David O. Russell does the "American Hustle"
Alright, so excuse the corny title, but David O. Russell is at the top of his game. While this film in some ways is a love letter to Scorsese’s gangster films like “Casino” and “Goodfellas”, Russell takes time to mold his characters. Loosely based on the ABSCAM scandal of the 1970s, this film takes its’ place in the years top list.
Irving Rosenfeld (Christian Bale) is an intelligent con man with a bad taupe, a weak heart, and an even bigger weakness for complex women. He meets Sydney Posser (Amy Adams), a girl who shares his love of Duke Ellington and dreams of making a name for herself. The two are a match made in con artist heaven. The only problem is that Irving is married to Rosalyn (Jennifer Lawrence), who by all means is an intelligent housewife benefiting from Irving’s cons and chained to him through his love her son.
After running a loan scheme with Sydney for a long time, things for Irving goes south. They take a check from a driven federal agent, Richie DiMaso (Bradley Cooper), and are thus forced to work for him. DiMaso’s aim is to bring down politicians who take bribes and make a name for himself. This includes Mayor Carmine Polito (Jeremy Renner), who through loose moral decisions, ultimately has a big heart for bringing jobs to his people and renovating Atlantic city. As the story moves on Irving and Sydney are dragged further into DiMaso’s web, along with the suckered politicians and the mob.
What makes this film great is how Russell takes control of the storytelling. Russell and co-writer Eric Singer slowly reveal character, plot points, and turns through unreliable narrators. His use of the camera and match-cuts propel the story forward and highlight brilliant moments in the film.
Having already directed Adams and Cooper to Oscar nominations, and Bale and Lawrence to Oscar wins, Russell may have done it again. Bale may be one of the best of actors in Hollywood right now, and embodies the role of the straight-shooting con man with a likable appeal. Cooper channels the insecure DiMaso’s life of living with his mother into a volatile yet vulnerable agent. Although Adams holds down her role in the film, it feels all to familiar to her stable of past roles. Lawrence channels a younger Ginger McKenna (from Casino) in a humorous and memorable character.
“American Hustle” is entertaining in its mystery and crime drama storytelling. Where it is surprisingly successful is in its comedic layers. Running gags throughout the film, and comedic timing by the actors give the film a nice touch in an intense story. It’s definitely a must see.
Rating: A
"Philomena": The Better Road Trip Movie
“Philomena” somehow manages to be a great human story in the face of a gloomy storyline. Sometimes the drama is so good and emotionally engaging that you can miss the numerous jokes that add the perfect touch to the dourness. Ultimately, “Philomena” is one of the years best dramas.
Based on a book written by former BBC journalist Martin Sixsmith about the real life Philomena Lee’s tragic story, the film follows Philomena (Judi Dench) as she searches for her son. Fifty years prior Philomena was a young teen who got pregnant and was forced to live in a convent. Unfortunately, for her and the other teen mothers at the convent, the nuns eventually sold their children.
After a lifetime of holding on to her secret, we find Philomena ready to tell her story with the help of Martin Sixsmith (Steve Coogan), a BBC journalist in need of a new story. Embarking on a road trip that stretches from Ireland to the United States, the pessimistic and faithless Sixsmith and undereducated but faith-filled Philomena are the perfect yin and yang for one another. They both learn about themselves through their interaction with each other and search for Philomena's son.
Dench gives a great performance leaving her usual regal, sophisticated type cast for a common, underwhelming character. Coogan deserves equal praise for his minimal understated performance, which went against type as well. The film’s script and editing makes for a film that you can’t stop watching. “Philomena” is a road trip that will take you through the gamut of the human experience and ends on a surprisingly hopeful note in spite of its‘ content.
Rating: B+
Spike makes "Oldboy" New
It’s been said that Spike Lee is a better director of work that isn’t his own. Films like “25th Hour” or “Inside Man” come to mind in giving that statement validity. You can add “Oldboy” to that list as well!
“Oldboy” is Spike’s latest film and a remake of Chan Wook Park's cult classic film of the same name. The film follows Joe Doucett (Josh Brolin), a self-centered alcoholic whose career and family is taking a toll from it. We find him in the year 1983, on a day when he ditches his daughter’s birthday to destroy a deal he almost sealed by hitting on his prospective client’s wife while the husband is in the restroom (Joe’s that type of guy). He then goes on a bender in which he passes out and finds himself in captivity.
For twenty years Joe is held in captivity. Not knowing why he is there, he does know that he receives three squares and a bottle of vodka with each meal. As time moves forward, Joe is introduced to a TV show in which he finds out that his wife was murdered and his daughter adopted. This fills him with a desire to get out of captivity, seek revenge on his captor, and reunite with his daughter.
When Joe is released into the world he sets out on his mission, not knowing that it is a part of an orchestrated scheme by his captor. As Joe teams up with the kind-hearted Marie Sebastian (Elizabeth Olson) and high school buddy Chucky (Michael Imperioli) to seek revenge, things get more twisted as answers are revealed. Samuel L. Jackson plays his usual funny but original character. While Sharlto Copley plays an unforgettable villain as Adrian.
Some may compare this remake to it’s predecessor, and it’s hard not to. This film is inferior to the original, but Spike does a great job of paying homage while taking it in another direction. His camera work is spellbinding and the suspense is just as intense. The film is proof that Spike Lee is a great director, but it may get lost due to its non-traditional storyline and comparisons to the original.
Rating: B-
"The Best Man Holiday" is a Fun Reunion
If you have to wait 15 years for a sequel it better be a good one. 1999’s “The Best Man” created so many stars that it seems only right that they would want to get back to the characters that launched their careers. “The Best Man Holiday” is the reunion fans have been waiting to for.
