"Project Almanac" Review
Director Dean Israelite's “Project Almanac” is one of those time travel movies that you rent for a weekend view and wake up only to try and re-watch it because it put you to sleep. It’s a film that you stay awake in the theater to watch because you paid $11+ for. It starts out fun, but winds up collapsing in on its own confusing rules of time travel.
David Raskin (Jonny Weston) is a brilliant senior in high school who just got accepted to MIT. Unfortunately, MIT’s financial aid isn’t enough to get him in, but if he can come up with an amazing project/experiment it just may help. David sets out to find an idea for an experiment by digging around in his father’s old work in the attic. His father, who died mysteriously on the day of his 7th birthday party, just happened to be a super brilliant, secret government contractor.
With the help of his friends Quinn (Sam Lerner), Adam (Allen Evangelista), and sister Christina (Virginia Gardner), David begins tinkering with a mystery box they find in the basement with instructions entitled Project Almanac. The film starts out as exciting as discovering a time machine should be. On an old camera with footage from David’s 7th birthday they catch a glimpse of the present 17 year old David in a mirror at the party, confirming to them that it works. (Did anyone notice the ink stain is on the wrong side of his shirt in the footage and that’s never explained?) At first they take small controlled steps and make things go back in time. Along the way the prettiest girl in school, Jessie (Sofia Black-D’Elia), happens to walk in on an experiment to give us a little love story in the film, and gets to join the crew.
The problem with “Project Almanac” is that the writing has the attention span of its’ teenage characters. Once they start pushing time travel past an hour to days and weeks (which takes far too long), things start to get confusing. Trust me, you don’t have to explain too much to me in a time travel movie, my suspension of disbelief is in high gear, but you do have to explain why the world you return to after jumping is vastly different. As the traveling becomes more frequent and less methodical, the screenwriters ask you to pay attention to certain things and then throw it out the window. It’s as though after brainstorming ideas of what teenagers would do with a time machine, they forgot to figure out how to string those ideas and important subtleties into a fulfilling movie.
As you can guess, things get out of control toward the end. David does what he thinks must be done to fix things, but the final scene of the film once again undermines everything that was done before it. This is one time travel movie you can save yourself the trouble and time of viewing.
Rating: D
"Annie" 2014 Review
I was really looking forward to the new “Annie”. The trailer boasted of a diverse cast, a hip hop twist on some classic songs, and a new vision for a classic tale; what’s not to be excited about? While you’re kids may enjoy it, it’s a hard knock off for us!
Quvenzhane Wallis is Annie, a bright eyed foster kid living in Harlem. Her bitter foster mother Ms. Hannigan (Cameron Diaz) provides four walls and a roof over Annie and her foster sisters’ heads, but only for the paycheck. Annie wants to find her biological parents, and works hard at the local bodega ran by Lou (David Zayas) to earn under the table cash to get documents about her parents.
Elsewhere in Manhattan, billionaire cell phone mogul William Stacks (Jamie Foxx) is running for mayor and having a tough time seeing the poll numbers rise in his favor due to his lack of interpersonal skills. His assistant Grace (Rose Byrne) is a master political strategist with insecurity issues and a secret (or not) interest in her boss. Stacks pays Guy (Bobby Cannavale) to do his dirty work in politics.
After an awkward day of hitting the streets to help the homeless for political gain, Stacks’ SUV is put out of commission. He decides to walk for clarity and peace, and walks right into Annie. After saving her from near death (on cell phone footage from a bystander that’s miraculously cut together from two angles) the polls start moving in Stacks’ favor. Hence, the plot device for Annie to move in with Stacks and help him win the election.
Annie is hip to the political hustle and goes along with the story in exchange for her own demands. This is one of many issues with the film. Wallis has played the little girl who had to grow up too fast before in “Beasts of the Southern Wild” (an incredible performance), but it comes across as cheeky and artificial here. She fades in and out of confidence and being lost in the role. It doesn’t help that most of the adults around her are giving comical performances reminiscent of something from a mid 90’s Nickelodeon sitcom. Yeah, think “Keenan & Kel”. Foxx seems to be the only person aware of how poor the movie is as he steals the scenes he’s in, eventually culminating in hoping that he’s in every scene.
The main problem is that this remake has no heart and soul. It’s just a formulaic blockbuster that makes caricatures out of its characters rather than giving them room to deal with their insecurities, illiteracy, greed, alcoholism and other flaws that are touched on but barely explored. Perhaps a couple more weeks at the writer’s table could have helped.
There are a few nice moments, and songs in the film but that’s not saying much. The sun will come out tomorrow, but I doubt it will be shining favorably on this “Annie”.
Rating: D
"Top Five" Review
I canʼt remember the last film I saw that I didnʼt want to come to an end while watching it in the theater. Itʼs rare. “Top Five” is a hilarious ride that you donʼt want to get off of.
Chris Rock knocks the ball out of the park as his third time in the directorʼs chair. Heplays Andre Allen, a comedian who has lost his mojo, and is on the verge of marrying his reality TV star fiancee Erica (Gabrielle Union). Heʼs promoting his latest “serious” film, Uprize, and is making the press circuit. Chelsea Brown (Rosario Dawson) is assigned at the last minute to spend the next couple of days interviewing him. They find commonality as recovering alcoholics, and ask for absolute honesty in an effort to keep the interview unique.
The film is a talkie piece reminiscent of Woody Allenʼs “Annie Hall” or “Stardust Memories”. Andre and Chelsea stay in motion with witty back and forth conversation as they duck into town cars, Sirius radioʼs office, and all the other promotional stops through the course of the day. Itʼs the A/B parallel of the duo slowly revealing their private life and business that comes in to the film and gives it heart. The two make stops at Chelseaʼs house, where Andre meets her mother and daughter. Andre stops through the “hood” and visits his own family in a hilarious scene where his father Carl (Ben Vereen), Tracy Morgan, Leslie Jordan, Sherri Shepherd, and Hassan Johnson totally rip into their “Hollywood” family member. You can totally see where Andre got his humor from, and itʼs an opportunity to let the former SNL stars shine. As Andre and Chelsea continue to talk, it’s clear that they share a chemistry that turns into one of the best romantic comedies of 2014.
