Challenger2013 Reviews

Leviathan (2014)

Very Depressing, but Rewarding Experience

[10/10 · 11 September 2015]

It's easy to find a film that makes you sit back, relax, and enjoy the show. Even if you find yourself screening an utterly terrible film, it's possible to check your brain at the door and try to forget about it all when you leave. The 2014 Russian film "Leviathan" is neither of those films.

There is an extremely rare category of movies that absolutely punish the audience, presenting multiple depressing turns for characters that just can't seem to win. Yet, when we leave and head home, we feel rejuvenated, refreshed, and loaded a heap of factors to think about for days, even weeks to come. "Leviathan" is that film.

The Foreign Language Film Oscar nominee follows Kolya, played excellently by Aleksey Serebryakov, a man living in a small Russian town with his wife (Elena Lyadova) and son (Sergey Pokhodaev). His struggles come from the corrupt mayor (Roman Madyanov) who wants to buy his land for an unfair price. Kolya responds by turning to an old friend (Vladimir Vdovichenkov); an attorney who is collecting information with the power to bring the mayor down.

This film, crafted masterfully by director Andrey Zvyagintsev and cinematographer Mikhail Krichman, is so realistic it's almost frightening. To see this story and realize that there are actually people out there (especially in Russia) who struggle the way Kolya and his family do is quite unsettling. It's also strangely rewarding, not because we enjoy seeing these traumatic experiences, but because we now know that realistic tales like this can be put on film in this fashion.

Despite its dark tone, the film is beautiful. Awe-inspiring shots of Russia's landscape are presented along with shots of characters that have the ability to present true emotion even when there is no dialogue. I believe a certain shot, that of Kolya's son looking onward at a giant whale skeleton, could become iconic in years to come when we are still talking about this film.

There are a number of ways one could dissect this film for its underlying meanings, but I'm not going to get into that. Partly because I could go on and on about the possibilities, and partly because I hope that any readers I may have will seek out this film and form their own judgments about what it is really trying to say. "Leviathan" is brilliant. It is not confined by the standards of Hollywood. It is the type of film that demands to be seen multiple times, even if its audience isn't always willing to witness the heartbreaking story again and again. It is not the type of film that most people, myself included, will list as one of their favorites, but it might be the best film from the year 2014.

Gone Girl (2014)

Terrifying Film; One of the Best of 2014.

[10/10 · 11 September 2015]

David Fincher's films have a certain dark style. You don't have to look much farther than the excellent "The Girl in the Dragon Tattoo" to see that. Here he takes it to another level, bringing us another dark and twisted adaptation with even more attention to the characters.

The film, written by the author of the novel, Gillian Flynn, centers on the relationship between married couple Nick and Amy Dunne (played by Ben Affleck and Rosamund Pike.) On their fifth anniversary, Amy goes missing in their little Missouri town. It seems like a normal murder mystery, but there's a twist. Amy happens to be the inspiration for a series of widely successful children's books written by her parents. Thus, the search transforms into a nationwide media frenzy. With Nick acting very strange, he becomes the prime suspect. We begin to learn that Nick and Amy's marriage was not as perfect as it seemed and a series of fun twists push the movie forward at a rapidly increasing pace.

The film hits two major areas spot-on: characters and story. The twists are truly unpredictable and the plot does not feel like something we've seen before. David Fincher's demanding presence is felt both in the aesthetics of the film and in his actors. Affleck and Pike are perfectly cast as the two leads, and Pike is especially exceptional. The film will benefit Affleck in the long run because it shows us once again that he has real acting chops. This guy can do much more than direct great films, and his reputation as a subpar actor is a myth. We are also treated to a slew of excellent supporting characters played convincingly. The stand-outs are the underrated Carrie Coon as Nick's sister Margo, Tyler Perry in a surprisingly delightful performance as Nick's lawyer, and the lead detective in the case played with conviction by Kim Dickens.

The driving force in the film is Nick and Amy's relationship. The movie becomes quite terrifying as the story moves along and more and more information is revealed. With a great script that gives us thrills, excellent dialogue, and even some nice laughs, we reach the end somewhat exhausted, meaning Fincher has done his job well. Viewers will either love or hate the ending, but it's the conclusion the film needs to set itself apart from other Hollywood mysteries. This is one of the best films of 2014.

Straight Outta Compton (2015)

Excellent Rap Biopic

[10/10 · 18 August 2015]

There are a number of very good period biopics out there. Here is another one. However, there are not many period biopics that reflect and define both the era in which they take place and the era in which they are released. "Straight Outta Compton" joins that short list. The film perfectly displays the rise of N.W.A. in the late 1980s and early 1990s. It also fits into the scope of where we are now in 2015. A year after the Ferguson shooting, and amidst the rising accusations of police violence, the film's message and content could not have come at a better time.

It may seem hard to believe that N.W.A. released their debut album 27 years ago, considering how much their influence is still felt. This extremely well-made film, directed by F. Gary Gray, leaves out a few factors of the group's rise to prominence, but does not take any shortcuts. These characters are presented as misogynistic gangsters, some of which previously had lives selling drugs, and are taken as they are. It's quite remarkable how the film still manages to present these guys as heroes despite their flaws and upbringing. That's what the film is all about, but I did not expect it to be done so well or convincingly.

Every performance in the picture is exceptional, but I'm choosing to focus on the main three. First off, O'Shea Jackson Jr. plays his father, Ice Cube, in a strong, convincing manner. He steps into his old man's shoes and develops the role. We see Cube's shift from a kid trying to survive in Compton to a furious, influential man who advocates against police brutality following the Rodney King shooting (in an excellent scene in which he argues with a reporter) and pumps up the crowd with a ferocious tone and booming voice. Next is Corey Hawkins, who feels the role of Dr. Dre. This character is special because he is the most relatable. He's the one who gets caught in the middle with the feud between Cube and Eazy-E. He's the one we're still thinking about the most when the picture ends and the one we want to succeed most. Hawkins delivers a commanding, yet perfectly subtle performance that sticks with us long after the credits roll. Last but not least, there's the excellent Jason Mitchell as Eazy-E. In a film full of stand-out performances, he delivers most. As the leader of the group (mostly) a strong performance is needed from Mitchell, who gives more than is necessary, in a good way of course. He delivers the biggest laughs and the deepest sobs. He is exceptional and deserves to be noticed for future big roles.

