• The Commuter (2018)

    The Commuter is another movie with Liam Neeson being Liam Neeson. This time, he plays a family father who loses his job and is about to lose everything he has. On his train ride back home, he gets approached by a woman who offers him twenty-five thousand dollars if he does her a favor. As soon as the desperate man takes the money, all hell breaks loose. He is supposed to find and eliminate a witness to a crime on the train or else his family will be in danger.

    Even though we have all watched similar movies before like Non-Stop, also involving Liam Neeson, that had a very similar story but took place on a plane, The Commuter is one of the most entertaining movies of its kind. It takes the time to introduce the main character and how his organized everyday life shatters from one day to another which makes us empathize and even identify with the character. 

    The plot is mysterious and tense, as more and more details about the background story emerge step by step to keep viewers focused from start to finish. Additional story elements add a few doses of energy at the right moments and even though the solution to it all isn't that hard to figure out, you still keep guessing until the end how it might all turn out.

    The movie obviously has a very special atmosphere, since more than three quarters of it take place on a train, in a closed environment, with a set of diversified characters. I have always liked the idea of movies, novels and theater plays based upon this idea and it's very well executed here.

    The special effects aren't overused which gives the movie an almost realistic touch which gets the viewers emotionally involved. Only the final twenty minutes or so are filled with spectacular action, leading to an appropriate showdown and its aftermath.

    The decent soundtrack complements the movie's gloomy atmosphere. The lighting techniques add a sinister tone as well. The at times claustrophobic camera angles are employed accurately. The makers of this movie clearly knew what they were doing.

    Even though The Commuter isn't a particularly original movie, it's a great ride and entertaining from start to finish. Go watch it at your local cinema.

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  • Kingsman: The Golden Circle (2017)

    Kingsman: The Golden Circle is an energetic roller coaster ride similar to the first instalment three years earlier. It's basically a reinvention of the James Bond franchise for younger generations, especially teenagers and young adults. The mixture of relentless action, British humor, a tiny shot of eroticism, exotic locations, twisted scenarios and spectacular special effects still works very well. What makes the Kingsman franchise special are the young and geeky main character, the connection to contemporary phenomenons such as social media activities and robotics as well as a more extreme mixture between situation comedy to lighten things up and visually explicit images to impress younger generations.

    There are only a few minor elements that are wrong with this sequel which is on the same level as the predecessor. First of all, the movie includes a few continuity mistakes such as car doors getting torn off just to look perfectly intact one shot later. This shows that the filmmaking process was slightly rushed and sloppy. Secondly, the movie overuses the use of stereotypes about the differences between American and British cultures. Especially the song Take Me Home, Country Roads by John Denver is overused in this film, especially since the movie takes mostly place in Kentucky and not in West Virginia. Thirdly and most importantly, the plot is also somewhat incoherent. It never becomes obvious why Harry suspects Whiskey to be a traitor. The idea that the villain placed antidotes in secret locations all around the world without even one of them being discovered is quite ridiculous as well. The way the Kingsmen finally discover Poppy's hideout in Cambodia doesn't make much sense either.

    In the end, Kingsma: The Golden Circle is an energizing, entertaining and fast-paced spy flick for teenagers and young adults. If you are open to pardon some obvious filmmaking and plot mistakes and just want to switch your brain off, you will certainly enjoy this slightly shallow film for what it is. I really liked the vivid ride but I wouldn't consider this film or the franchise a contemporary classic as many other people seem to do. It's fun but lacking substance to be more than just that.

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  • The Foreigner (2017)

    Jackie Chan is an incredibly skilled actor but he has often chosen rather uninteresting roles that limit him to slapstick comedy and a few fight scenes in exchangeable family movies like Kung Fu Yoga and Chinese Zodiac. His last entirely interesting movie was the historical drama 1911 six years ago but even that movie was flawed due to its propagandistic vibe. 

    And suddenly, Jackie Chan is back with a bang in The Foreigner. Almost nobody saw that coming. And instead of focusing on gags and choreography, this film respects Jackie Chan as a serious actor. He plays a former special forces operator, refugee and family father who loses his single daughter in a terrorist attack and wants to track down the criminals behind this unspeakable act by any means necessary. Jackie Chan manages to find a perfect balance between playing a broken old man, a clever and strategic fighter with an intact moral compass and a pitiless avenger. As a viewer, you sympathize with this authentic and diversified character with authentic flaws and strengths. The Foreigner might actually be the best acting performance in Jackie Chan's incredibly long career.

    In addition to an outstanding Jackie Chan, this movie features other great actors such as the charismatic Pierce Brosnan. His performance as Jackie Chan's determined, influential and manipulative antagonist might be his best since his departure from the James Bond franchise one and a half decades ago. The different supporting characters of mostly Chinese or Irish origin are also quite convincing.

    As if that weren't enough, the story of the movie is so addicting because it's quite authentic. The topic of the Irish Republican Army has been used many times before but only very few films show the corruption, ideology and struggle behind it like this film does. The movie is based upon Stephen Leather's novel The Chinaman and the detailed movie shows that it's quite faithful to the source material.

