"The Diary of a Teenage Girl" Review
Oh to be young again! To have the world at your fingertips and not know what to do with it. For most of us, reminiscing about our teenage selves brings back a multitude of memories — your first dance, first kiss, the fight you had with your parents about getting in five minutes after curfew. As adults, we explore these memories through rose-colored glasses, glossing over how things truly felt way back when. Writer/director Marielle Heller’s The Diary of a Teenage Girl removes these glasses and plops viewers right back into the tumultuous life of being a teenager.
The film is told from the perspective of Minnie Goetze (Bel Powley), a 15 year old aspiring cartoonist who lives in San Francisco, during the 1970s. Minnie exists in the world of most teenage girls: her bedroom walls are covered in art and posters of Iggy Pop and Janis Joplin, she holds telephone conversations with her best friend in the bathroom while her little sister listens on the other side of the door, she passes notes to boys in class, and most importantly, she records life’s daily confusions in an audio cassette diary. Where Minnie’s story diverges from that of a typical teenage girl is found in the film’s R-rating: Minnie likes having sex.
Exploring sexuality is nothing new for coming-of-age films. The Diary of a Teenage Girl exists in the minority though for its honest, full-throttle approach to teenagers and sex. For Minnie, and her sexuality, sex is not the awkward “I don’t know what I’m doing here” scenario often depicted in films on the same subject. Minnie is bewildered, but very much empowered by the sex she is and is not having. It’s a rare approach, one that might leave audiences cringing more than usual, but it is an honest one. The film takes ample time to explore the internal world of Minnie and with that comes the familiar teenage, wildly inconsistent thoughts on love and body image — grounding Minnie’s exploration of sex in the naïveté of a 15 year old girl.
While the movie’s honest approach to teenagers and sexuality deserves a fair amount of praise, the argument could be made that it tries a little too hard in this arena. Maybe the film’s first person perspective is to blame, but the film lacks a well-roundedness that could’ve easily been achieved by amping up the performances of the other characters in Minnie’s world, especially since the film features a well stacked cast. Kristen Wiig, Alexander Skarsgard, and Christopher Meloni all play supporting characters, and there was definitely a missed opportunity to give the film a little more depth through their performances.
Nostalgia is the name of the game for The Diary of a Teenage Girl and on that front, the film delivers. The good, the bad and the ugly are all out in the open as Heller uses Minnie to help us all remember the innocence, and the confusion, of our youth.
Rating: B-
"Fantastic Four" Review
“Fantastic Four” is simply the Tin Man. It’s got the same old cinematic structure we’ve come to expect in a super hero film, but it has no heart. In fact, the actors look pretty soulless as they get their lines out to fulfill their contracts. Even the film’s villain is cheated out of being seen for at least half of the movie. (He gets 30 minutes, if that.) It’s sad, because this movie could have finally gotten the Fantastic Four franchise on track. While it dug into new territory with a new approach, it still dug itself into a hole that we should all hope it won’t return from.
Reed Richards (Miles Teller) has been a genius since he was a child. He was able to teleport a toy car between dimensions with his friend Ben Grimm (Jamie Bell) in middle school. After being brought into some kind of an off the grid super science college (??? it’s never really clear as to what the place is) ran by Dr. Franklin Storm (Reg E. Cathey), Richards teams up with Sue Storm (Kate Mara), Johnny Storm (Michael B. Jordan), and Victor Von Doom (Toby Kebbell) to create a stable inter-dimensional teleportation device.
After teleporting a monkey safely, the boys are looking for glory with their discovery. They decide to teleport themselves, only to return infected by the other world’s energy. Of course, the U.S. government steps in to try and weaponize the group, and for some reason a guy who can turn into flames and fly, a woman who can make herself invisible and create force fields, a guy super strong and made of rocks, and a genius who can stretch his body, all decide that they can’t fight the government and will do whatever they say.
It makes no sense. Much of the movie makes no sense. What are all the design schematics that they pull up on computers, monitors and displays throughout the movie? We’ll assume it’s something real for the movie. As Sue Storm quickly presses keys almost violently in a particular scene, we’ll assume she’s really getting somewhere for the movie. When the Earth has yet another portal beam sucking its contents through it, we’ll assume...wait, no we won’t. This doesn’t make sense, and we’ve seen this stuff before! Any super hero film asks you to believe what you’re seeing is real, but this one goes to far.
I had high hopes for “Fantastic Four”. The Fantastic Four cast (Teller, Mara, Jordan, & Bell) are all stellar young actors and have individually done much better work, but together the chemistry in this film didn’t work. The rote story and dialogue will make you regret that you paid for admission and think to yourself “could I walk out and sneak into Mission Impossible?” Save your money folks! Don’t even get it on Red Box. Just wait until it’s on cable.
Rating: F
"Dark Places" Review
When a book becomes a movie there is always one main question: how will it compare? For Dark Places, there is a second, more challenging question: how does it compare to Gone Girl? Fans of Gillian Flynn have most likely read all three of the author’s spectacular books: Dark Places, Gone Girl and Sharp Objects. As an author, Flynn weaves tales of women facing a grim (often self-imposed) challenge. There are consistent themes throughout all three of her novels, creating quite the challenge for turning these books into movies, especially with Gone Girl’s critical success.
Dark Places is intentionally disorienting as the pieces of Libby Day’s past and present are brought to screen. Between grainy flashbacks, we meet current day Libby as she grapples with a dismal financial future. We learn that she has been living off donations from strangers who want to show their support after the gruesome murder of her mother and two sisters. Libby and her brother Ben survived that night — although Ben has spent many years locked away after being charged with the murders. Faced with a shrinking bank account (and no job to speak of) Libby turns to the Kill Club, a gathering of murder super fans, who are willing to shell out $500 bucks for her to make an appearance at their latest gathering. Much to Libby’s dismay, the Kill Club is not just a group of fans, they are vigilantes — hoping to prove that her brother Ben was wrongly accused of the murders. Libby’s financial motivation, coupled with the persistence of the Kill Club, get the story going and takes the audience back and forth in order to figure out who really killed the Day family.
