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Southpaw (2015)
A Few Good Punches
The boxing film Hall of Fame holds great works like Raging Bull, Rocky, and Million Dollar Baby. Each of these films takes a different approach, making them feel like their own unique combatant. Southpaw, the new film from Antoine Fuqua, takes the best parts of each of these films and meshes them together into a sort of "greatest hits" of boxing movies, resulting in a film that tries too hard to be what was successful which prevents it from being a true contender among the greats. But that doesn't stop it from getting in a few good punches, especially in its cathartic fight scenes and tremendous performances.
Riding high on the success of his 43rd victory in a row, Billy Hope (Jake Gyllenhaal in an astounding performance,) finds his world completely shattered after the murder of his wife and the loss of his child to Protective Services. Gyllenhaal continues on his triumphant streak after Nightcrawler in what is yet another performance that proves he is one of the best and most versatile actors working in Hollywood. Just like in Nightcrawler, he dives deep into the role, looking like a boxer in the process while also being hardly recognizable as himself. He captures the "punch-drunk" dialogue perfectly, making it feel like he really has been hit in the head too many times. His biggest downfall is his explosive anger, which benefits him in the ring but causes issues outside, and Gyllenhaal delivers these moments with ferocious depth.
While the film gives Gyllenhaal a lot to work with, there isn't much for the others to gnaw on. Rachel McAdams, who plays Billy's wife, Maureen, is hardly in it, though she makes us wish she was with her few brief scenes before her murder. Oona Laurence, a young actress who manages to steal the scene away from Gyllenhaal, is marvelous as his daughter, Leila. Though we do not see much of her life in CPS, she delivers some heartbreaking moments full of the bitterness she feels for the situation she has been forced into. Forest Whitaker, though he takes the mentorship role of Billy in his attempts to get back on top, does not get a fully developed character that makes us feel any attachment to. He appears partway through the movie with all the clichés of your average filmic boxing trainer and his backstory is hardly explained so we wonder why he has any sort of relevance to Billy's situation.
As mentioned before, Southpaw takes a bunch of different elements from the greats and tries to tie them all together into a cohesive film. It has the downfall of a great fighter like in Raging Bull and his attempts to regain his glory; the underdog aspect of Rocky; the spectacle of The Fighter; and the unfortunate circumstances and loss of everything of Cinderella Man. Some of these elements work well together, but it just doesn't allow it to be its own film. The pacing is skewed at times, especially in the rushed climax where it steals from Rocky to give us a training montage and then an immediate cut to the big fight. Another issue is that one of the most important issues raised in the film is never actually resolved, making us wonder if they forgot to include it or if it even mattered in the first place. Yet, the moments where Southpaw feels original are in its intense emotional interactions that leave you drained, and its final fight scene which is shot with some excellent cinematography.
Getting into the ring with Southpaw you will be able to read the punches and catch its pattern pretty quickly. There are some surprise punches here or there, but without Gyllenhaal and a few impactful moments, it would be a fight that ends in a knockout within the first couple rounds. The bell has rung on this fight, and the judges are calling it a draw.
Paper Towns (2015)
A Solid Adaptation (Raging Film Reviews)
There's something about that period of time right before high school graduation where everyone is vehemently excited but there's also that sense of finality, where everything you do is the "last time" in high school. Paper Towns, the latest adaptation of John Green's work, captures this feeling of excitable malaise and offers up a fun adventure that will surely make you feel nostalgic about those last days of high school, but it misses out on the weighty emotional impact that the novel beautifully delivers.
While not a tear-jerker like Fault in Our Stars, Paper Towns seems more down-to-earth and reflective, making you feel more from memory than from watching the deteriorating health of two teenagers. Quentin, your average, nerdy unpopular kid maintains a crush he's had on the typical girl-next-door Margo Roth Spiegelman since they were childhood friends. They found different social circles in their teen-years but, now on the verge of graduation, Margo shows up at Quentin's window to get revenge on her now ex-friends, and then disappears.
Nat Wolff, who had a bit-part in Fault in Our Stars, takes the lead here as Quentin. His character, who is obnoxiously obsessed with finding Margo, thinks that she wants him to find her because of the clue's he thinks she's left him. Wolff is every bit as awkward and funny as Quentin is expected to be from the book, but his obsession makes him a unlikable at times as he delves into serious selfishness. The real success in his role comes with his natural chemistry with the other actors, especially his friends, Radar and Ben, played by Justice Smith and Austin Abrams respectively. Their banter and all-around demeanor with each other comes off as a real friendship, resulting in heartfelt moments as they reflect upon their lives as well as looking towards their uncertain future.
Cara Delevingne, whose name you will be getting pretty familiar with, plays the elusive Margo. Perfectly grasping the essence of her character, Delevingne—despite being absent for a greater part of the film—does exactly what her character does in the book—she makes a lasting impression on all of us. Part of us wants there to be a whole other film that shows her exploits while she is gone because there simply isn't enough of her in the film. Her coolness exudes off the screen, as does her determination to escape from the "paper towns" of America and to find present happiness as opposed to finding it somewhere in a "conventional" lifestyle. But, then again, her character is never developed on her own and we only see what Quentin sees, which results in a skewed vision of a mythical figure.
Those final days of high school have been portrayed in a number of films, and it's always tricky to subtly tie in the excitement with the repression of the fact that people might not ever see each other again. Paper Towns gets this part right, but it doesn't capitalize on the power of its last pages and instead makes slight changes to an otherwise faithful adaptation in order for it to have a more resolved conclusion. This might be good for those seeking more closure, but for those who were massive fans of the novel might feel the emotional conclusion coming too early just for it to drag on a little more.
Paper Towns won't make you cry like Fault in Our Stars, but it will definitely make you feel in different ways. With some shining performances and a nostalgic portrayal of getting ready to graduate, it manages to keep itself unique from a lot of other YA films about similar subjects despite its shortfalls. If you're up for an adventure into your past and an uncertain future with a great group of friends, Paper Towns will show you the way.
(more reviews can be found at ragingfilm.com)
Love & Mercy (2014)
Compelling, Groovy, and Fresh (Raging Film Reviews
Everybody has heard the Beach Boys, and chances are you've already listened to one of their ubiquitous pop tunes this summer. Yet for a band that made waves with their now classic music, things were not as smooth sailing as their melodies. Love & Mercy, the compelling new biopic about Brian Wilson, delves into the genius' psyche and mental illness in two different decades in order to give us a picture of the man whose songs have become legendary.
Covering two major periods in Wilson's life, Love & Mercy has Wilson portrayed by two separate actors. The first actor, Paul Dano, portrays the younger Wilson at the top of his musical success. The Beach Boys have been cranking out hits but Wilson thinks they need a new sound, and his mind just isn't producing the catchy pop songs it once did. In this decade we see the roots of his mental illness, which is wrongly deemed as paranoid schizophrenia by doctors, but later found out to be manic-depression with a slight schizoaffective disorder in the form of auditory hallucinations. The illness is handled with care and seriousness, never making it more or less serious than it probably was. We see it both internally for Wilson and externally in how others see him coping with it. Dano delivers a powerfully convincing and heartbreaking performance as we see him fall further and further down the rabbit-hole. Dano is consistently one of the most underrated actors in his age- group and has delivered numerous performances that demonstrate his amazing range, but he doesn't always get the credit he deserves.
For those looking for a fun Beach Boys biopic, this is probably going to be the closest you get as we see many of their hits get written and performed during their monumental success. There are magical moments as we see the mind of Wilson working out these tunes, layering the instruments, and conducting them all in his head. His new outlook on music brings about tension within the band, and these scenes carry with it an odd cinematographic choice in portraying it like a MTV Behind the Music segment in which it is shot with a hand-held camera. This would not be an issue if the subject matter wasn't so intense, but it definitely feels off considering the 80s segments are filmed normally.
Portraying Wilson in the 80s is John Cusack, who also gives a career-best performance. His Wilson has suffered the ailments for 20 years, but he also has the added torture of having a manipulating doctor, played by Paul Giamatti, who watches over him at all hours of the day. Giamatti delivers a truly cruel and maniacal performance, making us absolutely hate him in a matter of minutes. He deceives, abuses, and controls Wilson and all appears hopeless until Melinda (Elizabeth Banks) comes along and falls for Wilson. Banks is wonderfully tender and passionate in her role, and there are times when she simply just looks at Wilson and it really feels like she loves him. It is a credit to Cusack and Banks' chemistry to pull this sort of look off, and even though it seems like an odd pairing, it works out extremely well.
Love & Mercy may not be the true biopic of the Beach Boys that everyone wants, but it is still full of good vibrations. It highlights an important issue with fantastic performances, an obviously great soundtrack, and a compelling story that will make you realize that not everything was fun in the sun for the band, resulting in a hidden gem that could surely resonate come awards season.
More reviews can be found at ragingfilm.com
Far from the Madding Crowd (2015)
A Truly Beautiful Movie (Raging Film Reviews)
Few movies these days have the sort of painterly cinematography that films like Days of Heaven, Babette's Feast, and Barry Lyndon all have in common. There's a certain quality to these movies that sucks you in and makes you feel there amongst the rolling hills punctuated by sleeping sheep, or fields thick with fog in the early morning. Thomas Vinterberg's(The Hunt) Far from the Madding Crowd is no different—it's an enrapturing, romantic, and utterly gorgeous film that is spearheaded by Carey Mulligan in perhaps her best performance yet that seems like a perfect counterpoint to the current inequality in Hollywood.
Far from the Madding Crowd, based on the Thomas Hardy novel of the same title, is a relatively simple film compared to what else is currently out. Bathsheba Everdene (Carey Mulligan) is a fierce, determined, and independent woman in a male-driven society back in England during the 1870s. Throughout the course of the film she is courted by three different men, each of whom seem suitable for her, but her strong will is both terrifying to men but also alluring considering the social constructs of the time.