    The film convinces with a balanced mixture of action, crime and drama elements and equally focuses on developing the main characters, offering diversified action sequences from exploding buildings over hand-to-hand combats to home invasions and perpetually raising the tension of the film until a stunning showdown. Exposition, rising action, climax, falling action and resolution are all cleverly developed.

    The skilled directing by an experienced Martin Campbell who had already collaborated with Pierce Brosnan in the past is the cherry on the cake of a flawless film. The locations are simple but efficient, the lighting techniques add to the respective moods of the scenes and the well-integrated soundtrack always blends in.

    In the end, The Foreigner deserves the attention and praise it already gets and would even deserve more. It's one of the very best movies of the year and a stunning return for Pierce Brosnan, Martin Campbell and especially Jackie Chan.

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  • Baby Driver (2017)

    Baby Driver is an above average action movie but definitely not the perfect blend so many critics seem to see in it.

    On the positive side, the action sequences of the movie are vivid, spectacular and diversified. They also look rather realistic and don't overuse CGI technology. The last third of the movie has a great balance between an overall gloomy atmosphere and few more hopeful scenes between the characters. CJ Jones and Lily James played really likable and profound characters one could easily identify with. Jamie Foxx and Jon Hamm played two quirky gangsters with their very own styles. It was also great to see Flea from the Red Hot Chili Peppers as a side character in this film.

    On the other side, the backstory isn't very original. The stereotype of a tough guy with a soft core because of a rough childhood is simply overused in Hollywood. The underlying message that he is still a nice guy and didn't have any choice to become a criminal is also very dangerous. Some of the characters' decisions are plain unrealistic, especially the typical Hollywood ending is filled with laughable stereotypes. Another issue is that every second Hollywood movie uses rock music of the seventies these days. While I like this type of music, it's simply wrong to praise this movie for its original style that isn't that original after all. I also thought that the middle section of the film dragged on for too long. The main character was introduced as a cool character that doesn't speak or think much but the middle section suddenly tried to give the character a more intellectual and profound touch which was completely misplaced.

    In the end, Baby Driver is without a doubt an overall entertaining, fast-paced and stylish action movie that you should enjoy at your local movie theatres. But it simply isn't anything more than that. It's the kind of movie you will enjoy while you're watching it but you probably won't remember much of it after a few months or years.

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  • Samurai Cop (1991)

    Samurai Cop is a movie that is bad on so many levels that it's difficult to know where to begin. First of all, the acting performances are below average and lead actor Mathew Karedas seems to only have one facial expression. The plot is everything but clever, extremely predictable and could be described as almost childish. The dialogues are thin, unconvincing and often performed in poor English because the script was written by Iranian director Amir Shervan who didn't have much experience. The female characters in this movie are all stupidly obsessed with sex and the male characters try to look cool on purpose which makes them look like complete idiots. The camera techniques are often terrible because characters who are talking are sometimes out of frame or picture. Technicians are sometimes visible in the reflections of sunglasses or as shadows in a small room. There are numerous continuity mistakes with people wearing sunglasses in one cut and not wearing them in the next cut four seconds later, hospital rooms being filled with people that have mysteriously vanished five seconds later and people being asked to come from New York City to Los Angeles who are suddenly present a few minutes later as if they had taken a rocket ride. The locations of this film are also boring and mostly consist of exchangeable alleys, random intersections and cheap restaurants. The worst part about the movie is that the director forgot to shoot some important scenes and asked the different actors to come together again to finish the film about four months after it had already been finished. The problem here is that our static lead actor Mathew Karedas cut his long hair after the movie had been completed and had to wear a wig to avoid continuity errors. The problem is that this wig looks extremely fake and is even pulled off his head in a fight Scene if you watch closely which is the cherry on the cake of this goofy b-movie.

    You might wonder why this film still deserved a generous five out of ten points. The answer is quite obvious. This film is so bad that it's almost good again. It's quite amusing to catch all the obvious mistakes. The film is unpredictable in its goofy weirdness. A nice drinking game invented by two German comedians specifically for this movie consists of drinking a shot of alcohol each time the main character's wig is visible.

    To be fair though, it's a quite entertaining movie with a lot of car chases and fight scenes with bare hands, pistols, swords and improvised weapons. The movie also includes several soft porn scenes and a shallow love story that gives us a break from all the action. I was never bored by this movie because of its vivid flow. Most action movies these days either bore with complicated background stories, endless dialogues and take themselves way too serious or are filled with exchangeable CGI effects and enormous plot holes in unnecessary sequels. From that point of view, Samurai Cop is almost refreshingly grounded and unpretentious.

    Fans of old-school action b-movies could be very well entertained by Samurai Cop and can give this film a shot if they are open to have some fun. My advice would be to invite some friends over while watching this film. Despite its numerous obvious flaws, Samurai Cop is still overall an average movie and not among the worst films I have ever watched like so many other people claim.

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