Once in a while we are presented with an inspirational film to stir the cobwebs out of our respective comfort zones so we can see that maybe, just maybe there is more to life than our own 'stuff' i.e. jobs, families, friends, vacations, hobbies, etc. Hey, there really needs to be something to keep us in check, and in the past there have been several films in which to test us: "Facing the Giants", "Fireproof", "Courageous", "Soul Surfer" the recent "Faith of Our Fathers" to mention a handful. So we have, yet another film to keep us in that 'check' mode in the form of "War Room".
Filled with heart, humor and wit, this story follows Tony and Elizabeth Jordan (T.C. Stallings and Priscilla Shirer), a couple who seemingly have it all--great jobs, a beautiful daughter, Danielle (Alena Pitts), their dream home. But appearances can be deceiving. In reality, their marriage has become a war zone and their daughter is collateral damage. With guidance from Miss Clara (Karen Abercrombie), an older, wiser woman who Elizabeth has as a client in which to represent the sale of Clara's house as realtor, Elizabeth discovers, through Clara, that she can start fighting for her family instead of against them. As the power of prayer and Elizabeth's newly energized faith transform her life, will Tony join the fight and become the man he knows he needs to be? Together, their real enemy doesn't have a prayer.
Others to round out the cast are Michael Jr. as Michael, a buddy of Tony's, Beth Moore as Mandy, Alex Kendrick as Coleman Young, Tony's boss, Tenae Downing as Veronica Drake, Jadi Harris as Jennifer Stephens, Danielle's friend, Dave Blamy as Tom Stafford and Kathleen Dellinger as Melissa.
This was directed with just the right amount of heart and humor in all the strategic places by Alex Kendrick ("Flywheel" '03, "Facing the Giants" '06, "Fireproof" '08, "Courageous" '11). Being the king of the Christian film genre, this guy knows a thing or two about this topic. Certainly being a Christian doesn't hurt, because he is then able to present to his audience different scenarios and characters in which prayer and God can repair lives, which makes it more believable. It was crafted well by writer brothers, Alex Kendrick and Stephen Kendrick who have written all the aforementioned films. It's well thought out and the script flows extremely naturally where the two hour time slot moved right along. The story is a great story whether you be a Christian or not, because it gives the the Christian that shot-in-the-arm they need so as to be humbled enough so they can be used by the Lord more effectively, and it's equally effective for the non-believer in that it gives one so much to truly think about without the concern of being 'bible-thumped'. Where can one find a film today that is informational, convicting and entertaining all at the same time in certain parts of a film? Well, this does just that and more. I also have to say that Karen Abercrombie who played Miss Clara was simply a hoot! Where did these brothers find her? Her character was one that, even if you didn't agree with some of what she was conveying, you still just love her demeanor and passion.
This is a film for one and all to see, whether you're six or ninety-six, whether male or female, because, at the end of the day, if we are seriously honest with ourselves, we can't solve our problems on our own--or more people would be more together, but rather, there is a God that loves us so much that as we reach out to Him, as these people did in this film, we will eventually be the happy people that the Lord desires us to be.
Out of 4 Stars: 4 Rated: PG 120mins.
Films about people trapped with virtually no escape have made their way into the multiplexes for many years. With our fascination of fretting over others well-being or needing that adrenaline fix or wondering if they are going to make it, be rest assured, Hollywood will definitely make these films happen as long as there's an audience to see them. This is why we have in the offing, "No Escape" to give us that rush which will keep you on the edge of that seat.
When Jack Dwyer (Owen Wilson) finds an opportunity to go to Malaysia to head his water manufacturing company's new plant there, he immediately jumps at the opportunity and moves his family, including his wife, Annie (Lake Bell) there. When they arrive; they seem to be having problems, the electronics don't work and rarely any cars are seen on the streets. When he goes to the market the next morning, he finds himself caught in the middle of a violent rebellion headed by armed rebels executing foreigners. Jack must get back to the hotel with the help of a mysterious "tourist", Hammond (Pierce Brosnan), and he must get his family to the American Embassy in the midst of the chaos. But is there any escape or is there...no escape?
Others to round out the cast are Sahajak Boonthanakit as Kenny Rogers, Tanapol Chuksrida as Krit, Sterling Jerins and Claire Geare as Lucy and Beeze Dwyer, Jack and Annie's daughters, Nophand Boonyal as Concierge, Jon Goldney as Jerry, Barthelemy Son as Francois and Kanarrat Phintiang as Bellhop.
