Film Review “Demolition”

Starring: Jake Gyllenhaal, Naomi Watts and Chris Cooper
Directed By: Jean-Marc Vallee
Rated: R
Running Time: 100 mins
Fox Searchlight Pictures
Our Score: 4 out of 5 stars

Falling in love with a Jake Gyllenhaal character is proving to be deadly. Last year his wife in Southpaw died, then there’s the ill-fated passenger aboard a train in Source Code and now we have Demolition. Gyllenhaal plays Davis,
whose main squeeze, Julia (Heather Lind), dies right off the bat in Demolition. A fatal car crash takes her young life, sparing Davis. The incident is a blur, which is a testament to how Davis has lived his life up until this point.

There’s a very telling scene at the hospital immediately after the accident, as Davis is awoken from a nap by Julia’s father, Phil (Cooper). Phil’s eyes are bloodshot from crying while Davis’ eyes simply have the remnants of sleep in them. If anything, Phil is more distraught over losing out on a pocket change from the hospital vending machine. But oddly enough he finds comfort when he begins to pen handwritten letters to the vending machine company that cheated  him out of some much needed candy.

His letters detail his adult life descent into apathy towards everything and everyone around him. He casually details his decomposition of his most simplistic of human emotions. Meanwhile, in robotic fashion, Davis watches and skirts around other people mourning the death of Julia. Verbally, he says the right things, but physically, his reactions are lethargic to the whole grieving process. The numbness he feels is the lack of love he had for his wife. He can’t even remember why he even married her in the first place.

Demolition casually, and sometimes very abruptly, takes some very surreal turns to show Davis’ unraveling. The death of his wife turns out to be a rebirth of sorts. Davis reflects on everything he’s done and soon his natural curiosity for life takes over. He socializes with people he would have normally disregarded and dismantles things around him, wondering how they work or simply, what’s on the inside of them.

At times Demolition plays like a fever dream, matching its heavy material with a heavy rock drumming on the soundtrack. The overpowering and sorrowful guitar soundtrack and music video-like sequences are cliché at times. Much like taking replacing a lightbulb with a sledgehammer, Demolition can be a little bit too blunt with its overall meaning about deconstructing life and rebuilding it. But it never takes away from its tragic message about how sometimes our lives are stuck on auto-pilot.

Every performance is spot on, especially Gyllenhaal who is still in a never ending quest for an Oscar, or at the very least, another nomination. Naomi Watts in turn provides a subtle innocence to an emotionally battled mom, Karen, struggling with her feelings over Davis. It’s odd that their sweet, yet non-physical, relationship stems from exchanging messages over a broken hospital vending machine, but their acting and their on-screen magic makes it believable. Judah Lewis plays Karen’s adolescent son, who ends up propelling Gyllenhaal’s character forward while providing his own character study on Chris, a boy struggling to come to terms with who he is.

Demolition is poignant, yet emotionally rejuvenating. It’s a visually entertaining story, with an at-times confusing narrative. It may take a couple of viewings to fully comprehend it’s multi-level message about society, the people in it, and the tendencies that those people have to become emotionally distant from everything. Nearly everyone in Demolition go through some complex changes, especially Davis, and it’s interesting to watch that growth, whether the changes be big or small.

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Film Review “My Big Fat Greek Wedding 2”

Starring: Nia Vardalos, John Corbett and Michael Constantine
Directed by: Kirk Jones
Rated: PG 13
Running time: 1 hr 34 mins
Universal

Our Score: 3 out of 5 stars

In 2002, “My Big Fat Greek Wedding” came out of nowhere to become one of the most successful, and beloved, romantic comedies of this young century. The film told the story of Toula Portokalos (Vardalos) and her search for love. The film ended with her marrying the very handsome Ian (Corbett) and living happily ever after in the house next door to her parents. 14 years later she’s still there.

If I had to sum up this film in one word it would be “familiar.” With most of the same cast doing a lot of the same things, the film depends a lot on the fact that you have seen the original. If not you won’t understand family patriarch Gus’ penchant for using Windex for everything, or why the hilarious Andrea Martin as Aunt Voula is the film’s comedic highlight. The story, in a nutshell: Toula and Ian have a teenage daughter. Her name is Paris (Elena Kampouris) and like other kids her age she’s looking for someone to go to prom with. School is hard because Ian is the principal. Toula continues to help out at the family restaurant, run by her parents. While Gus appears to be in charge, it is his wife, Maria (Lainie Kazan) that runs things. Proud of his Greek heritage, Gus is convinced that he is a direct descendent of Alexander the Great. In researching his family tree he finds his wedding certificate and notices that the priest that performed the service didn’t sign it. Does this mean he and Maria are not married? I sense a wedding in their future. Perhaps a big, fat Greek one.

If the film has anything going for it it’s the cast. As I said, many of the cast are from the first film and your familiarity with them is a plus. As a big fan of both Lainie Kazan and Michael Constantine, I enjoyed most of the film. As a couple they are perfectly matched, and even when they are fighting it’s easy to see the love. And the film is filled with everything Greek. From John Stamos, who is wasted in a cameo as the local weatherman married to Rita Wilson (who in real life is a full seven-years older than Stamos). The film also features a nice montage with the Billy Idol song “White Wedding” blasting out on a Greek bouzouki! Opa!