Throughout the course of the film Rock infuses his comedic timing as Andre Allen. Sure, heʼs not the best actor, but heʼs playing a comedian which isnʼt a stretch. Itʼs like when Beyonce plays a singer, and we actually get a decent performance. Rosario Dawson is perfect in the role as the quick-witted journalist. Every supporting character and cameo is placed with thought and intention. They all deliver, but most importantly serve the film in such a way to advance the story.
The film is a great love story, and it’s as raw and on point as Rock’s stand up hitting on politics, hip hop, and pop culture issues. Be warned, there is a scene with Cedric the Entertainer in the hotel room in Houston that you can’t unsee. I’m still having nightmares. On the flip side, I think the cameo with Jerry Seinfeld and DMX will be talked about for a while. “Top Five” is one of those films that you would buy the DVD on the spot if they were on sell when you exited the theater. A great choice for the movies this weekend!
Rating: A
"The Skeleton Twins" Review
“The Skeleton Twins” is one of those movies that you might breeze over judging a movie by its trailer. If you give it a chance, you’ll probably be pleasantly surprised at the story that’s told.
Kristen Wiig and Bill Hader are Maggie & Milo, twins who haven’t spoken to each other in ten years. After Milo attempts to commit suicide, Maggie is called as his next of kin ironically at the very same time she’s about to attempt suicide. The initial reunion is awkward. What do you say after ten years? How do you support your sibling who is in an obviously dark place, when you are as well? This is the core of the film as the two begin to mend their relationship.
Milo moves in with Maggie and her husband Lance (Luke Wilson) to recover. Lance is the unknowingly obnoxious guy you don’t want to see your sister with, but has a good heart. He’s fired up about the baby that he and Maggie are trying for, but Maggie has her own plans that she’s kept from Lance. In fact, each twin has their own bag of secrets that they’ve developed over the past ten years. As the film moves forward, secrets are shared amongst the twins and then told in spite.
The film’s strength rides on the relationship between the twins, but it also is brought down because of the twins relationship. They have an obvious chemistry and connection as siblings that at times is fun to watch, but it’s a lot like watching two people that have inside jokes that you don’t understand. Most of the movie you peer in to the lives of the main characters, but never really care about them.
The movie does provide some laughs and funny moments. Unfortunately, due to the lack of relatability to the characters, the film can drag at times. Regardless, this is a solid film that is worth a Netflix viewing.
Rating: B
"The Hunger Games: Mockingjay Pt. 1" Review
It’s pretty shocking that “The Hunger Games: Mockingjay Part 1” is such a suspenseful film. This time around there is less action and more talking. In fact, you could say that “Mockingjay Pt 1” is more of a political thriller this time around, and somehow it still manages to keep you glued to the screen.
Katniss Everdeen (Jennifer Lawrence) is still the reluctant hero. She is broken from the games. She can’t sleep without having a nightmare. No matter how hard she tries to separate herself from “the games”, she’s pulled back in by the rebels who rescued her after she destroyed the Quarter Quell. The rebellion, led by President Alma Coin (Julianne Moore), is now going head to head with the diabolical President Snow (Donald Sutherland) in a battle of propaganda campaigns to try and stir the remaining districts to action or submission.
After seeing her home, District 12 now reduced to rubble and human remains at the hands of the Capitol, Katniss decides to become the rebellion’s mockingjay as long as her fellow Victors in the hands of the Capitol receive immunity. The mockingjay will be the symbol for the rebellion. On the flip side, the Capitol has made Peeta (Josh Hutcherson) their symbol. As each side tries to get their message out to the remaining districts an interesting commentary on how we’re influenced by media in the real world comes to the forefront. Each side appeals to stopping the loss of life, but from differing perspectives. One side wants the freedom to live, while the other wants self-serving order at the threat of killing more people to achieve it.
It’s easy to forget that you’re watching a movie based on a Young Adult book because of it’s political commentary but largely because of its stellar cast. Jennifer Lawrence’s ability to move from female action hero to complex, layered and lovable around the way girl reminds us why she’s an Oscar winner. Liam Hemsworth gets to step up from Katniss’ side romance to a more meaty role as Gale. Whether it’s newcomer Mahershala Ali (“House of Cards”) or veteran Philip Seymour Hoffman (in his final role) the acting is top notch across the board.
“Mockingjay Pt 1” is a good time at the movies. It slows down the franchise in a way that allows it to nail the tone of unrest and anticipation of things to come. Although we could have done without the splitting up of the film, it sets things up for an action oriented showdown next year!
Rating: B-
"The Homesman" Review
“The Homesman” isn’t a glamorized western. Writer/director Tommy Lee Jones gives us an authentic look at what life on the western frontier was like, and a feminist critique of the genre/time. It’s a tough movie for most people to sit through and swallow, but it’s guaranteed to give you something to chew on after the closing credits.
Hillary Swank is Mary Bee Cuddy, a 31 year old, principled, hardworking single woman. Whatever happened up until this point in her life, it’s obvious that her work ethic has brought her the “American Dream of the time” minus a husband and kids. In the opening scenes of the film, Bob Giffen (Evan Jones), the local single man likely to be her suitor, gives her the adjectives of “plain and bossy” as the reason he won’t marry her. She’s obviously far from plain, amassing her own lot and cattle on the edge of the unknown of U.S. territory. She’s what you may call an independent woman today, but she’s referred to as an “uncommon” woman in the film.
When three women in their small town take a mental turn for the worst, no man has the guts to make the journey back east to take the women to a place where they can receive care. Mary Bee does. She secures the help of George Briggs (Tommy Lee Jones) after saving him from death by hanging. George is an unkempt, self-centered drifter; he’s everything Mary Bee is not. While Mary Bee is on a mission to ensure the safety of the three women, George is on a mission to earn $300 for assisting with the “cuckoo clocks”.
