stephenlovelette Reviews

A Most Violent Year (2014)

Oscar worthy, but Oscar less.

[9/10 · 12 February 2015]

For the most violent year in New York City's history, there's fairly little violence depicted visually.

For viewers paying close attention to the radio broadcasts, it's a different story. Wink.

Oxymoronic also considering it's an independent film and a period piece.

Elaborately set during the winter of 1981; it doesn't feel very 'independent.'

It stands at $4.6M in the box office, according to Box Office Mojo and Rotten Tomatoes; a tragedy considering it's $20M production budget.

This may be a reflection of late distribution, finally releasing wide in theaters on January 30.

Which is intrinsically tied to its complete lack of Oscar nominations.

A gosh-darn-shame, considering the filmmaker's credentials.

As the scholars say, J. C. Chandor is an 'auteur.'

Which Google defines as, "A filmmaker whose personal influence and artistic control over a movie are so great that the filmmaker is regarded as the author of the movie."

A less frilly description is writer/director.

J. C.'s crafted three flicks thus far, including 2011's Margin Call and 2013's All Is Lost.

Both were critically well-received, and particularly the former contains my stamp of approval.

In a way, he's comparable to Woody Allen; relying less on elaborate cinematic sequences or stylistic editing, and focusing heavily on story and strong acting.

'Great movies for adults' is another way to say it.

A Most Violent Year's no different.

The cast is phenomenal.

Oscar Isaac (of Inside Llewyn Davis fame) is fantastic in the leading role.

Albert Brooks is excellent, but did you expect anything less?

No; of course not. The man's a master of his craft.

Another master, Jessica Chastain, delivers a remarkable performance.

The word 'snub' is overly bandied about.

But if Laura Dern's five minutes of Wild screen time total up to a Best Supporting Actress nomination, one can easily argue Chastain deserves it more.

All in all, A Most Violent Year hasn't received the credit it deserves.

It's written well, full of strong performances and compelling throughout.

Catch it in theaters while you still have the chance!

Still Alice (2014)

The Supreme Validity of a Misquote

[8/10 · 3 February 2015]

"Movies are mechanisms of empathy," Roger Ebert didn't quite say.

But this reviewer prefers the misquoted diction (provided by Anderson Cowan of The Film Vault.)

When one asks, "Why watch Still Alice when it's only going to depress me?"

There's only one legitimate response.

"It's a mechanism of empathy, dawg."

Channeling an experiential river flow, the narrative spins the neurological waterwheel.

Did I want to watch Still Al? No.

Am I a smarter/better person following the experience? Absolutely.

The purely objective form of personal growth? The viewer's exponentially more fluent in the Alzheimer's realm of modern medicine.

The subjective forms? For one: The priceless merit of seeing a well-crafted, timely motion picture.

Two: If your torso's peppered with shurikens, I'd hope it wouldn't come as a complete surprise.

Likewise, if my demise arrives on a tidal wave of death stars, what's to stop me from running around in a circle and screaming obscenities until the official end?

Maximizing (rather than minimizing) the agony of my unexpected affliction.

Catch my drift, proverbial reader?

Still Alice is profoundly sad, but not 'depressing.'

'Depressing' connotes a residual effect; a lasting (potentially irrevocable) alteration of your emotional state.

I discourage this aversion toward cinematic tragedy. My top three films of all time (Platoon, Raging Bull and Schindler's List) belong in the downer category.

Tragedy often spotlights hidden profundities.

Still Alice is a heartwarming narrative obscured by the haze of Early Onset Alzheimer's, a rare form of the disease. Symptoms typically begin showing in the early fifties.

At that precise moment, the viewer meets Alice and her family.

It's tough, folks.

No sugarcoating it.

Expect to weep. More than once.

On a high note, it's well shot, directed and edited. The writing's crisp; the drama's chilly and real.

Lead by an outstanding performance from one of the best actresses ever, Julianne Moore, the entire cast is fantastic.

Alec Baldwin's excellence in a major supporting role comes as no surprise.

What (perhaps) defies expectation is an equally terrific piece of acting from Kristen Stewart.

This reviewer hopped aboard Kristen's locomotive after Snow White and The Huntsman. That gal's gotten a bum rap, despite some serious acting chops.

Anyhow. For an educational and moving experience, check out Still Alice.

It's a top quality flick, featuring quality performances from a tight (but stellar) cast.

Should one find oneself sobbing mid-theater, cursing a favorite film reviewer's name, try to remind oneself:

"It's a mechanism of empathy, dawg."

Feel that cognitive waterwheel aturnin'.

Horrible Bosses 2 (2014)

An Admirable Second Best

[8/10 · 11 January 2015]

"Everybody's a critic," Bugs Bunny once said.

In this case (as in most), the hare's correct.

Perhaps folks are disenchanted by franchised laughter.

The average rating amongst Top Critics (according to Rotten Tom) is a 4.5 out of 10.

Though the more accurate portrayal's provided by the 'user' average: 7 stars.

It's not due to a lack of proofreading that my score remains unaltered.

This author's got a little something called integrity.

Therefore the rating stays at 8; implying it's 'great', but perhaps not 'tremendous.'

After all, 2014 is the year of the comedic sequel.

Anchorman 2 was released last December and largely satisfied.

The best comedic sequel of all time, 22 Jump Street came out in June.

The long awaited Dumb and Dumber To…wasn't great.

Trepidatiously we await the follow-up to Hot Tub Time Machine on late February's horizon.

Well, I say, "To hell with top critics!"

Horrible Bosses 2 more than satisfies.

Earning a coveted spot on Top Comedies of 2014 – 1. 22 Jump Street 2. Neighbors 3. The Interview 4. Let's Be Cops 5. Horrible Bosses 2

It keeps you guessing while offering a persistent snicker.

The out-and-out laughs are numerous and frequent.

The plot is timely, clever and not too outrageous. A considerable amount of social commentary is interwoven.

Dare I say it's thought-provoking?

Since viewing, I've ruminated on the panoramic time lapse and off-type car chase; so, there you have it. Thoughts provoked.

The cinematography, shooting and editing are really impressive.

As far as casting goes, this flick's top-notch. Jason Bateman, Charlie Day and Jason Sudeikis are all fantastic.

Each lead is hilarious in his own individual way.

I'll never understand why Bateman gets docked for his mastery as the 'straight' man. Plus, his Arrested Development version is more foolish softy.

Kevin Spacey, Jennifer Aniston and Jamie Foxx return without disappointing.

Christoph Waltz delivers in a minor role.

Chris Pine, however, is terrific. He's great in Into the Woods as well, so hopefully we'll see more out of him in the future.

There's a delightful blooper reel accompanying the rolling credits.

As well as a fun character montage directly preceding. Such cinematic sequences are becoming more prevalent. They're enjoyable, informative and a welcome addition to any theatrical release.

Let's call these bits 'character reels.' Best when featuring the character's image paired with both names (role and actor).

Don't be disappointed if you missed HB Deuce while in theaters.

For fans of the first, keep an eye on your streaming devices.

It's available for pre-order through iTunes, but who's really going to shell $19.99 for digital ownership on release date?

Wait for the rental.

It'll be much cheaper and infinitely more satisfying.

Birdman or (The Unexpected Virtue of Ignorance) (2014)

Head-Hopping Without Abandon

[9/10 · 16 November 2014]

The viewer is a salmon.

Swimming up streams of consciousness, occasionally leaping between parallel tributaries to follow movements of different characters.

That's right, folks – the old head-hopping narrator.

Extra thought provoking because the voice-over only chimes in to pester the protagonist.

What's most noteworthy about Birdman is exactly that: Creative and original storytelling techniques.

Another example is the stylistic editing: The film has the appearance of all occurring within one take.

Therefore the cutting is minimal. Which is incredibly refreshing.

Big names are visibly acting in the same space, oftentimes physically interacting.

There's no 'cut to close-up' as characters deliver dialogue, which makes for a more organic viewing experience.

(Sidenote: Hollywood should ban the 'cut to close-up.')

Birdman isn't going to be your favorite, but it's still great.

The writing is strong; the protagonist's plight is timely and moving. The characters interact compellingly. The subject matter is thought provoking.

Although this term is overused, it takes a 'gritty' in-depth look at stage acting.

The metahumor is consistent and pointed. Even the casting is ironic.

Michael Keaton playing the washed up retired superhero. Edward Norton as a pompous know-it-all veteran.

Wanna know who's excellent? Naomi Watts.

She delivers a stellar performance as Lesley; in a role that somewhat calls back to Mulholland Drive, in which she plays a sexually conflicted up-and- coming actress.

Emma Stone is ten types of terrific, but they shouldn't have spoiled her monologue in the trailer.

Turns out Zach Galifianakis can play off-type extremely well, which comes as no surprise.

Andrea Riseborough is lesser known, but holds her own.

Finally, Amy Ryan plays a totally different character from her role in Gone Baby Gone and fits in perfectly with a slew of other great performers.

