Inspirational films come in all sorts of avenues, whether it be about people, a certain belief, circumstances beyond anyone's control and it can center around animals. We have seen a plethora of films where an animal is something we can learn a thing or two about: "Lassie", "Flipper", "A Dolphin Tale", even the animated, "The Nut Job". Well, now we have a film centered on a dog named "Max".
When Kyle Wincott (Robbie Amell) is killed in the war in Afghanistan, his war dog, Max, suffers from PTSD (Post Traumatic Stress Disorder), just as much as his soldier counterpart. Because of Max's aggression, he is slated to be put down, for he won't listen to anyone else, until he meets Justin (Josh Wiggins), Kyle's younger brother, who happens to be in his own little world and doesn't want to deal with anyone else's issues but his own. The Wincott family, Ray (Thomas Haden Church), Pam (Lauren Graham) and son Justin decide to adopt Max so as to save him from an imminent death. Justin reluctantly attempts to train Max and believes he's a total wash until he meets Carmen (Mia Xitlali) who knows dogs well and shows Justin some tricks in how to harness Max's aggression. Everything seems to be going well until Tyler Harne (Luke Kleintank), Kyle's buddy in the war comes home. His presence appears to disturb Max thus perks Justin's ears as to why.
Others to round out the cast are Dejon LaQuake as Chuy, a buddy of Justin's, Jay Hernandez as Sergeant Reyes, Joseph Julian Soria as Emilio, Chuy's older brother, Owen Harn as Deputy Stack and Edgar Arreola as Cartel Leader.
As with other inspirational films, the best thing about this is how writers, Boaz Yakin and Sheldon Lettich were able to convey to their audience the importance of how much Justin needed Max and visa versa, however for much different reasons. Max is left without his handler/friend, Kyle and is now lost whereas Justin is as lost as he is in his own world and won't let anyone in out of fear, so he's become very self absorbed. These are both seasoned writers and were solid in conveying this connection well. This was solidly directed by Yakin ("Fresh" '94, "A Price Above Rubies" '98, "Remember the Titans" 2000, "Uptown Girls" '03, "Death in Love" '08, "Safe" '12). This guy is no novice when it comes to showing just the emotional impact he needs to move his audiences, this being no exception. Of course, having the film center around a dog is genius, considering most people are suckers when it comes to the connection between the owner and his dog, hence the 'man's best friend' concept. This becomes not only a rites of passage for Justin, but for Max as well, and how their trust for each other blossoms as their needs are met depending on the situation at hand.
Sure, there's a couple of slow places, a bit of choppiness, but all in all, this film is solid, both in its script and its storyline. Even though it does get a little sappy, one can be forgiving sense so much of the time we can empathize with these characters in this family action adventure.
Out of 4 Stars: 3 Rated: PG 111mins.
The big difference in other crude, rude comedy films with 4-letter words, toilet humor, drug use and sexual innuendo and with "Ted 2" is that even though "Ted 2" embraces all the above ingredients as with the other films of this type, the aforementioned film is much better written than the other so-called comedies which are totally inane.
Ted (voice of Seth MacFarlane) ties the knot with Tami-Lynn (Jessica Barth), and recruits his best friend John Bennett (Mark Wahlberg) as a sperm donor in order to start a family in this sequel to the comedy hit about a teddy bear that comes to life. Later, when the Commonwealth of Massachusetts demands that Ted appear before a judge to prove he's a real person, the frisky bear and his pal vow to fight for their civil rights by hiring new attorney, Samantha Jackson (Amanda Seyfried) to accomplish this task. The state seems to have the problem of a human and one that isn't human (being Ted) to be married, so it is up to Ted, John and Samantha to prove otherwise.
Others to round out the cast are Giovanni Ribisi as Donny, Morgan Freeman as Patrick Meighan, Sam J. Jones as Sam Jones, Patrick Warburton as Guy, Michael Dorn as Rick, John Slattery as Shep Wild, John Carroll Lynch as Tom Jessup, Ron Canada as Judge, Cocoa Brown as Joy, Liam Neeson as Customer and Tom Brady as Himself.
