PIN-UP TIME: ALICIA VIKANDER AS LARA CROFT (TOMB RAIDER)

I saw Lara Croft's Return...

It was only a matter of time and long overdue that Toby Gard's Lara Croft return in a new cinematic adventure. This time she's brought to life by the enchanting Alicia Vikander. To quote Bart Simpson, "Whoa, mama!!!"

Vikander already made her mark on the imagi-movie scene with Alex Garland's "Ex Machina" and Guy Ritchie's "Man from U.N.C.L.E."  The latter more than the former likely landed Vikander the Croft role, but either way, her quality track record has made her an ideal successor to Angelina Jolie. 

Directed by Roar "the Wave" Uthaug and scripted by Geneva Robertson-Dworet and Alastair Siddons, this lush, exotic reboot springs an initially reluctant Croft on a trek to locate her dad, Lord Richard (Dominic West), who appears to have met his demise in pursuit of an ancient tomb (ripe for raiding) of a Death Goddess on a mysterious island near Japan. 

The flashbacks featuring Lord Croft define the father/daughter relationship (a propelling point of young Croft's development), even if we discover their loving link has become anguished, if only due to time's passing. 

Lord Croft, however, isn't the only man to impact the young swashbuckler. Lu Ren (Daniel Wu) and Mathias Vogel (Walton Goggins) add inebriated amusement and ruthless tension to her journey and perhaps reinforce "Tomb Raider" as being more male oriented than it should be to certain modern eyes, but this only helps ensure the sojourn stays a veritable guy film. Whether people (phony-baloney SJWs, in particular) wish to admit it or not, "Tomb Raider" has always been a product designed for and aimed at guys. Nothin' wrong with that.

It's important to note, however, that the virile influence never stops our prim and proper yet tough-as-nails archaeologist from staying on valiant track, fighting the elements and fulfilling her ambitions. And rest assured, she's never ever an unidentifiable, pitch-perfect Mary Sue. That's right: This gal does at least struggle, making her victories all the sweeter when they do come. 

There is less in the way of supernatural interludes to characterize Croft's feats this time (what's conjured is at best implied), with the 2013/15 computerized reinventions dictating much of the plot. Because of this, Croft's exploits stream more in the Bondian mode, but then as many Fleming fans know, the super spy's sprees tend to bob of ethereal wonderment, even though they're served as secular.

To aggrandize the terrestrial excitement, Vikander is, of course, easy on the eyes, though I'd have preferred a few glamorous scenes. I realize the need for realistic ruggedness (and the tomb sequences demand it), but for cryin' out loud, "Tomb Raider" is the stuff of impetuous fantasy; so why not shoot the works? (Also, it didn't hurt that Jolie played up the lipstick and mascara for the role, and let's not forget Raquel Welch and Martine Bestwick in Hammer's "One Million Years B.C.", or for that matter, Gal Gadot in the recent "Wonder Woman" and "Justice League", as well as Scarlett Johansson in her many Black Widow appearances. Glamour sells {and works}, folks, and its inclusion would be sensible in any unconventional safari, so its omission here is a discernible, missed opportunity.)

Even with this vexatious mar, I remained entertained throughout (and Vikander still pulls off the charm, regardless of her many smudges and scars). Thanks to the tight script and Uthaug's adroit direction, I couldn't help but lose myself in the unbounded exhilaration. In fact, I'll go so far to say that the new "Tomb Raider" hits the spot more than "Indy and the Kingdom of the Crystal Skull", and I don't mean to cast aspersions on the latter, but this Croft entry sticks more to the mission at hand, presenting its thrills with dexterous delivery, not only in the way a crackerjack video game should play, but in the way the best and most unpretentious action films and movie serials operate. 

I sure hope Vikander tackles a sequel, but even if not, she ought to be damn proud of what she's accomplished, and the "Tomb Raider" fan base would be foolish not to give her the respect and accolades she deserves. Whether one chooses to acknowledge it or not, Vikander and Croft are now intertwined; and pop-cultural history is now sealed for generations to absorb and savor.

I saw U.N.C.L.E. (Reborn)...