This was extremely directed with amazing intensity and grit by John Erik Dowdle ("Full Moon Rising" '96, "The Dry Spell" '05, "The Poughkeepsie Tapes" '07, "Quarantine" '08, "Devil" '10, "As Above, So Below" '14). As with his resume, this guy has cornered the market on horrific, macabre and intense. In other words, it would be difficult to believe if this director decided to pull off a comedy, but who knows? With the close-ups shots and the darkness in which this was shot just gave that ominous look to this film which added to the 'scare' factor that much more. It was also written by Dowdle and his brother, Drew Dowdle. They both have worked on the same films for many years and it certainly has paid off. Basically if one loses ideas, the other picks up where the other left. Brothers can do this depending on the closeness of the ties. The characters were well delineated and were believably put in a situation that the audience could easily handle, and could empathize with. Even Brosnan didn't play his 'spy out there to save the world' type of character. He had a plethora of issues himself, but still looked out for others. This was an expose of how hard and volatile our world is out there today, and we just can't sit back on our laurels and act as though the rest of the world is living like us. The realism of this was absolutely sobering if not startling.
This film had a lot to say, the question is: are we willing to listen and see what's on that screen and really think about the ravages of the rest of the world, or is it business as usual? You be the judge.
Out of 4 Stars: 3.5 Rated: R 104mins.
Films that are based on a musical bent are usually fraught with glitz, a lot of volume, pulsation, and fairly shallow people that wouldn't know hard times if it came up and bit them on the tush. Even though "We Are Your Friends" have a great deal of these aforementioned ingredients, the fact is that this is about four young men who have come from truly hard knocks and seemingly have little to no future in store for them.
Set in the world of electronic music and Hollywood nightlife, an aspiring 23-year-old DJ named Cole Carter (Zac Efron) spends his days scheming with his childhood buddies, Mason (Jonny Weston), Ollie (Shiloh Fernandez) and Squirrel (Alex Shaffer) and his nights working on the one track that will set the world on fire. All of this changes when he meets a charismatic but damaged and jaded older DJ named James Reed (Wes Bentley), who takes him under his wing. Things get complicated, however, when Cole starts falling for James' girlfriend, Sophie (Emily Ratajkowski). With Cole's forbidden relationship intensifying and his friends unraveling, he must choose between love, loyalty, and the future he is destined for.
Others to round out the cast are Jon Bernthal as Paige, Alicia Coppola as Mrs. Romero, Wiley M. Pickett as Carl and Jon Abrahams as Nicky.
This was directed surprisingly well by Max Joseph ("12 Years of DFA: Too Old to Be New, Too New to Be Classic" (Documentary) '13). I say surprisingly because this guy is a virtual newbie, and considering he only has one other film (a documentary) and a ton of documentary shorts to his credit, this was incredibly well directed. Other than Efron, Bentley and maybe Bernthal, the actors were fairly new, so the directing has to be even more integral. It was written by Joseph and Meaghan Oppenheimer based on a story by Richard Silverman. These type of films are typically not difficult to construct, hence a usually simple premise to them, however with this, there was a bit more to it considering these four guys had many different issues: fear, anger and frustration, drugs, alcohol, to mention some. Sure all generations go through a period where they are rebelling and acting out via through all the trappings of being young and immature, but not willing to fess up to it. I feel, whether it was the intent of the writers or not, that these issues were definitely played out here, and with that gave us that look into their lives so we can either cheer or jeer them. This was a sort of rights of passage film through the eyes of musicians and would-be entrepreneurs, and even though this doesn't end with a nice pretty bow on it, it does give you a definitive look inside of those trying to make it in a world that is cutthroat. So, I feel these guys addressed this look of what these guys were going through and the lives they touched as they journeyed to get where they were hoping to be.
This wasn't anything Oscar worthy, but it certainly hits at our core, because all of us have been at those crossroads of where and how are we going to make it in a profession we truly love. Even with issues in our lives, do we still have the patience, perseverance and guts to stick it out or will we just cave into mediocrity and be OK of where we are?
Out of 4 Stars: 3 Rated: R 96mins.
As I've mentioned in a plethora of reviews, comedies are certainly my favorite genre, but couple that with a certain amount of action and you have one well crafted film assuming it's well written and directed. Films such as "Midnight Run", "Foul Play", "Miss Congeniality" and even the recent "Spy" are amazingly well scripted and funny with that element of action thrown in, that we only yearn for more. Well, we have yet another one of those comedy/ action films in the form of "American Ultra".
Small-town stoner Mike Howell (Jesse Eisenberg) spends most of his time getting high and writing/drawing a graphic novel about a superhero monkey. What Mike doesn't know is that he was trained by the CIA to be a lethal killing machine. When Adrian Yates (Topher Grace) of the agency targets him for extermination, his former handler Victoria Lasseter (Connie Britton) walks into the convenience store in which Mike works and activates his latent skills, turning the mild-mannered slacker into a deadly weapon. Now, the utterly surprised Mike must use his newfound abilities to save himself and his girlfriend, Phoebe Larson (Kristen Stewart) from getting wasted.