If you are not completely in love with Carey Mulligan by the end of this film, there is something wrong with you. Her alluring, independent persona begs for you to root for her. Bathsheba is surrounded by a society that wants to have control over her. She is the underdog in everything she does but she does not stand for any nonsense nor any attacks to her name or ability to handle herself. She can manage a farm, sell the grain at the market, and work her hands in the field all the same; she is everything that society does not want her to be--and to them it is far from normal, but to us, it is courageous and bold. Mulligan is simply captivating; her cute little flirtations make it hard for you not to fall in love but then her headstrong personality makes you respect her. There are moments when the camera lingers on her face, she does not say anything yet she still commands such a presence that it is difficult to get past the fact that she absolutely owns her role. Her character is appropriate for the times we live in—she is a strong-willed woman who does not need a man. People will argue with her decisions, but it is clear that we need more women like this in our movies.
Her three suitors, William Boldwood, Gabriel Oak, and Francis Troy (played by Michael Sheen, Matthias Schoenarts, and Tom Sturridge respectively), all come with their own pros and cons. Boldwood is a rich, middle-aged bachelor who could have any woman under the sun but sets his sights on Bathsheba instead. Sheen is great in his performance, offering up a repressed and awkward man who becomes completely obsessed with Bathsheba. His character remains a bit of a mystery as we do not get a lot of back-story on why his character is the way he is. Schoenarts is the driven shepherd who becomes a close friend and confidant to Bathsheba, helping her establish the farm she inherits from her uncle. His chemistry with Mulligan is probably the strongest in the film, and it definitely shows. Sturridge is the one who comes out of nowhere but has one of the biggest effects on Bathsheba. He is menacingly nice, ably seducing Bathsheba with his charm.
The other character in the film that needs mentioning is scenery. The human characters move along this ever-changing landscape of breathtaking vistas and sun-soaked foothills. Charlotte Bruus Christensen captures the scenic openness of the English countryside with warm, golden sunsets and serene tenderness. This is some of the most impressive cinematography I have seen in quite some time, and it is definitely a splendid treat amongst all of the explosions that this season is most famous for.
Far from the Madding Crowd is a sight to behold. Though some of the characters feel underdeveloped, Carey Mulligan, the incredible cinematography, and the beautifully designed costumes and sets all come together to deliver a film that is simple in design but breathtakingly beautiful in delivery. Strong female character's and sumptuous visuals are hard to come by anymore, let's hope for more movies like this—Far from the Madding Crowd is one of the best movies of the year.
for more reviews, check out ragingfilm.com
The Age of Adaline (2015)
A Loveless Romance (Raging Film Reviews)
The curse of immorality is not that you grow restless and run out of things to do; it is that those close to you come and go with the passing years, and experiencing heartbreak becomes commonplace as the one you want to grow old with does—but you don't. This intriguing trope would be a brilliant one to explore, but in the entirety of The Age of Adaline, it is completely forgotten in its nonsensical storyline and passionless, flawed characters who never truly feel in love.
After a freak accident in the late 1920s, Adaline finds herself permanently stuck in her young body up into the 21st century. The only person who knows her secret is her daughter (Ellen Burstyn), and she purposefully avoids love at all costs—not because she's afraid of heartbreak, that would be silly, but rather she is actually terrified of being experimented on and used for science. Most of this information comes to us in flashbacks topped-off with an annoying Benjamin Button-esque narrator giving us more detail than we need or want.
For a movie thats tagline is, "Love is Timeless," there sure is not a whole lot of loving going around. At a New Years Eve party, Adaline finds Ellis—er, maybe he "finds" her—as he appears to have been a major fan of the "Christian Grey's Tips for Being a Crazy Stalker" book. After consistently pestering Adaline until she finally gives in, Ellis further strengthens the idea that being completely and utterly creepy is always successful in getting the girl (as long as you are attractive), but he also opens her eyes to the possibility of love. Michiel Huisman (Daario from Game of Thrones), cannot seem to rid Ellis of his stalker qualities, but at times he is charming, yet there is a hint of chemistry that never gets completely flushed out.
Blake Lively, for as good as she is at brushing off every man in the movie with a haughty coolness, does not give nearly enough depth to Adaline's character for her to be at least mildly believable in the sense that she has weathered years of painful losses from constant departures and name-changes. What we do know of her life--like the dead husband who bore her a child--hardly has any apparent effect on her character at all. In a rather awkward and possibly creepier role, Harrison Ford literally appears on screen as Ellis' father, and proceeds to make countless cringe-worthy advances towards Adaline whom he thinks is someone from his past. It is bizarre and a bit uncomfortable as we come to learn the extent of this relationship. Ford's character also forces an unnatural tonal shift towards something more of a comedy which severely detracts from what had been built in terms of a somber atmosphere up until that point thanks to its elegiac score by Rob Simonsen.
Perhaps it says something that the most emotional part of the film is when we find out Adaline's dog has failing kidneys. With a wealth of potential to hit hard with heartbreak and loss, The Age of Adaline carelessly ignores these elements for something that ultimately ends up as a mess of a film that is devoid of any sort of moments that would illicit an emotional response. Love might be timeless, but it is invisible in this "romance."
for more reviews, check out ragingfilm.com
Wild (2014)
A Misguided Trek of Self-Discovery (Raging Film Reviews
A thousand miles is a long way. It's even longer if you're alone, recovering from addiction, and enduring the elements in an attempt to redeem yourself for the mishaps that have happened in your life. This is essentially the gist of what Wild, the autobiographical, novel- adapted film starring Reese Witherspoon is about. While the film is strong in acting, it lacks in excitement and any sense of direction and guidance for a movie that is all about the journey, ultimately leaving us scratching our heads as to whether or not it was entirely worth it. Cheryl has had a tough couple years. The trailers hint at these tragedies, but I do not want to spoil anything so I will only say that she is hiking the Pacific Crest Trail, which extends from Mexico up to Canada, in order to overcome said tragedies. After some mishaps and poor planning, she finds herself in love with the wilderness. She finds solace in her self-imposed solitude. Through flashbacks we come to find out what had befallen her and her inspiration to drop everything for three months to hike the 1,000 mile trail. Reese Witherspoon wholeheartedly owns this role. In her best work since Walk the Line, she truly becomes Cheryl. Through her we experience the pains and sorrows she dealt with. The drug addiction, the relationships, and her exceptionally large backpack all weigh down on her. Witherspoon bares it all, unleashing fury and rage in her attempts to overcome the pain she has suffered. She never holds back and it truly shows even in her face and body as she becomes bruised and battered from the three month long journey to find some sort of relief. Cheryl is flawed, damaged, and sometimes unlikable, but she is nonetheless entertaining to root for and encourage. Witherspoon is certainly going to be a front-runner for the Best Actress award this year, and my vote is on her, because in some ways she definitely saves the film. So, while we have this long trek of self-discovery and redemption through the wilderness, there is not much guidance in terms of what appears on the screen, and a severe lack of any moments where the trip truly weighs down on her after the first couple miles. The flashbacks come at rapid intervals; sometimes we forget where she is because they last so long. At other times they aren't even entirely relevant but rather passing memories brought about by something on the trail. If I had had some way to measure a ratio of flashbacks to present, it would probably come out to a staggeringly close equality. The film is too dominated by flashbacks in trying to explain her need to partake on the hike, instead of focusing on how the trip physically and mentally tests her. One would also expect that any film about someone fending for themselves in the wild would have some sort of danger and excitement, but the moments of peril come very far and few between. There are hardly any animals in the film, which is surprising because she spends three months in the wild, and when we do see them they do not last for long. . The director, Jean-Marc Vallee, whose most recent work is Dallas Buyers Club tends to be able to achieve impressive performances but when the film comes down to its final moments, he leaves it off without explaining what has happened in much detail. I found this same problem in Dallas Buyers Club when, at the end of the film, we do not learn of what really became of Ron Woodruff, and the major issues of the movie are summed up in just a few words of dialogue or narration which kind of negates what the journey has set up for the ultimate self- discovery. Wild is no different, and it is even more of a blow because the movie was all about the journey but we don't quite get an idea of what became of her life after this immense undertaking. In the end, Wild never fully lives up to what it promises throughout the film. This does not make it an entirely bad film, but the promises it makes never are fulfilled to the point of a great satisfaction. The journey is emotional and interesting, but when it comes down to what is learned by it all, the lesson is either not addressed enough or summed up so quickly that it breezes by you like a passing thought. Witherspoon is at her utmost best, and her performance redeems the film from its lack of focus and guidance, but it still leaves you wanting a better sense of closure. So if you are a fan of Witherspoon, hikes, or nature, this movie is exactly what you need.
The Theory of Everything (2014)
The Theory of Love (Raging Film Reviews)
There are only two biopics that have been about Stephen Hawking —one of the biggest figures in scientific history and the most famous scientist in the world. The first was back in 2004 where he was played by Benedict Cumberbatch for a TV movie, and now, ten years later, we have The Theory of Everything. Where the former, simply titled Hawking, focused on just the early days of Hawking's career and dealings with motor neuron disease, the latter follows Hawking and his wife, Jane, over several decades. The result is a powerful, often heartbreaking, yet nonetheless hopeful movie about love and the hope that life gives, but it also tends to aim too high for the stars at times.
We start the film in 1963 where Stephen is working on his PhD. The symptoms of his disease are already apparent; we can see it in his walk, the way he holds things. He meets Jane, and awkwardness aside, they strike up a lovely relationship. Stephen is shy, yet oddly charming. Jane is beautiful and timid. When he finds out he has motor neuron disease he attempts to push her away because he is predicted only two more years of life. She resists, the two get married, and we are whisked away into the future.
This movie, not propelled by the story, is rocketed forward by its performances. Eddie Redmayne, who is surely going to get an Oscar nomination, brings life and hope to a person we have only seen portrayed once before. There are such things as a career- defining performance, and this may just be one of those. His deterioration is painful and hard. It is hard for Jane, it is hard for him, and it is hard for us. Yet there are moments where Stephen's shining light comes through and he pushes past the pain and hardships. He cracks jokes and is often quite funny. The disease is not in control of him because even though he can't control his limbs, he can control his mind. The amount of dedication put into his role is astounding. He brings the early years of Stephen Hawking to life with such lucidity that we feel as though we might actually be watching a documentary.