Not only are the actors spitting images of the real-life artists they portray, the embody them completely with the help of a terrific script filled with surprising laughs and deeply moving moments. The new "Fantastic Four" film happened to be released a week before this film. After seeing the two films on consecutive nights, I must say that I would take this rag-tag group of gangsta superheroes over that un-unified group with amazing powers. That's what these guys feel like in this film: flawed, raunchy superheroes that take on the world.

A film not only of its time, but also of the moment, "Straight Outta Compton is one of the year's best thus far, and one of the top three films of this summer. Like Eminem's excellent 2002 film "8 Mile," you do not have to be a fan of rap or N.W.A. to enjoy this movie. Whether or not you agree with what these guys stood for, give their film a chance.

Fantastic Four (2015)

Not Sure if They Even Tried

[2/10 · 16 August 2015]

I never liked the the 2005 version of "Fantastic Four." I've always considered it a disappointing superhero film. Amazingly, I found myself actually longing for it when I saw the new, rebooted version. Yes, this film is so bad that it almost makes the original seem like a good film. It's the type of movie that just gets worse and worse and drags on more and more with each passing second.

The picture introduces us to Reed Richards (Miles Teller), a young boy-genius who builds a small teleportation machine in his parents' garage (Might I add that the film already lost me at this point; seriously, a twelve-year-old builds a TELEPORTATION MACHINE.) After befriending Ben Grimm (Jamie Bell) at the junkyard, the two enter an updated machine at the high school science fair seven years down the road. It is here that Reed is noticed by Dr. Franklin Storm (Reg E. Cathey) and his adopted daughter Sue (Kate Mara), who offer him a scholarship at an institute attempting to create a device that can teleport human life to another dimension. Storm's son Johnny (Michael B. Jordan) and former colleague Victor Von Doom (Toby Kebbell) get forced into the plot and help build the machine.

On a drunken night, Reed, Johnny, Victor, and Ben (who randomly gets invited by Reed) decide to up and travel to a planet in another dimension, breaking every rule in the book. Bad things happen, Doom gets left behind, and the others have outstanding abilities when they return. Oh, and Sue gets powers too, but instead of just having her travel with the guys, the screenwriters decided to leave her behind and give her powers when the teleportation machine explodes for some reason...don't ask why. A year passes with our heroes held in a maximum security location, and then all of a sudden they're battling Victor (now Dr. Doom presumably) who wants to take over the world without any given motive. Yep, that's pretty much it...

Director Josh Trank claims that Fox Studios took control of the film from his hands, then took his great product and turned it into this piece of trash. Whether this is true or not is debatable, but it's pretty evident that he didn't have control of this picture. The story is nearly unwatchable when put on screen. Nothing exciting, interesting, or intriguing happens for most of the film, then everything happens at once in the last fifteen minutes. Even worse, what does finally happen is nowhere near worth the wait and falls short of anything that can be described as "epic" or "fun."

The terrible script does not offer much to the actors, but it's not like they make the most of what they are given. Teller tries much too hard to fit into his character and fix something that just cannot be fixed. Mara and Bell seem like they do not really care at all most of the time. Jordan and Kebbell are really the only ones who "almost" make the most of what they are given, but it's not enough to save the picture.

The sad truth is that these characters, like the story, are ill-conceived and undeveloped. The filmmakers completely wasted would-be-great characters like The Thing and Dr. Doom (who is only on screen for those last, awful fifteen minutes.) It's not enough to make the scenes between the Fantastic Four extremely corny (especially during an absolutely unwatchable scene where they attempt to come up with a name); it also gives them no time to develop into a team. These people are barely likable and still seem like strangers when they are finally called into action.

The cinematography was the one aspect of the film that was done right in the first hour. Then, when the need for strong special effects came, the film seemed almost as cartoonish as "The Green Lantern." In this day and age, where great special effects rule cinema, audiences should not be subjected to the simple, effortless effects seen here.

"Fantastic Four" might have been watchable if it seemed as though those involved actually tried to create an acceptable product. When watching this film, I wondered if the filmmakers even watched the final picture. Then I wondered if they had any idea what they were doing while making the film, because it seems as though they just threw it together like a crappy collage. Apparently, there is already a sequel in the works. It may be a terrible idea, but at least Fox has put the sequel in a situation where it can't possibly be worse than the first installment. Then again, I never say never. Perhaps it's best for the Fantastic Four to pack their bags and follow Spider-Man over to Marvel Studios.

Trainwreck (2015)

Very Funny, but not Great

[8/10 · 14 August 2015]

Nowadays, most romantic comedies miss the mark on characterization and plot. Judd Apatow's most recent product hits big on the characterization and almost nails the plot. The film follows Amy (played by Amy Schumer), a woman who has a great job, a nice apartment, and a fine love life in her eyes. This life consists of sleeping with a number of men while never fully committing to any of them specifically. She follows this system very strictly, stemming from her parents divorce when she was a child. Things change when she meets Aaron (Bill Hader), an unattractive sports doctor who she falls for rather quickly.

Schumer, who also wrote the film, is quirky and laugh-out-loud funny. It's easy to see she had fun with the role and that a large part of her is injected into the character. If there is anybody who deserves an Oscar nom for a comedy this year, it's going to be her. Her character is so well developed and immediately likable that it quickly becomes easy to love her and her flaws. She is a trainwreck, but that's what makes her so great. This is where the biggest problem arises. I loved Schumer in trainwreck-mode, and that's what the first two acts consist of. However, when the end comes, it's as if the film tells us that it is not acceptable to live the life of a "trainwreck." Instead, we should all strive for the conventional, happy, normal romantic comedy endings, right? This is what happens in the third act, unfortunately. After a dynamite, near-perfect beginning, the film fizzles in the end.

"Trainwreck" has quite a bit going for it and does most things right. Bill Hader hits one out of the park in another good showing of great characterization, giving us a leading man that is not the extremely muscular, overly attractive character we're used to seeing. John Cena fills that void hilariously in a nice supporting role. Even LeBron James handles his own very nicely in the film. This extremely raunchy, yet strangely delightful comedy packs a punch when it comes to the laughs, but isn't necessarily the breakout comedy we've been waiting for.

The Cobbler (2014)

Nearly Plot less and Unenjoyable

[2/10 · 28 July 2015]

The common argument nowadays is that Adam Sandler follows his past formula too closely. The comedic formula he championed in films like "Happy Gilmore" and "Big Daddy" has become bland in newer films such as "Grown Ups 2" and the horrid "Jack and Jill." Most critics suggest that he try new things, work for different directors, and focus on acting instead of having complete control over his films. I mostly agree with this, but with "The Cobbler," Sandler has followed all of these suggestions and still failed to hit the mark.