There is no doubt about it, the cast for Dark Places is stacked. Libby’s mother is played by Mad Men’s Christina Hendricks, the treasurer of the Kill Club is played by X-Men’s Nicholas Hoult and Drea de Matteo even makes an appearance as old classmate turned stripper. By and far, the most notable performance is delivered by Chloe Grace Moretz, who plays a teenage love interest of Ben’s. Moretz is a fiery scene stealer and this reviewer wishes the whole film was based around her character, Diondra. Charlize Theron plays present day Libby Day and delivers a “dark” performance, but at times she simply tries too hard. Moretz pulls off enigmatic Diondra naturally, in a rather frightening way.
Although Dark Places sprang from the same mind of Gone Girl, the two films simply do not compare. While Gone Girl takes on Flynn’s twisted tale with a cool and crisp approach, Dark Places feels clunky and all too aware of its purpose. Director Gilles Paquet-Brenner’s jerky camera movements and approach to the film’s major themes feel forced, put in as part of a checklist rather than as an artistic statement. Separating it from its Gone Girl counterpart, Dark Places does function as a somewhat thrilling, more decadent episode of Law and Order: SVU, which is always worth a watch.
Rating: B-
"Mission: Impossible- Rogue Nation" Review
Finally, a summer blockbuster in which the explosions serve a point, the chase scenes are visually understandable, and it doesn’t feel too long for no reason. (Although it is a tad long.) While “Mission: Impossible- Rogue Nation” follows the standard Mission Impossible layout, it certainly is popcorn chewin’ fun! Yes, Tom Cruise still has it at age 53.
Ethan Hunt (Tom Cruise) is still saving the world one day at a time. In the latest installment, it’s just a matter of who he’s protecting us from! This time it’s a shadow organization called The Syndicate. When the film starts, he disrupts a delivery of weapons in an awesome practical stunt in which Hunt mounts an airplane during takeoff. Unfortunately, the CIA has grown tired of the IMFs risky behavior, regardless of the positive outcome.
CIA Chief Hunley (Alec Baldwin) wants the IMF disbanded, and he gets his wish. Thus, Hunt is hunting without a team, while being hunted himself. Of course, it’s only so long before Brandt (Jeremy Renner), Benji (Simon Pegg), and Luther (Ving Rhames) find their way back into Hunt’s life. With a mystery agent (Rebecca Ferguson) in the mix, the film keeps us on our toes and wondering who is who.
Cruise gives a great performance in one of his trademark roles. Typically he does a lot more running around in these films, but there is a slight feeling of wear on him. Regardless, like a seasoned dancer, Cruise makes his stunt work look easy. The supporting cast work together fluidly in their roles.
What makes the film fun is the new thrills within the action sequences. The infiltration scene in which Hunt dives into an underground, water filled, computer server (as seen in the trailer) makes you want to hold your breath. There’s an awesome fight sequence at the opera, and a motorcycle chase that makes you feel like you’re behind the wheel.
With “Mission: Impossible- Rogue Nation” we get the same, proven Hollywood formula with varied ingredients, and a satisfying outcome. The beautifully choreographed stunts, comic relief, and inherent suspense makes for a great joyride.This installment won’t let you down!
Rating: B+
"Southpaw" Review
With a movie like “Southpaw”, the question is not have you seen the story before, but how is the story going to be told? While the classic redemption story is apparent even from the trailer, the journey to it is gripping and refreshingly real. With stellar performances, “Southpaw” is a standout character study in the ring of boxing films.
The film starts with Billy Hope (Jake Gyllenhaal) on top of the world. He’s the light weight champion of the world, lives in a mansion, and has a beautiful wife, Maureen (Rachel McAdams), and daughter, Leila (Oona Laurence). After his Maureen is tragically murdered (in a breath-taking, dramatic scene) Hope starts to lose control. Running the gamut of grief from anger to depression, by the time he sobers up it’s too late. He’s lost his wife, mansion, and the state has put his daughter in protective services.
With no money, due to fake friends draining him, his excessive spending and his own ignorance, Hope is forced to get a 300 square foot apartment. He enlists the help of Tick Wills (Forest Whitaker) to train him properly to do the only thing he knows how to do, fight. He not only has to fight an opponent in the ring, but he has to fight his own demons and fight to win his daughter’s heart back.
The rich detail that writer Kurt Sutter (Sons of Anarchy) and director Antoine Fuqua (Training Day) go into in combination of the script and visuals show a side of boxing we don’t normally think about. They highlight the “performance” of boxing and use the glitz and glamour to their advantage to remind the viewer that there is a person who steps out of the ring after a fight we pay to be entertained by. Sons of Anarchy fans know Sutter’s writing can be emotional and moody, but thanks to great casting (except Curtis “50 Cent” Jackson) each emotional stepping stone is earned.
Jake Gyllenhaal is immersed in the character of Billy Hope. From his mumbled speech pattern to the way he holds his body, Gyllenhaal is totally believable as an adult fighter who came up through the system. The chemistry between Gyllenhaal and McAdams is what award winning performances are made of. While McAdams role is short-lived in the film, her performance is so strong that her presence remains throughout in a way that the words on the page couldn’t have dreamed of!
Forest Whitaker gives a long overdue, subtle, and genuine performance that he didn’t dial in for as Tick Wills. He’s a trainer with demons that we never know the origins of, but they come through in many of his scenes. I’ve never seen Oona Laurence, but after this film she is definitely a young talent to watch!
“Southpaw” is one of those films that feels out of place in the middle of the summer. A film like this usually plays in the winter months for awards consideration, and it should definitely get that! It’s a character study into love, loss, grief, and how we choose to respond when we’ve fallen.
Rating: A
"Ant-Man" Review
Ant-man isn’t a well known name to most moviegoers and lovers of the Marvel Cinematic Universe (MCU). In fact, the average reader probably would be interested in knowing that the creation of Ultron was due to Dr. Hank Pym according to the comic books. That being said, “Ant-man” is a solid, scaled back entry into the MCU.
