Message films are becoming more and more plentiful each year as the need for them arises. 2013 was a banner year for the message film, ("The Butler", "12 Years a Slave", even "Dallas Buyers Club"). We, as a society, constantly need to be reminded how dysfunctional we are and how much we need to reach out to others, so Hollywood gave us "Free State of Jones".
Set during the years of the Civil War between 1862 to 1876, this chronicles the story of defiant Southern farmer, Newt Knight (Matthew McConaughey) and his extraordinary armed rebellion including Moses (Mahershala Ali), Jasper (Christopher Berry), Will (Sean Bridgers) and Rachel (Gugu Mbatha-Raw) against the Confederacy. Banding together with other small farmers and local slaves, Knight launched an uprising that led Jones County, Mississippi to secede from the Confederacy, creating a Free State of Jones. Knight continued his struggle into Reconstruction, distinguishing him as a compelling, if controversial, figure of defiance long beyond the War.
Others to round out the cast are Kerri Russell as Serena, Jacob Lofland as Daniel, Thomas Francis Murphy as Col. Elias Hood, Bill Tangradi as Lt. Barbour, Brian Lee Franklin as Davis Knight, Kerry Cahill as Mary, Joe Chrest as James Eakins, Jessica Collins as Annie and Donald Watkins as Wilson.
This was finely directed by the message film king, Gary Ross ("Pleasantville" '98, "Seabiscuit" '03, "The Hunger Games" '12) plus a good deal of writing and producing. He doesn't direct a lot of films, however what he helms is chosen extremely carefully. Although this attitude doesn't get one into that director's seat numerously, but it surely allows a filmmaker to do what they do best--to hopefully showcase a great story with incredible acting. It was also brilliantly written by Ross ("Big" '88, "Dave" '93, "Pleasantville" '98) plus others. It was based on a story by Leonard Hartman based on the incredible true story. This story incorporates a paralleling story 85 years past the setting of this film simply to make a point that we haven't come that far as being a people that are enlightened much more in the 50's as back in the 1800's. The only thing about incorporating this parallel story was that I felt it could've been inserted a little more slickly than it was, otherwise this script was amazing. And what can I say for McConaughey? He may very well be looking for an Oscar nod come that time. This actor has seized to amaze me with the films he has finally decided to endeavor. I always felt that he had potential as a fine actor, especially when I saw him in the film "A Time to Kill" based on the novel by John Grisham--again a message film. It was just getting that subsequent film in his career--that being "Mud" to prove he is the actor we all knew he was.
This isn't a popcorn film where you can simply sit back and escape into. However, if you are willing to let yourself learn something about mankind and possibly change either your or someone else's way of thinking through this film, it will definitely be worth the price of admission.
Out of 4 Stars: 3.5 Rated: R 139mins.
Just when you thought it was safe to go back in the water, there's "The Shallows". I can't help but think that for those that are past the age of 40, would have to think of the film "Jaws" while watching this movie. Not because this is a copy of "Jaws", but that I believe this is a homage to the film.
Young surfer Nancy (Blake Lively) travels to a secluded beach in search of a secret spot that her mother had discovered years earlier. While paddling out into the waves, she comes across a dead whale which has huge bites taken out of it. She only realizes that this has become a feeding ground, because, eventually, she is hunted by a great white shark and is then stranded on an embankment 200 yards from the shoreline. For now, she is experiencing low tide, however in a matter of hours, she will be at a high tide point and will have to fight for her life. As she sits as a sitting duck alone and wounded, she has to become creative in her ways in which to survive and get back to shore before the tide sets in. Time is of the essence as she plays a virtual 'cat and mouse' game which this eating machine.
Others to round out the cast are Oscar Jaenada as Carlos, a guy who drove her to the beach, Brett Cullen as Nancy's father, Sedona Legge as Chloe, Nancy's sister, Angelo Josue as a surfer, Lozano Corzo as another surfer and Pablo Calva as a small boy.