Others to round out the cast are Walton Goggins as Laugher, John Leguizamo as Rose, Bill Pullman as Krueger, Tony Hale as Petey Douglas, Lasseter's assistant, Stuart Greer as Sheriff Watts, Michael Papajohn as Otis, Monique Ganderton as Crane and Nash Edgerton as Beedle.
This was directed amazingly well by virtual newcomer Nima Nourizadeh ("Project X" '12). Other than edting a documentary, he has no other experience under his belt at all, and the way Eisenberg went from seemingly calm to being in the middle of an anxiety attack which he had often, was delineated with perfection--of course, with directing someone like Eisenberg, it would make any director's job that much easier, since the actor is incredibly talented. He's one actor that cannot be pigeon-holed--comedy, drama, commercial or independent; it doesn't seem to matter with him. I have been in Stewart's corner as well as an actor since she played Julianne Moore's daughter in the recent "Still Alice". She was phenomenal. This was certainly not tough roles for either actor, but it looks as though they had a hoot doing the film. It was written with a healthy dose of originality by Max Landis ("Chronicle" '12, "Me Him Her" '15). And he's completed two other films: "Mr. Right" and "Victor Frankenstein" out this year. This is certainly a busy year for this writer, and with "Chronicle" and this flick, shows he has what it takes. This does have a couple of small slow areas, but when it revs, it soars. The premise is original, fresh, and funny--not guffaw belly laughs, but with the subtlety it exuded, it made it more funny than if it were over-the-top. Surely, this guy being a stoner, the writer had to make the character so different from what and who he really was so as to portray an extreme contrast. So doing this only made the script that much funnier.
Surely one doesn't have to see this in the multiplex to get the full impact, but it was certainly a nice way to spend an hour and a half to allow yourself to sit back and get into this comedic expose and revel at watching actors do what they do best.
Out of 4 Stars: 3.5 Rated: R 96mins.
I remember when I went to see "Hitman" back in 2007 and I thought it was so fresh, slick and incredibly shot well considering the genre. The character was lethal, unpredictable, and unforgiving--the perfect assassin. So when I saw my first trailer of "Hitman: Agent 47", even though it starred a different actor, it looked as though it had that same edginess, slickness and unpredictability. Verdict...it sure does.
This story centers on an elite assassin, Agent 47 (Rupert Friend) who was genetically engineered from conception to be the perfect killing machine, and he is known only by the last two digits on the barcode tattooed on the back of his neck. He is the culmination of decades of research and forty-six earlier agent clones-- endowing him with unprecedented strength, speed, stamina and intelligence. His latest target is a mega-corporation headed up by Le Clerg (Thomas Kretschmann) that plans to unlock the secret of Agent 47's past to create an army of killers whose powers surpass even his own. Teaming up with a young woman, Katia (Hannah Ware) who may hold the secret to overcome their powerful and clandestine enemies, 47 confronts stunning revelations about his own origins and squares off in an epic battle with his deadliest foe.
Others to round out the cast are Zachary Quinto as John Smith, Ciaran Hinds as Dr. Litvenko, Katia's father, Dan Bakkedahl as Sanders, an interrogating detective, Angelababy as Diana, the one who gives 47 is 'jobs', Michaela Caspar as Hall of Records Clerk, Rolf Kanies as Dr. Delriego and Mona Pirzad as Katia's Mother.
This was remarkably directed by Aleksander Bach (Music Videos and some Festivals). I say remarkable because he has no other work to his credit and this is simply unheard of. Obviously this guy is a natural, but we'll know more if he is a natural when we see his next film which he will undoubtedly receive. The photography coupled with the editing was executed slickly, which usually takes a seasoned director to pull off this well. It was written by Skip Woods ("Thursday" '98, "Swordfish" '01, "Hitman" '07, "X-Men Origins: Wolverine" '09, "The A-Team" '10, "A Good Day to Die Hard" '13, "Sabotage" '14) and Michael Finch ("Predators" '10, "The November Man" '14, "Interrogation" '15) based on a story by Woods. Certainly the writers here are seasoned at this particular genre, per their resume, especially Woods. In fact Woods wrote "Hitman", which made this story flow much better considering the fact that you also saw "Hitman". It had a couple of small slow areas in this, but nothing to take away from the grit and intensity this supplied us with. These writers and director worked very well together, so much so, I'd like to see them work on another project in the foreseeable future. Who knows, maybe a "Hitman: Agent 48" could be in our future.
As aforementioned, if you liked "Hitman" '07, assuming one saw it, you'll love this, however it is not a prerequisite to getting into or understanding this installment. Trust me, this is a roller coaster ride to beat none that will leave you thinking about it as you leave the multiplex.
Out of 4 Stars: 3 Rated: R 96mins.
