Film Review “Top Five”

Starring: Chris Rock, Rosario Dawson and Gabrielle Union
Directed By: Chris Rock
Rated: R
Running Time: 101 minutes
Paramount Pictures

Our Score: 2 out of 5 stars

It’s really been a year for meta commentary in entertainment. Everything from “The Lego Movie” to the bizarre internet phenomenon of “Too Many Cooks” has left viewers scratching their heads or having to turn on their brain when consuming their favorite pop-culture substance. I’m sure someone at some point, will compare “Birdman” to “Top Five” for how it depicts its main character, but I’d be a little offended if someone was to put these two movies at the same level.

“Top Five” is written and directed by Chris Rock, who also stars in the main role, Andre Allen. Sometimes Dre for short. He’s a comedian powerhouse who’s known for his franchise about a bear cop by the name of Hammy. That part of his life is over now, along with a heavy drinking problem. He’s sober and trying to reinvent himself by turning to a serious role, a Haitian rebellion leader in the movie Uprize. Changing from an actor in a bear suit to an angry slave wielding a machete draw some of the biggest laughs for me, but sadly the movie strays from this rich, fruitful tree of humor.

Allen also has to worry about his upcoming television wedding with the reality star sensation Erica Long (Union), promoting Uprize to people who are more interested in asking him if he’s doing another Hammy movie, and doing an interview for Chelsea Brown (Dawson). On his busy day, there are some detours that include a visit to his extended family. There’s also the constant struggle with sobriety. Hidden bottles of liquor, store fronts lined with a rainbow of alcohol, all tempt him. So much is cramped into its short runtime; it feels choppy and rushed at moments. Andre is struggling to find his identity and reclaim his confidence, but not enough time is given to focus on his emotional tussle.

It’s also a movie that’s highly interested in ridiculing critics, reality TV, cellphones, the media circus, and celebrities, but it also has very little to say and simply eases into a predictable storyline. It’s unfortunate that Rock couldn’t take a more ambiguous approach to Andre’s life instead of having to verbally explain everything, sometimes twice, to the audience. Chelsea, through a day of connecting and learning one another’s feelings, becomes the obvious romantic interest as Andre slowly realizes Long is in a relationship for the ratings.

The amount of humor might lead audiences astray from whatever noble point Rock is trying to make about comedy. There’s the sense that under the raging sexual debauchery and hot sauce tampon jokes, there’s something to be said. But its voice is barely heard above the loud squeals of laughter from the audience and the sights of many prominent comedians. There’s a great message to be told about comedy and how art has an amazing power to heal, but I’m afraid Chris Rock couldn’t quite hit the nail on the head.

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Film Review “The Hunger Games: Mockingjay – Part 1”

Starring: Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth and Julianne Moore
Directed By: Francis Lawrence
Rated: PG-13
Running Time: 123 minutes
Lionsgate

Our Score: 3.5 out of 5 stars

The final piece of a series is no longer a bloated epic detailing the final time we’ll see our heroes, but now cut in half, with the first part generally being the weaker of the two. That makes it easier to scrutiny because of how much of an obvious cash grab it is by the Hollywood executives hoping to squeeze out those last remaining pennies before finding their next franchise to milk. “Hunger Games: Mockingjay Part – 1” isn’t about to break that stereotype, but it comes pretty close.

For a movie that seems to be advertised as an explosive and heart pounding action flick, it’s surprisingly thoughtful. “Mockingjay – Part 1” picks up moments after the events of “Catching Fire”. Katniss (Lawrence) is still nursing some mental scars and having to come to terms with the fact that District 12 no longer exists. It’s nothing but rubble and piles of charred bodies. The visuals of blackened skeletons is enough to paint a horrific picture and further imply the brutal extent the Capitol will go to strengthen it’s iron fist grip over the districts.

Katniss is taking refuge underground in District 13, long believed to have suffered the same fate that has recently befallen District 12. There she meets a military society headed by President Alma Coin (Moore). This is the first introduction of President Alma in the series and while it’s easy to trust the person supplying food and supplies, there’s something ominous about a character who never seems to view Katniss more than a puppet for political manipulation. On the other end, Peeta (Hutcherson) is being used to discredit the defiance that grows in the districts.

Katniss and Peeta are clearly being used as propaganda. While Katniss is used to inspire hope to those fighting, through her fiery eyes of anger and bitter words of revenge, it appears that Peeta is nervously regurgitating lines, but we never see or fully know what purpose the Capital is using him for. “Mockingjay” focuses more on President Alma’s use of Katniss to beat the drums of rebellion in the hopes of getting ubiquitous support for their uprising against the Capital. Luckily this disinformation chess match is interrupted by scenes of retaliation around Panem and a third act covert mission to rescue Peeta.

The theme doesn’t say anything new, but it’s refreshing to see a movie, that’s been coined as “young adult”, use such a mature idea in a very presentable and easy to understand fashion. It’s not difficult to see the positive and ill effects of spin that two warring factions can create. Personally, I was expecting CGI explosions and Jennifer Lawrence whipping her hair all about while firing off multiple arrows like Hawkeye in “The Avengers”, but for what we’re given, it is proficient with it’s message and it simply wets our appetites for an explosive finale come next year.

The big problem with the first part of this oversized first course of Mockingjay is that it feels too much like a prologue to something a lot more monumental. There’s a lot of moving pieces, but a lot of downtime that involves staring, sitting and inconsequential dialogue. The obvious payoff for our two hours of time won’t happen until Part 2, but it’d be nice to have some kind of reward for our investment into the lives of these characters. It doesn’t help that Jennifer Lawrence, who’s shown such a wide range of emotions throughout this series, is a bit limited to angry reactions and fear.

Regardless, if it wasn’t for Lawrence’s commanding presence, this movie wouldn’t have the drive and Katniss wouldn’t radiate bravery. All the regulars are back for this movie, Woody Harrelson, Elizabeth Banks and the stupendously talented Philip Seymour Hoffman. Without this cast, this movie would have fizzled out like “Percy Jackson” or “The Mortal Instruments”. It’ll be easier to reflect on “Part 1” once the series completes next year. We’ll know if it’s a good enough primer for the grand ending we’re all expecting. For now though, it’s simply an appetizer to keep us content until the main course arrives.

