Rating: «  out of 4 Stars

Running Time: 113 min.

If you do happen to find yourself in the theater watching the action/thriller Criminal this weekend, I can think of a game you can play to pass the time. It’s called “The Dutchman” and it involves taking a drink each time you hear that name uttered. A word of warning - by the final act, it seems like it’s being yelled every single minute. I expect most will be thoroughly smashed by the credit roll. The fact there are now cinemas where drinking is a legitimate option leaves me both amused and frightened.

To put it bluntly, this movie is absurd. Its plot involves a CIA agent named Pope (Ryan Reynolds). He’s working an important case involving a computer hacker known as... you guessed it... “The Dutchman” (Michael Pitt). Within the technician’s flash-drive is a command that can control America’s entire arsenal. Hidden away at a secret location, the programmer waits to make a deal with the CIA and gain asylum in the US. On his trail is a Spanish anarchist (Jordi Mollà), who would prefer to use the technology to destroy the world. When a set-up takes Pope out of the picture, it leaves the CIA in the dark.

So how do they find “The Dutchman”? Head honcho Quaker Wells (Gary Oldman) has a logical solution - he decides to call in scientist Dr. Franks (Tommy Lee Jones). Franks has been working for 18 years on a process that will transplant a dead man’s memories into a living person. Unfortunately, the process exclusively works on men who have undeveloped pre-frontal cortexes. That leaves psychotic killer Jericho Stewart (Kevin Costner) as their only test subject.

It isn’t long after the experiment that Jericho breaks free from authorities. He has visions of Pope’s life, subconsciously follows the CIA agent’s routine and beats up anarchists (as well as random strangers) along the way. Alas, there’s nothing the cast can do with this material - they’re all wasted here, saddled with hackneyed dialogue. Their characters are thinly written and as more is revealed it all becomes sillier and sillier. The lead role of Jericho doesn’t give Costner much to do besides swing his fists and grunt repeatedly.

With a story that’s as over-the-top as this one, a knowing sense of humor could have helped. However, the tone here is consistently somber throughout. The visuals are drab and dull and the violence frequently ugly. Jericho beats people so severely that there isn’t any real fun to be had from it.

Even more baffling is the lead’s character arc. His interactions with Pope’s wife (Gal Gadot) are the least convincing, particularly when confessing to the widow and her daughter that he is now beginning to, “...feel things.” Yes, it’s a redemption story in which a sociopath is coaxed by a family into becoming a caring human being. Or at least that’s what the filmmakers want you to believe, because he still brutally kills a whole lot of people even after embracing his sensitive side.

While there are a few shootouts and a car chase towards the end of the picture, there also isn’t nearly as much action as you would expect. The majority of the movie involves characters either walking briskly down hallways, staring at computer monitors or demanding to know where “The Dutchman” is. Overall, it’s quite dull and doesn’t even deliver on a cornball, B-movie level.

Criminal is an unfortunate blunder of a flick that doesn’t make use of an impressive cast and crew. The story doesn’t hook you and it becomes increasingly impossible to take seriously as it progresses. I could go on, but I think I’ll stop here, say “The Dutchman” to myself and just get another drink.

Visit: www.cinemastance.com

By Glenn Kay

For the Sun

Rating: «« out of 4 Stars

Running Time: 96 min.

A strange thing happened during the preview screening of the first-person action flick, Hardcore Harry. While some members of the audience hooted and hollered at the over-the-top events and violence appearing onscreen, many others were less than impressed. I counted at least 20 walkouts in the opening half-hour. It felt like there was constant movement of people in and out of the theater. That’s a huge number of people throwing up their hands in dismay. Clearly, this is going to be a polarizing cinematic experience.

For me, the reaction wasn’t as severe, but I certainly wasn’t cheering either. Yes, I thought that there were many admirable elements. The first-person perspective is a daring way to tell a story. We don’t see what Henry looks like until very late in the film and the reveal isn’t very clear. The character can’t even speak and only communicates through hand gestures and head movements. And as expected, some of the stunts are remarkable. Yet on a personal level, I could not get on its wavelength and the barrage of non-stop action wore its welcome out very quickly.

Henry is a cyborg who awakens in a lab. He’s quickly told by a scientist named Estelle (Haley Bennett) that she is his wife. Almost immediately, the pair comes under attack by a bizarre, scenery-chewing villain named Akan (Danila Kozlovsky). Akan appears to possess psychokinetic abilities, raising other technicians off of the ground and executing them. Henry attempts an elaborate escape, but Estelle is taken hostage. Almost as soon as she disappears, Henry encounters Jimmy (Sharlto Copely), who explains that Henry is a super-soldier. Jimmy attempts to help the hero evade capture and seemingly meets his end on numerous occasions, only to reappear moments later in a different guise.