Admittedly, the film feels like a family reunion and if you don’t know the characters then you may feel a little out of place. Fifteen years after the wedding of Lance (Morris Chestnut) and Mia Sullivan (Monica Calhoun), the film finds its’ characters in new points in their lives. While some have remained close, others have drifted apart. Harper (Taye Diggs), a now struggling novelist, and his wife Robyn (Sanaa Lathan) are expecting their first child. Shelby (Melissa De Sousa) is the star of Real Housewives of Westchester, and Quentin (Terrance Howard) hasn’t changed a bit as the immature musician with one thing on his mind.
Mia calls the gang together for the Christmas holiday. Each member brings their own pink elephant to the getaway, like Julian (Harold Perrineau) losing a two million dollar investor due to a video on the internet of his ex-stripper wife Candy (Regina Hall). It’s the foot-in-mouth awkwardness that makes the group reunion so good. Instead of saying what they’re thinking or need to say, they talk around the issues.
The screenplay drops enough bread crumbs to keep viewers looking for the next piece, although occasionally a piece of cake telegraphs what’s coming next. Overall the pacing of the film mixes laughs with melodramatic moments that true fans will eat up, while others may not be so enthused about, but it entertains. You know there’s magic happening on screen when an audience starts singing and laughing to “Can You Stand the Rain”.
Malcolm D. Lee has made a career off of directing ensemble performances. It’s evident in this film that he’s a more seasoned director and brings out the best in his cast. The heart of the film is about family, love and forgiveness. Like with any family you have your fights, but love will bring you back together. Although the film has its melodramatic moments, “The Best Man Holiday” is a fan’s dream and is sure to do well with audiences looking to reunite with old friends.
Rating: B
"Ender's Game"- "The Godfather" for tweens?!
Sure, it will be forgotten in a few weeks when another “Hunger Games” comes out. If you can get past the fact that the children in the film are forced to act like adults and are the human race’s only hope...”Ender’s Game” is a fun ride for a teen/tween film.
Asa Butterfield is Ender Wiggins. He’s a bright 12 year-old with an even brighter future in a world where humankind turns to children to fight their battles. Why children? They adapt faster and don’t think as streamlined as adults. After an attack on our planet was thwarted by Mazer Rackham (Sir Ben Kingsley), we’ve been training (kids) in preparation for the next attack. We find Ender as he’s just entered the program.
The first half of the film plays out like “Un Prophet” or “The Godfather”. Before you true film buffs stone me, let me explain. Ender proves his tactical proficiency as he slowly rises up the ranks from program peon to commander of a fleet. Outsmarting bullies and ranking officers while gaining the respect of his cohorts, he usually manages to turn enemies into friends as well. That look into the mental whit of Ender is enjoyable to watch as you slowly start to root for the awkward pre-teen.
The second half of the film focuses more on war games. Ender has to fight his inner demons and come to grips with his own moral code while Colonel Graff (Harrison Ford) surprisingly pushes him towards the dark side (pun intended) in an effort to prepare him for battle. The second half of the film is equally as enjoyable as the first and sets us up for the possibility of another chapter.
It feels like the veterans like Viola Davis, Sir Kingsley and Harrison Ford are underused in the film. While it probably was a nice paycheck for them it also fits the story. The cast of teens and pre-teens gel together well and are believable as youngsters put in an intense situation.
“Ender’s Game” a coming of age story of a young boy who traverses the world of adult thinking while finding his own. It’s suspenseful at times, and fun to enter the futuristic sci-fi world that director Gavin Hood has created. If you’re looking for fun in the theater this weekend this film won’t let you down!
Rating: B
"The Counselor" Review
With an all star cast and a legendary director at the helm I assumed “The Counselor” would be incredible. In a time when Oscar gold is hitting the theaters week after week now, I was positive this would be another hit. In fact it was in my Most Anticipated list for the fall. I was wrong.
Michael Fassbender is a lawyer known only as The Counselor. At the start of the film we find him at a crossroads and point of no return in which he decides to get into the world of drug trafficking. It’s obvious that the Counselor has made the decision to enter the dark because of money. He has a beautiful loving fiance named Laura (Penelope Cruz) that he has to keep happy with a 3.8 karat ring that he just purchased even though it seems to be out of his budget. (Although Laura doesn’t strike me as the type to care about things.) He hangs out with Reiner (Javier Bardem), a drug kingpin who lives an extravagant lifestyle with his main squeeze Malkina (Cameron Diaz). He links up with middle man Westray (Brad Pitt) to seal the deal with the cartel. It’s his desire to keep up with the Joneses and a chance connection with one of his clients that becomes his downfall.
Directed by Ridley Scott, “The Counselor” in short, is a puffed up cautionary tale of greed and bad judgement. While in theory that should work it doesn’t; at least not smoothly. I think Scott did the best he could with the material. It’s a beautifully shot piece with controlled pacing but it takes most of the running time before things get interesting. Each member of the cast brought something to the table. Diaz gives a stand out performance as Malkina, the smartest and perhaps scariest person in the room. The issue comes down to the script and its dialogue.
Cormac McCarthy (writer of No Country for Old Men & The Road) embarks on his debut as the screenwriter of the film rather than the novelists from which the film was based. There is a huge difference between literary writing and screenwriting structure and this film exposes it. Half of the time I was trying to decipher what was being said. The dialogue had such convoluted, flowery prose that I had to take a mental break from the movie to catch up. Once I did catch up I realized that much of what was being said didn’t move the story forward. There were many shocker moments within the film, but they served no purpose other than to do just that.
I’m still in awe of the fact that with such a great roster this film left me asking “what did I just watch?”. I don’t mean that in a mind blowing good way, but in a get home and google to fill in the gaps of the story you missed way. If I’m being honest...I missed a couple sections because I fell asleep. This movie isn’t worth your hard earned money in the theaters unless you like catching cat naps with large crowds.