When it comes to comedies, I have a particular taste in how they're written and what the premise happens to be. Case in point: I like a great prat fall, physical comedy as much as another, however if they lean more toward a vulgar, predictable, 'fart joke' type of film, it's a real turn-off. However if they are laced with a great script, well acted, with humor that you have to think about a bit, this to me is a far better comedy. This is basically what we have in the form of "Ricki and the Flash".
Meryl Streep stars as Ricki Rendazzo, a guitar heroine who gave up everything for her dream of rock-and roll stardom, but is now returning home, via a phone call from her long-suffering ex-husband Pete Brummel (Kevin Kline), to make things right with her family. Her daughter, Julie (Mamie Gummer) has been dumped by her husband for a younger woman and is now depressed with suicide ideations. Her son Josh (Sebastian Stan) is engaged to be married, while her other son Adam (Nick Westrate) turns out to be gay. What is a mom to do? Meanwhile, she oversees her band, The Flash, who the lead guitarist, Greg (Rick Springfield) is in love with her and her friend, Daniel (Ben Platt), the bartender where the band plays, basically becomes her advisor. With all these entirely different people in her life to play a balancing act with, can she still obtain what sanity she still has?
Others to round out the cast are Audra McDonald as Maureen, Pete's present wife, Rick Rosas as Buster, Joe Vitale as Joe, Bernie Worrell as Billy and Keala Settle as Sharon.
This was directed by the consummate veteran Jonathan Demme ("Swing Shift" '84, "Swimming to Cambodia" '87, "Married to the Mob" '88, "The Silence of the Lambs" '91, "Philadelphia" '93, "The Truth About Charlie" '02, "The Manchurian Candidate" '04, "Rachel Getting Married" '08, "A Master Builder" '13) plus other films and many documentaries. This director typically chooses films centering around one or maybe two characters and works off these actors, and it works for him well. This was written by Diablo Cody ("Juno" '07, "Jennifer's Body" '09, "Young Adult" '11, "Paradise" '13) plus some TV. Cody is an accomplished writer--she won an Oscar for her writing of "Juno", so it interests me why she treaded on ground that other writers have already treaded. Even though the writing was solid, I can't help to think how familiar the feel of this is to "August: Osage County" '13, "This is Where I Leave You" '14, even "Monster-in-Law" '05. Familiar in that all are basically about the dysfunction of families and their dysfunction between one another. All written solidly and all funny. This opinion certainly doesn't make this film a bad one, just one written by a professional that didn't really need to go this route. Mind you, I did enjoy this--it did take a bit of time to get going, but once it did, it simply soared. I love subtle, well-written films about family dysfunction, because there's so much good material one can inject into a meaty script that when it plays onscreen, it's a laugh riot. Meryl Streep was at her usual best, but we've come to expect that from her at this point in her career. Interestingly, Streep's real daughter, Gummer plays her fictional daughter in this.
If you like this type of dysfunctional, quirky, subtle comedy, you will revel, however if your cup of tea leans more to the loud, brassy, physical, toilet humor type of comedy, this probably won't be a film you will be able to wrap your head around. Certainly if you liked the aforementioned films, this is one that you must see.
Out of 4 Stars: 3 Rated: PG-13 101mins.
We've seen a plethora of message films throughout time that Hollywood has been producing, and all of them have a lot to say, whatever the issue at hand is. And as our society unravels more and more with violence, drugs, prejudice, and an ever-growing economy spiraling on the rise, we do see and will continue to see more of these films. So it's no surprise that "Straight Outta Compton" is so timely considering Ferguson, Mo., Baltimore and Cleveland happening just recently.
In 1987, five young men, Ice Cube/O'Shea Jackson (O'Shea Jackson Jr.), Eazy-E/Eric Wright (Jason Mitchell), Dr. Dre/Andre Young (Corey Hawkins), Dj Yella/Antoine Carraby (Neil Brown Jr.), and MC Ren/Lorenzo Patterson (Aldis Hodge), using brutally honest rhymes and hardcore beats, put their frustration and intense anger about life in the most dangerous place in America into the most powerful weapon they had: their music. Taking us back where it all began, this film tells the true story of how these cultural rebels-- armed only with their lyrics, swagger, bravado and raw talent-- stood up to the authorities that meant to keep them down and formed the world's most dangerous group, N.W.A. And as they spoke the truth that no one had before and exposed life in the hood, their voice ignited a social revolution that is still reverberating today.
Others to round out the cast are Marlon Yates Jr. as The D.O.C., R. Marcos Taylor as Suge Knight, Carra Patterson as Tomica, Paul Giamatti as Jerry Heller, the guys' manager, Alexandra Shipp as Kim, Elena Goode as Nicole, Keith Powers as Tyree, Dre's younger brother and Keith Stanfield as Snoop.
