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Looking California and Feeling Minnesota: Episode 128 - Carry-On

On the premier episode of season six of Looking California and Feeling Minnesota, Barry and I wait in a long security line at LAX and talk all things Carry-On, the new Netflix action movie starring Taron Egerton. Topics discussed include missed cinematic opportunities, the business sweet spot for Netflix, and the brilliance of Die Hard - and to a lesser extent Die Hard II.

Looking California and Feeling Minnesota: Episode 128 - Carry-On

Thanks for listening!

©2025

Carry On: A Review - The Movie Equivalent of Airplane Food

****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 2 out of 5 stars

My Recommendation: SKIP IT. Nothing to see here. Flaccid formula film with sub-par action – in other words…just more cheap Netflix nonsense.

Carry On, starring Taran Egerton, is a Netflix action thriller where a TSA agent at LAX must thwart an elaborate terror attack on Christmas Eve.

The film, which has a two-hour runtime, premiered on Netflix on December 13th and has been their most watched film since.

I won’t reveal much about the plot of Carry On in order to maintain its thriller’s edge for those interested in seeing it, but the basic premise is that Ethan Kopek (Egerton) is a police academy dropout and middling TSA agent. After finding out on Christmas Eve that his girlfriend Nora (Sofia Carson) is pregnant, he decides to dedicate himself to his job and prove his worth.

Unfortunately for Ethan, Christmas Eve is one of the busiest travels of the year and it’s also the day a mysterious bunch of terrorists have a big terror attack planned which includes using a TSA agent as an unwilling pawn.

The film, which is directed by Jaume Collet-Serra, is meant to be a sort of clever twist on the original Die Hard formula – remember Die Hard is a Christmas movie too, but trust me when I tell you that Carry On is no Die Hard. In fact, Carry On couldn’t carry Die Hard‘s ample jock strap.

Carry On attempts to be an action thriller but is undermined by the fact that the action is repeatedly passe and the thrills decidedly muted.

For example, there’s one big action sequence in a car where Wham’s iconic hit Last Christmas plays that I am sure the filmmakers thought was so original, amazing and awesome, but which I found visually dull and dramatically flaccid.

The thriller angle to Carry On is thwarted because the movie just isn’t taut enough, it is a bit too preposterous and a bit too flabby around the gut.

Director Collet-Serra’s last film was the god-awful Dwayne Johnson super hero vehicle Black Adam, and Carry On has a similar whiff of poor direction to it as that movie. Everything in the film is never quite good enough or interesting enough or well-executed enough. It’s just a serious of sub-par sequences that add up to an entirely forgettable movie.

Taron Egerton has been injected into our lives as a “movie star”, or at the very least a “potential movie star”, but frankly, I don’t see it just yet. He’s certainly ambitious but his ambition far outweighs his charisma and/or charm.

As Ethan, Egerton reminds me of Sam Worthington, another guy who they tried to make a star but who just wasn’t up to it. Worthington, who has gone on to star in the Avatar films, was shoved down our throats for a few years, but after repeated failures settled into the Avatar gig. Worthington took a different track than Egerton and ultimately found a home as a CGI lead actor. Egerton, on the other hand, has tried to be a movie star and an award worthy actor but he is neither, as he is both a bit wooden and a bit too histrionic for either assignment.

Jason Bateman plays one of the bad guys and he is just…fine. Bad Bateman is definitely the best Bateman and yet his character is never fully utilized in a way that would let him truly shine or even steal the film, something of which he is entirely capable.

Ethan’s girlfriend, Nora, is played by Sofia Carson and she is not particularly good in a very poorly written part.

The rest of the other performances are cringe-worthy attempts. There’s the hip-hop TSA agent, there’s the tough as nails LAPD detective, there’s the nice guy best friend, the bad guy boss, the gay guy, the other gay guy and all the rest and none of them seem remotely real or interesting.

The most frustrating thing about Carry On is that there really is a kernel of a terrific movie hidden underneath all the nonsense. The premise of a TSA agent dealing with a very smart and savvy terror group during the Christmas season has great potential…which is why Die Hard is so iconic.