This was intensely directed by Jaume Collet-Serra ("House of Wax" '05, "Goal II: Living the Dream" '07, "Orphan" '09, "Unknown" '11, "Non-Stop" '14, "Run All Night" '15) plus TV. By this filmmaker's very resume, he knows horrific and intense. The way he was able to exude the different emotions from Lively: fear, terror, dread, exhaustion, consignment, and back again was amazing and extremely realistic in how anyone would be handling said situation given the same scenario. Lively has done some fine work before this, but after this, I believe she will not have any problem securing her next project. It was creatively written by Anthony Jaswinski in that it would be so easy to repeat the power that "Jaws" brought to the screen back in 1975. But this had an entirely a different storyline where it was clearly a struggle with the two different wills. The only thing that didn't seem clear was that near the end of the film, one would wonder if this film was done as a flashback, however I personally didn't see that as the film played out. Otherwise, this had all the elements that made for a great summer flick.
Certainly if you liked "Jaws" or anything similar, you'll love this, not, as mentioned prior, because it was another "Jaws", but that it was definitely a homage to it. Most of this had Lively as sole actor, and she was able to keep the audience's attention and then some. Grab the popcorn and hold on to your seat!
Out of 4 Stars: 3.5 Rated: PG-13 87mins.
As we're approaching the 4th of July or officially called Independence Day, we are beginning to see more and more big-budget, high adrenaline, high-octane summer blockbusters loaded with a plethora of visual effects. So what a better film to usher in the 4th of July than "Independence Day: Resurgence". Is that appropriate or what?
Fearful of another attack, the nations of Earth have teamed up against their common enemy-- the extraterrestrials who brought humanity to the brink of extinction. We always knew they were coming back. After "Independence Day" redefined the event movie genre, the next epic chapter (20 years later) delivers global spectacle on an unimaginable scale. Using recovered alien technology, the nations of the Earth have collaborated on an immense defense program to protect the planet. But nothing can prepare us for the aliens' advanced and unprecedented force. Only the ingenuity of a few brave men and women can bring our world back from the brink of extinction.
In the original film, Capt. Hiller helped save the day, so now since we are 20 years later, his son, Capt. Dylan Hiller (Jessie T. Usher), following in dad's footsteps, ends up combating aliens also. Retired President Whitmore's (Bill Pullman) daughter, Patricia (Maika Monroe), is also a pilot who is the girlfriend of pilot Jake Morrison (Liam Hemsworth) who reluctantly knows Dylan. Along with David Levinson (Jeff Goldblum), General Adams (William Fichtner) and present day President Lanford (Sela Ward), these brave people band together to combat that enemy of 20 years prior in order to wipe them off the map once and for all.
Others to round out the cast are Judd Hirsch as Julius Levinson, David's dad, Brent Spiner as Dr. Brakish Okun, Patrick St. Esprit as Secretary of Defense Tanner, Vivica A. Fox as Jasmine Hiller, Nicolas Wright as Floyd Rosenberg and Deobia Oparei as Dikembe Umbutu.
This was directed by the king of the summer blockbuster flick, Roland Emmerich ("Joey" '85, "Ghost Chase" '87, "Moon 44" '90, "Universal Soldier" '92, "Stargate" '94, "Independence Day" '96, "Godzilla" '98, "The Patriot" 2000, "The Day After Tomorrow" '04, "10,000 BC" '08, "2012" '09, "Anonymous" '11, "White House Down" '13, "Stonewall" '15) plus others. This guy knows his way around this particular genre virtually like the back of his hand. Just look at his resume--shall I go on? While these types of films aren't necessarily my favorite, I have to give credit where it is due. How many directors are able to manage such a huge production within budget and time restraints and still entertain their audience? Not many, I can assure you. This was written by Nicolas Wright, James A. Woods, Dean Devlin, Roland Emmerich and James Vanderbilt based on a story by Devlin, Emmerich, Wright and Woods which is based on characters created by Devlin and Emmerich. The problem I have with the writing here is based on my last sentence--too many writers. However, considering the enormous number of writers, this wasn't as bad as it could have been. Problems? First of all, this was to take place 20 years after the first attack, which would put it in present day. So that being the case, the cities shown looked a bit too futuristic to be present day. Secondly, even though I realize this is sci-fi fantasy, there are certain realities one must adhere to, lest it looks incredibly implausible. There were places of some inconsistencies and some slowness (believe it or not). It wasn't a bad film, just not a great one. Of course, the visual effects, predominantly designed by Weta Digital and Digital Domain were seamless, but you already know this before walking through the theater doors.