Although the trailer spoils most, the special effects are decent enough.

The surreal portion is a welcome addition to the common cinematic experience, and contributes uniquely.

Birdman's a visual treat, as they say.

People seem to enjoy this flick. After all, what's not to like?

It's still in limited release, but you shouldn't have trouble finding a screening nearby.

Expect a moving dramatic piece about the thespian business and you shouldn't feel disappointed.

As always, the best advice remains the same.

Be a salmon - expect nothing, and eventually, you'll feel something.

Resonates nicely with the subtitle, no?

Big Hero 6 (2014)

2014's Best Animated Feature's Brimming with Science Fiction

[10/10 · 15 November 2014]

I've debated this rating for a week.

The reader may find it trivial, but the temptation to give it 9 stars is strong.

As great as Big Hero 6 is, it's not as good as Frozen, Brave or Wreck-It- Ralph.

This is a subjective distinction, however. It's a top-notch animated flick.

The animated short preceding, Feast, is a heartwarming delight.

Which is particularly suited to the full-length BH6, this year's best animated feature. Unless this reviewer's unaware of another cartoon slated for release, here's the final list.

Top Five Animated Films of 2014 1. Big Hero 6 2. The Book of Life 3. Mr. Peabody & Sherman 4. The Lego Movie 5. How to Train Your Dragon 2

I attended the movie with three friends, all in our mid-twenties. Three males and one female; illustrating thorough enjoyment across the board.

Leading to the conclusion that everyone will enjoy Disney's latest.

Plus, the group's in agreement on seeing it in 3D; it only adds to the experience.

The story encompasses a number of elements from science fiction, and tackles the three major themes. Every cinematic trope resonates with classic films.

Theme 1) Robotics

There weren't any cyborgs, but everything else is heavily scrutinized. Nanobots, artificial intelligence, computerized medical systems, digitized armor, rocket propulsion, etc.

Baymax is a cuddly Terminator, an anthropomorphic medical bed from Elysium.

Theme 2) Space Travel

There's no alien life or venturing free of the Earth's atmosphere (so specifically no outer space travel) or even time manipulation. But interdimensional exploration and wormholes are utilized.

You folks have heard of Interstellar, right? How about Event Horizon, in which a man-made portal between dimensions is constructed?

Anybody remember the in-between realm of Pacific Rim?

Theme 3) Superhumanity

Don't expect any mutation or the development of superhuman abilities, but a completely grounded story of superheroes.

Big Hero 6 derives its greatest strength by constructing a superhero universe, bound by the dictates of humanity's current understanding of reality.

There are no aliens, because we have yet to prove their existence. There are no superpowers, because no evidence suggests humans have a biological capability for their development.

One scene pays homage to The Hulk and the protagonist's name, Hiro, seems like a tip-of-the-cap to the TV series Heroes.

In honor of cinematic themes in 2014, the film even features a time-lapse of Hiro innovating in a manner akin to Tony Stark. A digitally animated time-lapse is thought-provoking, at the very least.

People use the word 'Disnified' as if it's a bad thing. The connotation is that something has been purified of all negative emotion, thereby creating an unrealistic product.

The irony in this is laughable.

Disney constructs a highly educated story while exemplifying a preference towards optimism.

Which equates to one of two criticisms.

The action is a little light.

The budget for this movie is $165M, so I was hoping for more elaborate fight sequences.

A final criticism is odd.

In my review of last year's Frozen, I mention the helpfulness of a non- specific trailer.

The teaser featured dialogue-less frozen pond antics between Olaf (the snowman) and a moose (who never shows up in the actual movie). Therefore the viewer learns nothing specific regarding plot details.

Big Hero 6's trailer spoils several beats and somehow I failed to avoid another important detail in the first sentence of somebody's review.

Therefore, let's chalk up the slightly underwhelmed feeling to the unripe ideas.

After all, the humor is solid and consistent. The characters are likable and original.

Especially T.J. Miller as Fred, the comic book enthusiast.

Unlike all characters from other superhero team-ups, Fred embraces their engagement with the lifestyle choice. Therefore, he's a satirical narrator who highlights all of the important moments during Big Hero 6's origin story.

It's impossible to dislike Aunt Cass, voiced by Maya Rudolph.

A sequel is sure to follow. Personally I can't wait for Big Hero 7, or better yet, Small Villain 5.

Imagine that. A supervillain team-up prequel might be the best way to go.

Although I wouldn't mind the introduction of a 'Green Ranger' trope. Wink.

Overall, Big Hero 6 is really great.

It distills the complexities of helping a loved one after a tragic loss. It takes a grounded look at the far future, and illustrates the true potential for superheroism.

Expect minor weeping, especially if you're a softy like me.

Stick around for a number of intriguing bits during the rolling credits. Comic fans, particularly, don't miss the stinger that follows.

Once again, thanks to Disney, I can add a pleasant memory to the list.

Dumb and Dumber To (2014)

Good, not great, and super gross.

[6/10 · 14 November 2014]

Does it need to be outstanding?

If so, maybe save the sequel for a future rental.

My mother was kind enough to attend the theater with me, and we mostly enjoyed Dumb and Dumber To. It's good.

Definitely not 'great,' but still good.

If you've seen the trailer, some jokes are spoiled. Yet another reason to wait and rent.

The scatological humor is never strong.

Quite a bit of it's distasteful.

This could be due, in part, to the rating.

Consider the following list:

Top Five Comedies of 2014 1. 22 Jump Street (R) 2. Neighbors (R) 3. Let's Be Cops (R) 4. The Skeleton Twins (R) 5. Dumb And Dumber To (PG-13)

One might argue it's generous not to swap it out with Chef (rated R).

This review's only going to frustrate fans, and I feel bad for Jeff Daniels and Jim Carrey who do an outstanding job returning as Harry and Lloyd.

But the Farrelly brothers were never strong filmmakers.

The original D&D is the only great entry in their entire filmography. Everything else ranges from bad to meh.

The common theme is revulsion. There's Something About Mary, Osmosis Jones and Me, Myself & Irene all initially trigger memories of disgust.

Now, looking back on the long-awaited sequel, it's difficult to separate the gross from the chuckles.

This is not to discredit the banana peel antics – that stuff's hysterical.

Anything involving a zamboni (especially when combined with tree limbs) – hilarious.

Shoving people into bushes, and pointing and laughing – gets me every time.

The double-point-and-laugh is classic.

The callbacks are mostly solid; some hit home better than others.

Reused snippets from the original score resonate strongly.

Favorite bit parts from the original, like 'Billy in 4C' and Seabass make cameos.

But, again. Was it funniest to increase the morbidity factor with the blind kid? The joke's edgy enough in the first movie.

And why…

Why, why, WHY…

…do we need close-up shots of the cat's anus?

During post-production, how many adults watched as feathers are rocketed from a cat's asshole, and agreed it's an essential cutaway?

Perhaps the viewers hadn't realized from the mutilated bird corpses what's just taken place.

I'm not trying to hate on this movie, but that's only one of three revolting moments. I'll spare you the rest.

To finish on a high note, a few words on the acting.

Jim Carrey is incredibly funny. His delivery is spot on.

Watching Lloyd's facial expressions is enough to keep the viewer in stitches.

Jeff Daniels is just as chucklesome as Harry Dunne.

He's a terrific actor.

Rachel Melvin is an excellent addition to the cast of 'dummies.' It's not easy to play stupid in a convincing or funny manner, and she pulls it off with finesse.

Jennifer Lawrence is somewhere in this movie as Young Fraida. Which is odd.

If it's her making out with Lloyd, what a strange cameo…another scene must have gotten cut out. Or something.

Anyway.

Be sure to stay through the credits for the following stinger. The images accompanying the rolling are enjoyable as well.

Dumb and Dumber To is not a disappointment.

But it's nothing to write home about.

John Wick (2014)

Destroying Convention with Gun-Fu

[9/10 · 13 November 2014]

I'm done marginalizing film tastes in terms of gender…

…is originally how I began this review.

Yet it's the antithesis of my gut response to John Wick:

"Highly recommend for mainly male moviegoers," my heart mentions as the credits roll.

The cranium cogs start whirling.

"Isn't that rhetoric unproductive? Shouldn't we discourage that type of thinking?" my intellectual side fires back.

Thus prompting the rough introduction.

While reviewing J. Wick on The Screen Rant Underground, two of the hosts offer a counterargument in mentioning their wives' dislike. One goes so far as to say she 'hated it.'

(Side Note: The words 'hate' and 'boring' are the two most overused descriptors in the English language.)

'Violence' and 'Romance' occupy the extremities of the gender Venn diagram.

Men prefer fighting; women prefer feeling. Simple as that, folks.

"It's a social construct! The best movies lie in the diagram's center! To mention the pattern is to perpetuate it!" the brain chimes in.

The inescapable reality is: The paradigm exists.

Whether I like it or not.