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Film Review “Rosewater”

Starring: Gael Garcia Bernal, Kim Bodnia and Shohreh Aghdashloo
Directed By: Jon Stewart
Rated: R
Running Time: 103 minutes
Open Road Films

Our Score: 4.5 out of 5 stars

Imagine being taken away from your family and friends, blindfolded and dropped into solitary confinement. Ants crawl in and out of the meager food portions you’re given. The only solace you have is the memories of your family that talk to you in your head and the scribbles on the wall of others before you. This is the reality, Iranian-born journalist Maziar Bahari (Bernal) faces during the fraudulent re-election of Mahmoud Ahmadinejad in 2009.

Bahari is in Iran, covering this, much forgotten about, slice of contemporary world history. He walks the streets, interviewing his fellow countrymen and capturing footage of the increasing riots and anger over the corrupt handling of democracy. After filming a murderous retaliation by the military, the Iranian state quickly moves in and detains him. His mom witnesses the secretive extraction and soon, his pregnant wife in London will learn of his plight.

“Rosewater” may be a film that catalogues 118 days of imprisonment and torture, but through it’s rough imagery, it promotes an uplifting message. It’s filmed and written by directorial newcomer Jon Stewart. He trades in his political buffoonery to pay respects to a man he admires and respects. While “Rosewater” could be considered a sort of love letter to Bahari’s sacrifices, it instead channels Bahari’s cause and inspires others who hope to find and document the truth.

Stewart is far from a journalist, instead preferring to be a satirist safe behind a fake news desk, but you can’t doubt his admiration for those who head to the front lines to archive the social and political changes constantly happening around us. When resorting to humor in “Rosewater”, Stewart gives us something light hearted to help boost the morale of viewers enduring Bahari’s predicament.

Bernal is so humbling in his role, he provides a practical warmth to Bahari’s persona, that helps foster the more valiant side of our hero. Kim Bodnia may steal the show here as the man who interrogates Bahari. He’s referred to as the specialist at the prison, but Bahari remember’s him by his scent, Rosewater. The specialist is a man consumed with plucking the fallacious truth from Bahari. He’s constantly flipping back and forth between deceptive banter and angered restraint, and Bodnia handles both of them perfectly.

“Rosewater” offers hope and it’s something we’re in desperate need of, at least if you watch the news. Oppression still exists, and always will, throughout the world. The movie ends by telling us that thousands of journalists and other innocents still sit in prison waiting for that magnificent day where they can bask in the sun that doesn’t shine through unforgiving prison bars. The truth waits to be found and no one can stop the people who spend their life finding it.

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CD Review: Cannibal Corpse “A Skeletal Domain”

Cannibal Corpse
“A Skeletal Domain”
Metal Blade
Produced By: Mark Lewis
Tracks: 12

Our Score: 3.5 out of 5 stars

Death metal fans rejoice, Cannibal Corpse is back with a new album. Everyone else, thumb your nose and shake your head. Cannibal Corpse is just shy of 30 years of throat crushing music and in poor taste lyrics, so it’s no surprise that “A Skeletal Domain” is more of the same that we’ve seen in the past. While this latest release is a lot better than the middle of the pack of their work, there’s nothing too monumental that puts itself among the best of their discography.

This new release keeps what I love most about Cannibal Corpse intact: The songs are perfect amount of time, as well as the album, and it’s a feverish blood rush of blasting drums and screeching guitars. Lyrics have always kind of come second tier in Cannibal Corpse and it’s not because they’re unimaginative, but because the usual suspects of violence are once again on display. Icepicks, revenge, murder and emotionless savagery are tools of the lyrical trade in their music.

The real hook for “A Skeletal Domain” is the guitar work by Pat O’Brien and Rob Barrett. You’d think after 13 records they’d start to lose a bit of those creative juices, but O’Brien’s stirring solo on the track, “Funeration Cremation” is downright mischievous. Their dueling solos on “Headlong into Carnage” are something of nightmarish dreams. Alex Webster is also key when strumming the bass since the bass is slowly becoming a lost art in the metal scene. After listening through the album, you have to wonder what kind of wicked arthritis is going to set into those shredding fingers of theirs.

Once again the annunciation skills of George “Corpsegrinder” Fisher make him the best in the business. “Kill or Become” may be one of the real peaks of his work on this album has he performs the most brutally clear chorus pieces in a while, that’s quite catchy and violently foreboding. Just the songs I’ve listed may be the only ones I listen to again once I hit the play button.

I’m in no way doubting that this CD will get some mileage along with my car as it plays through the speakers, but there’s a nagging worry that it’ll be a forgettable album altogether, save for those few songs. Forgettable isn’t a bad thing, but at times this album feels humdrum and not something legendary like “Gore Obsessed” or “The Bleeding”. I think for first time listeners, which there’s always some out there; it’s definitely a breath of fresh air in a sea of bands foregoing brutality on all levels for a low tuned guitar and generic beatdowns. No matter what they put out, I’m always eagerly awaiting the next dose of brutality.

Track Listing:
High Velocity Impact Splatter
Sadistic Embodiment
Kill or Become
A Skeletal Domain
Headlong into Carnage
The Murderer’s Pact
Funeral Cremation
Icepick Lobotomy
Vector of Cruelty
Bloodstained Cement
Asphyxiate to Resuscitate
Hollowed Bodies

 

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CD Review: Psychostick “IV: Revenge of the Vegeance”

Psychostick
“IV: Revenge of the Vegeance”
Rock Ridge Music
Produced By: Joshua Key, Patrick Murphy and Psychostick
Tracks: 21

Our Score: 3.5 out of 5 stars

The first track would lead you to believe you’re about to listen to a movie and make you question, “Did we miss a prequel or maybe the first of some trilogy?” Nope. Psychostick is just doing what they do best. Taking a bunch of funny ideas and slapping them together in a chaotic, but structured order of silliness. For nearly a decade and a half, the self-proclaimed humorcore band, has never abided by any rules and have once again created an album generously dipped in comical lyrics and melodic bass slapping metal.