Felicity Jones, who plays Jane, is utterly delightful at the beginning. She is that type of person you want to meet and be with. She is caring and loving. As the years go by and Stephen gets worse, she has to go with the blows and try to maintain the promise of love she gave him. She sacrifices everything for him despite having the opportunity to get away. Jones, also a shoe-in for a nomination, brings the compassion and loving we expect but also the conflicted and sometimes bitter resentment of the life she lives. Her character could be considered more painful than even Hawking because of the life she has chosen to live, and Jones delivers a powerful performance where we both pity and support her.
The story, though, suffers at times when it seems like it cannot decide its focus. Aside from focusing on their relationship, we also see the deterioration of Hawking, his attempts to make a breakthrough in astrophysics, and several over moments that might be considered as spoilers. For a title that evokes a sense of grand scope, it never can pinpoint one emotional core of the film to focus on. The film is advertised as the story their marriage, so the other threads feel like an attempt to add material about what Hawking actually did but it never goes into a huge amount of detail about what a huge impact he had in his realm of studies.
The supporting cast is substantial as well, but it often feels overpowered by the magnificent leads. David Thewlis, Charlie Cox, and Maxine Peake all do great jobs in their roles, but they cannot quite stand up to Jones and Redmayne. Beneath all of the powerful performances are a wonderful score and beautiful cinematography. Time is ever-apparent on screen and we get many ways in which the camera manipulates time which leaves us dazzled and full of emotion.
In the end, The Theory of Everything is all about the performances —it has some of the best you will see all year. It is a film about love, time, and the bonds that last throughout the years. It is about the power of the human mind—and heart—despite harsh adversity. The actors are so spellbinding in their roles that even the issues with the story hardly detract from the powerful message the film has to send. So, if you have a love for science, romance, or Stephen Hawking, The Theory of Everything will leave you dazzled and inspired.
for more reviews, check out ragingfilm.com
Whiplash (2014)
One of the Best Films of the Year (Raging Film Reviews)
I do not play any musical instruments, nor can I read music, nor can I do anything generally musical that isn't playing Hot Cross Buns on a recorder. Because of this fact I am incredibly relieved after spending almost two hours on the edge of my seat in anxious splendor as I watched a young, up-and-coming drummer get verbally abused by a brutal instructor. I am talking, of course, about Whiplash, and it is one of the best and most anxiety-inducing movies you have probably never heard of.
Andrew wants to be great. He does not have any friends aside from his dad who he goes to see movies with; he instead spends most of his time in the practice room at his music conservatory perfecting his talent. He lives, breathes, and dreams of drumming. Whenever he isn't drumming, he is thinking of drumming; it's all he has. When the most well- known instructor in the conservatory takes notice, he finds himself under the mentorship of a tyrannical monster.
Miles Teller is certainly a star on the rise. He gives such a heartbreaking and powerful performance in his strive for greatness but can never quite achieve it. He bleeds and pours sweat for his talent, ending up with blisters on his fingers and blood on the drums. We see him spiral downward throughout the film and it is horrifying. We get anxious whenever he is on the drums because if he messes up it is almost the equivalent to him pulling the wrong wire on a bomb that would destroy everything he loves and in this case it is drumming—without it he has nothing. It is so intense that the time he spends not drumming is a much needed relief. There are times we just want to shout for him to stop, that it's not worth it, but he keeps going. How far is too far for perfection? The movie hangs that question in front of you the entire time, but Andrew is oblivious to it. Is there a line that is crossed at some point? Or is there no limit to what someone should do to be perfect? It is a searing and penetrative question that will stick with you after the credits roll.
The blood and sweat that Andrew pours is all for one man, Fletcher, played absolutely brilliantly by J.K. Simmons. He is the definition of a perfectionist, in fact he demands more than perfection. He wants so much out of his students that they leave the studio in tears and emotionally distressed. He throws expletives —and chairs—at his students in such a way that he might even be considered the best movie "villain" of the year. Simmons shatters all images of his lovable father-figure in Juno, and puts to shame his already intense attitude in Spiderman. It is the role of a lifetime, and never have we hated him more for it, but he is just so damn good and electrifying. Seldom do we see beneath his harsh and demeaning persona, and even when we do we are quickly reminded that he is the cruelest character to appear on screen this year.
From the foot-tapping score, to the kinetic and stylish editing, to comedic (though very dark) script, Whiplash will build you up and throw you back down hard. When the music is playing without interruptions we are relieved. When it stops, it can either mean that they are done for the day or, worse, that Terrence is going to hurl a chair at someones face or verbally destroy a musician to the point of tears. The editing keeps all the tense elements together. When we cut to shots of Andrew playing we have a momentary shock that he might slip or drop his sticks. It makes for a very enjoyable movie, but at times is almost takes away from the tension and makes you think you are seeing a light-hearted movie about a jazz band. The humor though, arises when you least expect it. It is, perhaps, our cathartic response to the terror that Fletcher puts Andrew through. We want to laugh to make ourselves feel better, we want to laugh because it might make it less horrible, but for as long at the movie goes, it does not get better.
Whiplash is not an easy movie to watch; it will make you more anxious than just about any movie this year; it will make you fearful of a mistake and exuberantly happy when Andrew does a good job; and it will probably make you never want to pick up any sort of musical instrument ever again. With tour de force performances from two excellent actors who gave it their all for their roles, Whiplash is an amazing and devastating movie that questions what it means to be perfect and how far someone will go to be just that. If Whiplash is playing in a theater near you, go see it. Just be warned, you may have a panic-attack.
for more reviews, check out ragingfilm.com
Foxcatcher (2014)
Engrossing and Tragic Character Study (Raging Film Reviews)
I don't think anybody in their right minds would have suspected that Steve Carell— someone who is generally know for charming and comedic roles—could completely destroy his typecast persona with a force so tremendous that he is left beyond recognition. Nonetheless Carell delivers a performance that even most dramatic actors cannot muster.
Foxcatcher, directed by Bennett Miller (Moneyball,) follows the intersecting lives of two Olympic wrestlers and an eccentric and bizarre millionaire who wants nothing more than to train a wrestling team to compete and win in the 1988 Seoul Olympics. In what is a primarily performance driven film, we are also propelled forward by the ever-lingering notion that nothing good can possibly come out of having three utterly obsessed and perfectionist characters crossing paths in their attempts to attain gold. The intense psychological moments regarding the characters all have an underlying feeling of a slow- burn thriller in which the bomb can explode at any possible moment resulting in tragic consequences.
Mark Shultz, played by Channing Tatum, has lived in the shadow of his brother, David, (Mark Ruffalo) for far too long. They are both gold-winners who are striving to have another go at the Olympics. Mark is propositioned to come to an estate in Pennsylvania to meet John du Pont, played absolutely brilliantly by Carell, to start and train a team to take to the Olympics. From the very start, du Pont is creepy and strange. He is unapologetically patriotic, believing that most of the nation has lost its pride, and he wants to bring it back. His mother who occasionally roams the estate has never been impressed by her sons actions, so we add another layer to his desires to be successful. Du Pont and Mark need each other because they both need the same thing: recognition. Of course things are never quite as easy as they seem and soon we begin to realize that the initially welcoming and generous du Pont will stop at nothing to get what he wants. The film has so many layers of motivation and desires, and it is fantastically written so as to allow the audience to take out of it what they want and to interpret in their own ways.
Carell thrusts himself into his character so fully that we can only wonder why we never suspected he had it in him. He is not at all his usual character, and that is a very good thing. He is manipulative, delusional, and at times purely strange. Adding to that is a fantastic makeup job that leaves Carell visually unrecognizable with a hideously-long nose and age-enhancing make up. We never know quite how he is going to act; his unpredictability grows as the film reaches its horrifyingly-shocking climax and we do not if or when he is going to snap. Carell manically drags the audience along with little moments of insanity that only promise something far worse than we actually expect. He is very deservedly getting recognition for his performance, and one can only hope he attempts to do more films like these because he really outdoes anything he has ever done before with this role.
Channing Tatum also succeeds in shedding his non-serious skin in a truly devastating and brutal performance of someone who has lived their life in someone else's shadow and needs to break free. His desperateness for this is what drives him so easily into the arms of du Pont. The amount of stress and anger he is exposed to nearly breaks him. His desire to win is nothing short of heartbreaking because of the extreme behaviors he does in order to do so. Every loss makes it that much worse for him and his relationship with du Pont who's already unpredictable behavior makes us fear for anything but a win. Ruffalo also maintains his consistently good acting as the brother who gets brought in despite having all he really needs. He has a family, a good job, and he is happy with just training his brother. Once he gets thrown into the mix, the dynamics between him and du Pont start to create a whole new vibe for the film—one that adds to the already anxious tone.
In the end, Foxcatcher boasts some of the best and game- changing performances of the year. From Steve Carell's departure from his most well-known roles—and genres for that matter—to Channing Tatum's stellar performance in one of his very few dramatic roles, and to Mark Ruffalo who is fantastic as always, the film is nothing short of an acting frenzy where nobody tries to steal the spotlight and everybody goes all-out in crafting some of the most vivid, terrifying, and real characters of the year. Add to that the psychologically enthralling story with the feeling of imminent tragedy and the result is a brilliant character study in which Bennett Miller pulls out the best performances out of actors playing characters at their worst. Foxcatcher will leave you stunned and amazed. Go check it out if you can.
for more reviews, check out ragingfilm.com
The F Word (2013)
The New "When Harry Met Sally" (Raging Film Review)
What If (also known in some places as The F Word) is a film about the place that many--if not all of us--have been put: the oh-so-dreaded friend zone. What If is essentially When Harry Met Sally put in the modern age: can two people be strictly friends while one carries on a long term relationship while the other is deeply in love with their best friend. Luckily, the movie steers away from all of the unrealistic tropes given to us in some recent rom- coms and offers up wonderful and realist look at an issue that plagues us all.
Wallace, played by Daniel Radcliffe, has given up on romance. He has finally started to move on from his last girlfriend, but he is still a bit miserable. At a party hosted by his pal Allan (Adam Driver) he creates an instant bond with Chantry (Zoe Kazan), and after chatting all evening, he walks her home only to have the bombshell dropped that she is in a relationship. I don't know about you, but this situation is all too familiar. He gets her number, but since he felt that there was more of a connection than just friendship, he tosses it. Some time passes, and as fate would have it, they find each other again and decide to be friends because he is lonely and she is tired of always being "that girl with the boyfriend." They strike up a strong friendship, but obviously Wallace wants and hopes it will go somewhere else.