To put an untidy bow on my point: Isn't it stilted claiming a movie is excellent (better than great), but for male audiences only? Doesn't that imply John Wick is terrible, if viewed by a female audience?

Surely there are women who enjoy gun-fu. Shouldn't they feel insulted by the suggestion?

Anyhow; you catch my drift.

Here's my Top Five Movies with the Protagonist's Full Name as the Title –

1. Donnie Darko 2. Annie Hall 3. Forrest Gump 4. Happy Gilmore 5. Billy Madison

John Wick is similar to Denzel Washington's character from last month's The Equalizer.

Both protagonists are similar to Tom Cruise's Jack Reacher, who is also an ex-CIA agent.

Say what you will about his surfing abilities in Point Break, Keanu Reeves is terrific as the leading hombre.

Keanu's John's less virtuous, and less lady-magnet than Tom's Jack, but they both can drive in reverse like champions.

Which marks the first of three lessons I learned from J.W. about firearms.

Lesson 1) If you must drive at enemy gunfire, do so in reverse.

Keanu's acting is great. Soft-spoken and pragmatic; sympathy sits with him quite nicely.

Plus he does all his own fighting and stunts.

In the hand-to-hand combat; the viewer can tell he's absorbing all the blows. He falls off a balcony!

Keanu's just terrific.

The action scenes are phenomenal.

Throughout the entire film, the epic fight sequences rival the best in cinematic history.

The gunplay is realistic and grounded. You've never seen such concrete shootouts.

Lesson 2) Due to recoil, hand-held assault rifles can only be fired in bursts.

Wick manages to dispatch a number of thugs in an organic fashion.

It especially illustrates the possibilities for less cutting, and more believable action in the film industry.

Lesson 3) Those who wield a pistol at the ready (like a cop entering the home of a serial killer) live longest.

The stuntwork is absolutely spectacular; far too much fiddling with convention to mention.

During an explosion, there is an actual stuntman in the foreground nearby the exploding material.

He catches fire! It's awesome!

Who doesn't love John Leguizamo? Talk about reliable.

Alfie Allen catches critical heat for playing a similar role on Game of Thrones, which is unnecessary. He does a fine job for what he's cast as.

Good to see WCW's Kevin Nash playing a small part.

Ian McShane is terrific as always. Somebody's not paying him enough.

Willem DeFoe plays a man who serves vegetable puree rather than booze at a meeting of criminal wits. Yet another shiny bullet on DeFoe's lengthy list.

Adrianne Palicki plays a solid murderess.

Ironically enough, the only time I was 'taken out of' the movie is during footage of her stunt double.

Finally, the off-type villain is performed excellently by Michael Nyqvist.

John Wick may be the poster-child for breaking cliché; which is shaping up to be the number one theme for cinema 2014.

Catch it in IMAX while it's still in theaters.

There's no stinger after the credits roll.

But hey. I'd be down for a sequel.

Nightcrawler (2014)

Ode to the Industrious Bottom Feeder

[10/10 · 9 November 2014]

Oddity is an antidote for the jaded.

The off-putting, unsettled feeling of irksome circumstance.

The exploits of nightcrawlers, independent salesmen collecting footage of post-crime carnage, bear much estranged fruit.

Second only to Gone Girl, Nightcrawler is the best motion picture released in 2014.

That distinction, however, is ultimately subjective. Both are must-see.

Govern expectations accordingly, because it seems folks are hoping for more action-packed horror.

Nightcrawler's a dark dramatic thriller.

Expect twisted spookery, but in a more subtle and realistic manner.

Overall, this film is very smart.

It's a tale of moral ambiguity about the mysterious creepsters who provide found-footage for nightly television news.

It's set in L.A and completely divorced from the creative filming industries.

The very setting, albeit typical, is oddly off-type.

Which is similar to the pacing and scene construction. Dan Gilroy, the writer/director, displays an exquisite proficiency at defying narrative conventions.

Along with montage, time lapse and alternative credits sequencing, breaking cliché is a cinematic theme of 2014.

Another setting-based narrative strength is the relative lack of sunlight. The protagonist's eyes are never naked to unfiltered rays.

The infrequency is certainly purposeful.

Another example of the writing strength is the humor: Subtle, unexpected and consistent.

This film's success is also due (in part) to the spectral visual style.

The shooting, editing and cinematography is masterful.

On the flip side of sense perception, the sound mixing and score is excellent.

Nightcrawler owes a hefty portion of its success to the acting.

Jake Gyllenhaal's unseemly characterization is fantastic.

Jake is one of our finest actors working today. Source Code, Donnie Darko and last year's Prisoners are three of the best in cinematic history.

Here he crafts an original antihero in Louis Bloom.

(Quick side note: The similarity between the name of the protagonist in James Joyce's Ulysses, Leopold Bloom, must be purposeful, no? Especially if one considers the nickname antics involved in the two stories.)

Louis Bloom embraces his role as an opossum, monetizing the carrion of human sophistication with the utmost efficiency.

In the strangest way, his attitude is highly admirable.

For example, his belief in honest negotiation and dedicated apprenticeship endears the viewer.

On the other hand (which I won't spoil) some of his behavior may be considered reprehensible.

Who knows?

See it and find out.

As a final note, Bill Paxton is terrific. He plays a completely different character from his role in Live, Die, Repeat: Edge of Tomorrow, a July release which still remains one of my top ten movies of 2014.

Pax tears it up no matter what.

With too many great movies in his filmography to mention (including a number of classics from great directors like James Cameron, Kathryn Bigelow and John Hughes) I'll just say he first debuted in 1974.

So he's been killing it for forty years. Keep it up, Bill!

Check out Nightcrawler if you dig smart flicks.

By the by, there's an homage to The Usual Suspects.

High-fives for those who notice.

The Book of Life (2014)

2014's Best Cartoon. Yet.

[9/10 · 25 October 2014]

If you've seen the trailer, the animation looks sketchy.

Cheech Marin covering Biz Markie certainly doesn't help.

You're not tantalized, and who can blame you?

Neither was I.

But guess which tops the list of Best Animated Features released in 2014?

1. The Book of Life 2. Mr. Peabody & Sherman 3. The Lego Movie 4. How to Train Your Dragon 2 5. The Boxtrolls

That's right, folks. The BOL is pretty great.

The animation isn't sketchy. Cheech's solo isn't hokey.

The visuals are wondrous in fact. The animation is multi-layered, lending the fabric of cartoon reality a wood grain texture.

Manolo's hometown is beautiful; like an Hispanic Mont Saint-Michel. The other world he passes through is gorgeously rendered as well.

The humor is solid and consistent. The characters are compelling oddities.

The narrative is heart-warming and educational.

I worry because annually, the average moviegoer probably scrutinizes (at the most) two animated flicks via big screen.

Frozen is such a hit from 2013, I'd imagine most viewers anticipate the November 7th release of Big Hero 6.

Apparently everyone (and their mother) went to see The Lego Movie; and loved it so much a Lego Batman spin off's greenlit.

Therefore, most have hit their animated quota. Perhaps reconsider making an exception.

This reviewer attended Book of Life with his mother, and enjoyed it thoroughly.

'Dia de los Muertos'; ever heard of it?

That's Spaniard for 'Day of the Dead.'

The Skeleton Twins, a dusty quirkedy released in September, touched on the same theme.

BOL's tone is a bit more light-hearted.

Cheech isn't the only one singing, either.

Diego Luna as the voice of the protagonist, Manolo, strums and clucks a number of ballads. Expect minor swooning.

Perhaps he's not perfect in the musical realm, but Luna does a bang-up job. He's more soft-spoken than your average hero, but that's what makes his character endearing.

Channing Tatum is quickly becoming my favorite actor. Love that dude.

In the past two years he's been fantastic in 22 Jump Street, Side Effects and G.I. Joe: Retaliation. Plus he did three cameos: Two live-action in Don Jon and This is the End and one voice-acting as Lego Green Lantern.

Speaking of street-jumping, Ice Cube plays the voice of the Candle Maker. His character is very similar to the caterpillar from Epic.

In other odd news, the Candle Maker is arguably the most Caucasian character in the entire cast. Which is similar to Tracy Morgan's performance in The Boxtrolls; he too voices a white guy.

Ice Cube's great. He never mails in a performance, and seems like a real stand-up guy. Keep it up, Cube!

Another favorite, Zoe Saldana, enchants as the voice of Maria. This science-fiction titan plays major roles in the Star Trek and Guardians of the Galaxy franchises.

Maria is a lovable delight.

Which comes as no surprise when dealing with Ms. Saldana.

Finally, perhaps the most praise should go to Ron Perlman and Kate del Castillo, the voices of Xibalba and La Muerte.

They play the two most interesting characters, and are perfectly suited to the task. They're the only ones that have to perform two separate voice roles, because their characters undergo a transformation.

Del Castillo navigates a particularly difficult role. At one point she must do an extended scream and gracefully pulls it off.

Which can't be easy!

All in all, The Book of Life is a great addition to 2014's animated canon.

