As I've mentioned before, comedy is my favorite genre, because it's a way to be able to totally escape into different situations where they, a lot of times, are incredibly over-the-top so one can simply enjoy. However, within the past decade, or more, comedies have not been very funny, if funny at all. So whereas I always looked forward to the next comedy, I now have anxiety when a comedy is released wondering if its going to be a total wasteland or not. One very funny film I, with great trepidation, went to see was "Daddy's Home", and it seriously surprised me.
Brad Whitaker (Will Ferrell) is a mild-mannered everyman whose only goal in life is to be the best stepdad to the two kids of his wife Sarah (Linda Cardellini). Just when he thinks he finally won them over, Sarah's supercool ex-husband and biological father of her children, Dusty Mayron (Mark Wahlberg), comes back into the picture determined to usurp Brad's standing as the favorite dad. These two polar opposites soon get caught up in a competition to win the hearts of the family they both love, but their rivalry quickly escalates out of control. Brad seeks advice from his boss, Leo Holt (Thomas Haden Church) at the radio station that Brad works, about his problem with Dusty basically muscling himself into his family, and Leo only confuses Brad even more than Brad already is. With all the uproarious situations going on, which one will ultimately win in spite of their tremendous differences?
Others to round out the cast are Bobby Canavale as Dr. Francisco, Hannibal Buress as Griff, Scarlett Estevez and Owen Vaccaro as Megan and Dylan, the kids, Bill Burr as Jerry, Bully's Dad, and Jamie Denbo as Doris.
Obviously director Sean Anders ("Never Been Thawed" '05, "Sex Drive" '08, "That's My Boy" '12, "Horrible Bosses 2" '14), knows his way around a comedy considering his aforementioned resume. He's a consummate pro at creating setups with his actors so they come across even funnier than normal, so when they are in the middle of a particular pratfall, with the pacing being just so, ends up being funnier than usual. It was creatively written by Brian Burns, Anders and John Morris based on a story by Burns. Much in the vein of whacky comedies this film soars. Its dialogue and pratfalls meld together very well which makes this much funnier than I would've thought. Then add the ingredient of there being an 'odd couple' situation (two totally opposite personalities) thrown in the mix, and you end up with some seriously hefty belly laughs. Sure, this is nothing worthy of an Academy Award, which I'm sure was purposed, and there was a little choppiness in script, but it was pure escapism at its finest, and the chemistry between Ferrell and Wahlberg was first rate. This was a much better teaming of these two than was "The Other Guys", mostly because the writing in this was far better.
If you want to go to the multiplex just to escape into an uproarious story with funny lines and pratfalls, this will be the vehicle for you. Even if your taste falls more with the dry comedies, if one keeps an open mind, one will see that this is truly funny, and we could all use a good laugh every now and then.
Out of 4 Stars: 3 Rated: PG-13 96mins.
Films that are based on causes that are a strain on our society are often fraught with emotion that can range from a crawl to a gallop depending on the issue at hand. We've seen many issue-related films: "Silkwood", "Contagion", "Philadelphia", "The China Syndrome", "Still Alice". And in each one of these films, the issues brought up are to inform using talented acting, writing and directing to tell a story in hopes that the audience can take what they see and learn from it. This is surely what the studio and writer of "Concussion" were undoubtedly attempting to convey as well.
This dramatic thriller based on the incredible true 'David vs. Goliath' story of American immigrant Dr. Bennet Omalu (Will Smith), is a brilliant forensic neuropathologist who made the first discovery of CTE (Chronic Traumatic Encephalopathy)-- a football-related brain trauma. He performed an autopsy on a 50 year-old pro football player and found the condition then only to have to fight for the truth to be known. Omalu's emotional quest puts him in at dangerous odds with one of the most powerful institutions in the world-- the NFL. So with the help of his boss, Dr. Cyril Wecht (Albert Brooks), an NFL 'defector', Dr. Julian Bailes (Alec Baldwin) and his smart and understanding girlfriend, Prema Mutiso (Gugu Mbatha-Raw), he pursues to attempt to convince the NFL that they are basically killing their football players with little to no success.
Others to round out the cast are David Morse as Mike Webster, Arliss Howard as Dr. Joseph Maroon, Mike O'Malley as Daniel Sullivan, Eddie Marsen as Dr. Steven DeKosky, Hill Harper as Christopher Jones, Adewale Akinnuoye-Agbaje as Dave Duerson, Stephen Moyer as Dr. Ron Hamilton, Paul Reiser as Dr. Elliot Pellman, Luke Wilson as Roger Goodell, Richard T. Jones as Andre Waters and Sara Lindsey as Gracie.
This was directed effectively by Peter Landesman ("Parkland" '13). Certainly this filmmaker is a relative newcomer in the director's chair--he's more of a writer, but this was delineated in such a way that he allowed Smith's character, Omalu to be showcased in order to emit the true importance of what this film was attempting to convey to its audience. The others were there to bounce Omalu's passionate lines off of. He will certainly receive more work. It was written incredibly well by Landesman ("Parkland" '13, "Kill the Messenger" '14) which is based on the GQ article "Game Brain" (in part) by Jeanne Marie Laskas. Truly this writer has a lot to say, as did Smith in this, because the passion of both exuded importance of a topic that not only needs to be addressed, but because it's not being addressed as much as it should be, many are dying in the process, namely anyone who is involved in a consistent high contact situation--this zeroing in on football. Sure, this did get a bit preachy, but it's more forgiving considering how much an entity like the NFL has to be jolted to 'get the hint'. How many more guys in this sport, as with others, have to needlessly die for all to be protected so they can live long, productive lives? Landesman makes this perfectly clear with conviction, passion and clarity. Look, when I'm not reviewing films, I work in an ICU where we see many neurological cases due to auto/motorcycle accidents and the like, and if these people can sustain a TBI (Traumatic Brain Injury) or the like, why would it be so difficult to believe that these sports figures couldn't sustain CTE's or TBI's when in constant head on contact? Think about it. Also, Smith's performance was his best ever. I see a possible Oscar nod in the making.
If message films are your thing, get ready for a delight, but even if you're just into fluff and pure entertainment, this has got to speak to one's heart, because, at the end of the day, aren't all of us more important than our own desires to sit and just watch fluff all the time?
Out of 4 Stars: 3.5 Rated: PG-13 123mins.
There is the genre of drama and that of comedy, then there's the combination of both as is nicknamed 'dramedy'. Sure, films that combine the two genres is not a new idea, but when they are combined in a way that a film could not survive without one of them, this is when you have a film like "Joy".
This is the wild true story of Joy Mantano (Jennifer Lawrence) and her Italian-American family comprised of Rudy (Robert DeNiro), her father, Terry (Virginia Madsen), her mother, Mimi (Diane Ladd), her grandmother, and Tony (Edgar Ramirez), her ex-husband, across four generations center on the girl who becomes the woman who founds a business dynasty by inventing the Miracle Mop and becomes the matriarch in her own right. Betrayal, treachery, the loss of innocence and the scars of love, pave the road in this intense emotional and human dramedy about becoming a true boss of family and enterprise facing a world of unforgiving commerce. Allies become adversaries and adversaries become allies, both inside and outside the family, as Joy's inner life and fierce imagination carry her through the storm she faces. One silver lining in her quest to market her Miracle Mop is that of Neil Walker (Bradley Cooper) who is the marketing manager of a TV station where she hopes to sell her product. This tells the story of family, loyalty and love all in a way that turns Joy's world upside down.
Others to round out the cast are Isabella Rossellini as Trudy, Rudy's girlfriend, Dascha Polanco as Jackie, a family friend, Elisabeth Rohm as Peggy, Rudy's daughter of his first marriage, Susan Lucci as Danica, Laura Wright as Clarinda, Maurice Benard as Ridge, Donna Mills as Priscilla, Jimmy Jean-Louis as Touissant, Ken Howard as Mop Executive and Ray De La Paz as Tony's Father.