This time, the comedy is a lot more mindless, when in the past it seemed to be lampooning specific targets. The closest they get to critiquing anyone or anything is in “So. Heavy.”, a song parodying the concept of being the heaviest sounding metal band by simply tuning your guitar into non-existent levels and stretching one’s vocals chords to the point of unintelligible lyrics. That’s not to say they don’t have a smidgen of appreciation for the deathcore and metalcore bands that are popular for doing that.

“Obey the Beard”, “Quack Kills” and “President Rhino” have lyrics that “Weird Al” would write with the musical sensibilities of System of a Down and GWAR. “Blue Screen” plays like that Top 40 break-up single by Three Days Grace that you hear on the radio, but instead of a tattooed heart breaking vixen, it’s the emotional pain of a nerd and his computer that has gotten the blue screen of death. By choosing from such a bizarre palette of ideas and constantly expanding their horizons into the other styles, Psychostick has carved a nice little slice of their own brand of music into the landscape.

The band brings a rock show energy with the drive of a stand-up comedian that’s constantly sharpening their skills. With that in mind, there’s bound to be a couple of speed bumps on that path. “Loathe Thy Neighbor” is the longest and most odd paced song on the album and the second half of the CD is not as strong as the first half. The album does end on a strong note with the band trying their hand at something new. “Dimensional Time Portal” and “The Power of Metal Compels You” closes everything out as a screwy mini story arc about a portal that will pretty much ruin life for heterosexual men.

There are so many little things that make this more than your run-of-the-mill laugh and enjoy album. For example, in the lyric book, for the song “Choking Hazard”, it simply displays the pamphlet image of what to do in the event of someone choking. This unpredictable, jokey style they incorporate spills over into their live show and after four albums, they show no wear and tear in their funny bone and no signs of decelerating those head banging riffs. I could ramble a little more, but you’re better off experiencing this yourself. So go buy it already.

Track Listing:
Revenge of the Vengeance
Obey the Beard
President Rhino
H-Flat
So. Heavy.
Dogs Like Socks
Super Legit OFFICIAL Teaser #2 Explod
Quack Kills
Blue Screen
NSFW
Danger Zone (Kenny Loggins Cover)
New to the Neighborhood
Loathe Thy Neighbor
AWESOME!
Choking Hazard
Fight to the Death
Bruce Campbell
Trick or Treat
Dimensional Time Portal
The Power of Metal Compels You
Outtakes IV: The Outtakening

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Film Review “Birdman or (The Unexpected Virtue of Ignorance)”

Starring: Michael Keaton, Emma Stone, Edward Norton and Naomi Watts
Directed By: Alejandro González Iñárritu
Rated: R
Running Time: 119 minutes
Fox Searchlight Pictures

Our Score: 4.5 out of 5 stars

I feel like thousands of future theses will be written about “Birdman”. It’s a movie that definitely necessitates multiple viewings because of how much is stuffed into its nearly two hour run time. Besides being a contemplative piece of filmmaking, it’s a true joy to watch something so self-conscious and fully aware of what it’s doing. “Birdman” is not the latest box office juggernaut, but more like a powerful awards force.

Could there have been a better choice than Michael Keaton? He plays Riggan, an aged actor living off the memories of being the lead in the powerful superhero franchise, Birdman. He’s nearing the end of his life and reaching the last remains dollars of his checking account. The only thing he can do to recoup his financial, mental and acting losses, is directing, writing and starring in a play adaptation of “What We Talk About When We Talk About Love”. Keaton puts on the acting performance of his life by portraying Riggan, the man who hopes to put on the acting performance of his life. Do I even have to mention Keaton was the original movie Batman? Seriously, how meta can you get?

I’m barely clawing at the surface and that’s just by pointing out the most obvious symbol in this movie that’s full of literary devices. Working with Riggan on his comeback performance is one of the best method actors in the land, Mike (Norton). Mike is a philosophical mess who confuses his on-stage performances with his own personality. He’s able to dish out some harsh truths, but when it comes to his own personal life, he finds more relief and comfort in the people he portrays. Leading to a lot of moments where he’d much rather face an audience than face the music.

Along for the ride as well is Sam (Stone), Riggan’s daughter, a recovering addict that has a gloomy look at life and covers her emotional wounds with teenage sarcasm and put downs. She’s kind of like a personal assistant to Riggan although she spends most of her time reflecting and being mopey. Starring in the production itself is Lesley (Watts), who’s constantly saying the wrong thing and half the time on the verge of crying. She’s aspiring towards Broadway infamy. Laura (Andrea Riseborough) is Riggan’s girlfriend who’s not utilized as well as she should be considering she’s a psychotically clingy.

Then there’s Keaton…again…the voice inside Riggan’s head. It’s his Birdman persona constantly reminding him that he’s wasting his time, and needs to strap on the leather suit again and take flight. He gives Riggan an added layer of mystery and throws in some more commentary to the happenings around him and gives the audience a little jab about why we, the movie goer, are even in the theater watching this movie to begin with.

Everyone is outstanding in this. Even Zach Galifianakis gets to stretch out his acting legs. Keaton has been in a lot of movies, but it’s hard to think of one where he’s this amazing. His scenes with Edward Norton are some of the best in the movie and while I personally hold Norton in high regard in terms of acting, Keaton blows him out of the water. I’m hoping Keaton has more performances like this left in his tank.

The direction by Iñárritu is imaginative and genius. The entire movie is put together as one long tracking shot, giving it an on-stage production feel. Obviously there are some clever editing tricks to make this long shot effect real, but when you have characters talking at great lengths as the cameras spins around the room and follow them down the narrow halls of the theatre, it’s quite astounding to experience. Iñárritu employs a jazzy bass and drum soundtrack to match the tension of our characters and by the end starts mixing in some classical tones when it’s time to get a little more abstract.