As with the original "Ted" '12, this, too is crude, rude and vulgar which is actually the 'meat and potatoes' of this premise. It is the quintessential guy flick with all the sexual innuendo, 4-letter words, drug use (in a funny way of course), and vulgarity in how we treat each other. It was directed by Seth MacFarlane ("Ted" '12, "A Million Ways to Die in the West" '14) plus lots of TV. "Ted" made a truck load of money, so Hollywood had to jump on that cha-ching gravy train that they do oh so many times with so many films. This is no new news. It was written by MacFarlane, Alec Sulkin and Wellesley Wild. This being similar with the original, it should be no surprise since they both were written by the same three guys. There is a subplot in this with Giovanni Ribisi and John Carroll Lynch plot to steal Ted that does have a tough time connecting with the actual plotline, so a continuity problem ensued here. Original films are typically fresher, if for no other reason than of its original approach, so this really didn't click as well as its predecessor.
Certainly if you liked "Ted", you'll like this next installment. But even though one might like this franchise and might not care for this installment, don't worry, because who knows, maybe "Ted 3" might just resurrect this franchise.
Out of 4 Stars: 2.5 Rated: R 115mins.
We've all seen re-released films throughout film history, and even though some should have never been re-released, a handful come to mind that remind us that film history is so important so as to realize where we've come from: "The Wizard of Oz", "2001: A Space Odyssey", "Ghostbusters". So why not bring us TCM's, "Jaws- 40th Anniversary" to the big screen for us to revel in?
It's a hot summer on Amity Island, a small community whose main business is its beaches. When new Police Chief Martin Brody (Roy Scheider) discovers the remains of a shark attack victim, his first inclination is to close the beaches to swimmers. This doesn't sit well with Mayor Larry Vaughn (Murray Hamilton) and several of the local businessmen, this being the 4th of July coming up soon. Brody decides to back down only to regret his decision by next weekend considering that a young boy is killed by the predator. The dead boy's mother, Mrs. Kintner (Lee Fierro) puts out a bounty on the shark and Amity is soon swamped with amateur hunters and fishermen hoping to cash in on the reward. A crusty local fisherman with much experience hunting sharks, Quint (Robert Shaw) offers to hunt down the creature for a hefty fee and soon Quint, Brody and Matt Hooper (Richard Dreyfuss) from the Oceanographic Institute are at sea hunting the Great White shark. When Brody finally comes face to face with the shark, he succinctly surmises after that first encounter, by that famous line, "We're gonna need a bigger boat".
Others to round out the cast are Lorraine Gary as Helen Brody, Chief Brody's wife, Carl Gottlieb as Meadows, Jeffrey C. Kramer as Hendricks, Susan Blacklinie as Chrissie, Jonathan Filley as Cassidy, Chris Rebello as Michael Brody and Jay Mello as Sean Brody as Chief Brody and Helen children, Jeffrey Voorhees as Alex Kintner, Craig Kingsbury as Ben Gardner and Robert Nevin as Medical Examiner.
This was directed by the incomparable Steven Spielberg ("Duel" (TV movie) '71, "The Sugarland Express" '74, "Close Encounters of the Third Kind" '77, "1941" '79. "Raiders of the Lost Ark" '81, "E.T. the Extra Terrestrial" '82, "The Color Purple" '85, "Jurassic Park" '93, "Schindler's List" '93, "Amistad" '97, "Saving Private Ryan" '98, "Minority Report" '02, "The Terminal" '04, "Munich" '05, "The Adventures of Tintin" '11, "War Horse" '11, "Lincoln" '12) plus many others. This film actually catapulted Spielberg into the light as the next creative director at the age of only 27. The way he worked with cinematographer, Bill Butler in making this look as though it's coming from the shark's perspective in a very claustrophobic way was brilliant. This was cutting-edge filmmaking that isn't even used today. The haunting music by the amazing John Williams was incredibly simplistic and chilling. In fact when Williams brought Spielberg the music he wrote to show him, Spielberg just chuckled and asked him what the real music was. Today, Spielberg could not imagine how "Jaws" could have been the film it was without that score. I sought to see this again which was tough considering that it's not playing widespread, because the last time I saw this was 40 years ago in the theater when it was released on June 20, 1975. It was written by Peter Benchley and Carl Gottlieb based on Benchley's novel. It was written is succinct order and using novelist Benchley as one of the screenwriters was strategic in that it followed the novel better than most films based on novels today. This film is a timeless film and that makes it fit in for any generation.