This was written and directed by the incomparable David O. Russell ("Spanking the Monkey" '94, "Flirting with Disaster" '96, "Three Kings" '99, "I Heart Huckabees" '04, "The Fighter" '10, "Silver Linings Playbook" '12, "American Hustle" '13) based on a story by Annie Mumolo and Russell. This filmmaker is extremely talented in how to combine drama and comedy where it gives one a sense of escapism along with the conveyance of being real with plot and character development. And using a lot of the same actors in several of your films is actually smart thinking, especially if the actors work well with each other. The last time this concept was utilized, was when Christopher Guest directed his films, "Best in Show", "A Mighty Wind", "For Your Consideration", etc. These films were not dramedies--they were total comedies, but the usage of the same cast was incredibly effective. Mind you, the comedy in this, as with Russell's other last few films is very powder dry, but this makes for great comedy, because one has to actually think about the script a little more than just having a total pratfall, toilet humor driven comedy. Jennifer Lawrence simply shined in this as the title role and the film has garnered a Golden Globe nomination. Could she be seeing a possible Oscar? Only time will tell. She certainly deserves it.
If you're a Russell fan as I am, you'll be in film heaven, but even if it's not, well crafted films don't come along all that many times in one's life. My advice? Reach out and grab this brass ring, because if you don't, you'll miss out on a true gem.
Out of 4 Stars: 4 Rated: PG-13 124mins.
Films based on true stories have become as prevalent and frequent as disaster films were in the 1970's. But what makes "The Big Short" different than most films 'based on a true story' is that this story is based on an outlandish premise that if one didn't see based on a true story at the beginning of the film, you'd swear it was pure fiction. This was a more dramatic view of an outrageous true story whereas "Pain & Gain", based on a true story was a lighter view of an outrageous film based on a true story. Did you get that?
This true story explores the 2008 financial crisis through the lens of four unorthodox moneymen, who foresaw the consequences of the fraudulent mortgage-lending practices of large banks on Wall Street. Christian Bale plays Michael Burry, a former hedge-fund manager who was one of the first to forecast the collapse of the credit bubble due to excessive subprime lending. Steve Carell is Mark Baum (based on the real-life Steve Eisman), a money manager who rose to fame after successfully betting against subprime mortgages. Ryan Gosling is Jared Vennett, a money/commodities investor who convinces Baum and his associates to basically bet against the banks in order to profit, and Brad Pitt plays Ben Rickert, an ex Wall Street investor who ends up mentoring both Charlie Geller (John Magaro) and Jamie Shipley (Finn Wittrock). These two young investors find out that things don't seem up and up in the financial realm, so they consult with Rickert to help them win over the financial community in order to profit. All these investors have two motivating factors that catapult them to act upon this situation: 1) to expose 'Wall Street' for what it is and hopefully reap financially from it.
Others to round out the cast are Melissa Leo as Georgia Hale, Marisa Tomei as Cynthia Baum, Mark's wife, Jeremy Strong as Vinnie Daniel, Rafe Spall as Danny Moses, Hamish Linklater as Porter Collins, Karen Gillan as Evie, Tracy Letts as Lawrence Fields and Adepero Oduye as Kathy Tao.
This was surprisingly well directed by Adam McKay ("Anchorman: The Legend of Ron Burgundy" '04, "Talladega Nights: The Ballad of Ricky Bobby" '06, "Step Brothers" '08, "The Other Guys" '10, "Lifecasters" (TV movie documentary) '13, "Anchorman 2: The Legend Continues" '13). I say surprisingly because this filmmaker's claim to fame are the light comedy fare you have seen, hence his resume. This is a drama, with some comedic relief, but a drama nonetheless. So his talent shines in that he was able to get these actors to convey the characters they're playing quite effectively despite this not being the genre he typically directs. It was equally well written by Charles Randolph and McKay based on the book by Michael Lewis. What's interesting about this is the fact that the film begins in the year 2005, where it introduces us to the different characters and slowly how they caught on to an insightful outlook of the banks coming up with these bogus mortgage bonds that the public were getting conned into, and then as the years progress, the more others were jumping on the bandwagon to expose and try to benefit from the greed of the bankers. Instead of starting at 2008 and trusting its audience that they will easily catch on to the ludicrous stance of the bankers, these writers pursued their audience with a screenplay delineating slowly how this outlandish story actually took place. There were a couple of places of the lack of some cohesiveness, but all in all, this script rocked! The smart move was choosing one writer (Randolph) who is mostly a dramatic writer and (McKay) who predominantly writes comedy. This definitely made for an effective combination. And both Bales's and Carell's performances were captivating and mesmerizing. Carell fairs so much better in the genre of drama, that I wish he would perform more in it.
While this was coming down all around us back in 2008-09, it was so devastating to so many people that this story simply had to be told. So when one goes to see this, it will graphically detail what actually happened to all of those people's money.
Out of 4 Stars: 3.5 Rated: R 130mins.
Certainly when it comes to film franchises, the Star Wars franchise has got to be one of the oldest around, considering the original "Star Wars" was released to packed theaters in 1977. Since then this phenomena has packed theaters since. "Star Wars: The Force Awakens", being the seventh installment--episode VI, will undoubtedly gross major bucks at the box office like "Avatar" did a number of years prior.
Luke Skywalker (Mark Hamill) has vanished, and both the Resistance headed up by Princess Leia (Carrie Fisher) who is now a general, and the sinister First Order headed up by Supreme Leader Snoke (Andy Serkis) and Kylo Ren (Adam Driver) are searching for him. Crack pilot Poe Dameron (Oscar Isaac) inadvertently obtains a digital map to his whereabouts, but when everything goes wrong, a droid called BB-8 becomes the centre of the search, along with scavenger Rey (Daisy Ridley) and a stormtrooper deserter FN-2187 whom later Poe renames Finn (John Boyega), who have found the droid. Because they're attempting to protect the droid, they inadvertently end up fighting the First Order with the Resistance along with Han Solo (Harrison Ford) and Chewbacca (Peter Mayhew) to put an end to this evil and to locate, once and for all, Luke Skywalker.
Others to round out the cast are Domhnall Gleeson as General Hux, Lupita Nyong'o as Maz Kanata, Anthony Daniels as C-3PO, and Max Von Sydow as Lor San Tekka.
This was effortlessly directed by J.J. Abrams ("Anatomy of Hope" (TV movie) '09, "Star Trek" '09, "Super 8" '11, "Star Trek Into Darkness" '13). Obviously this filmmaker knows a thing or two about the filming of a big-budget, high adrenaline, explosive movie--look at his resume, because it certainly speaks volumes. He's one of the few directors out there today that knows how to emit intensity from his actors as well as tenderness when needed and pull it off equally well depending on the scene at hand. It was equally well written by Lawrence Kasdan, Abrams and Michael Arndt. It has to be written well since these writers are seasoned, talented guys. Between all of them, their resume would go on forever. Suffice it to say, these guys can write a screenplay. And with the exception of a couple of very small slow places in script, this soared. There were places where the film looked like it didn't know what to do given a slower scene, but very quickly rebounded and then accelerated.
What can I say about the composer, John Williams. This guy is a movie composer legend. You know, the same guy who composed music for "Jaws", "Raiders of the Lost Ark", E.T. The Extra Terrestial", "Superman", "Lincoln", "War Horse", "A.I.", and the first "Star Wars" plus tons of others. His score fit this film so well it was amazing. And, of course, the visual effects by ILM (Industrial, Light & Magic) were absolutely seamless. Oscar nods could go to visuals, music and possibly photography-- time will only tell. There were a few surprises, but to say it will continue wouldn't ruin any surprise, because one would have to know it will continue before you walk in the multiplex.
