: B-

The Way, Way Back (dir. Jim Rash & Nat Faxon)

My soft spot for coming of age stories helped The Way, Way Back find a space in my heart and become one of my favorites of the year so far. Excellently blending comedy and drama without ever picking a genre to stick with, Jim Rash and Nat Faxon's follow up to The Descendants showcases some of the best comedic beats and some of the saddest sequences of the year. While it's never overdramatic, the two perfectly capture the pains of growing up and the pleasures one can find with great friends. I also hope people remember Sam Rockwell's performance come Oscar season- the man exudes charm and instantly wins over both our hero's heart as well as our own affections. This one is a must see.
OVERALL GRADE: A-

Fruitvale Station (dir. Ryan Coogler)

It pains me that I'm not actually writing a full length review of this film- the movie has stuck with me more than any other film this year, with a haunting final scene and brilliant performances from the entire cast. Coogler creates a sense of authenticity with this film that few directors can accomplish, and manages to depict a story that's important to discuss without ever slanting details or forcing a message down our throats. In the wake of the Trayvon Martin verdict and with subjects like gun control and police brutality being debated nation wide, Fruitvale Station somehow avoids becoming a political picture. Instead, it's an excellent portrait of a man who's life was cut short as he prepared to make his life better. There are many films I liked this year, but Fruitvale Station is the only one I've loved and the only one I can definitely see making my Top 10 list.
OVERALL GRADE: A

Despicable Me 2 (dir. Pierre Coffin & Chris Renaud)

It's not as good as the original and isn't much more than a Saturday morning cartoon expanded into 90-something minutes, but there is something I enjoyed quite a bit about this film. There really isn't much else to say about it however. I liked it for what it was.
OVERALL GRADE: B-

The Canyons (dir. Paul Schrader)

This is an awful, awful film. There is no way around it. Imagine a film starring a porn star, filmed like a porno, with a script only slightly more complicated than your average porno and filled with sex.... like a porno. Unsimulated sex. So, essentially, The Canyons is the world's least entertaining porno. I really don't understand what Paul Schrader was trying to do with this film- was it some sort of social commentary? An erotic thriller? I'm not sure and I don't care to ever find out. If there is one thing that saved the film from a dreaded F grade, it's Lindsay Lohan. I certainly didn't expect much from her, but she actually turns in a great performance here. Hopefully she'll find better material to work with next time.
OVERALL GRADE: D-

We're the Millers (dir. Rawson Marshall Thurber)

This is the biggest surprise of the year so far. That's not to suggest it's a great film, but it is an immensely entertaining one with some of the best jokes in any movie this year. I've always been a Jennifer Anniston fan- that's what happens when you grow up with two parents that were obsessed with "Friends"- and I think this is her finest comedic performance. The film's funny, edgy, sweet and wholly entertaining, with a supporting cast- including Nick Offerman, Kathryn Hahn and Ken Marino- that almost steals the movie. The fact that I enjoyed this film more than any of the summer blockbusters this year is indicative of how much fun I had with this film, and I'd recommend it to fans of R-rated mainstream comedies.
OVERALL GRADE: B

Blue Jasmine (dir. Woody Allen)

The more I think about this film the more I realize it's, essentially, just an Oscar reel for Cate Blanchett's performance. But what a brilliant performance that is. While the movie never really evolves into anything special,you'd be hard pressed to find a performance better than Blanchett's. She's amazing in what is the highlight of an already impressive career. I enjoyed the supporting cast a bit more than most- although Alec Baldwin plays the same character he's played in just about everything over the past ten years- but this is Blanchett's movie. And while this isn't exactly Allen's best, he's so talented that even his lesser work is pretty damn good.
OVERALL GRADE: B+

Mud (dir. Jeff Nichols)

I really wanted to love Mud, just as I really wanted to love Jeff Nichol's last film, Take Shelter. But as much as I admired Mud, I just didn't love it. The cinematography is stunning, the story is interesting and the performances from Tye Sheridan and Matthew McConaughey are amazing. But nothing about the film really grabbed me, mainly because I was considerably more interested in Sheridan's "coming of age" storyline than I was McConaughey's subplot. I also found the whole snake scene to be wildly overdramatic. But other than that, I did enjoy the film and it's one of the better movies of the year so far. Who knows, maybe Nichols will craft a film I love. One day.
OVERALL GRADE: B+

Admission (dir. Paul Weitz)