If you liked "Independence Day", you'll love this. With all the grandiose of the production-- sets, special effects, and photography all in a neat IMAX format, you'll be rushing down to the multiplex, grabbing your popcorn and enjoying this rollor coaster ride.
Out of 4 Stars: 2.5 Rated: PG-13 120mins.
We're well into the summer movie season and varoom...varoom-- we've got an obvious summer franchise retrospective showing for one day and one time. This franchise is the 15th anniversary of "The Fast and the Furious" released back in 2001. 2001! It is so difficult to believe that this franchise is 15 years old! This is the film that started the whole phenomenon. Suffice it to say that who knew that this franchise would generate the box office receipts it did?
Los Angeles street racer Dominic 'Dom' Toretto (Vin Diesel) falls under the suspicion of the LAPD as a string of high-speed electronics truck robberies rocks the area. Brian O'Connor (Paul Walker), an officer of the LAPD, joins the ranks of Toretto's highly skilled racing crew undercover to find evidence to convict Toretto. However, O'Connor finds himself both enamored with this new world and falls in love with Toretto's sister, Mia (Jordana Brewster). As a rival racing crew, headed up by Johnny Tran (Rick Yune) begins to gain strength, O'Connor must decide where his loyalties really lie.
Others to round out the cast are Michelle Rodriguez as Letty, girlfriend of Toretto, Chad Lindberg as Jesse, Johnny Strong as Leon, Matt Schulze as Vince, Ted Levine as Sgt. Tanner, Ja Rule as Edwin, Vyto Ruginis as Harry, Thom Barry as Agent Bilkins, Stanton Rutledge as Muse and Noel Guglielmi as Hector.
This was frenetically directed by Rob Cohen ("Dragon: The Story of Bruce Lee" '93, "Daylight" '96, "The Skulls" 2000, "xXx" '02, "Stealth" '05, "The Boy Next Door" '15) plus other films and TV. Again, this filmmaker has treaded on familiar ground before this film and post this film and he knows this type of film like the back of his hand. Sometimes it would be refreshing to see a director pull off an entirely different genre, but in the case of certain directors, Cohen being one of them, it's probably better to let sleeping dogs lie. It was written by Gary Scott Thompson, Erik Bergquist and David Ayer based a screen story by Thompson which was based on a magazine article, "Racer X" by Ken Li. These are relatively seasoned writers before and after this production and I can certainly understand why. This storyline simply moved its audience with relative ease, even though the premise was not a difficult or complex one, these guys were able to transport the audience in another world where they could escape and have fun Were there a few slow places in script? Sure, but certainly not enough to keep one not glued to their theater seat. The real star here was probably Mic Rodgers, who supervised the car stunts as stunt coordinator. They were amazing.
This is the quintessential summer flick replete with car chases, explosions, handsome guys, beautiful women, and incredibly fast cars. This film has come and (remember I said it was showing one night and one time), but I would recommend you to rent or Netflix this and play it on as large of a TV as possible and have a great ride!
Out of 4 Stars: 3 Rated: PG-13 107mins.