The film begins in 1989 as Dr. Henry “Hank” Pym (Michael Douglas) retires to try and live in seclusion. We then jump to president day where Scott Lang (Paul Rudd) finds himself fresh out of prison. Trying to keep on the straight and narrow and make his child support payments, he looks for work. After Baskin Robbins finds out that he’s an ex-con, he’s let go and turns to his former crime partner and friend, Luis (Michael Pena) for a big score.
Let’s say the score leads Scott to Dr. Pym, who enlists his help to go against Pym’s protege Darren Cross (Corey Stoll). Cross is on the crux of finding the secret to Pym’s particles (which allows a person to shrink to ant size), and is working in league with HYDRA. Which means trouble for the world! It doesn’t take long before the film turns into a caper.
“Ant-Man” takes a light hearted approach to Marvel’s character and likely in part to writers Edgar Wright and Joe Cornish. From the opening credits, you can see, hear and feel a different vibe for this limb of the MCU. Rudd and Douglas bring heart to the film, and Rudd sells the every man role of Lang. Michael Pena also adds comic relief to the film with plenty of memorable moment.
The bottom line is that “Ant-Man” is a solid first time out for the character’s origin story in the MCU. The film’s casting is stellar, and the reason why it won’t tank in the box office. It’s an entertaining time at the movies, but you could wait until it comes out on DVD or streams.
Rating: B-
"Terminator Genisys" Review: Please Stop Coming Back!
I’ve never had a dog, but I imagine “Terminator Genisys” is like having to put your dog down. You either don’t watch it because you don’t want to see what was once a great franchise brought to ruin, or you watch it because you’re trying to support it when it needs to take the long rest! It seems you can’t teach an old dog new tricks with this one.
The film starts with Kyle Reese (Jai Courtney) on the crux of going back in time to protect Sarah Connor (Emilia Clarke), the mother of John Connor (Jason Clarke), from being killed by the machines. When he goes back to 1984, nothing is as it should be. At least, it’s not how it should be in our minds if you know the “Terminator” cannon. Sarah is already the militant leader from “Judgment Day” because Arnold Schwarzenegger’s Terminator has been with her since she was a little girl. Kyle, the man who was supposed to have the answers for Sarah, is now the fish out of water trying to catch up.
As the film unfolds, the issue becomes the fact that there are so many wrinkles in time that it’s hard to tell what’s going on, but more importantly why! Why did Judgment Day get moved back from 1997 to 2017? Why is Skynet playing a game of cat and mouse through time? Why is Arnold fighting the T-800 version of himself? If you ask me, it’s just to make another terminator film.
The film has a few cool special FX, and introduces a new terminator that seems indestructible. Yet all of its FX and even Arnold fighting his younger self (which is kind of cool) can not mask over (no pun intended) the poor script. The film becomes more of a butterfly effect, that is difficult to keep up with the longer it goes on. When you throw in the lackluster performances by its leads, you have a movie that you will check your watch multiple times throughout.
I’d go as far as to say this film didn't need to be made. The terminator ride hasn’t been a good one since “Judgement Day”. Sometimes you have to just let an old dog go. In the case of cinema, it’s possible to have a franchise pick back up but it takes writing from the heart and not for a check. Unfortunately, it feels like this was put together for the latter reason. “Geniysys” should have searched its genesis and took notes.
Rating: D
"Inside Out" Review: Laugh. Cry. Repeat!
Laugh. Cry. Repeat. That pretty much sums up what Pixar’s latest and perhaps greatest film is guaranteed to make you do. “Inside Out” takes the complex theme of how we deal with our emotions and presents it in a simply beautiful and entertaining 94 minutes.
Riley Anderson is eleven years old. Her parents have just moved the family from Minnesota to San Francisco. She’s left behind her friends, champion hockey team and everything she knows. The voices in her head- Joy (Amy Poehler), Sadness (Phyllis Smith), Disgust (Mindy Kaling), Anger (Lewis Black), and Fear (Bill Hader)- are doing their best to help her deal with it from their headquarters in a tower high above all of her memories.
After a couple of days of being in the new house, Riley’s emotions really begin to tug on her, which means chaos for headquarters. The event sends Joy and Sadness on a journey to try and make Riley happy again. Visiting places like long term memory, Goofball Island, Friendship Island and more, the duo meet old friends along the way.
What makes this film great is the screenwriting! It perfectly blends what’s happening outside of Riley with the events that are taking place inside her mind. The cause and effect of her parents questioning her and Anger being at the controls make for plenty of laughs. Yet, Pixar delves into the intricacies of how a good memory can become bittersweet. Writer/director team Pete Docter and Ronaldo Del Carmen nail the natural growth that takes place when we encounter new life experiences which help to shape and mold our character!
Pixar has always been great at making films that appeal to children but that parents can appreciate as well. I saw the film with a mixed bag of children and adults and my only concern is that the parents seemed to identify more with the film than kids did. Perhaps it’s because many of them hadn’t reached Riley’s cinematic age themselves, or haven’t dealt with loss outside of a toy, etc. I in no way doubt a child’s ability to comprehend the film, but I wouldn’t be surprised if some kids don’t latch on quite as well as others.
“Inside Out” tells a universal story that puts humanity’s feelings on display in a way that hasn’t been seen before. It’s a great ride from beginning to end, and one of the best kids’ flicks to come out in a while proving that Pixar is still king of animation. It may be debated whether it’s one of Pixar’s greatest, but you should definitely see it this weekend and judge for yourself!
Rating: A
"Jurassic World" Review: The Park's Lost some Magic
“Jurassic Park” exploded on the big screen in 1993. It was magical, it opened a new world to CGI, and simply entertained. Since then we’ve had two films trying to continue that magic that didn’t fair as well. “Jurassic World” may be the best of the films that have followed, but the numerous plot holes can’t be excused to make it more than an OK film.
For some reason Simon Masrani (Irrfan Khan) thought it wise to create Jurassic World, a theme park where dinosaurs are the main attraction, on the same island that Jurassic Park was created barely twenty years before. Claire (Bryce Dallas Howard) is the straight laced business woman in charge of the park. In order to see a boost in attendance, they’ve created a new dinosaur with the help of lead scientist Dr. Henry Wu (BD Wong) (a nice throwback to Jurassic Park). While their creation is smarter and bigger than a T-Rex, the Indominus Rex has also been in isolation its entire life. The combination troubles resident velociraptor trainer Owen (Chris Pratt) who thinks of the animals as beings rather than assets.