Each woman being transported has their own issues wrapped in feminine disenfranchisements of the time. Gro Svendsen (Sonja Richter), a Norwegian woman who has been repeatedly raped by her husband in an effort to give him a son, howls and bites at anyone who comes near her. Arabella Sours (Grace Gummer), only 19 years old, doesn’t move much or speak. She just holds on to a rag doll that subs for the three children she lost to diphtheria. Theoline Belknap (Miranda Otto), drowned her own baby in an outhouse.
As the group makes the journey east, it’s clear that nature itself is not going to make it an easy ride. Winter is brutal, nights are cold, food is scarce, and bridges haven’t been built to walk over streams or rivers. The harsh reality of survival during that time is made clear as each day passes in the film.
Jones is able to put a magnifying glass on the time and deconstruct the role that women and men played throughout “The Homesman”. While he pushes for feminist context, he trips over it by missing wonderful opportunities for female empowerment. As the duo gets closer to their destination, Mary Bee, despite all of her wonderful qualities and material possessions, feels incomplete as a woman without a husband and makes choices that shatter her weight in the film. All of the women in the film have an identity that is closely associated to a man or lack their of.
“The Homesman” shows us that the frontier was a man’s world. A strong moral compass could get you killed, and self-interest would help you thrive during that era. Jones’ statement on women during the time is made clear throughout the movie, but fell short of something remarkable. Regardless, the film is memorable, and will make you grateful you only had to watch a movie about the frontier rather than live it out.
Rating: C+
"Interstellar" Review
“Interstellar” may single-handedly give NASA a new crop of aspiring astronauts across the United States. The film immerses you into its world with the enthusiasm of its lead character Cooper (Matthew McConaughey) about exploring the stars, and it’s a visual marvel! It’s also an incredible ride that looses fuel twenty minutes out from landing and crashes.
Earth is slowly wasting away, mother nature is turning on us, and our food supply is dwindling. Most humans have to be farmers in order to ensure that we might continue to live. After receiving a binary message in his daughter Murph’s (Mackenzie Foy) room, ex-astronaut turned farmer, Cooper, goes to the coordinates to find a thriving underground NASA organization.
Cooper gets a quick education as to what the organization, headed by Professor Brand (Michael Caine) and his daughter Amelia (Anne Hathaway), has been doing out of the scrutiny of the public eye, and how they plan to save the world. Cooper then has to decide if he wants to be a part of it. In an effort to save his family, Cooper makes the decision to embark on the journey, in spite of the fact that he may miss years of their lives in traveling light years away. (There is plenty of “science” that explains things throughout the film, but it’s laid out in a user friendly way.)
The strength of the film is in the relationship between Cooper and his kids, specifically his daughter Murph. Their bond is undeniable and his love for them drives each decision he makes, especially life and death decisions. In fact, writer/director Christopher Nolan pushes the point that love can triumph anything, including time and space. The father/daughter bond was so genuine and resonated with me so personally that if I wasn’t trying to be so cool during the press screening I think I would have cried a lot more.
There is no question that Nolan is a visionary. The film challenges the boundaries of cinema and dares other directors to do the same. The galaxies and planets that Nolan has created are fresh, and make you wonder what’s past our skies. Hans Zimmer once again proves to be a master of musical composition with his hypnotic, eery and edgy score. Using organs and horns, the score perfectly bridges the drama between parallel stories on Earth and in space while keeping the mood off-kilter.
Unfortunately, after investing in the well being of Cooper and his family for the first couple of acts, in the midst of the third act things start to unravel. It’s sad that all of the innovation, suspense and wonderment that is built up towards the climax is shattered by lazy writing. Regardless, more filmmakers should follow in Nolan’s shoes with efforts like this! So while the film may be worth the trip to the IMAX (you should see it in IMAX for an amazing immersing experience) this weekend, expect to see a film that swings for the stars and falls short.
Rating: B
"Beyond the Lights" Review
“Beyond The Lights” is a tough nut to crack. On the surface it’s as shallow as its main character’s on stage persona. Yet underneath, it has a lot to say about who we really are behind the masks we all wear.
Noni (Gugu Mbatha-Raw) is a burgeoning pop star. With hit records and an award before her first album drops, this Rihanna-esque idol is going places. At least that’s what one would think. Yet the outside force of being pushed into her on stage persona by her helicopter mom Macy Jean (Minnie Driver), her fans, her record label, and the rest of the music industry has Noni thinking about going over the edge of her penthouse balcony. Fortunately, the police officer on duty for her security, Kaz (Nate Parker), is able to catch her before she can hit the ground. It’s in this moment that Kaz tells Noni he “sees her”. This resonates with Noni because for the first time someone looks past the glitz and glamour to the real person inside.
Circumventing a PR disaster, Macy Jean writes a nice check to a police foundation to get Kaz to agree to a story that paints Noni as having been drunk and slipping over the edge of the balcony rather than attempting suicide. Kaz himself is all too familiar with a parent trying to live through his child with his father Captain Nicol (Danny Glover) pressuring him to back the story. Neither Noni or Kaz are able to be themselves due to outside coercion. It’s in this pressure cooker that both Noni and Kaz have grown into the adults they are, seem to relate to one another, and how their love blossoms.
The heavy lifting of the film is done by Mbatha-Raw. As the rest of the story unfolds we see the layers come off Noni both figuratively and literally as she gets back to her true self. Slowly she starts to wear more clothes, less makeup and eventually her natural curly, colorless hair. The transformation throughout the film is powerful and credit must be given to Mbatha-Raw in showing her range from a confident, trained starlet to an insecure but genuine everyday girl.