We'll see who tops the leaderboard, come November 7.

The Boxtrolls (2014)

The Underdog's Jockey

[6/10 · 20 October 2014]

I'm rooting for the underdog.

Not to win or place.

Not necessarily to show, either.

The Boxtrolls is not terrific.

It's good, but pick the superior visual treat.

The Book of Life is the movie you should be seeing, not The Boxtrolls.

There, I said it!

The Academy nominates three to five pictures for Best Animated Feature. In the annual race to qualify, wouldn't we prefer to have six to eight competing for a slot?

The quality consistence crown goes to Walt Disney Animation. Pure and simple.

Dreamworks follows admirably in second place, pumping out solid cartoons on the reg.

The remaining horses compete for the remaining places, but would it be terrible to keep Laika in the running?

Despite numerous positive recommendations, Corpse Bride (2005) and Coraline (2009) still elude this reviewer.

On the contrary, Paranorman received a nomination for Best Animated Feature in 2012, and deservedly so.

Therefore Laika, LLC., the American stop-motion animation studio, earns their jockey.

Ultimately, The Boxtrolls lack enrapture; for adults mainly.

I disdain marginalizing age groups in terms of film taste.

Frozen, Despicable Me 2 and Tangled are examples of fantastic 'animated movies.'

Let's not call them 'kid's movies.'

Because tonally, The Boxtrolls is childish.

Lord Portley-Rind's cheese humor and Lady Frou Frou's cross-dressing opera number are funny, but a bit mundane. Perhaps immature, no?

There's some good plot development; a number of high points, in fact.

The self-aware jokes are chucklesome, the unusual characters are compelling.

Tracy Morgan is the voice of a bespectacled Caucasian. I hope he's outraged.

The mid-credits sequence is the best I have ever seen.

The existentialist thugs explain stop-motion through time-lapse camera footage of their animator.

It's an exceptional artistic snippet.

Nab the rental if you're keen on the new stop-motion feature. You're won't hate it.

The reality is: If you're like most people, you won't make time for two animated flicks in the near future.

Plus, you may wish to avoid a similar in-theater experience.

It's rated PG, but the 3D adult ticket costs $12.50.

Doofy Dad in the back makes no effort to silence the adolescent drumming legs and flapping gums.

Surely he notices the debonair twenty-something repositioning four minutes into the feature?

This parental treasure is prompting his four children whenever the Protagonist's name (Eggs) shows up on-screen.

"Eggs!" he cries with delight.

"Eggs!" the quartet giggles.

I can clearly see several mothers working hard to keep their collective units at a low volume. But Doof doesn't seem to notice.

Because, hey, it's just a kid's movie, right?

Gone Girl (2014)

As great as they say it is.

[10/10 · 5 October 2014]

This doesn't bode well for my reading career.

Gone Girl is spectacular. A strong contender for this year's Best Picture.

I couldn't recommend it more highly.

Reading the book isn't necessary.

The differences between the textual and visual are minimal. Reconsider the commitment lingering on your bookshelf.

This is one flick you won't want to miss.

If you've got a better half, bring him or her along. Both men and women will thoroughly enjoy.

It's long (145 minutes total) but should hold your interest throughout.

The screenplay for G.G. is by Gillian Flynn, the same woman who penned the novel.

If Gone Girl offers any inclination toward the quality of G.F.'s alternative texts, let's hope Sharp Objects and Dark Places are green-lit.

Director David Fincher doesn't have a distinct public persona like Tarantino, or an iconic physical appearance like Scorcese's.

That doesn't detract from his mastery of feature film direction.

Iconic motion pictures like Fight Club, Se7en, The Social Network and The Girl with the Dragon Tattoo highlight his filmography.

If a story's a stairway, Gone Girl is a multi-tiered double escalator.

It's extremely well written, and the tension is like radio static, vibrating angrily amidst the coiling score.

The pacing is kinetic; the story constantly switching gears.

The humor is occasional in a realistic fashion. The self-awareness is pointedly subtle.

The characters are sympathetic and well rounded.

Is it even necessary to mention Neil Patrick Harris's performance? Can't we just assume he was fantastic from now on?

How about Ben Affleck, everyone's favorite punching bag? Folks who doubted him should be flogged with a sofa cushion.

Upon recommending Gone Girl, a friend's initial hesitation hinges on Affleck's involvement.

First of all, that's like saying you're missing the N'SYNC concert because you don't like J.T.'s pipes.

Benny was never 'bad' at acting, by any stretch of the imagination. Folks cite 2003's Gigli and Daredevil as Fleck Daddy's downfall.

I can't speak to the former, but a final thought on the latter.

At fourteen years old, a group of friends and I thoroughly enjoyed Daredevil in the theater. Plus, it gave us a 'walk in the shoes' of a blind person. Whether we appreciated it or not; we were educated on a lifestyle none of us understood.

I can still cite multiple scenes in detail, and I haven't seen Daredevil since that initial viewing.

My basic point is: Don't skip Gone Girl because of a strong opposition to Affleck's acting ability.

Rosamund Pike is lights-out.

She's a semi-unknown, but a look at her filmography proves she deserves more notoriety.

I've a feeling we'll be seeing more of her in the future.

The remainder of the cast is just as good, but too much detail may trigger a spoiler, so I'll leave it at that.

The warm weather left with the hummingbirds, but at least there are solid flicks repopulating theaters.

The Disappearance of Eleanor Rigby: Them (2014)

The Best Romance of 2014

[10/10 · 24 September 2014]

This is not a story about a Beatles fan stumbling down a well.

I highly recommend The Disappearance of Eleanor Rigby.

It's completely character driven, but beautifully written.

So many parts of it were wonderful, where to start?

Look for it in your local art-house theaters…I can't believe I just used that phrase. Yuck, what's happening to me?

Anyway, hopefully it's playing somewhere near you, because it only got limited release.

I hiked all the way to the Landmark Renaissance Theater, which doesn't have 'Regal' or 'AMC' anywhere in the title.

So purchasing the ticket online does nothing; waiting in queue is still required to print the stub.

It's a first world problem, I know, but a problem nonetheless. The more avoidable issue stems from the fellow coughing several seats down, forcing me to reposition nine rows up. But I won't get into that.

The Disappearance of Eleanor Rigby is broken into three films: Him, Her and Them. All three films follow the same time period, but are told from the differing perspectives of Connor Ludlow (James McAvoy) and Eleanor Rigby (Jessica Chastain), a young married couple living in New York.

The version currently in theaters, Them, depicts the plot from both characters' perspectives.

Him and Her will be released in art-house theaters on October 10, 2014, so I'll be schlepping back to the Landmark.

The pacing is smart, the stakes are high, the tension's constantly palpable and the character development is elegant.

Romance isn't my favorite genre, but I can't imagine it being done any better.

Ultimately it's a tale of moral ambiguity,

James McAvoy is just fantastic.

This fellow, along with his role in X-Men: Days of Future Past from earlier this summer, is turning into quite the prolific movie star.

Keep up the good work, James!

My favorite leading lady, Jessica Chastain, is lights-out. She looks good with short hair.

Her character is incredibly likable and sympathetic. Props to Rebecca Edmonston who did the costumes. All of Chastain's outfits are fantastic.

Viola Davis kills it in this movie.

She's great in Prisoners and Ender's Game but this is probably her best role yet.

I cried several times throughout. This movie is incredibly touching.

Don't let me oversell it, but TDOER is easily one of the best films released in 2014.

This may be the right candidate for 'Best Date Movie' ever. Or perhaps it's the worst date movie ever. Depends upon your perspective.

See what I did there?

Just about as 'meta' as you can get in a film review.

The Skeleton Twins (2014)

Way Funnier than Your Average Quirkedy

[9/10 · 22 September 2014]

This is my least favorite type of movie.

I call them 'sad swamps.' Trekking through can be an emotional chore.

The best examples coming to mind are The Fault in Our Stars (thumbs-down) and The Perks of Being a Wallflower (thumbs-up).

The Skeleton Twins is no exception; there's some heartbreaking stuff in here. Don't expect it to relent, either.

Plus it's an out-and-out quirkedy, and super low budget.

All that being said, I really enjoy The Skele Twins.

Wow, comedy has flourished this summer.

On top of Neighbors, 22 Jump Street and Let's Be Cops; The ST brings the tally to four consistently hilarious entries for the genre.

Plus, we've still got the sequels to Hot Tub Time Machine and Dumb & Dumbr looking forward.

The Skeleton Twins is similar to Let's Be Cops in several ways.

Take the shooting style for instance. The edges of the frame are oftentimes hazy with only the characters in focus.

During a scene near the end, through a window in the background the viewer can see it's snowing outside. It's hard to tell because of the blurry visual, but it's a misleading inconsistency.

The comedy is similar as well, because a lot of it seems improvised.

The cast is tiny.

Besides the two leads, there's only a pair of other recognizable faces.

