Justice League (2017) Review:

With Marvel Studios now seemingly perfected the concept of making every superhero film fresh and new, several critics continue to bash Warner Brothers for continuously failing to replicate any of those elements into their comic book movie adaptations. That's actually hard to fully get on board with. As much as Warner Brother Studios continues to play catch up with their rival film studio, they have managed to pull through in certain areas. As divisive as Man of Steel (2013) and Batman V Superman: Dawn of Justice (2016) were to many viewers, Warner Brothers has managed to finally establish their set of shared movie universes. And as much flack as they get for stumbling along the way, they are persistent, you have to give them that. Now with their magnum opus here, finally bringing to life famous characters and successfully uniting them altogether, their end result is just okay. They got Wonder Woman (2017) right, so how did this turn out to be just okay? It's just a lot when it's all said and done.

"So,....who's up for round 3?"

Directed again by Zack Snyder, the plot follows the events of Batman V Superman: Dawn of Justice (2016) with the death of Superman (Henry Cavill). Fearing that with Superman gone, earth won't be able to defend itself from a new evil named Steppenwolf (voiced by Ciarán Hinds), Batman (Ben Affleck) gathers Wonder Woman (Gal Gadot), The Flash (Ezra Miller), Aquaman (Jason Momoa) and Cyborg (Ray Fisher) as backup. There's also a subplot about the possibility of resurrecting Superman using what is called a "mother box". According to Wonder Woman, there were three and if all were combined it would be the beginning of the end. The script was written by Chris Terrio and Joss Whedon of which both have had their share of successful films. Whedon is obviously known for leading Marvel's The Avengers (2012) and Serenity (2005). Chris Terrio was the writer to Batman V Superman: Dawn of Justice (2016) and Argo (2012). But even with this premise and setup, there are still problems to be had with the script.

Recurring supporting characters are almost pointless in this entry, except for a few. Actors like Jeremy Irons as Alfred and Joe Morton as Silas Stone are used because they are necessary for certain characters. However, other characters like Commissioner Gordon (J.K. Simmons), Lois Lane (Amy Adams), Martha Kent (Diane Lane), Hippolyta (Connie Nielsen) and even Mera (Amber Heard) are all characters that either can be reintroduced or debut for their first time in a another film. Jamming in all these other individuals throughout the movie just feel like the producers want everyone to remember these people exist. Another blunder is the whole cataclysmic plot device that somehow makes its way into every superhero film. Can there ever be a time where these kinds of things aren't used in ensemble movies? It's just a really tiresome setup. Lastly there's the concept of Superman's memory if he were to be brought back to life. If his memory does remain, how is it that he seems to remember only certain things?

However even with that said, there are components that do work in this film's favor. Gone is the dark and and ho-hum atmosphere of Man of Steel (2013) and Batman V Superman: Dawn of Justice (2016). Now the tone has shifted to where things are more as one would say, normal. On top of that, the actors who share the lens together share great on screen chemistry. Momoa, Gadot, Affleck, Miller and Fisher all have their moments to shine. Momoa and Miller are really the ones who steal the show; which is impressive. Especially for Momoa, since Aquaman has always been thought of being the harder superhero to adapt correctly. Some of their interactions together are based on prior decisions, while others are analyzed through the time a choice is made at that very moment. Either way, the dialog held between these individuals are done so in a way that is enjoyable and lets the audience know that these protagonists are not serious all the time. Yet when a call to arms is made, this is another area where this movie shines.

Steppenwolf

One thing's for sure, Zack Snyder knows how to create action spectacles and that's no different here. The action is better than his other efforts because the live-action doesn't look so much like a video game cut scene. This also in due part to Fabian Wagner's cinematography. Wagner, who has mostly used his skills on the small screen did an adequate job for this blockbuster. Many of the shots capture a lot of geography and hardly any of it is too close to make out. Wagner has filmed for the Game of Thrones and Sherlock series, and for Victor Frankenstein (2015). For music, the film score was composed this time by Danny Elfman. Thankfully Elfman really knows how to make a score work correctly. The drowning soundscapes of Hans Zimmer and Tom Holkenborg are hardly ever heard here and that's great. The Man of Steel (2013) theme is heard once but Elfman rightfully reuses John Williams' Superman (1978) theme and his own Batman (1989) theme during the film. That's classic music and it works better than anything else.

While it may still have its problems of over bloated character appearances and overused plot devices, this entry has slightly improved over passed blunders. The action still entertains, the on screen chemistry between actors is great, and the film score is more organic in sound.

