"All Quiet On The Western Front" Review: The Horror of War
Franklin D. Roosevelt was right when he said “War is young men dying and old men talking.” All Quiet On The Western Front embodies this throughout its running time. It’s not a war movie, it’s a collateral movie. The violence and silence within it shows the horror that is war.
Director Edward Berger takes the third at bat for the adaptation of Erich Maria Remarque’s book. Berger’s eye for detail and his ensemble’s performances make for a war film that stands out in the genre and annals of cinematic history. The story hasn’t changed. Paul Bäumer (Felix Kammerer) is a seventeen year old who wants to go to war after hearing a speech given at his school. It’s some speech, because war sounds like a way to serve his country, become a man and a hero to him and his friends. They enlist the next day and Paul is quickly thrust into the truth and horrors of war. So are we.
Within a few hours of being out in the field, an attack leaves Paul as the sole survivor amongst his friends and scarred for life. It’s the little details along the way that make this so heart wrenching. He should have known something was up when he received a uniform that belonged to someone else. Once he’s in it, there is the collection of dog tags. The soldiers not only have to fight and fear for their lives, but they also have to face death. They literally have to look at bodies of fallen friends who had a name, family and friends and collect identification from their corpse. It’s cruel. It’s traumatizing. We have to witness it along with Paul.
A tale tale heart moment comes later when Paul kills an enemy in the trenches and has to listen to him die slowly because he can’t get out of the trench. He watches him take his last breaths and suffers mentally knowing how much pain he is in. The shift from kill or be killed to empathy is executed in a heartbreaking moment as he tries to save him and apologizes for what he’s done. This results in him finding a photo of his wife and child. This is what the film repetitively nails home. There is nothing fun, beautiful or fantastical about war.
If there’s a film that should help us think twice about war, especially in these times, it’s this one. The collateral of war is not just on the battle field but it hits the soldiers family back home and especially the soldiers themselves.
Rating: A
"First Man" Review: The Best Space Race Film to Date
First Man could be the best space race film created to date! Plenty of films have taken us to the moon. Plenty have shown the complications that can arise when an astronaut is alone, hundreds of thousands of miles away from the Earth. None have captured the human sacrifice, internal struggle, and loneliness of getting there so well as this motion picture.
Director Damien Chazelle, hot off his success with La La Land, tells the story of the life of Neil Armstrong (Ryan Gosling) in the eight years leading up to his infamous walk on the moon on July 20, 1969. With a film like this, you know the outcome, but it’s the journey to get there that’s intriguing, entertaining, and educational. Chazelle does more showing than telling with his production of the story. His camera predominately stays in tight on his subjects, forcing us to connect with them, see what they see, and absorb small moments that we may usually miss in wides or mid-shots.
Sound is another important element in the film. Every breath, turn of a knob, rocket roaring, bone crunching accidents, and even the silence of space matters in this film. It accentuates the moment and submerges the viewer further into the emotional weight or lack there of in a scene. The grand stakes of the mission to the moon is perfectly balanced between moments of devastating failure and nuanced humor backed by a beautiful score from Justin Hurwitz. Hurwitz manages to insert a piece of percussion that ticks throughout many of the songs subconsciously pervading the sense of time, whether it’s running out or seemingly nonexistent in space.
The casting is spot on with this ensemble. Gosling turns in a stellar performance as Armstrong with an emotionally distant, introspective yet caring portrayal of the American hero. In films set in the 60’s we typically see the stay at home mother and housewife character portrayed as seen and not heard but there for support. Yet, Claire Foy as Janet Armstrong is able to evoke this enormous sense of a highly intelligent woman, emotionally strong enough to shoulder the burden of raising kids with the ever present reality that her husband could lose his life at any moment. With notable performances from Corey Stoll as Buzz Aldrin, Kyle Chandler as Deke Slayton, and Jason Clarke as Edward White you get the authenticity of the best indie film performances in a blockbuster.
While the film never focuses specifically on the politics of the time, you are able to get glimpses of the economics of the day through various meetings NASA has with politicians and protests. Gil Scott-Heron’s “Whitey On The Moon” gets a surprising moment in the sun during this film. The powerful spoken word allows Chazelle to highlight the disparity of funding for the expensive space program versus the hard working citizens paying for it with tax dollars while trying to survive.
First Man is a film about perspective. It gives the viewer a moment to feel what it must have been like to be in Armstrong’s shoes, what his family and other family’s who lost loved ones for the mission endured, and how small we are in the universe. The focus on character and story, using all of the components of film to engage its’ viewer, makes this film soar above all other race to the moon films that have come before it. Treat yourself to an IMAX showing of this film, because it deserves star treatment!
Rating: A
"Breaking In" Review: Payback is A Mother
If your kids were trapped inside a house with criminals, would you fight to get to them? That question is answered by the lead in James McTeigue’s Breaking In. She answers with a resounding yes!
Gabrielle Union is Shaun Russell. Her father recently passed and she takes her kids with her to his secluded vacation home to get it ready for sale. Little do they know, four men are already in the house on a mission of their own to steal money from a safe inside. The home is heavily fortified with a security system, cameras in every room, and one remote that controls it all.
What happens next is both formulaic and unconventional. Rather than falling into the usual traps of a damsel in distress, Shaun thinks through her options and slowly works her way to a resolution. Writer Ryan Engle gives us a strong female lead in Shaun and Gabrielle Union deserves a lot of credit in her portrayal of this mother. She’s not a woman scorned as you may think from some of the sound bites of the trailer. Instead, she’s just a woman with baggage. That baggage is never fully explained, and it really doesn’t need to be, but its presence is there throughout the film’s running time.