“Birdman” is a movie that indie and Oscar voters are sure to remember come award season. It’s definitely not a movie for everyone as many, including the gentleman in front of me, were yawning or rotating their neck to prevent stiffness. Some of its more grand ideas may be lost and some of the rapid fire dialogue might not come across as witty without your full and undivided attention. So please, experience “Birdman” undistracted and bask in one of the cleverest movies of the year.

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Film Review “Nightcrawler”

Starring: Jake Gyllenhaal, Rene Russo, Riz Ahmed and Bill Paxton
Directed By: Dan Gilroy
Rated: R
Running Time: 117 minutes
Open Road Films

Our Score: 5 out of 5 stars

Lou Bloom (Gyllenhaal) is a mad man, but not in the traditional sense. He’s recognizable at every pawn shop and scrap metal recycling yard in Los Angeles. They know the items aren’t his and they know that he most likely stole it. But he’s astute, blunt, sharp, a quick learner and talks his way out of any circumstance. He has a tongue the devil wishes he could tell lies with, and someone with his intelligence and drive could easily be the next criminal racketeer or late night serial killer. Instead he’s found an outlet that satisfies both appetites.

Bloom quickly becomes enticed by the world of nightcrawlers. These are supposed journalists, more like human garbage, which creep along the city streets, waiting for the police scanners to squawk out the latest offering of death and suffering because “if it bleeds it leads”. Bloom seems to relish in the fact that you can get as close to a victim choking on their own blood as long as you’re holding a camera and he becomes even more enamored knowing that news stations shell out big bucks for this kind of footage.

“Nightcrawler” in one hand is a sick, yet painfully funny evaluation of our news industry, while in the other hand it kneads a subtle critique of how the latest headline is being manufactured and manipulated by a corporatocracy. “Nightcrawler” is well-made on nearly every, but the real centerpiece is Gyllenhaal. He thrills as Lou and puts on an Oscar worthy performance that will hopefully garnish the acting attention he deserves. Everyone else in the movie is spot on as they have to bounce their own talents off the dominant performance by Gyllenhaal.

Bloom is such a complicated work to play. You keep waiting in fear because of how much of a sociopath he is, but on the other hand, he’s eerily charming. He could teach a course on pleasant banters, but he uses his false, engaging personality to get what he wants. That’s where a lot of the dark jokes come from and it’ll elicit a nervous or guilty laugh out of you. But you’ll go back to waiting with baited breath because you know he’s just one move away from filming the story to becoming the story.

People who get in his path or finally catch on to his sadistic ways don’t last long. Nina (Russo) is the news director who buys his increasingly violent footage, never actually questioning how he got it because his videos are her job security. Rick (Ahmed) is an unfortunate, homeless schmuck, who gets pulled in with an “internship”. Lou fills Rick’s head with the golden dream of a future career and money. Lou plays Rick and Nina like puppets knowing that he has what they want. If and when you do finally catch on to game, he has an exit strategy to dispose of you, but he’s at least courteous enough to threaten you beforehand. Lou is a mastermind that uses corporate jargon and fallacious business promises that we as a society have come to accept, “If you want to win the lottery, you have to make the money to buy a ticket.”

“Nightcrawler” is sadistic, cruel, exhilarating, and I loved every minute of it. “Nightcrawler” has echoes of a horror and glimpses of a bleak comedy, but overall it’s a thought provoking thriller with a lot of messages, but not too many to overcrowd its overall theme. t simply asks how far have we gone to attain the American dream? “Nightcrawler” is like any award winning news piece, you simply can’t look away.

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Film Review “John Wick”

Starring: Keanu Reeves, Michael Nyquist and Alfie Allen
Directed By: David Leitch and Chad Stahleski
Rated: R
Running Time: 101 minutes
Summit Entertainment

Our Score: 4 out of 5 stars

An east coast kingpin by the name of Viggo (Nyquist) is furious. He’s just learned that the owner of a body shop struck his only son in the face. He’s called the owner to fume. He inquires about why the lowly proprietor would even think about laying a hand on his son. The man quickly retorts, “Your son stole John Wick’s car and killed his dog.” Viggo’s face quickly turns from anger to one of ominous regret and he quietly says, “Oh…”

John Wick (Reeves) is an unstoppable, former assassin, whose reputation is known throughout every little nook and cranny of the criminal underworld. Thing is though, he retired from his position as a contract killer, to settle into a normal life. Sadly that’s just not his destiny. His wife has recently passed, but before she died, she left Wick a memento of their love, an adorable puppy. The somber Wick quickly takes a liking to the pup that licks at his face and jumps with joy at the very sight of him. Wick also has another love in his life, his muscle car. He’s a complex man with simple pleasures. Before attempting normalcy with the love of his life, he was known as the guy you hire to kill the Boogeyman. So you can see why Viggo is less than thrilled that his numbskull son would even think about laying a hand on Wick, much less kill the last thing he had to remember his wife.

“John Wick” is slick, cool and fun as hell. It’s such a crowd pleaser, you would have suspected that a shoot-em up that’s so self-aware about its own gimmick would have been released against more tame summer action movies like the “Expendables 3”. The plot is alert to the fact that Wick is a larger than life character whose life and exploits exceed the length of the movie. That’s why were given so many verbal and visual cues that he’s a relentless machine that doesn’t stop until all the necessary blood has been spilt.

Leitch and Stahleski have spent their whole life performing stunt work and that really helps add to the craft of filming some of the more intimate hand-to-hand combat scenes. Writer Kolstad would appear to be an avid comic book/video game fan since his script relies so heavily on very little plot and first person shooter invincibility for Wick. I mean, he does get injured, but no real human being could shrug off a gaping wound and continue to tumble around like an acrobat. If there’s any marks against Kolstad in his fairly young career, it’s that he has an inability to find a correct time to wrap things up and allowed couple of lulls in what was a brute force adrenaline fueled movie.

