American Assassin

I’m going to give ‘American Assassin’ the biggest insult I can give when it comes to movies:  It’s ‘generic’.  That being said, that doesn’t mean I didn’t enjoy it for what it was; a popcorn action flick that one should not pay more than matinee pricing to see.  The only reason I really went to see it is because there was nothing else out this weekend I wanted to see and I am am tempted to see any movie Michael Keaton is in.  I don’t even review every movie I see as I have to feel I have an opinion to share, so I’m surprising myself by reviewing this film as I feel I will have forgotten all about this film in a few weeks (if not a few days).  I suppose not every thing has to be a nutritional meal.  Sometimes, you just crave junk food and that’s exactly what this McAction flick delivers.

The story centers around the straight up revenge theme.  Mitch Rapp [cool action name] (Dylan O’Brien beefed up from the ‘Maze Runner’ series) loses his fiancé in a deadly terrorism attack in Ibiza, Spain.  He focuses his entire life in exacting revenge on the Islamic baddies. Incredibly, he learns computer encryption, martial arts, and Arabic over the course of 18 months (we didn’t even get a montage out of that).  He poses as an online terrorist sympathizer (unknowingly triggering the attention of the CIA) and travels to North Africa seeking the chance to murder the terrorist cell he holds responsible.  The CIA rescues him after he is captured because as maverick counter-intelligence chief Irene Kennedy recognizes his talent as ‘off-the-charts’ (the first of many clichés).  Chief Kennedy takes Mitch to an anti-terrorist training camp in the woods led by master spy Stan Hurley (played by whom I really came to this movie for: Michael Keaton).  Stan doesn’t like Mitch as he views him as a ‘maverick’ (how many times will I be using that term in this film), which he considers dangerous.  Keaton is still a delight to watch despite his generic ‘gruff-drill-instructor-with-a -heart’ character.  Now the film brings out the montage and we see the outsider Mitch excel at every challenge thrown as he is able to think outside-the-box.  The gruff Stan gives reluctant admiration along with generic tidbits of spy advice such as: “Don’t make it personal"

A rogue recruit from Stan’s past code-named ‘Ghost’ (a delightfully generic Taylor Kitsch) surfaces in some type of nuclear/terrorist/mercenary conspiracy that causes Chief Kennedy to activate Stan’s trainees before they are ready.  They travel to Turkey (where amazingly Mitch is also fluent in Turkish) and Mitch’s maverick ways help resolve every situation that goes bad.

I could continue to describe this film and the direction it goes, but you’ve seen this film a hundred times (usually in the 80’s with Steven Segal or Jean-Claude Van Damme), but if you are in the mood for some well choreographed action scenes and Michael Keaton being….well, Michael Keaton, then you could do worse.  Oh yeah, I almost forgot there is a hot chick inserted into the story that eventually falls for Mitch (Spoiler alert?  Not really).  I can spend all day tearing this film down, but if i’m honest, I have to confess that I enjoyed it for what it was.  Go in with low expectations and you might not feel ripped off spending your money on the ticket (as long as it was matinee).

I give this film * 1/2 stars

American Assassin trailer

The Big Sick

‘The Big Sick’ is my big surprise of the year,  I don’t often like the “Rom-Com” genre of film, which is how this was advertised, but I reluctantly went after hearing all the positive press.  I have a soft spot for small indie films and so I decided to give it a chance.  I’m glad I did as this was a fantastic film.  This is the auto-biographical tale of Kumail Nanjiani, a Pakistani-American comedian whose life and loves as an American fall in direct conflict with his families desires for him to stay true to his Pakistani roots. This had all the potential of being a preachy, politically correct lecture which films like this sometimes are.  To the contrary, I found this an honest exploration of Kumail’s struggle to reconcile his American perspective and desire to live his life on his terms, with that of his family’s expectation of him.

Kumail is at a crossroads in his life as he is a grad student trying to make a life as a comedian in Chicago, when he reluctantly falls in love with a caucasian girl named Emily (Zoe Kazan) he meets at his comedy show.  He tries to lead two lives as he thinks he can have his girlfriend and comedy separate from his parents desperate attempts to arrange a marriage for him to a Pakistani girl and convince him to pursue Law School (they’ve given up on getting him into medical school).  It's a difficult and honest moment to watch when Kumail is finally forced to decide between his family and Emily and he chooses his family’s approval.  It’s a decision that causes Kumail much agony and one that he regrets when Emily suddenly falls prey to a mysterious illness and slips into a coma.

