Jeremy Werner, Author at MediaMikes

Film Review “Frozen”

Directed By: Chris Buck and Jennifer Lee
Starring: Kristen Bell, Idina Menzel and Jonathan Groff
Rated: PG
Running Time: 108 minutes
Walt Disney Studios

Our Score: 5 out of 5 stars

Disney has a decent go-to formula with some of their classics. First we start off with a story centered around a princess. Then we have some wonderfully crafted music and a heart warming theme to accompany it. Alright so let’s go down this shortened list before we get ahead of ourselves. We have not one, but two lovable leading ladies. The music is not only fast paced and fun, but incredibly catchy (I’ve still got it stuck in my head as I type this). And of course we have a very touching story about the love and acceptance between two sisters. By taking that well-made scheme and rubbing in some fresh twists, Disney has crafted another instant classic.

Today’s coronation is special for more than one reason. Anna (Bell) is finally seeing the dark empty halls of the castle she’s grown up in come alive with people. Her older sister Elsa (Menzel) will be made queen, but she’s less than eager to step outside her room. This is because Elsa contains the power to manipulate snow and ice. Without gloves concealing her hands, she doesn’t have much control over her abilities. Also at a young age, she harmed her sister Anna with her powers and was scared into never revealing her skills. Things don’t go as plan as pressure from the party gets to Elsa and her powers are unleashed in a frightening manner. She flees into the mountains as people call her “monster” and “sorceress”. Upon leaving and finally giving into her powers, she has brought forth fierce blizzard.

The beginning of this movie is fantastic because we’re not given the usual set-up of a villain. We sense that almost every character means well, but we know that at least one of them is putting up a front. Or maybe enough time hasn’t passed for someone’s true evil to set in. We know it will happen, but until then, Elsa plans to follow her sister into the harsh mountains. She’s aided by Kristoff (Groff) and his reindeer Sven. He’s not your traditional knight in shining armor, but as the story progresses, he grows from a delightful goof to a loving warrior. Prepare to be blown away by the layers of heart and soul that this movie has.

I generally believe that audiences don’t have any high expectations with Disney movies anymore. Heading into this though, I feel like Disney set a really high mark for themselves and achieved that with this ensemble cast of Broadway actors. Even Kristen Bell was marvelous with her solo songs. She has some magnificent duets with Idina Menzel. Disney seems to be aiming for that theatrical magic that they had with some of their classics like “Beauty and the Beast”. They’ve hit the bullseye on this one. The music flows wonderfully and the lyrics are so in tune with the character’s emotions and feelings. Someone needs to hand the Academy “For the First Time in Forever” and “Let it Go” for consideration this year.

We also have some genuine laughs from the movies most innocent, cute and charming character, Olaf, a talking snowman. Every character design is flawless. The animation is breathtakingly gorgeous. Multiple scenes had me stunned at how detailed and intricate the animation was as it moved at a rapid rate. I felt like I was watching a frozen world evolve before my eyes. It’s obvious from this movie, that Disney has been taking notes from Pixar for a while now. I think if the guys at Pixar watch this though, they might wanna start taking notes from Disney again.

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Film Review “Oldboy”

Starring: Josh Brolin, Elizabeth Olsen and Sharlto Copley
Directed By: Spike Lee
Rated: R
Running Time: 104 minutes
FilmDistrict

Our Score: 4.5 out of 5 stars

It’s October 8th, 1993 when we get a quick overview of the life of Joe Doucett (Brolin). He’s quick to anger and just as quick to flirting with women. He yells at his ex-wife and tells her he won’t attend his three-year-old daughter’s birthday. His excuse is that it isn’t important and she won’t remember anyway. When he’s not being a vile human being, he’s quenching his thirst with hard liquor. After a long day of pissing everyone off, he stumbles through town drunk. Not even the bar wants him back. This’ll be his last taste of freedom for 20 years.

Joe wakes up in a motel room. No wait. After exploring his surrounding he’s overcome with horror that it’s not a hotel room. The door has no knob and is steel plated except for a small slit on the bottom to slide food through. He has a window that slides soothing fake scenery behind it’s unbreakable glass. The TV in the room is of no comfort. The news shows him that his ex-wife has been raped and murdered. And you guessed it, he’s the number one suspect. There’s no communication, no escape and no one there to tell him for the next two decades why he’s there. Just as randomly as he was kidnapped, he’s released.

Only a movie like this could turn Josh Brolin into a disgusting creature, but he’s at the top of his game as a vengeful father. Elizabeth Olsen turns in a fantastic performance as Marie. She’s a recovering addict trying to make her life better as well as helping other pick up the pieces of their shattered lives. So it does makes sense that when she encounters Joe, she suddenly becomes motivated to help him on his tortuous journey. Joe’s tormentor and imprisoner, Adrian (Copley) isn’t consumed with gleeful revenge, but is instead a sorrowful lunatic with untold wealth. The only one drowning in rage is Joe. Those stuck in the way of his warpath are torn apart, broken down and beaten into a coma.

Spike Lee has taken the original, beloved Korean film and made it his own. The plot isn’t shaken up, but instead the finer details are Americanized. The camera work ensnares your attention and some of the continuous shots are brilliant. With Spike Lee behind the camera and Josh Brolin breathing terror into this movie, this is one of the strongest remakes in years. Lee’s version really trims some of the fat from the story and leaves us with the juicy twists and turns. The script may have taken out some of the more disturbing moments of the original, but managed to create a more eerie final twist.
For anyone who’s seen the original, one of the first thoughts in your head is, “How will American audiences react to a movie like this?” Some will see many moments to be shocking for the sake of shock value. Their stomach will flip a few times and they’ll find it repulsive. Others may come away scratching their heads wondering why they liked it. They’ll probably think they’re a terrible person. This movie could be viewed as poetic filth, but once you start scraping away at the grime, there’s some humility in those final shocking moments. Can we overlook social norms and put ourselves in another’s shoes? This movie pushes the idea that redemption can be found through revenge. No matter how bloody and disgusting it is.