For all the Star Wars freaks out there, you will revel, however even if this is not your franchise, one can still get something out of this considering the talented people working on this and the fun escapism story that will keep you riveted. Break out the popcorn!
Out of 4 Stars: 3.5 Rated: PG-13 135mins.
When it comes to different films, whether they be based on a true story or are period films, so often are they not represented in the same film, especially when they are based as far back as the 1800's. Mind you, some films include these two elements, but most clearly do not. So when I realized that a film in which inspired Herman Melville's "Moby-Dick" was coming to the theaters, I just had to go see this. And what I viewed was stunning in both acting and direction.
In the winter of 1820, the New England whaling ship Essex was assaulted by something no one could believe: a sperm whale of mammoth size and will, and an almost human sense of vengeance. The real-life maritime disaster would inspire Herman Melville's "Moby-Dick". But that told only half the story. This story reveals the encounter's harrowing aftermath, as the ship's surviving crew including Captain George Pollard (Benjamin Walker) and First Mate Owen Chase (Chris Hemsworth) is pushed to their limits and forced to do the unthinkable to stay alive. Braving storms, starvation, panic and despair, the men will call into question their deepest beliefs, from the value of their lives to the morality of their trade, as their captain searches for direction on the open sea and his first mate still seeks to bring the great whale down.
This starts as a flashback in 1850, whereas an older whaler who survived the Essex, Tom Nickerson (Brendan Gleeson) is telling his harrowing story to Herman Melville (Ben Whishaw) who had to know the story first hand himself. As the story unfolds, it fades to 1820, logging everything that transpired aboard the doomed ship. However, what interests Melville more is the part about the whale, because that has never been the actual given reason of the Essex's undoing.
Others to round out the cast are Cillian Murphy as Matthew Joy, Michelle Fairley as Mrs. Nickerson, Tom Holland as Thomas Nickerson, Paul Anderson as Caleb Chappel, Frank Dillane as Henry Coffin, Joseph Mawle as Benjamin Lawrence, Edward Ashley as Barzillai Ray, Sam Keeley as Ramsdell, Osy Ikhile as Richard Peterson, Gary Beadle as William Bond and Jamie Sives as Cole.
This was finely directed by the consummate Ron Howard ("Grand Theft Auto" '77, "Night Shift" '82, "Splash" '84, "Gung Ho" '86, "Parenthood" '89, "Apollo 13" '95, "A Beautiful Mind" '01, "Cinderella Man" '05, "Frost/Nixon" '08, "The Dilemma" '11, "Rush" '13) plus many others. One thing I can truly respect Howard for is that he is willing to tackle any subject or genre, whether they be controversial or total fluff and anywhere in between. And every film is very important to him regardless of its impact or message that it's attempting to convey. The actors in this simply looked effortless in their roles like they were actually the characters they were portraying, but, of course, this is Howard. He has come such a long way from Opie on the Andy Griffith Show. Who would've thought then that this would be where we'd see him now? This was effectively written by Charles Leavitt ("K-Pax" '01, "Blood Diamond" '06, "Seventh Son" '14) based on a story by Leavitt, Rick Jaffa and Amanda Silver which is based on the book, "In the Heart of the Sea: The Tragedy of the Whaleship Essex" by Nathaniel Philbrick. This writer certainly has the resume to handle this type of script and this showcased his abilities. There were a couple of very small slow areas in this, but nothing to really take away from the impact he was obviously wanting to convey to his audience. And the visual effects by Double Negative, Scanline VFX and others actually enhanced this story even more.
If you're into maritime disaster films, this will put you in that happy place for one to revel. Certainly observing the brilliance of Howard's direction alone is worth the price of admission. And with the incredible visuals along with an IMAX and 3D format, this becomes fine escapism at its best.
Out of 4 Stars: 3.5 Rated: PG-13 121mins.
Of late we've seen a plethora of films based on a true story or person, so it actually excites me to see and review a film that is based on a novel--strictly fiction. I thought Hollywood had forgotten how to make movies fictionally based until I saw "Brooklyn". Showing the intricacies of life in the big city as immigrants embark on the U.S. during the 1950's, was both touching and entertaining.
A young Irish immigrant, Ellis Lacey (Saoirse Ronan) lands in 1950's Brooklyn, where she quickly falls into a new romance with Tony (Emory Cohen). When her past catches up with her, she must choose between two countries and the lives that exists within.
This tells the profoundly moving story of Ellis being lured by the promise of America, so much so, that she departs Ireland and the comfort of her mother's home and her supportive sister, Rose (Fiona Glascott) for the shores of New York City. The initial shackles of homesickness quickly diminish when she meets Tony and falls into the intoxicating charm of love. But soon, her new vivacity is disrupted by her past, and Ellis must choose between two countries and two loves: Tony in the U.S. and Jim (Domhnall Gleeson) in Ireland.
Others to round out the cast are Jim Broadbent as Father Ford, Julie Walters as Mrs. Kehoe, Brid Brennan as Miss. Kelly, Matt Glynn as Priest, Maeve McGrath as Mary, Jane Brennan as Mary Lacey, Eileen O'Higgins as Nancy, Peter Campion as George Sheridan and Eva Birthistle as Georgina.
This film was finely delineated by director John Crowley ("Intermission" '03, "Celebration" (TV movie) '07, "Boy A" '07, "Is Anybody There?" '08, "Closed Circuit" '13). This filmmaker, by his very resume, sticks to what he does best--independent films. With the exception of "Closed Circuit", he's an indie type of guy, and why not--some of the most artfully, creatively done films are indie films, "Brooklyn" being one of them. His actors had a subtle approach to how they were to convey their characters to the audience and this takes a talented director, whether the actor is consummate or not. It was brilliantly written by Nick Hornby ("Fever Pitch" '97 and '05, "An Education" '09, "Wild" '14) plus others. OK, I'm not sure what "Fever Pitch" is about. With the talent of this writer, I suspect one must pay their dues in order to be able to write scripts they can sink their teeth into, whereas "Wild" was phenomenal and a great character written for Reese Witherspoon. This film showcased Saoirse Ronan's incredible ability to act. She actually proved her acting ability in "Atonement", but Hornby's script simply gave her an amazing vehicle to prove is a consummate pro--possibly with an Oscar nod in her grasp, and Emory Cohen as Tony was a delight and had great chemistry with Ronan. The production values were incredible and spot on for the period in which was represented: production design, costumes, photography were true to the era.
With so many big-budget, high adrenaline, violent and graphic films we are besieged with these days, it's a welcome breath of fresh air to see a film about simple life in the city about a couple meeting and getting to know one another and how that ultimately affects others around them. This is a must see this Christmas for all to experience. And by film's end, one can walk out of the multiplex not only feeling better about one's self, but also the same of those around you.
Out of 4 Stars: 4 Rated: PG-13 111mins.
There are many original films Hollywood has graced us with since the beginning of films themselves, but since the last 3 to 4 decades back, this same community has realized that there is a ton of money to be made with as little work involved in expanding a film into a sequel or sequels. As these sequels have grown, film franchises have blossomed from them. We've seen a plethora of franchises, but I think one of the oldest franchises is that of the "Rocky" one dating back to 1976. There's been "Rocky" and "Rocky II, III, IV, V and VI" and even "Rocky Balboa". As a new audience emerges, the producers, as well as Sylvester Stallone felt we needed another film to add to the franchise in the form of "Creed".