Usually when I have seen a Kevin Hart film, they are typically fraught with tons of four-letter words, sexual nuances and silly physical prat fall jokes. This has become the common staple of his films. However when I saw the trailer to "Central Intelligence" with Hart and Dwayne Johnson, I felt, in some way, that there was a potentially funny comedy there. One thing for sure, this is not your typical Hart film.
Mild-mannered accountant Calvin Joyner (Kevin Hart) is stunned when he reunites with an old high-school classmate named Bob Stone (Dwayne Johnson) on Facebook. Once an extremely overweight and frequently bullied teen, Bob is now a CIA agent who's now in perfect shape. However, their reignited friendship turns dangerous when Bob asks for Calvin's help with a crucial mission involving the hacking of U.S. spy satellites. Bob's biggest enemy with this mission is actually his colleagues including Agent Pamela Harris (Amy Ryan), Agent Stan Mitchell (Tim Griffin) and others. And this all leads up to a 20-year high- school class reunion which neither really want to attend.
Others to round out the cast are Danielle Nicolet as Maggie, Calvin's wife, Jason Bateman as Trevor, Aaron Paul as Phil, Bob's spy partner, Ryan Hansen as Steve, co-worker of Calvin's and Timothy John Smith as Nick Cooper.
This was credibly and frenetically directed by Rawson Marshall Thurber ("Dodgeball: A True Underdog Story" '04, "The Mysteries of Pittsburgh" '08, "We're the Millers" '13) plus TV. Comedy is definitely this filmmakers genre hence his resume. Although there was a spattering a dramatic moments in this, this was comedy with credible chemistry between Johnson and Hart. It was written by Ike Barinholtz, David Stassen and Thurber based on a story by Barinholtz and Stassen. I truly didn't have great expectations with the writing of this, pre the viewing of this, however after seeing this film, I was surprisingly pleased. It wasn't a great film, as far as the writing, but it certainly wasn't what I was expecting. First of all, as I said prior, the chemistry between Johnson and Hart worked, and, secondly, for a Hart film, there were actually a few dramatic, certainly toned-down scenes with the two stars that one wasn't expecting, which made for a rather unpredictable script. There were a couple of slow moments which could've cut the running time a bit, but over all, this storyline moved right along with the best of them. I'd like to see these work together in another film--even the outtakes during the end credits were a hoot.
I f you like spy films with a comedic slant, this will be the film for you. But what really makes this film soar is the chemistry between Johnson and Hart. Hart's frenetic side coupled with Johnson's more low-key side makes a terrific 'odd couple' buddy film. Grab the popcorn and have fun with this one.
Out of 4 Stars: 3 Rated: PG-13 117mins.
I believe the best thing about reviewing a Pixar Animation Studios film is that my expectations are always high for a good reason: their films perennially rock! As with "Finding Dory", it is as creative and entertaining as its predecessor, "Finding Nemo" '03. For that matter it is as well done as all the Pixar films with, again, good reason. What other studio knows how to use the perfect combination of artists and tech geeks as well as Pixar?
Dory (Ellen DeGeneres) is a wide-eyed, blue tang fish who suffers from short-term memory loss every 10 seconds or so. The one thing she can remember is that she somehow became separated from her parents as a child. With help from her friends Nemo (Hayden Rolence) and Marlin (Albert Brooks), Dory embarks on an epic adventure to find them. Her journey brings her to the Marine Life Institute, a conservatory that houses diverse ocean species. Through new friends, Hank (Ed O'Neill), Destiny (Kaitlin Olson) and Bailey (Ty Burrell), Dory now knows that her family reunion will only happen if she can save mom, Jenny (Diane Keaton) and dad, Charlie (Eugene Levy) from captivity.
Others to round out the cast are Sloane Murray as Young Dory, Idris Elba as Fluke, Dominic West as Rudder, Bob Peterson as Mr. Ray, Kate McKinnon as Wife Fish, Bill Hader as Husband Fish, Andrew Stanton as Crush and John Ratzenberger as Husband Crab (Bill).