Trust me, if you can find this gem in a theater near you, you gotta see this on the large screen, especially if you've never seen it on the big screen. It's a film you will not soon forget. and you'll then know why and how this young 27-year-old director is the filmmaker he's become today.
Out of 4 Stars: 4 Rated: PG 124mins.
Hollywood has a vast history of producing rites of passage films, and more pointedly, comedic ones at that. What with the likes of "E.T: The Extra Terrestrial", "Stand by Me", "The Goonies", "Home Alone", "Lars and the Real Girl, "Juno", the upcoming "Paper Towns", etc., the list goes on and on. So when I saw the trailer of "Me and Earl and the Dying Girl", I just knew it would be a great vehicle for yet more young people going through a rites of passage situation.
Seventeen-year-old Greg (Thomas Mann) has managed to become part of every social group at his Pittsburgh high school, of course superficially, without having any friends except his one friend/co-worker, Earl (RJ Cyler) whom he's known since they were young kids. But his life changes when Greg's mother (Connie Britton) forces him to befriend Rachel (Olivia Cooke), a girl he had an acquaintance with in Hebrew school who now has contracted leukemia. He reluctantly decides to visit this girl or his mom will nag him mercilessly. As he gets to know her more, he surprisingly finds her witty, and genuinely real as opposed to most people in his life he has and does routinely encounter. So, which one needs the help--the girl with a life-threatening disease or the guy who's self-deprecating, modest to a fault, exuding a lack a confidence that would make a raving optimist turn sour?
Others to round out the cast are Nick Offerman as Greg's Dad, Molly Shannon as Denise, Rachel's Mom, Jon Bernthal as Mr. McCarthy, Greg and Earl's teacher, Katherine C. Hughes as Madison, Matt Bennett as Scott Mayhew, Masam Holden as Ill Phil, Bobb'e Thompson as Derrick, Gavin Dietz as Young Greg and Edward DeBruce III as Young Earl.
This was quirkily directed by Alfonso Gomez-Rejon ("The Town That Dreaded Sundown" '14) plus TV. Considering this guy's primary experience is that of TV, this was directed with razor-sharp, very subtle wit and a presence from his actors that was both compelling and real as these two, specifically were finding their way in coming to know one another. It was written by Jesse Andrews based on his novel. Usually I find that most films written by its novelist are far too long and ends up getting bogged down it too much development than the premise warrants, but with the exception of the fact that there are a couple of slow spots in script, this was written with conciseness and presented in an extremely powder dry sense of humor--so dry that some of the lines might come across as serious, even though this was part drama, hence the dryness. The chemistry between Mann and Cooke was refreshing and they did connect very well. The drollness of Mann's character, Greg was depressing, but he certainly has his moments of hilarity. Teenage angst, you gotta love it.
As rites of passage films go, this rocked! And the teen angst between these two, although were very different, still had the similarities that makes teens stick together through thick or thin. Hey, after all, teenagers are teenagers no matter what they are going through.
Out of 4 Stars: 3 Rated: PG-13 105mins.
Pixar Animation Studios ceases to amaze me with the quality of their work. Their ability to take the simplest of premises and expound on them into creative, insightful works of art is mind-blowing. "Toy Story", "Cars", Monsters, Inc.", "Finding Nemo", "Up", "Wall-E", "Brave" all delineate simple life concepts that we all, young or old at heart can learn from all the while being truly entertained. Well, we can now add "Inside Out" to that ever flowing list of gems under the Pixar umbrella.
Growing up can be a bumpy road, and it's no exception for Riley (Kaitlyn Dias), who is uprooted from her Midwest life when her father (Kyle MacLachlan) starts a new job in San Francisco. Like all of us, Riley is guided by her emotions-- Joy (Amy Poehler), Fear (Bill Hader), Anger (Lewis Black), Disgust (Mindy Kaling) and Sadness (Phyllis Smith). The emotions live in Headquarters, the control center inside Riley's mind, where they help advise her through everyday life. As Riley and her emotions struggle to adjust to a new life in San Francisco, turmoil ensues in Headquarters. Although Joy, Riley's main and most important emotion, tries to keep things positive, the emotions conflict on how best to navigate a new city, a new house and a new school.
Others to round out the cast are Diane Lane as Kiley's mother, Richard Kind as Bing Bong, Kiley's past imaginary friend, Paula Poundstone as Forgetter Paula, Bobby Moynihan as Forgetter Bobby, Paula Pell as Dream Director/Mom's Anger, David Goetz as Subconscious Guard Frank, Frank Oz as Subconscious Guard Dave and Josh Cooley as Jangles the Clown.