On the flip side, the criminals in this fit the bill for generic home invasion thrillers. You have Eddie (Billie Burke) the mastermind, Duncan (Richard Cabral) the psychopath amongst the thieves, Sam (Levi Meaden) the reluctant one, and Peter (Mark Furze) the tech genius. Eddie does a lot of mansplaining throughout the film. He not only tells his gang what to do, but how Shaun will think. In some ways he’s the embodiment of stereotypical thought as to what a woman or mother may do in this situation as we’ve been taught in cinema. In other ways it’s just irritating to hear his thoughts connecting each new development.
The film has a tight pace and gets started within the first ten minutes. There isn’t a ton of exposition and backstory as to what Shaun’s father did, why they’re estranged, etc. By getting into the action, preceded with some genuine moments with Shaun and her children, Jasmine (Ajiona Alexus) and Glover (Seth Carr), we’re sucked into the story. There’s an internal clock built into the movie as the criminals have 90 minutes before the cops arrive, but it’s not used to the best of its ability. Regardless, the tension and suspense slowly build in a what would you do, yell at the screen sort of way due to the honesty of Union’s performance.
While the film does well in pacing and suspense, McTeigue seems to have trouble with his framing within the film. It doesn’t feel well thought out and translates to poor spatial awareness at times. You don’t know exactly where characters are in relation to each other. While he does do a good job of isolating characters within the frame (specifically Shaun and her kids are noticeably separated from one another once they are inside the house for the first time) creating a sense of that heightened feeling you get when you’re by yourself and hear a noise, when they do come together it can be jarring.
What keeps this film from being superb is that it doesn’t add anything new to the genre. Films like The Purge and You’re Next brought something fresh to it that keeps you interested. Here, the film is a straightforward invasion thriller and therefore could be considered bland by many. Yet, the writing is driven by an authentic sense of a mother trying to protect and ensure the safety of her young. The crowd I saw it with was hooked into every moment of narrow escape, one-upping the bad guys, and fight Shaun has to give. The emotional strain was so high at one point they didn’t laugh during a scene that was clearly supposed to release the tension. But maybe that was due to the poor performance of the villain? Regardless, this is a good escape for 88 minutes of entertainment this weekend!
Rating: B-
"War For The Planet Of The Apes" Review
For a summer filled with fast paced, loud, thinly developed character blockbusters...War For The Planet of The Apes is the exact opposite! It’s an emotional roller coaster of a character drama, sprinkled with just the right amount of action, led by a stellar cast and driven by a director who knows what he’s doing. Let’s not forget that this is the third installment in a trilogy that continues to build on itself with films that are just as good as its predecessor!
After an epic battle that tore the apes apart in more ways than one in Dawn of The Planet of The Apes, Caesar (Andy Serkis) is wrestling with his emotions. With the apes hiding in the forest, a group of soldiers have their scopes set on the simians that they view as a threat to their existence. Woody Harrelson’s Colonel is the merciless leader of the soldiers and he’s bent on taking Caesar out. After tragedy strikes, Caesar is just as focused on the Colonel.
The new school Planet of The Apes films have always been a character study of who we are deep down as human beings. Our morality is what makes us, and it’s explored beautifully through the apes. Where the prior films had a little bit more balance between humans and apes on screen, this installment is certainly ape heavy. But that’s fine, because stripped of heavy dialogue, this movie focuses on themes like love, family, sacrifice, justice and mercy. These subjects are matters that we wrestle with at the core of our being. It’s displayed magnificently here and you can certainly identify with the character struggles in the film.
Andy Serkis is one of the great motion capture actors of our time. He crushes this role once again as Caesar! Caesar is a deep thinker who always has to think ten steps ahead to protect his kind, while leading them at the same time. Serkis is able to physically show that throughout the entire film in a way that grabs a hold of you and won’t let go. There are also great motion capture performances from Karin Konoval as Maurice, Terry Notary as Rocket, and Michael Adamthwaite as Luca. You have to tip your hat to the entire team for what they’re able to bring to life through technology in creating believable, relatable ape characters.
The sound and score of the film is an ever present character as well. Whether it’s the grunt and breathing of the apes, or the timpani pounding on your heartstring; the music and sound in War can not be denied. It’s moving.
Co-Writer/Director Matt Reeves is in command of his camera much like Caesar is the apes. He frames the film in such a way that captures the performances and accentuates what’s happening in the story in an effort to push it forward. Mark Bomback gets a nod as well in co-writing the film with Reeves to create a strong screenplay. I just have to re-emphasize that this is the third at bat and there is nothing “dialed in” about it.
I did have some issues with certain characters in the film. Steve Zahn’s Bad Ape has a minority vibe to him that doesn’t sit right as the lovable idiot comic relief. Also, Amiah Miller’s Nova could have been played by any girl of a different race, but we’re stuck with the embodiment of innocence being that of a blonde white girl. It’s not that blonde white girls can’t be the embodiment of innocence, it’s just the repetitive nature of it in films that sends a message. Yeah, I opened that door. The film also had interesting parallels to the slave narrative we’ve seen in our country, right down to the in-fighting amongst slaves. That’s not necessarily a negative thing about the movie, but an interesting theme that is explored but not fully developed into making a statement.
Outside of those foibles that can be looked past for the larger experience, War of The Planet of The Apes is certainly an experience. It’s a great time at the movies because it has something to say about who we are and how we treat each other. This is certainly the film to see this weekend, and will be talked about in film circles for the rest of the year!
Rating: A
"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
"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
"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 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
"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-