Enter Emily’s parents Beth and Terry (Holly Hunter and Ray Romano).  The hospital scenes between Emily’s parents and her recently ex-boyfriend Kumail are predictably amusing, but what really stands out is the relationship struggles that Emily’s parents are going through while their daughter lies near death.  If this was indeed based on a true story, then the amount of openness explored as Beth struggles with Terry’s prior infidelity is as engaging as Kumail's struggles.  The second half of the film is Beth and Terry reluctantly accepting Kumail as part of their family despite the fact he emotionally damaged their daughter. Despite the trauma of Emily’s situation and being a witness to her parent's pain, he has found where he belongs.

The emotional climax to the film is when Kumail confronts his parents with the fact that, despite his gratitude for everything they have done for him, he is at heart American and not Pakistani.  His wish is to live and love as he chooses and follow the path that is right for him.  That path is not the one of a dutiful and traditional Pakistani son.  The heartbreak in his parents is as touching to observe as it is painful for Kumail to tell them.  This scene is where I feel the film rises above being a typical ‘Rom Com’.  The feeling and empathy we feel for Kumail and his plight goes beyond the two dimensional cliches of the typical Hollywood scripts.  

This story has no good guys or bad guys, merely people trying their best as they go through a personal crisis.  We care about what happens to each one of them as well as want them all to end up together.  As simple as that desire is, we all know that life doesn’t make it that easy.  I highly recommend this film as the sleeper hit of the year.  I hope this will be a great showcase for Kumail Nanjiani’s talents and also hope that the Academy will remember this at Oscar time.

I give this film **** stars

The Big Sick trailer

Dunkirk

I’ll start off by acknowledging a personal bias in that I believe Christopher Nolan can do no wrong as a director.  His ‘Dark Knight’ series set the standard for super-hero movies and films like ‘Memento’ and ‘Inception’ showed just how far he can push our abilities to comprehend the abstract.  Even box office disappointments like ‘Interstellar’ still showed his ability to tell well crafted stories and to pull incredible performances out of actors.  ‘Dunkirk’ is a welcome addition to his filmography and no less impressive.  It tells a story that most Americans know nothing about as it happened prior to our entry to the second World War.  Dunkirk is a city in Europe directly across the English Channel from England.  An estimated 400,000 allied forces from France, Belgium, and England are surrounded by the German army and desperately await to be evacuated from the beaches. The problem is the Allies did’t know how to do it and losing this many soldiers would surely change the tide of the War. The solution is to send a civilian fleet of private boats through U-boat infested waters to take troops back to English shores.

Nolan uses three interweaved stories to tell the tale, but interestingly enough, these overlapping stories take place over different periods of time.  ‘The Mole’ portion which follows an English platoon takes place over a week’s period, while ‘The Water’, involving the actual evacuation, takes place over a day.  The third and perhaps most dramatic story called ‘The Air’ is about a one hour air battle over the Channel where two English pilots attempt to protect the civilian armada from German dive bombers.  It’s a bit disorienting at first as, I stated, the events intermix even though they take place over different periods of time.  Chris Nolan’s skill is that disorientation quickly evolves into a poetry of storytelling.  Accompanied by Hans Zimmer’s music score, the images and events flow effortlessly together and slowly build to the crescendo of the troops leaving the beaches of Dunkirk.  I doubt few Directors have the skill to give us a montage about War that can seem both beautiful and riveting at the same time. 

Nolan favorite Tom Hardy is a highlight in this film as the British pilot and, much like in ‘Dark Knight Rises’, most of his performance is with his face covered.  It shows the extent of his talent as some of the film’s most powerful performances are from Hardy with only his eyes conveying the emotional content.  Much has been made of including boy band singer Harry Styles in this film, but Nolan compared it to his controversial choice of casting Heath Ledger as the Joker in ‘Dark Knight Rises’.  Nolan succeeds in his casting choice as is evidenced by how much Styles doesn’t stand out.  He gives a strong performance, but his celebrity isn’t distracting rather he is just another soldier in the platoon. Kenneth Branagh and Mark Rylance round out the well known actors giving us views of the events from entirely different vantage points.