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Film Review “The Hunger Games: Catching Fire”

Starring: Jennifer Lawrence, Josh Hutcherson and Liam Hemsworth
Directed By: Francis Lawrence
Rated: PG-13
Running Time: 146 minutes
Lionsgate

Our Score: 4 out of 5 stars

I’m guilty of not being wowed by the first Hunger Games movie. I agreed with those who called it a repackaged “Battle Royale” for American teens. Regardless of my criticism I saw some potential. The potential wasn’t wasted, but was instead misguided and stumbled around until the characters entered the arena. Gary Ross, the man who brought “Dave” and “Lassie” to audiences during the 90’s, was not the right choice to direct the first chapter of the adolescent, bloodbath trilogy. Luckily for people like me and fans of books, the studio has found the right man for the job.

Some time has passed since the 74th annual Hunger Games and things have yet to improve in the life of our heroine, Katniss Everdeen (Lawrence). She’s continuing her tricky love triangle with fellow victor Peeta Mellark (Hutcherson) and hometown lover Gale (Hemsworth). She also suffers from memories of last years games while her mentor, Haymitch (Woody Harrelson), continues to sulk behind a bottle of booze. President Snow (Donald Sutherland) is still trying to weather the storm and keep Katniss in line by threatening her family and friends.

His plan is to have the two “lovers” embark on a victory tour to each district in the hopes of extinguishing any hopes of rebellion. The Capitol hands Katniss and Peeta some scripted speeches and touts them as the happy couple. With the threat of harm to their families, Katniss and Peeta know they have to play along, but once they start speaking from the heart, the somber crowds begin to show glimmers of hope and disobedience to the Capitol. So what is a President a to do? To declare that the 75th annual Hunger Games will draw from previous winners each in district. God bless those loopholes.

Sure we’re about to start treading the same ground and you can’t help but feel you’re watching a rehashing of the first movie, but “Catching Fire” has taken huge strides in every category. Director Francis Lawrence has delivered us a far more superior sequel that will leave you wanting more. His pacing and direction make every minute of this movie tense and each scene has sense of purpose towards the final moments. Even though were once again thrown into the gauntlet, poisonous fog and skilled killers pump up the action this time around.

The director is obviously the biggest change for this movie, but let’s just go ahead and admit that the foundation and glue of this movie is Jennifer Lawrence. Without her, Katniss wouldn’t appear to be so strong, but feel so fragile. The supporting actors like Phillip Seymour Hoffman, Jena Malone and Lenny Kravitz are a fine addition, but they wouldn’t have as much purpose without the commanding presence of Lawrence. Her acting doesn’t smother any scene, but instead leads the way for others.

This time around we’re not presented with a couple of terribly presented moral questions, but instead the movie holds up a mirror to society. The very people who create the political ripples and waves are instead masqueraded as media darlings in the hopes of discarding their true meaning. The men behind the curtains hope to keep the ignorant, ignorant by presenting and talking to our heroes like they’re TMZ celebrities. And of course we have the typical bloodlust of the general populous. This dystopian world doesn’t seem so far, far away. “Catching Fire” is a thrilling movie that increases the stakes and expectations for “Mockingjay”. Let’s hope Francis Lawrence can keep distancing himself from the child’s play of the first movie and really deliver the exciting conclusion, “Catching Fire”, has set-up.

Film Review “Ender’s Game”

Starring: Asa Butterfield, Harrison Ford and Hailee Steinfeld
Directed By: Gavin Hood
Rated: PG-13
Running Time: 114 minutes
Summit Entertainment

Our Score: 4 out of 5 stars

I wanna be able to hear the book reader’s side of the story when it comes to print to video adaptations. I luckily was accompanied by a fan of “Ender’s Game” He sat in his seat nervously, constantly reminding me that he hopes they don’t ruin the story as well as how hard of a book “Ender’s Game” is to adapt to the big screen. He’s read every single book in the series and still remembers vivid details about each character from Orson Scott Card’s writings. After the first couple of minutes of the movie, I could tell a wave of relief had swept through him.

The world has formed a singular military force after an attempted invasion by an insectoid race known as the Formics. After experiencing a catastrophic loss of life, the military is attempting to find the greatest military mind to prevent anymore future wars with the creatures. They hope to find that military genius in a pool of children who are subjected to rigorous training exercises and strategy classes.One of those kids is Andrew Wiggin (Butterfield), who goes by the name Ender.

He’s not necessarily a social outcast, more than he is the favorite target of bullies because of his superior intellect and his ability to manipulate his foes; giving himself the verbal and physical advantage in a fight. Watching Ender in the distance is Colonel Graff (Ford). He sees Ender as a solution to their bug problem and constantly schemes behind his watchful eyes. Ender is chosen for Command school where he makes allies and enemies amongst other hopeful kids and quickly excels to the top of the class.

This movie is definitely at the top of it’s game with it’s child actors, even though most of these actors are hovering into their upper teens if not their young adulthood. Butterfield is definitely given the toughest task of representing the cold soldier side of Ender as well as the endearing human side. Ender is a fantastic character. He’s a flawed military genius. He pushes himself to find victory, sometimes at the cost of other people’s lives, but when he finally achieves victory, he mourns the death of his foe and questions the morality of his actions.

The special effects are top notch and a lot of the military station sets have a stale beauty. The vibrant paleness in their training simulations breathes life into the dead of space. When the movie pushes in some light-hearted character interactions, they don’t feel cheesy, but instead it’s some much welcomed fun. Even though these characters are being trained to kill, they’re still children who laugh at childish things and we need that emotional breather in this bitter future. Even though this movie presents some questionable ethics, the movie doesn’t find time to give us that moral debate. That’s not to say that we’re still left with a fantastic bit of writing when the issue does rear it’s ugly head.

There’s just this huge nagging problem I had that lingered into the big reveal of Ender’s destiny. I haven’t read the books, but my impression is that the source material is a lot darker. Here we have children being used in the hopes of exterminating a extra-terrestrial species and at times I felt the movie was toning it down in the hopes of finding the sci-fi equivalent of “Hunger Games”. While both deal with children and murder, I feel that there’s a certain enchanting darkness to be found in military leaders, nurturing children through war game simulations. That theme radiates when the adults reward the victor of fist fights. A tweak here and there stopped this from being memorialized alongside other deep space greats, but it’s still a memorable and epic sci-fi movie. Here’s to hoping there’s a rated ‘R’ director’s cut that gives this the perfect rating it was deprived of.