Rating: D
Telekinesis can't save "Carrie"
I had “Carrie” on my Top 5 Least Anticipated Films of the Fall of 2013...and the movie didn’t prove me wrong. “Carrie” falls short not because you may compare it to the original in your head, but because the film lacks heart and depth. Kimberly Pierce’s decent attempt at stylishly re-imagining this film can’t gloss over the poor character development and script.
Carrie White (Chloe Grace Moretz) is a timid girl and an outcast amongst her peers. It’s not her fault. Her mother Margaret (Julianne Moore) sheltered her, home-schooled her and tried to indoctrinate Carrie with her own twisted and manipulated version of the Bible. That’s just the problems she deals with at home. At school kids make fun of her because she can’t serve a volleyball, had her first menstrual cycle and didn’t understand what was happening, and reads strange poetry in class. Maybe I’m out of touch, but aside from the period...there’s nothing strange or funny about that. (The period isn’t funny either, but I get how teens may laugh at that.) Hollywood once again tells us who the mean girls are yet forgets to give the mean girls a substantive reason as to why they are mean girls. Alas, I’ll go along with it.
After years of being on the outside, and a day or two after her ascent into womanhood was put on Youtube for the world to see, Tommy Ross (Ansel Elgort) asks Carrie to the prom. Who’s Tommy Ross? Tommy is Sue Snell’s (Gabriella Wilde) boyfriend. You know, one of the mean girls who were making fun of Carrie in the beginning of the movie. She is actually the only one to have a change of heart about bullying and truly want to do something kind for Carrie. Offering her boyfriend as a prom date is that kind act. Even though Carrie is skeptical, the thought of the one “magical” night everyone talks about at school allows her to erase all of those bad memories and decide to accept his offer. Wait. What? Outcast, and indoctrinated Carrie decides to take a chance on a guy that has barely even talked to her? The only connection prior to this is kind of sticking up for her in class, but they didn’t even talk in that scene. It’s the writing that forces “Carrie” to fall short. The movie constantly marches forward to get to the climax with no regard to logic or building most of the main characters into something more than a two dimensional stereotype.
So what was good about the film? I’ll give Kimberly Pierce credit for giving the remake a visually appealing and atmospheric depth. Shooting through a warped window to show Margaret approaching, or showing Carrie fearfully watching each car that passes by in hopes that her mother won’t see her talking with a boy helps us get into the film on a subconscious level. Unfortunately, style can’t always defeat a mediocre script. Pierce also tries to touch on bullying and showing how far bullies can go in today’s times. Cyber bullying makes tormenting a 24/7 issue and not just during the time you’re at school. Although, the script is obviously preachy at times on the subject it’s great that a movie like this can touch on it and perhaps spark dialogue.
Julianne Moore gave depth and owned Margaret in a way that Piper Laurie did but short of an Oscar nod. Chloe Moretz was miscast in this role. Although she did a great job of dwarfing her normally larger than life, confident persona in films prior; she just wasn’t able to bring the inner conflict and longing for a relationship in the way that Sissy Spacek did. Judy Greer did a wonderful job as Ms. Desjardin, Carrie’s gym teacher, giving her genuine care and concern for Carrie.
It’s hard not to compare De Palma’s masterpiece with this latest film. When you evaluate “Carrie” 2013 on its own you’re left with a flat horror film that’s great for a DVD rental on a Friday night. When you compare it to the 1976 version...burn the film and never speak of it again.
Rating: C
"12 Years a Slave" is Unforgettable
What was it like to be a slave? Steve McQueen’s “12 Years A Slave” answers that question and will make you regret any time you laughed during “Django Unchained” last year. The film is a powerful, raw look at a subject that is no laughing matter.
Solomon Northup (Chiwetel Ejiofor) is a free man living in New York with his family one day, and tricked into the slave trade the next. The film jumps through time in an almost dream like fashion, not telling the viewer where we are in the twelve years but simply telling the story. Through Solomon’s eyes, we are able to see what life was like for slaves, masters, free blacks, overseers, mistresses, buyers, sellers, etc. Each part of slavery and every type of person involved is represented.
From the moment Solomon is in chains his spirit is continually challenged to be broken. Rather than survive, he vows that he “wants to live”. It’s that drive and hope of reuniting with his family that keeps him going. Solomon goes from the household of Master Ford (Benedict Cumberbatch) who is “kind” for a slave owner to the ruthless home of self proclaimed “ni**er breaker” Master Epps (Michael Fassbender). The journey is a look at the inhumane time in America’s past that only gets darker as the film pushes forward. Yet (Spoiler Alert) with the title telling how long he is held in bondage, freedom for Solomon eventually comes. (Notice I said freedom, not justice.)
McQueen proves his mastery as a director with his use of the camera, pacing, and drawing out incredible performances from his cast. He uses the entire frame throughout the film, forcing you to focus on what he wants you to focus on. Whether you’re looking at a face, sugar cane, or a shredded back there is a constant manipulation of focus that works. McQueen takes the time to let a scene or a moment breathe. At times the camera lingers longer than you prefer, like when Solomon is on his tip-toes in mud trying to stay stand up right to keep a noose from tightening around his neck. The scene is at least two minutes long, which is long enough to make you wish it was over while burning the message of cruelty in your mind.
Ejiofor gives a great performance as Solomon. We’re able to watch a man’s spirit ever so slowly be prodded and broken down. Michael Fassbender is absolutely terrifying as the brutal Master Epps. At times I wondered how long it took him to come back to his normal self after McQueen yelled “cut”. Lupita Nyong’o gives a stand out newcomer performance as Patsey, the object of Master Epps affection, trapped in hell on Earth. There will be Oscar buzz and nods around this film, and the casts performances.