"The Cobbler," directed by Thomas McCarthy, follows Max, a shoemaker and repairman (hence the title) who lives a boring and undesirable life until he finds an old spinning machine with a special quality. When Max wears shoes that he repairs with the machine, he takes on the physical identity of the owners of the shoes. Sounds interesting, right? Unfortunately, the idea is not well executed and the plot seems like a mindless wonder for a very long hour and a half.

The plot here is practically non-existent. We watch Max parade around as other people for most of the film, then McCarthy attempts to create a storyline, involving gangsters and crooked rich people, in the last thirty minutes. Unfortunately, he tries too hard and it occurs too little too late. The film is promoted as a comedy, but I can't recall chuckling or finding any part of the film humorous at all. The film starts as an attempt of a drama, then becomes a fantasy, then a caper/crime film, and then finally (and you won't believe it) a superhero film. The film does not know where it wants to go, probably because it does not seem to be going anywhere.

The topic on everybody's mind with the release of this film is simple: how is Adam Sandler? Well, he is not "bad" by any means. It seems as though he was trying to recreate his brilliant performance in "Punch-Drunk Love," but he cannot seem to find the same conviction in this one. His performance seems real for the most part, but there are often moments when he looks just as bored as I was. It's hard to blame him too much with the content he was given--his character is pretty hard to like for most of the picture--but the film would benefit from a little more energy in his performance.

Dustin Hoffman recently stated that film is the worst it has ever been at this moment. Whether he is right is debatable, but I can understand how he feels this way after starring in one of the worst films of recent memory. Of course, he is not to blame, and this time, neither is Sandler. What floors me is how a director like McCarthy, who has been so highly praised after his first few pictures, can deliver a film like this. The premise caught my interest, but the product failed to deliver. To be frankly honest, "The Cobbler" is a narrative mess.

Southpaw (2015)

Conventional, but Very Entertaining

[8/10 · 26 July 2015]

When this film was originally announced, rapper Eminem was attached to the lead role. After his excellent turn in "8 Mile," I was excited to see how he would take on a film scripted by Kurt Sutter of "Sons of Anarchy" fame. I admit that I was quite disappointed when Eminem dropped out and was replaced by Jake Gyllenhaal. Now, I'm eating my words.

First and foremost, Gyllenhaal is excellent. His gritty, tough performance drives the picture and makes it better than it would otherwise be. July may be too early for awards talk, but hopefully the Academy keeps an eye on him for nomination time. He is easily deserving of the nod, especially after being snubbed for his brilliant turn in "Nightcrawler." His transformation between the two films is unbelievable, and the work it took should be noted and rewarded.

Gyllenhaal plays Billy Hope, a boxer who is undefeated in the ring and loves to take hits. His life is great until his wife is tragically killed at a charity event. Billy instantly succumbs to alcohol, goes into depression, and loses his house, his money, and custody of his 10-year- old daughter. With everything he loves gone, he turns to a new trainer, played convincingly by Forrest Whitaker, to train him to get back in the ring and win his daughter back.

The film has a nice, tight script when it comes to dialogue, but often misses the mark in terms of plot. It doesn't fail when it comes to emotional story lines, but it follows the conventional code, specifically the formulas seen in "Rocky" and "Rocky III." There are simply too many similarities to be found between these films, which causes the mind to wonder whether Sutter is as creative as we thought. Sutter's grit is definitely felt, but not his wit.

There isn't much to complain about when it comes to Antoine Fuqua's direction, other than that his common over-reliance on violence is felt and he throws in some very unneeded and distracting point-of-view shots during the final fight. Otherwise, the film looks really good, and the dark lighting fits perfectly. The fight scenes are slightly over-the-top, but damn fun to watch. I found myself not wanting the last fight to end and thinking, "this is what boxing should be like."

When it comes down to it, the truth is that this is a good, emotional, gritty boxing film. It strikes a chord and nearly accomplishes what it would like to, especially during the deeply touching and emotional scenes between Hope and his daughter, played very well by Oona Laurence. With a stellar cast that moves the film along, "Southpaw" does enough to bring some cheers by the gripping final fight. The disappointment largely comes from the feeling that the film has the potential to be great, if not Oscar-worthy, but is unable to get there by being held back by conventional boxing film tropes.

Terminator Genisys (2015)

Sequel or Remake?

[5/10 · 14 July 2015]

31 years after the original "Terminator" hit theaters, this film attempts to be a remake and a sequel at the same time. Yes, the filmmakers would probably identify it as a sequel, or maybe a "reboot," that it could also be called a remake, which leads to its ultimate downfall. It's pretty obvious they have run out of ideas in this franchise; the only way they can seem to keep it original at all. As it tries to form new ideas, the film gets mixed up in itself like a cat playing with a ball of yarn. Time travel, can be confusing enough, but the film punishes us by twisting the idea even more. Just as we figure out what the hell is going on, they throw even more at us until they send the audience into a headache. The good news is that Arnie is still enjoyable as the T-800 (nicknamed Pops by Sarah Connor in this one.) Unfortunately, Sarah herself is disappointing in this one. I was expecting a lot out of "Game of Thrones" star Emilia Clarke in this one, but she delivers her lines in an over-the- top fashion. I thought maybe it was the lackluster script, but the other actors didn't seem to have as much trouble. All-in-all, I was hoping for more from the up-and-coming actress. In the end, "Terminator Genisys" can deliver the exciting action sequences well enough, but it comes up short when it comes to the story itself. In fact, it kind of lost me when the Genisys program appeared in the form of the guy who played Doctor Who...

Jurassic World (2015)

Brings the Series Back to Impressive Form

[8/10 · 15 June 2015]

It's been 22 years since "Jurassic Park" amazed and probably scared the hell out of audiences, and 14 years since the franchise last appeared on screen. Is the fourth installment worth the wait? Yes, it is. It doesn't deliver a wonderful installment like "Mad Max: Fury Road" did earlier this summer, but it successfully revives the franchise and nearly returns it to the glories of the first film.

The film is set on the theme park after 22 years of success. With attendance at a low point, frontrunner Claire (Bryce Dallas Howard) introduces Indominus Rex: a genetically- engineered dinosaur hybrid containing the DNA of a number of difference species. Obviously, things go wrong, Rex escapes, and it's up to Claire and our hero Owen (Chris Pratt) to save Claire's two nephews and the rest of the visitors of the park while trying to contain the rogue dinosaur.