Adonis Johnson (Michael B. Jordan) is the son of the infamous boxing champion Apollo Creed, who died in a boxing match in "Rocky IV" (1985). Adonis wasn't born until after his father's death and, after struggling with anger of his father and living in his shadow, wants to follow in his father's footsteps in boxing. He ends up seeking a mentor to train him, so since he realized that his father was a former friend of Rocky Balboa (Sylvester Stallone), Rocky reluctantly agrees to mentor Adonis. With Rocky's help along with Pete Sporino (Ritchie Coster), Stich (Jacob 'Stitch' Duran) and emotional support from his girlfriend, Bianca (Tessa Thompson), they hope to get a title job to face even deadlier opponents than his father. But whether he is a true fighter remains to be seen.
Others to round out the cast are Phylicia Rashad as Mary Anne Creed, Andre Ward as Danny 'Stuntman' Wheeler, Tony Bellew as 'Pretty' Ricky Conlan, Graham McTavish as Tommy Holiday, Conlan's trainer, Malik Bazille as Amir, Gabe Rosado as Leo 'The Lion' Sporino) Wood Harris as Tony 'Little Duke' Burton and Rupal Pujara as Dr. Kathari.
Where does Hollywood get these new up and coming filmmakers? I ask this this because This was powerfully directed by Ryan Coogler ("Fruitvale Station" '13) plus shorts. This director will go places considering the directing quality of this and "Fruitvale Station". He really knows how to emit the right intense emotions out of his actors, and since he worked with Jordan in "Fruitvale Station" as well as this, this had to make this much easier to accomplish--not to mention that Jordan is a very accomplished actor himself. It is equally well written by virtual newcomers, Coogler and Aaron Covington based on a story by Coogler which is based on characters created by Sylvester Stallone. What interests me is that these newer writers are so much more talented than their comedy writing counterparts. I suspect the reason for this is that the genre of comedy is actually more difficult to write, because this writer has to convey something that not only is funny, but also has to be delivered in a comedic way, and this is definitely easier said than done. Hollywood needs to work on obtaining better comedy writers, so maybe, just maybe, a comedy can possibly be nominated more often come Oscar time. Trust me, this wasn't without issues--it got a little bogged down in sentimentality especially nearing the end and was a bit choppy in some places, but not enough to realize that this was definitely so much better than I ever thought it would be. Can you say, "Creed 2"?
Obviously if you're a "Rocky" fan, you'll be in boxing heaven, but even if you're not a "Rocky" fan, which I'm not in particular, this still has a lot to say about fear, anger, drive and redemption all with a boxing backdrop. Even Stallone was solid in his performance, but he could definitely portray this role in his sleep.
Out of 4 Stars: 3 Rated: PG-13 133mins.
It's the holiday time, and that means a lot of family fare. When one thinks of family fare, animated films certainly come to mind. We've seen many films, "The Peanuts Movie" is still in the theaters as I write this, but Pixar Animation Studios has brought us yet another gem, and it shines in the form of "The Good Dinosaur".
This film asks the generations-age question: What if the asteroid that forever changed life on Earth missed the planet completely and giant dinosaurs never became extinct? In this epic journey into the world of dinosaurs, an amiable young Apatosaurus named Arlo (Raymond Ochoa) loses his father (Jeffrey Wright) during a storm and Poppa is swept away by a vicious river current stranding Arlo in a frightening new place far from his home. While traveling through a harsh and mysterious landscape, he befriends a prehistoric human child known as Spot (Jack Bright) along the way, and ultimately ends up learning the power of confronting his fears and discovers what he is truly capable of.
Others to round out the cast are Frances McDormand as Momma, Marcus Schribner as Buck, Arlo's brother, Maleah Niray-Padilla as Young Libby, Arlo's Sister, Steve Zahn as Thunderclap, Mandy Freund as Downpour, Steven Clay Hunter as Coldfront, A.J. Buckley as Nash, Anna Paquin as Ramsey, Sam Elliott as Butch and Peter Sohn as Forrest Woodbush.
This was whimsically directed by Peter Sohn ("Partly Cloudy" (short) '09). Considering this is Sohn's first theatrical film in the director's chair, this was executed in ways that were amazing. These characters simply came alive assuredly as the story progressed. This filmmaker has done quite a bit of acting which certainly hasn't hurt his ability to direct. It was penned beautifully by Meg LeFauve based on a story by Sohn, Erik Benson, LeFauve, Kelsey Mann and Bob Peterson which is based on an original concept and development by Peterson. The continuity carried this film through an effortless process where one could just follow the flow of this with such ease. There were a lot of minds involved in the idea of the story, but when the rubber met the road, one writer came out of it credited in the writing, and this is what any studio or producer wants so the production doesn't get bogged down with the 'too many hands in the pot' philosophy. And what can I say about Pixar Animation Studios? You know, the same studio that gave us "Toy Story", "Cars", "Finding Nemo", "Monsters, Inc.", "Inside Out", "Up", and the upcoming "Finding Dory". Every project they touch turns to financial gold, as it should considering the incredible quality.
I've mentioned before and I'll say it again, how do those guys at Pixar do it? How do they create film after film giving us such simple topics and bringing them to life in ways that we would never see, and then after viewing them, walk out of the multiplex and be thinking about them long afterwards? How do they do it?
Out of 4 Stars: 4 Rated: PG 100mins.
We've seen too many films based on true stories that ranges from politics to sports to musical band icons to actors to dangerous situations. The list is endless, because we and Hollywood have this fascination with fact-based films. Now we have "Trumbo" to throw into the mix to get us caught up in, yet another, fact-based film. One thing about this movie, the subject matter is certainly as original as any film could be out there.
In 1947, Dalton Trumbo (Bryan Cranston) was Hollywood's top screenwriter until he and other artists, namely writer, Arlen Hird (Louis C.K.), Edward G. Robinson (Michael Stuhlbarg) and writer, Ian McLellan Hunter (Alan Tudyk) were jailed and blacklisted for their political beliefs. This true story recounts how Dalton used words and wit to win two Academy Awards and expose the absurdity and injustice under the blacklist, which entangled everyone from gossip columnist Hedda Hopper (Helen Mirren) to John Wayne (David James Elliott), Kirk Douglas (Dean O'Gorman) and Otto Preminger (Christian Berkel). Even producer, Frank King (John Goodman) was threatened to dump writer Trumbo from his production company or 'else', which he responded in a 'I don't care' attitude. This is one man's struggle and reinventing himself at a time when the societal fear was running rampant.
Others to round out the cast are John Getz as Sam Word, Diane Lane as Cleo Trumbo, Dalton's wife, Roger Bart as Buddy Ross, Elle Fanning as Niki Trumbo, Dalton's daughter, Adewale Akinnuoye-Agbaje as Virgil, Stephen Root as Hymie King, Richard Portnow as Louis B. Mayer and James DuMont as J. Parnell Thomas.
This was interestingly directed by Jay Roach ("Zoo Radio" '90, Austin Powers: International Man of Mystery" '97, "Austin Powers: The Spy Who Shagged Me" '99, "Mystery, Alaska" '99, "Meet the Parents" 2000, "Austin Powers in Goldmember" '02, "Meet the Fockers" '04, "Earth to America" (TV movie) '05, "Recount" (TV movie) '08, "Dinner for Schmucks" '10, "Game Change" (TV movie) '12, "The Campaign" '12). I say interestingly because if you'll notice this filmmaker's resume, most of his experience is in the genre of comedy. Not that there isn't any humorous moments in this, however this is definitely a drama. I'm not sure why the producers risked Roach to such an undertaking, but after seeing this film, Roach proved, in spades, that he was more than up to the task of this script. These characters came alive in just about every scene, albeit the actors are consummate, but this still takes a keen director to pull this off. It was written by John McNamara based on the book, "Dalton Trumbo" by Bruce Cook. This writer has a ton of experience, but all of it is a combination of a few TV movies and episodic TV. Considering this is his first theatrical feature film, this script was amazing. If this is his first big-screen venture, I surely can't wait to see how cutting edge his writing is, say ten years down the road. There were a small amount of descepancies in this, but all in all, this storyline was spot on and the acting, specifically by Cranston in the title role was worth the price of admission. Cranston will undoubtedly be nominated come Oscar time.