There’s so much blood and violence, that the Reeves affable qualities make the more gruesome scenes light hearted in its own regard. Wick isn’t really a hero, but any time some Russian thugs senselessly kill a puppy, you’re going to have a lot of audience members eagerly awaiting revenge. What makes Wick pleasant is that he also doesn’t appear to take any kind of joy from killing, but views it as a way to rectify a universal wrong. Instead of shooting carelessly into a crowd, he waits for a clear shot, as to not harm any innocents. He also doesn’t want to kill anyone he doesn’t have to. If you’re looking for a sick, but pleasurable viewing experience, “John Wick” is your best bet.

 

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Film Review “Men, Women & Children”

Starring: Rosemarie DeWitt, Jennifer Garner, Judy Greer, Ansel Elgort and Kaitlyn Dever
Directed By: Jason Reitman
Rated: R
Running Time: 119 minutes
Paramount Pictures

Our Score: 4.5 out of 5 stars

Before the lights are dimmed and the movie begins, nearly every single person was looking at a smartphone, whether it is their own or simply sharing with the person next to them. They sat still with their fingers plugging away at a text or simply transfixed by a viral video. Some played mindless games while others, like me, were checking Twitter. It wasn’t always like this. I remember entering a movie theater and having to have a interpersonal conversation while easy movie trivia flashed on the screen. Things are different now, our lives, communication and feelings are all affected by technology and “Men, Women & Children” gives us a blunt look at its influence.

First we meet Don (Adam Sandler) who’s sexually dissatisfied in his marriage and resorts to Internet pornography to service his needs. His wife Helen (DeWitt) is also unhappy, but has yet to find a way to service her needs. Their son is also setting himself up for a life of porn addiction and a fervent discipline for touching himself. The other kids at school are slightly saner. There’s Hannah (Olivia Crocicchia), who gloats about her sexual conquests, and aspires to be a model. Her mom, Joan (Greer), supports these dreams and aspirations in the creepiest way possible, helping her daughter set up an online website to upload risqué photos.

The craziest parent, believe it or not, is the one who stalks her own daughters every cyber movement and reads through page after page of online chat. Patricia (Garner) believes the Internet is a vast, scary, and dangerous place for her daughter, Brandy (Dever), needless to say, is a social outcast at school because her life is under a miscroscope. Oddly enough, she draws the attention of Tim (Elgort). He’s lost meaning in life, recently quitting the football team and finding comfort in his online gaming friends on the massive multiplayer game, Guild Wars. His mom abandoned him and his dad, and as much as he’d like to still talk with her, she blocks on him on social media to prevent his prying eyes from seeing her fabulous new life without them. He doesn’t get much in the way of comfort from his Guild Wars pals who respond to his maternal predicament with “is she DTF?” (I’ll let you look that chat speak up for yourself if you don’t know what it means)

It may seem like a lot to handle (I know trying to explain it was), but Reitman weaves it all smoothly. He manages to give us a contemporary, albeit crude, look at a dysfunctional nuclear family, the overbearing parent, the single parent balancing their own personal despair and their child’s misery, eating disorders, and how these have changed as we’ve evolved from face-to-face talking to texting. It’s not a red flag of danger on where we’re headed, but more of a reminder that we can still be cruel, insensitive and clueless no matter what the means of communication are.

Instead of fixing their marriage and finding that old spark (or Hell, even divorce), Helen turns to online adultery and Don finds an escort through a website. It’s not a condemnation of these websites; married people aren’t the only ones who use these kinds of websites. It’s pointing out how the means to cheat have been filtered through a different way. The old form of peer pressure for students now comes through online help forums and websites pressuring young girls into a particular body image or thought process. Even the classic teen romance bubbles through talking on Tumblr, but the traditional means of affection remain intact. Technology has yet to replace human contact…yet.

“Men, Women & Children” has a bizarre ensemble cast, but I may only be saying that because this is Adam Sandler’s second dramatic role in a career spanning way too many fart jokes. Elgort shows off his range by become a sullen woeful soul, a complete opposite of his charismatic and witty character in “The Fault in Our Stars”. Dever, who I haven’t seen in anything else to my knowledge, is really good here along with Garner who seems borderline psychotic. I would have loved to see more interactions between those two. There’s simply not enough time to go too far into their lives, but I had an feel that this kind of movie could easily be transcribed into television format in today’s golden age of TV dramas.

“Men, Women & Children” is an Instagram snapshot into our digital lives, which runs the risk of being dated within a matter of years. Its social observations are long lasting though. It’s definitely a conversation starter about a topic that needs to be talked about before we fall into the archetypes we seen in this movie. Something tells me it won’t though. As soon as the first line of credits began rolling upwards, people immediately whipped out their smartphones.

There’s simply not enough time to go too far into their lives, but I have a feeling that this kind of movie could easily be transcribed into television format in today’s golden age of TV dramas.

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Filed Under: Film Reviews Tagged With: children, film, men, review, women

Film Review “Dracula Untold”

Starring: Luke Evans, Sarah Gadon and Dominic Cooper
Directed By: Gary Shore
Rated: PG-13
Running Time: 92 minutes
Universal Pictures

Our Score: 1.5 out of 5 stars

The latest movie surrounding Dracula (or Vlad the Impaler) is a story nobody asked for. The combination of historical, fictional and contemporary folly has created “Dracula Untold”. In the same vein of this summer’s “Maleficent”, albeit a lot more bloody and silly, we have yet another look at a villain turned anti-hero. In many other circumstances, the concept of retelling a story most people know is manageable, but Dracula just doesn’t seem like a fruitful tree to pick from.

“Dracula Untold” steals so many pages out of so many other movies; you could probably fill a book with the stolen pages. There are some slightly original differences from Bram Stoker’s creature. Instead of being the original vampire, Vlad (Evans) has to bargain with a different, original vampire, known as Caligula (yes, that Caligula). Vlad travels to the dark, bone covered cave where Caligula lurks to make a pact with him. Vlad will become a vampire by drinking Caligula’s dark red blood and he does so to protect his kingdom, his wife and his son from Sultan Mehmed (Cooper).