But Carry On fails to fully flesh out its premise and use it to cinematic and dramatic ends. The potential of Carry On dies on the vine because director Collet-Serra simply lacks the skill, talent, craftsmanship and vision to make it anything more than, at best, a derivative piece of empty Netflix calories.

If you like waiting around at the airport for two-hours for your delayed flight to Dayton to come in, then Carry On is the movie for you. If you like precise thrillers filled with clever, heart-pounding action, then you should check your luggage because Carry On is not the route you wanna go.

The bottom line is that Carry On is a throwaway piece of moviemaking that never fails to underwhelm. If you want to enjoy your holiday season…skip Carry On.

On that joyous note I want to wish all of you a very Merry Christmas!!

©2024

Gladiator II: A Review - There Was a Dream That Was Rome

****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 3 out of 5 stars

My Recommendation: SEE IT. It pales considerably in comparison to the original, but still a decent enough, and entertaining enough, swords and sandals action epic.

There’s been a TikTok trend going around in recent years about how every man supposedly thinks about the Roman Empire at least a little bit every day of his adult life. That, of course, is utter nonsense. Just kidding…it is absolutely, 100% true…at least in my life…I mean, what the hell else am I going to be thinking about during the day except the Roman Empire?  

The makers of Gladiator II, the long-awaited legacy sequel of Ridley Scott’s Best Picture winning Gladiator (2000), are hoping that audiences will think enough about Ancient Rome to make the trek to the movie theatre to go watch a movie about it this coming Thanksgiving weekend.

The film, once again directed by Ridley Scott, stars Paul Mescal as Hanno, a prisoner of war turned gladiator, and features supporting performances from Denzel Washington, Pedro Pascal and Connie Nielson.

In order to avoid any semblance of spoilers, I’ll give a brief and intentionally vague rundown of the plot.

Fifteen years after the events of the original film where Maximus famously kills Commodus, and then himself dies, Rome is an empire on the verge of collapse due to the depravity, debauchery, decadence, militarism and mismanagement of its in-bred ruling class…sound familiar? If you have even a passing association with reality in America, then it should.

Twin emperors, Caracalla and Geta, are bloodthirsty madmen presiding over the empire who have sent skilled general Acacius across the globe to satiate their appetite for conquest.

Acacius invades and conquers the African city of Numidia, where Hanno is a warrior. In defeat Hanno is enslaved in the service of Macrinus, a former slave himself who has a stable of gladiators who fight in the Colosseum. Macrinus sees great talent in Hanno and makes him his number one gladiatorial attraction in the hopes of using Hanno’s success in the Colosseum as a tool to climb the social and political ladder.

The plot, which entails a bevy of twists and turns and flashbacks and reveals, goes from there.

The original Gladiator was a miracle of a movie. A big budget, sword and sandals action epic that barely had a working script during shooting, which, through the sheer force of Ridley Scott’s talent and Russell Crowe’s movie star charisma, became a blockbuster prestige movie that made a bundle of money and won a handful of Oscars. It is, after twenty-four years, still glorious to watch and re-watch.

I kept thinking of the famous line from Gladiator, “what we do in life echoes in eternity” while watching Gladiator II, because what Gladiator II really is, is a very faint echo of the boisterous blockbuster bellow from twenty-four years ago that was the original Gladiator.

Another quote from Gladiator was ringing in my head as I exited the theater after watching all two-and-a-half hours of Gladiator II, and that was “are you not entertained??”

My answer is…”ummm…yeah…I guess so.”

It is undeniable that Gladiator II pales considerably in comparison to the original. That doesn’t mean it’s a bad movie, or that it isn’t entertaining, because it is decent enough and entertaining in its own way, it just means that the best way to enjoy it is to go into it with low expectations.

Gladiator II is, like the original, in its essence, a sword and sandal action movie, and it boasts some impressive fight sequences that are, at times, exhilarating. Most notably Hanno’s fight in the emperor’s palace, which is electrifying for its close-quarters brutality and realism.