Points Earned --> 6:10

Samurai Cop (1989) Review:

There are just some people in life that seem to have no idea how to do certain tasks. Yet their profession in life is the exact thing they cannot do correctly. How does that work? Well it doesn't matter because people like this exist all the time and sometimes, there are no answers. So the only way to deal with this matter is to either ignore it or embrace it. When it comes to bad movies, there's only a select group of filmmakers who can make ones that are so bad they are good. But occasionally, others make it into this category solely due to one production they had ever made. For director Amir Shervan, this feature would be his claim to fame. Yet prior to this film, his name was not well known. Even with the 29 other credits he had listed under him, it would be this movie that would bring his name into a conversation. Who would have thought though that such a ridiculous title would even get anyone's attention? Nobody probably did, but this is one of those films where that's the least silliest thing about it.

Matthew Karedas & Mark Frazer

The premise to this action film is about Frank Washington (Mark Frazer), a cop who needs help cleaning up the streets. However, the Japanese gangs that run around are ruthless. So for help, he recruits Joe Marshall (Mathew Karedas) also known as Samurai. Why? Because he was trained in the way of the samurai as well as your local urban cop. With that, you have your samurai cop. Running the gangs are Fujiyama (Cranston Komuro) and his henchman Okamura (Gerald Okamura) and Yamashita (Robert Z'Dar). The only connection Washington and Marshall have to Fujyama is Jennifer (Janis Farley), Fujiyama's girlfriend and business partner. So as to how they get closer to their enemy - it's rather obvious. The script was also written by director Amir Shervan. With that said, this gives a clear indication as why things are the way they are throughout the whole film. There are several things about it that are just hilariously stupid about it and yet it works in its favor.

The two biggest flaws the screenplay has are the dumb choices certain characters make throughout the film and the other being the over the top nonsensical dialogue said between characters. There are so many scenes that add nothing to the plot or develop the characters. Joe Marshall is somehow able to convince every single female he meets to sleep with him without even really saying much. How repressed were these women? Some just flat out ask Marshall whether or not he wants to fornicate with them. What world does this take place in? Like this happens in public settings, not your local strip club. As for the acting performed by Frazer and Karedas, they are okay to laughable at most. Karedas seems like he can act when he wants, but there are other times where no emotion exists. Meanwhile Frazer looks like he was on something the whole time during shooting. There's not a moment where he's serious whatsoever. I'm just curious if Karedas really saw himself as an actor. He looks more like a GQ model.

Aside from these two though, the best actor of the whole cast was in fact Robert Z'Dar. An underrated thespian in general, Z'Dar may not be in too many big hit films, but he did have way more than the two stars mentioned before. Being in movies like the Maniac Cop (1988) franchise and Tango & Cash (1989), he was certainly someone to recognize. Here Z'Dar is mildly controlled but is in the best shape of his life for this movie. As for the rest of the actors, Gerald Okamura is known for being in other big budget films like Big Trouble in Little China (1986), Showdown in Little Tokyo (1991), The Shadow (1994) and Blade (1998). As for Cranston Komuro, the only movie he's known for is this one. There is also Melissa Moore playing Peggy, another cop but her role isn't that significant. Now with acting being mostly on and off, is there anything to expect from the other components? Some of it yes. The action sequences and effects are not one of them however. Being that filming was rushed and edited poorly, almost nothing works.

"I am the best looking in this movie....."

Many of the action scenes are boring and not that energetic. Several shoot outs sound as if they were all practicing and not aiming at one another. Some of the sound effects are not even placed on the right scene with some noisy shots falling silent. Only the sword duel finale was moderately entertaining, but nothing else. The cinematography was at least average. Handled by Peter Palian, a frequent Amir Shervan collaborate, the camerawork at least provides some sights to this action flick. When it comes to the backgrounds, especially the ending, audiences will get a clear view of what surrounds the main characters. When it comes to interior set pieces, they look okay as well. For music though, that needed some work. Composed by Alan DerMarderosian, the score sounds almost to that of a Gameboy Color start menu. It's not bad, but it's association to the story feels mismatched. Plus there are several times where the music will abruptly cut off when scenes change. That is never a good thing. Oh well.

There are things to find enjoyable about this because it is so horrendously put together. But that doesn't mean it's in anyway a good movie. The story is bare bones, the action, effects and music are all sloppily edited. The only saving grace is it's cast and the insanely goofy script.

Points Earned --> 6:10