As the movie says, Dracula is given the power of a hundred men along with some other powers that don’t make a lot of sense. He’s able to command vampire bats at will and he himself is able to turn into a flurry of bats while gliding rapidly through the woods. Without breaking a sweat, he takes out an entire army of invaders mere moments after acquiring his newfound skills. With powers like this, the ultimate boss battle at the end with the mortal Mehmed feels entirely way too anti-climactic.

One of history’s greatest monster/butchers has been defanged as he’s reduced to crying, spouting righteous teachings to his son and comforting his wife, all the while yelling at his village that he’s become a vampire to protect them from the true evils of the world. Maybe in 500 years someone will have Pol Pot as the sympathetic anti-hero who just wants to live life and love. Of course if you’re not knowledgeable on Romanian history, you might not care, and that’s completely fine.

The movie is far from shy at hinting and saying that Vlad is a terrible person. He still finds time to impale people and there’s even a scene where he admits to feeling nothing as he scorched entire village and murdered thousands of innocents (it’s OK, he had his reason). The charming presence of Evans can’t save this movie’s main character because he’s flawed from the beginning. Turning the most iconic Universal monster into a man of courage and nobility with an inadequate historical backdrop is one of the worst uses of Dracula in recent memory. He would have been more entertaining as the creature of the night that falls into his old, sadistic ways with his new powers instead of becoming a fanged nobleman or blood drinking seeker of justice.

All that aside, it’s still not a very well made movie. The action sequences, while shot imaginatively, have no bite. The visuals are automatically forgettable and the budget seems to have cut some corners in the CGI department and the storytelling sector. If this does well, it’ll most likely spawn a sequel or two, and just like the “Twilight” franchise, let’s hope Blade shows up at some point to put an abrupt end to this monstrosity.

 

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Film Review “The Good Lie”

Starring: Arnold Oceng, Ger Duany, Emmanuel Jal and Reese Witherspoon
Directed By: Philippe Falardeau
Rated: PG-13
Running Time: 110 minutes
Warner Bros.

Our Score: 3 out of 5 stars

In a movie like this, the number one question to ask yourself is, “How much does this movie care about the people it’s portraying?” It’s a very legitimate question that has plenty of factors. The director of “The Good Lie” has a soft visual touch to the difficult issue of the second Sudanese civil war. Writer Margaret Nagle has handled the lives of others in her works, near and dear to her heart, so she doesn’t harm their image. And most importantly, some of the actors and actresses have lived through this kind of experience. So why can’t this movie outgrow its ABC Family TV movie feeling?

Mamere (Oceng), Jeremiah (Duany), Paul (Jal) and Abital (Kuoth Wiel) are happily headed to America after spending years in a Kenyan refugee camp. 13 years prior to that, they had to flee their Sudanese village after it was torched to the ground and their parents were slaughtered in front of them. In their nearly 500 mile trek to safety, they lose friends to starvation, watch other refugees get gunned down and Mamere watches soldiers take his older brother Theo. Mamere has to persevere and become the leader of hope for the group.

The first half hour is a bit harrowing since it pulls no punches through unnerving scenes of lifeless bodies floating in the river and our group having to bury one of their friends in the unforgiving wasteland. Even after all those hardships and helping one another through it, they can’t live together in America. The three men learn that their sister Abital can’t go with them to Kansas City. She has to go to Boston because rules require separating the men and women. Then the tone of the movie does a complete 180 when the trio arrives in cowtown.

While it’s a necessity that we need some humorous culture shocks to add relief to the horrors we just watched, they really seem to heap it on in a slightly dehumanizing fashion that borders on making fun of our group. It’s a bit light hearted to see them react suspiciously to jello, but I would hope it’s not the filmmaker’s intention for us to laugh at them being uncomfortable in their living situations and moving their mattresses into the living room so they can spend their first night in a new country together. Then if that wasn’t enough, the product placement is very blatant and repugnant. Consider the context of one scene where one of them becomes carsick because they’ve never been in a vehicle and have airplane food swishing back and forth in their bowels. What’s the cure? McDonalds. I’ll just leave it at that.

Miraculously it stops itself short of being completely off putting by introducing Carrie (Witherspoon) who instead of giggling at their misfortunes, is there to help them find jobs and seems genuinely concerned about their predicament. She doesn’t get a lot of on-screen time even though the poster for this movie would tell you otherwise. The real emotional draw for this movie is the refugees, but it doesn’t know where to go with them. Mamere wants to be a doctor and is probably the most driven of all of them. Jeremiah even quits a job because he morally doesn’t agree with what his boss has him do. Paul for some reason takes the advice of people he doesn’t know or has any real connection to, and starts smoking pot. It’s almost as if someone didn’t feel confident enough with the men trying to find normalcy after escaping a war torn area theme powerful enough and began shoehorning in another angles and characters.

I commend the actors for portraying something that’s very near and dear to their heart with such honest passion. When they’re on screen spilling their heart out, “The Good Lie” succeeds and nearly redeems its poorer qualities. Despite my complaints, I find it somewhat miraculous that the final moments are still a powerful message about good will. “The Good Lie” is a crowd pleaser, albeit one that is far from knocking it’s touching story out of the park.

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Film Review “Love is Strange”

Starring: John Lithgow, Alfred Molina, Marisa Tomei and Charlie Tahan
Directed By: Ira Sachs
Rated: R
Running Time: 94 minutes
Sony Pictures Classic

Our Score: 4.5 out of 5 stars

Today’s a big day for Ben (Lithgow) and George (Molina). After spending the past 39 years together, they’re finally getting married. It’s a joyous occasion, accompanied by friends and family, who’ve watched the couple stick it out through thick and thin for nearly four decades. The honeymoon, the real and metaphorical one, is now over and an unexpected snag begins to take hold.

George, a respected teacher and member of the Catholic school he works for, has been fired because of his marriage. With his meager salary and Ben’s pension, they can’t quite make the bills anymore. They now can’t afford their apartment and need to seek a new residence. Because of George’s work, they’ll have to split for the time being. Ben goes to live with his nephew Elliot (Darren Burrows) and his wife Kate (Tomei). George has to move in with a pair of gay policemen who party on the weekends and play Dungeons and Dragons on the weeknights; Far from ideal for both men.