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Film Review “One Direction: This Is Us”

Directed By: Morgan Spurlock
Rated: PG
Running Time: 92 minutes
TriStar Pictures

Our Score: 1.5 out of 5 stars

Let’s be up front. I don’t like One Direction. When it comes to music, if I don’t like something, I still try and see it for it’s artistic value. There are very few bands or artists that I feel are just flat out bad and have no redeeming musical qualities. One Direction is not one of them. I feel under the casually generic top 40 pop lyrics of love and loss, there’s actually some decent rock buried under their pop ballads. So with that said, I went in ready to judge the movie as a movie and push my dislike of the band out of my head. With “One Direction: This Is Us”, there are a limited number of positives if you’re not a screaming hormonal middle school girl.

“This Is Us” is a concert film mixed with footage and one-on-one interview detailing the lives of Niall Horan, Zayn Malik, Liam Payne, Harry Styles and Louis Tomlinson, the five lads who make up One Direction, on their global tour. Of course by detail, it really only shows us their humble beginnings on “The X-Factor” up until their current tour. I’ll go ahead and say that there’s some decent positives in this movie. The concert footage in 3D is actually really well shot and has a bounce to it. There’s a couple of artistic touches added to the footage and I would love whoever shot this to film my favorite bands. The shenanigans by our five stars are fun to watch. Especially when they actually decide to pull pranks on their adoring fans entering the arena.

Outside of that, we have multiple shots of gratuitous shirtlessness and sometimes pantsless moments of the five members. There are obvious reasons as to why this movie has included those moments that I don’t feel like articulating. It also becomes a bit repetitive watching a new batch of wild fans being interviewed or shown for the camera. Also get use to every band member pointing out the fact that the mere sight of their face sends the crowds of women outside the venue into a screeching wall of noise. The so-called look at the backstage crew is nothing new if you have any basic knowledge of how shows are put on. With how much detail goes into their lives shows, you’d think they would have nabbed an interview with someone who actually designed the set and gone over thought processes of the video lit city on stage.

It wasn’t that this movie was terribly made. It just becomes increasingly evident as times goes on that there are plenty of missed opportunities and a lack of interest in it’s subjects. Unless of course we need them to be silly or need them to cause the female heart to skip a beat. I’m not even sure the acclaimed documentarian, Morgan Spurlock of “Super Size Me”, had much input and was simply just a name to add to it’s credentials. If you’re a fan of “One Direction” or maybe even slightly interested in them, you’re gonna fall in love with this movie.

There’s a small taste of a movie that would have been more interesting at the halfway point. A couple of the members muse what they would be doing if they weren’t in the band and if things will ever actually be normal in their lives. Even when they make a trip back home, they wonder if it’s really all worth it since they’re missing out on quality time with their family and friends. There’s plenty of interesting questions to be asked, but instead of a real in-depth look, we have fodder for fans. I would love to watch the movie that may turn off fans because of how raw and honest it is with the subject material. I knew we weren’t going to get any of that when Simon Cowell’s name popped up as producer as well as the band’s manager Will Bloomfield as executive producer. It’s a very vanilla look at One Direction that simply wishes to strengthen it’s fanbase and nauseate others. If you’re one of the unfortunate souls dragged to this movie, you’ll wanna bring some ear plugs and Ambien.

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Film Review “Blue Jasmine”

Starring: Cate Blanchett, Alec Baldwin and Sally Hawkins
Directed by: Woody Allen
Rated: PG-13
Running Time: 98 Minutes
Sony Pictures Classic

Our Score: 4.5 out of 5 stars

I enjoy “people watching”. There’s always been a fascination about other people’s lives, especially when you have nothing in common with that person yet you already have some predetermined notions about them. “Blue Jasmine” is the most intense version of “people watching” one could ever hope to achieve and a lot of fun. It has a quirky start, but once the pieces begin to fall into place, it’s off-the-wall charms turn into a strong drama with powerful performances.

Jasmine Francis (Blanchett) is in an alcoholic stupor. She downs Xanax like Tic-Tacs, verbally mumbles conversations she’s had in the past without realizing it and her emotional strings are pulled between depression and nervous breakdowns. Her sister, Ginger (Hawkins), has taken her in even though her life is in rebuilding mode. Jasmine has been on a tumble in life since her ex-husband, Hal (Baldwin), was arrested for his Bernie Madoff-esque activities. She’s gone from being the fashionable socialite of New York to tearfully debating her next move in life in San Francisco. The movie cuts back and forth from Jasmine’s previous life with Hal to her present predicaments. Both events unfold in a very smooth motion and the cuts from past to present are flawless.

Jasmine would be a sympathetic character if she wasn’t oblivious to the fact that people are trying to help her out. People around her hope to propel her forward with optimism as she criticizes and critiques everyone else’s life, behaving as if she was still being catered to in a mansion. Oddly enough, the most honest and truthful perspective in the movie comes from Ginger’s grease monkey boyfriend, Augie (Andrew Dice Clay). Instead of facing the harsh realities, she lies and manipulates her way through her new surroundings.

The entire cast of this film is at their peak, highlighted by a surprise performance by Andrew Dice Clay. Cate Blanchett perfectly portrays the pretentiously arrogant side of Jasmine as well as fully acting out her quivering moments after a healthy slap of reality. This is the first Woody Allen movie I’ve ever seen so I can’t really say that it’s his best work to-date or deliver any other comments of that nature. I will say that this is one of the more intelligent dramas I’ve seen in recent memory. Awkward scenes have a bit of light humor. Sometimes the laughs are uncomfortable. Even moments of melancholy are punctuated with a bizarre joy. The movie has an analytic feel about all of it’s characters without revealing too many of their motivations. Each character unravels, but only a few towards the end truly come out clean.