This was brilliantly paced and staged well by director, Pete Docter ("Monster's Inc." '01,"Up" '09) plus shorts. This guy has been with Pixar and has learned his craft well by his predecessors. The company definitely knows the meaning of the word, team. They all work together in such harmony that these films give the appearance that it was effortless in putting these gems together--and it was not easy at all. It was co-directed by Ronnie del Carmen. This was equally well written by Meg LeFauve, Josh Cooley and Docter based on a story by Docter and del Carmen. This premise and execution of it was pure genius! Think about it--giving the different emotions in your head distinct personalities in order to work together to help this young girl deal with her everyday concerns. the character development was so well delineated and as with Pixar's past films, this too has a great message all the while entertaining you. You see, the emotions we have are all to be used for the good theoretically. One isn't better than the other, and if used properly, each emotion has its place to getting us to make the most prudent, important decisions we need to make in life. And, of course, the animation in this was seamless as with all the other Pixar productions.
As I've said before, how do these guys at Pixar do it?! How do they keep coming up with these simple ideas and turning them around where they are so creative and entertaining? Oh, and not to worry, if you want more of Pixar fun, "The Good Dinosaur" will be out for a Thanksgiving release. Whoo Hoo!!
Out of 4 Stars: 4 Rated: PG 95mins. +8mins "Lava"
When "Pitch Perfect" was released in 2012, I decided not to view it, because my assumption was that it would not be worth the sit. This is why I waited to see "Pitch Perfect 2"--I figured it wouldn't be that good, because this is one of those times I wish I was wrong. Suffice it to say, this should have been a film to miss as well.
The Bellas are back, and they are better than ever. After being humiliated in front of none other than the President of the United States of America, the Bellas are taken out of the Aca-Circuit by event commentators, John (John Michael Higgins) and Gail (Elizabeth Banks). In order to clear their name and regain their status, the Bellas including Beca (Anna Kendrick), Fat Amy (Rebel Wilson), Chloe (Brittany Snow), newcomer Emily (Hailee Steinfeld) and others, take on a seemingly impossible task: winning an International competition no American team has ever won. In order to accomplish this monumental task, they need to strengthen the bonds of friendship and sisterhood, and blow away the competition, specifically Kommissar (Birgitte Hjort Sorensen) and Pieter Kramer (Flula Borg), with their amazing aca-magic. With all new friends and old rivals tagging along for the trip, the Bellas can hopefully accomplish their dreams once again.
Others to round out the cast are Skylar Astin as Jesse, Adam DeVine as Bumper, Katey Sagal as Katherine, Anna Camp as Aubrey, Ben Platt as Benji, Keegan Michael Key as Beca's boss, Shawn Carter Peterson as Dax, David Cross as Riff-Off Host, Alexis Knapp as Stacie, Hana Mae Lee as Lilly, Ester Dean as Cynthia Rose, Chrissie Fit as Flo and Snoop Dogg as Himself.
This was directed by Elizabeth Banks ("Movie 43" (segment "Middleschool Date") plus a couple of shorts and a ton of acting. Where do a lot of actors get the idea that since they are actors, then they can direct? As Banks is an accomplished actor, the staging and pacing in this was stiff and jerky. And seeing as there were a ton of musical numbers, staging and pacing is vital. Now for the real culprit: the writing. This was written by Kay Cannon ("Pitch Perfect" '12 plus TV, based on the book by Mickey Rapkin. Watching this was tough, because it looks like there were some lines to fill in between where the musical numbers were played out. First of all, these different Cappella groups were supposed to sing in an acapella style, hence them being called Cappella groups, however every time they sang, there was clearly instruments or synthesizers involved. Secondly, the subplot with Beca's boss was difficult to keep track of how that was connecting with the main plot. It was convoluded and disjointed.The numbers and even the singing was well executed, but this alone does not a movie make. Dialogue wise, the scenes between commentators John and Gail were humorous most of the time, and I was begging to see more of them. But don't worry, for those of you that liked this, "Pitch Perfect 3" has already been announced. Unbelievable! Hey, this shouldn't be surprising--how many "Friday the 13th" flicks were rolled out before they buried that franchise?