As aforementioned, this storyline is certainly original considering all the other films based on true stories, because when we go see movies, and since a good deal of them are based on true events, it would be frosting on the cake to see an extremely interesting storyline which "Trumbo" certainly is.
Out of 4 Stars: 3.5 Rated: R 124mins.
For years Hollywood has been fascinated with gangster/mafia oriented films, so much so that we could see as many as three or four releases a year easily. With films such as "The Godfather", "Casino", "Goodfellas", even comedies parodying that lifestyle: "The Freshman" and "The Family", and even the recent "Black Mass", Hollywood has cashed in on a subject matter that is rife with material to write upon. With "Legend" to add to that continuing list in tow, will there be an end to these films anytime down the road? Well, as long as they keep making money, most likely the answer to that question would be an overwhelming no.
This tells the true story of identical twin gangsters, Reggie and Ronnie Kray (Tom Hardy), two of the most notorious criminals in British history, and their organized crime empire in the East End of London in the 1960's. Focusing on the relationship between Reggie Kray and Frances Shea (Emily Browning), this is told from Frances' vantage point as someone who knew him best, as well as the mental health issues Ronnie Kray faced and their rise to power using gruesome and unhinged tactics and savvy business acumen to seize control of the city. With cohorts Jack McVitie (Sam Spruell), Nipper Read (Christopher Eccleston), and their finance advisor, Leslie Payne (David Thewlis), Constable Scott (Joshua Hill) certainly has his hands full trying to instill justice and apprehension when it comes to nailing the Kray's to that proverbial wall. With such a difference of character between these brothers, how can they even propel themselves ahead within their empire when they are such odds with each other?
Others to round out the cast are Chazz Palminteri as Angelo Bruno, mob boss from Philadelphia, Tara Fitzgerald as Elsie Shea, Frances' mother, Taron Egerton as Teddy Smith, Paul Anderson as Albert Donoghue, Colin Morgan as Frank Shea, Frances' brother, Nicholas Farrell as Dr. Humphries, Adam Fogerty as Pat Connolly and Mel Raido as Ian Barrie.
This was incredibly well directed by Brian Helgeland ("Payback" '99, "A Knight's Tale" '01, "The Order" '03, "42" '13). This filmmaker is not unfamiliar with biopics, hence "42", and he's not a director that can be pigeon-holed--he's quite eclectic, whether he's directing or writing. Obvious Tom Hardy is an awesome actor, however the nuances Hardy's characters emitted were amazing in that the characters had two very distinct personalities which makes this practically cutting-edge in directing and writing. It was equally well written by Helgeland ("Highway to Hell" '91, "L.A. Confidential" '97, "The Postman" '97, "Payback" '99, "Blood Work" '02, "Mystic River" '03, "Man on Fire" '04, "The Taking of Pelham 1 2 3" '09, "Green Zone" '10, "42" '13) plus others. Other than a couple of very small places that seemed to just 'be there' with not much meaning, this script decidedly scored. Helgeland has certainly proven himself time and again--look at the resume above, and with these meaty characters from the 1960's to write about, the sky's the limit. And personally I'm a Tom Hardy fan, but this is certainly one of his best performances to date--played two distinct characters and not get confused is a skilled actor, and he's done some fine work. I smell Oscar buzz all over this film.
This is an intense film, hey, these were not angels in this film, but one needs to see this if for no other reason than for the acting, directing and writing. Even though this is a drama, there are numerous places of humor, mostly because these guys were ludicrous in nature, especially Ronnie Kray. The events in this secured the infamy of the Kray twins, and when one sees this they will see what I'm talking about.
Out of 4 Stars: 3.5 Rated: R 131mins.
Films about sports whether based on fact or fiction has been a constant staple of Hollywood seemingly forever, and even more so, football based films. "Knute Rockne", "Leathernecks", "Any Given Sunday", "The Replacements", even "Heaven Can Wait" are a handful of football films, much less sports films in general. A lot of times, these films have a tendency to inspire us to cheer them on and to maybe give us something to think about in our own lives, so when I realized "My All American" was being released, I noticed that this film certainly gave that feeling of inspiration, and it inspired big time.
What Freddie Steinmark (Finn Wittrock) wants most in the world is to play football. Although he is deemed too small by the usual athletic standards, his father, Fred (Michael Reilly Burke) trains him hard. Freddie brings a fight to the game that ultimately gets him noticed-- by none other than legendary University of Texas coach Darrell Royal (Aaron Eckhart), and is awarded a scholarship and a chance to play for the Longhorns. Freddie sets off to Austin with his loving high school sweetheart, Linda Wheeler (Sarah Bolger), determined to make the team. Alongside his old teammate Bobby Mitchell (Rett Terrell) and his new pal James Street (Juston Street), Freddie was put through the riggers of a grueling practice schedule. The boys' camaraderie off the field translates into solid playing on it, and they rise up the depth charts, giving the Longhorns a real chance to improve upon their mediocre record. But just when they're reveling in the success of the season, Freddie suffers an injury that leads to a shocking diagnosis and the biggest challenge he will ever face. This tells the true story, back in the late 1960's, of a young man who became a hero and what it truly means to have the heart of a champion.
Others to round out the cast are Robin Tunney as Gloria Steinmark, Freddie's mother, Donny Boaz as Super Bill Bradley, Marco Perella as Dr. Martin, Brent Anderson as Coach Mike Campbell, Brett Brock as Coach Emory Bellard, Hector Becerra as Frank Medina and David Stokey as Dr. Jullian.
There been more newbie directors that have come our way within the last 5 to 10 years, and what's more impressive is how many of them have been talented--basically naturals. One such director, Angelo Pizzo, who directed this film is an amazing newcomer to that director's chair. This not only his first theatrical film he's helmed, but his first direction period. These actors were paced and staged well. If this is his first, just think what he may become say, 10 years down the road. This is also well written by Pizzo ("Hoosiers" '86, "Rudy" '93, "The Game of Their Lives" '05). Certainly he's more than qualified to write scripts for sports based films--look at his resume, but the way he delineates his stories, as with this film, is cohesive, and well-structured. Other than a couple of very small choppy areas in script, this screenplay soared. I can't wait to see what sports based film he decides to write next. Eckhart's performance was solid and Wittrock's portrayal of this football hero was electric. This actor is definitely going places--he is an actor to contend with, and after this will undoubtedly receive more work.
This does have a bittersweet ending, but then it is based on a true story, so that being the scenario, to quote Forest Gump, "life is like a box of chocolates, you never know what you're gonna get".
Out of 4 Stars: 3.5 Rated: PG 118mins.
Usually franchise films are set aside for the summer months, however since students have a good many days off during the holiday time--Thanksgiving and Christmas, what a better time to release another franchise, which the younger generation seems to gravitate to more than others. This time we have the fourth, count them, the fourth installment of the Hunger Games appropriately titled "The Hunger Games: Mockingjay- Part 2" as the follow up to last year's Part 1.
As the war of Panem escalates to the destruction of other districts by the Capitol, Katniss Everdeen (Jennifer Lawrence), the reluctant leader of the rebellion known as the Mockingjay by the president of the rebellion, Alma Coin (Julianne Moore) and her advisor, Plutarch Heavensbee (Philip Seymour Hoffman), must bring together an army against President Snow (Donald Sutherland), while all she holds dear hangs in the balance.