I highly recommend this movie as a well crafted and powerfully poetic movie that gives the uninitiated a history lesson for good measure.  This isn’t your typical war movie as there is little blood (although some harrowing water scenes).  This is a film you can tell was important to Christopher Nolan to make, but it equally highlights his mastery of film making as anything else. ‘Dunkirk’ is like watching a symphony of images.  One feels from a soldier’s point of view what this historical event must have been like and I can think of no better tribute to the soldiers than to dramatize it in this way.  Another great creation from Christopher Nolan.

I give this film **** stars

Dunkirk Trailer

War for the Planet of the Apes

I often wonder why so many movie studios reboot or remake old classics.  Rarely do the updated versions of the film capture the magic of the original film. Usually, it leaves the generation that remembers the film frustrated and new movie goers indifferent to films that played a big part in pop culture in previous eras.  To be honest, I know why studios do it as they feel they have built in audiences who will spend their movie dollars if for no other reason than nostalgia.  That is why I have been so impressed with Director Matt Reeves trilogy of ‘The Planet of the Apes’ and in particular the finale ‘War for the Planet of the Apes’. It drew from a movie that was considered semi-campy even in the seventies and took the mythos completely serious and he has given us a thoughtful and updated parabole for modern times.  In addition, I am rarely impressed by special effects, but the CGI rendering of the apes in this film is so seamless that, in someways, they become more human than their live action counterparts.  Andy Serkis, the actor who plays the motion capture for the lead ape Caesar, also played Golumn in the ‘Lord of the Rings’ trilogy.  Many felt (myself included) that he deserved an Oscar for his performance, but the Academy has yet to acknowledge motion capture performances. Once again, Serkis brings a level of gravitas and humanity to Caesar where I feel he has once again risen to a level of Oscar consideration. I don’t use the word “Epic” lightly, but as I watched this film, that word was constantly in my mind.

Most people are familiar with the twist ending of the original Charlton Heston film where it was revealed that the ape dominated planet he found himself on was actually Earth.  Matt Reeves explores the sequence of events that led to an ape dominated earth.  His first two films laid the foundation of the creation of the hyper intelligent Caesar where the byproduct of the process used to engineer him led to the creation of a Simian virus which wiped out most of humanity.  Reeve’s first two films explored the travails of two dominant species tying to co-exist.  What I really loved is that he skipped the easy road of morality with a victim/persecutor story line.  Instead he explored basic questions of survival.  Good and evil exist in both Ape and Man and conflict happens despite the best intentions of leaders to avoid it.  Anger and hatred can warp the most noble of beings and ultimately survival is what determines life.  

The opening of the ‘War of the Planet of the Apes’ find humans living in military tribes and the Apes carving out an existence in hidden forest refuges.  Humans still have the upper hand due to their technology, yet are fearful that extinction of their species is a possibility.  One Military group led by a man known only as ‘The Colonel’ (played by a surprisingly fearsome Woody Harrelson) has taken it upon themselves to wipe out all apes lest mankind perish.  His cult like sway over his military followers is reminiscent of Marlon Brando in ‘Apocalypse Now’.  In fact, there is an inside joke when one sees graffiti that says “Ape-pocalypse Now” painted on a sewer wall. The Colonel leads several missions into the forest to hunt the Apes that, despite the technological difference, lead to massive causalities on both sides.  Despite major losses, Caesar still dreams of peace and even spares his human captives, returning them with his message of desired peace.  It isn’t until the loss of his family at the hands of The Colonel that Caesar renounces his leadership of the Apes and sets out for personal revenge against him.  He knows his soul has been lost to everything he had hoped to achieve, but ultimately fate has left him no choice than to seek retribution.  With a small band at his side, he points the rest of the apes in the direction of safety while he goes in search of The Colonel.  

Along the way, Caesar’s small ragtag group of apes come across a human child who has lost her ability to speak and reasons at the most basic of levels.  They discover that the Simian virus which wiped out most of humanity has mutated and is turning many of the remaining humans mute and bestial.  They give the child the name ‘Nova’ after a car hood ornament she cherishes (a call back to the original Nova from the seventies).  Eventually the group finds The Colonel and Caesar is captured. The film borrows liberally from the film ‘Bridge Over the River Kwai’ as it becomes a prison movie.  The Colonel’s madness in the face of Caesar’s dignity gives this film a weight the original series never had. We completely understand what motivates everyone and we challenge ourselves to say we would do anything differently in each of their places given the circumstances. 