To give us a view of the park, Claire’s nephews Gray (Ty Simpkins) and Zach (Nick Robinson), have come to visit their aunt. They’ve been sent out with VIP passes to enjoy the park since Claire is too busy with work to spend time with them after seven years of not seeing them. It’s in the scenes with the boys that we get to see the spectacle of the park in extreme wide and aerial shots. It allows us to imagine what it would look like if we were able to live and interact with dinosaurs. The grand scale of a brontosaurus, triceratops and other prehistoric creatures are displayed beautifully in these scenes. As lovely as it is, we’re really just waiting for the Indominus Rex to break out!
When the Indominus Rex finally gets out, the movie seems to finally start! Attempting to not have a PR nightmare, Clair and Masrani try to keep things under control as quietly as possible while security mogul Hoskins (Vincent D’Onofrio) attempts to use his militant security squad to take out the beast for his own self interests. In the meantime, Claire and Owen team up to save her nephews and protect park patrons.
In the beginning of the film Claire says something to the effect of “20 years ago dinosaurs were magic, these days it just doesn’t matter to kids.” The same could be said about this film. “Jurassic Park” was original and magnificent. “Jurassic World” has the same plot as any mad science gone wrong film that has come out since then. Why humans think they can control dinosaurs and why Claire runs around in heels for the entire movie while trying to run for her life is lost on me! How do you train raptors? How does a jeep run after 20 years by simply replacing the battery? Where as many instances in “Jurassic Park” did have some, logic has absolutely nothing to do with this film.
Thankfully, the action and suspense is what you would desire to see in a film like this. The writers did a great job of sprinkling humor throughout the film to break up the intensity of certain scenes and monotony of the plot. There are plenty of laugh out loud, light hearted moments in the film, for the right reasons! There are also quite a few homages to the original film that will be delightful for JP fans.
If you decide to spend your hard earned cash on “Jurassic World” this weekend, you will be entertained. Just remember to hand over your brain with your dollars. Don’t rush the kids if you’re running behind and may miss a bit of the beginning of the movie. While seeing the film in IMAX was nice, the 3D effect didn’t do much for the film. Choose wisely.
Rating: C
"San Andreas" Review: Shout out to the 90's
Writer Carlton Cuse (Lost, Bates Motel) must be fond of 90’s action movies, because his newly penned “San Andreas” plays like an action blockbuster from that decade but set in 2015. Whether that’s a good thing or not depends on the viewer’s taste. Filled with suspense, action and drama, “San Andreas” falls through the cracks of being a great disaster film and lands in an awesomely bad popcorn movie!
Ray (Dwayne Johnson) is an LA police and fire rescue helicopter pilot. He’s just been served divorce papers from his wife Emma (Carla Cugino), and learned that she and their daughter Blake (Alexandra Daddario) are moving in with Emma’s new boyfriend (Ioan Gruffudd). Before he can deal with his feelings, he has to deal with the earthquake that just hit Nevada.
Lawrence (Paul Giamatti) is a seismology professor at Cal Tech who just happened to come up with a method that predicts Earthquakes. He warns the nation that there will be another massive quake to hit the San Andreas fault. With a helicopter in his possession and his estranged wife and daughter in danger, Ray goes after them.
The film plays out almost beat for beat as 90’s movies like “Cliffhanger” or “Independence Day”. There is a heart pounding, unbelievable (and I mean unbelievable) rescue in the beginning of the film. Then we get a splash of character development and background on our main characters, while simultaneously getting exposition from the “crazy earthquake soothsayer”. If you can get past the on-the-nose dialogue, corny one-liners, and one in a million death defying stunts, then you will be thoroughly entertained!
The truth of the matter is this is one of the most unapologetic, self-centered disaster films I’ve seen in a while. In “San Andreas” we have a rescue pilot that uses his position and skills to try and solely save his family. It’s so wrong, but at the same time perhaps so right. If one of the biggest earthquakes on record hit, the first thing I would do is try to save my family. Thus the film becomes a romantic comedy at times as Ray and Emma unite to try and save Blake. Lines like “Let’s go get our daughter.” become a punch line rather than a war cry.
“San Andreas” is a popcorn blockbuster that will likely get swept out of the box office after a good three to four week run. It’s a film that you’ll sit down to watch when it comes on TBS for the thirtieth time. If you’re looking for entertainment and humor in a movie that doesn’t quite realize it’s funny (or maybe it does), “San Andreas” is for you!
Rating: C-
"Mad Max: Fury Road" Review: Believe the Hype!
“Mad Max: Fury Road” is a cinematic sensory experience for the action movie genre, and movies in general! It’s truly the work of a writer/director who has had 30 years to think about the world that put him on the map, and go back to it with impeccable precision in his vision. Yes, George Miller has set another bar for the post-apocalyptic action genre, and challenges other artists to reach it.
The film doesn’t boast of intricate plot points. In fact, Max (Tom Hardy) informs us in the opening monologue that his mission in life is to survive, and that’s what the movie is in a nutshell. It’s the chase and how our heroes survive that’s so exciting.
In the opening scene, Max is captured by shirtless, branded warriors in white body paint. They use him as a living blood bag for a War Boy named Nux (Nicholas Hoult). After their ruler, Immortan Joe (Hugh Keays-Byrne), realizes one of his trusted drivers has taken off with his prized breeding wives, he chases after them with the War Boys. Nux, looking for glory, straps Max to the front of his car as an ornament and way to keep isolated from Max.
Imperator Furiosa (Charlize Theron) has one goal, to free the wives and get everyone in the stolen rig to the Green Land. After trying to lose her hunters in a massive sandstorm, everyone who survived wakes from the carnage. Finally free from his captors but carrying his chain gang War Boy Nux with him, Max gets free from his chain and commandeers Furiosa’s rig. While playing a quick game of “Can I trust you?” with weapons, Furiosa and Max decide they need each other to survive.
