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Film reviews

Trap Review

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I am a fan of M. Night Shyamalan. Some of his films can be hit or miss for many, but all of them have are unique in his sense of directing. This was not the case with Trap though, as it truly repeated. If audiences have seen the trailer or TV spot numerous times, then the film itself may be a disappointment. I found myself feeling like each outcome was already in the back of my mind. The mediocrity of Trap is its layout—a concert with thousands of people and one target. That whole outline was already presented in the trailer. There is no misleading or captivating misdirection to find a joyful aspect of suspense in Trap.

The film is focuses on Cooper (played by Josh Hartnett), and his daughter Riley (played by Ariel Donoghue). Cooper takes his daughter to a pop concert at an arena type venue. There are thousands of people and all kinds of security. The high amounts of personnel make Cooper feel curious and uneasy. He does a lot of looping around in and out of the concert to put the pieces together. Apparently, there is a killer on the loose, and the concert is a hole for him to fall into. Cooper goes through all kinds of corridors to get answers. The question soon arises if he himself is the killer.

The stadium setting of the film is probably the point of scarcity. The rest of the film is a blur. There is direct dialogue that seems comical and witty, which does add to the fun, but not to the peril which the audience might expect. With Shyamalan being a man of limits and set in his ways, Trap has that approach and relies almost too much on that style to carry it through. The concept of thinking about a concert and a strange personality with Hartnett’s performance is the proper tactic where audiences will grasp the most from the story.

Questions of fear stroll through Trap. What if Cooper is the killer? Does that interfere with the concert moment for his daughter? Does that put others in danger? Are there other aspects of his personality that are hidden. The characterization of Hartnett’s performance has him in a continuously twitchy and nervous mode (this is also seen in the trailer). As I have said before, if audiences have seen the trailers, most of the film is kind of given away. It is just not unique as it searches for tactics of surprise for the audience. It would have been better to have more originality within the concert setup from Shyamalan.  It would have taken it in a direction completely opposite than how Trap progresses and falls flat.

One of the most dreadful (almost two hours) I have had recently. A film that felt like a long concert with no attention-grabbing dialogue. Only a quiet mode of Tetris trying to find an escape and survival. Trap is one of the least engaging films from Shyamalan. There are so many rushed moments throughout andalso many that do not seem to make sense at all. “Sense” in the direction of finding the routes for what may seem appealing and entertaining. Two out of four stars for Trap.

Film reviews

The Instigators Review

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Matt Damon ( left) and Casey Affleck (right) in The Instigators

A flick with a heist and troublemakers always has quirky misdirection when its characters are alumni of Good Will Hunting. That film is The Instigators, directed by Doug Liman. Matt Damon and Casey Affleck reunite for the thrill ride of many errors of spellbinding fun. The Instigators made me feel “instigated.” With all the routines of questioning behavior going awry and no end in sight, there is a lot in The Instigators. It is like Damon and Affleck revisiting their hometown in Boston, and their behaviors have gotten more dangerous since Good Will Hunting. It is not detrimental to show and is to make money. The Instigators will boil the screen of the comedic aspects of Damon and Affleck.

In The Instigators, Damon is Rory; Affleck is Cobby. Rory is an ex-Marine; Cobby is an ex-con. Rory has debt. Rory has scenarios ranging from divorce, child support, missed fees, and just debt piling up. Cobby is just one who needs to get his life together, and he feels he does not find common sense in his daily routines. Cobby’s time is at a bar at all hours of the day. He even fakes his breathalyzer tests. The hardship side of its characterizations loops in a conspiracy to have a heavy component in The Instigators—if it goes well, everyone goes home with money to help them get by.

The crime boss is Mr. Besegai (played by Michael Stuhlbarg). He assigns the game plan of the heist to Rory and Cobby. The plan involves Mayor Micelli (played by Ron Perlman). The robbery went wrong. Rory and Cobby are on the run after the failed mission. They are searching for places to hide. They stroll through the Boston area repeatedly. As this goes on, the feds are after them, and on top of that, Mr. Besegai finds himself in a pattern where he considers trying to run or hide. That is sadly more difficult than it seems. Especially with how national news takes over, and the city of Boston has tons of witnesses. The superior character to the feds is Francis (played by Ving Rhames). Francis has got the tanks, and the crew, and it is more than Boston could handle. The question is who survives.