I get the sneaking suspicion that by the end of the movie, there will be a divide among audiences. Not straight down the middle, but a small minority that will feel sympathetic to Jasmine. The majority of others, like me, will have a morbid smile in watching things spiral out of control. The movie doesn’t portray her as good or bad, but instead just portrays her as human. She may be arrogant and self-absorbed, but when she’s knocked down she’s still scared and broken. Even though I took a certain glee in her misery, I found myself not wanting too much suffering to head her way. What makes her unlikable, but enjoyable to watch throughout, is the fact that she’s a constant fuel source and igniter for drama. It makes “Blue Jasmine” a rare treat at the theatre and a movie you’re sure to see in multiple awards categories at the end of the year

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Film Review “The Mortal Instruments: City of Bones”

Starring: Lily Collins, Jamie Campbell Bower and Robert Sheehan
Directed By: Harald Zwart
Rated: PG-13
Running Time: 130 Minutes
Screen Gems

Our Score: 1/2 out of 5 stars

I can understand that some movies will always have clichés or that some movies will have to rely on other writer’s imaginations. That being said while watching “Mortal Instruments: City of Bones”, one could easily make two lists. One list would be all the tropes and the other could be all of the stolen movie ideas. If you’re somehow stuck in a movie theater with this movie rolling on the screen, you may consider turning those two lists into a drinking game, but I must warn you. You could die of alcohol poisoning before the halfway point of this flick.

Clary Fray (Collins) is a hip teenager. At least this movie would like you to believe that because she frequents coffee shops with her best friend, Simon Lewis (Sheehan). Recently she’s been seeing a weird symbol everywhere, even scribbling it out on paper and hanging it up all over her room. As she begins to question her sanity, she sees it at the entrance to a nightclub and heads inside to investigate. Next thing you know, she’s witnessed a tall dark stranger by the name of Jace Wayland (Bower) seemingly murder someone in plain view of others. Next thing you know, her mother (Lena Headey) is kidnapped, she’s attacked by a grotesque dog creature from “Resident Evil” and she’s told she’s a shadow hunter (even though they refer to them as demons). Next thing you know, I don’t care anymore.

In the first 20 minutes, I’m already beginning to wonder what I did in a past life to be punished in this manner. The story is muddled, the characters are incredibly stale and the plot laughs at creativity and embraces predictability like an old friend. Every serious moment meant to punctuate a revelation was incredibly comical. That means every attempt at humor in the movie was met with a groan (although I give them credit for a “Ghostbusters” reference). The writers for this movie must have gotten dialogue lessons from one too many ABC Family movies during Halloween. The studio must have hoped those eagerly waiting for the next “Twilight” franchise would eat up every shirtless scene with Bower. They probably also hoped that the romance between characters would once again melt tween hearts across the country, but instead it caused a tremendous pain in my groin. At times tears welled up in my eyes from stifling a laugh at how much this movie took itself seriously.

The dull characters are dressed like they’re about to hit up a gothic S&M bar. Apparently they’ve dressed this way so that they can fight demons who have made an effort to apply eyeliner before heading out. As the plot develops, characters make bone-headed decisions and let pre-pubescent emotions control their actions. The most enjoyable performance in this flick was by Lena Headey. She had very few headache causing lines, but that’s only because her character was in some form of a coma for the majority of the film. In fact once Jared Harris is revealed as the tutor for all these young warriors, you feel embarrassed for him. As for the other actors, they may want to leave this movie off their resume. Tell people this absence from movies was a time of self-discovery and reflection about where you were in life.

This movie, as well as the book series it is based on, is aimed at the “young adults” audience, but I don’t see “young adults” enjoying this movie. The imagination usually accompanied by this genre is missing and the only thing anyone might take away from this movie is a temporary crush on one of the actors. I love fantasy, but this movie abuses that title. This movie is so painful to watch, they should force prisoners to watch it. I know I’ve been incredibly harsh in everything I’ve said above, but I did take away one positive thing. This movie will make a great future Rifftrax.

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Film Review “Lee Daniels’ The Butler”

Starring: Forest Whitaker, Oprah Winfrey and David Oyelowo
Directed by: Lee Daniels
Rated: PG-13
Running Time: 2 hour 12 minutes
The Weinstein Company

Our Score: 5 out of 5 stars

For me school was about teachers constantly pounding the same subjects over and over into our heads. Every year we’d go over the same material…history, English, science…but obviously it’s tweaked just a little to give us that fresh feeling even though it’s the same thing. Late middle school and the beginnings of high school is when you’re finally able to branch out and dive past the simplified textbooks handed out at school and begin to get a taste of something more in-depth. When it comes to the civil rights era, we were taught about Abraham Lincoln and Martin Luther King, Jr. Those aren’t bad people to start out with, but what about those behind the scenes? Their stories and their influences on the times are so much more compelling and that’s what “The Butler” goes for.

Cecil Gaines (Whitaker) is a hard working man who has always done his job to a tee. Even as a young lad, while he watched his slave owner murder his father and sexually abuse his mom, he has maintained a cool demeanor and was raised as the perfect house servant. He’s exactly what the White House wants. A man who puts his job above everything else and someone who never reacts or speaks about politics. Those two things don’t sit well with his wife, Gloria (Winfrey) and his son, Louis (Oyelowo). Gloria loves the fact that he’s so successful in life, but unhappy that many of her days are spent alone at home, chain smoking and washing away her sorrows with alcohol. Louis wishes that his father, within constant contact with everyone in the White House, would speak up for civil rights.

Cecil and his son represent two different ideas during the civil rights movement and neither are wrong in their thoughts or ideals. Louis starts his journey as a Freedom Rider, moving on to Black Panther and then to an aspiring politician, spending half of his time in jail for protesting. Cecil continues gaining the admiration of those around them and impressing each and every President with his back breaking work. Both father and son’s journeys highlight specific pivotal parts of the civil rights movement. Besides the social impacts, the movie also profiles the home life of Cecil and Gloria, which is the main emotional draw of the film. It’s their life’s journey that will make you laugh, feel tense and at times tear up.

Every little intricate character is well cast but the centerpiece of this ensemble is Forest Whitaker, who puts up a top-notch performance. If there’s any weakness among the powerful cast, it’s Oprah. While she’s not terrible, she never matches the same highs that Whitaker does and is often outdone by Oyelowo in their scenes together. The actors who play the Presidents are all well suited, but never get enough time to draw upon the historic mannerisms, while the actors portraying Cecil’s co-workers in the White House are a delight to watch whenever they’re called upon.