This was directed with obvious intensity and grit by F. Gary Gray ("Friday" '95, "Set It Off" '96, "The Negotiator" '98, "A Man Apart" '03, "The Italian Job", '03, "Be Cool" '05, "Law Abiding Citizen" '09) plus videos interspersed. With the work Gray has done, he, and Lee Daniels, for that matter, are basically the newer Spike Lees of today, because of their social causes that they tend to lean toward with their films they direct. The anger, frustration, wildness that this director was able to bring out of the actors was simply amazing. It was written by Jonathan Herman and Andrea Berloff ("World Trade Center" '06) plus a short, and it was based on a story by S. Leigh Savidge, Alan Wenkus and Berloff. Like in other reviews, it does amaze me how well this was written considering the little experience these two have with theatrical screenwriting. It does show that talented writers do exist in Hollywood--they just need to be used more often. Before entering the multiplex, the trailer more or less leads its audience toward a totally one-sided view on the racial and first amendment rights of individuals, but with all objectivity, this film covered issues with both the guys here and the authorities. When you're in the guys' corner, all of a sudden they'll do or say something that leaves one perplexed and visa versa. And as far as the first amendment rights of these guys in being able to convey their ideas in a very coarse, intense way is certainly something all Americans have in this country, however if we convey our issues, be prepared to count the costs involved, because not everyone is necessarily going to embrace your way of thinking. Freedom of speech and expression is not free. One earns this right using responsibility, and if one is attempting to change society culturally, one has to be patient and realize there is going to be a potential rift in the social fabric before noticeable change can ever take place. This film delineated this well.
This is a film that is not for the mass audience appeal. It has a lot to say if one can endure a LOT of four-letter words, a certain amount of nudity, drugs and extreme intensity. Hey, these guys are not angels, however their point here is to not be treated unfairly just because they come across as looking like and acting like gang-bangers. Get ready for a virtual roller coaster ride.
Out of 4 Stars: 3.5 Rated: R 147mins.
Hollywood has a fascination with espionage films, so much so, that if I had a buck for every espionage film I've seen in my life, I'd be incredibly rich. Mind you, I'm not complaining, it's just that so-o many movies have been produced in the name of 'spy flicks'. Maybe it's the audience's fascination and Hollywood is merely cashing in on people's obsession with this genre, but whatever it is, Hollywood has sprung another one of these films our way and that film is "The Man from U.N.C.L.E.".
This takes a fresh look at the hugely popular 1960's TV series. Set against the backdrop of the early 1960's, at the height of the Cold War, this film centers on CIA agent Napoleon Solo (Henry Cavill) and KGB operative Illya Kuryakin (Armie Hammer). Forced to put aside longstanding hostilities, the two reluctantly team up on a joint mission to stop a mysterious international criminal organization, which is bent on destabilizing the fragile balance of power through the proliferation of nuclear weapons and technology. The duo's only lead is the daughter, Gaby (Alicia Vikander) of a vanished German scientist, who is the key to infiltrating the criminal organization, and they must race against time to find him and prevent a worldwide catastrophe.
Others to round out the cast are Elizabeth Debicki as Victoria and Luca Calvani as Alexander, the one's leading the secret criminal organization, Sylvester Groth as Uncle Rudi, Gaby's uncle, Hugh Grant as Alexander Wavery, Napoleon and Illya's boss, Jared Harris as Sanders, the one who gave Napoleon and Illya's assignment, Christian Berkel as Udo, Misha Kuznetsov as Oleg and Guy Williams as Captain Smith.
This was directed with style, slickness, finesse and class by the incomparable Guy Ritchie ("Lock, Stock and Two Smoking Barrels" '98, "Snatch" 2000, "Swept Away" '02, "Revolver" '05, "Suspect" (TV movie) '07, "RocknRolla" '08, "Sherlock Holmes" '09, "Sherlock Holmes: A Game of Shadows" '11). Ritchie started as a cutting edge director helming smaller independent films i.e. "Lock, Stock and Two Smoking Barrels" and "Snatch", but even though he basically went 'commercial' i.e. "Sherlock Holmes" and this film, his brand of style just never seems to change. The slickness coupled with the gritty photography and fast cut editing is represented in all his films whether indie or commercial. This was freshly written by Ritchie and Lionel Wigram based on a story by Jeff Kleeman, David Campbell Wilson, Ritchie and Wigram which is based on the TV series of the same name by Sam Rolfe. I must say, for a film based on either a TV series or an original older film, this script was fresher, slicker and more gritty than all others out there. Surely there were a couple of small slow spots, but certainly not enough to take away from the precision of which this was created. When I saw this trailer a little while ago, I thought it would be yet another unoriginal over-cooked remake just to fill in a summer time slot. Wow! Did I get far more than I bargained for. Kudos guys!
If you like espionage films, you'll, of course, love this, however couple this with the grit, slickness and style of the directing and the originality and freshness of plot and script, and you've got a bonafide winner, and all available in a great IMAX format.
Out of 4 Stars: 3.5 Rated: PG-13 116mins.