But at other times, the fight sequences border on the inane. For example, there’s a fight between gladiators and a gang of baboons that seemed the absolute essence of silliness.

Overall, the movie serves up a bevy of gladiator fights, and even if some of them are a bit preposterous to the point of silly, they’re still gladiator fights…and who the hell doesn’t like gladiator fights?

The plot of the film is a bit convoluted and stretches credulity as well, and its twists and turns don’t quite compel like they did in the original, but that said there are some bright spots.

For instance, whenever Denzel Washington’s Macrinus is on screen, Gladiator II is winning. Washington’s Macrinus is a Shakespearean super villain, like the bastard love child of Iago and Richard III. Denzel chews the scenery in this movie with more aplomb than the CGI sharks in the Colosseum naval battle do their unfortunate victims.

Late career Denzel is often times underwhelming as his verve can wane and his focus can wander. But as Macrinus, Denzel is totally engaged and seems to be having a helluva lot of sinister fun, and it is a pleasure to behold.

The lead of the movie though is Paul Mescal, who is a moderately well-known actor, despite my never having seen his work. I thought Mescal did, for the most part, an admirable job in the lead of Gladiator II.

For starters, Mescal is in fantastic shape for the role, which is in sharp contrast to the mildly chubby Russel Crowe in the original. Mescal has a physical dynamism to him that is undeniable and jumps off the screen in the action sequences in the movie. Unfortunately for Mescal, and despite what Hollywood will tell you, muscle doesn’t make a movie star. Mescal is no Crowe in terms of charisma and gravitas, and he cannot carry the film on his own. In many ways, Denzel steals the show right out from under him….which isn’t much of a mark against Mescal since Denzel steals most every movie he appears in.

Pedro Pascal is subdued and rather forgettable as Acasius, the morally and ethically conflicted general. The lethargic Pascal seems devoid of magnetism in the role and feels out of place in the film.

Connie Nielson, reprising her role of Lucilla from the original, also feels out of rhythm and out of place. Her character’s arc is not written particularly well, and she does not elevate it with her rather anemic performance.

Fred Hechinger and Joseph Quinn, playing Caracalla and Geta respectively, seem to be mimicking Joaquin Phoenix as crazy Commodus for the entirety of their rather one-note performances. There are worse actors to copy than Joaquin Phoenix, but in this case a bit of nuance and variation, which Phoenix brought in the original, would have better served the film.

As for director Ridley Scott, Gladiator II is nowhere near the upper echelon of his staggering filmography, but it must be said that it is truly remarkable that an 86-year-old man is churning out big budget epic movies like this.

Scott has made four films in the last four years, one bigger and more complicated to pull off than the next. The Last Duel (2021), House of Gucci (2021), Napoleon (2023) and Gladiator II (2024) is a grueling gauntlet for a filmmaker half of Ridley Scott’s age…and he doesn’t seem to be done just yet as Gladiator II is doing very well at the box office and no doubt will compel Ridley, and more importantly movie studios, to let him keep going.

While Gladiator II is certainly a flawed movie, it is still a real movie and a proficiently made one that is fun to watch. I don’t think it’ll win any Oscars, or break box office records, but it’s a decent and respectable piece of work for any filmmaker, never mind one that is 86.

If you loved, or even just liked, Gladiator, you’ll find Gladiator II to be a passable but ultimately second-rate imitation. I do recommend you check it out, and do so in a movie theatre, but just be sure to arm yourself with lower expectations.

©2024

Rebel Ridge: A Review - Where's Rambo When You Need Him?

****THIS IS A SPOILER FREE REVIEW !! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 2 out of 5 stars

My Recommendation: SKIP IT. An action thriller with little action and no thrills.

Rebel Ridge, written and directed by Jeremy Saulnier, is a Netflix original action thriller that tells the story of Terry Richmond, a former Marine who is wronged by a small-town police force in the deep south, and seeks justice.

At first glance Rebel Ridge looks like a First Blood rip-off/homage with Aaron Pierre’s Terry the stand-in for Sly Stallone’s John Rambo. But that impression is the wrong one.