This is an “inspired by” story, which means that you can’t take everything at face value. However, Lee Daniels and Danny Strong have penned a very good movie. There’s never a dull moment and I would almost say it’s one of the more enjoyable flicks of the year. Come Oscar time this movie will definitely be getting some nods, but it may not be strong enough to reel them in. This movie is definitely riddled with political overtones, but that shouldn’t stop you from being satisfied with this imaginary look at a key part of our nation’s history. The journey of Cecil and the journey of our country are one in the same. Tough times always lay ahead, but perseverance will overcome our struggles. If I can walk out of a movie feeling good with that message, it’s better than anything I was taught in elementary school.

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Film Review “Fruitvale Station”

Starring: Michael B. Jordan, Octavia Spencer and Melonie Diaz
Directed by: Ryan Coogler
Rated: R
Running Time: 85 minutes
The Weinstein Company

Our Score: 5 out of 5 stars

For those like me that don’t have a constant mental database of all news, you may need a refresher before heading into “Fruitvale Station”. The movie is about an unarmed young adult who was shot on the early morning hours of New Year’s Day back in 2009 by the Bay Area Rapid Transit System. What makes this story unique is it was the first time nationally that I can recall where what transpired was caught on tape by many onlookers who had whipped out their cellphones. “Fruitvale Station” shows us it’s an event we shouldn’t forget.

Oscar Grant III (Jordan) is trying to change things around in a big way. Before the beginning of the New Year, we learn that Oscar is unfaithful with his girlfriend Sophina (Melonie Diaz), sells drugs, has almost been disowned by his mother Wanda Grant (Octavia Spencer) and finds himself lying to his daughter Tatiana (Ariana Neal) to explain his jail time. Under the tattoos and gangster rap music blasting from his car, we see that he’s a good natured person. He’s kind hearted and truly hates the person he’s become. The movie shows us that he’s chosen his mother’s birthday to begin the process of changing his life around. Not everything goes smoothly, but even under the stress of everything not going his way, he still manages to remain positive.

If Jordan hasn’t been on anyone’s radar, he is now after this performance. It’s only been two years since “The Help”, but I’m sure Octavia Spencer will once again creating some Oscar buzz and adding a few more awards to her mantle. The dialogue, by first time writer and director Ryan Coogler, is crisp, genuine and honest. As director, he’s able to help the audience visualize the struggles of Oscar. Don’t be surprised if he needs to start working on a place to house his future awards. The most emotional scenes don’t feel forced and the events of unfold fluidly. Because this movie begins with the cellphone footage from that night, reminding us of what will happen. We’re never comfortable or calm as we watch Oscar pick up the pieces. There’s a slow building dread like a snake uncoiling before it strikes.

Coogler accomplishes the rare feat of letting us know what’s going to happen, but still packs a punch by the time the third act begins. So even though we know what’s going to happen, he still manages to piece together an engaging flick. We watch Oscar’s transformation and by the time the third act begins. We don’t want it to happen. We don’t want to see it again. We wish there was a different outcome. But there isn’t. The final minutes of the movie grip you and leave you speechless. The visual force of those lingering moments knocks the breath out of you.

You could easily walk out of this movie and say that it was created and pushed forth in-light of the Trayvon Martin case. I’d like to believe Coogler had more than agenda when sitting down to flesh out this retelling. It’s easy to create the parallels of good and evil, but I felt there was a more human message under all this. There’s a reason we spend so much time with Oscar, watching him interact and try to become a better person. If we are to learn anything from Oscar’s tale, it’s that your life can end at any moment, but most importantly, you should not take the time you’re given lightly. There’s always time to set things right.

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Film Review “The Act of Killing”

Directed By: Joshua Oppenheimer
Rated: R
Running Time: 1 hour 55 minutes
Cinephil

Our Score: 4.5 out of 5 stars

There have been books, movies, TV shows and news pieces about some of the darkest parts of life. Serial killers, mass murderers and rapists have all been documented in some medium when they’re alive and even in post-mortem. We loathe these people, but there’s a unique entertainment about them. Subconsciously, it delves into a dark primal part of our brain while consciously reassuring us that we would never do it and why we should never do it. “The Act of Killing” is a delicious, bitter treat. It’s a morbidly engrossing documentary that gives the viewer a rare insight into evil.

The movie tells us that, in the mid-60’s, there was a cleansing in Indonesia. After the army overthrew the government, it decided to purge, what it believed to be, communists. Death squads were formed and people were tortured and interrogated across the country. What followed was a personal form of execution through strangulation and throat slashing. As for the number of people killed…uncertain. The movie had it’s own figures, but my own research after the viewing have revealed an unbelievable and conservative number below 100,000 while some bleak numbers have stated the amount of dead could be well into the millions. This movie follows Anwar Congo a wanna-be gangster who went from scalping tickets outside movie theaters to murdering over 1,000 people.

With such a horrific event, there are plenty of angles director Joshua Oppenheimer could have taken. Instead he has approached Anwar with a simple proposition. Fictionalize the murders you committed. Re-imagine those terrifying events for our cameras. The movie follows this proposition as well as the making of the re-enactments. This method is actually quite brilliant. Instead of investigating through a series of questions and deciphering the truths and lies, Oppenheimer has played to one of Anwar’s loves: movies. By having Anwar be the star of his own movie about his life, he gets a more real approach and truly sees things through the monster’s eyes. It also allows Anwar to relive and reveal some buried truths through his visualizations.

Along the way we meet some of Anwar’s old buddies, who get together and act like a couple of old fraternity brothers, joking and laughing. But instead of reminiscing about parties and girls, it’s torture methods and cold-blooded murder. We see a gambit of different personalities. From men who feel a form of remorse for their actions to others who are obviously selfish and continually ignore what they’ve done and constantly justify their actions. Anwar is the perfect centerpiece for this movie because at times he represents both of those extremes. Through an aged grin he shows the director around an area where he squeezed the life out of hundreds. Then at times he’s quiet and unspoken with a regret lingering in his eyes. At one point you’ll even get a dirty feeling as you feel slightly sympathetic towards him in one instance towards the end. You might even find yourself wanting to smile or chuckle at some scenes because of how absurd they feel.