This film is a tough watch, but it’s authenticity makes it great. It’s the “Roots” for this generation. It’s the new “Schindler’s List” for slavery. Above all, it’s a film that you will watch, connect with in some way and never forget.
Rating: A+
"Captain Phillips", an Honest Portrayal
“Captain Phillips” is the new thriller directed by Paul Greengrass based on the true story of the hijacking of the Maersk Alabama off the Somali coast in April 2009. Tom Hanks stars in the title role as Captain Richard Phillips. The marriage of Greengrass’ direction and Hanks’ polished acting sets the viewer up for an authentic, suspenseful depiction of this true life event.
One of the biggest things I hate about Hollywood films at times is that they use xenophobia (the irrational or unreasoned fear of that which is perceived to be foreign or strange) to automatically manipulate the viewer in to choosing the side of the (usually white) hero. From the beginning, this film steers clear of that. We’re first introduced to Captain Phillips as he prepares to go out to sea. We see his wife, his home life, and him at his job on the ship. Next we are introduced to Muse (Barkhad Abdi), who later becomes the leader of the pirates who board the Maersk Alabama. Muse sleeps on the floor of a shack, looks like he needs to eat, and is hungry to earn money. Muse isn’t the only one looking to earn some money. Plenty of other men in the village want to earn money and the way they can do that is by being a pirate and highjacking large ships off the coast of Africa. In fact, the men to fulfill the job are picked from a line up like gym class.
This juxtaposition of seeing life through the eyes of the hero (Phillips) and villain (Muse) makes the playing field fair as the two storylines eventually intertwine. Throughout the film it’s easy to sympathize with either side. While rooting for Captain Phillips and the crew to be free, you also can’t help but wish that the Somali’s didn’t have such a bad hand in life...and Abdi does a great job of showing that internal moral conflict.
Greengrass uses his signature frenetic camera moves to keep things on edge. Most of the film is shot in mid-shots to close-ups. He uses the frame to drown us in the moment, forcing us to engage in the characters emotions. Greengrass ups the realism in the film by casting four non-professional Somali-American actors to portray the pirates. The final twenty minutes of the film proves that Hanks is at the top of his game. His character arch from fearless leader to fear-filled victim is incredible.
“Captain Phillips” is a solid thrill ride that allows you to get inside the mind of all involved. It moves a bit slow at points, but the film is in the hands of a master who knows how to ramp things back up. It's hard to do a based-on-a-true-story film but Greengrass and Hanks make it look easy.
Rating: B+
"Gravity" Group Critic Review
I recently had two fellow Washington DC Area Film Critics Association members on the show to talk about "Gravity" and our Top 5 Most/Least Anticipated films of the fall for 2013. Here's the segment with my review of "Gravity", and the group review after. Big thanks to WTOP Film Critic Jason Fraley (www.thefilmspectrum.com) and Filmhamster.com founder Hamilton Whitney. Enjoy!
"Gravity" Takes Film to New Levels
Alfonso Cuaron’s “Gravity” is a breath-taking, cinematic masterpiece, worthy of all the positive adjectives that you can use in a film review. It only takes a minute into the 13 minute opening shot (one long take without cutting) to realize that you’re watching something fresh, beautiful and that promises to be a thrill ride. In fact, I don’t remember the last time I held my breath, pumped invisible breaks, and almost talked to the screen in the opening scene.
The key to the film is its’ simplicity in concept. Ryan Stone (Sandra Bullock) is a medical engineer working alongside veteran astronaut Matt Kowalski (George Clooney). What starts out as a routine “day” in space turns bad as a Russian satellite explodes in space. The film does a great job of explaining the science of space, but let’s just say the satellite explosion turns into deadly 200 mile per hour shrapnel headed towards our heroes. From there, the film is about survival.
(Spoiler Alert) The majority of the film rests on Bullock’s shoulders as she maneuvers through situation after situation. As if worrying about primal needs like oxygen isn’t great enough, the film’s internal clock of debris orbiting Earth every 90 minutes becomes a character in itself. She does a masterful job of displaying subtlety and realism in her portrayal of Stone.
Cuaron’s camera direction is an awe inspiring ballet floating, dodging and capturing events as they unfold. His pacing is reminiscent of Kubrick’s “2001: A Space Odyssey”, while his framing captures the beautiful aesthetics of space and its equally horrific silence. This is oscar worthy directing.
"Gravity" is guaranteed to entertain now, and be studied in film classes for years to come. I’m usually not a fan of 3-D but it’s used well in this film with objects coming at you (not all the time) it feels as though you’re right there with the characters. It’s a must see in theaters in order to get a feel for space’s magnitude. In my opinion the best picture this year, and will be talked about in the film’s of the decade/best space films lists.
Rating: A
"The Family" Doesn't Quite Gel
There are certain actors that we get excited to see attached to a film. Their name alone will induce nostalgia for cinematic masterpieces that we’ve seen them help create before. Robert De Niro is one of those names. Although it’s no secret his hits have been hit or miss over the past decade, I thought a movie about him on the run from his former mob family would be campy fun. It was, for the back of my eyelids. Don't get me wrong, it's not the worst movie ever, it just doesn't know how to handle it's ensemble and storyline at times.
I’ll give writer/director Luc Besson credit in that he doesn’t spend a lot of time introducing each family member. “The Family” starts with the Blake family moving into their new witness protection house under the cloak of night. Fred Blake (De Niro) is a snitch who ratted out his mob family in the states. The Blakes are not their real name, but the bond is real and the chemistry is there as they get settled in.