Ty Burrell is one of our finest actors working today. Here he turns in another performance befitting that reputation.

Luke Wilson is outstanding. He's great in a number of movies (especially Idiocracy) but this may be his best role ever.

He plays a refreshingly sympathetic husband to Kristen Wiig's character. Which is illustrative of a greater theme.

The Skeleton Twins highlights compelling character interactions through the context of a complicated relationship.

Bill Hader is incredibly convincing playing a gay role. In fact, he is so similar to my college roommate, I found myself reminiscing about my old buddy.

With his wide-eyed expression, the brutal honesty and even-toned sarcasm. Oh and the mastery of lip-syncing and impromptu dancing. I was totally sold on his character.

Kristen Wiig is spot-on, as always.

Her timing is just so perfect. Plus she has a way with demanding sympathy from the viewer.

That woman's got the Midas touch. She only appears in great movies.

Although it takes an emotional toll (I was tearing up on 2-3 separate occasions in the 93 minute duration) The Skeleton Twins is a very funny movie that covers a number of timely issues.

I highly recommend it to any and all interested viewers.

To note a final similarity to Let's Be Cops, the ending doesn't necessarily wrap everything up.

But when the credits abruptly roll, getting mired in this sad swamp feels worthwhile.

The Maze Runner (2014)

Onward and Upward

[8/10 · 21 September 2014]

What do The Hunger Games, Ender's Game, Divergent and The Maze Runner all have in common?

They're based on dystopian YA novels.

They're also introductions to a multi-part series.

And I never stop hollering about this, but they're all rated PG-13.

Which is ultimately The Maze Runner's least redeeming quality.

After all, it's my favorite of the four previously mentioned.

The MZ's mostly a quality flick.

Although the stakes are high, the ratings-board approved shellac is still clearly visible. An educated viewer can't shake the awareness of censorship.

For example, during the more harried sequences (mostly involving a battle or pursuit via 'grievers') the filmmakers use the shadowy quick-edits to obscure the violence.

Luckily the CGI monsters are shown in full.

The 'grievers' are buffalo-sized mechanical beetles. As far as creatures go, they're truly outstanding, original and horrific.

The only problem stems from a false hint at the surreal.

If you pay close attention, The Maze Runner is an astounding allegory for entering adulthood. This is in keeping with the summer trend of allegorical science fiction, with Snowpiercer (which I do recommend) and The Zero Theorem (which I don't).

The plot develops lightning fast. This in turn can lead to confusion.

Or maybe I'm just too old for this sort of thriller.

So, yes, an elevator shaft is reminiscent of the birth canal.

Yes, a labyrinth is a classic metaphor for life.

Yes, the supporting characters resemble archetypes.

But the mind-bending portion of this thrill ride's a red herring.

Because, no, the plot doesn't take place inside the protagonist's head. The viewer need not be concerned with how individual events fit into the self-contained metaphor.

Consider the sequence of obstacles Thomas (played by Dylan O'Brien) must overcome while fleeing the first griever. Think about the ways he adapts to the physical environment, the increasing risk and differing tasks required to move forward.

A few notes on the acting.

The girl, Kaya Scodelario, turns in a solid performance as Teresa. As does Blake Cooper playing Chuck, the protagonist's younger buddy.

Thomas Brodie-Sangster (of Game of Thrones fame) plays Newt, punching the thespian clock with efficiency.

Will Poulter from We're the Millers plays a bit of a one-note character but executes the role proficiently. I like this guy; he's going places.

Patricia Clarkson plays Ava Paige, a mash-up of Glenn Close's Nova Prime in Guardians of the Galaxy and Jodie Foster's Secretary Delacourt in Elysium. Much like Teresa, we learn very little about Ava.

The mix of action, suspense and adequate special effects add up to a compelling thriller and a strong entry into the YA novel-turned-film catalogue.

See it in IMAX - this is one you won't want to miss.

Things aren't looking good for the Ender's Game franchise.

However, according to Wikipedia, "Two weeks prior to (The Maze Runner's) release 20th Century Fox decided to move ahead with the sequel and pre-production began in early September 2014 in New Mexico."

Whether or not the box office earnings compensate for the $34 million budget, it seems like we'll be seeing a follow-up.

If anyone's looking, I'll be in my tent, eagerly awaiting The Scorch Trials.

The Zero Theorem (2013)

Comme Si, Comme Sa.

[5/10 · 10 September 2014]

Ever heard of Harry Potter?

This is nothing like that.

David Thewlis, also known as Professor Lupin, is the only similarity between the two narratives.

The Z.T.'s bleak, folks.

It's dark, foreboding and existential. To follow a recent trend it's also allegorical. Therefore, things can get confusing.

(Quick sidebar: Counting Snowpiercer this marks Tilda Swinton's second supporting role in a sci-fi allegory in the past year. What an oddly specific niche.)

Should you see it?

It depends on your viewing habits. If you're a movie review blogger, you can do a lot worse than The Zero Theorem.

But for the average viewer, I wouldn't recommend. There are plenty of better options available for rental. Skim some of my earlier blog posts if you need suggestions.

The price bugs me.

If you're still interested it's available for HD rental thru Xfinity OnDemand, iTunes and Amazon for $9.99.

Ten bucks feels like too much.

Despite the straight to VOD release, The Z.T. is a lot more ambitious than the trailer lets on. The preview lead me to believe director Terry Gilliam had mailed this one in.

But alas!

This movie's contains a lot of solid material.

Where else are you going to find a pink chaise lounge?

Portions of the environment are sources of great irritation and intrigue. But I suppose that's the Terry Gilliam thing. Much of the physical setting is reminiscent of 12 Monkeys, another mind- bending dystopian movie involving time travel and paradoxes.

Z.T.'s futuristic landscape is elaborate and compelling. The streets are covered with graffiti; digital advertisements and adhesive 'tags' plastered all over the alleyway.

I'd say The Zero Theorem's right on par with A Dozen Bonobos.

Although I haven't seen Brazil, my favorite Gilliam is Fear and Loathing in Las Vegas. Watch it instead if it's eluded you thus far.

For those dead-set on catching Z.T. here's a couple notes on the casting.

Christoph Waltz stars as Qohen, and never ceases to impress.

After major supporting roles in Quentin Tarantino's Inglorious Basterds and Django Unchained, he plays a completely different character here.

From the cadence of his voice to the movement of his gaze, it's obvious he works hard to differentiate himself between roles.

What a dynamite thespian - good on ya, Christoph!

Matt Damon plays a small supporting role as 'Management,' and he's excellent.

So add another bullet to the long list of 'Good Reasons to Adore Mr. D.'

David Thewlis and Tilda Swinton are great. Lucas Hedges is good.

But far and away my favorite character is Bainsley.

Mélanie Thierry delivers an awesome performance, particularly befitting the Gilliam modus operandi. She's got that twittery futuristic spunk, the neon haired quirketude. Which sounds grating, but it's actually quite cute and delightful.

Part of this is thanks to the writing. In order to fill out the futuristic world in a realistic fashion, screenwriters often utilize the cyberpunk diction. It's an alien form of English, and often seems bizarre at first.

It works well here, particularly because of the acting.

Every once in a while Bainsley will say something like, "You got a mouse in your pocket?" her charisma reminding the viewer to notice the occasional warmth.

Despite the bleak premise.

There is a lot of social commentary buried throughout. Some of it is a bit on-the-nose, like the satirical news station, 'Dumbc' or some such silliness.

But the more subtle stuff can really bolster a scene. When Qohen first meets Bainsley, it's jarring to see the partygoers 'fake smoking.' At first it seems like quirk for the sake of quirk.

These moments are a lot more nuanced than they appear, however.

During a later scene, Qohen is sitting on a park bench. The backdrop is a swarm of 'No (Insert Fun Activity) Allowed' signs.

The visual flood of placards is both an eyesore and quite a strong metaphor.

Terry seems to envision a future in which we're plagued by bureaucratic overregulation.

Considering the recent discussion regarding the heroic San Franciscans and their unending skirmish against synthetic shopping totes, I'm inclined to agree with Mr. Gill.i.Am.

Finally, I really enjoyed the artificial reality. The blending of digital pornography and prostitution offers a compelling and original spin on the sci-fi construct.

By the by, it's ironic considering Qohen's pursuing an answer to the ultimate question.

But he can't install a little bit of conduit?

The Tree of Life (2011)

Far Too Melancholic

[5/10 · 6 September 2014]

I hate melancholy.

Floating in existential whispery sadness doesn't warm the cockles.

I can't believe The Tree of Life was nominated for best picture. Sure there's good stuff in there, but it's been a long time since I wanted a movie to end so badly.

Let me start out strong with my best argument.

The hushed tone head-hopping voice-over. It's artistic, and perhaps it works well with this particular plot.

But I doubt it.

Terrence Malick used the exact same effect in his film The Thin Red Line from 1998. Thirteen years it later, it's still just as distracting and uninformative.