This is a soul crushing film. I found myself disheartened and unsure if I enjoyed it because it was such a bleak and unsettling experience. But the more I reflect on it, the more I see a silver lining. You’ll notice if you sit through the credits, there’s a lot of “Anonymous”. That’s because many of the people who helped work on this film live in Indonesia. They live in fear of repercussions from the paramilitary that still festers in the streets and in the government. But there’s a certain bravery behind wanting to speak out. Not because you feel it’s wrong, but because you’re willing to admit the mistakes your own government has made in the past. It’s also a small reassurance that some of the men we meet do feel remorse and realize what they’ve done is wrong. “The Act of Killing” is certain to invoke an array of emotions, stun many people into dead silence and raise plenty of ethical and moral questions. Everyone will take away something different, so I’ll go ahead and tell you the line that still sticks with me days later: “War crimes are defined by the winners.”

Film Review “Percy Jackson: Sea of Monsters”

Starring: Logan Lerman, Brandon T. Jackson and Alexandra Daddario
Directed By: Thor Fredenthal
Rated: PG
Running Time: 106 minutes
20th Century Fox

Our Score: 1.5 out of 5 stars

*deep breath*

The demigod Percy Jackson (Lerman), the son of Poseidon, is back once again. He continues his training at Camp Half-Blood with his friends, Grover Underwood (Jackson), a satyr, and Annabeth Chase (Daddario), the daughter of Athena. The problem this time arises from the boundary around the camp that protects them. The magic boundary that sprung years ago from the deceased body of Thalia Grace (Paloma Kwiatkowski), the daughter of Zeus, has been poisoned. Now the only chance to restore the boundary and keep Thalia’s spirit alive is the Golden Fleece. But Luke Castellan (Jake Abel), the son of Hermes, also wants the Fleece for his own motivations. He hopes to resurrect an ancient evil and once again attempt to bring destruction to Mount Olympus. Things are even more complicated when Percy discovers he has a half brother, Tyson (Douglas Smith), who is part cyclops and tags along for their journey into the Sea of Monsters.

*exhales*

If you’re a little confused, you may need to watch the first movie or take some Cliff notes with you. However, the Cliff notes are probably a lot more entertaining than this movie. I myself had never seen the first “Percy Jackson” until literally hours before the screening of “Sea of Monsters”. This movie is an improvement upon the first, but that might be because the movie is shorter. We’re once again treated to a barrage of computer animated creatures and uninteresting action sequences. We’re not invested enough to be concerned about a character’s well being. It doesn’t help that there isn’t even the slightest sense of peril. Even when our heroes are fighting from being swallowed whole by a whirlpool sized creature in the middle of the ocean, I found myself fighting a yawn.

It’s been six years since the last “Harry Potter” book and just two since the last movie, but Percy Jackson is still creeping in its shadow. The movie has plenty of similar ideas, but that’s not the problem. Everyone borrows from everyone. I get that. The problem arises when the movie uses quirks as a crutch instead of building up this fantastic new world around its inhabitants. The characters aren’t given room to breathe with an ADHD script and smothering CGI. Instead of character driven scenes and diving into the why’s and how’s of the story, the actors are expected to just “ooh” and “ahh” at the newest monster or helpful item given to them by the Gods. I don’t fault any of the actors. They’ve managed to work well with the hollow script they were handed. I fault the studio for selecting Thor Freudenthal, who directed the forgettable “Hotel for Dogs”, to helm this flick. I fault the studio for thinking Marc Guggenheim, the man who helped pen the disaster-piece “Green Lantern”, would be able to bring life into this series. This shows a huge lack of trust in the books original content and the hope that people will be filling the theater for eye candy and tongue-in-cheek one liners. From what a book fan told me at the screening, the movies even changed major plot points.

Greek mythology and literature in its own respect has lived for thousands of years and still captivates people like any good soap opera. “Sea of Monsters” is automatically forgettable and another abusive adaptation of a beloved book series. However, younger audiences who probably haven’t read the books will eat up this newest adventure. Someone in Hollywood needs to go on a search. Find a screenwriter that truly loves these novels and characters. Someone who can’t wait to get their hands on a copy of the latest “Percy Jackson” book. It wouldn’t even hurt to have a huge input by the book’s author, Rick Riordan. With millions of copies sold and a rabid fan base that’s willing to put up with another poorly adapted movie, I think he knows what he’s doing. Not to sound like the end to a PBS show, but I think it’s time for me to learn more by going to my local library.

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Theatre Review “Footloose: The Musical” Starlight Theatre – Kansas City, Missouri

Footloose: The Musical
Starlight Theatre
Kansas City, Missouri
August 5th, 2013

Our Score: 2 out of 5 stars

On a muggy night in the Heartland, it seemed fitting that the production of “Footloose” would be sweat inducing and, for female attendees, steamy. As the title song belted out and a company of extras began to dance to the iconic pop-rock beat of the 80’s, my ears perked up. I’m well versed and cultured enough to know about previous generations, but I’ve never seen the movie “Footloose,” nor had I ever a care to. In that moment of cutting loose and kicking off the Sunday shoes, I found myself interested. I was ready for this glimpse into the 80’s. My expectations jumped up to the par with everyone else that night as the cast showed off their best moves during the opening number. Boy did those hopes fizzle out.

Ren McCormack (Max Clayton) and his single mom, Ethel (Paula Leggett Chase), are heading from the city lights of Chicago to the humble countryside of Beaummont. A stereotypical middle-American small country town. The kind that is drenched from hillside to hillside in golden wheat and pristine corn fields. The residents are set in their ways and are already weary and gossiping about Ren and his mom the morning they arrive at church. Despite the police and other community leaders, Reverend Shaw Moore (George Dvorsky) is the overriding moral, spiritual and political leader of this town. Years ago, a tragic accident took the life of four teens, including Shaw Moore’s son. Since then, the Reverend has imposed a strict no-dancing law in the town. As absurd as this sounds, this has actually happened in the U.S. (the town of Elmore City, Oklahoma banned dancing for over 100 years and was Dean Pitchford’s inspiration for his script for “Footloose”). For the energetic Ren, who expresses his emotions through dance, this is a nightmare. He manages, though, with the help of classmate and friend, Willard Hewitt (Matthew Dorsey Moore) and the pastor’s daughter, Ariel (Taylor Louderman).