So we follow their friendship through many events that people can relate to. Does he tell her how she feels and have her feel like he's a scumbag with ulterior motives? Does he try to break them up? He is trapped. To make it worse, Chanty's boyfriend, Ben, is an incredibly likable and successful person who Chanty is happy to be with. He does not cheat, lie, or anything that would give Chanty a reason to leave him. This dynamic helps elevate the film from other commonly known character situations because it isn't about one guy being a "bad guy" and us yelling at the girl to leave him for the other, it is about both guys being "good" and having her decide between who she really wants.
Radcliffe and Kazan are marvelous in this, with the former continuing to shed his Harry Potter typecasting and the latter achieving the most "adorkable" performance of 2014. Their chemistry is luminous. One hopes that they are actually good friends now because their performances would surely go to waste if they weren't. Radcliffe has done a good job at distancing himself from the wand and glasses, and with more roles like this he will surely be an actor to be reckoned with. Kazan, on the other hand, has the most difficult role in this film; her performance is both lovable and a bit sad to watch because we see her juggling her love for Ben but also the budding emotions that she may or may not be growing for Wallace. With the help of the humorous and real script, their characters come to life off the screen, and they just seem like real people dealing with a real problem and real feelings.
Supporting them is a funny and lovable cast of crazy and hilarious friends, coworkers, and siblings. Adam Driver, who can be seen in the upcoming Star Wars film, plays a wild and oddly romantic fellow who finds love too, but his love is a little more bizarre and shared by his partner, played by Mackenzie Davis, and they both watch Wallace struggle with his feelings and dilemma concerning Chantry. Rafe Spall, who plays Ben, is likable too, though we do not exactly want him in the picture. The only thing that really keeps us hating him is the fact that we don't want him and Chantry together, which as I said before, helps make the movie a little more original.
In the end, What If is a delightful and honest film about an area that no person wants to be in: the friend zone. It raises questions about love, friendship, and who we are meant to be with, while also dealing with some of the harsh truths that come into play when there is a relationship like this one. Kazan and Radcliffe are utterly delightful in their performances as well, helping make this one of the best romantic comedies to come out all year. So, if you've ever found yourself in a situation like the one in the movie, love Radcliffe, rom- coms, Kazan, or a great chemistry, or if you just want to see a movie that does not involve space or mutants, then What If will surely leave you delighted.
For more reviews, check out ragingfilm.com
Teenage Mutant Ninja Turtles (2014)
Half Baked Half Shells (Raging Film Review)
The Teenage Mutant Ninja Turtles haven't exactly had the best track record when it comes to feature films. Most will claim that the 1990s film, the very first feature, is the best; most would be right. Where the comic books and the TV shows have been exciting and well- done, the films have always lacked something or been made far cheesier than the pizza the Turtles crave so much. Luckily the latest reboot of the series is among the more exciting ones of the bunch, but it probably won't be having you shout, "Cowabunga!"
The film opens with a neat little summary of how the turtles came to be, and one would think that was all would be necessary, yet after meeting April O'Neil (Megan Fox), we are inundated with multiple summaries of the events that created the Turtles—and Splinter—as well as a flashback which further explains their past. The first act of the film is essentially just a repetition of explanations of what the Turtles are, who the Foot Clan is, and April being a persistent reporter. When the film finally does pick up—which takes a while to do so—it is able to somewhat make over for the lackluster beginning, aside from the horribly stupid plan of the Foot Clan. We come to learn that the Turtles were an accidental byproduct of some experimentation to find a "cure-all" medicine. Their blood is needed in order to create the cure again, but they were lost when a fire destroyed the lab. That horrible plan that I just mentioned is to release a deadly toxin into the atmosphere, and then sell the cure to the government to earn loads of money.
When people think of the Ninja Turtles they think of their awesome action scenes. Though this movie is advertised as packed full of action, most of said action lacks any sort of fun. The turtles in this movie are more like the Hulk than turtle, appearing over six-feet-tall and using mostly their strength to fight as opposed to their respective weapons. This really dumbs down the fight sequences because in other iterations they have their own unique fighting style. The fight scenes are really rough to watch; most of the time the camera is so tight on the action and moving so fast that it is hard to follow who is actually winning the fight or even what is going on. Aside from one exceptional sequence, most of the fighting is repetitive and difficult to comprehend; it doesn't help that the camera is shaky either.
Other than the one great action sequence, the movie is saved from more failure thanks to the humorous banter between the Turtles. Leonardo, Raphael, Donatello, and Michelangelo, voiced by Johnny Knoxville, Alan Ritchson, Jeremy Howard, and Noel Fisher, respectively, are hilarious to watch. Unsurprisingly, Michelangelo is the funniest of the bunch as he develops a crush on April while also having some of the more comical writing of the film. Raphael and Leonardo are at odds in this one—as they always are—about who should be leader and whatnot, so it is good that they are bringing back that dynamic. Supporting them is a rather annoying and unnecessary supporting cast. Fox's April takes center stage most of the film as she is trying to find her way to the bottom of the mystery. Though it is nice that they don't use her appearance as a marketing draw (having it be Megan Fox is probably enough to draw in those who still want her after Transformers), someone else would have been far more suited for the type of role because she has become too much of a sex-symbol. She is assisted by Will Arnett who plays her love-struck cameraman who is almost the cheesiest and most unnecessary characters in the film. His dialogue is idiotic and his only real purpose in the film is to drive the news truck around. The only character who is more unnecessary is Whoopi Goldberg as April's boss who appears to only be in it to add more to the star power and whose character has no overall significance to the story. William Fitchner, who plays the main villain other than Shredder, who is wickedly awesome, is just your run-of-the-mill bad guy. He does not bring anything new to the villainy table, and instead his motives are, like I said, stupid.
In the end, this is not the Teenage Mutant Ninja Turtles everyone has been waiting for. Though it is weighed down with excessive dialogue about the events prior to the film, contains some rather difficult to follow action scenes, and features one of the most absurd villainy plans, It is not a complete failure thanks to the Turtles and the fun action scene later in the film. Teenage Mutant Ninja Turtles is a half-baked attempt at a reboot for our Heroes in a Half-Shell that will leave you hungry for something a little more—and for pizza.
Guardians of the Galaxy (2014)
Best Space Adventure in Years (Raging Film Review)
Just like the the actual Guardians of the Galaxy in the film, moviegoers have been very skeptical about this new Marvel franchise (even though it's been around since the late 60s). It is one that has not gotten a whole lot of recognition; it doesn't have any of the Avengers, it takes place in space, and people aren't familiar with any of the characters. But just like in the movie, Guardians of the Galaxy is an astounding surprise, one that will surely have the neigh-sayers eating their moonboots.
Featuring one of the most emotional moments in Marvel movie history, Guardians opens on Earth and then whisks us away across the galaxy to worlds filled with unique alien creatures, dangerous bounty hunters, ruthless scavengers, and a conflict between two alien races that could potentially have genocidal consequences. Peter "Star-Lord" Quillan comes into possession of a mystical orb within the first minutes of the movie, and in doing so, he becomes the target of everyone else who wants said orb. As a result of this, Peter finds himself wrapped up in the aforementioned intergalactic conflict along with a talking raccoon, a tree-like humanoid, a revenge-seeking killer with a large vocabulary, and a seductive alien who has ties to both Thanos (the alien seen during the post-credit scene of Avengers), and Ronan, who is trying to get the orb to Thanos so he will destroy his enemy, the Xandarians. At first it seems like a lot to gather, we are thrust into this galaxy without any real backstory to anyone and have to pick up on the dialogue to discover the ties and histories, but it is not as daunting as one might think.
For such a ragtag cast, it certainly is very strong. Chris Pratt is an excellent lead. He is witty, sarcastic, and far more relatable than some other Marvel leads. He is essentially an orphan, raised in space by a group of scavengers, and now a bandit who really wants to be known as "Starlord." I really hope that Pratt gets some more leading roles. He has always played the dumb friend, so a change of pace would be really nice. Supporting him is a mix of voice-actors, brief cameos, and luckily no huge Marvel cameos. Zoe Saldana, who dons green instead of her famous blue from Avatar, kicks literal butt as an assassin who initially is trying to get the orb from Starlord, but then gets caught up in the mix. She and Pratt have good enough chemistry for a movie that doesn't focus too much on the romance. She may be an assassin, but she also is very grounded in the decisions she makes and actually cares about honor. Bradley Cooper. in a rather shocking role, does the voice for Rocket Raccoon, and you probably couldn't even tell if you just heard his voice. Rocket is a bounty hunter, he is an experiment who was torn apart and put back together, and he is longing for someone like him. He only cares about getting money, blowing stuff up, and his pal Groot. Groot, voiced with only three words ("I am Groot") by Vin Diesel, is one of the funniest aspects of the film. He is a lumbering figure, who can grow and transform his body if need be, and he is one of the most caring members of the Guardians. Rounding off the Guardians is Dave Bautista, some of you may recognize him from WWE, who plays Drax, the most viscous of the group. He has a thing for words—and revenge—but sucks at metaphors and uses his words to hurt people more than help.
For a Marvel film, it certainly has a humorous script full of hilarious references to Kevin Bacon and Footloose, sad moments that are completely unexpected, and a tight story that spans years and planets. The movie is essentially a movie about orphans who need somewhere to fit. It is the "losers club" of the galaxy. They have nowhere else to go, so why not just learn to live with each other?
The film, though it has ties to the upcoming Avengers sequel, is entirely its own vehicle. There are no "superheroes," but there are "super-villains." The film feels wholly different from the rest of the Marvel universe, and that is a very good thing. It is like the odd-cousin. It is filled with classic rock music, takes places in the far-reaches of space, and feels more like a weird sci-fi flick littered with raunchy humor and space battles as opposed to superheroes battling it out in the most recognizable cities in the world. The locales are no less memorable, though, ranging from a prison in outer-space, various spaceships that could be on the same level of coolness of other famous spaceships, and different planets that each have their own unique personality. The special effects and set design also stood out. From the colorful outfits, to the interiors of the spaceships, and the beautiful space- explosions, the movie is more than a feast for the eyes with its colors that almost pop out of the screen.