There are many different animation companies that produce a ton of animated films and have been doing so for many years: Disney, Pixar, DreamWorks, Blue Sky, Sony Pictures, and a younger one, but powerful--Aardman Animations which has brought us "Chicken Run", "Wallace & Gromit", "The Curse of the Were-Rabbit" and now we have the amazing "Shaun the Sheep Movie".
When Shaun the sheep (Justin Fletcher) decides to take the day off from the farm to have some fun, he gets a little more action than he bargained for. He has to very quiet so as to not let The Farmer (John Sparkes) know what's going on, but a mix up with The Farmer, a caravan, and a very steep hill lead them all to the Big City and it's up to Shaun and the flock to return everyone safely to the green grass of home. Their major obstacle to this task? One, animal containment officer named Trumper (Omid Djalili) in which they must avoid in order to make it home at all.
Others to round out the cast are Richard Webber as Shirley, Kate Harbour as Meryl, Tim Hands as Slip, Andy Nyman as Nuts, Simon Greenall as Twins, Emma Tate as Hazel, Jack Paulson as Celebrity with Hair Trouble, Stanley Unwin as Different Announcers and Nick Park as Himself.
This was brilliantly directed by Mark Burton and Richard Starzak. What amazes me is that these guys are virtual newbies to the director's chair, however they were able to pull off such sublime, subtle direction far better than many of the seasoned directors out there today. I can't wait to see what they direct next and they will indeed. It was also written by Burton and Starzak and was phenomenal! Certainly this is where these guys have their experience, especially Burton, so it wasn't a total surprise of the competency in this category, but as I'm viewing this film, I soon realized that these writers are true professionals in every sense of the word. There storyline was entertaining, well thought out, had a great message, and the most important ingredient here is the dialogue. I say this because for the 85 minute running time, there virtually is no dialogue, however with the many expressions and body movements of the characters, these consummate writers were more than able to convey the message of this plot easily. There were a few grunts, yells, mutterings, but no actual dialogue. How many films have of you seen with virtually no dialogue that has kept your attention for the complete running time? My guess would be... none.
With a script this good and direction with finesse, along with striking animation by Aardman, this film has it all. If this film doesn't leave you with a smile on your face by films' end, there is seriously something wrong with you.
Out of 4 Stars: 4 Rated: PG 85mins.
When I was researching during the writing of this review, I soon came to realize that the original "Fantastic Four" was released in 2005. Can you believe it?! Ten years ago! It is amazingly difficult that it has been ten years. So now we have yet another "Fantastic Four" in the offing this time around with a relatively predictable, however different premise to consider.
This is a contemporary re-imagining of Marvel's original and longest-running superhero team, centers on four young outsiders, Reed Richards (Miles Teller), Johnny Storm (Michael B. Jordan), Sue Storm (Kate Mara) and Ben Grimm/The Thing (Jamie Bell) who teleport to an alternate and dangerous other dimensional universe, which ultimately alters their physical form in completely different shocking ways. Their lives irrevocably upended, the team must learn to harness their daunting new abilities and work together to save Earth from a former friend turned enemy, Victor Von Doom/Dr. Doom (Toby Kebbell).
Others to round out the cast are Reg E. Cathey as Dr. Franklin Storm, the head of Baxter Corporation, Tim Blake Nelson as Dr. Allen, Dan Castellaneta as Mr. Kenny, Owen Judge as Young Reed and Evan Hannemann as Young Ben.
This version of the franchise apparently centers around what exactly happened to the foursome of the metamorphosis transformation that took place on that infamous journey. This was credibly directed by Josk Trank ("Chronicle" '12) plus some TV. To be totally objective here, the staging and pacing of this was better than the resume of this director dictates. He will undoubtedly receive more work in even more contemporary flicks, because of his youth, he certainly can relate to other younger upcoming stars as with this. It was written by Jeremy Slater, Simon Kinberg and Trank based on the Marvel comic book by Stan Lee and Jack Kirby. I can't help but think that where this screenplay started out with a good deal of quick-witted dialogue subsequently went south and became a bit boring with sappy, unoriginal dialogue. Even though this particular genre has a tendency to be predictable, when one combines predictability with a sappy script, it certainly doesn't help.
Considering two out of the three writers here are virtual newbies in the writing arena, it's surely no surprise that this screenplay started going south. Kinberg is the only real seasoned writer here and he obviously didn't have enough clout to notice and act upon changes that clearly needed to be made. I would suggest that these writers not team up in the future, lest they come up with another questionable script. The visual effects predominantly created by Weta Digital and MPC (Moving Picture Company) were seamless, but one has to realize this before you enter the multiplex.
If you have to see this, it would be best to see it on the large screen since it's chock full of visual and special effects, otherwise it will seem even worse on a small screen. It's actually not a total wash--good casting, great production values abound, plus it's great escape fare. Break out the popcorn!