For a musical called “Footloose”, it really seems like the big dance numbers are kept to a minimum and dancing in general through the middle part of this story is stifled. It seems like the dance choreographer is playing the part of Reverend Moore during half these songs. If there were more songs like “On Any Sunday”, “Footloose” and “Let’s Hear it for the Boy”, this would have been a grand dance and song musical on par with other greats. That doesn’t mean the other songs aren’t good. When you have Kenny Loggins, Sammy Hagar and Jim Steinman sharing the writing credits, you can’t go wrong with some rockin’ songs and love soaked ballads.

The show has a problem settling on a main idea. On one hand it could be a time capsule of an aging era. On another it’s the story of young vs. adult and traditional vs. new. It also tries to be a sexy, hip look at the lives of teenagers in a small town. Some of those ideas will grab hold and really stick with a viewer. But as for me, I was a bit overwhelmed by all three together and underwhelmed by each on their own. My personal preference would have been a time capsule. Every generation has the conflict of “parents just don’t understand” and very few stories actually have a whiff of creativity when it comes to exaggerated teen comedy/dramas. If these two ideas took a seat back to fun dance numbers and this musical’s catchy 80’s music, “Footloose” would have been a memorable evening at Starlight.

As I stated with Starlight’s previous iconic 80’s musical “Flashdance”, I may have been created in the 80’s, but I’m a product of the 90’s. I haven’t seen the 1984 movie, nor its 2011 remake. Some of the older people in the audience seemed to really dig it, but this is not my cup of tea. I loved the music, the dancing (when it happened) and the creative set pieces by Robert A. Kovach. My view of the 80’s is that it was the last generation with a true rebellious nature. The music struck a nerve in an era of growing morality and Reaganomics. Genres like punk rock, grunge and some sultry pop icons like Madonna festered and spoke to a confused and rambunctious generation. I wasn’t hoping for that style of music or any blatant liberal ideology. I was simply hoping for it to touch upon these ideas in a sentimental manner and sometime comical fashion.

“Footloose” will be at the Starlight Theatre in Kansas City until August 11th.

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Theatre Review “The Little Mermaid: The Musical” Starlight Theater – Kansas City, MO

The Little Mermaid The Musical
Starlight Theater
Kansas City, Missouri
July 23, 2013

Our Score: 3.5 out of 5 stars

Any time you’re hoping to replicate the success of a Disney production, you’re going to be automatically met with how well you stack up against the original. Even with a hazy memory of how the story to “The Little Mermaid” went, I still had a fairly good idea what to expect and I’m glad to report that not only does this Broadway-style production stays true to the 1989 classic, it is a delight to watch.

For those readers whose memory may be equally fuzzy, let me catch you up to speed. Ariel (Jessica Grove) is a mermaid and also the youngest daughter of King Triton (Edward Watts). Much to his dismay, she constantly visits the ocean’s surface and dreams of not only walking on the shore but living on dry land with the other humans. It doesn’t help when she rescues and falls in love with a Prince Eric (Nick Adams). Anymore information and I will have ruined the first half for those of you who haven’t seen the 1989 film or read the children’s story by Hans Christian Andersen.

The show gets off to a slow start with a song written for the production, but kicks into gear with the song everyone should know, “Part of Your World”. Grove is definitely talented and easily hits the high notes in the song. In fact everyone in the show is well cast in their roles. Still there are some low moments. The film’s most popular song, “Under the Sea”, doesn’t feel as epic or magical as it should in my opinion. My memory may have been blurry but I distinctly remember that song. I will add, in the show’s defense, that I’m sure it’s hard to create a sea alive with song and dance on stage. You could say it’s a tad villainous, but Ursula (Liz McCartney) almost steals the show. Any time she’s on stage, her presence is definitely felt and McCartney really belts out the lyrics in grand style, especially during the songs “Daddy’s Little Angel” and “Poor Unfortunate Souls”.

Major props to the men and women behind the scenes of this production. To add to the effect that they’re underwater and swimming the cast is literally whisked into the air and across the stage. One man who certainly deserves a lot of credit is John MacInnis, who choreographed the show. One of the best instances of perfectly matched movements is during “Sweet Child” when the eels, Flotsam and Jetsam (Scott Leiendecker and Sean Patrick Doyle), move as one entity. Though “The Little Mermaid” lacks a lot of big dance numbers, one thing that really impressed me was watching the the actors constantly “swimming” in place, even when they don’t speak a single word during the scene. On the negative side, someone should send a note to the sound guy. Often times the music was much louder than the singing and I often saw parents covering their children’s ears because of how loud the volume was. I even found myself wincing at the volume a couple of times.

I haven’t seen the animated film in almost 20 years but I may have to after seeing this show. There may be a few things from the film that the production didn’t do justice, but I can guarantee there are plenty they triumphed on. The cast of “The Little Mermaid” should be proud they did the original justice while creating new memories for children of all ages.

This production runs at Starlight Theater until July 28th. For tickets visit www.kcstarlight.com

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Film Review “Only God Forgives”

Starring: Ryan Gosling, Kristin Scott Thomas, Vithaya Pansringarm
Directed By: Nicolas Winding Refn
Rated: R
Running Time: 1 hr 30 mins
Radius-TWC

Our Score: 1.5 out of 5 stars

I’ve enjoyed my fair share of hyper violent movies and art house flicks. I enjoyed Nicolas Winding Refn’s last effort “Drive,” which you could say is a combination of both. So I should have enjoyed this movie. I’m sure everyone else in the sold out theater I was at had some reason as to why they thought they would enjoy this movie as well. Every eye was glued to the screen as the lights dimmed and the film started up. Thirty minutes in, they were rubbing those tired eyes in frustration.