This was creatively and whimsically directed by Andrew Stanton ("A Bug's Life" (co-dir.) '98, "Finding Nemo" '03, "WALL-E" '08, "John Cater" '12) plus shorts and co-directed by Angus MacLane (shorts). Truly Stanton's comfort zone is in animated films, but since he is so creative with them, I am considerably more forgiving than I might be with other filmmakers that weren't as consummate. Looking at his animated films, one feels as though they are observing humans interact as opposed to animals, fish or bird life. This is true talent. This was brilliantly written by Stanton and Victoria Strouse plus additional writing from Bob Peterson based on a story by Stanton. Stanton is the 'meat' of this production as he is the perennial standard in the Pixar chorale. As I've said before and I'll say it again, how do these guys at Pixar do it? They produce one film after another that is pure genius, and if they had only but a handful of films to their credit, I could more understand it, since their work would come across fresher. But even with the vast resume Pixar holds, their work is as fresh as when they produced "Toy Story" back is the mid 90's. The animation is incredible, the production is entertaining all the while giving you an amazing message that will stay with you well after the end credits roll.
Anyone that can take or leave a Pixar film clearly cannot be pleased. Their work is creative, smart, fresh no matter how many films they execute. So while watching the trailer of this gem before hitting the multiplex, one must conclude that not only must they see this film, but realize that it will be a hoot as well--and all in a nifty 3D format.
Out of 4 Stars: 4 Rated: PG 103mins + 6mins- "Piper"
When growing up, I wasn't into the comic book or video game phase, so my knowledge of these arenas is sparse at best. So when I went to see "Warcraft", I had no Idea that, even though it's based on a video game series, that there would be more than one film to carry on this obvious franchise. I'll have to do my homework more thoroughly in the future, because this truly became bogged down a bit as the story played out.
Humans and orcs clash in this feature-film adaptation of the popular video-game series. After realizing that their home is becoming uninhabitable, a race of orcs travel to the peaceful realm of Azeroth. There, they encounter the realm's human denizens, who fight against the invaders. In time, an orc warrior, Durotan (Tony Kebbell) and orc female Garona (Paula Patton) forge an alliance with a group of humans including Anduin (Travis Fimmel), Llane Wrynn (Dominic Cooper)--king of Azeroth, and two guardians, Medivh (Ben Foster) and Khadgar (Ben Schnetzer) in order to overthrow the orc's corrupt leader, Gul'dan (Daniel Wu) and bring peace once again to the land.
Others to round out the cast are Robert Kazinsky as Orgrim, Clancy Brown as Blackhand, Ruth Negga as Lady Taria, Anna Galvin as Draka, Callum Keith Rennie as Moroes, Burkely Duffield as Callan, Ryan Robbins as Karos and Dean Redman as Varis.
This was directed with gritty intensity by Duncan Jones ("Moon" '09, "Source Code" '11) plus a short. Even though this filmmaker doesn't have an elaborate amount of experience, the work he's done stands on its own, especially "Moon", which was basically a sole performance by Sam Rockwell which takes talented directing for any actor to pull that off. The adrenaline and explosiveness of this was staged and paced well. It was written by Jones and Charles Leavitt based on a story and characters by Chris Metzen. This certainly was a well structured script--Leavitt alone has a tremendous amount of experience, but about half way through, there was a bit of slowness and a couple of places where it looked as though they didn't know what to do. Otherwise once the storyline got past the half mark, this story increasingly improved. And how many films of this genre have we seen? A ton! Between "The Immortals" and the "Lord of the Rings " trilogy and many others, these types of films are getting a bit tiresome. One nice aspect was that of the chemistry between Fimmel's Anduin and Kebbell's Durotan. The camaraderie between the two was refreshing. Of course, the visual effects predominantly designed by ILM (Industrial, Light & Magic) were absolutely seamless which made for a killer large screen presence.