It’s apparent that Maggie (Michelle Pfeiffer), Belle (Diana Agron), and Warren (John D’Leo) have been through the drill of making a new place home plenty of times before. Wisely, we are introduced to each member of the family through their assimilation into their new community. Warren proves to be a street smart businessman. Maggie is a no-nonsense mom who will blow up the local grocery store if disrespected. Belle proves to be the teenage girl next door with anger problems. She got it honest from her father, who continuously imagines or actually does violently attack people.
The key to the film is the lead cast members. De Niro’s aged face tells the story of a man who has enjoyed life, but is equally conflicted with some of his life’s decisions. Pfeiffer hits the nail on the head as a mom who loves her family. Tommy Lee Jones picked up an easy check as Chief Deputy Marshal Samuel Gerard...I’m sorry that was “The Fugitive”. In this movie his new name-same character is Robert Stansfield. Yet I guess there is a reason he keeps getting type cast in this type of role. Just looking at his tired face sometimes induces a laugh. Throughout the film I kept wanting to see a little more depth with De Niro’s character, but all I could get was his diverse use of the F bomb to describe events whether they are sad, exciting, funny, dangerous, etc.
It’s the third act of this film that keeps you glued to the screen. As the family starts to slowly unravel in various ways their seams get pulled back in. You can guess that the mob catches up with the family, and by their powers combined...yeah, I figured you’d get it. Besson does a great job using his signature suspense and action scenes in the closing minutes of the film. It’s just unfortunate that the film can’t settle on a tone and genre up until the end. “The Family” is worth a Red Box or Netflix rental especially if you want to get to sleep at night, or have nothing else to do for a couple of hours on a Saturday.
Rating: C-
Was ANYONE Paranoid in "Paranoia"?
“Paranoia” sucks. It doesn’t suck so good like “Last Action Hero” or other cult classic flops. It’s just a bad movie. Gary Oldman’s character Nicholas Wyatt quotes Picasso in the film and says “Good artists copy, great artists steal.” This movie went for the copy machine but got held up in the break room before it could use it.
We’ve seen “Paranoia” before. Films like “Lucky Number Slevin”, “Paycheck”, or “Enemy of the State” have done it in some way, and done it way better. Two towering giants go head to head with a protagonist in between. Liam Hemsworth is Adam Cassidy, an ambitious twenty seven year old computer geek (?) with dreams of making the next successful tech device. He lives with his ailing father, Frank (a very old Richard Dreyfuss), and wants desperately to move up the ranks to give them both a good life.
Adam and his friends, who are actually ten times smarter than him, are given the opportunity to pitch an innovative idea to their employer Nicholas Wyatt. As the pitch goes soft, Adam mouths off to Wyatt resulting in the group not only failing the pitch but getting fired as well. Instead of Adam going to look for a modeling job, he decides to use the company’s (that he was just fired from) credit card to live it up for one night. Unfortunately, this stupid move gives Wyatt the dirt he needs to threaten Adam with working for him or going to jail.
This movie isn’t worth me summarizing the rest of it in detail because you’ve seen it before...and the geniuses in marketing revealed the big reveal in the trailer (so no spoiler alerts)! Adam is played like a fiddle as Wyatt uses him to work for the competition, Jock Goddard (Harrison Ford), but the competition already knows Adam is a spy. Amber Heard plays Emma Jennings, Adam’s love interest, and serves absolutely no purpose except for being the love interest in this film...if you can call it love. Adam eventually outsmarts both of the titans by his own brain power. No, I’m sorry...I told you he had friends that were ten times smarter than him. Remember the ones that he got fired and left behind to work for Wyatt in the beginning? The team combines their powers and outsmart the titans.
Most screenplays get vetted multiple times before becoming a final draft, a shooting script, and what you see on the big screen. This film must not have received that treatment. Just because you have acting legends (Ford, Oldman, Dreyfuss) and hot young talent (Heard, Hemsworth) doesn’t mean that you can cover up a horrible script. If you’re title is “Paranoia”, someone should be paranoid within the film. Better luck next time.
Rating: F
Getting to "Elysium"
Writer/Director Neill Blomkamp’s South African heritage is an obvious influence in his films. With two features under his belt now, “District 9” and “Elysium”, his ability to tell stories of the impoverished versus the rich, us versus them, etc. is his niche. While “Elysium” is not as gripping as his first work, it still delivers one of the better action films of the summer.
Matt Damon stars as Max, a citizen of the dystopian planet Earth in the year 2154. After humans polluted the planet, the rich created a gigantic space station to live on away from the rest of us called Elysium. Elysium is free of pollution, has machines that can cure anything, and is big enough that we can see it from Earth. With that, the geek in me wants to know...how did they create that thing and get it up there? That question isn’t answered, but everyone on Earth wants to get to Elysium, while Jodie Foster’s Delacourt will defend it at all costs. After being exposed to a lethal dose of radiation in a “you know you shouldn’t have gone in that container” move, Max is given five days to live. That’s five days to get to Elysium and save himself.
With the internal clock now running in the film, Max turns to Earth’s greatest criminal mind on all things Elysium to try and get a ticket to Elysium to clear his body of radiation. Like any deal with a criminal that you’ve already served three years in prison for, it comes with a price. What price is that you ask? Max has to have a droid exo-skeleton drilled into his own skeleton so that his body can be strong while the radiation is at work. Not only that, they have to steal codes to override the security of Elysium.
The section of the movie that is a heist film is exciting and once our heroes have more information than they bargained for, Delacourt activates rogue military psycho Kruger (Sharlto Copley) to get it back. From there, it’s a race against time for everyone involved to preserve their life or way of life.