If you like good dancing and singing this does soar, however if you're looking for any sustaining script or plot, this plot is as old as dirt and the script will not wow you. Trust me on this one, I should have stayed home.
Out of 4 Stars: 1 Rated: PG-13 115mins.
When it comes to film franchises, one of the most prolific, well-loved ones in the biz is probably the Jurassic franchise. When I came out of the theater in 1993 after watching "Jurassic Park", my knees were wobbling and at that time I knew I was hooked. What a ride! Well with "Jurassic World" now in tow, we're on our fourth installment of this franchise and it just doesn't get any better.
Twenty-two years after the events of Jurassic Park, Isla Nubler now features a fully functioning dinosaur theme park equipped with gyrosheres and a petting zoo appropriately called Jurassic World, as originally envisioned by its creator, Dr. John Hammond. After 10 years of operation and visitor rates declining, in order to fulfill a corporate mandate, a new attraction envisioned by Simon Masrani (Irrfan Khan), Claire Dearing (Bryce Dallas Howard) and Dr. Henry Wu (BD Wong) is created to re-spark visitor's interest which, of course, will increase profits. In order that safety be an issue, Masrani instructs Claire to call upon Owen Grady (Chris Pratt), a dinosaur expert who specializes in vilaciraptors to give his 'stamp of approval'. Even though Owen lays out his disagreement with the corporate motivations for this new idea, they decide to implement it anyway. Subsequently this all ends up backfiring horribly to the chagrin of all involved, but then again hindsight is 20/20.
Others to round out the cast are Vincent D'Onofrio as Vic Hoskins, Owen's boss, Ty Simpkins as Gray and Nick Robinson as Zach, Claire's nephews, Jake Johnson as Lowery, Omar Sy as Barry, Owen's assistant, Judy Greer as Karen, Lauren Lapkus as Vivian, Katie McGrath as Zara, Brian Tee as Hamada and Andy Buckley as Scott.
This was staged remarkably well by director Colin Trevorrow ("Reality Show" (Documentary) '04, "Gary: Under Crisis" (TV movie) '05, "Safety Not Guaranteed" '12). Considering that Steven Spielberg was one of the executive producer's on this, his input was definitely evident in this production. With Trevorrow's limited experience, I'd like to see what he could do next. It was written by four, count them, four writers: Rick Jaffa, Amanda Silver, Trevorrow and Derek Connolly based on a story by Jaffa and Silver which is based on characters created by Michael Crichton. Usually when a screenplay has more than a couple of writers in the mix, the end product is usually fraught with inconsistencies, choppiness and incohesiveness, however this storyline flowed very well and certainly was able to easily hold my attention for the 124 minute running time. There were certain scenes that were reminescent of the original which I took as a homage more than anything. And what can I say about the visual effects and live action dinosaurs. The visual effects predominately designed by ILM (Industrial, Light & Magic), Image Engine Design and Hybride were absolutely stunning. Of course, ILM producing the visuals on all the installments, this chapter soared. The live action dinosaurs were created by Legacy Effects and were incredibly realistic. The late Stan Winston of Stan Winston Studios designed all the other dinosaurs in the previous installments, but Legacy proved they could follow in Winston's footsteps with artistic clout. The music was created by Michael Giacchino who has quite a resume of great film work. John Williams, who composed the music of the original "Jurassic Park" would have done this film justice, but if he couldn't do it, Giacchino was certainly an effective alternative. Williams' Jurassic theme was used I'm sure as a homage to the film.
I typically don't promote seeing a film in IMAX and/or 3D, but this, presented in both formats, simply enhances the roller coaster ride you get with this gem. Maybe when you walk out of the theater after seeing this, your knees will be wobbling as well. I know mine did!
Out of 4 Stars: 4 Rated: PG-13 124mins.
Comedies! Love 'em or leave 'em, they are here to stay as there are so many different factions to them. Either one can have a slick, well written, intelligent comedy like "Thank You for Smoking" or something as inane, vulgar, tasteless 'comedy' such as "Bruno". Or you can see something in between as the physical, but funny comedy in the form of "Spy".