Certainly if you're a lover of this particular genre, you'll be in medieval heaven. It is a truly popcorn flick that is so fitting of the summer movie season all in a nifty IMAX and 3D format to give one that grandiose feel.
Out of 4 Stars: 2.5 Rated: PG-13 123mins.
Films about magic are always a crowd pleaser, because we are often asking, "how do those magicians do those tricks?" Couple this aspect with a sting operation, and you end up with "Now You See Me 2". This is basically the follow up of last year's "Now You See Me" whereas one group was 'stung' so now this is get back time--a kind of turn-the-table story with, of course, amazing visual effects.
One year after outwitting the FBI and winning the public's adulation with their Robin Hood-style magic spectacles, The Four Horsemen, J. Daniel Atlas (Jesse Eisenberg), Merritt McKinney (Woody Harrelson), Jack Wilder (Dave Franco) newcomer Lulu (Lizzy Caplan) and their leader Dylan Rhodes (Mark Ruffalo) resurface for a comeback performance in hopes of exposing the unethical practices of a tech magnate. The man behind their vanishing act is no other than Walter Mabry (Daniel Radcliffe), a tech prodigy who threatens the Horsemen into pulling off their most impossible heist yet. Their only hope is to perform one last unprecedented stunt to clear their names and reveal the mastermind behind it all.
Others to round out the cast are Jay Chou as Li, Sanaa Lathan as Deputy Director Natalie Austin, Michael Caine as Arthur Tressler, Morgan Freeman as Thaddeus Bradley, David Warshofsky as Agent Cowan and Richard Laing as Lionel Shrike.
This was directed by a filmmaker that typically delves into the sensationalistic type films, Jon M. Chu ("Step Up 2: The Streets" '08, "Step Up 3D" '10, "G.I. Joe: Retaliation" '13, "Jem and the Holograms" '15) plus others. As compared to his other projects, this was a somewhat toned-down film unlike its counterpart--huge visual effects and lots of music and dancing. This was, in a way, within his comfort zone, but not really in some ways. The original was directed by Louis Leterrier, and even though the directors are different, there was that similar feel to each film. It was written by Ed Solomon based on a story by Solomon and Pete Chiarelli which is based on characters by Boaz Yakin and Edward Ricourt. What actually saves this film is the fact that Solomon wrote this as he did the original--talk about similarity. Solomon is a seasoned writer and knows how to capture his audience with a script he has delineated. "Now You See Me 3" has already been announced, so hopefully Solomon has signed over to pen that screenplay as well. With the exception of a couple of slow moments and a bit of choppiness, this storyline keeps the audience rolling right along. It was great to see the cast maximally intact with a couple of new characters as well.
This sky's the limit with this franchise as far as plot development is concerned, so with this consummate cast and tight-knit writing, this franchise could potentially go on as long as the audience is willing to plunk down that money to see a new 'act' unfold before our very eyes.
Out of 4 Stars: 3 Rated: PG-13 129mins.
Certainly one of my favorite forms of comedy is that of the satire or parody. It typically comes across as a dry form of the truth done to poke fun at or to make light of, so when executing this, one must be a honed writer to pull this off well. Films like "Thank You for Smoking" '05 and "Zombieland" '09 are satirical films in which the dialogue was slick and cutting and hilarious. So when "Popstar: Never Stop Never Stopping" came along, why did these writers feel like this was a satire which is clearly was not?
When his new album fails to sell records, pop/rap superstar Conner4real (Andy Samberg) goes into a major tailspin and watches his celebrity high life begin to collapse. He'll try anything to bounce back, anything except reuniting with his old rap group The Style Boyz which includes Owen (Jorma Taccone) and Lawrence (Akiva Schaffer). His manager Harry (Tim Meadows) and publicist Paula (Sarah Silverman) even start a tour for Conner with another artist, Hunter (Chris Redd) as the lead in to Conner's concerts hoping that will spark more audience interest only with Hunter eventually garnering more popularity than Conner. What is this self-absorbed, egotistical, narcissistic 'artist' to do?