Out of 4 Stars: 2.5 Rated: PG-13 100mins.
The one genre Hollywood really knows how to churn out well are suspense thrillers. Although Hitchcock was the master of suspense, there have been many equally suspenseful films produced as long as films have been around. It's the one genre that hasn't truly been bastardized to a point that you don't enjoy the film at hand. And who doesn't like to sit on the edge of that proverbial seat when watching these movies? So, we have another one of those suspenseful thrillers in our midst in the form of "The Gift"
Simon (Jason Bateman) and Robyn (Rebecca Hall) are a young married couple whose life is going just as planned until a chance encounter with an acquaintance from Simon's high school sends their world into a harrowing tailspin. Simon doesn't recognize Gordo (Joel Edgerton) at first, but after a series of uninvited encounters and mysterious gifts prove troubling, a horrifying secret from the past is uncovered after more than 20 years. As Rosalyn learns the unsettling truth about what happened between Simon and Gordo, she starts to question: how well do we really know the people closet to us, and are past bygones ever really bygones?
Others to round out the cast are Allison Tolman as Lucy, neighbor friend of Robyn's, Tim Griffin as Kevin "KK" Keelor, Busy Phillips as Duffy, Adam Lazarre-White as Ron, Beau Knapp as Detective Walker, Wendell Pierce as Detective Mills, Nash Edgerton as Frank Dale, Mirrah Foulkes as Wendy Dale, David Denman as Greg, Katie Aselton as Joan, David Joseph Craig as Stewart and Susan May Pratt as Rhonda Ryan.
Secrets in films are always fun to watch in seeing how they play out and to whom and under what stressful situations they end up occurring. "What Lies Beneath", "Fatal Attraction", "Primal Fear" and others are films that have whopper surprises in them. So when director Joel Edgerton (shorts) helmed this, this aspect of total surprise had to come to mind. For this being his first feature film in the director's chair, he was brilliant in how he was able to extract emotions that ran from subtle to overt so well from these actors. He's a natural. This was also written by Edgerton ("The Square" '08, "Felony" '13, "The Rover" (based on a story by) '14) plus shorts. This was well structured in how the storyline played out, however, even though this ends bittersweetly, the end seemingly demanded more. Suffice it to say, the secret will catch you by surprise, but in the process, both characters that Bateman and Edgerton played are both difficult to feel sorry for, because they have their own set of issues, but in completely different ways. Edgerton is certainly a talented writer, and I would like to see what he would come up with given another project, but this, as powerful as it was, simply needed a bit more to explain at films' end.
The ending of this will become clear once you go to see this, and you'll understand what I am saying, but certainly if you like those nail-biting films that keep you on the edge of your seat, this production will definitely fit the bill.
Out of 4 Stars: 3 Rated: R 100mins.
Have I mentioned before that I like comedies? Probably far too many times than my memory allows. When I used to see all the older comedies say, back in the 80's, even though they were unrefined, there was still an element of humor with each of them. "Pretty in Pink", "Home Alone", "Uncle Buck", even the original "Vacation" were films one could count on to bring you a certain amount of laughs, albeit not through the entire film, but laughs nonetheless. We now have a reboot of that infamous 80's comedy, "Vacation" in our midst.
Rusty Griswold (Ed Helms), the youngest child from 1983's "National Lampoon's Vacation" is all grown up with a family of his own and fond childhood memories of a certain family road trip to Walley World, "America's Favorite Family Fun Park". Like his father, Clark (Chevy Chase), Rusty wants to forge closer bonds with his own family-- wife Debbie (Christina Applegate) and his sons James (Skyler Gisondo) and Kevin (Steele Stebbins)-- so he buys a souped-up Albanian van and convinces them to set off on their own crazy cross-country jaunt to Walley World. Along the way, they confront a harrowing trucker and his rig, an emotional river-rafting guide, Chad (Charlie Day) and visit with Audrey (Leslie Mann), Rusty's sister and her husband, Stone Crandall (Chris Hemsworth). Needless to say, all does not go as planned.
Others to round out the cast are Beverly D'Angelo as Ellen Griswold, Clark's wife, Catherine Missal as Adena, Ron Livingston as Ethan, Norman Reedus as Trucker, Keegan-Michael Key as Jack Peterson and Regina Hall as Nancy Peterson.