Writer/Director Gina Prince-Bythewood proves that we can’t wait another six years for a film from her, and certainly not another fourteen years (since “Love & Basketball”) for another love story! This film makes a powerful statement on today’s music industry that’s built on fabricating identities, and selling sex at the cost of an entertainer’s own identity. Yet the most relevant lesson is that it’s never too late to take control of your own life, and empowering oneself to be true to yourself.
I know. The burning question you want to know: Is it as good as “Love & Basketball”? You’ll have to grab your significant other and see for yourself! I will say, it just may be the “Love and Basketball” for this generation!
Rating: B
"John Wick" Review
Growing up I always loved watching movies where the good guy unleashed rounds of ammo and hit every target while the bad guys aim was never true. “John Wick” is that film for this generation. While there are so many implausible moments, it’s a good ol’ fashion shoot ‘em up!
John Wick (Keanu Reeves) is an ex-hitman who has just buried his wife. An unexpected knock at the door brings a glimmer of hope from his dead wife in the form of a cute puppy. As Wick tries to move forward (the very next day) he has a random encounter with Iosef (Alfie Allen) the son of a Russian mob boss Viggo Tarasov (Michael Nyqvist). After refusing to sell his car to Iosef, Wick gets a visit from him and his crew. Poor Iosef decides to kill Wick’s puppy and steal his car during the home invasion. Bad move.
From then on, Wick is on a one man mission to kill Iosef. As he steps back into his old killing shoes we’re introduced to a world of hitmen and women who are all as principled as he is. Wick is a professional finisher dealing out a shot to the head to ensure his victim’s death after quick shots to the chest. Screenwriter Derek Kolstad does an excellent job infusing comedy throughout the film. It doesn’t take itself too seriously, but instead relishes in the fact that Wick is “The Boogeyman” and everyone knows it. Each henchman is just a speed bump on the road to Iosef.
The movie is an exercise in the deadly combination of atmosphere, pacing, and score. Keanu isn’t the greatest actor, but the script doesn’t call for him to say much...which is a positive. So every word spoken creates a tense atmosphere and a desire to see what’s going to happen next. Visually the color palette cinematographer Jonathan Sela uses adds to the atmosphere of “John Wick”. Whether it’s the color drenched club scenes, or desaturated scenes in Wick’s home life...color is another character. The pacing and score create the perfect mood for the entire film.
It’s no doubt that this film is Keanu’s vehicle back into being taken seriously as an action star. In the same ring as Denzel’s “The Equalizer”, this film proves that men of a certain age can dish out bullets and a box office hit.
Rating: B-
"Dear White People" Review
“Dear White People” is a movie that you should see more than once to catch everything in it. It’s a movie that you watch with a group and discuss after. It’s a movie that will be studied in black film classes. That being said, in his attempt to put everything on the table, writer/director Justin Simien falls just short of greatness with his debut effort by not telling an entirely cohesive story.
The film focuses on four main characters. Sam White (Tessa Thompson) is the “voice of the people” on the Ivy League-esque campus of Winchester University. Her campus radio show Dear White People has just the right amount of edge and truth that it makes her a target of the Dean. Lionel Higgins (Tyler James Williams) is a loner and writer whose afro screams that he wants to be noticed, but he can’t seem to fit in as a gay black nerd. CoCo’s (Teyonah Parris) real name is Colandrea Conners, but she’s ditched her southside Chicago roots for designer clothes and high society life. Troy Fairbanks (Brandon P Bell) is everything his father Dean Fairbanks (Dennis Haysbert) has groomed him to be, but not the comedian he wants to be.
After winning an election to be head of Armstrong House, the historically minority house on campus, Sam decides to implement new rules. No one can eat in the house who isn’t a resident. That includes Kurt Fletcher, son of the president of the university, and his white frat brothers who come for the “fried chicken and waffles”. This is just the beginning of a back and forth between the two races on campus. It eventually culminates into an on campus brawl as Kurt and company throws a party in which white students dress as black caricatures.
As the film moves toward the brawl we see a story of hypocrisy on all sides. It’s about who people project themselves to be versus who they really are. Each of the main characters have a part of their identity hidden to help them fit into a group and ideal. The biggest issue is that not all of the stories come together to push the overall film forward as a collective. For instance, Troy writes jokes and smokes weed in the bathroom, but we never see him pursue his passion outside of the glimpses in the bathroom. Is it really his passion, or just a plot point in the movie to show Troy has “another side”?
Visually, Simien shows skill in his grasp of the craft. From the opening frame, Simien tells us that we’re all going to consume his film differently. As a news story reports of the on campus brawl that happens in the film, we’re introduced to the main players. Each character sits center frame in their own environment taking in the news with varying level of concern. From black militant Reggie who hangs on every word, to Kurt who simply has it on as background noise. The frame says so much without saying a word.
Throughout the film characters are positioned speaking or walking at the edge of the frame as the camera pans with them. It’s a visual acknowledgement that “Dear White People” is pushing race conversations forward. It’s uncomfortable to see the characters without lead space to talk. As characters are framed within frames we subconsciously get a feeling of being boxed in. In one scene, Troy sits across from his dad in his office. A lamp sits right in front of Dean Fairbanks in the foreground, separating the dean from his son as if to suggest Dean Fairbanks is enlightened and Troy has a ways to go to be like his father. While the good dean may just be jaded and wise from life experiences, it’s visual nuggets like these that keep the film visually engaging and stimulating in keeping with its script.
“Dear White People” hits a lot of truths about the various experiences within the black community and how we assimilate with one another as human beings. While the story isn’t as compelling as films that it may be compared to like “Do the Right Thing” or “Higher Learning”, overall the film is fresh, unique, and entertaining.
Rating: B
"The Judge" Review
As I drove to the screening of “The Judge” I thought to myself, “I’m not looking forward to another stubborn father/son relationship movie”. In fact, I wasn’t looking forward to seeing Robert Downey Jr. play Tony Stark minus the billions of dollars. Imagine my surprise when I viewed a movie about Tony Stark minus the billions of dollars that actually had heart!