However, to get to Snow, Katniss must get to District 2 in order to convince those in that district that all must band together to be free of Snow and his cohorts. With this move, Katniss recruits the best to help her: Gale Hawthorne (Liam Hemsworth), Haymitch Abernathy (Woody Harrelson), Finnick Odair (Sam Clafin), Boggs (Mahershala Ali) and even Peeta Mellark (Josh Hutcherson). As they get closer to the Capitol to kill Snow, they end up getting more than they bargained for.
Others to round out the cast are Willow Shields as Primrose Everdeen, Katniss' younger sister, Elizabeth Banks as Effie Trinket, Jena Malone as Johanna Mason, Jeffrey Wright as Beetee, Stanley Tucci as Caesar Flickerman, Evan Ross as Mesalla, Elden Henson as Pollux and Wes Chatham as Castor.
This was effortlessly directed by Francis Lawrence ("Constantine" '05, "I Am Legend" '07, "Water for Elephants" '11, "Gotham" (TV movie) '12, "The Hunger Games: Catching Fire" '13, "The Hunger Games: Mockingjay- Part 1" '14). Since the same director directed both Part 1 and 2, it's almost like watching the same film. All actors found their places in character as they did in Part 1, so this couldn't have been a stretch for either director or actors. It was written by Peter Craig and Danny Strong who also wrote Part 1 which, again, made each installment quite similar. Of course, this basically being a continuation of Part 1, the similarity is more forgiving. The franchise has certainly evolved from being about kids from different districts being forced in situations where it's kill or be killed, to becoming part of a rebellion to fight the very one that put them in the Hunger Games scenario. I have to say that this is not the first time we've seen films about a 'resistance' fighting 'big brother' basically--this is just with a slightly different backdrop. Remember the "Divergent" series? Sound familiar? I think you get the picture. The writing wasn't terrible--it was well scripted, just not original in the concept involved here. This being the last of the series, it's nicely tied up with a Hollywood bow, so all can walk out of the multiplex feeling resolved.
If you're into franchises and serial films, then you'll be in filmdom heaven, however if one is looking for substance instead of seasoned actors yawning their way through their roles that they've done for the fourth time since the franchise's inception, then this may be something you may want to avoid.
Out of 4 Stars: 2.5 Rated: PG-13 137mins.
"What Lies Beneath", "Fatal Attraction", "Gone Girl", "Primal Fear". Other than these films were all very intense, what else did they have in common? They all had endings that you just didn't see coming, and in spades! These type of films can be good, but also can appear to be bad. Sometimes it's nice to have plots spelled out for us so we aren't forced to think much, however I believe these formatted films are boring and uninteresting, if for no other reason than that of the element of lack of surprise. Well, if you are looking for the shocker impact, look no more, for it now comes in the package of "Secret in Their Eyes".
A tight-knit team of rising investigators-- Ray (Chiwetel Ejiofor) and Jess (Julia Roberts), along with supervisor Claire (Nicole Kidman) is suddenly torn apart when they discover that Jess's teenage daughter, Carolyn (Zoe Graham) has been brutally and inexplicably murdered. Now, thirteen years later, after obsessively searching every day for the elusive killer, Ray finally uncovers a new lead that he's certain can permanently resolve the case, nail the vicious murderer, and bring long-desired closure to his team. No one is prepared, however, for the shocking, unspeakable secret that will reveal the enduring, destructive effects of personal vengeance on the human soul.
This was intensely well directed by Billy Ray ("Shattered Glass" '03, "Breach" '07), in that this filmmaker has an incredible ability to force his characters to walk on eggs to bring home that intense, walking-the-tightrope feel to his projects, He hasn't directed a lot, but what he has done is has carefully chosen so as showcase these developed characters to the max. It was also extremely well written by Ray ("Volcano" '97, "Hart's War" '02, "Shattered Glass" '03, "Flightplan" '05, "Breach" '07, "The Hunger Games" '12, "Captain Phillips" '13) plus others. This film was based on the film, "El secreto de sus ojos" by Juan Jose Campanella and Eduardo Sacheri. Where Ray actually excels is writing screenplays, and as one can see by his resume, he is quite the veteran. Other than a couple of small places of slowness, this storyline will have you riveted. The film works off the format of going from the year, 2002, when Jess's daughter was killed to 13 years later when, after exhaustive research, Ray wants to reopen the case. Then the script goes back again, and this could easily be convoluted by any seasoned, well-honed writer, but Billy Ray took this and ran with it to give us a story that will have you biting your nails. And what can I say about Julia Roberts. This has got to be the best performance by her since "Erin Brockovich" 2000. She didn't just play a grieving mother-- the nuances she conveyed in her character were extremely life-like and realistic. She might be considered come Oscar time as could Ray for writing.
I actually love films where I don't see the twists and turns, which this has several, because the surprise element is like the cherry on top of the sundae. However, if you want everything stamped out for you, then this is probably a film that won't suit you. But hey, give it a try-- these types of films can jolt one in a way that you'll leave the multiplex remembering this for a while later.
Out of 4 Stars: 3.5 Rated: PG-13 111mins.
We've seen many films in which they center the film around wrongs being made right. The list is endless: "The Color Purple", "The Ghosts of Mississippi", "A Time to Kill", "To Kill a Mockingbird", "The Butler", "Selma", "12 Years a Slave", plus many others too numerous to name. In a time of so much racial tension, which is a problem, there are certainly other stories that showcase suppression in our history and one story is in the form of "Suffragette".
London 1912. This drama tracks the story of the foot soldiers of the early feminist movement, women who were forced underground to pursue a dangerous game of cat and mouse with an increasingly brutal State. These women, including Maud Watts (Carey Mulligan), Edith Ellyn (Helena Bonham Carter), Emily Davison (Natalie Press) and Violet Miller (Anne-Marie Duff), were not primarily from the genteel educated classes, they were working women who had seen peaceful protest achieve nothing. Radicalized and turning to violence as the only route to change, they were willing to lose everything in their fight for equality-- their right to vote, their jobs, their homes, their children and their lives. Maud was one such foot soldier. The story of her fight for dignity is as gripping and visceral as any thriller, it is also heart-breaking and inspirational. This story based on true events also begins after a four decades fight for their rights with nothing at this point to show for it.
Others to round out the cast are Ben Whishaw as Sonny Watts, Maud's husband, Meryl Streep as Emmeline Pankhurst, the leader of this movement, Romola Garai as Alice Haughton, Brendan Gleeson as Inspector Arthur Steed, Morgan Watkins as Detective Malcolm Walsop, Finbar Lynch as Hugh Ellyn, Edith's husband, Geoff Bell as Norman Taylor and Adam Michael Todd as George Watts, Maud and Sonny's son.
This was incredibly and painstakingly well directed by Sarah Gavron ("This Little Life" (TV movie) '03, "Brick Lane" '07, "Village at the End of the World" (Documentary) '12) plus others. For a director who doesn't have as much experience as this film shows, she is phenomenal. These actors exuded just the right amount of emotion at the exact time that was needed, and sure, these are proven actors, however this clearly showcases the talent of the one directing them. This was equally well written by the incomparable Abi Morgan ("Brick Lane" '07, "Royal Wedding" (TV movie) '10, "Shame" '11, "The Iron Lady" '11, "The Invisible Woman" '13). Truly this writer hasn't got a huge amount of experience, but the experience that's presented is without question some of the finest screenplays in recent filmdom. "The Iron Lady" with Meryl Streep was phenomenal! This writer has to be in great demand in Hollywood today and will, undoubtedly be nominated come Oscar time.
What can I say, the writing, directing and acting was simply amazing, as was the production values. This film obviously has a lot to say, and with this, is a film all should see and experience. We take so much for granted today, and think we have it so hard. Watch this and then turn to an older woman and hug her and say thank-you for what your generation sacrificed for our freedoms.
Out of 4 Stars: 4 Rated: PG-13 106mins.