As I stated before, the seriousness and gravitas of this film given its’ campy origins is what sets this apart from the typical reboot.  This is an Oscar level Epic even though I doubt the Academy will reward it.  The power of the performances through the CGI would have given any one of these actors an Oscar level consideration had they not been apes.  Even though these films are doing well both critically and in the box office, I feel many won’t see this new trilogy based upon pre-conceptions of the original. Take a chance on this. You don’t have to see the first two in this trilogy to enjoy this film, but if you can, see all three.  It’s a rare example of where a reboot is vastly superior to its’ source material

 I give this film **** stars

War for the Planet of the Apes

Spider-Man: Homecoming

‘Spider-Man: Homecoming’ has generated a great deal of interest from super-hero nerds such as myself ever since Tom Holland’s fan pleasing debut in last year’s ‘Captain America: Civil War’.  A quick history: Back in the 90’s, Marvel was financial difficulties and sold the movie rights to their biggest titles like The Fantastic Four, X-Men, and of course the most famous Marvel creation, Spider-Man to other film companies as a way of generating some revenue.  Back then, no one had any idea what goldmine superhero movies would become.  As a result, when Marvel started their own movies, they weren’t allowed to use some of their biggest titles.  Movie rights to Spider-Man were owned by Sony and they had no interest in letting marvel have any piece of that.  After a string of several critically panned movies, Sony decided to let Marvel use Spider-Man on a shared revenue basis and fans went wild at the idea of Spider-Man being handled by the dream team at Marvel.  Now if only they would let Marvel handle the Fantastic Four as well.

Since there has already been two origin movies of Spider-Man in recent memory, Marvel decided to jump right in.  His introduction in ‘Captain America: Civil War” was everything that fans had hoped for and I have to say that Marvel delivered a highly respectable and enjoyable Spider-Man.  I’m not going to jump on the band wagon and say it was the best Marvel movie ever as some are claiming, but it truly did capture the essence of Spider-Man despite some modern reinventing of the character.  British actor Tom Holland was an inspired choice to play Spider-Man as not only does he captures Peter Parker’s nerdish and handsome demeanor, but he is also an actual teenager as opposed to Andrew Garfield’s 30 year old high schooler.  Marisa Tomei takes the elderly character of Aunt May and makes her more modern, younger, and attractive.  Peter’s circle of high school friends also represent a more modern diverse group of people.

Starting off with a clever video diary of the events that led Peter to the events of ‘Captain America: Civil War’, the movie also establishes a more buoyant and light tone, while at the same time of establishing the mentor relationship of Tony Stark through his sidekick Happy Hogan (an always delightful Jo Favreau).  Having impressed Tony Stark during the epic fight in Civil War, Tony gifts Peter a souped up Spider-Man suit that even includes an onboard A.I. computer named Alice (similar to Ironman’s Jarvis or Friday).  While cool, I thought this was a point where they strayed from Spiderman’s street level appeal.  Spiderman is more a working man’s hero, not a super high tech crime fighter.  I felt the film spent too much time in Peter becoming acclimated to his super suit.

Michael Keaton returns to the superhero world, but this time as the villain Adrian Toomis aka The Vulture.  While definitely not a nice guy, we have some sympathy for him as his driving force is the welfare of his family.  Starting the film out as the owner of a clean up crew working on salvaging the Avenger’s tower demolition after the alien invasion, we quickly feel his frustration and anger over losing his business sustaining contract to a government agency heavily involved with Tony Stark.  Keeping some of the alien technology he found, Toomis and his crew become a high-end exotic arms dealer and makes a comfortable underground living salvaging or stealing alien tech to sell to criminals.  He points out that selling munitions to the bad guys is not that different from how Stark made his fortune.  He even designed a ‘Vulture’ like suit from the alien technology to help in steal more alien tech.

Spider-Man and Vulture’s worlds collide when Peter stops the Vulture’s henchmen from robbing a bank. The inadvertent collateral damage caused by the fight brings The Vulture’s operations to the attention of the authorities.  Peter is eager to prove himself by stopping the Vulture, but Tony mentors that Peter is not ready for this level of villain and that there are “others” who handle this sort of thing.  Not being dissuaded, Peter sneaks out to go after the Vulture with almost catastrophic results.

