Category Archives: Reviews

Reviews

‘Paradise City’ REVIEW

By Robert Yaniz Jr.

'Paradise City' stars John Travolta and Bruce Willis

John Travolta and Bruce Willis reunite for an action thriller that falls short of expectations.

THE HYPE

Back in 1994, John Travolta and Bruce Willis both delivered career-defining performances in a little movie called Pulp Fiction. The two actors barely share screen time in that film. And though Paradise City reunites them for the first time since then, it doesn’t fully capitalize on this opportunity. In fact, it’s bound to leave most viewers underwhelmed.

THE STORY

Paradise City opens with the apparent death of bounty hunter Ian Swan (Willis) in Maui. That’s not a spoiler, as even Lionsgate presents this incident as a key part of the premise. Before long, Swan’s son Ryan (Blake Jenner, Everybody Wants Some!!) launches an investigation into his father’s death. That leads him to mysterious businessman Buckley (Travolta) and a larger conspiracy threatening to impact the community of Maui.

THE CAST

Neither Travolta nor Willis has appeared in a major studio release for several years. And while the two actors do what they can with subpar material, Willis’ turn is more disappointing. With his retirement forthcoming, Paradise City is one of his final roles and not nearly the send-off he deserves. Of the remaining cast, only Stephen Dorff embraces the casual tone of the movie, handily stealing the movie from all involved.

THE PRODUCTION

Paradise City is also the first English-language film from director Chuck Russell since he collaborated with Travolta on 2016’s I Am Wrath. The director’s previous movie was the Indian film Junglee. But early on, he helmed bonafide classics like A Nightmare on Elm Street 3: Dream Warriors, 1988’s The Blob, and 1994’s The Mask starring Jim Carrey. Sadly, none of his visual panache comes across, despite the gorgeous location shooting.

THE VERDICT

Fans of Travolta and Willis might be interested in Paradise City for the novelty of their reunion. But they shouldn’t go into the film expecting much more than a mild distraction. In this regard, Paradise City is serviceable. But the pedigree of its two lead actors — neither of whom gets enough screen time — and its director isn’t enough to carry a bland, convoluted story.

Paradise City is now available to watch on demand.

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Reviews

‘Call Jane’ REVIEW

By Robert Yaniz Jr.

Elizabeth Banks wears sunglasses as she sits in a car in 'Call Jane.'

Elizabeth Banks and Sigourney Weaver shine in an all-too-relevant tale of women’s rights.

THE HYPE

As Hollywood grapples with the ever-shifting streaming age, Call Jane is exactly the kind of mid-budget movie liable to get lost in the shuffle. The film lacks the stylized spectacle, broad humor, or high concepts that so often secure a theatrical release. However, its subject matter — as well as its skilled cast and crew — makes it an easy one to recommend to moviegoers.

THE STORY

Elizabeth Banks stars as Joy, a 1960s housewife who finds herself faced with a life-threatening pregnancy. Since abortion isn’t exactly a legal option, Joy is forced to pursue an alternative way to reclaim her bodily autonomy. The answer lies in a cryptic ad advising women in need to “call Jane.” And in doing so, Joy becomes a part of something much bigger than herself. It’s no surprise that Call Jane feels especially relevant in the current political climate. The fight for equality often feels like an interminable struggle, and director Phyllis Nagy underscores just how necessary that vigilance is.

THE CAST

Banks has always been a gifted comedic actor, and while Call Jane isn’t really a comedy, she brings a light touch to Joy. A story this pointed requires the right tone to ground it. And Banks brings a balance of vulnerability and strength that draws viewers into her character’s journey. Likewise, Sigourney Weaver lends her natural gravitas and power to Virginia. And Chris Messina is solid in his undercooked role as Joy’s husband. But Cory Michael Smith — who also appears in the Nagy-scripted Carol — delivers the most memorable supporting turn as a morally ambiguous doctor.

THE PRODUCTION

Nagy — whose only previous directorial experience was the 2005 television movie Mrs. Harris — lends an intimacy to Call Jane that befits the delicate story at hand. And though the script by Haley Shore and Roshan Sethi has its sights on a much larger scope than it’s able to grasp, Call Jane resists the urge to dip into melodrama throughout. Instead, the political backdrop featured in the film provides the larger context for Joy’s personal growth.

THE VERDICT

Call Jane doesn’t have the bandwidth to give its subject matter as thorough an exploration as it deserves. But it does scratch the surface in an entertaining way, bolstered by strong performances and a breezy script. The film has a lot to say and does so in a way that is both respectful to the complicated questions it raises and also accessible to casual moviegoers. In short, Call Jane is a sufficient call to action arriving at what may be the opportune time.

Call Jane is now playing in theaters.

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