And that’s essentially it, folks. That is all that is going on. For 90 plus minutes, Henry fights his way through all kinds of soldiers, leaving hundreds dead in his wake (perhaps it’s thousands, I couldn’t keep track). As mentioned, the stunt work and fight choreography is impressive. There are some wild visuals as the lead rappels down the side of a building, runs over the framework of a bridge, hangs from a helicopter and moves from floor to floor around buildings Parkour-style. The climactic fight is so stunt-laden, graphic and ridiculous that it was amusing to watch.

If only there were a compelling story to hang any of this action on. Viewers have no way of relating to the hero and as a result there is no reason to become involved in his plight. There’s no character development for any of the characters. It’s sad to see a veteran like Tim Roth wasted in a bit part of about five lines and perhaps a minute of screen time.

The villain’s performance is as hackneyed as it gets, and when all is revealed, it makes little to no sense. Additionally, the constant and repetitive nature of headshots and exploding body parts isn’t thrilling. In fact, it becomes dull and numbing. As for the first-person novelty/gimmick, the manic chases result in numerous camera moves and whip-pans that are difficult to follow.

It really is like watching someone play a video game for two hours. Despite all the chaos onscreen, there aren’t any characters to care about and it soon had me checking my watch. I admire what the filmmakers were attempting with Hardcore Henry, but this experiment isn’t developed enough to merit a feature-length film.

By Glenn Kay

Rating: «« out of 4 stars

Running Time: 153 min.

The first Man of Steel movie left me pretty cold. As someone without a comic book background, it did little to engage me. The story lacked well-drawn characters and seemed to revel in nonsensical action and destruction. I came into Batman v Superman: Dawn of Justice hoping for the best, or at least some tweaks and alterations to the formula that might develop the plot and characters.

It has been 18 months since the events of the previous film. While Metropolis has been rebuilt and many see Superman (Henry Cavill) as a hero, a minority is still reeling from the mass destruction. This includes Bruce Wayne/Batman (Ben Affleck), a superhero who takes issue with Supes’ God-like powers. In the meantime, The Dark Knight attempts to find the leader of a criminal ring, while Superman’s alter-ego Clark Kent and reporter/girlfriend Lois Lane (Amy Adams) also find themselves suspicious of an eccentric entrepreneur named Lex Luthor (Jesse Eisenberg).

Indeed, some interesting themes are introduced. In fact, it’s almost as if the filmmakers heard the criticism leveled on the original and have strived to deal with some of the issues. Collateral damage, vigilantism, fear of an all-powerful individual, even discussions on whether or not a powerful mineral should be destroyed or turned into a devastating weapon. These ideas are brought up, but unfortunately not handled with any depth or real analysis. They are quickly forgotten (and some messages are later contradicted).

The tone is self-important and dreary. Despite the best attempts of the talented cast members, this is a pretty glum exercise that details a downcast Superman and grimacing Batman glowering in the shadows. Heck, even butler Alfred (Jeremy Irons) is a heavy drinker. It gets a little tiring. And while it’s revealed that someone wants these two superheroes to wipe one another out, beyond that there doesn’t seem to be much of a point to it all. Sure, one assumes it would be bad to lose a hero but the plot involves no threat to the general public or overarching villainous scheme to take down the world. Based on the information given, there’s no real reason to care about the outcome.

It all gets very ridiculous as it progresses. There are jarring attempts to get inside Batman’s psyche via dream sequences. These are stylized in a manner similar to director Zach Snyder’s Sucker Punch and are so bizarre that they feel completely out of place. By the second half, it’s all just characters smashing into one another and more city blocks being destroyed by both the villains and heroes (boy, Metropolis and Gotham sure can’t catch a break). A miscommunication that leads to potential bonding between the embattled superpowers actually comes across as unintentionally humorous as opposed to moving.

To be fair, there are some good ideas early on and the movie is impressive to look at. Some of the Batman scenes are interestingly handled and the dust-up between the two heroes is well edited. But it all gets out of hand and turns into a CGI-heavy mess very quickly. Ultimately, it isn’t long before one feels as if they’re watching a sequel that makes all the same mistakes of its predecessor. It’s a dopey effort that mistakes its cloak of seriousness for depth. Ultimately its two and one half hour running time doesn’t provide much more than growling and smashing cinder blocks to curry favor.

It seems Batman v Superman: Dawn of Justice is well-polished, but it’s also empty. There are some serious logic problems and the dourness of the proceedings just wears one down - in the end I couldn’t take it seriously. The people of Metropolis and Gotham may love Superman and Batman, but to me they’re beginning to look like gloomy, self-obsessed mass-murderers. With superheroes like these, who really needs supervillains?