Much like the comic book, the writers deftly balance Peter’s super hero life with the trials and tribulations of his high school existence.  Somehow both seem equally important as Peter tries to get the girl of his dreams while keeping his alter ego a secret.  The writer’s had a lot of fun from self-admiringly borrowing from John Hushes movies of the eighties as he navigates the popularity tiers of high school.  One particular scene spoofs ‘Ferris Bueller’s’ scramble through the back yards of suburbia.  

I enjoyed how the film started off with a frivolous feel, but through a series of twists and turns slowly gained a level of gravitas as Peter matured in his role as Spider-Man. This was a welcome addition of a long awaited character to the Marvel universe (I hope they do the same with the Netflix characters someday).  I think this movie was over hyped, but it was still a respectable and enjoyable ride.  Congratulations Marvel for keeping the magic alive despite the naysayers who feel that we’ve passed the over saturation point of superheroes. I look forward to future adventures.

I give this film *** stars 

Spider-Man: Homecoming Trailer

Wonder Woman

        I have to say that I approached ‘Wonder Woman’ with a bit of trepidation.  Even though I was a fan of the 70’s TV series starring Linda Carter, DC has not had the best track record of bringing their superheroes to the big screen lately.  It can be done as Chris Nolan’s ‘Dark Knight’ trilogy demonstrated, but Warner Bros’s attempt to create a shared superhero universe in the mold of Marvel’s success has so far been lackluster.  There was a lot of political correct cred riding on Wonder Woman as this is the first major superhero film led by a solo female hero in addition to a female Director, so I took the initial positive early reviews with a grain of salt.  I’m happy to say that my fears were unjustified and I thoroughly enjoyed the ride.  This was a feminist movie that uplifts women without vilifying men.  A film that gives me faith that DC can start carving out their own niche in the shared universe film world.  Hats off to Director Patti Jenkins for creating a truly enjoyable heroic tale. 

Wonder Woman has a convoluted history that dates back to the 1930s.  Her story has been told and retold many times.  Patti Jenkins takes her inspiration from comic artist/writer George Perez who led probably one of the most iconic runs on the title back in the 1980s. She is still Princess Diana of Paradise Island, but is now more a child of the Gods than one of her fellow Amazons.  Paradise Island, now called Themiscyra, was created by the Gods and populated by noble Amazons in preparation for when the world would need to be protected from Ares, God of War.  When Princess Diana rescues  downed WWI fighter pilot Steve Trevor from the sea (a well cast Chris Pine), she learns about “The War to End All Wars” and decides this is what the Amazons have been waiting for and it is her duty to escort Steve back to the world and find Ares, so she can stop the War.  Patti Jenkins does a superb job in painting the difference between the beautiful Paradise Island and Diana’s revulsion at the Post Industrial Revolution London.  Diana quickly finds what a world dominated by males is like and despite the chauvinism, she quickly dominates any situations she enters. Patti Jenkins does a great job balancing Steve Trevor’s alpha male persona with his inability to keep up with Diana and her mission.  Even though Steve is far weaker than Diana, he never takes a back seat in their adventures.  Much in the same way Agent Carter was the perfect foil for Captain America, so does Steve Trevor earn Diana’s respect as a warrior.

Speaking of Captain America, I did find many similarities in the story.  When Steve assembles an international team of soldiers, it is reminiscent of Cap’s Howling Commandos.  Fortunately, even though there are parallels, Wonder Woman doesn’t feel like a copy and flourishes with a voice of its’ own.  The generic German villain General Ludendorff (an always delightful Danny Huston) could have been right out of Nazi central casting until we remember that this takes place during World War I.  Given Ludendorff’s importance to the War and his development of chemical weapons of Mass Destruction with the aide of his villainous side kick, Dr Poison, Diana sets off in pursuit of the man she presumes to be Ares.  The arguable highlight of the film is when Diana fully reveals herself as Wonder Woman as she steps out of the trenches and leads the troops against the opposing army. Her leadership is without question as she takes the full force of the artillery and machine gun fire.  While the Wonder Woman uniform is recognizable and Gal Gadot is unquestionably beautiful, Patti Jenkins is able to show Diana as confident and purposeful as opposed to the sexiness that predominated the 70’s version of the character. 