In the mid-sixties there was no spy phenomenon as big as "The Man From U.N.C.L.E.", except of course, James Bond and let's not forget "The Avengers" (John Steed/Emma Peel, that is). "U.N.C.L.E.", however, went through the roof during its early phases, making Robert Vaughn and David McCallum household names, as well as their characters, Napoleon Solo and Illya Kuryakin pop-cultural icons. Incidentally, though the series was developed by the innovative Sam Rolfe, it was conceptually influenced by Bond's daddy, Ian Fleming.

U.N.C.L.E., which stands for United Network Command for Law and Enforcement,  took a stand against the chaotic command of T.H.R.U.S.H.: Tech Hierarchy for the Removal of Undesirables and the Subjugation of Humanity (how's that for a mouthful?). U.N.C.L.E. was a combined agency effort: though Solo was American bred, Kuryakin was KGB connected. Kuryakin was still faithful to Solo, who like Bond, was every inch the suave, lady's man. Their boss (i.e., their version of "M"), was Alexander Waverly, portrayed by renown character-actor Leo G. Carroll: the series' sentimental, supporting lead. 

"U.N.C.L.E." spawned several films (episodes shown theatrically in color during a time when black-and-white television was the norm, with added, sensual footage not seen on the home screen). The films were profitable worldwide, and though "Return of the Man from Uncle" premiered as a high-profile movie-of-the-week in '83, it's odd that a theatrical relaunch of the franchise has taken this long. 

Nevertheless, the "U.N.C.L.E" revival has surfaced: big-budgeted and directed by hipster Guy Ritchie, who co-scripted with Lionel Wigram. It stars Henry Cavill as Solo and Armie Hammer as Kuryakin: yep, Superman and the Lone Ranger together at last (well, sorta). Affable Hugh Grant portrays Waverly, with Jared Harris on hand as C.I.A. agent Sanders, who  keeps us properly cautious in the good ol' fashioned Cold War way. 

Joining the boys is the lovely, mechanically inclined East German, Gaby Teller (Alicia "Ex Machina" Vikander). She's not in the least timid about throwing herself into the action and remains a constant sight-for-sore-eyes: for all intents and purposes, this story's "Girl From U.N.C.L.E.".

The sinister lead is the cool Victoria Vinciguerra (Elizabeth Debicki), who's as fiendish as she is statuesque: a veritable Satan cloaked. Her sadistic motivation is pure T.H.R.U.SH., with a desire to tear down the world via nuclear destruction (and with an connection to Teller's physicist dad, no less). In this regard, she's much like any aspiring terrorist (only lots prettier) and to Solo, far more treacherous than even the most skilled KGB agent could be. After all, Kuryakin is on his side (albeit reluctantly), and together our heroes face a series of outlandish obstacles to defeat their foe.

The circumstances churn lots of comical bickering and sincere camaraderie, making this U.N.C.L.E. more of a buddy movie than a typical, spy/espionage flick. Then again, the principles were always tight-nit on the series, and considering the third season's shameless levity, the film's shenanigans may not be so out of place. 

In other ways, Ritchie's version mirrors his revisionist Sherlock Holmes adventures: a sea-sawing of high-flying danger and unabashed superheroics. Thank goodness the flow never feels awkward, perhaps because its underlying unevenness is charged by movie-serial thrills, quick wit and exotic visuals. Let's face it: for this sort of adventure, that's essentially all one needs.

Also to the remake's benefit, it's an unapologetic nostalgic piece, with a Daniel Pemberton throwback score, which often invokes Ennio Morricone, constantly accompanied by cool cars and colorful clothing. The overall package is an indisputable gift to older fans, but hopefully the film will inspire youngsters to seek out the original, so they might see what all the hub-bub was (and still is) about. Indeed, what was old is new again, and in either case, it's all good fun.

I saw Ex Machina...

I'm quite the johnny-come-lately to reflect upon "Ex Machina", but then considering it's just been made available on disc (and was otherwise overshadowed by this summer's blockbusters), I suppose now is as fine a time as any to offer some words... 