Max takes shotgun literally and figuratively to Furiosa for most of the rest of the film. This is what makes “Mad Max” great; Miller finds all kinds of creative ways to divert the norms of the genre and owns it. As Miller’s lead character plays support for his second billed, a beautiful chemistry forms between a woman who can hold her own against any man and a man who seeks redemption in helping her cause.
Theron’s Furiosa takes her seat with memorable female action heroes like Weaver’s Ripley and Hamilton’s Sarah Connor! Furiosa has an unmatched toughness, calculated intelligence, and compassion that knows when to cut through her fierce outer shell. Theron is able to convey so much with her eyes, which helps continue to push the story forward without having to spell it out. Hardy takes the reigns of the franchise with an equally stunning performance built from subtle moments. His character is a man of few words, but like Furiosa speaks volumes in his actions.
Miller uses all elements of filmmaking to his advantage. He makes you blink as your ride into the sand storm with Furiosa. The screen flashes hot white and cuts to black multiple times as though you’re in the storm. So many action films have roaring scores during chase sequences, and Miller jokingly throws a flame throwing guitarist on the front of a truck who plays the score along with another truck of drummers. As the score escalates at multiple points in the film, the on screen musicians jump in the frame and race forward on their rigs playing with diegetic and non-diegetic sound in a refreshing way. John Seale’s cinematography paints a vivid picture and eases into soft hues at the appropriate times that supplement the story. These are just a few examples of what makes this film a cohesively beautiful, innovative work of storytelling.
The film has taken a little heat because of Miller’s feminist approach to the film as it introduces and highlights female road warriors, and a heroine who looks to free sex slaves. In actuality, it simply highlights what we rarely see in films like this. What do women who have to survive in a world like this actually look like? Butt-kickin’ survivors! Rather than giving us underwritten characters, every character shines through and has a moment in the film. That’s something to be celebrated!
“Mad Max: Fury Road” is a film achievement to see on the big screen! Believe the hype. It’s worth your hard earned cash this weekend, and next!
Rating: A
"Avengers: Age of Ultron" Review
After seeing “Avengers: Age Of Ultron”, I totally understand why beloved writer/director Joss Whedon is stepping down from the helm. While the latest installment of the Marvel Cinematic Universe is entertaining and has it’s high points, it also proves that Marvel may need to slow things down or at least not overwork their brilliant writer/directors.
The opening sequence shows our heroes are used to working as a team as they storm a Hydra base. They fight individually, using their incredible powers, and together with cool moves like Thor (Chris Hemsworth) striking Cap’s (Chris Evans) shield with his hammer to create a wave of energy. It’s the type of beginning that gets fanboys to start clapping and hollering. (It happened in the screening I saw.) Yet, Marvel movies aren’t number one in the super hero film world solely because of CGI awesomeness. They’re number one because of storytelling. That’s what separates them from the rest.
From the opening we’re introduced to a visually and script level busy movie. It’s hard to follow the action on screen, and once the movie gets started, it’s hard to follow the story. After storming the Hydra base to retrieve Loki’s scepter, Tony Stark aka Iron Man (Robert Downey Jr.) finds a secret lab housing Hydra experiments. Along the way, he and the team face opposition in the Maximoff Twins, Wanda (Elizabeth Olsen) and Pietro (Aaron Taylor-Johnson), two of Hydra’s human experiments bent on destroying Tony.
Always the rebel, Tony sleuths in his own lab and concludes that Hydra has been working on artificial intelligence. With the help of Bruce Banner (Mark Ruffalo), aka Hulk, the two are able to unknowingly finish Hydra’s research. In doing so, they create Ultron (voiced by James Spader), an omnipresent digital robot who was supposed to be Stark’s security guard for Earth. Instead, they get a powerful, schizophrenic bot with twisted dreams of a better world.
Ultron eventually breaks captivity and begins to build his own army. We get to see the Hulkbuster suit put into good use in a city demolishing scene after the Avengers try to capture Ultron! With an enemy that’s everywhere, the team retreats to the middle of nowhere and lays low with Hawkeye’s (Jeremy Renner) family. This is also when the team starts to go off separately on mini missions that aren’t quite fully fleshed out. We get our first look at the seeds for “Civil War” as Cap and Iron Man have a discussion while chopping firewood. Black Widow (Scarlett Johansson) makes all kinds of advances toward Bruce. It’s a lot of bread crumb excitement for future films with minimal direction.
Let’s wrap this up. There is a big fight between the Avengers and Ultron. Heroes do what heroes do, but not without taking an L along the way. We get a glimpse at a new Avenger team, and if you stick around at the end you can see the cliffhanger for what’s coming next in the MCU pipeline! The formula is an amazing business model, but in an effort to churn out films and stay on schedule and budget, I fear we may see more films like “Age of Ultron”. Sure, it’s an entertaining time at the movies, but so is a Michael Bay film. It has too much going on, understanding that it's a movie with plenty stand-alone-movie heroes in it. I'll let it go this time, but let’s not lose what makes Marvel films great Kevin Feige, superb storytelling. We didn’t set the bar, you did.
Rating: C+
"Unfriended" Review
The internet and social media rules our world. What happens when that world rules you? “Unfriended” is simply a gimmick in which writer Nelson Greaves won’t let us unplug from the desktop shown before us, and if you can get past that, it works.
Blaire (Shelley Hennig) and her friends, Val (Courtney Halverson), Mitch (Moses Storm), Adam (Will Peltz), Jess (Renee Olstead), and Ken (Jacob Wysocki) group chat via Skype. This particular evening is the anniversary of Laura’s (Heather Sossaman) death. Laura committed suicide after an embarrassing video hit the web and went viral. The entire story is told from the perspective of Blaire’s computer.
When the group chat is initialized, an unknown entity is also on the chat. As they try to figure out who it is, they all start receiving messages via various social media. Skype, Facebook, Spotify, and iMessaging all get used during the course of the evening. While things start out as what seems to be a joke, the unknown entity starts to put the group’s dirty secrets on display.
You could write the rest of the film. There are enough characters to start killing them off one by one. As the mysterious person takes over the social media handles of the late Laura, the group is forced to come to terms with the wrong that they did.