Note to viewers: There was no post-credit scene at the screening I attended, so it looks like when the credits start to roll, you’re fine heading straight out to the car.

By Glenn Kay

For the Sun

Meeting your favorite rock band is always exciting: getting their autographs, take a few pics, and then, rocking out to them with your fist in the air makes life a little sweeter. Yet sometimes reporting these concerts can take you somewhere unexpected … like the inside of a car, where I met with the band for this interview, “TRAPT.”

TRAPT is an American rock band that formed in Los Gatos, Calif. in 1995, best known for their 2002 single “Headstrong.” The group consists of lead vocalist Chris Taylor Brown, bassist Peter “Pete” Charell, drummer Brendan Hengle, and guitarist Ty Fury. The members of TRAPT met in high school in the mid-90s and have produced six albums. Their newest album, “DNA,” dropped August 19, 2016.

Gallup Sun: (Stepping out of my car) Hey guys, how’s it going?

Chris: Sup brother ...so we finally get to meet huh (laughing). Glad to meet ya brotha.

Sun: Right! Hey, guys just make yourself comfortable and we’ll get going to the meet/greet.

Sun: (As we begin to drive off, I have their new album “DNA” cranking on the stereo) Dude this album really cranks. How long did it take you guys to do it and where at?

Peter: We always do our albums in Orange Grove, California, in this cool little studio and it took a while. Man can you put it on track 3 “It’s Over.”

The guys start to talk about this song and where they could have done better, where the riff changes and how someone messed up (they start laughing). All I kept thinking was, “Wow TRAPT is inside my ride and we’re listening to their new album and these guys are totally critiquing it!”

Sun: Man I can’t even tell “he” messed up there (laughing). That song kicks. I also really like the acoustic version of “Human”.

Chris: Really? Thanks man it’s always good to hear stuff like that, it really helps us out.

Sun: So what would you say has kept this band going for the past twenty years?

Chris: Honestly, it’s gotta be the fans. They have stuck with us this long and it has been great, especially this tour with our new album out.

The band had recently just come off the, “Make America Rock Again” tour and has played with Saliva, Saving Abel, Tantric, and Drowning Pool.

Sun: (Pulling up to the meet/greet) What’s coming up for you guys for what’s left of the year?

Brendan: Dang dude is it always this cold here, it’s fricken freezing. We’re used to that Southern California weather.

Sun: It’s gonna even get colder man, I totally miss the weather there and of course the beach. (This, of course, leads into numerous conversations about California in which the band exits the car for the meet and greet.)

I like to personally thank Joe Zecca-Owner of American Bar, for allowing the band to have their meet/greet there. Once inside, a fan greets Chris and buys him a shot. Together they take a pic and slam the shots.

Ty: How long has this bar been here? It’s way nostalgic and very cool.

Sun: For quite some time, so what’s in store for the band Ty?

Ty: We have a couple more dates on this trip and then taking a small break and then start up again for the New Year.

Sun: How was it on the Crue Fest?

Ty: It was definitely an experience and rocking with all those bands were great. We’ve played with some of them before but the Fest was just totally outrageous.

After hanging out for a bit, Peter suggests we head back to the venue, to which doesn’t happen. Next door to American Bar is Quintana’s Music/Indian Jewelry, where the band checks out the guitars and drums and meets more fans. Watching these guys checking out the instruments you can tell that these guys definitely love what they do.

Sun: (Finally back in the car and now heading to Taco Bell because Chris is starving according to him). It was cool to hear the classic TRAPT sound in this album and not like others who seem to change with the times.

Chris: That’s what makes TRAPT, we want to stand out and give the fans nothing but the best at every show ... hey make sure no onions no green sauce, and no rice in my burritos (he tells me.)

This band can tear it up with the munchies!

Sun: What made you guys decide on Gallup?

Chris: You know as well as I do we have trying to play here and choosing small towns like this helps us reach our fans who sometimes can’t get to the bigger places. Plus it’s always cool to hit other places.

Sun: (Now finally … this time back to the venue) Guys this has been so cool and I want to thank you for doing this.

Chris: Hey brotha thank for having us here and for cruising us around and we wanna thank Gallup for having Trapt.

The concert kicked off to a room filled with screaming Trapt fans as they perform songs from their new album/past albums and of course, “Headstrong.” Special thanks again to Joe Zecca & gang/American Bar, Vernon Garcia & Misty Lasiloo for feeding the band, Donnie Eriacho/Faceless.

By Dee Velasco

For the Sun