Others to round out the cast are Maya Rudolph as Deborah, Joan Cusack as Tilly, Imogen Poots as Ashley, Edgar Blackman as Eddie and James Buckley as Sponge.
This was directed spot on by Akiva Schaffer ("Hot Rod" '07, "The Watch" '12) and Jorma Taccone ("MacGruder" '10). These guys certainly know how to pace and stage the newer actors today in a way that makes their films hip and contemporary. It will be interesting to see what they will pull off next. However, where the direction exceled, the writing by Andy Samberg, Schaffer and Taccone did not. Even though the premise here certainly was great fodder for an incredible satire, the execution simply was sold out to gratuitous four-letter-words, toilet humor with only a handful of lines even worthy to laugh at. Comedy, especially satire should be conveyed effortlessly--as a 'knee jerk' reaction. When a writer has to take its audience by the juggler and scream, "hey! look at me!", it no longer is funny. Comedy isn't just words. It's how those words are played out along with the proper timing and delivery that goes into a well honed comedy that makes it truly funny. Why can't the newer Hollywood writers today get this concept!? These writers should view some past screenplays that are satires, at their very best, and take note. Sure some of the lines were funny, but even some of those lines seeming forced. These guys have a ton of TV and shorts to their credit, so maybe they should stick to that medium for a while to hone their talent a bit more. As mentioned prior, the premise is classic, it's just too bad that a more cutting edge dialogue couldn't have followed.
You be the judge. If you like satirical comedy, watch this tell me what you think, otherwise I would pass on this and maybe Netflix or rent this down the road.
Out of 4 Stars: 1.5 Rated: R 87mins.
There are conventional, even formulaic films out there and there are unconventional, expressly quirky and bizarre films out there and never the twain shall meet. "The Lobster" definitely falls in the latter category to the point of, not only does it have a bizarre premise, but with an extremely quirky development of character as well.
This is a love story, of sorts, set in a dystopian near future where single people, whether by choice, divorced or widowed, are arrested and transferred to a creepy hotel. There they are obliged to find a matching mate in 45 days. If they fail to do so, they are transformed into an animal of their choice, and released into the woods.
This story centers on David (Colin Farrell) who has just been dumped by his wife, and is sent to a hotel for single adults and is urged to find a new significant other within the 'magical' 45 day period. He meets several quirky individuals including the lisping man (John C. Reilly), the limping man (Ben Whishaw), the nosebleed woman (Jessica Barden) and the heartless woman (Angeliki Papoulia). David eventually meets a runaway from the hotel (Rachel Weisz), and the two begin a secret romance, even though, at this point, they've breached a 'loner' dystopian sect headed up by loner leader (Lea Seydoux).
Others to round out the cast are Olivia Colman as Hotel Manager, Ashley Jensen as Biscuit Woman, Ariane Labed as The Maid and Michael Smiley as Loner Swimmer.
This was certainly creatively directed by Yorgos Lanthimos ("My Best Friend" '01, "Kinetta" '05, "Dogtooth" '09, "Alps" '11, "Venice 70: Future Reloaded" (Documentary) '13). By his very resume this filmmaker puts the Q in quirky. Everyone has an otherwise flat affect expecting nothing from each other as characters. This surely is purposed in his direction and comes across with dry comedic delivery. Lanthimos and his writing partner Efthymis Filippou wrote this extremely unconventional script and I'm not sure if I like it or not. Although the script is well executed, the premise is far from formulaic--in fact so far that the storyline can be confusing in how the story is laid out. There were problems with the storyline that begs particular questions, such as: why do single adults have to be partnered in 45 days or they will be transformed into an animal? Why not 50 days, a year or why at all? This was never explained. I suppose some things in this just went with assumption that this is just how the situation was at this point in our society. This is definitely a film that is clearly not made for a mass audience appeal. Truly a smaller based audience could tolerate or even understand this film. One aspect of interest was the fact that, other than David, no else had an actual name in this. They were named after what they did or were, which certainly makes this an original idea.