For those who might not know, "Ex Machina" is about a man and an android and the peculiar relationship that develops between them, under the scrutiny of a brilliant but suspicious scientist. The early set-up reminds one of the '80s "Twilight Zone" episode, "Her Pilgram Soul", though in that story, it was a hologram with whom the male lead conversed. In another way, "Ex Machina" carries a touch of "Iceman": the film where Timonty Hutton (a modern man) interacts with John Lone (a primitive man). The more obvious, broader comparisons would link "Ex Machina" to "Do Androids Dream of Electric Sheep?"/"Blade Runner"; "Creation of the Humanoids"; "Metropolis"; Rod Serling's "The Lonely"; the short-lived series "Mann & Machine"; plus various "Star Trek" episodes that deal with artificial intelligence and/or Mr. Data, in particular. (Oh, and I guess there are traces of "Alphaville", "2001" "Stepford Wives" and "Westworld" in there, if one really wants to stretch the matter.)

Okay, so what I’m saying is that the film isn’t conceptually original, but that doesn’t mean it isn’t worth a serious peek, for it unfolds in a most curious way, implementing an element of John Fowles' "The Collector". However, theatrically, the dynamic is more complicated than what occurs between Terence Stamp and Samantha Eggar in the book's cinematic counterpart. Though "Ex Machina", like "The Collector", spins into a tale of imprisonment and emphasizes an intense earning for freedom, its vibe becomes increasingly akin to "Frankenstein", for Nathan Bateman (Oscar Isaac) is its Victor and Caleb Smith (Domhnall Gleeson) its Henry Clerval, but Caleb is more than Henry, for Nathan pulls the young man further into his experiment than Victor would have ever dared. 

Though the film's content grows increasingly complex, the story commences in a simple, oh-hum enough way. Computer programmer Caleb wins a contest (or so we’re led to believe), his award being the chance to indulge in Nathan's A.I. experimentation. Nathan has created a fabricated female, Ava (Alicia Vikander), who's partially “fleshed" about the head, hands and feet, but the rest of her consists of luminous circuitry within transparent casing. She's kept in a "glass" cell, and Caleb is meant to test her cognitive abilities through a series of talkative sessions, as Nathan watches via a monitor. Ava seems to fall for Caleb, and when she causes Nathan's expansive abode to lose power on occasion, it's only so she might remind Caleb that Nathan can't be trusted. 

Nathan has a modernized Frankenstein lab, where he keeps his artificial parts. He shows Caleb a prototype of Eva's gel brain: a fluid-filled organ designed to hold memories and possible emotions. However, Nathan tells Caleb that Ava is an intended one in a series, designed for an inevitable upgrade. Her personality will be scrapped, which unnerves Caleb, to the point where he decides to orchestrate Ava's escape. 

Writer/Director Alex Garland (“28 Days Later”/”Dredd”) builds the suspense slowly, concentrating initially on Nathan/Caleb relationship, distinguishing a contrast between them. Nathan is arrogant; Caleb humble. Caleb finds himself stumbling deeper into the strange circumstances, and not only during his sessions with Ava. He witnesses Nathan's subtle cruelty, the way he treats his gorgeous housekeeper/dance mate, Kyoko (Sonoya Mizuno), who he claims doesn't speak a lick of English, which he prefers since he needn't fear her sharing information with some potential A.I. competitor. However, Kyoko holds a secret. 

That secret links to other secrets, which Caleb begins to unravel. His revelation turns “Ex Machina” from a science-fiction tale into one of "Psycho"-piercing terror. It also squashes (SPOILER) any extended love story the film may have dangled. Good! “Ex Machina” could have been another cleverly disguised mush fest, but morphs into a mash-up of “Alien”; Lugosi/Karloff's “The Black Cat”; “The Skin I Live In”; and “Eyes Without a Face”. Its confinement of sleek, shadowy halls makes it alluring and yet claustrophobic. Like Ava, who wishes freedom, so does Caleb…and perhaps, on a subconscious way, so does Nathan (speculatively speaking, of course). 

Despite its various misleads, the focus always returns to the evolving Ava. As to her intent…well, you’ll have to experience “Ex Machina” for yourself to understand. This one must be viewed with its air of mystery intact, and when finally the truth is revealed, you’ll be stunned and pleased, just as I was. Yes, folks, this is a good one…a damn good one, in fact.