Hank Palmer (Robert Downey Jr.) is a big time Chicago lawyer who left behind the simple town he came from. When the death of his mother brings him back to Carlinville, Indiana, Hank has to face the demons he left behind. One particular demon being his father, Judge Joseph Palmer (Robert Duvall), who has served as the town judge for the past 42 years. No matter what Hank has done that may impress most people, his father doesn’t seem to care. In fact, he doesn’t seem to care that he came back for the funeral outside of a handshake.
Once the funeral is over, Hank is ready to get on the next flight out of town, but a mysterious car accident involving the judge keeps him there. It seems the aging judge hit and killed Mark Blackwell (Mark Kiely), an ex-con that he let off easy that wound up committing murder soon after. With Judge Palmer’s memory on the fritz, a courtroom drama plays out with the judge being the on the other side of the fence and Hank choosing to stand by his father’s side. Amidst the trial, Hank also tries to tidy up his relationship with his father and loved ones.
There are plenty of great performances in the film. Robert Duvall will probably receive award nominations as the aging judge. Billy Bob Thornton plays the slick, and equally brilliant prosecuting attorney Dwight Dickham, who’s bent on getting Judge Palmer convicted. Vincent D’Onofrio is as real as it gets as the brother who stayed behind, and has the weight of the family at large on his shoulders. Vera Farmiga helps give us a heartfelt look into who Hank was before he left Carlinville as Hank’s ex-girlfriend Samantha. Robert Downey Jr. is a low budget Tony Stark in the film, but he does it so well that you wind up believing he’s Hank Palmer shortly after the film gets underway.
Regardless of its’ sappy overtones, there is something about “The Judge” that speaks to the human experience. Wether it’s family grudges, unforgiven history, or the inevitable certainty of death we all must face, this movie touches on it all. Stemming from personal experience, director David Dobkin (Wedding Crashers, Change-Up) does a great job of spearheading a universal story. Sure, it may be a little melodramatic in it’s handling of said topics, but it handles them in such a way that you automatically think about your own life experience while watching the film.
In lesser hands, “The Judge”, may not have worked. With a random heart to heart in the middle of a tornado scene, and a son who no matter how much he says he hates his father, keeps trying to please him, the film could easily derail into Hokeyville, USA. Fortunately, the combination of veteran actors come together to create a film that speaks to the human experience.
Rating: B
"Gone Girl" Review
If director David Fincher is signed on to a movie you can expect it to have a signature tone and pace. Fincher’s latest, “Gone Girl”- save a few scenes- does not disappoint. Despite it's main character's being people you probably don't care for, it’s a mystery of blockbuster proportions that will have you hooked.
On the day of their five year wedding anniversary, Nick Dunne (Ben Affleck) comes home to find his wife Amy (Rosamund Pike) missing. With signs of a struggle inside the house, and Nick’s nonchalant attitude, he quickly falls under the microscope of the police and public as suspect #1. Part of the brilliance of the story is that we see their courtship and marriage from beginning to present unfold through Amy’s diary and the investigation. As the story moves forward we learn that things aren’t as they seem.
You can only go so far in reviewing the film without getting into spoiler territory. The key to the film’s success is that it hypnotically sweeps you into the whirlwind of the missing person investigation. The performances from the actors are top notch across the board. Affleck’s ability to play an “every man” works to this film’s advantage as you don’t know whether to trust him or not. Carrie Coon is excellent as Nick’s twin sister. The chemistry between the two is as good as it gets. Tyler Perry turns in his best performance...ever...as an extremely talented attorney, Tanner Bolt. Pike’s performance is the standout of the group and when you see the film you’ll know why.
The film would be perfect except a few scenes that pull you out of the movie, making the tone feel comical when it shouldn’t. Outside of that, Fincher has you in the palm of his hand for the two and a half hour run time of the film. The lengthy run time is necessary to tell the full story, and it moves surprisingly fast. In fact, you probably will want to see more by the time it ends, and the ending will probably be much talked about.
Rating: B+
Denzel "The Equalizer"
“The Equalizer” is a slow burn that packs a mighty punch once it gets going. The combination of director Antoine Fuqua and Denzel Washington once again proves lethal. It’s the vigilante redemption story that we get wrapped up in, helmed by an actor we love to see.
Robert McCall (Denzel Washington) is a quiet, law abiding citizen who seems to have just recently started a new job at Home Mart (think Home Depot). He has a routine, he’s meticulous, can’t sleep through the night, and sticks to himself. Each night he visits a local diner and has tea while reading a book. It’s there that Teri (Chloe Grace Moretz), a call girl and regular to the diner, interacts with him. “Good things don’t happen in my world” she tells him. “Well you gotta change your world” McCall responds. This powerful advice is the theme of the movie. By choosing what you allow or don’t allow in your world you can bring peace or disrupt things. As Teri enters Robert’s world, his is altered and tainted by the lifestyle she has been forced to live and it takes him to a violent place he seems to be very comfortable and far to familiar with.
After Teri shows up in a hospital beat up and comatose, McCall decides to pay a visit to the men that gave his young friend a beating. He gives them a choice to let her go free from the lifestyle for $9,800. They don’t accept, and he rains down violent justice in 19 seconds flat. Unknowingly, McCall just took out the East Coast heads of the Russian Mafia. Enter Teddy (Marton Csokas), the sociopath genius that will be McCall’s biggest adversary. Honestly, you can guess how the rest of the movie goes as both sides square off like boxers to see what the other is made of. When they finally do meet face to face they have one of the greatest subtext dialogue (what they’re saying has other meaning) scenes I’ve heard in a while. Regardless of the familiar plot, it’s a suspenseful thrill ride to get to the end.
Fuqua is at the top of his game using the camera to speak visually and supplement his actors’ work. He has one of the coolest hero walk shots with Denzel blowing something up that I've seen in a while because it tells a story while being eye candy. While this wasn’t an Oscar worthy movie, like the two collaborated on in “Training Day”, Denzel has likely just turned in a franchise worthy performance! He holds down the vigilante justice role just as well as Liam Neeson. Honestly, I’d like to see Denzel in a Marvel or DC comic film. Half of the film I felt like he was Batman as he took out bad guys (mostly at night or in the dark) with an almost unkillable persona.