Susan Cooper (Melissa McCarthy) is an unassuming, deskbound CIA analyst, and the unsung hero behind the Agency's most dangerous missions. But when her partner, Bradley Fine (Jude Law), whom she guides via a camera planted on his body, falls off the grid and another top agent, Rick Ford (Jason Statham) is compromised, she volunteers to go deep undercover to infiltrate the world of a deadly arms dealer, Sergio De Luca (Bobby Cannavale) and Rayna Boyanov (Rose Byrne), and prevent a global crisis. Her boss, Elaine Crocker (Allison Janney) and agent Ford believes it won't work, but after discussing it with Cooper, common sense prevails and then Crocker reluctantly agrees. Her only contingency to Cooper's being in the field is that she is only to track them and report back. Does she really think Cooper will be able to only track and report, or does she end up on the bad guys' tails? What do you think?
Others to round out the cast are Miranda Hart as Nancy B. Artingstall, another deskbound agent, Peter Serafinowicz as Aldo, Cooper's in-field resource, Sam Richardson as John, Julian Miller as Nicola and 50 Cent as Himself.
As one can tell by simply looking at his resume, director Paul Feig ("Life Sold Separately" '97, "I Am David" '03, "Early Bird" (TV movie) '05, "Unaccompanied Minors" '06, "Ronna & Beverly" (TV movie) '09, "Bridesmaids" '11, "The Heat" '13, People in New Jersey" (TV movie) '13) certainly has returned yet again to familiar ground, at least if you look at the films he's directed in the past eight plus years. This guy is a king at physical, frat fall comedy, but he does excel better than most filmmakers that gravitate toward physical comedy. This is refreshing and an anomaly in the realm of comedies today. He knows how to pace and stage his actors equally in physical situations as well as more sensitive, meaningful situations. McCarthy has had to 'pay her dues' being in certain comedies that wasn't able to showcase what she can really do, but with each film she does, she gets a little bit better--maybe because she has more clout to get those better screenplays to work with. Statham practically parodied himself in this and looked as though he had a ball doing this. This was also written by Feig as well, and even though he doesn't quite have the experience as he does with directing, he still writes far better than most other more seasoned screenwriters writing the same types of comedies with this new untapped approach to comedy--combining physical and sensitive storylines with success. This guy has got quite a future if he keeps writing these kinds of stories. Kudos!
No, there's certainly nothing Academy Award worthy here, but I really don't think that thought ever entered Feig's head while writing this, but if you want a funny story, a parody if you will on the spy industry, and one that is definitely entertaining, this is the popcorn film for your summer enjoyment.
Out of 4 Stars: 3 Rated: R 120min.
We've seen a plethora of biopics in the past which have made great fodder for stories a seasoned screenwriter have been able to sink their teeth into. Even biopics on different musicians/singers have had their share of films as well. We've seen and enjoyed many: "Amadeus" '84, "Ray" '04, "The Sapphires" '12, "Get On Up" '14, even the recent "Danny Collins", but now we have the awaited biopic on the famed Beach Boys called "Love & Mercy".
In the 1960's, Beach Boys leader, Brian Wilson (Paul Dano) struggles with emerging psychosis as he attempts to craft his avant-garde pop masterpiece. In the 1980's, Brian (John Cusack) is a broken, confused man under the 24 hour watch of shady therapist Dr. Eugene Landy (Paul Giamatti). As he was struggling immensely in the 1960's, it wasn't until the 1980's that he was finally diagnosed as paranoid schizophrenic. Being at his wits end in the 1980's, he inadvertently met Melinda Ledbetter (Elizabeth Banks) while he was looking to buy a Cadillac, so she attempted to take this pour sole under her wing only to be thwarted by Dr. Landy. Thus a tug of war ensued between the two where Melinda became forced to become creative in helping Brian since no one else was able to or didn't want to.
Others to round out the cast are Jake Abel as Mike Love, Brian's cousin, Kenny Wormald as Dennis Wilson, Brian's brother, Brett Davern as Carl Wilson, Brian's other brother, Bill Camp as Murry Wilson, Brian's father, Diana Maria Riva as Gloria, Graham Rogers as Al Jardine, Erin Darke as Marilyn Wilson, Joanna Going as Audree Wilson, Max Schneider as Van Dyke Parks, Johnny Sneed as Hal Blaine, Jeff Meacham as Tony Asher, Dee Wallace as Rosemary and Jonathan Slavin as Phil Spector.