The film succeeds mostly because it knows that it is a big-budget summer blockbuster. It has the common clichés: the dramatic kiss amongst the violence, the lackluster script, etc. These are mostly forgivable because of the dazzling special effects and the well-done action sequences. The more unforgivable problem is with the characters. It seems as though each is constructed to follow a recognizable trope. There's the unbeatable hero, the villain who wants the dinosaurs for military weapons, the teenager who appears dopey and completely against all adults, and the manager who is overly organized and focuses too heavily on her work. This causes issues because it makes our hero the only real lovable character. This is largely because of the always-great Chris Pratt. He gives the performance the film needs and does what he can with the script he is given. Unfortunately, the same cannot be said for his co-star, Howard.

Despite Pratt's performance, the real stars of the film are the dinosaurs, especially the Indominus Rex. They are intricately designed and beautiful to see on screen. This is why the good outweighs the bad. The focus is on the dinosaurs, as it should be. That's where the spectacle lies.

"Jurassic World" is not a better film than "Jurassic Park," but it is definitely more fun, thrilling, and even terrifying. It encapsulates what an action-themed summer blockbuster should deliver. It's the type of film where you can turn your brain off for a bit, and enjoy the exciting ride. This franchise is back, and this installment does not disappoint.

Young Guns (1988)

One of the Most Underrated Westerns Ever

[9/10 · 14 June 2015]

Here is one of the most underrated Western films of all time. What we have here is the untold story of "The Regulators," led by the infamous Billy the Kid (Emilio Estevez). The film follows the group of six young men (none of them over 21 years old, but they all look like they're 25 or 30.) The story is quite simple; their guardian is murdered, and they are deputized to find the suspects and bring them in. When Billy goes on a killing spree of the murderers, the boys are on the run from the law themselves.

The great effect of this film is how it mixes exciting Western action with comedy and boyish charm. Each actor plays their part as it is meant to be played, nothing special but still exceptional. Each character also has their defining traits that make them individually likable. One of the most lovable is Doc (Kiefer Sutherland) who is great with the steel, but also claims to be a poet, even though all of his poems are slightly tweaked versions of classic poems by acclaimed authors. Lastly, we are given a wonderful, almost-evil villain played wonderfully by the Western legend, Jack Palance.

This film, being made just before the 1990s, contains new comedic elements for the genre, but is also quite relatable to the classic, beloved Westerns of earlier decades. It doesn't look like other 1980s films aesthetically; it looks more like a technicolor 1950s Western, and it is very refreshing. The film is not necessarily under-watched by Western fans, but does not receive the acclaim it deserves. It's easily one of the most fun Westerns of the last three or four decades.

Mad Max: Fury Road (2015)

The Best Mad Max Yet

[10/10 · 17 May 2015]

Max is back and better than ever! I know "The Road Warrior" is a classic, but I'm saying that this is the best "Mad Max" film to date. The reboot is a whirlwind of a thrill ride and keeps viewers on the edge of their seats for the who two-hour run time (making it the longest film in the series.)

"Fury Road" finds Tom Hardy as Max Rockatansky, a man burdened by glimpses of the past and a little girl he was unable to protect. He is a loner, a drifter, and a man of very few words. After being taken prisoner by a group of warriors who paint themselves white and believe they are working to make it to Valhalla, Max escapes during one of the many intense fuel-guzzling battles on the Fury Road and decides to help Furiosa (played wonderfully by Charlize Theron) and a group of young women who are attempting escape and freedom by Immortan Joe (Hugh Keays- Byrne, who played the villain in the first installment as well), the evil leader of the citizens of the Citadel who uses the women as slaves to give birth to his children.

The performances in the film are nothing short of great and satisfying. Hardy doesn't say much as Max, and he doesn't have to. Every gesture and grunt he makes is good enough and he fills the shoes vacated by Mel Gibson very well. Theron gives us a strong, independent woman warrior in Furiosa, one of the best characters to appear in the franchise and on screen this year. Another wonderful addition is Nicholas Hoult, who plays a distraught and anxious warrior who switches to the good side after failing in the eyes of Immortan Joe.

The film lives for its action sequences, which is fantastic because director George Miller is the king of action. Also, this is what the series was practically built on, something that was forgotten in the very disappointing "Beyond Thunderdome." The audience is given the pleasing feeling we felt while watching "The Road Warrior," and then we are given more..and more...and more until we are so filled with excitement that it is hard to sit still. The film has a good plot that the action enhances.

If anything, this film is a shout-out to the number of failed modern action films. While the first "Mad Max" revolutionized the action film in the late 1970s, this film sets the bar for modern films of the genre. I've heard that the film is eighty percent practical events instead of CGI, and that in itself in achievement. With this in mind, there were numerous times in the film where I wondered just how Miller did what he did. The seventy-year-old director has excelled where a number of young filmmakers have failed and has brought us what might be the best action film in years.

This seems to be a new start for the "Mad Max" franchise. The original trilogy was probably good enough, but if the upcoming films are this great, they can make as many as they want until George Miller is unable to continue. Keep the excellent Tom Hardy in the lead, and keep on amazing us with the unbelievable stunts and action sequences. It's about time we had an action/adventure franchise film like this. Take notes Michael Bay...

Cool Runnings (1993)

An Underrated Sports Film

[8/10 · 17 May 2015]

What a funny and inspirational little movie this is. At times, director Jon Turteltaub's film seems almost too good to be true, because it isn't exactly true. While it is based on a true story, the film is heavily fictionalized and most of the characters were created by the scriptwriter. Still, the film is a nice portrait of a quite extraordinary event in sports history.

"Cool Runnings" is the story of a Jamaican runner named Derice (Leon) who wishes to follow in his father's footsteps and run the 100 meter dash at the Olympics. An unfortunate event keeps him from qualifying at the trials, so he hunts down bobsledding coach Irv Blitzer (John Candy) to help him form the first Jamaican bobsled team. After recruiting best friend Sanka (Doug E. Doug) and some fellow Olympic runners (Rawle Lewis and Malik Yoba), the team takes on the Winter Olympics world, including a hard-nosed Olympic Alliance, to prove the world wrong and show that they belong.