“The Equalizer” is an entertaining time at the movies this weekend and is sure to entertain action junkies! While Denzel’s smooth walk seems to have a slight sign of age to it now, by no means does that stop him from claiming the leading man spot for this genre. In fact, it’s probably elevated him to new heights as an action star!
Rating: B+
"The Maze Runner" Review
Young adult literature seems to be Hollywood’s go to material to start franchises these days. “The Maze Runner” is the newest in the lineup of books turned into films. While there are characters we don’t care about, characters we’re told to care about, and characters who simply serve to push the story forward for the main character...it’s an entertaining, dystopian, sci-fi thriller!
Once a month a new tween or teen comes out of a pit with supplies, and no memory of how they got there. This month, or at the beginning of the film, Thomas (Dylan O’Brien) wakes up in a cage that rises up to the place that the rest of the kids call The Glades. Thomas becomes our eyes in to the world. We meet Alby (Aml Ameen), the leader of the pack of boys, who explains the rules. The number one rule being none other than "don’t go into the Maze."
As Thomas meets more companions, like second in command Newt (Thomas Brodie-Sangster), the muscle of the group, Gally (Will Poulter), and his young admirer Chuck (Blake Cooper), the only thing that is clear is that everyone follows the rules. Every morning a group called The Runners, led by Minho (Ki Hong Lee), run the maze and memorize it. They report back to the group and try to use their intel to find a way out. Everyone has a role to fulfill in the community. No one questions the rules. Thomas questions them all. As Thomas questions, he finds clues, and the mystery gets deeper. You know the score!
Soon a new teen is introduced, and it’s a girl! Teresa (Kaya Scodelario) really doesn’t add much to the situation outside of the fact that she seems to know Thomas and brings something with her that could be a game changer. As Thomas soon rises from “greenie” to savior status after slaying a Griever (huge spider-like creatures), the rest of the camp starts to split between those who want to stay “safe” in their confines and those who like Thomas, want a way out.
You’ve seen the theme of this film before. A savior comes to a group who is teetering on the edge of hopelessness. The dramatic conclusion is intriguing as long as you throw out all of the things that make everything you just watched illogical. Regardless, the film is executed well by director Wes Ball. There are solid performances by O’Brien, Poulter, Lee, and Ameen. Ultimately, once we get past the pleasantries and introduction of the world, it’s a suspenseful ride to the finish line and yes there will be a sequel!
Rating: B
"Sin City: A Dame to Kill For" Review
A picture is worth a thousand words, and visual storytelling doesn’t get too much better than “Sin City: A Dame To Kill For”. The only issue is that the film can’t rely on its' visuals alone. The plot makes this second installment inferior to the first.
There are three main stories throughout the film that are connected with a thin thread in a huge man named Marv (Mickey Rourke). Marv is a sadistic character who one look at his face tells you he’s been through plenty of battles, and doesn’t mind taking on the next one. This makes Marv the perfect muscle for Dwight (Josh Brolin), who after being enchanted by former flame and femme fatale Ava Lord (Eva Green) to kill her husband for her, is in need of a little payback. This story is the most developed of the three and also has the most violence and misogyny throughout. Where Marv and Dwight let their fists or weapons do the talking for them, Eva Green spends half of her screen time topless or naked and uses her body as a weapon. It’s this dichotomy of men being cavemen and women being conquests or eye candy that makes the movie fall short of imitating classic film noir. Where it wins on the film noir style, it fails miserably in class.
The second story which gets far too little time is that of Johnny (Joseph Gordon-Levitt), a cocky gambler who is looking to take on the city’s crime boss Roark (Powers Boothe). Levitt has the swag and handsome face that’s perfect for a role like this. It’s unfortunate that he gets just enough screen time for you to remember the character, but wish there was more. In fact, the abrupt ending to the storyline caused a gasp in the theater.
The final story is scraps left for the dog. It follows stripper Nancy Callahan (Jessica Alba), distraught from the death of John Hartigan (Bruce Willis), and trying to work the nerve to pull the trigger on Roark to avenge John. This story is a lot like Nancy, sloppy and all over the place. Once again Alba dances as a random plot point, not pushing the story forward, until directors Frank Miller and Robert Rodriguez decide it’s time to wrap the movie up.
Sin City is a one note town that’s fueled by men’s needs to solve problems with uber-violence, a stiff drink, and a hot dame. Miller and Rodriguez understand and nail the power of the aesthetics that can be seen in a single frame. The story and plot to this sequel may have needed to go back to the drawing board though.
Rating: C
Expend "The Expendables" Already!
I’ll keep it real, I enjoy “The Expendables” franchise because they have all the action stars I grew up on in one place. They know who they are, former blockbuster heavy weights who still have a little gas in the tank. I love the corny one-liners that allow them to make fun of each other or themselves, but this franchise needs to retire to straight to DVD land.
The third installment opens with a classic liberation stunt in which Barney (Sylvester Stallone) and the rest of The Expendables free Doc (Wesley Snipes) from a highly secured prison train in route to a maximum security prison in the middle of nowhere. From there we find the crew plus Doc going after maniacal arms dealer Stonebanks (Mel Gibson), a former Expendable who is supposed to be dead.
After Stonebanks seriously injures an Caesar (Terry Crews), Barney decides to sever ties with his old crew (in a weird “I want you guys to live, but I won’t say that” move) and find the next generation to go after Stonebanks. Harrison Ford shows up and proves he can still bring major weight to a character as Drummer, a CIA agent in charge of bringing down Stonebanks and pulling the strings for Barney. This is where you can go use the restroom or refill your popcorn because the cameos start to pour in and the plot is littered with holes that you can fill in yourself with a simple “oh they assembled a team”.