As stated above, this film is certainly not everyone's cup of tea. It starts abruptly and ends that way--neither end giving the audience much to analyze. If you're a moviegoer that wants and yearns for a film with a distinct beginning, middle and end, this will confuse and confound you. Otherwise, the direction and acting certainly are worthy of a viewing if you just want to have a film study that has a 2 hour time slot.
Out of 4 Stars: 2.5 Rated: R 118mins.
In a movie season that is fraught with ninja turtles, jacked up super heroes, amazing fantasies and several animated films, we have, before us, a small film rooted in humans actually connecting instead of driving us farther apart. Not too many romantic drama/comedy films in our past I can truly respect, mostly for their predictability, but this story is compelling enough to capture my attention without the expectation of a formulaic script.
Lou Clark (Emilia Clarke) knows lots of things. She knows how many footsteps there are between the bus stop and home. She knows she likes working in the Buttered Bun tea shop and she knows she might not love her boyfriend Patrick (Matthew Lewis). What she doesn't know is she's about to lose her job or knowing what's coming keeps her sane. Will Traynor (Sam Claflin) knows his being hit by a motorcycle leaving him paralyzed took away his desire to live. He knows everything feels very small and rather joyless now and knows exactly how he's going to put a stop to that. What Will doesn't know is that Lou is about to burst into his world in a riot of color by being hired by Will's mother Camilla (Janet McTeer) to be Will's caregiver along with Nathan (Stephen Peacocke). And neither Will or Lou knows they're going to change each other for all time.
Others to round out the cast are Charles Dance as Will's father, Samantha Spiro as Josie Clark, Lou's mother, Brendan Coyle as Bernard Clark, Lou's father, Jenna Coleman as Katrina 'Treena' Clark, Lou's sister, Alan Breck as Grandad, Henri Kirkham as Thomas Clark, Vanessa Kirby as Alicia, Ben Lloyd-Hughes as Rupert and Pablo Raybould as Frank.
This was delineated well by director Thea Sharrock (theatre direction) plus TV. This is her film directorial debut with a good deal of theatre directing to her credit. The chemistry between Claflin and Clarke was amazing and this has everything to do with the directing. Hopefully she will continue directing more films, because she appears to be quite at home with it. It was written by Jojo Moyes based on her novel. Since this is her first screenplay, I'll be much more forgiving. I say that because this was a bit clumsy in the cohesiveness of script, but since she's actually a novelist, she gave this screenplay an amazing attempt. The 'bread and butter' of this story is that of the connection of Will and Lou--this is why you want to see this film. The other actors, although pivotal, were there to fill in the gap of the growing connection between these two main characters. Even when there were places of presumed sappiness within the story, it was written in a way that forgiveness of it was appropriate. The casting of both Claflin as Will and Clarke as Lou was genius. Claflin has that seemingly pompous way about him until he starts to connect with Lou and Lou has this electricity about her and is so expressive, wearing those bright colored clothes, that the extreme opposite characteristics they hold makes it that much sweeter when they start to truly connect.
Is this a perfectly written story? No, but as this story continues to unfold before your eyes, you'll see a human, touching story that we just don't see nowadays. Hopefully this film will connect with the movie going audience amongst all the big-budget films out there so those watching this touching film can actually see what it's like to be human.
Out of 4 Stars: 3.5 Rated: PG-13 110mins.
Message films are becoming more and more plentiful each year as the need for them arises. 2013 was a banner year for the message film, ("The Butler", "12 Years a Slave", even "Dallas Buyers Club"). We, as a society, constantly need to be reminded how dysfunctional we are and how much we need to reach out to others, so Hollywood gave us "Free State of Jones". 