I felt the film began to lose steam in the 3rd act and started to rely on too many super hero cliches.  However, this did not take away from the overall enjoyment of this film and the feeling that DC finally got it right.  I would not say this is better than some of the best Marvel films, but it definitely rated above some of the lesser ones.  In other words, DC was able to hold its’ own with the Marvel juggernaught. I highly recommend this film as one that can demonstrate that empowerment does not have to come at the cost of putting down someone else. Wonder Woman is a message film that is enjoyable and, most important for a superhero film…fun.

I give this film *** 1/2 stars

Wonder Woman Trailer

Guardians of the Galaxy: Vol 2

       What was once one of Marvel’s biggest gambles, ‘Guardians of the Galaxy’ is back for round 2 (or Volume 2 as the case may be). The original’s combination of humor, nostalgic music, and action-packed space adventure made it a surprise hit when it came out and Volume 2 strives to recapture the magic by upping the ante. The sequel takes all the elements that made the first one successful and dives deeper into the characters and relationships that were only hinted at in the original.  While I can’t say this was an unqualified success in raising the bar from the previous one, I did thoroughly enjoy it as the Marvel machine continues to produce movies the public wants to see and more impressively, keeping the continuity of their shared universe intact as they pass 16 films.

The whole group of intergalactic misfits are back with Peter Quill aka Star-Lord (Chris Pratt) and Gamora’s (Zoe Saldana) sexual tension leading the way. However, the film’s plot centers around Quill finally discovering his long lost father Ego (played with nostalgic greatness by Kurt Russell).  Where the original film dealt more with these unique individuals meeting and becoming family, Volume 2 deals with each Guardian’s backstory and the relationships that made them what they are.  Characters that were 2 dimensional villains in the original now gain some of our sympathy as we realize what forces made them what they are.  Director James Gunn doubles down on the 70’s soundtrack and packs pop culture cameos and references throughout.  If you are a fan of Easter eggs, this film has them scattered throughout.  More than any other Marvel film I’ve seen,

The one complaint I may have is that the film walks, and sometimes stumbles, along the fine line of becoming a cartoon. The opening sequence of the team battling a space monster on behalf of a race called The Sovereign is a fun way to reacquaint the audience with the team’s dynamic, but it sets the tone for its’ campish and cartoonish feel.  Part of Marvel’s magic formula comes from injecting just enough reality to suspend ones disbelief that you are watching a comic book. A small complaint, but one worth noting.

The film opens with the Guardians doing monster clean up duty for a golden race called The Sovereign.  After offending the very race they were working for, the group once again becomes pursued outcasts which leads them to encountering Peter’s long lost father, Ego. Kurt Russell embodies the mortal form of what is essentially a living planet. While all the characters from the comics are in here, they are used differently as Ego, the Living Planet, was not Peter’s father in Marvel comics lore.  Something that comic purists such as myself have gotten used to is that the MCU has it’s own canon which is different than the traditional stories we grew up with. Of course, in typical super hero fashion, if something is too good to be true it usually is. Ego’s beatific planet (self) hides a dark secret and motive which threatens the Galaxy

The most interesting parts of the movie for me were the sub-plots that developed the characters.  Yondu's (Michael Rooker) backstory in particular was given much attention as we realize that he may not be the complete scoundrel we thought.  His backstory included a respectful call out to the previous comics iteration of The GOTG with Sylvester Stallone taking on the role of Yondu’s former leader and mentor Stakar (aka StarHawk).  Nebula and Gamora’s sister relationship was also explored, but no real surprises were revealed and Nebula was played so over-the-top that I felt it lost some of its’ impact.  I was majorly disappointed that Thanos still has not been introduced more than he has and, aside from a few side mentions, was completely absent from this film. 

Guardians of the Galaxy was never my favorite comic, but the film delivers what it promises.  A good pop corn munching adventure with Marvels trademark balance of humor and action.  Despite it’s scope this series will always be tertiary to Marvel’s earth bound heroes, but that doesn’t mean it isn’t a fun ride.  Make sure you stay for the five (count ‘em five) mid and post trailer scenes.  One in particular teases the introduction of a character fans have been waiting for for years.  No more spoilage than that.

I give this film *** 1/2 stars

Guardians of the Galaxy Vol 2 Trailer