Barney teams up with Bonaparte (Kelsey Grammer), a scout of sorts, to find the new team. They go all over the country and world in a matter of movie minutes to find Thorn (Glen Powell) the hacker, weapons specialist Mars (Victor Ortiz), hand to hand combat expert Luna (Ronda Rousey), and soldier with authority issues Smilee (Kellan Lutz). In the midst of the search they run into Galgo (Antonio Banderas) who is quite funny as motor-mouthed Puss in Boots turned human. Once the new team is set they go after and capture Stonebanks, but are imprisoned almost as quickly as they were assembled. Hey, wasn’t there supposed to be an ultra smart tech guy on the team to know that Stonebanks had a GPS tracker on him? Alas, this movie isn’t about plot, it’s about action and blowing things up. So you know the rest. The old team has to rescue the new team.
The first couple of movies were cute, but now it’s getting a little outlandish even by Expendable standards. Snipes proves he still has the moves and comic timing! Banderas proves to be a great addition as well. Outside of them, the new crew is pretty forgettable. In the same way their characters are pawns in Barney’s plot, they’re equally pawns in Stallone’s attempt to get “The Expendables 3” movie made and poster crowded with tons of faces. I’m sure Ronda Rousey could kick my butt as the MMA fighter she is, but as the only woman on the team she was absolutely horrible. I had to turn away from her “acting” plenty of times during the film.
I’ve never watched “The Expendables” franchise in theaters until now, and that’s because I had to write this review. I wish I didn’t have to watch it in the theater because it was too long and if there wasn’t an action or fighting scene it made me look at my watch or phone for an escape. I couldn’t walk away and come back to it, or fall asleep like I do at home. Instead, I fought through the over-the-top nonsense and funny old men jokes to tell you this, “wait for it to come on your TV for free on TBS”. That’s right, I skipped the DVD, but if you want to see it on DVD let it be a dollar Redbox rental. I love seeing my former action favs, but Stallone can we expend “The Expendables” already?
Rating: D
"Teenage Mutant Ninja Turtles" Review
If you’re of my generation or older you remember going to the theater twenty four years ago to see the original turtles movie. If you’re anything like me you had the pajamas, action figures, halloween costume and more as a kid. So how does the new “Teenage Mutant Ninja Turtles” stack up? Well, if you’re going to see the movie with the next generation (your kids) they’re going to love it, but “us adults” won’t be fooled!
April O’Neil (Megan Fox) is a determined investigative reporter who wants her first big break. Tired of doing puff pieces for her network, she goes after the biggest problem in New York, the Foot Clan. The Clan is a group of gun totting militia that seems to be invincible except for the fact that some of their crimes have recently been thwarted. As April pushes her way into dangerous situations she shouldn’t be in, she finds out that the “vigilantes” (is this a Charles Bronson film?) doing the crime stopping are turtles.
The film is all about the teenage turtles taking their first steps out of the shadows and becoming the unsung saviors of New York. Donatello (Jeremy Howard), Raphael (Alan Ritchson), Michelangelo (Noel Fisher), and Leonardo (Johnny Knoxville) all fit a certain personality type: the smart one, the arrogant one, the party dude, and the leader respectively. As the story moves forward they find out that the mastermind behind the Foot Clan, Shredder (Tohoru Masamune), has aligned himself with industrialist Eric Sacks (William Fichtner) with a plot to devastate the masses. So it’s up to the gang to derail their intentions.
As long as the turtles are on screen, it’s a fun time. Writers Josh Applebaum, Andre Nemec, and Evan Daugherty nailed the tone as far as the bond of teenage brothers having fun fighting while telling light hearted jokes. I thought the CG turtles would be a scary distraction, but director Jonathan Liebesman purposefully, slowly reveals the new look so that you are able to settle in comfortably. Unlike Jim Henson’s 1990 practical creations, the turtles do things that are hard to follow visually at times with frenetic camera work. However, with the CG turtles we’re given bullet proof and super strong heroes in a half shell, which I think worked for the reboot.
Megan Fox was seriously miscast as April O’Neil. First, her acting ability and range is limited and it shows in the film. Second, it’s hard to take her seriously when she wears a bike helmet with pink stickers on it (childlike), everyone around her comments repeatedly on how hot she is, there is a gratuitous shot of her buttocks for us to gawk at during the height of an action scene, and she does some of the most annoying screaming that seems like it was a nightmare for the sound mixer. So with her sadly being objectified and her limited dramatic skills, it pulled me out of the film numerous times when she received the “Weeds” treatment as the beautiful girl in dangerous situations, making dumb decisions, but still making it to the end of the movie because of the wonderful men and mutants that come to her rescue. Excuse me as I throw up.
There’s no denying that there will likely be another installment in this long lived franchise. If they can work on the story, and get rid of Megan Fox I think the next one will be even more enjoyable. If you don’t have to take your kids this weekend, I’d suggest waiting to see this on DVD rather then shelling out dough (see what I did there?). If you’re exposing the next generation to the film, have fun building new memories while reminiscing!
Rating: C
"Get On Up" Review
In an era where there was no Youtube, Twitter, DVR, or Facebook, James Brown became a household name. Not to mention the rest of the issues that the Godfather of Soul music had to deal with during the 1960’s and 70’s, it’ s understandable why this towering figure would get the biopic treatment. While the movie as a whole may not have been memorable, Chadwick Boseman’s embodiment of Brown creates a clear picture of how special he was and why he should be remembered.
Director Tate Taylor gives a non-linear look at Brown’s life, jumping from post fame to childhood and everything in between. In some ways it serves the film well because the style allows us to see the fractured character of Brown. It shows who he was as an entertainer and what created him almost simultaneously. At the same time, the style cuts the film’s foot off. At times it jumps around at warp speed, cutting to the next scene without bringing closure to the one it just left. Taylor has Brown break the fourth wall, which was unnecessary for most of the film. The one time it does work well is when the usually verbose and confident Brown hits his wife DeeDee (Jill Scott) and can barely bring himself to look at the audience.