The film is not extraordinary in any way, but it can make you feel emotions immensely. After watching the film numerous times, I still chuckle at Sanka's little jokes and goofiness, largely because of an eccentric performance from Doug E. Doug. He does some over-the-top acting in a good way, Leon does some over-the-top acting in a not-so- good way. His portrayal of the leader of this squad is a little too forced, but we still believe in him because he is so determined to win. John Candy was an excellent choice to play Irv. He begins as an impolite bookie and turns into quite a brilliant coach who cares about his guys. He even gives a speech to the Alliance that is intense and surprisingly not very cliché. The film doesn't take any risks in the editing, and has a number of scenes that feel unnecessary, but the story usually covers it up just enough to keep it from being too much of a distraction.

It's nice to see a film focus on a country like Jamaica. The accents may be a little overdone at times, and some things might be a little stereotypical, but the culture and reggae soundtrack and score by Hans Zimmer is relieving while enjoying the movie. It's all brought together by no other than Sanka, who at one point reminds Derice of who they are and where they come from. He says, "If we walk Jamaican, talk Jamaican, and is Jamaican, then we sure as hell better bobsled Jamaican." This comes after Derice continuously idolizes the Swiss team, and Doug's delivery is perfect and heartfelt.

There is a point in the film where the team is huddling up for their final run, and they shout "Respect!" I love this little bit because it encapsulates the main theme of the film. This story isn't about these guys trying to win the gold or even the silver or bronze. It's about their struggles to gain respect for themselves and for their country. This drive makes the film so riveting and the final scene can send chills down your spine even after watching it for the tenth or fifteenth time.

"Cool Runnings" is not the most outstanding sports film, but it's right up there with "Rocky" and "Hoosiers" in terms of having the most heart. It's nearly impossible to not laugh and cheer when watching this story unfold, and there is nothing wrong with that.

Mad Max Beyond Thunderdome (1985)

Disappointing Installment in the Series

[5/10 · 17 May 2015]

After immensely enjoying the first two "Mad Max" films, I thought this one was a disappointment. This film just did not have the feeling of the first two and seemed like it had been absolved into the eighties (part of which may have to do with the casting of Tina Turner.) A scattered plot and an absence of the thrills felt in earlier chapters of this saga make this film much less enjoyable, and frankly, not a very good movie.

In this edition of the trilogy, Max finds himself banished from a dystopian city called Bartertown after refusing to kill a man in an arena called the "Thunderdome." Left for dead in the desert, he is found by a band of children who believe he is a godly figure. It's kind of hard to really explain what happens next, because the plot doesn't seem to know where it's going, but somehow they all end up invading Bartertown.

The plot itself is where the film runs into the most trouble. It's very hard at times to figure out where the hell this thing is going and what it is trying to say. The film also does not contain the valuable action sequences found in the first two. It does have a somewhat nice sequence near the end, but it's also overrun by over-used, unfunny attempts at comedy. Speaking of the end, it kind of give us the "what the hell?," unsatisfied feeling. Mel Gibson still plays Max well, and Tina Turner really isn't too bad as the villain, but they can't replace the genuineness that somehow is lost from the series in this installment. The film is either not weird enough, or just plain goofy instead of weird. Either way, it is not effective by any means.

George Miller gave us an intriguing little action film in "Mad Max," as well as a classic with "The Road Warrior." But unfortunately, "Beyond Thunderdome" is a misfire. Hell, I'm not even sure why they went with that title, as I didn't find "Thunderdome" to be very essential to the film itself. Maybe I just missed something, but I think a more suitable title for this film is "Sort-of-Mad Max and the Land of Misfit Children."

Mad Max (1979)

A Thrilling, Influential Movie

[8/10 · 13 May 2015]

The best way to watch this film today is to imagine that you are in 1979 when it was released. Really, this should be the way we watch all films, but it's more necessary here. Yes, some of the things that go on in this film don't stack up to what special effects can do today, but George Miller made nearly the best that he could with what he had in the 70s.

The story of Mel Gibson's Max going into battle against a biker gang to seek revenge is somehow quite unique and refreshing for a common revenge flick. This picture is thrilling, fun, depressing, and even terrifying. There are a few scenes where the film can nearly qualify as a horror picture. There are even a few romantic scenes between Gibson and co- star Joanne Samuel that are actually quite effective and nice. The biggest thing the film lives for is its intense action sequences. They may not have the visual effects of modern films, but they are just as effective, and even more effective than many films (*cough* Transformers *cough*). The stunts in this movie are immensely exciting, and the ending sequences are great. In fact, the end avoids becoming corny or cliché and even prevents the "I'm a badass" goodbye line from the hero to the villain. Yes, Max does give a little mini- monologue, but it's so slick and cool that it works very well.

The film is not without its flaws, of course. It takes a while to know what the film is really trying to be about, which may be intended, but is a little strange here. While the editing in the film is usually very good, there are numerous times where the screen fades and wipes to the next shot or scene. Sometimes it's fine, but there are multiple times where it feels unnecessary and distracting. And let's not forget the moments in the film where a young boy is left seemingly unattended; that was definitely a head-scratcher in some moments.

George Miller's action flick has become somewhat of a cult classic overtime, and it's not too hard to see why. It was kind of a revolution for the action genre and its influence is still felt to this day. The first film of a wild series--and the start of a long-lasting and achieving career for Mel Gibson--is a ride you are going to want to take if you haven't already.

God's Not Dead (2014)

Tries to hard and achieves nothing.

[1/10 · 13 May 2015]

What an awful film. I'm not criticizing it for its message, I honestly don't mind the attempt to spread the message the film conveys. However, even for those of us who are Christians, I don't see how anybody could truly enjoy this film. It looks like a Friday night film from the Lifetime channel, the acting is god-awful (pun unintended), and the screenplay is absolutely terrible. It is not only littered with clichés and corny lines, but also contains numerous attempts to be smart when it really isn't. Also, if part of the Christian message is to not judge others, why does the film try so heavily to portray every single non-Christian as a rude, moral-less monster? The film is obviously just a big cash-grab for church groups; we can tell that fifteen minutes in when Willie and Korie Robertson from "Duck Dynasty" appear. I'm not saying that God is dead, but if he is alive, the least they could do is represent him with a better film than this...

Ex Machina (2014)

Brilliant Sci-Fi Based in Emotion

[10/10 · 6 May 2015]

What a brilliant little sci-fi film this is. That is, if you can really call it a sci-fi. In truth, "Ex Machina" is indeed a sci-fi, but it has qualities that other films of the genre don't. It's also a strange romance and a character study...of three different characters.