The film has three main characters. Julian (Ryan Gosling) is a conflicted American who’s respected by a ring of Hong Kong thugs. Beneath his quiet demeanor is something perverse. He likes to watch, and fantasizes about, women pleasuring themselves. When he needs to climax, he brutalizes a nearby bystander or visualizes something violent. It’s not really comforting to know that part of him realizes he’s a monster. Lt. Chang (Vithaya Pansringarm) is not conflicted. He’s set in his ways and believes in an “eye for an eye” style of justice. He allows citizens to take vengeance. He also manages to squeeze in life lessons through dismemberment. The final piece to this trinity is Julian’s mom, Crystal (Kristin Scott Thomas). Her words are like poison and repugnant to the ears. They are a blunt weapon used to sway and control Julian. Everyone’s moral compass is wrapped around Billy, Julian’s hated brother and Crystal’s favorite. Billy has been beaten to death because he savagely raped and killed a teenage prostitute. Crystal blames Billy’s death on Chang and does her best to encourage Julian to carry out her bloodlust.

None of these characters are likeable. None of them have motives behind their unforgiving nature. It’s obvious that Chang and Crystal are allegories because they’re so simplistic in their actions and motions. The only one that has some potential depth is the near mute Julian. Apparently Gosling’s motivation throughout this movie was to nod and occasionally get angry. If there is a story line it seems that it’s expected to be told through the film’s visual style and occasional character facial movements. Almost every scene is drenched in neon red and ocean blue lights. Some scenes are beautiful enough to speak for themselves while others feel incredibly forced. There are long moments of silence, occasionally broken by a fantastic soundtrack. Of course if you’ve seen “Drive”, you know this is one of Refn’s strengths. You will also know he has a taste for blood that, surprisingly, this movie seems short on. In its place Refn tries to make up for it by making us squirm and feel uncomfortable in our seats. You could say that might be one the film’s anti-charms. An elegantly polished movie that’s doing everything in its power to make us hate it.

This film will have an audience, albeit a very small, niche crowd. They will certainly hail it as brilliant and visually stunning. They may even stick their nose up to those who walk out or say it’s terrible. They’ll say those people didn’t understand its true meaning. Even if you peel away the layers and find the meaning, you’ll know that, though the cinematography was right, someone other than Refn needed to pen the story. This is the kind of movie that doesn’t want to be loved or adored. It spits at your kindness and is unapologetic. At least that’s how the man in the seat next to me must have felt. As the credits rolled he said aloud, “Well that was a piece of ****.” He then looked towards his friend next to him and said, “I’m sorry I brought you to this.” Like an untrained puppy, the movie does not expect forgiveness, it’s happy with the mess it made.

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Film Review “R.I.P.D”

Starring: Jeff Bridges, Ryan Reynolds and Kevin Bacon
Directed By: Robert Schwentke
Rated: PG-13
Running Time: 1 hour 36 mins
Universal Pictures

Our Score: 2 out of 5 stars

As you watch this movie (and I recommend you don’t) you’re going to make a lot of connections between “R.I.P.D.” and the sci-fi action/comedy and summer hit of 1997, “Men in Black”. “R.I.P.D.” is not a comedy. You will most likely not be leaving your seat with a smile on your face and discussing how much you enjoyed the movie with your friends. You may instead want a neuralyzer to erase your memory.

Nick Walker (Reynolds) is a hardworking man for the Boston Police Department with a loving, adorable wife and cute home nestled in suburbia. Recently he’s felt guilty about some gold he and his partner Bobby (Bacon) have recently acquired during a raid. Nick tells Bobby his worries, which leads to Bobby shooting Nick to death amidst the chaos of a meth bust. This is where we meet the world of the R.I.P.D.: the Rest In Peace Department. Because Nick had some questionable ethics on Earth, he’s told he can face judgment now and risk damnation or put in some time with the R.I.P.D. and redeem himself. At least that’s how his new boss, Mildred (Mary-Louise Parker) describes it. His job is to find people who’ve escaped the afterlife (called a dead-o) and now wander the streets of Earth as normal looking people but are grotesque, dead creatures underneath. Some of them are really disgusting to look at. She pairs him with Roy (Jeff Bridges), who speaks like he’s in the Wild West and has been doing this for well over 100 years.

I haven’t read the comic this movie is based off of, so I can’t really shame whoever ruined the script. It feels like a bunch of stolen ideas were jammed together. Kind of like the person who’s putting together a jigsaw puzzle and instead of finding the right pieces, constantly pounds wrong pieces together in frustration. That’s not to say the actors don’t try really, really hard. The script has some bad dialogue, but a huge dose of credit goes to Bridges and Reynolds. They aren’t given much, but they make it work, even when it’s painfully unfunny. Since Nick and Roy can’t be seen as themselves, when they walk on Earth they have avatars which provide some great visual gags. Roy’s avatar is a stunning, golden curvy goddess (Marisa Miller) while Nick’s avatar is a frail looking Asian man (James Hong). It’s quite humorous when people whistle and flirt with Roy’s avatar or when they see the elderly avatar of Nick dust himself off after being hit by a car. I also got a really good giggle out of seeing the delightful James Hong holding a banana (it’s actually a gun). Besides that, the humor depends on Roy saying a swear word or one of the walking dead farting and burping. Yes, you read that right. The script thinks bad CGI looking creatures can be funny as long as they fart or burp.

This movie is directed by Robert Schwentke, who also worked on “RED” and definitely has a knack for slapping together some over the top and fun action scenes. The best parts of the movie come when they’re trying to capture a dead-o, but those scenes don’t last long enough and we’re back to seeing a couple more poorly done cues from “Men in Black”. The one thing this movie can be proud of is trumping “The Lone Ranger” as the biggest waste of potential this summer.

I could nitpick the finer details of this movie, like why the dead hate cumin or how a soul could even escape judgment once it’s dead, but you have to suspend some logic in a movie like this. If you’re willing to do that for every minute, you might find yourself enjoying the movie like some people at the screening were. By the time the credits started rolling, I’ll admit I found myself laughing a couple of times and enjoying Roy trying to lasso a dead-o. I just wish they could have let the comic’s short lived time from 1999-2000 rest in peace. But instead they slapped it awake and handed it a check for $130 million. Instead of breathing some life into it and letting it stand on its own feet without the crutch of other people’s ideas, they suited it up and sent off to the theaters for its own funeral.

Author: Jeremy Werner

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