I watched Thin Red Line with my Dad a week ago. He seemed to enjoy it more , because I didn't love it.

In fact, I found TTRL dull, preachy and heartless. More 'technically' good, rather than 'unquestionably' good. Throw enough dollars into the visual layout, build a bunch of tension and you've got a thumbs-up.

Folks toss around the word, 'boring' too much. 'Boring' is mostly for whiners. It should only be used to describe something that's extremely dull.

The Tree of Life is boring.

It's not better than The Thin Red Line, despite a similar visual format.

What is with the gospel music? Was the plot not dull enough?

The cast is excellent. Brad Pitt, Jessica Chastain and Sean Penn are all very good.

With all the stylish editing, the movie's very difficult to follow.

Half of The Tree of Life is nature imagery, and features footage of phenomena from big to scale, from water molecules to supernovae. I'm open to a more whimsical form of storytelling, but eventually it gets tiresome.

The reason I disliked this movie is because I think Terrence is saying a lot less than he lets on.

As a period piece and a study of a family living in Waco, Texas in 1956, I'm fine with it. But do we need all of this existential stuff, the intergalactic imagery or the vague timeframe?

The puzzle pieces don't seem to fit together in any coherent fashion.

There are a couple things I'm confused about.

When the velociraptor removes its foot from the wounded dinosaur's head, is that supposed to be the moment in Earth's history when humans began evolving? That our greatest redeeming quality is the capacity for compassion?

Well, if so, then great! What's it teach us about Brad Pitt's family in 1956?

I'm not convinced the dinosaurs belong in the movie.

The Oedipus complex is also something I never connect with. Perhaps Terrence is trying to show how it manifests itself even in recent history.

I don't know, and I guess I just don't care.

The Tree of Life has a few good moments, however.

Young men will appreciate much of the father-son interactions between Brad Pitt and Hunter McCracken.

Whenever Jessica Chastain's on-screen is generally enjoyable.

At one point, she's bouncing and twirling in zero gravity beside the tree and it's enchanting.

If Terry cut out some babbling brooks and tossed in a bit more of Jessica dancing on air, The Tree of Life may have been great.

Oculus (2013)

Nuance and Production Value

[8/10 · 4 September 2014]

Self-reflection.

How much is too much?

Although the story remains unread on my bookshelf, I'd imagine Oscar Wilde's The Picture of Dorian Grey deals heavily with this notion.

Since publication, many other horror stories utilize the mirror motif. Candyman (1992) is one of the scariest movies of all time. Mirrors (2008) isn't as good, but hey – further fright by looking glass!

Bearing in mind horror movies are graded on a curve, Oculus is great.

Not only is it scary, it's thought provoking and nuanced.

Plus, Karen Gillan!

Throw her on a list of promising young up-and-comers. She plays the bionic woman in Guardians of the Galaxy.

Brenton Thwaites isn't the cat's pajamas, but he does just fine.

Rory Cochrane and Katee Sackhoff turn in solid performances as the parents. The kids, Annalise Basso and Garrett Ryan were also very good.

First and foremost, Oculus establishes fair and realistic circumstances by which the viewer can suspend disbelief. Some of the best horror movies nowadays struggle with this.

Also, despite a tiny (five million dollar) budget, the movie looks great. You can feel the production value, the effort behind the movie-making.

Unlike the Paranormal Activity franchise, which I've been screaming about since the first was released in 2009. It seems like folks have caught on since the trailer for the fourth movie, but I'm going to be upset if I have to sit through a preview for P.A. 5.

I'll get back to Oculus in a moment but one last note on the P.A. franchise.

It lessened the credibility of the horror genre by supporting a notion introduced by The Blair Witch Project.

The idea that production value doesn't necessarily increase believability, and success can be achieved through marketing trickery and cheap filmmaking.

Therefore what's debatably the campiest genre became even less appealing to the out-group as a large source of revenue. What is commonly perceived as a 'lesser art form' is further denigrated by the cheapness required to satisfy the audience.

My soapbox has a stepladder I'm currently descending.

Anyway. Oculus puts the theme of reflection to good use.

Man, horror guys really love their overlapping dualities.

The ending (and Rotten Tomatoes) leads me to believe there will be a sequel, which I'm very intrigued to see.

Two separate timeframes unfold through the perspective of two protagonists, under similar conditions in the same setting. The viewer watches along as the memories overlap with the present.

See? Nuance!

What we have here, folks, is an unreliable narrator.

A subjective third-person omniscient narrator, to be precise.

A perspective that swivels willy-nilly between past and present, reality and delusion.

Oftentimes it's difficult to discern what's an objective historical account or concrete memory. The blurred lines between the individual perceptions of both past and present are a theme reflected throughout.

Thus resulting in some rather subtle social commentary regarding psychotherapy.

After all that time spent in self-reflection, how much good does it do him in moving forward?

Didn't think I was going to bring it back around, did you?

Haywire (2011)

Taking Names with Gina C.

[9/10 · 2 September 2014]

This film satisfies.

Specifically the urge to watch a female protagonist square off with a male in hand-to-hand combat, and realistically win.

I've never considered how ill-equipped women are for fist-fighting. But that's probably a good thing.

With the long hair, the unstable shoe heels, and simply the lack of body mass for throwing punches; in reality, most male vs. female altercations won't result in sophisticated brawls.

And I suppose that's why we rarely see it in film. When reviewing Captain America: The Winter Soldier I mentioned how we never get enough combat from Black Widow, played by Scarlett Johansson.

Anyway.

Haywire is great.

The writing, directing, editing, casting, soundtrack/scoring and acting is fantastic. The fights are awesome.

Steven Soderbergh may be my favorite director. His movies never disappoint.

Side Effects podiums amongst the top three films of 2013. You may know him from the Oceans Eleven franchise, Traffic or Out of Sight.

Gina Carano's biography on IMDb claims Soderbergh, "wrote the role of Mallory Kane specifically for her," though the screenplay's written by Lem Dobbs (who also wrote The Limey, another famous Soderbergh flick.)

I knew I recognized Gina C. She plays a great character in Fast & Furious 6!

Others may know her as the famous MMA fighter.

If you see the movie, you'll understand why Soderbergh's such a great director. The action is entirely more riveting without stunt doubles.

I dig that Gina Carano. She's charismatic and lovable as the protagonist. Let's hope we see more of her in future films.

The chase scenes are quietly spectacular. The plot moves along at a break-neck pace so you have to pay attention.

There's something about the on-foot chase scene that's gripping. When it really feels like the characters are sprinting for long periods of time, it's so engaging.

Haywire's stylishly edited and utilizes innovative storytelling techniques. One scene cuts between three different types of footage to show a trio of plots developing simultaneously. Plus, there's no in-scene audio or dialogue, just the musical score.

It's very cool! And slightly confusing. So pay attention!

The supporting cast is spectacular.

Channing Tatum never disappoints.

Ewan McGregor doing quality Ewan.

Bill Paxton doing quality Paxton.

Anotonio Banderas. Michael Douglas.

Michael Fassbender!

Come on. What more do you need?

Haywire is a top-notch action thriller available for HD rental through Xfinity OnDemand, Amazon or iTunes for $3.99.

There's nothing special during the credits.

But it's 93 minutes, and it's an R-rated flick that men and women will both enjoy.

You might call it a great 'date movie'.

300: Rise of an Empire (2014)

Much Better than Anticipated

[7/10 · 31 August 2014]

When it comes to expectation, Rotten Tomatoes established a new dynamic.

Although I only made the realization days ago, I've been a long-time fan of Frank Miller adaptations, loving both Sin City (2005) and 300 (2006) in the theater.

Since its early March release, 300: Rise of an Empire is certifiably rotten with a critic percentage in the low forties. So I skipped it.

Despite a similar Tomato rating, I saw Sin City: A Dame to Kill For the day after it hit theaters and couldn't shake the disappointment/frustration for a few days.

Fast forward to yesterday, when I realize Frank Miller's other sequel is available through Xfinity OnDemand via HD rental for $3.99. I'd totally forgotten it existed.

Neither my time, nor money went to waste.

300: Rise of an Empire is very good.

The co-starring antagonist role, Artemisia, is played by Eva Green. Artemisia is vastly different from Ava Lord, her character from Sin City: AD2K4.

She's more, ahem, sympathetic.

Green's slightly less nude, as well, though I don't believe there's a correlation.

Eva is top notch. Artemisia is easily 300 Part Deux's greatest redeeming quality, and I said the same thing about Ava Lord in the sequel to Sin City.

Apparently Green is excellent in any badass female role written by Frank Miller.

Let's hope we see more out of her in the future!

The same goes for Lena Headey, one of my favorite actresses, who reprises a supporting role as Gorgo. Just like David Wenham as Dilios (Leonidas's one-eyed loyalist), she doesn't disappoint.

Love that Lena Headey. She's a 'Grade A' thespian.

One strong aspect of the story is how clearly it overlaps with that of its predecessor. The interaction with the timeline from 300 is never obscure to the viewer.