The film follows Caleb (Dohmnall Gleeson) who wins a week at the home of a brilliant scientist named Nathan (Oscar Isaac). Nathan wants Caleb to be part of a trial run for his new artificially intelligent robot. This involves the Turing test, where Caleb must interact with the A.I., and if he can't notice that she isn't human, she passes. The catch is that the A.I. robot is in the form of an attractive woman named Ava (Alicia Vikander.) As we go along we learn that Nathan has some shocking secrets and the film becomes an intense and thrilling ride to see not only if Ava passes the test, but to see if Caleb uncovers the truth behind his trip.

"Ex Machina" is shot quite unlike other sci-fi films. The cutting isn't rapid and each shot is given room to breathe. This is partly because there is very little action in the film. It draws on human (and non-human) emotions to drive the story and it is so refreshing to avoid all the violent hoopla that comes with most films like this. The film is surprisingly well-lit judging by its dark tone and as the film goes on, the camera gets closer to the actors, symbolizing the fact that the audience learns more and more about the characters as time passes.

Another driving point for the film is three very good performances. As Vikander's robot seduces Caleb, she also seduces us. She doesn't do this through her looks, but through her tone of her voice and through the fact that she actually seems human. Dohmnall Gleeson has shown glimpses of brilliance in the past, but he really shines here as the character we relate to most. Most of all, Oscar Isaac is outstanding as the villain in the tale. The way he tries to befriend Caleb, yet is so mysterious, is unnerving, but wonderful to watch.

One of the best things about the film is the score. As can be imagined, there are numerous points in the film that stir us up, and gnaw at us to keep us guessing what will happen. Along with that is a simple score that builds and keeps building until we can hardly take the tension any longer. It is thrilling and really adds to the film tremendously.

"Ex Machina" exceeds a number of other sci-fi and A.I.-focused films by bending the genre and focusing on human emotion over spectacle. It is one of the best films of 2015 thus far, and serves as an exciting booster for its three rising actors.

Avengers: Age of Ultron (2015)

Not the Best Marvel film, but it's up there!

[9/10 · 1 May 2015]

About a month after seeing "Furious 7," here I am after screening the new "Avengers" film and I realize...the two are very similar. The family aspect isn't a big theme in the Marvel film, but aspects of extreme action, humorous dialogue, and outward ridiculousness involving a team of super-humans make the two films quite comparable.

In the newest Marvel piece, The Avengers are forced to take on a form of evil artificial intelligence, in the form of a robot named Ultron, when he is created by Tony Stark, who brought him to life with good intentions. With the help of a Russian brother and sister pair that were given special abilities, Ultron plans to evolve the human race into some kind of human-android hybrid and wipe out the humans currently living on earth.

The film itself is filled with intense action throughout, as Marvel films usually are, brought together through some very quick cutting mixed with some pretty impressive long takes of our heroes taking on the baddies. The sci-fi action goes beyond any type of sequences Marvel has done in the past, and is crazy fun to witness.

While the action was expected, what surprised me was just how funny the film is. Until, "Guardians of the Galaxy," I was pretty convinced that excessive comedy didn't belong in these types of films. Now, both "Guardians" and "Age of Ultron" have proved me wrong. There are moments of dialogue between the characters that are genuinely hilarious and filled the theater with laughter. There are still those corny lines mixed in, but the script was much better written than, well, films like "Furious 7."

While the film gets most things spot-on, there is one gnawing aspect of the film that serves as its only big downfall. The problem is that the last half hour or so, while in a different context, is strikingly similar to the last half hour of the original "Avengers" film. The ending is definitely much more exciting than the first, but it was somewhat sad to see a fun story build up to something so unoriginal.

While "Age of Ultron" doesn't achieve quite as much as "Guardians of the Galaxy" did last year, it is still one of Marvel's best products to date and completely exceeds the slightly overrated first "Avengers" film. The best thing about these films is how much closer we get to each character with each installment. I can only hope the world is ready to buckle in for the sure-to-be wild ride that is coming up in the future Marvel films.

Casablanca (1942)

One of the Best Films of All Time

[10/10 · 20 April 2015]

I'm going to tell you all what you already probably know: "Casablanca" is one of the greatest films of all time. However, there is something that most probably have never even considered. If you look at all the elements that make up this film, it could be considered the best of a number of genres. It could be considered the best noir film, the best thriller, and even the best war film ever. And I'll tell you right now that it sure as hell is the best romance ever put on screen. "Casablanca" has it all and it never gets old.

The plot is timeless. Humphrey Bogart plays Rick Blaine, a self-proclaimed "drunkard" and American living in Africa during World War II after being forced out of Paris by Nazi oppression. He's a mysterious fugitive, and he runs a bar and gambling joint as a loner. One day, a woman named Ilsa (Ingrid Bergman) walks in with the famous Victor Laszlo (Paul Henreid). The scene that follows between Rick, Ilsa, and Rick's piano player Sam (Dooley Wilson), is perfect. Rick is shocked to see her and emotion flows from the scene from all three characters. These emotions include surprise, fear, and anger. As we learn the backstory, a romance between Rick and Ilsa in Paris, we become closer to each character. Not just Rick and Ilsa, but Victor too. We are caught in a love triangle for the ages. Both men love Ilsa and Ilsa loves both men. Should she stay in Casablanca with Rick or should she go to America with Victor? Should Rick give Victor the transfer papers he is hiding from the Germans or keep them for himself? These are the questions that appear and it is thrilling to see them answered.

The biggest strength of the film is the plot, driven by an excellent screenplay. There's a reason this film contains five or six of the most famous quotes in film history. We never get tired of hearing Bogart say "Heres looking at you, kid." Speaking of Bogart, he and Bergman give tremendous performances as the star-crossed lovers and they are supported by some wonderful supporting performances, especially that of Claude Rains as Captain Renault. The film is shot beautifully. Other than Citizen Kane, it is probably the best display of black-and-white in the history of American cinema. Nothing is particularly spectacular or special about it, but it is done so flawlessly.

"Casablanca" is deservedly heralded as an ultimate classic because it does so much near- perfectly. Ultimately, its influence is still felt everywhere today. We've all heard the lines from the film. We all think of the film when we hear of the location. The problem is that so many people today reference these influences without ever seeing the film or even knowing that they come from the film. It really is a shame, considering how well the film has aged and could still affect audiences of this generation. "Casablanca" was and still is a film ahead of its time and will continue to amaze us all as we watch it over and over again.

