not quite sure how to approach this, as it's possibly the stupidest movie i've ever seen as well as one of the best movie experiences i've ever had. i went all out for this, opening night in 3D on one of less than 15 IMAX laser projectors in the country, at a cozy museum theater with 4 or 5 other people in attendance. to be fair this setting made it hard to focus on or evaluate details i might look for at home, and i think in some sense that's the point of this sort of thing, it's a business selling a ride, and we aren't necessarily looking for great art from great auteurs. but there is also a sense of joy here that obliterates everything else - this is so adamantly stuck back in 2002 that it's practically a period piece, and therefore a comfort to me. even the tech is nothing beyond what could have been dreamed up for the first mission impossible movie - the billion dollar government plane is loaded up with the same bulky computers as always, the device the fate of the world rests on looks like a 3DS, the first appearance of a smartphone is when diesel is using it for a stopwatch. he actually uses a paper map. dynamite is in sticks. and so, xander cage, from his undead purgatory of the last 15-ish years, returns for vengeance ?? and money ?? and redemption ?? and chicks ?? and ?? into a world not much changed from when he left it, almost as if time stopped when he refused to participate in it. nothing makes sense but it all makes enough sense, it's fine. there's a box. a lot of people want the box. who's gonna get the box? who's gonna die for the box? the important thing here is that everything hinges on this sense that there is some rebellious force working behind the scenes, and besides their xtreme skills and adrenaline lust they're basically just misfits who decided that helping the world seemed like a good idea as long as they could look "dope" (can someone under the age of 21 confirm if people still say this word?) doing it. so there's a sense of hope here, and i can at least say that even though there's a scene where vin diesel goes to bed with like 9 models, overall this is on the right side of history. we've got a multicultural group of men and women who just want to kick The Man's ass and drink tequila later. there's something vaguely relatable there, an ungodly mixture of the superhero or superspy and the common man, people that you don't want to aspire to be but aspire to hang out with, fuck-ups who were left behind but redeemed themselves by thwarting an assassination with a needle drop or whatever. while we're here, i'd like to mention that i loved the women in this movie - they're given pretty much equal screentime, and though there are plenty of them wearing very little, there's something innocent about the gazing that is much closer to respectful appreciation than exploitation. they're objects to ogle in massive 3D but also people who can equally match the men, who have their own little personalities and passions and troubles, cliche as they may be. they wear sexy dresses on the beach, but they sure as hell dress for shit getting real when shit gets real. i assume it has something to do with the PG-13 rating, but it's all very sports illustrated swimsuit issue, which is pretty cute. actually, i adored the costumes in this - pay attention to their carefully designed intersection between slick sci-fi and rap-metal video, the dedication to the way the costumes match their owner and each other, a cog in a pulse-pounding almost-cool machine. this whole thing is what a numb/encore video might have looked like. if the 3 seconds in which a 16 year old did a kickflip were extended to 2 hours, it would be this movie. that kid got in trouble, never did his homework, and probably works at subway now, but who didn't want to hang out with him? anyway, you see my point. what makes this blockheaded thing work is that everyone who worked on this film decided to make this as if it was the first 3D feature. every bit of it is focused only on this experience, from the gravel spewing at the camera as a motorcycle peels out to the long gazes at women's bikini-clad bods to the "beautiful" shots of scenery. it's an attempt at pulling you into the moment - into a dance club or a freefall from a plane or a ski trip through the jungle, yes, but also all the way back to 2002, to shitty music and shitty tribal tattoos. we were post-9/11 but not post-anger, and maybe just far enough away from despair to be certain we would survive. this thing isn't artful, the only real beauty is in a few shots of vin diesel diving into the ocean after an amphibious motorcycle, which one could easily argue is enough. but there is a...kind of art...in here...somewhere. there is a kind of art in this extreme dedication to a certain aesthetic, a tone in that hazy place between overserious and parody, a sincerity, a belief that what you're doing may not be necessary but your mission to make a nation in turmoil laugh and cheer is noble nonetheless. everyone in this movie seemed like they had a whole lot of fun making it, like they really tried, like they weren't checking their account balance to see if their paycheck had been deposited between scenes. there was not an ounce of laziness here. i love ART as much as the next person, but if watching a whole bunch of super hot people dance around and shoot each other and quip on a screen so overwhelming that i felt like i might actually barf a couple of times is the future of cinema, that's fine. i love hot people. i love quips. i have room to love stupidity in its purest, hateless, gleeful form. the bottom line is that this movie is a tennis ball, and i was the dog caught up in absolutely nothing beyond chasing it.
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