In the end, Guardians of the Galaxy, though it was a huge underdog, is actually one of the best Marvel movies to date. It combines an entertaining and mix-bag cast with whip-smart dialogue, great action, and an intergalactic story that separates itself enough from the other Marvel films to not feel like a Marvel movie at all. It is definitely one of the best space films in years, and I will surely be anticipating the sequel which is currently slated for 2017. So, if you were on the fence about the new film, or are already excited to see it, you should probably get to it before your seats get filled. Guardians of the Galaxy is a stellar summer blockbuster.
Rise of the Planet of the Apes (2011)
A Reboot Done Right
Back in 2011, I don't think there was too much hope for this movie. Memories of the terrible Mark Wahlberg reboot still lingered in the minds of fans of the classic series. But, against all odds, Rise of the Planet of the Apes showed us that sometimes good reboots can happen.
The film is a prequel for what would become the classic series. We are introduced to James Franco who plays a scientist searching for a cure for Alzheimer's. His test subjects are monkeys, and after a failed attempt and escape of a monkey, James Franco smuggles home baby Caesar. His father, played by John Lithgow, suffers from Alzheimer's. Franco finds an apparent cure, which not only helps his father, but boosts Caesar's brain power.
Things get muddled however, because the movie tries to include too many different plots. One could look at this movie as a man trying to find a cure, and eventually reclaim his lost "pet" who gets taken away to a monkey habitat. You could look at this movie as a plague movie, one where a disease is released and takes over the world. You could look at it as a warning against animal abuse. You could also look at it as a coming of age tale about a young monkey who desperately wants to fit in and be free. But for those who are familiar with the story (or have seen the previews for the sequel), these might feel unnecessary, because in the end you know it leads to an uprising from the monkeys.
While the performances are solid in the film, the true star isn't even seen in the flesh. Andy Serkis, most famous for his motion-capture performance as Gollum in Lord of the Rings, returns to do the mo-cap for the monkey's in the film. His performance makes this movie. Gone are the days of dressing up in a monkey outfit, and he makes us believe that the monkey is real. It is not though, and that is the beauty of it. It is weird praising someone for a performance that isn't even seen in person, but he is truly talented at what he does.
Aside from these performances, the contrived romance between Franco's character and Slumdog Millionaire's Freida Pinto is probably the least exciting aspect of the film. They do not add any real emotional value to the film, but instead act as plot devices to further the story and to explain certain elements.
Dawn of the Planet of the Apes (2014)
Surpasses its Predecessor (Raging FIlm Review)
Who would have thought that a sequel to a prequel after a failed remake would end up being one the best movies of the summer? Dawn of the Planet of the Apes takes what its predecessor started and turns it into one of the best summer movies in years.
We pick up ten years after the first film. The apes have settled into their home in the forests while the humans have fought and tried to survive the Simian Flu as well as the fighting caused from the depletion of resources after the population dropped. For ten years the apes have lived in peace aside from the occasional run-in with humans that are briefly alluded to. The apes have a good society; they hunt for food, they have become advanced enough to make weapons and ride horses, they teach their young, and most importantly, they live in happiness. Things change, though, when a group of humans show up looking to use a nearby dam for power. After some disputes and a confrontation in the human settlement, the apes allow for the humans to access the dam.
It is interesting how the writers paralleled the lives of humans and apes. Both are just trying to survive, both have lost loved ones, and both are skeptical about combining the two species even if it is minimal. The humans, who are led by a man named Dreyfus, played by Gary Oldman, are becoming exceptionally desperate for survival. They are quicker to assume the apes mean harm and often threaten them before the apes threaten them. The apes too are hesitant, mostly an ape by the name of Koba, an ape from the first film, who has many scars from "human work." His skepticism leads him to find out that the humans plan on assaulting the apes, but he knows that Caesar, the hero ape from the first film and leader of their civilization, will not stand for initiating violence. This begins a conflict that will eventually divide the apes in deciding who is right to follow.
The film, which runs a little over two hours, feels far too short, which is usually a sign that the movie is good. There is not a dull moment in it. From the start, the tension keeps the film running. You never know when it's going to crack and turn into a full-out war. The human characters are relatable. Malcolm, played by Zero Dark Thirty's Jason Clarke is a man who sees something remarkable in the apes. He tries to befriend them instead of killing them. His wife was killed, and all he has is his son, played by Kodi Smit-Mcphee, and Ellie, played by Keri Russell, who has lost a daughter. Everyone is a victim in this film, which makes the consequences so much more dire. Though the humans are interesting, most of them do not hold a huge role in the film, especially Oldman's character who is depicted as the villain in trailers but is missing largely from the film itself.
While the human acting is solid as can be, it is good that they are written interesting enough for us to keep focus when what we really want are the apes. The apes are fascinating to watch. While it is a little disorienting to see them talking at first, they are very sophisticated. The motion capture and detail in the apes is phenomenal. They appear almost real in some sequences, and it is very hard to distinguish reality from CGI. This can all be credited to the talented team of motion-capture actors including Andy Serkis, Toby Kebbell, Nick Thurston, and many more. With motion-capture like this, it is brightening the future for better technology and ways in which to use it to enhance films.
There are numerous fantastic set-pieces. From the decaying San Francisco, to the ape sanctuary, to the tops of skyscrapers, to the battles in the streets, they are nothing short of spectacular. Each action-sequence seems to top the previous, especially the climactic battle sequences in the heart of the city with apes on horses. Yes, you heard me. And no, it is not funny like you would see in a YouTube video, it is actually quite terrifying because of how closely it resembles the original film series.
In many ways this film feels like (as the reviews have said) Star Wars. But to me it felt more like The Two Towers than Empire Strikes back. Sure it is easy to say that the film is like Star Wars in a way that the first film could have been a standalone film left open-ended for a sequel. Yet this film feels more like Two Towers because it has that impending doom feel like Lord of the Rings. We still know the end-game for this series of prequels, but any of these films could be enough to leave the rest open for interpretation and speculation. Yet, as good as the previous one did, and as well as this one will surely do, we will be treated to more installments that fill in the missing pieces. All I can say is, bring it on.
Dawn of the Planet of the Apes is the best movie of the summer thus far. It combines fantastic CGI and motion capture with an extremely tense story, excellent battle scenes, and the feeling of impending doom for a film that exceeds its predecessor on all fronts. If you have not seen this film, I beg you to do so.
For more reviews, check out ragingfilm.com
Begin Again (2013)
Songs of Summer (Raging Film Review)
Hidden amongst robots, apes, and kids with cancer is a little gem of a film called Begin Again. From the director of Once, John Carney, comes yet another film filled with music, love, and originality. At times Begin Again plays off as an underdog story of two down-on- their-luck people trying to make it big, but it also is a (literal) love song to the city of New York, as well as a tale of finding happiness in what you love to do.
The film opens with Greta (Keira Knightley) performing reluctantly on stage to a bar with people who don't find her very good, save for one man, Dan (Mark Ruffalo), who persists on trying to sign her to a deal. We jump back in time to the events that led him to that bar. We find out he is an alcoholic who is separated from his wife (Catherine Keener), all while he is trying to maintain an almost severed relationship with his daughter, Violet (Hailee Steinfeld.) Dan's glory days are over; he has not found a hit in years, and now, almost at the end of the line, he finds Greta. We switch perspectives and go back in time to see what led Greta to the bar. Her story is as down-putting as Dan's; she came to New York with her singer boyfriend Dave (Adam Levine), only to have his success lead him into having affairs. Betrayed, alone, and feeling hopeless, she ends up staying with her friend who drags her along to the fortuitous meeting with Dan. Once they have met, they both see they need each other in this time of need, and so they begin to work together on an album.
Ruffalo and Knightley are grand together. Ruffalo is very convincing as an alcoholic father who desperately misses his wife and wishes he can put the pieces back together. At times he seems like Tom Cruise in Jerry Maguire (which is referenced in the film); ambitious and dedicated in trying to make his only shot a hit, but he is also flawed. He drinks, he does not appear to care for his daughter, and he has been hurt in more ways than we know at first. Ruffalo is definitely one of the most consistent actors in Hollywood these days. Knightley, however, truly shines and steals the spotlight. Her voice is so shockingly good that it's hard to believe it is her singing at first, but it really is. This is certainly her best role in years, possibly the best since Atonement.
Supporting the two stars are a variety of musicians and actors. Keener and Steinfeld, the wife and daughter of Dan, are great but they are seen too little. It would have been nice to feature them a little more to increase our idea of what Dan is fighting for. Steinfeld, who just 4 years ago was a stern and rigid little girl in True Grit, is now a beautiful and graceful actress whose career is continuously going up. Adam Levine (from Maroon 5), though briefly seen as the love of Greta, proves that he has some decent acting chops even though it is his first feature film. Mos Def plays Ruffalo's partner, and he does an adequate job with what he is given, though it does not standout as much as the other supporting roles. Rounding up the bunch is CeeLo Green, who is probably just playing himself, is entertaining but does not add all too much to the film in general.
What I found most charming about this film is its script. It is written in such a way that it isn't linear. The time-shifts help us understand the motives and circumstances of the characters involved, while also adding a new edge to the tried-and-true story. But most importantly is the reason why Ruffalo got fired; he became too tired of the derivative and unoriginal pop music that fills the airwaves. He wanted a new sound, a new voice. He wanted originality, and that is what he saw in Greta. It is clear that for such a musical director, Carney has some grim viewpoints on the current state of the music industry. This film is almost a call for more original music. The film, like I stated earlier, is also a love letter to New York which has been done many times before (mainly by Woody Allen), but thanks to its beautiful soundtrack and the surprisingly talented Knightley, it allows it to not be another copycat, but instead shows New York in a new and different way.