Woman in Gold (2015)

Great Story, Conventionally Constructed

[8/10 · 19 April 2015]

While watching "The Woman in Gold," the new film from director Simon Curtis, I was constantly reminded of a few other films. Namely, "The Monuments Men," "Titanic," and "Saving Mr. Banks." This was mainly because of similar story lines. Whether it be restitution of art stolen by Nazis, flashbacks to the tragic love story of an old woman, or a woman brought to Los Angeles for unwanted reasons, I kept returning to other Hollywood films I had seen, and that was the main downfall with this film

The film shifts between 1998 and the Holocaust-era as we follow Maria Altmann (Helen Mirren.) After her sister's death, she realizes that a famous family artwork was taken by Nazis and put in a museum in her home country of Austria. She recruits and up-and-coming lawyer, Randy Schoenberg (Ryan Reynolds), who also has an Austrian lineage, to help her find a legal way to have the piece returned to her.

To Randy, the case is about the money. The artwork is worth millions of dollars and he thinks of it as a way to bring him to the top of the legal world in L.A. But to Maria, it has nothing to do with the money. Her aunt is the woman portrayed in the painting, and she was very important to her. It is also a portal to Maria's deceased family, as she and her husband were able to escape Nazi reign whereas other family members weren't so lucky. There is a flashback to a scene between a young Maria and her aunt. They are looking at the painting and Maria asks why there is so much gold, to which the aunt says not to look at the gold, but at the face. This encapsulates what this film is about, and the roles of young Maria and her aunt can be directly related to older Maria and Randy. It's not about the money or even what the money says; it's about Maria getting justice for the crime committed against her family.

The film does many things right. The plot itself is intriguing and demands the attention of the artist. The pairing of Mirren and Reynolds is priceless, and the two play their roles brilliantly. This may be the best we've seen from Reynolds, and Hellen Mirren is...well...Hellen Mirren. The script is fine, save for a few cliché "inspirational speech" scenes and the nonlinear storytelling allows us to relate to Maria and sympathize for her.

Despite all the rights, their are elements of the film that keep it from achieving "great" status. The huge problem is that the film is so conventional; there are things in this film that you can see in nearly every Hollywood film, which may be part of the reason it reminded me of so many others. There are no risks taking in the editing, and it is shot so safely. As aforementioned, there are those dramatic, emotional, and ultimately unneeded speeches and scenes that make the film somewhat cliché. So many times it seems like the director is trying to clinch every little emotion out of us, and it can get exhausting at times. A number of these come from Randy's wife, played Katie Holmes, who sometimes drove me crazy with the sentimentality. Another thing that drove me crazy involved an element of Maria. While she was very likable about 80 percent of the time, there were those scenes where she claims they should just give up. It happens a good four or five times, and it makes it hard to root for someone who seems so undetermined. I don't know if this is what she was really like, but if it is, this is a place where Curtis could have taken a little liberty.

Despite its struggles, "The Woman in Gold" tackles its topic with a certain conviction. Here is a real-life man and woman who beat the odds, take on an entire government, and learn to work together as wonderful companions. The transformation of Reynolds' character is unbelievable to watch and Maria's story is one for the ages. The truth is that it is a very good film that could have been great had Simon Curtis chosen to take more risks and be a little more unconventional.

Furious 7 (2015)

Wild, Touching, and Ridiculously Fun

[8/10 · 3 April 2015]

Ridiculous, absurd, and over-the-top. Yes, all of these terms can be used to describe the newest film in the FAST AND FURIOUS franchise. Of course, that's the case with all of the films, but it's especially true with this one. But just because it's absurd and a little dumb does not make it a bad film. In fact, it's pretty damn good, and a hell of a lot of fun.

The film begins kind of bland, giving us the introductory information on the new villain, Deckard Shaw (Jason Statham). Shaw is the highly-skilled assassin whose younger brother was severely injured by the Fast family in the sixth film. He is out for vengeance against Dom (Vin Diesel) and his crew, and he won't slow down until he takes care of business. In comes the hot-shot director of a secret agency, played excellently by Kurt Russell, who informs Dom of a surveillance device called "God's Eye" that can find anyone and would be used for injustice if in the wrong hands. By telling Dom he can use the device to find Shaw, he convinces the alpha and his team to obtain "God's Eye," leading to a series of car chases, fight scenes, and the usual fair from these films.

There are moments in the film that serve as near-high-points of the series. For example, the airplane/parachute scene that appeared in all the trailers is fantastic. And I know we all think they gave it away in the marketing, but we didn't see the half of it. There are a couple more scenes like this of course, like when Dom drives a car through not two, but three, multi-story buildings, but the parachuting scene is the best for sure.

Despite the greatness of the action sequences, the film has its faults. Many claim that the dumb thing about these films are the sequences that go against anything that is humanly possible, but to that I have one question: Is it not the same in the Marvel films everyone loves? The reason they aren't criticized for this is because we know the Marvel films exist in their own universe. But why can't the FAST films? While this crew may not have super- strength like Captain America or special suits like Iron Man, they pretty much are superheroes. The dumbest thing about this film is actually the corny and mediocre dialogue. There's one part where Hobbs (Dwayne Johnson) tells Shaw that he is going to "break his finger in six places and stick it where the sun doesn't shine." Funny? Maybe. Unnecessary? Definitely. My biggest complaint, however, is that I didn't feel as close to the characters as I have in past films. I still care deeply about them, but the few intimate moments weren't nearly as touching as in the other FAST films. Roman (Tyrese Gibson) is more annoying than funny, Hobbs is way too over-the-top, and I wanted much more from most of the scenes between Dom, Brian (Paul Walker), and Mia (Jordan Brewster). There are some pretty good new characters in the film, including two very good villains: Shaw and a warlord played by Djimon Hounsou, a hacker played by Nathalie Emmanuel, and even some cameos from Lucas Black, Ronda Rousey, and Iggy Azalea (yes, seriously). The best addition to this franchise is Kurt Russell, by far. He is very convincing in his role and fits his way into the "crew" easily.