This was directed with minute detail by relative newcomer at the director's chair, Bill Pohlad ("Old Explorers" '90) plus a ton of producing. Where do these new or relatively new directors come from? And will they have staying power in a community that eats individuals for lunch due to the politics, shallowness, emptiness, and greed? One must be strong to direct since you're responsible for all aspects of that film, so this should help. Kudos to this guy for a film well paced with the ability to get his actors to emit the right emotion at the right time. Of course, with a cast that consists of Dano, Cusack, Banks and Giamatti, how could he go wrong? It was equally well written by Oren Moverman and Michael Alan Lerner. The way these seasoned writers went from the 60's to the 80's and back again more than once, would have been easy to convolute, but the consistency was solid. Now there were a couple of places where it became a bit choppy and there was some symbology nearing the end which was a little much, but all in all this was a production that sped right along and kept one on their toes from beginning to end. What was troubling was to see how much Brian suffered as much as he did. We all knew some aspects of his life, but this brought up even more detail that no one saw coming.
For the historical buffs out there, you'll be in biopic heaven, but even if a factual story isn't something that you love, the acting was so real and I learned some things I just didn't know until I plopped myself down and allowed this to play out before my eyes.
Out of 4 Stars: 3.5 Rated: PG-13 121mins.
I really don't like to admit it, but sometimes there is a fine line between TV and films. What I mean is there have been quite a number of TV series ,and movies have spun off them in succession, so there can be a blur between the two mediums. The list is endless: "Twilight Zone: The Movie" '83, "The Addams Family" '91, "The Flintstones" '94, "Lost in Space" '98, "Charlie's Angels" 2000, "The A-Team" '10, "The Three Stooges" '12--just to name a handful. So Hollywood is at it again with the likes of HBO's "Entourage".
Movie star Vincent Chase (Adrian Grenier), together with his boys Eric, the manager (Kevin Connolly), Turtle, the driver (Jerry Ferrara), and Johnny Drama, the brother (Kevin Dillon), are back--and back in business with super agent-turned-studio head Ari Gold (Jeremy Piven) on a risky project that will serve as Vince's directorial debut. The catch? Trying to convince their financial backer, Larsen McCredle (Billy Bob Thornton) as his lame son, Travis (Haley Joel Osment) that 100 million dollars is worth it for a pretty-boy that's never directed. Some of the guys' ambitions have changed, but the bond between them remains strong as they navigate the capricious and often cutthroat world of Hollywood.
Others to round out the cast are Emmanuelle Chriqui as Sloan, Perrey Reeves as Mrs. Ari, Rex Lee as Lloyd, Debi Mazar as Shauna, Rhys Coiro as Billy Walsh, Constance Zimmer as Dana Gordon, Ronda Rousey as Herself, Alan Dale as John Ellis, Piers Morgan as Himself, Mark Wahlberg as Himself, Jon Favreau as Himself and Greg Louganis as Lloyd's fiancé.
Considering that this is his baby, the directing by Doug Ellin ("The Waiter" '93, "Phat Beach" '96, "Kissing a Fool" '98) was pretty much familiar territory. He already knew his actors and visa versa, and he basically 'walked' through this, although it makes it nice for the audience, because then the audience doesn't have to get used to seeing these guys in any other light than through Ellin's. It was also written by Ellin--again familiar territory. If you've followed this series at all, it is like seeing an expanded version of the TV series. I'm not sure if this is a compliment or not. I suppose it depends on one's vantage point. The best thing about this and the series is that it shows how these guys (and guys like them), are so incredibly shallow, greedy, selfish, manipulative, and so in need of being accepted. It's like seeing Hollywood parodying themselves, all in the guise of comedy and antics. But this is why we love these guys--their antics are so over-the-top that we are egar to see what lame-brain thing they are going to do next. Not academy award writing or acting, but this is why it is the epitome of the perfect summer flick.
If you liked the TV series, you'll love this. Seeing this guys reprise their roles on the big screen is fun (bizarre as it is), and if you want to just zone out on total fluff, enjoy this summer flick.
Out of 4 Stars: 2.5 Rated: R 104mins.
Inspirational films come in all sorts of avenues, whether it be about people, a certain belief, circumstances beyond anyone's control and it can center around animals. We have seen a plethora of films where an animal is something we can learn a thing or two about: "Lassie", "Flipper", "A Dolphin Tale", even the animated, "The Nut Job". Well, now we have a film centered on a dog named "Max".