Neill Bloomkamp’s dystopian worlds are vivid and always draw you in. He has power in his storytelling that makes sitting through another “the one that will save us all” movie entertaining. I hope with his next film he lets go of apartheid, border patrol, health care and other similar themes to move on to other topics. His first two have been entertaining but one more movie like these might be too much. “Elysium” is solid entertainment at the close of the summer blockbuster run!
Rating: B
'2 Guns' Gets the Job Done
Remember back in March when I talked about being excited to see ‘2 Guns’? Well, I wasn’t let down by the film. ‘2 Guns’ is a buddy action comedy that has its cliches but doesn’t insult its’ audience’s intelligence.
Denzel Washington is Bobby T, or at least that’s his undercover name. He and his crime partner Michael Stigman (Mark Wahlberg) decide to rob a bank that holds Mexican cartel boss Papi Greco’s (Edward James Olmos) 3 million dollars inside. The problem is that neither of them know the other is undercover, pitting DEA against Naval intelligence, until they flee the crime scene with 40 million more than they expected. Unfortunately, once our heroes have the money they realize the only person they can trust is the one that has been living a lie beside them for the past few months.
With a 43 million and change price tag on their heads, Bobby and Stig have to find out who the money really belongs too. How far does the rabbit hole go? Who’s really pulling the strings? Sounds familiar right? It is familiar, but screenwriter Blake Masters never takes you down the ridiculously obvious path. Each time you think you’re in familiar territory he gives enough of a twist to make things interesting.
‘2 Guns’ continuously keeps its’ audience asking questions. Most of the time it’s “how are they going to get out of this?”. Regardless, the suspense and wit pushes the story forward in an entertaining manner that some of the bigger budgeted films could have learned from this summer.
The chemistry between Washington and Wahlberg is great. Almost as though they spent a few years in high school in the back of the alphabetical line goofing off. The always smooth Washington plays the straight man while Wahlberg is the loud mouth in the pair and it works. So much so, you feel like the laughs kept going on set after director Baltasar Kormakur called cut!
No, this film isn’t original in its set up, but it is well done in execution. The acting is solid and rapport between the leads is palpable. As we close out the summer and head toward this fall’s Oscar race, ‘2 Guns’ could have easily been a throw away film. Yet it steers away from being forgettable and settles in the holster of smart entertainment.
Rating: B
The Gift and Curse of Wolverine
Take one of Tyler Perry’s leading men during the first 3/4 of any of his films, give him healing powers and an adamantium frame...and you have “The Wolverine”. In this film, like a TP film, Wolverine constantly asks obvious questions while turning a blind eye to opposition against him. Arguably one of the X-men’s most complex characters, Wolverine is always standout with the rest of the gang, but average by himself. I guess it’s a gift and a curse...much like his abilities.
After the death of Jean Grey (Famke Janssen), Logan aka Wolverine (Hugh Jackman) is still in turmoil with killing her and has taken a vow not to fight. He lives like an animal in the wilderness and looks like a caveman. When the dying Yashida (Hal Yamanouchi) sends for him to thank him for saving him during WW2, he is thrust into the middle of a power struggle for the Yashida empire. When Wolverine arrives in Japan, Yashida gives him the opportunity of his life times- to have his healing powers taken away from him. It’s an excellent premise since Wolverine is immortal in many ways in the comic books.
During his short time there, Logan starts to fall for Yashida’s granddaughter Mariko, who is next to take the throne, even though her father is still alive. While thinking Yashida’s proposition over, the decision is made for our hero in the form of Viper (Svetlana Khodchenkova), a brilliant chemist and mutant herself who has the ability to suppress and take Wolverine’s power. Soon, Logan finds himself fighting with a slow healing body to protect Mariko from the Yakuza.
So a story about an immortal body with a mortal soul having the chance to equal the two is a good move by writers Christopher McQuarrie, Mark Bomback, and Scott Frank. Since so many things have been blown up and computer generated this summer, this film is a refreshing dial down on the push it to the max notch. Almost to the point that it feels flat because of what we’re used to seeing. However, it doesn’t go as dark and complex as it could or should have. Although Jean visits him every night and talks about being with him in death, we never hear how Logan feels about it. There is elusion to him wanting mortality, but never a strong push as to why. If the film had taken us deeper into Logan’s pain, then it would have made the connection to him even stronger. Instead, we must settle for “Karate Kid 2”.
Obviously, Wolverine is a better suited character for solo films. (Who wants to watch a stand alone Cyclops movie?) “The Wolverine” is better than its predecessor “X-men Origins” movie, but not by much. I give credit to Director James Mangold in that his film plays out like a western with his troubled hero in Logan, but it misses having good enemies to help with the hero’s journey. The best defined villain is Yashida, while Viper and Hawkeye-like Harada (Will Yun Lee) are barely fleshed out past their use in the story. Even Wolverine's sidekick Yukio (Rila Fukushima) has promise of being an interesting character but is cut short once Logan finds love in Japan. (Although there does seem to be an unspoken love triangle there.)
If you like films where the hero is clueless until the end, and yells “WHERE IS SHE?”. Or the hero and his squeeze yell each other’s names in “Marco Polo” game style fifty times...this one will be Oscar worthy to you. To me, it was just above average.
Rating: C+
Aging isn't so bad in "Red 2
The old gang is back in “Red 2”. Redo. The old crew is back together again in “Red 2”. Again. The old- well you get the point and the movie pushes it hard enough. The sophisticated, better acted version of the “The Expendables” has your favorite 40+ characters out of retirement once again to take care of trash and protect their own.
The film rushes to get started almost assuming that you just finished watching “Red” before you got to the theater. Bruce Willis reprises his role as Frank Moses, an ex-CIA operative, who is living on the run with his girlfriend Sarah (Mary-Louise Parker). When Marvin (John Malcovich) meets them on a dull trip to Costco, he tells Frank that some documents have surfaced on the internet that deal with a former nuclear black-op called “Night Shade”. In order to avoid government agents, Marvin fakes his death (which he has been known to do...and that’s not a spoiler) causing Frank to go out in the open to attend Marvin’s funeral.