Rebel Ridge is not First Blood, not by a long shot. The movie is an action thriller that is short on action and devoid of thrills. Its biggest problem is that it simply refuses to satiate the audience’s bloodlust, which ultimately makes the film deeply unsatisfying.

The premise is simple enough - a guy gets mistreated by police in a small southern town and fights back (sounds just like First Blood). In this case the cops use civil asset forfeiture laws to confiscate Terry’s life savings which he planned to use to start a new life with his troubled cousin. The local cops are, of course, both corrupt and racist, and their criminality leads to deeply dire consequences for the people Terry cares about.

But as simple as this premise is, writer/director Jeremy Saulnier makes the unfortunate choice to make the plot a long and winding tale that is much more complicated and convoluted than it needs to be, and ultimately less gripping than it should be.

The issue of civil asset forfeiture is a compelling one to spotlight, but Rebel Ridge fails to stay focused on that issue and instead gets lost with sidetracks into other topics, among them structural racism, the confederacy, the patriarchy, and the opioid epidemic, not to mention the budget crises of rural governments in America. All of these side issues end up burying the lede, which is the innate injustice of civil asset forfeiture laws, and that is disappointing.

Adding to the problems is the fact that for an alleged action movie there is a paucity of action, and what action there is, is quite mundane and poorly executed.

Rebel Ridge is no First Blood mostly because there is so little blood on display. The actual first blood in the film isn’t spilled until very late in the festivities and even then, it’s pretty tepid.

The reason for this is that the most distinct character trait of Terry, a martial arts expert, is that he refuses to use a weapon or kill anyone, which neuters Rebel Ridge from the get go, and this impotence only makes the film more flaccid as time goes by.

This lack of a killer instinct from Terry is not only boring to watch, it is taken to such extremes that it removes any sense of reality from the movie, thus making it all seem silly. I mean, I get not wanting to kill anyone, but when you are surrounded by bloodthirsty racist cops who are all shooting at you and you disarm every gun you touch and refuse to actually shoot back, then the suspension of disbelief goes right out the window along with Terry’s instinct for self-preservation.

The fact of the matter is that violence should’ve been the centerpiece of the film, but Rebel Ridge uses only the threat of violence as its centerpiece, which isn’t exactly cinematically compelling.

On the bright side, Aaron Pierre, who stars as Terry Richmond, proves himself a very worthy lead. Pierre’s performance is minimalist and isn’t so much dynamic as it is magnetic.

Pierre has a fine mastery of stillness – a skill lacking in so many of our current crop of actors, and exudes an undeniable power through minimal movement. Pierre never reverts to histrionics or hysteria, but instead is a picture of control while maintaining a vivid and vibrant inner life.

Action stars are hard to come by and Hollywood is desperate for them, so I hope Pierre gets more opportunities based upon his intriguing and often impressive performance in Rebel Ridge.

The rest of the cast, for the most part, fall short of Pierre’s work.

Don Johnson plays the local police chief Sandy Burnne, and he restrains himself from going full caricature but only barely. Johnson gives a paint by numbers performance that underwhelms.

AnnaSophia Robb plays Summer, a court clerk sympathetic to Terry’s plight. Robb acquits herself well in the poorly written role by bringing a nervous energy and palpable fragility to the character.

Emory Cohen’s Steve, a local bad guy cop, is a mindless caricature and dull as doornails, as is James Cromwell’s local judge character.

To top it all off the film lacks a distinct visual style that is most notable in the poorly choreographed and executed fight scenes. The whole movie looks like a second-rate television show…which is not a compliment.

Rebel Ridge has gotten good reviews and is doing robust streaming numbers, so it seems I am in the minority with my mostly negative feelings about the movie. I simply cannot understand why anyone would be exhilarated by this film. I understand the excitement over Pierre, who seems like a good find, but the rest of the film really flounders.

The bottom line is that Rebel Ridge feels like an action movie for people who don’t like action movies and but who want to say they like action movies. Therefore, I cannot recommend Rebel Ridge, but I’m hoping that Aaron Pierre’s next movie is a better one, since he shows great promise as a lead actor.

©2024