This was surprisingly directed well by virtual newcomers to the director's chair, John Francis Daley (Shorts) and Jonathan M. Goldstein (Shorts). By any seasoned director, this would've been considered mediocre at best, but these guys have no other feature film experience and that makes this amazing--nothing memorable, but given more experience and these guys could really take off. It was written by Goldstein ("Horrible Bosses" '11, "Horrible Bosses 2 (story) '14) and Daley ("Horrible Bosses" '11, "The Incredible Burt Wonderstone" '13, "Cloudy with a Chance of Meatballs 2" '13, Horrible Bosses 2" (story) '14). OK, enough with the credits--this is where the problem lies. With the experience that came to this table, it really wasn't a difficult stretch for either screenwriter to write, or in this case, rewrite this. This was nothing more than an updated version of the 1983 rendition, which I guess, the acorn doesn't fall too far from the tree--Rusty falling right into his dad's footsteps. But having practically the same script? Seriously!? Other than a few humorous moments, the one redeeming moment in this was when the family met Stone Crandall (Hemsworth). This actor was basically parodying the glossed tabloid image that has been fed to us about how some people want to see Hemsworth as this fun-loving sex symbol that is built and doesn't mind showing his body off. His Southern accent and 'bad-boy' fun way about himself was the save with this film. Unfortunately, his part in the flick was short-lived and left the audience having to fend for themselves.
What can I say, this had potential, and while there were some funny moments, the ho-hum script only left the audience begging for more than what they got.
Out of 4 Stars: 1.5 Rated: R 99mins.
A lot of the time, films, whether through the director or writer, follows the old adage: "life imitates art" or visa versa. Since Woody Allen is both writer and director, we surely can see his self-deprecating style in most of his films, and certainly is his newest, "Irrational Man". And believe me when I say, he doesn't have to star in the film for the movie to have a form of dysfunction abounding in it--his style and the way he writes speaks volumes of this.
When a burned-out, tormented, brilliant philosophy professor, Abe (Joaquin Phoenix)-- one who believes in lessons from life rather than from textbooks-- takes a position at a small college, everyone there is abuzz. He soon reluctantly becomes involved with a teacher, Rita (Parker Posey) as well as a precocious student, Jill (Emma Stone), but it takes a dramatic, existential act to turn his life around and make him see the world through a much rosier and more positive perspective. Little does anyone know that through his depressive and self-serving attitude, the existential act is truly a mind-bender that certainly shocks all.
Others to round out the cast are Jamie Blackley as Roy, Jill's boyfriend, Robert Petkoff as Paul, Betsy Aidem as Jill's mother, Ethan Phillips as Jill's father, Sophie von Haselberg as April, Jill's friend, Susan Poufar as Carol, Tom Kemp as Judge Thomas Spangler and Paula Plum as College President.
This was written and directed by the incomparable Woody Allen ("Take the Money and Run" '69, "Sleeper" '73, "Annie Hall" '77, "Manhattan" '79, "Broadway Danny Rose" '84, "Hannah and Her Sisters" '86, "Crimes and Misdemeanors" '89, "Bullets Over Broadway" '94, "Deconstructing Harry" '97, "Small Time Crooks" 2000, "Match Point" '05, "Whatever Works" '09, "Midnight in Paris" '11, "Blue Jasmine" '13, "Magic in the Moonlight" '14) plus many others. Through the decades, Allen has proved himself time and again with the many stories he has given us. Whether one agrees or doesn't with his style, choice of premises and quirkiness, not to mention his self-deprecating approach, one has to be objective enough to realize that this guy has struck a nerve in the very fabric of society--whether past or present. Love him or leave him, Allen is here to stay until he drops dead on one of his sets while shooting a film, and this may be a good thing or not--depending on how much one likes his particular brand of humor. In the case of "Irrational Man", we are given a pathetic, self-deprecating, but self-absorbed, crazy-as-a-fox man, and is thrown in the midst of these other seemingly 'normal' people to see if he will fit into their circles. But, with his dysfunction abounding, his sociopathic tendencies can be hidden but just so long and then, given the wrong situation at hand, ends up caught in a corner with not very far to go. Does he have choices here? Yes. Does he realize this? Probably not, hence the self-centeredness.
As far as Allen's writing, he is what one would expect--self-deprecating. Sound like a particular character here? Again life imitates art. This was a bit slow around the middle of the screenplay, however soon, the script goes into overdrive and before you know it, all hell breaks loose, and you are wondering how this story can end well at all. Have faith, Allen pulls it off and takes us on that ride only he can do so well.
As said prior, Allen--love him or leave him. He truly knows how to market dysfunction and cheap, tawdry characters better than the average writer, but hey, this is not his first rodeo, he has been and is the king of dysfunction--again, life imitates art.
Out of 4 Stars: 3 Rated: R 93mins.
Once in a while we are presented with an inspirational film to stir the cobwebs out of our respective comfort zones so we can see that maybe, just maybe there is more to life than our own 'stuff' i.e. jobs, families, friends, vacations, hobbies, etc. Hey, there really needs to be something to keep us in check, and in the past there have been several films in which to test us: "Facing the Giants", "Fireproof", "Courageous", "Soul Surfer" the recent "Faith of Our Fathers" to mention a handful. So we have, yet another film to keep us in that 'check' mode in the form of "War Room".