Not even my love for Tina Fey could make Admission anything more than a bland dramadey. None of the comedic beats were particularly funny, and the romance between Fey and Rudd felt forced and uninteresting. But worst of all is how the film's main storyline, about Fey reconnecting with the son she abandoned, feels so insignificant in the grand scheme of things. Everything just feels dull and completely uninteresting. The best thing from the film is Nat Wolff- the kid did a great job with what was essentially a nothing role. I'm interested in seeing what he does next.
OVERALL GRADE: C-

Elysium (dir. Neil Blomkamp)

Visual spectacle aside, Elysium is political propaganda disguised as an action film. Whether I agreed with Blomkamp's political stance or not, I just can't enjoy a film that's trying to shove its message down the throats of the audience. Matt Damon is miscast and Sharlto Copley is a cartoon character come to life, while Jodie Foster does a great job with the limited material she's given. The film is enjoyable from an action movie standpoint, though nothing stands out to much. This is one of the more upsetting disappointments from the year so far.
OVERALL GRADE: C+

You're Next (dir. Adam Wingard)

I hated the first third of this film and was prepared to despise the entire movie. But suddenly, Adam Wingard's slasher flick took a turn for the crazy and became one of the most consistently entertaining films of the year. The movie is an effective mixture of brutal violence, dark humor and surprising plot twists. Outside of it's leading lady, the cast is pretty terrible. And while the first third tries to turn the genre's conventions on its head, it's not well developed or ironic enough to really provide any interesting commentary. But in a year with some very entertaining horror films, You're Next is yet another solid entry.
OVERALL GRADE: B-

The World's End (dir. Edgar Wright)

A funny, fast paced film with energy to spare and an excellent lead performance. I think the film drags a bit at times and the ending is perhaps too weird for its own good, but I enjoyed The World's End quite a bit. Edgar Wright brings a unique style to the fight scenes (I can't wait to see what he does with Ant Man) and his script (which he wrote with Simon Pegg) is smart, charming and surprisingly dark. Pegg's performance is also wonderfully layered- he blends the dark characteristics of the character with the more lighthearted ones, and his character is insanely likable. I think the film is well worth a watch and is a great way to end the summer movie season.
OVERALL GRADE: B

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Finally back in the swing of things...

As some of my faithful readers may have noticed, I've been on an unofficial hiatus from writing for almost a month now. I didn't necessarily plan it that way, but I just found that my other commitments (a summer class, my part time job, and seeing friends before they leave for school) took up most of my time and writing became (unfortunately) difficult. But that is over now. With Oscar season (my favorite time of the year) revving up to start next week, I'm ready to re-dedicate myself to blogging. I was pleasantly surprised and completely thrilled to see that I've actually had steady readership over the course of the past month- pretty amazing considering I wasn't posting anything. So, I'm more than excited to get back into the blogging game:

First of all, I want to recommend that everybody follows me on Letterboxd, which has quickly become one of my favorite social media sites. It's a great place to remain up to date with what I'm watching, including old films I'm just checking out for the first time. Over the course of the past month I've watched 13 films from 2013 and while I think it'd be counter productive to dwell in the past by writing full length reviews for this site, you can read my reviews on Letterboxd and I'll type up a brief post with my thoughts on the film later today.

I'm also dedicating my time to extensive Oscar coverage this year. While I may not always agree with the Academy's decisions, I've always enjoyed the Oscars and predicting the nominees/winners is a lot of fun. I'll be trying to see as many of the big "Oscar films" as I can, and will write full length reviews for each of them. As for my Oscar predictions, I'll be starting brackets for the big six categories next week which I'll update frequently, with brackets for other categories being added as we get further into the year. I'll have an Oscar season preview up by the end of the week, with a detailed schedule about when you can expect an update in the brackets.

That's all for this brief update. Thank you for sticking with this blog over the past month!

Movie Review: "Pacific Rim"

Many have told me that Pacific Rim is the film the ten year old inside me always wanted to see. And, in a way, that's true. Ten year old me would have gone crazy in the theater watching this movie. Films like Pacific Rim play an important part in our film community: they allow young viewers to realize just how great films can be and encourages them to start seeking out other films. We all have a film like Pacific Rim in our past: for me, it was Spider-Man. And I certainly don't fault people for enjoying films that  are mindlessly entertaining and take them back to their early years of film geekdom. But the problem is: I'm not ten years old anymore. My film taste has grown since then and I've started to learn what works for me with movies and what doesn't. And Pacific Rim just doesn't work for me.