While their current predicament may not seem like the worst thing in the world, their calls and conversation hint at much tougher hurdles in the past that have been overcome. “Love is Strange” teaches that love can become stronger through adversity, but it’s not their love that’s in for a bumpy ride. The real struggle lies within Elliot, Kate and their son Joey (Tahan). They’re a decaying family. Elliot is constantly busy, but one may suspect he’s having an affair. Kate is usually at home attempting to write her latest book, but finding that most of her daily stresses are hampering that. Then there’s Joey, a real enigma. He can tell his parents aren’t on the best of terms and it doesn’t help he’s not on the best of terms with both of them.

There’s so much conflict told visually that many of the problems are never solved or fully developed verbally. It leaves the audience wondering what, if anything, is actually happening. While that’s off putting to some, that’s perfectly fine with me. Speculation is the most fun one can have during a movie and after leaving the theater. Joey seems to resent Ben at first, but…that’s the biggest mystery in the movie. While Kate may believe Ben is the reason things are imploding, the family dynamic appears to have been festering for years. Elliot seems to believe nothing is wrong at all or is too busy to care.

The most telling moment is when Joey has trouble answering a question from Ben. “Have you ever been in love?” Joey immediately takes offense wondering if Ben is implying he’s gay. That can easily be chalked up to a typical teenage homophobic concern that’s rooted in one’s own sexual confusion. But instead it tells me that he hasn’t grown up in the most loving of households. That watching his mom and dad slowly drift apart is taking a personal toll on him and he’s slowly losing grip on everything else.

The ending comes after a traumatic event that has clearly impacted Joey. Tahan is given the arduous task of portraying the only real tearful, emotional moment of all the characters and he’s spot on. It’s not an ensemble cast, but it’s definitely one that has the swagger. Lithgow leads the way perfecting every little word he speaks and every little facial movement. He lives and breathes inside Ben and has never done a more believable job in a role. If he doesn’t get a nomination at this year’s Oscars for his performance, it would be a damn shame.

“Love is Strange” is short and thoughtful. Outside of being a touching film, it’s shot in a very beautiful way. Most times people love to focus on the cold concrete structures of New York, but director Ira Sachs finds the grandeur of nature breaking through the cracks. It’s a bittersweet symphony that displays a different message to different people. It may tell you that life, in essence, is short and that we need to cherish it. Or maybe it’ll tell you that even in the most desolate of circumstances, you can come out in the end a happier person.

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Film Review “Tusk”

Starring: Justin Long, Michael Parks, Haley Joel Osment
Directed By: Kevin Smith
Rated: R
Running Time: 102 minutes
A24 Studios

Our Score: 2.5 out of 5 stars

Ah yes, that uncertain feeling of love or hate when walking out of the movie theater. It seems A24 has this knack for finding these bizarre titles that leaving me feeling a bit clueless on my personal opinions and emotions. On one hand, during “Tusk”, I couldn’t stand it and wondered if it would be ethical for me to just get up and walk out of the theater, and still talk be able to with you about it. But on the other hand, some part of me, that watches and giggles during Troma movies, enjoyed this perverse hodgepodge of midnight horror and black comedy.

“Tusk” was an idea born on a podcast (I’m sorry, smodcast) that for some reason became Smith’s return to movies. If you remember, he stated that he was retiring from filmmaking…then said he was going to come back and do “Clerk III” and that would be his last movie…then somewhere along the line “Tusk” happened. Seems like this may have been some kind of last minute idea that was quickly rushed, and at times during “Tusk”, it definitely shows.

Wallace (Long) has the job that’s only possible in movies; he makes his living as a podcast host. He’s the mean spirited man behind the “The Not-See Party” show which provides a string of predictable jokes throughout the movie (Nazi! Get it? OK then…). He plans on going to Canada where he will interview a viral media star and most likely embarrass him for his adoring fans. Much to his selfish dismay, the kid has killed himself, and he doesn’t want to waste his $500 plane ticket, so he takes an ad found in a bathroom that promises a fantastic story/adventure.

He drives to the middle of nowhere to an eerie mansion owned by Howard Howe (Parks). He’s a salty old man that glides from spot to spot in his wheelchair and seems suspiciously excited to tell the inconsiderate Wallace about his lifelong adventures. Among his tales, he spins a story about his encounter with a walrus…the only creature that ever loved him. During his story, Wallace fails to realize that his tea has been drugged. He passes out and awakes to a horrifying scenario. Wallace, through the visually grotesque art of surgery, will turn him into a walrus. Now comes the part of the movie where people might start walking out.

For those who remain seated, Parks never runs out of scenery to chew and it’s a surprise he never gets full off it. Every scene he is in is a joy to watch as he talks like a well-learned aristocrat, but flips on a dime to a walrus obsessed sociopath that would give the creepiest of animal lovers the heebie jeebies. I’m not sure who turned Smith on to this wonderful actor, but he’s definitely been the saving grace now in Smith’s past two movies.

As a comedy, I didn’t chuckle; although the prospect of a disfigured human-walrus hybrid version of Long does make me smile. I almost laughed at the surprise cameo in the third act of the film, but even before the big reveal I had some sneaking suspicion about who it was. He definitely adds a certain flavor to his scenes, but one in particular feels long, dry and unfunny.

There’s no doubt in my mind that Kevin Smith fans will gobble this up like most of his releases and that’s not to say I’m not a fan of his work. One of my biggest concerns is that this is a man that still needs an editor’s input. There’s a couple long winded moments where Smith plays show and tell where just showing or telling would have been perfectly sufficient to explain the scenario. He has progressed as a filmmaker since his incredibly low-budget cult classic “Clerks”, but he seems to playing to his audience more than he’s trying to find something new to do.

As for the final verdict on “Tusk”, it’s still an internal debate as I finish this up. It’s definitely one of Smith’s weaker entries into his catalogue. Its purpose feels misguided, if there is a purpose, and feels lazy in some regards. I think it’s a movie I enjoyed, but it’s definitely not something I can recommend unless you’re a fan of Smith’s work or someone who grew up on Joe Bob Brigg’s Monster Vision and have a “refined” taste for hokey monster suits and over-the-top villain theatrics.