Sadly, there are no likable characters. We don’t even care about Laura. What makes the movie interesting is the use of the computer screen and seeing it from Blaire’s perspective. We’ve all been on the computer and typed a message, erased it, and then typed something else or cycled through applications while multitasking. Director Levan Gabriadze captures these moments extremely well. We spend a good portion of the time reading what Blaire is typing to her boyfriend Mitch or Laura as she contacts her on other apps. It’s intriguing and voyeuristic.
Gabriadze also uses the sounds that we hear on a daily basis to his advantage. The clicking of computer keys, mouse clicks, Skype’s ringtone for calls coming end or going off, and other sounds are used to create tension. Even connection and disconnection issues become a part of the suspense of the film.
Ultimately, “Unfriended” would end if the characters would just disconnect and walk away. Yet their curiosity to find out who is stalking them, and our curiosity to continue watching keeps the film going. It’s definitely not worth seeing on the big screen, but perhaps the small screen or even better, a laptop is where it could be most effective.
Rating: C
"Ex Machina" Review
When the lights go down in the theater I generally want one of two things. I’d like to be entertained or intellectually stimulated and challenged. “Ex Machina” is one of those films that does both!
Writer/director Alex Garland pulls you into his world immediately in the first minutes of the film as Caleb (Domhnall Gleeson) is the winner of...well we don’t know what, but his colleagues are extremely jealous so it must be good. We soon learn that he’s won a week long stay with Nathan (Oscar Isaac). Nathan is a legend in the computer programming world. He invented Blue Book (think Google), the company Caleb works for, and lives on an estate so large that two hours of flying in a helicopter covers a portion of it.
Upon landing on the highly secured grounds, Caleb learns that Nathan has him there to perform a “Turing Test”. The test is for a human to converse with an artificial intelligence (AI) and reach a conclusion on whether it has human consciousness. Enter Ava (Alicia Vikander), Nathan’s AI machine with a pretty human face. Caleb participates in seven sessions with Ava, one per day he’s there. Yet, with each day that he’s there, Caleb must decipher who he can trust in the highly secretive world, Nathan or Ava.
Isaac continues to deliver as the tech guru. He blends arrogance into his prodigy character in just the right way where we like him enough to go for a drink after work but would never invite him over for dinner. Vikander’s performance is all in her face, literally, as the rest of the machine is parts. Thus, the fascination of every slight “micro-expression” (as she may call it) in what her face communicates is as intriguing for us as it is for Caleb. Gleeson portrays the pure passion and excitement of his character in such a way that we’re easily won over and happy for his journey.
With a stellar cast in place, the key is the script and directing. Fortunately, both are handled with precision by Garland. The script keeps you wondering what will happen next with subtext riddled throughout, while his controlled pace creates an uneasiness that sticks with you from the moment Caleb enters the compound. Garland uses the entire frame to tell his story. Characters in the foreground are strategically placed in juxtaposition with characters in the background to keep the audience drawing conclusions as to what is really going on.
“Ex Machina” is an intellectual movie that explores technology, morality, and even how we perceive beauty. I have a feeling if Ava’s face was scarred, deformed, or even just a machine the film wouldn’t work as well. So if you’re looking to be entertained and intellectually stimulated this weekend, “Ex Machina” will deliver!
Rating: A-
"Furious 7" Review: Film Won't Disappoint Fans!
It’s one thing to go into a movie to be entertained, but there’s something to be said about movies that you go into with baggage and expectations. With “Furious 7”, the untimely death of Paul Walker casts a shadow on the film, but doesn’t eclipse it. In fact, for die hard fans we got what we wanted; it’s the same high-octane, unbelievable stunts that we’ve come to love, tie-ins to prior films, and the proper send off to a major character in the franchise.
Picking up where “Fast & Furious 6” ended, we get one of the best slow reveal openings I’ve seen in a while. Deckard Shaw (Jason Statham) makes an oath to his unconscious brother Owen (Luke Shaw) to finish the job he started in putting the “family” in body bags. Deckard, of course, is ten times smarter and more ruthless than his brother. He’s an ex-black ops asset that was so skilled he turned into a ghost after his own government tried to terminate him due to all of the sensitive intel he knew. Deckard gets straight to it! He kills Han (Sung Kang) (as seen at the end of FF6), pays a visit to Hobbs (Dwayne Johnson) to secure the locations of Dominic Toretto’s (Vin Diesel) Crew, and sends a bomb to Dom’s old house.
With that, the gang is pulled back into the life. For Brian (Paul Walker), it’s a welcomed reunion as he “misses the bullets” as a now domesticated father and husband to Mia (Jordana Brewster). It’s the fine line between the old life, and new life for Brian that gives the film some of it’s emotional gravity. For Letty (Michelle Rodriguez), Tej (Ludacris), and Roman (Tyrese Gibson) it’s another day in the office.
How do you catch a ghost? Enter Mr. Nobody (Kurt Russell), something of a governmental ghost himself, who has been chasing Shaw for years. Mr. Nobody guarantees to help the family take down Shaw if they secure a much sought after, newly developed, global spy application called “God’s Eye”.
As per usual Dom’s crew gets strung along to do someone else’s dirty work in order to get their own personal needs met. The most annoying thing is that with each victory or setback, Shaw turns up like the kid copying off of your homework. Even with that, it doesn’t take away from the intense weight that each heist, fight, or stunt carries in the film.
*Spoiler Alert: Paul Walker Homage- skip the next paragraph*
I hate doing spoilers, but the construction of the Brian/Paul Walker send off was extremely well done and worth breaking down. First, the subtext of the entire ending was that while Brian is saying goodbye to Dom, the cast didn’t get to say goodbye to their friend in real life. As Dom pulls up to a crossroad, Brian joins him dressed in white and in a white car (no coincidence). Reminiscent of the two racing each other in the past, they both take off for a stretch, as Dom’s voiceover tells a story of their unbroken bond. The camera then cranes up as Brian’s car pulls off to the left from the main road. We follow Brian’s car for a while and then lift to the heavens as the screen dissolves to white. It’s an absolutely majestic way of saying so much without being on the nose, and a great homage to Paul Walker.