While originality is hard to come by in the world of action movies, I suppose it is worth noting that Pacific Rim is an original property. We have, technically speaking, never seen these characters before. But we have seen them before- just under different names. Pacific Rim is an original property built out of the leftover scraps from films in the past. From Top Gun to Transformers and Armageddon to Jurassic Park, there are elements of action films from the past on display for the audience to see. Just because a film changes the names and modifies the details a bit doesn't change the fact that we've seen it before. Calling this film original is only a half truth.

But a lack of originality, while certainly not a good thing, isn't necessarily bad. Under the right circumstances, a director could make any film work. And while there is no denying that Guillmero del Toro is a talented man, he simply didn't bring enough to the director's chair to make those clichés disappear. In fact, characters practically announce the clichés to the audience without the slightest bit of irony or even a hint of self awareness. Whether it be virtually every character remarking that Charlie Hunnam's Raleigh is a loose cannon or Charlie Day screaming exposition to the audience, the screenplay for this film is about as subtle as a robot flying through a city.

And while the action is certainly visually stunning, I just wasn't as impressed as the 71% of critics and legions of fans were. Robots fighting monsters certainly sounds exciting, and their are moments that pack quite a punch in terms of the "wow" factor. I can admire the way del Toro staged some of the scenes- unlike so many films in the age of shaky cam and quick editing, Pacific Rim's action scenes are easy to follow and constantly remind you of how big the creatures at war are. But action scenes, like comedies, are subjective- what works for one person might not work for another. I could watch Arnold Schwarzenegger face off against Robert Patrick all day, and sit wide eyed in amazement as Neo takes tries to rescue Morpheus with the most badass helicopter in cinema history. But, other people could watch those same scenes and remain unimpressed.  Well, for every moment that left me impressed in Pacific Rim there were two that left me unmoved, and there wasn't a single moment that left me bowled over with excitement. Who knows, maybe the ten year old within was taking a nap. After all, I saw the film late at night.

If anything about this film deserves to be praised, it's the cast. Filled with actors that are on the cusp of breaking into mainstream movies, everyone in Pacific Rim radiates with screen presence. Charlie Hunnam is an excellent leading man who perfectly balances his cocky attitude with his immense likability. He's not given the best material to work with, but he makes the most out of it. Idris Elba also commands the screen, while never soaring over the top. I hope MGM takes note and offers him the role of James Bond once Craig fulfills his contract- that would be an example of fan casting that really works. And, while his character's sole purpose is to (loudly) explain plot devices and make the deus ex machina of an ending a bit easier to swallow, Charlie Day is excellent as a quirky scientist with a unique perspective on the dangerous monsters. I haven't watched much of "It's Always Sunny in Philadelphia" but Day's work in Horrible Bosses was exceptional and I have a feeling that he could bring a lot to the table if he's ever given a starring role. His scenes with Ron Perlman are the highlight of the film- in fact, I'd much rather see a film about the two of them than I would any other character in the film.

Many champions of Pacific Rim are calling for Hollywood to take note of Pacific Rim's perceived originality. While I have a problem with calling this film "original", I do hope producers notice one major distinguishing factor in the film: its diversity. I try not to get political in my reviews but Pacific Rim is a rare action film with a cast made up of numerous different cultures and a women at the center of the action who can more than hold her own in a fight. While the film does (unfortunately) feature a few too many clichés, it's refreshing to see a movie that doesn't have a whitewashed cast of manly men saving the day. Rinko Kikuchi's Mako Mori joins the ranks of Black Widow and Hathaway's Catwoman as a badass action heroine and a positive role model for female viewers in a summer dominated by men in tights. If anything good comes out of Pacific Rim it will (hopefully) be that some action films will start having a female star at its center.

I've seen a number of headlines over the course of the weekend saying something to the effect of "Pacific Rim's box office performance is why we can't have nice things." But... is it? Pacific Rim may not be a brand of action figures or a comic book series, and I commend del Toro for at least attempting to bring a new brand of heroes to the screen. But the film is hardly original. There have been many films like it in the past, and there will be many more films like it in the future. And when given the option, I'd much rather see the films Pacific Rim borrowed plot points from than sit through this movie again. I have no problem with some people enjoying it. Hell, I really liked Man of Steel and audiences were practically lining up with their pitch forks and torches to tear it down. If someone found some sort of nostalgic joy in the film, then good for them. But, I did not.

OVERALL GRADE: C-

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