The film keeps its momentum of rollercoaster fun. It keeps the misdirection of events turning into circles, characters questioning who to trust, and the ball rotates courts throughout the failed crime. The chase builds. The biggest twist is Rory’s therapist takes part in this runaway. The therapist is Dr. Donna Rivera (played by Hong Chau). Her presence in all of this brings in a layer of thought. There are conversations where she mentions liability, insurance, and her duties—how much damages will be compensated for all the typhoon madness in The Instigators? Liman’s direction always has a knack for selecting characters that are street smart. Not those who are book smart. “Street smart” works to the advantage of the title itself. The many rounds of car accidents and explosions are continuous throughout The Instigators. It is unstoppable in its tracks.

The Instigators is an adventure. It is joyful and entertaining for a flick with Damon and Affleck. It is silly in moments. The writing is dry in some. I enjoyed it, but I did not love it. I feel, however, that it is the right approach to tying in an exciting adventure with Damon and Affleck reunited once again. How crazy is the heist? How smart is everyone associated? Is there a cut in the money? Find out in The Instigators. Two-and-a-half out of four stars.

Film reviews

Dance First Review

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Gabriel Byrne as Samuel Beckett

When I watch a movie with Gabriel Byrne, I think about his role as Paul Weston from the HBO series In Treatment. That is because he plays a role as a counselor trying to help others navigate the challenges of their life as he is trying to navigate his as well. His role in Dance First displays a comparative direction. He plays Samuel Beckett. In his role, he is learning through the ropes of trial and error as a playwright and philanthropist. Dance First is a direction of looking through the depths and the persona of Beckett himself. No one plays the role better than Byrne.

Dance First starts with Beckett in the heat of a monumental production. Before the production begins, he finds himself at odds. He is in a pattern of trying to figure out the good and the bad of his upbringing. That is because his path to being a playwright was not easy. Living through a life of all kinds of experiences, the door for him to feel greater feels like a halting point. The “halting point” is all that Beckett himself went through to gain a form of a craft. The path of the film is trial and error to the core. It is revitalizing of an auteur nature.

Most of the film focuses on the young Samuel Beckett. The younger version is played by Fionn O’Shea. It brings us through his turmoil with his family. That brings us to   James Joyce (played by Aidan Gillen) and his family. Beckett is navigating his expectations (even when he does not want to). That is because that is how he can develop his craft. With the family of Joyce, he builds a relationship with Lucia Joyce. She is the daughter of the family and is played by Grainne Good. Beckett’s personality is one of a few words. His style brings him into a landscape of different adventures.

As the film’s writing brings in Beckett gaining perspective on himself, real-life events play a part additionally. Beckett is a resistant survivor of World War II with Alfred Peron (played by Robert Aramayo), this is a factor in humanistic growth. The events of World War II are what loops Beckett’s feelings for Suzanne. Young Suzanne is performed by Leonie Lojkine, and Old Suzanne is performed by Sandrine Bonnaire. The personality of strength comes into play very thoroughly with a feeling of in-depth connectivity. Beckett may be in love, but he is still dealing with many demons. They are in their demise mentally.

The film is black-and-white—a mosaic of a man’s challenge and shame where the cinematography is in tune with the era of Beckett himself. As young Beckett is displayed, the film transitions to the older Beckett talking to another version of himself. It is like Beckett going back and forth trying to figure out how to put the pieces of what fits in his mind accurately. The writing of the film is presented like a play. I felt the audacity of frustration and sadness. I felt feelings of inadequacy, and that I was face-to-face with the reality of life finding meaning from Beckett himself.

The essence of love and enrichment is at the core of the performance of Shaw and Byrne as Beckett. As I have said Byrne makes me think of his role on In Treatment, this felt like a ride that was three times that height of emotions. More on terms with doing what it takes to put despair to good use. “Despair to good use” in creating something prolific, spellbinding, and life changing. Dance First is the life of one being controlled by many factors…but his words and his craft are of importance. There is a purpose to find the surreal keys of connection. I rate three-and-a-half out of four stars for Dance First.