In the end, Begin Again is a delightful little indie summer film that avoids explosions, robots, and big budgets in exchange for a talented cast, a somewhat original premise, and a great soundtrack that will have you tapping your feet by the end of the film. So, if you are tired of all the explosive sounds of the big-budget hits, go freshen your ears up with this wonderful little music-driven film.
for more reviews, check out ragingfilm.com
Transformers: Age of Extinction (2014)
Did We Really Need Another? (Raging Film Review)
Michael Bay realized how much money he was going to be missing out on when he initially claimed that Transformers 3 was going to be his last Transformers. Well, he made a fourth one and it's pretty much what you'd expect.
Picking up 4 years after the events of Dark of the Moon, Transformers: Age of Extinction is more of what we've come to expect from Michael Bay and his seemingly endless barrage of robot films. The Transformers are being hunted by a special CIA task force; they are considered threats that need to be reported on sight, and the battle of Chicago has become a sort of rallying call. In lieu of Shia LaBeouf we now have Mark Wahlberg who plays Cade Yeager, a man who has lost his wife and has raised his only daughter (Nicola Peltz) the best he could despite being a failed inventor. He happens upon an old truck in an abandoned movie theater, which turns out to be Optimus Prime. One thing leads to another and we are led on a global adventure, following the Autobots trying to stop an intergalactic bounty hunter as well as trying to stop the production of a line of human-made Transformers, and also dealing with a device that could destroy all life on Earth.
If that plot sounds confusing and a little over-excessive, you're right because it is. The film suffers from what the previous films suffered from: a script packed with pointless—and often unfunny—jokes, overly-convoluted plots, gaping plot holes, and horrendous dialogue ("My face is my warrant"). Mark Wahlberg is probably the highlight of the film, but even still he has to struggle along with the awful writing. He brings a more mature main character than LaBeouf did, and this new dynamic helps make it a little more interesting. Other than that, the characters are so poorly written that they seem like generic pawns that only serve to carry the plot forward without adding anything more than a few cringe-worthy lines. Stanley Tucci's character, the eccentric billionaire who owns the company that is producing the new robots, is so painfully written that he is almost a caricature of what an eccentric billionaire should be like. An even bigger example of poor writing is Kelsey Grammar's character who appears to get from place to place without any explanation or consideration of time taken to travel. It's almost like the writers took a page from what the Heroes writers did for TV.
When things finally get explosive, there is no stop to them. Though this one felt far more tame than its predecessors, it is actually the longest. The Battle of Chicago in the third film still holds out as the biggest battle, but this one is just a series of small skirmishes in various locations. The combat is still fun, just nowhere near what we have seen before. Even though it's tamer, Bay thought he would balance it out by adding more slow-motion footage. The amount of slow-motion in this film is equivalent to the solar-flares in a JJ Abrams film. Looking back on it, it seemed like despite the huge budget, there wasn't nearly enough concern about the cities of Chicago and Beijing being destroyed. Both cities appear near desolate during the fighting, and we do not even get a glimpse of people being terrified on the streets as huge robots destroy their buildings. The army does not even get involved until a brief glimpse of fighter jets after the final battle of the film. Oh, and did I mention that there are Dinobots? Their inclusion in the final battle saved it from being a complete repeat of what we've seen before.
In the end, Transformers: Age of Extinction is exactly what you expect it to be: another mindless action movie from the man who loves explosions and big budgets. It suffers from the same problems that the previous films suffered from, and nobody seems to care about fixing these issues because even as these movies have been getting continuously worse, more and more tickets are being sold. I am not saying this movie is not entertaining, it just simply is not a good movie by the standards of what a movie should be. The film is fun, and that's what we have also come to expect, just don't expect it to be any better than the others.
For more reviews, check out ragingfilm.com
Boyhood (2014)
The Movie of Our Times (Raging Film Review)
Richard Linklater's Boyhood is the sort of movie I live for. Seldom does a movie significantly change the landscape of filmmaking in a way so grand in scope, yet so simple in delivery. Boyhood is a movie that crafts the most realistic representation of life into the boundaries of a 165 minute film, and it could have focused on just one aspect of life, but instead it perfectly encapsulates the idea of what it is like to grow up; the idea that everyone is familiar with and will most certainly relate to. The movie is not just about one thing alone, but in the end it is; it is about life itself.
We follow young Mason, played extraordinarily by Ellar Coltrane, from the age of 6 to his first day of college. We do not have different actors playing the same characters, each of the actors were filmed annually for 12 years; there are no prosthetics, no extensive makeup, and no body doubles. I could try to give you a brief summary of all the major things he experiences in his life, but that would be taking away the magic of watching his life unfold before your very eyes. Almost every moment that you have experienced in life— no matter how mundane or unimportant— is up on screen for you to relive. From times when your parent told you to actually talk about your day instead of saying, "It was OK," to "the talk," to graduating college and leaving home, to falling in love and falling out of love, to that first day of school, to making friends and losing friends, and every moment you think you have forgotten; Boyhood has all these moments that might have seemed unimportant to us at the time, but they appear as milestones in the life of Mason.
Coltrane is fantastic; even at the age of 6 he is great. His life is utterly absorbing; we became entranced by his life. Even if nothing huge is happening, we see him grow up in front of our eyes. There really is no equal to this type of experience—except maybe if you were to marathon all of the Harry Potter films. He is continuously changing before our eyes. His hair grows and is cut off; he gets taller and gets piercings. But, although his appearance changes, he remains the same type of person.
Playing the older sister, and getting far less recognition than Coltrane, is Linklater's own daughter, Lorelei. From early childhood to her teenage years, she is the one who bugs her brother, but also accompanies him along for the ride, just like any good sibling would do.
His mother in the film, played exceptionally by Patricia Arquette, is a woman who is struggling to raise her two kids on her own. She is flawed, though; she has a hot temper and continuously picks the wrong man, but she is what a mother should be: thoughtful and caring. She cares for her children and does whatever she can do to make it by and let them live a happy life.
His dad (played by Ethan Hawke in one of his best roles) though caring as he may be, is divorced from their mother for obvious reasons. He is always fun, spontaneous, and wants nothing but to be a family again. He is always there for his weekends, and always tries to show his kids the best time possible.
The film is set to what is essentially a "greatest hits" of the 2000s. Linklater, who is famous for his soundtracks, uses music in this movie as an indicator of the time. From early scenes featuring Brittney Spears and Coldplay, to final moments with Foster the People and Arcade Fire, the movie contains an amazing soundtrack.
As someone who only just recently passed the age at the end of the film, there are so many references to my childhood that makes this film hit even harder than it does for those older. It is imbued with memories of watching Dragonball Z after school while laying on the floor, playing Halo with friends, anxiously anticipating the next Harry Potter book, talking about the possibilities of another Star Wars, and many more. Anybody who has just started college should see this movie to see their childhoods flash before their eyes.
Boyhood is basically shot in a series of episodes, with each year or so being a new chapter in the story. But there are no dramatic cuts to future scenes, there are no subtitles that explain what year it is; the years bleed together like they do for anyone. We do not live life as a series of chapters, we live at it as one long story, not quite knowing where one chapter begins and the other ends, and we are only given a brief glimpse in the life of a boy growing up. By the end of the film I wanted to see more. I wanted to see what he would do in his life, who he would marry, what his kids would be like. I wanted to watch all the way up until his final moments. But sadly that is an impossibility, and we are left to wonder where life takes him.
Twelve years ago, making this movie must have seemed like a huge gamble. There were so many things that could go wrong in 12 years. Someone could have died or quit, funding could have fallen through, or Linklater could have realized what he was making was complete garbage. There are a million reasons why this movie could not have worked out, it somehow worked out perfectly, and we are left with a truly cinematic masterpiece, a movie that will go down as one of the best of the year, maybe even of our generation. It is a truly and wholly unique and magical experience. It is a perfect movie.
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How to Train Your Dragon (2010)
A Triumph
How to Train Your Dragon has the same basic story that a lot of animated/kid movies have. Our main character is part of a group of people (tribe in this movie) but he/she just cannot fit in because they are too smart, or special, or hiding some secret talent that eventually makes everyone love them and whatnot.
Hiccup lives on Berk, an island full of hulk-like vikings who live their lives to fight dragons. Hiccup, like you could guess, is not violent. He is scrawny and too smart for his own good. He is essentially an outcast. The one thing I noticed is how many people do not actually like him. Even his dad is embarrassed by him. He does not have a single friend until he rescues the dragon he initially caught in his trap. They soon become friends and discover that (you gotta love the tried and true formula) the two worlds could actually live in peaceful harmony.
Jay Baruchel, who does the voice of Hiccup is funny and witty. He endows the character with enough pity that we still root for him without us completely giving up on him. He is supported by a fun cast with the likes of Gerard Butler, Jonah Hill, America Ferrara Craig Ferguson, and many others.
The movie carries along at a decent pace. It plays like more of an origin story, with establishing the characters and area, as well as introducing us to the history of the dragons. The moments when Hiccup and Toothless (his dragon) are together are the best in the movie; flying high into the clouds while also adding a touch of humor here and there makes it a wholly entertaining movie that makes you really want a pet dragon for yourself. The animation is pretty low key for the most part until the climactic battle sequence where it really gets kicked into high gear, delivering a spectacle that is a feast for the eyes.
In the end, How to Train Your Dragon is an exciting animated adventure into a world full of dragons and vikings. Though it has a pretty formulaic story, it makes up for it in its animation and fun voice-cast. So, if you're anxious to see the new sequel, (re)check this one out before you head to the theaters this weekend.
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How to Train Your Dragon 2 (2014)
Better and Broader (Raging FIlm Review)
Sequels are tricky things when it comes to animated films. They have to contain the same charm, lovable characters, and the same solid foundation while also furthering the storytelling, bringing in new characters, and taking courageous risks. How to Train Your Dragon 2 does this, and it does it so well that it takes the series to a new height, literally, but also raising the bar for what an animated sequel should be like.