*End Spoiler*
“Furious 7” will not disappoint and it continues the new legacy of over the top action, hard nosed characters, and emotional beats to match. I would love to be in the writer’s room as they discuss “what could we do to top the last film and push this even further?”! It seems we’ll find out that answer in the 8th installment. For now, the true fans of the franchise will soak up and appreciate the beautiful film we were given in spite of the tragic real life occurrences in “Furious 7”. That has to be commended and respected!
Rating: B+
"Insurgent" Review
Of the many words that come to mind when I think of “Insurgent”, uncomfortable is the one I just can’t shake. The actors look uncomfortable in their wardrobe and performances. The fact that teenagers act like adults and adults like idiots is uncomfortable. More than anything, I was uncomfortable in my chair suffering through the 119 minute running time waiting for the film to be over.
Shailene Woodley reprises her role in the follow up to "Divergent" as Tris Pryor, a young girl who happens to be different in a world where everyone sticks to the tribal stereotype they’ve been tested into. It’s easy to pick out the Divergents in the film, just look for the actors who wear cool clothes and walk with a little swag. Everyone else looks uncomfortable in their wardrobe, and has a robot-like presence (no matter what faction, outside of Divergents and maybe the Factionless).
Due to her ability to be all types, Tris is labeled a Divergent. In fact, she’s The Divergent of all Divergents. Even though she’s “powerful”, her past won’t allow her to move forward. For most of the movie we’re forced to watch Tris lash out at others and doubt herself because of the self-imposed emotional load she carries around. She can’t forgive herself for the deaths that she has caused by her own hand or by association with her.
In the meantime, Jeanine (Kate Winslet) is hunting down Divergents and testing them to the point of death in an effort to open a mysterious box. This box has a message in it from the founders of their society, and only a powerful Divergent can open it. Four (Theo James) reunites with a long lost relative who just may help them turn the tide in the war against Erudite.
The cast performances in this film are just awful. While most of the main characters have given us wonderful performances in other films, they barely showed up for this one. Shailene Woodley plays an excellent fragile but strong character in “The Fault in Our Stars”, but the same magic doesn’t work in “Insurgent”. You never quite believe her as an action star, her screams are like nails on chalkboard (there is a lot of chalkboard throughout this movie) and she . Miles Teller was awesome in “Whiplash”, but doesn’t do more than recite his lines in this film. Kate Winslet brings nothing new to her role as well. The list goes on.
Will Jeanine get the box open? Will Tris forgive herself? Who cares?! If the movie gives us no reason to be invested in the characters and stakes, why should we care? This series already started out rocky, and this installment just cements the rockslide of cookie cut teen dystopia that we’re being forced to swallow. Don’t waste your money this weekend, especially in 3D or IMAX. If only the boatload of cash this film is going to see this weekend sunk with the series.
Rating: D
"Run All Night" Review
In his third collaboration with Liam Neeson (“Non-Stop”, “Unknown”), director Jaume Collete-Serra gives us another suspenseful action film. While there is nothing very original about the story, “Run All Night” is a buddy movie masquerading as a survive the night film. It’s the gravity of the relationships in the film that give it stakes that work for the genre.
Jimmy Conlon (Liam Neeson) is a washed up hitman, plagued by the faces of those he’s killed. Local mob boss, Sean Maguire (Ed Harris) keeps Jimmy’s basic needs met out of a twisted guilt for making him an abandoned, shell of a man due to deeds done under his leadership. Sean’s son Danny (Boyd Holbrook) tries to bring Albanian heroine into the family business but is rejected in a meeting before a Christmas party.
The rejection sends the Albanians after Danny to recoup the money they paid him to get his father’s blessing. In an ironic twist of fate, Mike (Joel Kinnaman), Jimmy’s estranged son and a limo driver, drives the Albanians to meet Danny. When Danny botches killing both Albanians, Mike witnesses Danny finish the job, and thus becomes Danny’s target. Before Danny can kill Mike, Jimmy puts a bullet in Danny’s neck.
From there, “Run All Night” becomes a master class in acting brought to you by Neeson and Harris. As the two old friends become instant enemies, Sean sends everyone on his payroll to find and kill the Conlon duo. This includes Price (Common) a hired assassin with a score to settle with Jimmy. Writer Brad Inglesby does a significant job in keeping the dialogue out of campy one liners, and uses subtext in such a way to build the tension and suspense. In one scene, Jimmy meets with Sean in a public restaurant to ask Sean to spare Michael’s life. They go from sharing a drink and fond memories together to laying out the rules of engagement in such a smooth way that could only be done after decades of friendship.
New York, New York in the hands of cinematographer Martin Ruhe is a very different New York than we’re used to. The bright lights can become scary when you have someone hunting you down, and Ruhe capitalizes on that in the film. Whether using the lights of Times Square, Madison Square Garden, or the grid patterns from an aerial shot, Ruhe is able to create something special that really adds to the tension of film.
The great thing about survival films is that there is usually a built in clock that keeps the pace moving and suspense thick. As Jimmy and Mike try to survive the night there are plenty of scenes from other films that get “Frakensteined” into this one. Yet, for what it is, this film succeeds in keeping your attention and will have you on the edge of your seat. After all, it is Liam Neeson with a gun!
Rating: B
"Focus" Review
Will Smith proves “After Earth” was a bump in his career with “Focus”. Written and directed by Gleen Ficarra and John Requa, the film is a well executed caper comedy. It's sure to keep you entertained this weekend!
Nicky (Will Smith) is a veteran con man. He meets Jess (Margot Robbie) after she tries to play him in a “bring you back to the hotel room so my husband can bust in and take your wallet” con in New York. Knowing he’s being played, he turns the tables on them and gives Jess a quick tutorial in the art of lifting before leaving. The key for the film to work is the chemistry between its main characters, and there’s enough to teach a high school class! (That was a little lame, but there is!) Their brief lesson in the snow is light hearted and playfully flirtatious, but continues throughout the rest of the film.