Ever since the disaster film craze back in the 70's about subjects based on fiction or fact, audiences, as well as Hollywood has had a fascination with genre. Whether it be "Airport" based on Arthur Hailey's novel, or "The Poseidon Adventure", "The Hindenburg", "Earthquake", the recent, "San Andreas", even "Everest", we are constantly rooting for all to reach safety. So, when "The 33" came along, the obvious choice was to go and see how these miners made it through that horrendous ordeal.
Based on the real-life event in August 2010, the eyes of the world were eventually turned to Chile, where 33 miners had been buried alive by a catastrophic explosion and collapse of a 100-year-old gold and copper mine being confined in the mine for 69 days.
It was like any other day, and all of a sudden, the mine collapsed encapsulating miners, Mario Sepuveda (Antonio Banderas), Don Lucho (Lou Diamond Phillips), Alex Vega (Mario Casas), Edison Pena (Jacob Vargas), Dario Segovia (Juan Pablo Raba), and others. Only after a huge uproar from the families outside the mine including Maria Segovia (Juliette Binoche), Dario's sister, did the authorities, including the minister of mines, Laurence Golborne (Rodrigo Santoro) actually decide to seriously respond. This is the heroic story of how all pitched in, (inside and outside the mine), which makes this all the more inspirational.
Others to round out the cast are James Brolin as Jeff Hart, Oscar Nunez as Yonni Barrios, Tenoch Huerta as Carlos Mamani, Marco Trevino as Jose Henriquez, Elisabeth De Razzo as Susana Sepulveda, Mario's wife, Bob Gunton as President Pinera and Gabriel Byrne as Andre Sougarret, the leading engineer.
Interestingly, this was directed by someone who usually doesn't direct this particular intense genre, but helmed it with pathos and passion, something missing in certain films today. This director, Patricia Riggen ("Under the Same Moon" '07, "Lemonade Mouth" (TV movie) '11, "Girl in Progress" '12) is certainly a filmmaker to contend with and will undoubtedly receive more work. This story was equally retold by writers Mikko Alanne, Craig Borten and Michael Thomas based on the screen story by Jose Rivera, which is based on the book "Deep Down Dark" by Hector Tobar. Even with a fair number of writers on this production, the storyline flowed amazingly well. Other than a couple of very small areas of choppiness, this script was cohesive and easy to follow. The subject matter made perfect fodder for any seasoned writer, because there was so much drama involved in this story to be able to interweave an interesting storyline in order to capture any audience out there.
If you're a person that really gets into seeing how people get out of an amazing and dangerous situation, as most people do, then this film will make you get up and cheer for these guys. And that is just what we need to give us, the audience, that proverbial shot in the arm.
Out of 4 Stars: 3.5 Rated: PG-13 128mins.
After reviewing the last two heavy-laden message films, I felt the need to go see a totally comedic and fluffy film in which to escape into and sit back and relax. Hey, even we critics need to have it easy ever so often. So I felt that "Love the Coopers" would be that vehicle to get in to, considering it's about family dysfunction at its finest.
When four generations of the Coopers clan come together for their annual Christmas Eve celebration, a series of unexpected visitors and unlikely events turn the night upside down, leading them all toward a surprising rediscovery of family bonds and the spirit of the holiday.
First, there is Sam and Charlotte Cooper (John Goodman and Diane Keaton), married for 40 years who, at this time in their life, hardly know one another. Next, their son, Hank (Ed Helms), who is trying entirely too hard to land a job right before Christmas so his family will think better of him, falls flat on his face. Next, the dad of Charlotte, Bucky's (Alan Arkin), one enjoyment is going to the same coffee shop and having his server, Ruby (Amanda Seyfried) waiting on him so he can enjoy her company to stave off his loneliness. Then there is Emma (Marisa Tomei) who has constantly been in competition her older sister, Charlotte, and continues to be this way. Then there's Eleanor (Olivia Wilde), who feels as the outsider daughter of the aforementioned parents, who inadvertently asks a total stranger, Joe (Luke Lacy) at the airport to pose as her boyfriend, so she doesn't have to face her mom, Charlotte. Then there's Sam's Aunt Fishy (June Squibb) who comes to the house from her nursing home dementia and all. And the kids involved have their own separate issues. All of this makes for quite the mixed bag indeed.
Others to round out the cast are Anthony Mackie as Officer Williams, Alex Borstein as Angie, Hank's ex-wife, Maxwell Simkins as Bo, Timothee Chalamet as Charlie, Blake Baumgartner as Madison and Lev Pakman as Schnozzle.
This was effectively directed by Jessie Nelson ("Corrina, Corrina" '94, "I Am Sam" '01), and considering most of his creativity is writing and his times as director have been few a far between, it's amazing that the pacing and staging of this production was as clean as it was. Where this film basically takes a dive is with the writer, Steven Rogers ("Hope Floats" '98, "Stepmom" '98, "Earthly Possessions" (TV movie) '99, "Kate & Leopold" '01, "P.S. I Love You" '07). First of all, this vehicle isn't the typical fare this writer has executed before, and secondly, this plot is formulaic and contrived--basically has been done a ton of times before. When we've seen films like, "National Lampoon's Christmas Vacation" '83, "The Santa Clause" '94, "Home for the Holidays" '95, "Jingle All the Way" '96, "Christmas With the Kranks" '04, "The Family Stone" '05, "Fred Claus" '07 and the like, so many of these films have similar premises. These films, although once were funny, in time and being repeated, are a chore to laugh at. Even if there's dysfunction involved, as there is in this film, it could be written in a way that is fresher and cleaner to get your audience on the writer's side. Don't get me wrong, there were places of funny lines and situations--Jane Squibb as demented Aunt Fishy was simply a hoot, however, when it's all said and done, this script definitely need to be more cohesive and fresher.
If one is looking for something fluffy, easy to follow with a good ensemble cast, look no farther, "Love the Coopers" will certainly fit this bill. The question is: what possibly could Hollywood come up with next year? I cringe with wonderment.
Out of 4 Stars: 2 Rated: PG-13 108mins.
We've seen many message-orientated films in our past for reasons of teaching us something, depending on the subject matter, so we can take that information and either think about it or actually do something with it. Films are typically created to entertain us, but at times Hollywood has got to talk to us and their list screams this: "Silkwood", "Norma Rae", "Philadelphia", "Contagion", even the recent "Truth". Well, now in the offing, Hollywood is talking to us once again in the form of "Spotlight".
This film tells the riveting true story of the Pulitzer Prize-winning Boston Globe investigation, in 2001, that would rock the city and cause a crisis in one of the world's oldest and most trusted institutions. When the new managing editor, Marty Baron (Liev Schreiber) enlists the newspaper's tenacious "Spotlight" team of reporters including editor, Walter "Robby" Robinson (Michael Keaton), editor, Ben Bradlee Jr. (John Slattery), Mike Rezendes (Mark Ruffalo) and Sacha Pfeifer (Rachel McAdams), to delve into allegations of sexual abuse in the Catholic Church, their year-long investigation uncovers a decades-long cover-up at the highest levels of Boston's religious, legal, and government establishment, touching off a wave of revelations around the world. This is a tense investigative dramatic-thriller, tracing the steps to one of the biggest cover-ups in modern times.
Others to round out the cast are Brian d'Arcy James as Matt Carroll, Stanley Tucci as Mitchell Garabedian, Elena Wohl as Barbara, Billy Crudup as Eric Macleish, Jamey Sheridan as Jim Sullivan, Neal Huff as Phil Saviano, Duane Murray as Hansi Kalkofen, Michael Cyril Creighton as Joe Crowley, Len Cariou as Cardinal Law, Brian Chamberlain as Paul Burke, Paul Guilfoyle as Pete Conley and Doug Murray as Peter Canellos.