Once Frank is officially pulled back in to the world of mayhem. The trio must race against the clock to clear their names and get to the weapon of mass destruction before government agents from different nations do. If that wasn’t hard enough, they have to do it while dodging the brutal assassin Han Cho Bai (Byung-hun Lee), MI6’s Victoria (Helen Mirren) and Moses’s “kryptonite”, Russia’s Katja (Catherine Zeta-Jones, who for the first time ever looks her age).
You don’t go in to a film like this expecting a master work. This franchise is all about goofy fun, and it’s obvious that the cast didn’t have to go to work while filming. It was a reunion, and the funnier you improved the better.
As I said before, the difference between this film and other “older actors making a movie” is that there are some decent performances even with the material. Malkovich steals the show with his character. He got most of the big laughs with the crowd I saw it with, and there were quite a few. Helen Mirren brings grace, confidence, and beauty to her performance in such a way that makes sixty look alluring. I can only pray I’ll have half of Byung-hun’s physique at 43. Anthony Hopkins proves why he is an Oscar-winner playing the seemingly crazy Dr. Bailey. The love triangle between Frank, Sarah and Katja makes for man-child, teen crush fun as the two women try to one up each other during their interactions.
I’m surprised this movie had a sequel, but when a film returns over three times what it costs to make it there’s no question of why it was made. So if you’re looking for some mindless entertainment in the theater this weekend “Red 2” is the way to go. Other wise, you can wait until it comes in a small pre-metered packaging or “box” of the same color as the title and get your laughs then for cheaper.
Rating: C
The Lone Ranger & Redface: Things Hollywood Should Leave in the Past!
“The Lone Ranger” is too long and systematic to be a reboot of a 1949 TV Series that's so dull. It was clear to me as I watched the film and surveyed the audience that it had to have been made for two people: those who were around when it was on tv and kids that may like it today as a new "superhero". The movie should have ended around an hour and forty minutes, but like some things in old hollywood...it just wouldn’t die.
Armie Hammer is John Reid (Lone Ranger), a highly educated lawyer who returns to his Colby, Texas home with aims of bringing justice to his small town. After the train he rides in on is ambushed by the outlaw Butch Cavendish’s (William Fitchner) gang, he teams up with his brother Dan (James Dale) to capture Butch. During the ambush John meets Tonto (Johnny Depp), a full-blooded Comanche Indian, who he locks up after Tonto saves him and the people on the runaway train. On a high for seeking and exacting justice, John joins his brother in a doomed attempt to capture the evil Cavendish due to a double cross. After being killed with the group of rangers, John is revived by a spirit horse (Silver) and help from Tonto. The two team up to get revenge/justice in the deaths of the rangers.
Even in my description it seems like the plot has started, ended, and started again. It does. Instead of just telling the story, we have to witness spectacle after spectacle that slowly inches the film forward. The film is told through the eyes of a 1933 Tonto to a young boy at a fair in San Francisco. Why? Who knows, but it’s totally unnecessary. The film could have started with the death of the rangers and moved forward but I think director Gore Verbinski (Pirates of the Caribbean 1,2,3) wanted to make sure he used as much of Depp’s eccentricities as possible to keep things interesting. In fact the film feels like a poor carbon copy of a Pirates film with its bombastic score, punchy jokes and Depp at the helm.
There’s nothing about the characters that draws you into them. Even Depp’s incredible powers of making a character his own becomes a caricature rather than a character with depth. Hammer is dry as usual. Tom Wilkinson (a great talent) is almost unrecognizable as Cole, Butch’s more intelligent and as deadly brother, but rather subdued to performing as the typical villain. The entire film is a cookie cut version of something you’ve seen before, but want to forget about as soon as you leave the theater.
Let’s get to the reason I dreaded seeing this film before I even went in the theater. Johnny Depp plays a Comanche Indian while clearly being barely Native American himself. In an interview Depp expressed that "I guess I have some Native American (in me) somewhere down the line. My great grandmother was quite a bit of Native American, she grew up Cherokee or maybe Creek Indian. Makes sense in terms of coming from Kentucky, which is rife with Cherokee and Creek." You guess, Johnny? It’s just amazing to me that while there are scenes with large groups of Native Americans in the movie, not one of them were worthy enough to portray Tonto. Not even Chaske Spencer or one of the other young men from the “Twilight” films Mr. Bruckheimer? The fact that Depp wears war paint the entire film doesn’t make him authentic or hide the fact that he's not. The choppy English only continues the stereotype. It’s sad that in 2013 these images (or lack there of) are still being portrayed.
So once again Hollywood cranks out a big budget summer blockbuster that’s too long, has a story line with twists you can see coming from a distance, but rests its success on the shoulders of a talented titan rather than stepping out of the norm and going for authenticity. A heartfelt story, with genuine characters would have been nice. On one hand, the film is set in a time when calling a Native American a savage was the norm. I get that. It has a scene in which the Comanche leaders meet with Reid in their tent and he is clearly the dumbest person in the “room”. Yet, it does nothing to make up for the fact that Hollywood still doesn’t cast authentically in a role where it clearly should.
As a whole, “The Lone Ranger” is a movie that you check your watch multiple time throughout to see if it’s almost done. The movie is unoriginal and forgettable. The “best parts” were in the trailer. Wait until the film comes out on DVD, Red Box, and Netflix. Unless you are one of the people I witnessed smiling with joy as they saw an old friend come back to life on the silver screen, or a kid who has to go to the film his/her parent takes them to. Hollywood, please, some things are best left in the past...especially Redface!