We then find ourselves in New Orleans for a Super Bowl. It’s the greatest place for a heist according to Nicky. With a team of thirty people in on the action, Jess joins the group after tracking Nicky down from New York. She fits in nicely with the crew in a beautifully choreographed sequence in the bustling French Quarters in which they lifts wallets, purses, rings, and more. A romance blossoms between Nicky and Jess, but the best part about it is as a viewer you constantly question what’s real. Is their “love” real? Is Jess playing Nicky or Nicky playing Jess?
The entire crew disperses to ensure nothing is traced. A few years after New Orleans, the two meet again as Jess descends down the stairs straight out of a classic film, into the middle of Nicky’s in progress con and back into his life. From there the film gets thick with distrust. You never know who is playing who, but not in such a way that it’s confusing or distracting. It keeps you on your toes in an entertaining way.
The camera work is great in the film. Occasionally the frame is in and out of focus, but more specifically the directors lead our eyes to what they want us to see. For instance, in one scene Jess walks into a designer store. We see her walking straight toward the camera, the camera dollies left, and we realize we’ve been watching her through a mirror as she walks past the camera on the left. It’s tricks like this that make it hard to trust our eyes as well as the story unfolding on the screen.
“Focus” is a sexy, fun ride that will keep you guessing. Will Smith still has it, and it proves that Margot Robbie is more than just the objectified, pretty woman that “The Wolf of Wall Street” made her out to be. If you want something to keep your attention off of your busy work week this weekend, “Focus” is the movie to do it!
Rating: B
"Kingsman: The Secret Service" Review
If Samuel L. Jackson with a lisp isn’t enough to get you to go see “Kingsman: The Secret Service”, perhaps the smart script will. Rather than going for “Get Smart” or “Austin Powers” funny, writers Jane Goldman and Matthew Vaughn take aim for the difficult middle ground of a serious spy film that is self aware. The result, is a preposterous spy movie that’s an exciting ride!
The film starts off with an infiltration operation in which a helicopter shoots missiles into a castle. As rubble from the explosion falls to the ground it turns into letters for the opening credits. Its this nod to the audience that puts you at ease, but the ensuing scene is equally edgy and solemn, setting us up for a constant exchange of emotion throughout the film.
Eggsy (Taron Egerton) is your classic case of a teenager growing up without a father. His mother is in an abusive relationship with the local tough guy. He’s highly intelligent, but pickpockets and boosts cars to get attention. After his most recent illegal joy ride gets him in police custody, Eggsy calls the number on the back of a pendant passed down to him from his father. Little does Eggsy know that he’s just called the Kingsman, a super secret spy organization made of fashionably dressed gentlemen.
Once Harry (Colin Firth), whose code name is Galahad, gets Eggsy out of jail, the typical heroes journey/recruitment begins. In the mean time, Valentine (Samuel L. Jackson), a megalomaniac villian of sorts, is recruiting international leaders in a “get down or lay down” scheme. Either the leaders get down with his world domination plan, or they are held in captivity until he can hit the reset button on a world that he feels is headed for destruction.
The violence in this film is as high as you would expect from the director of “Kick Ass”, but at times doesn’t serve the film except for shock value. Gazelle (Sofia Boutella), Valentine’s right hand woman with swords for legs, is the embodiment of that violence for no reason other than a cool idea or visual. Certain gags, like Jackson’s lisp (which is a perfect choice for one of the best wordsmiths in the business), start out funny but becomes more of a thorn in the film’s side.
“Kingsman” is exactly what you thought it would be based on the trailer, escapist fun. Director Matthew Vaughn has created a solid film during the time that most Hollywood films are forgettable and laughable. In truth, while it too may be forgotten by the end of the year, it produces some good laughs that are worth your hard earned cash this weekend.
Rating: B-
"Jupiter Ascending" Review
I thought it would be Channing Tatum’s dirty blonde goatee, aversion to shirts throughout the film, and poor acting skills that ruined “Jupiter Ascending” for me. Truth be told, I’m predicting Tatum may be the next McConaughey, as years from now we may say “wasn’t he the guy from those Step Up movies?” Instead it was a bloated script and poor female lead that did it. For the first epic tale of the year, “Jupiter Ascending” is a waste of cinematic innovation and imagination, but it didn’t have to be.
The Wachowski’s have once again created a dazzling cinematic universe. The worlds are sprawling, the technology is advanced, and the variety of life forms are diverse. Although the exposition of it all isn’t always explained clearly, you can follow what’s happening. The issue is the wooden, superficial dialogue that makes up the film. Instead of giving us a Cinderella-esque story, we get a high school for the performing arts thesis script.
Mila Kunis is in over her head as Jupiter Jones. Jupiter was born an alien. Not the type you may think would be in an intergalactic film, but she was born in the middle of the ocean on a cargo ship. If only her being a space alien explained why she’s the genetic “reincarnation” of the late matriarch of the Abrasax family, who rules the universe, things would flow a bit better. However, that’s the theme of the movie- introduce lofty ideas with no logical explanation (understanding this is Sci-Fi). Due to her genes, she is entitled to everything the late matriarch owned, making her the most powerful being in the universe if she can claim her title.
Jupiter spends her days cleaning rich people’s homes. After her genetic code comes on the radar while trying to sell her eggs, Jupiter becomes a target of the Abrasax family in their interior war for power. While no one in the Abrasax family’s motives are clear, Caine Wise’s (Channing Tatum) are. Caine is a bounty hunter whose mission is to retrieve Jupiter for Titus Abrasax (Douglas Booth), the youngest and wildest of the family, but falls for her in the midst of it. Don’t worry, Jupiter falls for him literally and figuratively throughout the film. Whether it’s from great heights, landing in his arms while screaming, or constantly making innuendoes about how she wants to be with him, the point is made.
The short of it all is the oldest Abrasax family member with the most power, Balem Abrasax (Eddie Redmayne), wants her dead. Redmayne has to pray that the Academy voted before seeing the film because he definitely gave a Razzy worthy performance. Kunis will probably join him for her underwhelming performance as one of the least appealing damsels in distress.
“Jupiter Ascending” could have been so much more. It’s epic in scope and cinematically beautiful, which is why it isn’t an epic fail. With more time at the writer’s table, and better casting choices we could have been talking about this film for a while. I just hope we’re not witnessing the decent of the Wachowski’s.
Rating: D