Clarity has its downsides however. The director recycles bits of footage from the first movie, which always feels like a cop-out. He doesn't stop there, even reusing original footage introduced in the sequel.

That's the one-two punch of fair criticism that overlaps with Sin City: AD2K4, wherein footage is also recycled.

It's a near-certainty this film would be great had it been directed by Zack Snyder.

The writing is very strong. The action takes place at sea and furthers the original narrative, while building the larger world of the story. It's good stuff!

The battles are epic and beautifully rendered. The CGI's not perfect, especially when there's a horse on-ship, but it's easily ignored.

The outro credits are fun, but there's no stinger after they start rolling.

Overall, 300: Rise of an Empire isn't bad by any means.

With strong performances from a solid (albeit lesser known) cast, I'd say it doesn't disappoint!

To bring it back around: I think this reaction's noteworthy in contrast to the lingering sadness I felt about Sin City: AD2K4.

Perhaps much-anticipated sequels received with critical disfavor are best left on the backburner until becoming available as a rental. That way, reality can set in, and expectations are appropriately leveled.

By this logic, if Dumb & Dumbr To receives a R.T. percentage in the mid-forties, I should skip it and wait on the rental.

Or otherwise expect severe disappointment, right?

As Above, So Below (2014)

An Admirable Horror

[7/10 · 30 August 2014]

Horror movies are rarely called 'great.'

When was the last critically acclaimed horror movie released? You'd be hard-pressed to find anything since The Ring in 2002.

I haven't seen The Conjuring, Mama or Oculus but people say they've got potential. I thought Drag Me to Hell was pretty good from 2009.

But the last great one I caught in theaters was Devil from 2010.

Which is also directed by John Dowdle. He wrote Quarantine (2008), as well – another solid semi- recent horror.

As Above/So Below is the best horror movie I've seen in a long time.

First of all, it's shot on-location in Paris, which is a delight for any fan of that city. Favorite sights like Notre Dame and Sacre-Coeur are featured throughout.

The filmmakers use almost every shooting style. AA/SB is a mockumentary about Scarlett (played by Perdita Weeks) a young archaeologist searching for the philosopher's stone. Therefore much of the footage is first-person, shot via headlamp GoPro cams.

Although I'm sick of 'found footage' it works better here. For obvious reasons, the budget can't be massive, so this filmmaking style is particularly suited to horror.

The story is also good, co-written by the director and his brother, Drew.

There's more nuance than usual. The main characters use deductive reasoning and historical analysis in order to solve riddles and navigate the labyrinthine catacombs.

There's a lot of rebirth imagery, but I wonder just how far the metaphor goes. Are the ribbed tunnels supposed to be reminiscent of a vaginal lining?

Dichotomies drawn between light and dark, and up and down, are intriguing and thought provoking.

The cast of unknowns delivers strong performances. It's tough to get through a whole scary movie without poor acting or cheesy moments.

Apparently I'm in the minority because AA/SB is getting 13% amongst top critics and 57% amongst the users on Rotten Tomatoes.

But I would encourage an open mind, because it's a cut above the rest.

If you're looking for a decent flick this weekend, especially if you dig horror, you can do a lot worse than As Above/So Below.

Sin City: A Dame to Kill For (2014)

Only Slightly Disappointing

[7/10 · 24 August 2014]

Sigh.

It's an injustice when critics refer to Sin City as a 'cult classic.'

Likewise 'campy' denotes a lack in quality, and is an unfit qualifier for the first film.

A Dame to Kill For isn't as good as its predecessor. Therefore if a group arises to defend their equality, it's fair to deem the sequel 'camp.'

Dame is not bad. It has many redeeming qualities.

But overall, AD2K4 is underwhelming.

Part of the problem involves the visuals.

Why didn't they release it in IMAX? The larger screen and better sound could help.

I can't put my finger on it, but something's different about the shooting style between the two movies. The visuals are sharper, less gritty, and that's not a good thing.

The clarity lends the settings/backdrops a more artificial feel. The environment feels cartoonish; not 'lived in' or 'real.'

What happened with the editing? Seriously.

Why weren't the filmmakers more generous to Jessica Alba?

The first film has an iconic two-minute scene of her dancing on-stage, but it's mostly background to Hardigan's (Bruce Willis) activity. The camera-work is elaborate, tasteful and never self-indulgent.

It's as if the fans cried for more dancing Jessica, and the filmmakers way overcompensated. They're building story with the nuances of strip teasing, but the performance is unconvincing.

Who deserves the blame? Why didn't they do multiple takes? Why didn't Alba prep better? After finishing the rough cut, didn't the directors realize the stripping feels excessive? Where's the stylistic panning, the cutaways, the slow-motion?

Why didn't they re-shoot the boozing scenes? Who didn't have time for whom? I want to know!

Ugh. Disappointing.

There's way too much voice-over. Characters are constantly telling the audience unnecessary details.

If only things were a little bit tighter. Less voice-over, more background extras.

Other than the dancing and drinking, Alba's acting is pretty good.

In fact, the entire cast is strong. Each thespian manages to fit the tone of the movie (except Julia Garner.)

That doesn't include the 'under fives' (characters with less than five lines) however.

The frat boys are particularly alien. They oversell the frustration, the weirdness and the 'douchiness' (I guess?) that 'frat boys' are supposed to emulate.

If you can't tell, I feel slighted by the open, in which 'frat boys' with an eye for 'brand names' are associated with disrepute. This is a tired cliché, and a feeble attempt at social commentary.

One of the characters actually says, "I have a trust fund!" while begging for his life.

Bobby, Franky; come on, guys. Nobody talks like that.

I'm curious to know why Clive Owen didn't reprise his role as Dwight.

Josh Brolin accomplishes the job sufficiently. But is it possible the sequel suffers without Clive?

Absolutely. It's just one more source of unnecessary confusion.

Bruce Willis, a protagonist and highlight from the first, returns as a supporting character and doesn't disappoint.

Joseph Gordon-Levitt's rock-solid as usual. That goes for Mickey Rourke, too.

Along with a cameo in A Million Ways to Die in the West, Christopher Lloyd appears twice on the summertime big screen (both times as a doctor, no less).

Lady Gaga was a minor disappointment. Small as it is, she doesn't sell the waitress role.

Eva Green, on the other hand, buys the pie. Her performance as Ava Lord is rather impressive. She does a good job of selling a tough role and her character is the single greatest redeeming quality of the sequel.

Second place goes to how it illustrates the metaphysical nature of the city's location.

Sure it's noir L.A., but it's also a weird sort of limbo in which archetypal anti-heroes congregate and intermingle.

The allegorical environment's a phantasmal depot for sinners caught in the cycle of criminality.

Think about it, man.

When considering both flicks from that perspective, the sequel becomes much more thought- provoking.

The action's pretty good; some moments are downright fantastic.

All in all, Dame 2K 4 is inferior to its predecessor, yet contains enough enchanting moments, compelling character interactions and violent mystique to satisfy fans.

See it if you like the first. Just don't expect much.

There's no stinger after the credits, so you can leave once they start to roll.

Perhaps Sin City 3 will make up for lost ground.

If Eva Green reprises her role, they've got a shot at turning things around.

Godzilla (2014)

The Downside to the Greatest Trailer Ever

[8/10 · 22 August 2014]

Summer's a-winding down.

You know what that means?

Less PG-13.

That's right, folks. Content rated for 'a mature audience.'

Considering the premise, one might presume this movie's unsuited to a teenage audience.

At its core, Godzilla's a horror story, no?

In terms of genre, it belongs under the 'Giant Monster Movie' heading.

Here's my top six, from best to worst -

1. Pacific Rim (2013) 2. Godzilla (2014) 3. Cloverfield (2008) 4. King Kong (2005) 5. The Host (2006) 6. Gojira (1954)

To be fair, those are the only six.

Like most people, I missed 1998's Godzilla starring Matthew Broderick for two reasons.

One: It's a unanimous flop.

Two: My sole attempt at rental was thwarted.

A decade ago, after biking three miles to Blockbuster, I realized the disc had never been returned. Because why would they take down the cardboard insert, even years after the actual DVD disappeared?

I borrowed the subtitled original instead.

Never watch Gojira. Ever. It doesn't hold up.

It's noteworthy as a pop cultural touchstone, particularly in Japan, where it was clearly received as horror. But check Wikipedia if you're interested - I don't support ironic viewings.

Rent this year's Godzilla if you're looking for an inoffensive weekend flick.

I dragged my sister and brother-in-law to an IMAX 3D screening and all of us thoroughly enjoyed it. Both cited low expectations as a major contributor to their delight.

If you take advantage of the rental (available starting September 16), stream it on a big screen, crank up the volume and kill the lights. This isn't ideal for an airplane.

What's great is the sigh of relief: Zilla delivers on several levels.

The story isn't cliché or flat. It's well thought-out and nuanced. It's not perfect, but it's tough to hit the bulls-eye with mega-monsters that withstand rocket-powered artillery.