This was superbly directed by Tom McCarthy ("The Station Agent" '03, "The Visitor" '07, "Win Win" '11, "The Cobbler" '14). The best thing I can say for this filmmaker is that he tends to stick with independence films which I certainly can appreciate and respect. This, in my book, in the mark of a true artist since he obviously looks for projects he believes in, instead of going after the big commercial film for the money. The way he opted to develop his character personas was amazing, however when one has the ensemble cast as this has, makes it much easier to get his actors in character. It was equally well written by Josh Singer and McCarthy. McCarthy is the seasoned writer here, so by using Singer to help him, even though Singer has only two films to his credit, it is surprising this came out as well delineated as it was. The subject matter must have lent to being able to pull off this script, since most controversial subject matter is great fodder for an awesome storyline. There were a couple of slow places, albeit small, but slow, but is this is all I could find questionable this film succeeds on many levels.
This is a disturbing, intense film, so to see this for any other reason than to enjoy the acting, directing and writing, one would be hard-pressed. This could possibly be considered when Oscar season comes along, but until that time, this is a worthy watch.
Out of 4 Stars: 3.5 Rated: R 128mins.
Most often films are created to entertain us so we can escape into another place, time and situation in which we can just zone out, however there are times in which filmmakers and/or actors want to give us a message--something to learn and hopefully will produce a different way of thinking. We've seen many: "All the President's Men", "JFK", "John Q", "12 Years a Slave", "The Help", "To Kill a Mockingbird", "Judgment at Nuremberg" "Schindler's List", to mention a handful. Well, "Truth" can be added to that exclusive list as to teach us once again.
This is the true story of The Killian Documents controversy (a.k.a. "Rathergate") in the days leading up to the 2004 presidential election. When veteran newscaster Dan Rather (Robert Redford) and CBS News head Mary Mapes (Cate Blanchett) choose to air a segment on 60 Minutes exposing how then president George W. Bush avoided being drafted in the Vietnam War through his father's political advantages, the resulting fallout ultimately costs them their jobs and reputations.
Mapes gets a tip from a new source, Lt. Col. Bill Burkett (Stacy Keach) who claims to possess these explosive documents proving, in fact, that Bush did receive preferential treatment in the National Guard to avoid service in Vietnam. With help from Mapes' team including Mike Smith (Topher Grace), Lt. Col. Roger Charles (Dennis Quaid), and Lucy Scott (Elisabeth Moss), they dig up the documents and other evidence and when presented to the American people, a whirlwind of controversy about their veracity pits all in a battle for their respective journalistic lives.
Others to round out the cast are Bruce Greenwood as Andrew Heywood, the then president of CBS News, John Benjamin Hickey as Mark Wrolstad, David Lyons as Josh Howard, Dermot Mulroney as Lawrence Lanpher, Rachael Blake as Betsy West, producer of CBS News, Andrew McFarlane as Dick Hibey, Natalie Saleeba as Mary Murphy, Noni Hazlehurst as Nicki Burkett, Bill's wife, Connor Burke as Robert Mapes, Mary's husband and Philip Quast as Ben Barnes.
This was surprisingly well directed by James Vanderbilt in that this is his directorial debut. He had to rely on his consummate actors, specifically Blanchett, Redford and Quaid in order to pull this off as well as he did. Of course, he could be a natural, but filmmaker's with this limited experience truly would reach out for assistance if they know what's good for them. He will go far. This was written well by Vanderbilt ("Darkness Falls" '03, "Basic" '03, "The Rundown" '03, "Zodiac" '07, "The Losers" '10, "The Amazing Sider-Man" '12, "White House Down" '13, "The Amazing Spider-Man 2" (screen story) '14). Part of the reason of his directing ability certainly could be of his writing ability, because one is already in the heads of the characters involved to realize what these actors need to do, so being an effective writer, in this situation certainly, became an asset. He knows a thing or two about what goes into a thriller, this being one, just by looking at his resume, so the final script was certainly polished enough to keep you on that proverbial seat. This is definitely a message film, replete with all the politics involved. Whether you're conservative or liberal, it is extremely easy to feel squirmy while watching this, because it brings out, healthily, pitfalls of both sides of the aisle.
Forewarned is fore-armed. This is not a film that just anyone can witness considering the 'politics' involved. This had me muttering under my breath in more than one scene, because as much as we want to avoid politics, the more we have a propensity to get caught in them. You be the judge.
Out of 4 Stars: 3.5 Rated: R 125mins.
"Bond, James Bond". This infamous line has been in all the Bond films since they've graced the silver screen back in 1962, and it works today just as effectively as it did back then. Ever since the Bond franchise went through a major overhaul back when "Casino Royale" was released, the audience draw has been better than ever. So, after we saw Judi Dench's character of M getting killed off in the last installment, there just had to be another film to follow, and they did with "Spectre".
A cryptic message from the past sends James Bond (Daniel Craig) on a rouge mission to Mexico City and eventually Rome, where he meets Lucia (Monica Bellucci), the beautiful and forbidden widow of an infamous criminal. Bond infiltrates a secret meeting and uncovers the existence of the sinister organization known as SPECTRE headed by Blofeld (Christoph Waltz). Meanwhile back in London, Max Denbigh or C (Andrew Scott), the new head of the Centre of National Security, questions Bond's actions and challenges the relevance of MI6 led by M (Ralph Fiennes). Bond covertly enlists Moneypenny (Naomie Harris) and Q (Ben Whishaw) to help him seek out Madeleine Swann (Lea Seydoux), the daughter of his old nemesis, Mr. White (Jesper Christensen), who may hold the clue to untangling the web of SPECTRE. As the daughter of an assassin, she understands Bond in a way most others cannot. As Bond ventures toward the heart of SPECTRE, he learns a chilling connection between himself and the enemy he seeks.
Others to round out the cast are Dave Bautista as Hinx, Rory Kinnear as Tanner, Alessandro Cremona as Marco Sciarra and Stephanie Sigman as Estrella.
This was directed by the incomparable Sam Mendes ("American Beauty" '99, "Road to Perdition" '02, "Jarhead" '05, "Revolutionary Road" '08, "Away We Go" '09, "Skyfall" '12). Although this was effectively directed with ease by Mendes, considering his resume, this and "Skyfall" had to be a walk in the park for this guy. Some of his other films were directed so well that the characters appeared as they were regular people that we were 'spying' on as they were living their lives, so this had to be a 'no brainer' for him. It was solidly written by John Logan, Neal Purvis, Robert Wade and Jez Butterworth based on a story by Logan, Purvis and Wade which is based on characters created by Ian Fleming. Considering this was written by four, count them, four writers, it was written far better than I ever dreamed. Usually, as a rule of thumb, if there is more than two writers, the script gets so bogged down, because of the 'too many hands in the pot' mentality, that the film suffers badly. This, other than a couple of slow places, actually kept one's attention. It starts out with great momentum, than soon it wanes a bit, then before you know, starts picking up again and then soars. Christoph Waltz is a hoot as the baddie as he is in most of his films.
For all you Bond fans out there, not to worry--there will be another Bond flick coming our way in the foreseeable future. Even if one is not hip on the plot, the visual effects predominantly designed by MPC (Moving Picture Company) were seamless as were the stunts. It's a great popcorn film in which to escape into and just have fun.
Out of 4 Stars: 3 Rated: PG-13 148mins.
As I've mentioned before, comedy is my favorite genre, because it's a way to be able to totally escape into different situations where they, a lot of times, are incredibly over-the-top so one can simply enjoy. However, within the past decade, or more, comedies have not been very funny, if funny at all. So whereas I always looked forward to the next comedy, I now have anxiety when a comedy is released wondering if its going to be a total wasteland or not. One very funny film I, with great trepidation, went to see was "Daddy's Home", and it seriously surprised me.