 

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Film Review “A Walk Among the Tombstones”

Starring: Liam Neeson, Dan Stevens, Brian ‘Astro’ Bradley
Directed By: Scott Frank
Rated: R
Running Time: 113 minutes
Universal Pictures

Our Score: 4 out of 5 stars

Liam Neeson has traded in his concussion inducing fists, action film one liners and torture tactics — at least for the time being — for his latest role in “A Walk Among the Tombstones”. Many will be expecting another hit-man seeking revenge action flick, but Neeson shows some quiet restraint as Matthew, a former NYPD cop turned gumshoe. Instead of making grand leaps throughout Europe, Neeson strolls through the grim landscape of Brooklyn, that’s seemingly trapped in a perpetual state of rain. It definitely atches Matthew’s weathered face and grim outlook on life. These are the kind of roles I like Liam Neeson in.

Matthew lives a very minimalist life. It’s shows because he doesn’t have a computer or cell phone. But that’s OK, it’s 1999 in this movie, and there’s still pay phones littered all around the area and people are freaking out over Y2K. He’s recently been hired by Kenny (Stevens), a well to do drug dealer. He’s kind of like the upper middle class in the drug dealing ring. He loves clean modern furniture and doesn’t abuse his product. Kenny hopes Matthew can track down a duo of beasts, that kidnapped his wife, demanded a ransom, and then after receiving their pay day, delivered his wife back in multiple, small, neatly wrapped cocaine bags in the trunk of a car that you would suspect a drug dealer would drive.

These pair of monsters that Matthew is tracking down would make Hannibal Lecter drool with delight, but unlike Lecter, they lack charisma and charm. One appears to derive pleasure from sexual violence and watching his victims squirm while the other assailant simply appears to be in it for the money; sampling the pieces of his partner’s blood lust. They’re a real disgusting pair to watch at work. We come to find out they’re hitting up drug dealers to satisfy both of their appetites and have a decent sized portfolio of potential victims. As the movie goes, so does their descent into darker wants and needs.

“Tombstones” is one of the best made thrillers in recent memory, leaving the motivations and deepest levels of depravity of the villains up in the air, creating a nauseating sense of suspense in the viewer’s gut. The film takes a couple of moments to breathe with the introduction of TJ (Bradley), a homeless African-American child that looks up to Matthew. TJ feels like a speed bump in the pace when he’s first introduced, but it becomes clear towards the latter half that his introduction was to provide Matthew with an outlet to voice his inner demons and find that sliver of hope in his personal pit of despair.

It’s interesting watching the supposed good guy of the film quickly shrug off the protagonist role. While Matthew might not be personally invested in the crime, he’s attached his own path of soulful enlightenment by how he reacts to each step towards solving the mystery and its eventual outcome. Neeson has no problem handling the weighty emotions of Matthew and if these are the kind of roles we can expect from Neeson in the future, count me in.

 

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Film Review “The Drop”

Starring: Tom Hardy, James Gandolfini and Noomi Rapace
Directed By: Michael R. Roskam
Rated: R
Running Time: 106 minutes
Fox Searchlight Pictures

Our Score: 4.5 out of 5 stars

Rarely do organized crime movies have heart warming or touching moments. In fact, most of the times you’re trying to find that soft spot or likeable quality about the sociopath on screen and a lot of times…you don’t. “The Drop” is a by the books crime drama that you’ve seen before, but the character driven story, along with the elegant performances by the key players, makes it a superb movie.

The first key player is the late, great James Gandolfini. It’s ironic that his final on-screen role will be one that symbolizes what people will remember him as, a thug. Instead of being a criminal ring leader like he has been in past roles, this time he’s an aging, depressed bar owner known simply as Cousin Marv. He also runs a bar…simply known as Cousin Marv’s. He bitterly reflects on the glory days of being respected instead of his current predicament, the money launderer for a Chechnyan gang that casually threatens him through cocky smiles.

His hardest worker is the low key, shy bartender, Bob (Hardy). He has a gentle soul and his dialogue borders on unintelligible mumbling, but the British born actor creates an understandable Brooklyn accent for the endearing character. Every little thing about Bob is stupendously crafted by Hardy, who gives subtle visual cues that add to Bob’s good intentioned exterior, but his quick darting of the eyes towards the floor or to something else reflect the mind of a person that constantly is reminded of something more alarming.

The story sprinkles dread filled bread crumbs around the intriguing history behind these two. What complicates things and really adds the warmth to the plot is when Bob heads home after work one night and comes across a young, abused pit bull in the trash outside of the home of Nadia (Rapace). He instinctively doesn’t suspect that she’s the one who harmed the dog and connects with her over the torn and tattered puppy as they dress it’s wounds. Just like society’s stereotypes, Bob and the pit bull are misunderstood creatures.

Bob eventually becomes the center of this character study as tensions escalate when someone robs the Cousin Marv’s bar. One wonders how Bob will react when there’s so many contradictory character opinions about who the real Bob is. The parallels between the general misconceptions about the violence in pit bulls and people constantly warning that there’s more to Bob than meets the eye are uncanny. By the time the end comes, the reveal is a bit anticipated, but still satisfying because of Bob’s reasoning and how well Hardy makes it believable.

The script sharply keeps us in the dark while most of the other people surrounding Bob seem to know something we don’t, but dare don’t utter it. Hardy is a real joy to watch as he weaves from scene to scene, perfectly balancing mystery and charm. Despite his increasing infection for Nadia, it never feels covetous or sexual, but more of an appreciation for someone that could be attracted to someone like him; which adds more intrigue into his murky past.

While “The Drop” will most likely be overlooked come awards season, it’s important to point out that Gandolfini, being one of the main instigators for problems, comes off as sympathetic despite his hardened demeanor.“The Drop” is a reminder of the great talent that no longer graces our presence. It also provides us the reminder that sometimes the darkest of actions have the most compassionate reasons.

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