The visuals are solid, especially the CGI.

Now, this flick had the best trailer I've ever seen. Back when it first appeared in theaters, it was so creepy and built the anticipation. Unfortunately, the paratrooper sequence is underwhelming as a result.

Thus continues the search for any redeeming quality in the general practice of trailer viewing.

Sally Hawkins can be put to much better use. Although she delivers a more than proficient performance, it's not a strong role. Which is similar to the part she plays in another great movie, The Double, released a week previous. But she's outstanding in Blue Jasmine, even receiving the Oscar nomination for Best Supporting Actress.

Hopefully we see more of Sally in the future.

Other than Bryan Cranston and Juliette Binoche, the acting's only okay.

Elizabeth Olsen is pretty good.

Aaron Taylor-Johnson isn't bad, but he completely lacks charisma.

All in all, Godzilla is great enough for what it is.

I'm sure the sequel's going to give us, at the very least, a peak at King Kong.

Consider this a challenge to the filmmakers: Be original and release an 'R' rated sequel.

You may not make the same haul domestically (which is debatable), but it'd be a way better movie. Folks would applaud the creativity and ambition.

Plus, you could ratchet up the horror.

And who doesn't love a good scare?

Under the Skin (I) (2013)

A Dark Damsel in Distress

[9/10 · 20 August 2014]

'Alien' is a misnomer.

More accurately Laura, played by Scarlett Johansson, is an 'extraterrestrial organism.'

A being who exists beyond our frame of reference. Seems puzzling, no?

Well it's certainly elaborate, but not needlessly confusing.

Under the Skin is smart and mandates a brief personal yarn.

During movie viewings, my buddy and I rarely talk or utilize the pause feature.

We pressed the freeze button thrice whilst watching Under the Skin in order to clear up confusion.

Our choice to abandon the usual procedure proved beneficial, because UTS is a lot easier to follow when combining noggins.

Rotten Tomatoes's summarization explains, "Its message may prove elusive for some, but with absorbing imagery and a mesmerizing performance from Scarlett Johansson, Under the Skin is a haunting viewing experience."

That little lady's on quite a streak. She's been in six huge movies since The Avengers in 2012. Her last eleven are Certified Fresh on Rotten Tomatoes!

A topless Scarlett may be the sole draw for certain viewers, but I suspect they're the same folks who'll find its message elusive.

Under the Skin is a great movie that hasn't received the credit it deserves. It's a mixture of sci-fi, fantasy and horror and if you dig this cinematic breed I highly recommend the rental.

It's currently available for instant streaming via iTunes and Amazon as an HD rental ($4.99) or purchase ($9.99).

According to Box Office Mojo, it cost $13.3M to produce Under the Skin, and so far it's just shy of a $5.4M gross worldwide. Which is a bummer because passion and effort should be rewarded.

Jonathan Glazer did an excellent job directing this movie. A massive chunk of thought went into each scene. The workload's palpable.

The audio and visuals are simply stunning. Everything feels 'intergalactic.'

The plot's creepy and unnerving. Certain details seem like red herrings, but the film's so polished their exclusion must be purposeful.

Under the Skin is wildly thought provoking and hits the spot.

If you seek uplifting content, search elsewhere, chum. Several moments are on the warmer side, but the majority's unsettling and quizzical.

Follow my example and catch this flick with a loved one.

Let's hope Laura runs across Lucy (from Lucy) and Samantha (from Her) and finds solace in their company somewhere in the metaphysical ether.

A Million Ways to Die in the West (2014)

The Summer of Spoiling Trailers

[6/10 · 12 August 2014]

Why get your hopes up?

It won't help.

A Million Ways to Die in the West contains several genuine laughs and a number of chuckles. Don't sully them with high expectations.

Have you seen the trailer? Hence the anticipation.

The preview spoils the majority of jokes, reveals and cameos. Wait a year before renting.

This is the type of comedy where, if you're viewing with only a vague recollection of my dissatisfaction, there's a shot at enjoyment.

John DeFore, a writer for Huff Po, suggests a, "mid-film cameo prompts viewers to wonder how MacFarlane might have fared playing a time-traveler from our era stranded in the Old West. Instead, his 1880s sheep farmer Albert Stark simply talks like someone born in and transplanted from the 20th century."

DeFore's analysis couldn't be more accurate.

Albert feels like a stand-up comedian; a prisoner in the Old West who attempts to gain freedom through wacky frontier material.

The problem isn't a fun topic for discussion, because Seth MacFarlane deserves our respect.

Celebrities only have nice things to say about him. He's one of the greatest contributors to contemporary comedy, offering quality on both the small screen (The Family Guy) and in the box office (Ted). As host of the 2013 Oscars, he delivered a bang-up performance.

Therefore, it's unpleasant mentioning the weakness of his performance, and how it detracts from the film overall.

For whatever reason, his acting isn't up to snuff.

Harping on it won't do any good. Chalk up the loss to over-ambition.

A $40 million budget isn't enormous for this type of production. And Seth's trying to write, direct and star in the biggest comedic western since Blazing Saddles. That includes flying the ensemble cast/production crew, building sets and shooting on location, while using horses, dancers and maybe guns (plus all the necessary advisors/extras.)

Fun fact: Liam Neeson's the only cast member who rode horseback across the tarmac, up the steps and onto a private, horse-bearing jet. Apparently Neeson goes nowhere without his nag.

That's a joke. But you can see how a budget dries up relatively quick.

By the way, the supporting cast is what makes this movie good. Giovanni Ribisi, Sarah Silverman and Amanda Seyfried are great.

Charlize Theron and Neil Patrick Harris are fantastic. Charlize is so impressive; she prevents the movie from becoming a 'thumbs-down.'

N.P.H. plays a hilarious villain and is such an incredible talent that he manages to cultivate hysteria from an unfunny scatological bit.

Aside from Neil and Charlize, the best part is an original song.

If nothing else, at least give, "If You've Only Got a Mustache," a listen.

All in all, AMWTDITW is not a complete success.

Nor is it a complete disappointment.

Let it simmer on the backburner.

You'll thank me later.

The Raid: Redemption (2011)

The Most Refined Action Sequence in Cinematic History

[9/10 · 9 August 2014]

Kung fu needs a new publicist.

Somewhere along the way, martial arts acquired a bad reputation.

Perhaps Keanu's been over-quoted.

Regardless, a number of great movies from the past few decades feature hand-to-hand combat: The Matrices, Shanghai Noon, the Rush Hours, Rumble in the Bronx.

(Sidebar: Top two films involving a woodchipper: Rumble in the B and Fargo.)

Now, hesitation's healthy when a martial art is all a motion picture offers.

The Raid: Redemption is a lot more than just kung fu.

If ever I review a flick that's entirely male-oriented, it's The Raid.

It's often compared to another movie released around the same time, because both flicks portray an assault on a crime-ridden high-rise.

Dredd, however, isn't good.

Lena Headey as the cruel antagonist, and SLO-MO (the reality altering drug) are the only redeeming aspects in that overrated reboot. Everybody that played GoldenEye 007 on N64 is well-aware of proximity mines, smoke grenades and the like.

On the contrary, The Raid is fantastic.

The fellow who owns the criminal complex being raid redeemed has an interrogation room with a chain restraining system. It's a chamber specifically suited towards information extraction via shackled prisoners.

Speaking without hyperbole, Raid: Red contains the single greatest action sequence in cinematic history.

Gareth Evans deserves a standing ovation for the fire axe scene.

The tension is multi-layered as the characters realistically adapt to an evolving conflict. There are varied threats and the individual movement through the scenery (plus the interplay with props/weaponry) is magnificent.

It's a delicate waltz, my Friends.

A riveting score overlays elaborate choreography, creative stunts and sharp camera-work.

The Raid is originally an Indonesian film and Sony Pictures tasked Mike Shinoda (of Linkin Park and Fort Minor) with creating a new score for the U.S. market. The Shinoda scored version made its U.S. debut at Sundance 2012.

The fire axe is just one of many great scenes though. Rent it and see for yourself.

The stakes are high. The plot is smart and dark.

Neither slasher nor 'torture porn.'

It's as good as action gets.

Somebody at the festival must have noticed the issue with the subtitles, right?

Whoever translated the closed captioning did very poor work. One of the main barriers between non-viewers is the necessary reading, so naturally a minimalist approach would seem appropriate.

There were subtitles for grunts, music notes to indicate the swell of Shinoda's composition (which goes against the very nature of a film score), footsteps and other sound effects. This would make sense if America were a deaf culture.

One subtitle in particular, "Okay (English)," appears toward the middle of the film. This is more than a distraction. It's especially problematic because it instigates needless confusion.

Why the distributors haven't fixed the closed captions (especially now the sequel's been released) is beyond me.

But behold; I let it go. You will too.

If you're a lady who loved The Raid, please set me straight; your comments are welcome!

Gentlemen – go nuts.