Rating: D
Down with "White House Down"
I would have loved to entitle this review “What “White House Down” should have learned from “Die Hard””. It’s rare that I want to walk out of the theater. Even when it’s a film that I know is going to be outlandish and implausible. The problem with “White House Down” is that it didn’t steal key components of the films it tried to be like (“Die Hard”, “The Rock”)...it forgot to make us care about the characters and deliver good performances. Instead we have dialed in performances for a silly screenplay. The only reason I stayed in my seat was because...I paid for my ticket isn’t a great excuse but let’s go with that.
I imagine Jamie Foxx signed on as President Sawyer because...well that’s one role he hasn’t played yet. Jimmi Simpson collected a check in the character part he’s used to playing in his television roles. Outside of Foxx and Simpson, I can’t understand the casting. The film stars Channing Tatum as John Cale, a capitol police officer that wants to be in the secret service to impress his precocious daughter Emily (Joey King). After taking his daughter on a White House tour, Cale becomes the man in the wrong place at the right time as mercenaries take over the White House.
Honestly this movie feels like they gave it to a film enthusiast who loves Michael Bay, used daddy’s bank roll, and twenty yes men to make a film. The visual effects were poor, and permeated the film like the screenplay's weak structure. From the beginning things are foreshadowed through little Emily and the tour guide’s recitation of facts. Walker (James Woods), the main villain’s (I think) picture of his son in close up after he takes off his American flag pendant is a great way to broadcast his intentions in the first few minutes of the film. The squeaky wheel of a fake janitor’s cart with an ominous tone is an even better way to forecast something bad is about to happen. Things like Cale’s background are told in a super long impromptu secret service interview led by Maggie Gyllenhaal’s Agent Finnerty. Is she an old flame, or a friend? Who knows. Let’s elude to it though. All of these cheesy gimmicks have been done in movies before, but in a more succinct way.
Let’s not dog the entire film. There were a few comical moments between Foxx and Tatum. The teen girls in the theater screamed when Tatum was first on screen and stripped down to his undershirt and a bullet proof vest. The most heartfelt moment was when little Emily looked into the president’s eyes and said she understood why he would have to let her get shot for the sake of millions. Wait, what? Yes. President Sawyer was willing to let a little girl get shot...and I guess I ran out of kind things to say.
Wait for this movie to come out on DVD for $1 at your local Red Box. Unless you like the walking acting class reject, Channing Tatum...or an occasional laugh from Jamie Foxx as he winks at the camera with his over the top portrayal as the president. The movie isn’t titled down for nothing!
Rating: D
The Living Will Rise to see "World War Z"
Would you pull your teeth out in the event of a zombie invasion? "World War Z" doesn’t pose the question, although the idea is hinted at. The evolution of zombie films has taken off since “White Zombie” in 1932 until now. From slow zombies with no direction other than what their voodoo master tells them to fast zombies bent on spreading infection, the genre is wide open. “World War Z” plays out like “Contagion”, or “Outbreak” but with zombies. Flaws aside, it’s a suspenseful, well paced film that entertains.
The film starts out with a routine introduction to the Lane family. Gerry (Brad Pitt) and Karin (Mireille Enos) are awakened by their daughters followed by a “loving” breakfast together where Gerry shows his pancake making skills. The great thing about the film is that the action picks up fairly quickly after we witness the poor chemistry of the Lane family. The pandemic breaks out in a non-routine way as the family is in the car in the middle of a busy Philadelphia street. It takes you by surprise as the mayhem ensues. From there, the Lanes have to stay on the move to avoid the zombies.
We quickly find out that Gerry is a retired United Nations investigator who was so important that UN Chief Thierry Umutoni (Fana Mokoena) is willing to evacuate him and his family by helicopter from the apartment complex they stow away in for the night. Once Gerry is back in UN custody, the mystery of what is happening with the pandemic on a global scale kicks into warp speed. (Again, the movie revolves around Gerry while Karin and the kids are just a plot piece for his character.) Gerry is sent to South Korea with a brilliant young scientist who seems to be mankind’s hope for surviving. Again, the film throws you for a loop as *spoiler alert* “hope” is lost in the form of a freak accident, putting everything on the shoulders of Gerry.
From there the film consists of Gerry hopping around the globe trying to solve the mystery of what happened while simultaneously trying to find a cure. Some of the encounters are implausible but the pacing of the film succeeds in keeping you on the edge of your seats or yelling “run, run run!” when things get sticky. Overall, Brad Pitt is like-able enough to carry the film across the goal line.
From the opening credits, images of swarming insects, bugs and animals fill the screen. One of the great images in the film is the swarming zombies that run in packs and the living running for their lives in the same way. Cinematographer Ben Seresin did a great job in painting the palette for the creatures to roam in the frame, as well as the scary moments in dark hallways with flickering lights.
My only gripe is that “World War Z” asks for you to suspend your disbelief in a few areas. If you can get past the fact that the Gerry is the definition of Law 10, Infection, from 48 Laws of Power then the film becomes very suspenseful. It seems that every where that Gerry goes in trying to solve the mystery and look for a cure, the zombies take over a once sterile environment or kill most of the people he is with. So Gerry is almost an infection himself. Understandably, if the zombies didn’t swarm, then there wouldn’t be much of a movie. Also, this is another film where our hero makes all the right decisions. I highly doubt anyone in that situation would make the right decision every time. That’s a problem with the writing, but we’ll roll with it.
Where the film lacks in character development, it succeeds in action and “I didn’t notice I’m holding my breath” suspenseful pacing. Although at times I wondered if seeing it at home in a dark room would have made it even scarier, the film is worth your hard earned cash.
Rating: C+