We pick up 4 years after the first film, which is also in real years considering the first film was released in 2010, and the island of Berk has grown and flourished with the inclusion of dragons. Every citizen has a dragon; there are races, they help out, and they are used to travel to new and uncharted lands. Hiccup is spearheading this effort, tracking where dragons are located while also trying to discover another dragon of the same breed as Toothless. He soon discovers (spoilers from the trailer ahead) that his mother is actually alive, and she is helping raise and care for dragons in the wild while also stymying the efforts of dragon-trappers led by the evil Drago.
The story is a lot more in depth than the first film, containing some more serious elements that mirror real-world situations (such as the poaching of wild animals). It is a good way to involve children at a young age who might find the actual idea too frightening. The writing is pretty great for the most part; the characters all have their shining moments, we get to learn more about the backstory of Stoick (Hiccups father), and we also see characters who have matured since the first film. However, the writing for Hiccup's mother, whose name is Valka, was not that strong. Having been in the jungle for a while raising dragons without any other humans might make someone crazy, but to have her essentially be looked at like someone who was actually raised in the wild is a little bit jarring and unnecessary.
The villain, Drago, is just your run-of-the-mill villain whose goal is that of most every villain: to take over the world. It would have been nice to have him have be a little more original, but it does not take away anything from the final product. The movie also takes risks. I will not say what risks these are because it is a major part of the movie, but it certainly is a bold move in my opinion.
The entire cast from the first film reprise their roles. The dialogue is a lot meatier and seems more directly written for the characters as opposed to the first film. We also have the introduction of Cate Blanchett as Valka, Game of Thrones' Kit Harrington as Eret, and Djimon Hounsou as Drago. They all do great jobs at joining the already strong cast, but like I previously mentioned, some of the dialogue of Valka seems out of place.
This sequel also packs more of an emotional punch than the first film. There is a lot more to do with the past, loss, and maturing that is sure to make any tough-skinned dragon lover to feel a little. While it is not overwhelming, it uses it at just the right times to make you feel the right emotion without it feeling forced or unnecessary.
The dragons and all of the animation are all top-notch. Vastly surpassing the animation of the first film, the sequel takes things to a whole other level. The intricate details on the dragons, the new and gigantic alphas, the beautiful rendering of clouds, and even the facial hair are all beautifully drawn. It is a gorgeous film to watch. The action sequences in the latter part of the film are some exhilarating pieces of animation, resulting in some jaw- dropping moments.
In the end, How to Train Your Dragon 2 is one of the most fun adventures you'll have all year at the movies. The characters are more lovable than ever, the animation is some of the best of the year (if not of the decade so far), and it has some great action sequences. How to Train Your Dragon 2 has set the bar on how to make an animated sequel, go check it out if you haven't already.
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22 Jump Street (2014)
It Knows What It Is, and That's OK (Raging FIlm Reviews)
Much like The Hangover and its not so great sequel, The Hangover Part 2, 21 Jump Street decided that it was going to stick to the same formula for its sequel, but instead of high school, they were going to go to college. Like The Hangover, they took most of the major plot points and humor and changed the location. This did not work for The Hangover, but it certainly worked for 22 Jump Street. Why, you ask? Because the movie acknowledges it multiple times throughout, sometimes giving us a big (purposefully funny) middle finger saying, "We know this is the same movie, so let's have some fun with it," and it totally works, making this one of the funniest movies of the year.
It is clear that the writers probably intend this to be the final film in this little series. With so many cheeky references to, "the same plot" and "Just solve the case like last time," it is pretty indicative that either they are ending the series, or taking it somewhere entirely different in 23 Jump Street (it is referenced comically in this movie). It is also clear that the writers wanted to infuse as many film references into this movie as possible. From Annie Hall, to Channing Tatum saying they should be Secret Agents for the White House (an obvious reference to his White House Down role), the references are all funny. The movie tries to balance old jokes with new, which results in some very funny memories and sometimes blatant repetition.
Channing Tatum and Jonah Hill are a comedic dream-team. The chemistry they share and their great comedic timing gives us constant belly-aching laughter. I do not want to mention any of the other jokes that aren't in the trailer because they need to be seen first and not told secondhand. They are supported by a bigger role from Ice Cube, a plethora of cameos (which work only part of the time), and a new cast of people who are pretty darned good. Wyatt Russell, who really has not done anything other than a couple episodes of The Walking Dead plays Zook, Tatum's new best friend in the film. Their scenes are great together. Also joining is Amber Stevens, the girl who Hill falls for after just one night together, and Jillian Bell, most notable from her role on Workaholics, plays the rude and bitter Mercedes.
As I have said before, the plot is essentially the same. There are times when it drags on just a tad too long, and the jokes have appeared to be all used up. It comes to an entirely all too quick end though, which does come off as a bit rushed compared to the rest of the movie. Yet in the end it still makes you laugh. I think that it will be pretty polarizing, whether you love it even though it's the same or hate it because of that same reason.
In the end, 22 Jump Street stands tall with its predecessor. It is imbued with enough new jokes and references to the first one and knows exactly what it is trying to be without trying to pass it off as a whole new movie with the same plot while still acting like it's completely original. If you loved 21 Jump Street you will surely not be disappointed, and even if you haven't seen the first one, it is essentially the same and you get a "Previously on" at the beginning of the film. 22 Jump Street is hilariously gut-busting, go check it out if you're in need of a chuckle.
P.S. Stay for the credits.
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Jersey Boys (2014)
Flat Notes (Raging FIlm Reviews)
Clint Eastwood, who has been in somewhat of a rut starting after Gran Torino, returns without a whole lot of marketing and recognition with a film-adaption of the musical Jersey Boys. What could be an interesting look into the rise and fall of The Four Seasons is actually an unfocused jumble of unimportant plot points that lack emotion and fluidity.
The film follows the lives of the boys who would become The Four Seasons. There is the wannabe-mobster Tommy DeVito, someone who thinks that 6 months in prison is nothing and who only really looks out for their own good; there is Bob Gaudio, the naive songwriter whose songs lead the band to fame; there is Nick who is least seen of the group; and finally there is Frankie Valli, the person we spend the most time with in the film, and also the most famous person to come out of it. The cast is exceptionally strong. Playing the band are actors who have already been playing the characters on Broadway. They have no real film experience, other than Vincent Piazza who plays Tommy, and they truly shine. Jake Lloyd Young inhabits the role of Frankie with ease. His performance is electric, the voice is spot- on, and he is a pleasure to watch perform.
The only downside to the cast being mainly all from the actual play is that it makes the movie feel very stage-bound. Some of the mannerisms do not translate well over to film like they do on stage. It is pretty distracting in early scenes where it feels like they were just copied from the actual stage show.
The chemistry between the cast is very strong, but due to the lack of focus I did not feel anything when the eventual split happened. In fact, there was not a whole lot of emotion to be felt in this movie at all. Eastwood has a hard time trying to find what is important to show. We see brief glimpses of the deteriorating family-life of Valli, his strained relationship with his daughters, and the money troubles that Tommy gets into, but they all do not get the attention they deserve. Focusing on just one of these aspects would have allowed for a more emotional impact, but even when something happens in one of these subplots, it feels like a forced conclusion to the thread. A good portion of the movie is set to establishing the fact that there are mobster connections within the band. Tommy works for Gyp DeCarlo, played by Christopher Walken(the only real star-power in the film), and most of the beginning appears to try and justify the interactions later on in the film so they do not feel unnatural. Yet, these portions tend to drag with a lot of silly antics that take away from the somewhat serious subject matter, which ultimately makes the movie feel exceedingly long.
The movie does succeed in the musical sequences. Again, the chemistry and performance of the actors helps these portions feel alive. Though they are well done with all of the foot- tapping songs of The Four Seasons played multiple times throughout, they do feel a bit repetitive by the end, as there is a string of about 3 songs right next to each other.
In the end, Jersey Boys is a decent film. It suffers from poor direction, a lack of focus, along with over-exposition in early scenes. It is thankfully saved by some fantastic acting and great musical sequences. If you're a fan of the play, the band, or just love film adaptations of famous Broadway plays, check it out if you want, just be prepared for a long, unfocused ride.
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The Fault in Our Stars (2014)
Hurting So Good (Raging FIlm Reviews)
I was nervous going into The Fault in Our Stars. I really liked the book, although it had been hyped up quite a bit, and I knew that the trailers made the movie look like a cheesy and somewhat "hip" adaptation. The movie, however, blew away my doubts and resulted in probably the saddest movie you'll see all year or for quite some time.
For all of you who haven't read the bestseller, The Fault in Our Stars follows Hazel (Shailene Woodley), a young girl suffering from cancer. She is bitter and snarky about her condition. She does not have any apparent friends (her one friend in the novel was cut from the film), and she feels like she is just a "grenade" waiting to go off. Her mom (Laura Dern) urges her to go to the group counseling at the local church. This is where she meets Augustus Waters (Ansel Elgort), the boy who will eventually sweep her off her feet.
From the get-go, it is clear that Woodley shines in her performance. We grow so attached to her by the end of the film. Her performance brings the character from the pages of the book to life. The cancer has made her flawed. Not in the physical sense, but in the fact that she tries to build a shell around her life and is fearful of anybody getting close since she thinks she could die at any time. Her relationship with Augustus is fueled with such great chemistry that you would assume that they were actually a couple. Elgort, who starred with Woodley previously in Divergent is excellent in this as well. He will certainly be making more of a name for himself after this film. Their chemistry helps make the movie—which could come off as just a sucker-punching tear fest—into something where everything happens naturally without making it feel too forced or contrived.
But sadly, not in a disappointing way, the film is still a tear fest. We know we are being set up for a huge emotional climax. We know that the cancer is forever present. We know we are going to cry; yet we go along for the journey because it feels true. With the movie clocking in at slightly over two hours, I did feel that it was long, but never did I not enjoy the ride. Even having read the book, the events of the movie still hit harder than I expected, resulting in multiple occasions of tear-filled eyes. I cannot say the same for the other people in attendance, though, because I heard several sobs from people behind me, and even some lingered into the credits. The movie is an emotional roller coaster right until the very end, so be prepared.
The supporting cast supports the main cast admirably. Dern as Hazel's mother is a heartbreaking and real performance. Her character explains that even if Hazel were to die, she would still be a mother, and man do we lose it. Also supporting is Willem Dafoe, in yet another rough and unpleasant character, as well as Nat Wolff from the Naked Brothers Band who plays the star-crossed lovers' friend. Word has already been spread that he will be starring in another John Green adaptation, Paper Towns, so be on the lookout for that.