Overall, director James Wan follows the same formula as the last film, which is fine because it works, and finds certain ways to make it his own. This is a rare film where I noticed the audience was clapping throughout (usually after outstanding car chases) and left the theater in tears, courtesy of a brilliant tribute to the late Paul Walker and his lovable character Brian O'Connor. The film has its flaws, but they are largely overweighed by the entertainment value. This is a damn fun film, and audiences will eat it up. Most of all, this is a great place to end the series, even though they probably won't. Its not because the films are getting worse. This one isn't nearly as good as FAST 5 and FAST 6, but it is very close, just like how Brian was always so close to beating Dom in a race. The reason it would be best to end it here is that loose ends were mostly tied up and I just can't see the series going on without Dom's right-hand man. Plus, the last scene is so beautiful and flawless that it could stick with us for a long, long time. The circumstances behind the scene sucks, but it's the perfect way to end this wild, heart-racing, entertaining ride.

Life Itself (2014)

Excellent Tribute to an Amazing Person

[10/10 · 29 March 2015]

I applaud director Steve James for giving the legendary Roger Ebert the great film that he deserved. Ebert has been one of my heroes for a while now, but I did not realize just how much about the man I did not know. I also did not realize how great he was, how good he was at this game we call "life." The film explores Ebert's life by switching between stories of his past and footage of his last days. The great thing about this film is that it does not simply create a shrine for the man; it displays his problems too. It shows his drinking problem, his almost Playboy-like attitude in his younger years, and how he may have been somewhat of a jerk to his partner in crime Gene Siskel at times (although Siskel was a jerk to Ebert at times as well.) The film spends a lot of time on Ebert and Siskel, almost making it seem like the documentary was about both of them. That's because it was such a huge part of Roger's life. It displays a nearly complete friendship. Yes, they were mean at times, but you can see the fun they had and just how much they cared about each other. James also gives special attention to the writings of Ebert themselves, playing clips of films he reviewed while voice-over and word images on the screen allow us to see and hear the brilliance of his writing. The footage of Roger in his last days, although he is obviously in pain, is a strange joy. Maybe that's because we can still see the life in his eyes. We can still see him smiling and making the most of everything and everybody that surrounded him, including his wife Chaz, who he loved so, so dearly. Yes, we are sad about Roger's passing, but this film serves not as a way to grieve. Instead, it serves as a celebration of this wondrous man, a tribute to him and his work, and a joyous representation of a life well- lived. What a film. What a story. What a man..

McFarland, USA (2015)

Another Inspiring Disney Sports Film

[9/10 · 29 March 2015]

There is a scene in McFARLAND, USA in which a pickup is seen driving through town with two flags perched upon it; one is American, the other is Mexican. That's what this film is all about. Like GRAN TORINO, the film is about a traditional white man with traditional beliefs who learns to explore the Mexican culture and appreciate, much like Clint Eastwood did with the Hmong culture. Kevin Costner plays the white man, Tim White (I know, but that was actually the man's name) in the true story of how he bonded with young, Mexican teenagers to create a competitive and successful high school cross country running team in one of the poorest towns in America. Costner continues the fine work he did in DRAFT DAY, and he may be even better in this one. One of the team members, named Danny, is overweight and is always the last member to finish the race. Costner encourages the young man by telling him that he is the anchor of the team and that they can't compete without him. These are the types of films that could serve as the anchor for Costner's career, bringing him into the finish line near the front instead of lagging behind. I could skip THREE DAYS TO KILL, but there is nearly no way I would skip a Costner film like DRAFT DAY or McFARLAND. And by the way, McFARLAND is the better of the two films. The movie is full of the usual Disney sport film clichés, but for everything the film does that isn't on point, it does even more right. The film is inspiring, touching, and very enjoyable from the get-go. Disney took a step backwards with MILLION DOLLAR ARM, but this one makes me reminisce of fun sports films like INVINCIBLE and GLORY ROAD that Disney has championed in the past. Films like McFARLAND really make us, the audience, feel something. That's what films are supposed to be all about. McFARLAND, USA is far from perfect, or even greatness, but it is still a very good film that satisfied my "Saturday night at the movies" craving.

The Divergent Series: Insurgent (2015)

Better than "Divergent" but Could Still Use Some Work

[7/10 · 25 March 2015]

When I saw "Divergent" a year ago, I thought it was an unoriginal and corny disappointment. I had never read any of the books, but had heard great things about them. Insurgent is a nice step up from Divergent and it achieves this by raising the stakes, leaving out the boring informational crap, and upping the action so it is actually exciting. It is nearly impossible to watch this series and NOT compare it to the "Hunger Games" series. "The Hunger Games" was lightyears ahead of "Divergent," and every film in the "Hunger Games" series to date is still better than "Insurgent," but it seems like this Shailene Woodley led series is heading in the right direction. Speaking of Woodley, she has got some chops. She makes the most of a somewhat lackluster script by showing some true emotion and displaying some true, well-done acting. She could definitely have a great future in film and may even have a couple dates with Oscar one day as she seeks out more films like The Descendants and The Fault in Our Stars. Another fine performance in the film comes from the always-great Kate Winslet, who provides us with an interesting and hate-able villain. Miles Teller is also fun to watch in this one, which I found to be a pleasant surprise, not because he isn't a good actor but because I hated his character in the first film. The camera work in the film is interesting. There are definitely some risks; sometimes they pay off and sometimes they don't. At times, the cinematography seems surprisingly good for this type of film, but at other times it seems as if the filmmakers were trying a little too hard. The main problems with the film are in the plot, which could be huge. Luckily, the plot holes and strange ending don't take too much away from the overall effect. The biggest issue I had was that after all was said and done, the film did not excite me for the next installment in the franchise and I'm really not to eager to see where this story goes. Still, if the next film makes the types of improvements this one made from "Divergent," this could go down as a fairly good franchise. But I'm not gonna put money on it...

Mr. Turner (2014)

Well-made, but boring film.

[6/10 · 24 March 2015]

Mr. Turner is a well-made film and the cinematography and landscape is absolutely beautiful. However, the film drags on and on for a whole two-and-a-half hours, making the audience guess where it will go. Timothy Spall is excellent in the lead role and is surrounded by a number of strong supporting performances, especially Dorothy Atkinson and Marion Bailey. However, the story is too dull to give the film too much credit. I struggled with wondering where the film was taking me and began to think that this was something that would be better suited on the History channel. Once again, the strength of the film is how beautiful it is. While the film could be so much more intriguing, the audience can find satisfaction in the English landscape of the film's setting and enjoy how well the film is shot. This is the type of film one should watch for the aesthetic achievement, but not for pure enjoyment. All-in-all, it isn't a film I would watch again, unless of course I really need to be put to sleep...