The history lesson is there, but the movie could have benefited from better storytelling. We’ve seen the poor boy does good against all odds before. Perhaps the non-linear style would have been fresh if not for the overt melodrama in his childhood scenes that were clearly pushing points home.
It’s undeniable that anytime triple threat Chadwick Boseman is on the screen he steals the show. I was afraid that he may be pigeonholed in the biopic lead after this film, but I think it does just the opposite. Boseman has proven with this film that his range stretches from the humble, silent strength of Jackie Robinson to the loud, egotistical showmanship of James Brown. Boseman’s footwork as the man who laid the groundwork for Prince, Michael Jackson, Chris Brown (the list goes on) is incredible! I’ll be surprised if an Oscar nomination isn’t given for his performance this year.
In truth, the film is all about Boseman (which makes sense it is James Brown’s biopic) but it doesn’t allow supporting characters to show their skills. The familiar faces of Viola Davis, Octavia Spencer, Jill Scott, Dan Akroyd and Fred Melamed are stars in the shadow of Boseman in this film, only used to get him through time. Perhaps Nelsan Ellis’s performance as Brown’s long time friend Bobby Byrd is the one performance that gets fully realized. Byrd’s loyalty to the talented but self-absorbed Brown gives a real glimpse into a character study of a dream deferred that’s heart felt.
Overall “Get On Up” is a decent depiction of an American icon. Boseman’s performance is the best thing to come out of the film, and because of it the generation who sees this film that grew up with/watching James Brown will enjoy it and those who came after should find a new found respect for him. You can see the influence of Brown in music and entertainers from his time to the present. Get on up and go see the film if you haven’t already!
Rating: B
"Hercules": The surprise hit?
What if the Hercules legend we’ve always heard about was nothing more than that, a legend? What if the half man, half god story was just exaggerations made by a great storyteller? This is the theme, and surprisingly fresh angle as Dwayne Johnson steps into the shoes (sandals?) of “Hercules”.
Hercules (Dwayne Johnson) is a mercenary for higher, who takes care of business with his small quartet of loyal friends. With each adventure, his nephew Iolaus (Reece Ritchie), tells all within earshot of Hercules’ legendary labors that he conquered in order to please the gods! This is how the “legend was born”. It's not necessarily known if he is a demigod or not because of the unreliable narrator. Outside of his strength being a possible sign, every battle Hercules has been in he's had his friends at his side helping him defeat people and monsters. So it's not quite clear, perhaps even to himself, if he is a demigod, which makes for an interesting film.
When King Sitacles (Peter Mullan) of Thrace and his daughter Ergenia (Rebecca Ferguson) enlist the help of Hercules to defeat a tyrant, Hercules is happy to oblige at the price of double his weight in gold. The film focuses on his mission to help the people of Thrace as he deals with his own demons and the loss of his family.
The action in “Hercules” is awesome! At times the battle scenes feel reminiscent of “Gladiator” with debris flying past the camera, and Hercules belting out orders. Director Brett Ratner has learned a few things about placing the camera and capturing the action in a large scaled movie since “X-Men: The Last Stand”. Despite all the mayhem that’s going on, you can clearly follow where each character is and what they are doing in the battle which makes for a more engaged viewer during the film.
With the action on point, all that’s typically needed is a decent story to get between each battle scene. The smartly cast band of mercenaries and their leader bring an authenticity to the screen that you don’t always see in a film like this. Their love for one another feels like bonds that have been built over time and through various battles. Credit has to go to Johnson who holds the film together with an honest portrayal (except for the hair pieces) of a guy who wants to do the right thing, but happens to have the strength of ten men. It’s the heroes reluctant journey, flawed character, and tormented soul that really takes you down a road that you wouldn’t expect with The Rock at the helm.
“Hercules” isn’t mind blowingly original. It has a twist that I saw coming from the first act. It’s a great time at the movies though! In my opinion, the film is worthy of a sequel to see where this world can go. If you’re headed to the movies this weekend, this is the one you want to see.
Rating: B-
"Lucy" Review
Luc Besson has brought us some awesome female heroines in cinema. Natalie Portman rocked in “The Professional, Bridget Fonda in “Point of No Return” (which produced La Femme Nikita), and I don’t remember Milla Jovovich before “The Fifth Element”. So I expected Scarlett Johansson to enter the pantheon as well. “Lucy” is a disappointment.
The premise is cool. The old “humans only use 10% of their brain” trope looks good in trailers but clunky in the feature length film. Scarlett Johannson is Lucy, a party girl who gets caught up in a drug deal and is forced to mule said drugs in her abdomen. After the bag leaks into her blood stream, she starts to unlock parts of her brain that the rest of us can’t.
Throughout the movie Professor Norman (Morgan Freeman) teaches us about the human brain. Most experts in films like this sound trustworthy, but the good professor makes absolutely no sense. It’s extremely difficult to follow what he is talking about as hard as you may try, and you feel like you just walked out of the room from taking an SAT after the film.
The issue is that Besson really doesn’t have a story past the premise. It’s hard to take the film seriously when he cuts back and forth between the animal kingdom, evolution, and Lucy’s brain development inching to 100%. Lucy goes from ditsy, annoying party girl to Rain Man. Her disconnected, monotoned, candor when on the drug is dull. As Lucy gets more advanced, she says things like “I remember the taste of your milk in my mouth” to her mother to show that she can remember everything from the time she was born. Seriously? No! How can you take “Lucy” seriously when she says things like that?
There are some staple Luc Besson action sequences that are cool to watch. I thought this film would be a vehicle for Johansson to be a new action star, especially with her work as Black Widow, but she barely fights in the film. Instead, she creates force fields, makes people sleep, or suspends them in the air. Basically, this film is a bag of potato chips that looks delicious on the outside but is full of hot air! Don’t waste your time.
Rating: D