In terms of actual filmmaking, there are a couple qualms that need addressing. Near the beginning of the film, the movie appears to be cut together by an editor who lacks any experience at all. I never really address editing in my reviews but there are some exceptionally bad moments in editing and sound editing. Sometimes it feels like the film is turning into an action film with some rather quick cuts that are done just for the sake of getting a different angle.
In the end, The Fault in Our Stars will leave you in tears. It is an emotional journey along with two kids who have cancer and it reminds us to live life to the fullest and to never let the adverse elements in our lives keep us from living the life we want. We, like the characters, get to choose who or what hurts us. So, if you want to let some emotions out, go let this movie hurt you because it hurts so good.
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Edge of Tomorrow (2014)
Edge of Being Generic(Raging FIlm Reviews)
Tom Cruise is back for yet another action film. This time he plays a soldier who relives the same day over and over again, dying at the end of each day and reborn the next. While the movie is basically your run-of-the-mill summer action blockbuster, its innovative script and premise keep it from becoming just another action flick that gets lost in the fray.
Originally called All You Need Is Kill, Edge of Tomorrow starts off rather confusingly. Tom Cruises' character, William Cage, is a major in an army where he has not seen a lot of action. The "Mimics," an alien race that does not appear to have any motives other than conquest, have taken over France and Germany, and they are fast approaching Britain, where we find our hero. His cowardice in not wanting to fight the war leads to him trying to blackmail his general, played by Brendan Gleeson, into keeping him behind the lines, but it inevitably puts him into the thick of things. After he dies fighting off a special "Mimic," he is given the ability to relive that day over and over, which comes with both positive and negative results. From this point onwards he finds that another person, Rita, played by Emily Blunt, once had this ability. They team up in order to put an end to the the alien invasion.
The first 20 minutes or so of the movie do not make much sense. There does not appear to be any sort of urgency considering the fact that Germany and France are both completely annihilated. Cage's actions also seem rather unnecessary, but the plot choices ultimately end up making more sense than they first do.
Other than Cruise, Blunt, and Gleeson, we do not get too involved with many of the character's lives. There is not a whole lot of development in the supporting cast, so by the end of the film we do not feel as though the losses carry any weight with them. The action is exciting with the exoskeletons, creating a new type of action hero. From swords, to missiles, to machine guns, these suits can do anything.
The script is the strongest part of this film. It saves the film from being just a generic action film. It isn't completely mind-bending, but it is smart enough to create a chuckle here and there, while also making you think enough without being completely on the nose. Several times throughout the film a brief line is dropped that actually makes you think about how many times Cage has relived the same day.
Blunt and Cruise have decent chemistry, but I appreciate how little the plot gives to their romance. We get hints that there is more emotion there, but it never detracts from the plot other than the fact that he cares about her. It does not give itself up to the tropes of many action movies where there needs to be romance and sex in order for it to be entertaining. Just teasing the idea works well enough in Edge of Tomorrow.
So, in the end, Edge of Tomorrow is, for the most part, your average action movie. What saves it is its creative script that fuses time-travel with solid action, and enough brain twisters to stimulate the brain without making you have to calculate all the minute details. The only downsides are the lack of supporting-character development and the fact that the world outside the military does not seem too concerned that two major countries in the world have been utterly decimated. That shouldn't be too much to deter you from seeing a fun action movie, should it? Go check Edge of Tomorrow out.
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The Amazing Spider-Man 2 (2014)
A Solid Sequel (Raging FIlm Reviews)
In case you missed all the promotional stuff running for The Amazing Spider-Man 2, it is now out; and just like the first one, it is dividing critics everywhere. While it does continue to be a great role for Andrew Garfield, the movie feels too stuffed with unnecessary plot lines, but that does not necessarily mean it is bad.
We pick up on graduation day and Spider-Man is off saving the day while Gwen Stacy is delivering her speech that connects all too with her relationship with Peter Parker. Peter still feels guilty about the death of Gwen's father in the previous film, and his promise to stay away from her in order to protect her is weighing down on him. This leads to a subsequent breakup, which results in Peter throwing himself into his role as savior of the city.
Around this time we meet Max, played by Jamie Foxx, who only wants to be noticed. After being saved by Spider-Man, he becomes completely obsessed, even imagining that they are best friends. One day at work, on his birthday no less, he is suffers from an accident and is transformed into Electro, the first of our villains.
The death of Norman Osborn brings Harry back into the mix. Peter's best friend from his childhood has been gone for nearly a decade and now he gets put in charge of Oscorp while also succumbing to a genetic disease he inherited from his father. Of course, anybody who has read the comics knows he will soon become the Green Goblin, our other main villain.
Finally we have Peter wanting to discover what exactly happened to his parents, whom he's felt abandoned by his entire life.
These are the major plot points in the movie, but each of them has several minor threads that we follow throughout the film, so it is easy to see that things get a bit muddled. All that would be necessary to make this film better would be to just trim the fat. We don't need a Spider-Man movie to be nearly 2.5 hours. The reason for this is the fact that there are already two sequels announced for Spiderman. On top of that there is the Sinister Six film which was recently announced. which features 6 of Spidey's main villains in one movie. If you thought that Spiderman 3 had too many villains, well, be prepared for this one.
Andrew Garfield again pulls off, in my opinion, a better Spider-Man than Tobey Maguire. He is snarky and witty while Spider-Man, but as Peter Parker he is awkward and relatable. We see the effects of his role weighing down on him. Without Gwen as his girl, he has nothing else to do other than to continue to save the city. His relationship with his Aunt too is strained. He knows she is hiding information about his parents, but she won't tell him. Emma Stone is also great again as Gwen Stacy. Her chemistry with Garfield is completely visible and welcoming. We feel the passion they share, and it makes it so much harder when they break up.
Now for the villains: after initially setting up Electro as our main villain, we do not see him for most of the film. His initial attack in Times Square is a great scene with some exceptional special effects, but after this scene we do not really see him until the climatic battle. All of the previews set him up as this great villain, but we never get any real motives for his action, and he becomes another victim of the "multiple villain syndrome" that was ever prevalent in Spider-Man 3. Foxx does a great job at making Electro come alive, but due to the writing, his performance is pretty limited.
Dane DeHaan, on the other hand, inhabits The Green Goblin even better than James Franco did in Spider-Man 3. However, his transformation is so late in the film that it seems sort of after-the-fact. By the time he transforms he only has one real scene as the Goblin before the end of the film. While we do know he will hold a bigger role in the following films, it seems almost wasted, just like Foxx.
The trailers also tease Rhino, played by Paul Giamatti in an over-the-top Russian accent, in this film. However this is not the case. I won't spoil anything, but don't expect him to be a major focus of the film.
Aside from the writing issues, there is one really just terrible scene that has Peter Parker making a diagram of all of the connections between his parents and Oscorp, all with the Gone, Gone, Gone by Phillip Phillips playing in the background. It completely took away from the tone of the movie and just seemed like a contrived way to spotlight a hit-song. It felt very similar to the scene in the first one where Peter is learning to use his powers with a Coldplay song in the background.
But the most important thing about the film is that it is fun. Spider-Man films are always fun. The exhilarating web-swinging, the witty humor, and the ever-creative use of the webs as a tool to subdue enemies are all here. So you have to go in and not expect this film to have Oscar-worthy writing, but rather enjoy the ride. This film strays into some dark territories, if the comic books are any indicator, yet it is handled excellently by Marc Webb.
The Amazing Spider-Man 2 is a flawed, but wholly entertaining film that continues the saga of the new generation of the lovable superhero. Now we just have to wait 2 years for the third one.
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Neighbors (2014)
The New College Film (Raging Film Reviews)
We've all had bad experiences with neighbors. They can be noisy, snoopy, or just plain miserable to live by. The new comedy, Neighbors, takes neighborly warfare to a whole new level.
Mac and Kelly have a new baby, Stella. Their lives are dominated by constantly having to take care of her. They are slowly turning into another "old married couple" and it is not going over so well. Other than the baby crying in the middle of the night, their lives do not contain too much noise or excitement. That changes, however, when a fraternity moves in next door. Initially Mac and Kelly attempt to be open with their new neighbors. Joining them for a party, they bond with them and we think everything is going to be OK. The president of the fraternity, Teddy, promises to keep it down, and if need be, to call him before they the cops and he'll keep everyone in check. It doesn't last long and after not being able to reach Teddy, the cops are called, and a war begins over a broken promise.
This is where things start to escalate. From cans and toilet paper strewn across their yard to a hilarious sequence of stolen airbags, the war goes from mild to extreme rather quickly. I won't ruin any of the gags not seen in the trailer, because there are quite a few great moments in this movie.
Seth Rogen (Mac) is essentially the same character he plays in every movie, which is not necessarily a bad thing. He is lovable and hilarious, sporting both a stoner side and a father side. His reluctance to grow up helps make him even more lovable because we can see he is trying to mature and let go of his past. His chemistry with Rose Byrne (Kelly) also fuels their relationship. They both make jokes and are a great team at fighting back against the fraternity.
The fraternity is made up of Zac Efron (Teddy), Dave Franco (Pete), Christoper Mintz-Plasse (Scoonie), and many others. Teddy is basically a mirror image of Mac. He is reluctant to grow up. He is not the best student and therefore is worried about his future, but instead of fighting for it, he fights against it by throwing outrageous parties. The script is smart enough to give him a reason to do it instead of simply being an obnoxious neighbor without any motive for being obnoxious. Efron's comedic chops are outstanding and he definitely takes the spotlight and shines. The supporting cast is also great, with each of them offering up a couple hilarious moments.
The movie surprisingly has a fair amount of truth. It isn't an insane party movie just for the sake of partying. It tries to justify the character's behaviors, which isn't normally seen, and for the most part it works out.
Neighbors is hands-down one of the funniest movies to come out for some time now. It is full of hilarious moments and some great comedic acting. So, go check it out if you want your gut to hurt from laughing too hard.
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