 

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Film Review “Batman v Superman: Dawn of Justice”

Starring: Ben Affleck, Henry Cavilll and Amy Adams
Directed By: Zack Snyder
Rated: PG-13
Running Time: 153 Minutes
Warner Bros. Pictures

Our Score: 2.5 out of 5 Stars

Over the past decade, Marvel has slowly built one of the most highly anticipated cinematic franchises, with each installment garnishing rave reviews and even more acclaim from fans. Through 12 movies, the Marvel Cinematic Universe has meticulously and carefully put all the pieces together, to where millions will turn out this summer and understand nearly every second of “Captain America: Civil War”. Marvel has taken a lot of time and patience to get that point. Warner Bros. and DC apparently don’t have time for that.

Set 18 months after the events of “Man of Steel”, “Batman V. Superman: Dawn of Justice” obviously introduces us to Bruce Wayne (Affleck). His backstory is ubiquitous, so we gloss over his tragic past in a quick sequence of shots and voice over narration on the opening credits. But the draw is when we watch the fight between Superman (Cavill) and General Zod (Michael Shannon) from the end of “Man of Steel”. While people flee from the chaos, Bruce runs into the clouds of debris and crumbling buildings, highlighting why he’s a superhero, even when he’s not the Dark Knight.

The scene is captivating and eerily reminiscent of 9/11, and that’s what it’s supposed to tell us about Batman’s mind set. It also seems to acknowledge many fan concerns from “Man of Steel” about the loss of life during the Superman/Zod beatdown. There’s a lot less careless disregard for civilians in “Batman V. Superman”, but that’s because much of the movie is spent building up to the fight between Batman and Superman. But that’s because it’s what people want to see, obviously. So does the build-up make sense? Kind of. Does it pay off? Sort of.

Since DC is playing catch-up, I believe it’s fair to compare “Batman V. Superman” to the “Avengers”. While Marvel clearly has room to breathe and enjoy what is has, DC appears breathless as it rushes through characters, plots, and ideas. While I did say that Batman’s origins are omnipresent, where Batman is at in his his life is a bit of a mystery. He’s in his 40’s and seemingly has a lot more downtime than previous incantations of Bruce Wayne. But rarely do we truly understand his distrust of Superman, more than we’re just supposed to go along with it. He also seems to have some skeletons in the closet we’re not being told about.

Then there’s the iconic Lex Luthor (Jesse Eisenberg). When he arrives on scene, it’s clear he’s a billionaire playboy, but there are implications that he may just be a sociopath that inherited his father’s money. It’s uncertain whether he’s a genius or someone who’s trying to make too many bizarre religious connections to Superman. His infatuation with Superman, and to some extent Batman, is also never really explained. It’s merely implied that he has some extreme personality disorders.

Because so much of the plot is rushed and skipped over, we’re left having to digest CGI spectacles, and badly worded metaphors uttered by Alfred Pennyworth, Batman’s butler (Jeremy Irons) or Lois Lane, Superman’s squeeze (Adams). There’s too much information, but also too much time spent on inconsequential scenes, like Batman’s bizarre nightmare and Superman’s heart-to-heart on a random snowy mountain with his dead Earth father. “Batman V. Superman” doesn’t feel like a stand-alone movie, more than it just feels like a really long and unnecessary teaser for a “Justice League” movie.

If that’s the case, then the “Justice League” movie better be fantastic because we’ve really had to go through a lot of trouble to get one. That’s not to say “Batman V. Superman” isn’t a decent movie with some good ideas. The casting of Affleck, as well as his performance, is enough to forgive him for “Daredevil”. His portrayal of an aging Batman, focused on his legacy, could create some interesting plot points for later DC films, if they do it right. We also get more of Superman, carried over from “Man of Steel”, as a conflicted man dealing with his powers and who he should be for the people of Earth. While some people don’t like that Superman, I find that Superman more interesting and relatable.

Then of course, there’s Wonder Woman (Gal Gadot), whose appearance was ruined by the theatrical trailers, which is really a shame because her appearance at the end isn’t a complete surprise. Despite that, the attending audience still went nuts as she hacked a few limbs off Doomsday; another character spoiled by the trailer. I do hope that Zack Snyder doesn’t use “Wonder Woman” much like he used the ladies of “Sucker Punch” or we’ll be in for more masturbatory nerd fan service with a really exciting character that’s more than just simple eye candy.

It’s hard to predict where “Batman V. Superman” will fall in the inevitable grand scheme of things. Looking in the crystal ball, there are some interesting directors and writers attached to future DC projects, such as Patty Jenkins, the director of “Monster” and James Wan director of “The Conjuring”. While Jenkins gets to handle the origins of Wonder Woman and Wan gets the handle the origins of Aquaman, it looks like Snyder will still be the man at the helm when it comes to the “Justice League” movie. If “Batman V. Superman” and “Man of Steel” are any sign, DC might want to find someone else, and fast.

 

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Film Review “The Divergent Series: Allegiant”

Starring: Shailene Woodley, Theo James and Jeff Daniels
Directed By: Robert Schwentke
Rated: PG-13
Running Time: 121 minutes
Lionsgate

Our Score: 1 out of 5 Stars

“The Divergent Series” has apparently been hitting the snooze alarm for the past six hours because there’s nothing new to report on this third nauseatingly bad movie. It also appears that Lionsgate loves burning through all that money it made from “The Hunger Games”, one of the few successful young adult dystopian future storylines. “Allegiant” does nothing new as it simply shuffles around different set pieces, and rehashes the same, poorly constructed arguments for individuality.

It doesn’t take long after the death of Jeanine (Kate Winslet, but she was sparred a brief cameo or stock footage in this, for her potential replacements to rise to the occasion and attempt their own cou d’état to take over the crumbling city of Chicago. Caught in the middle, once again, is Tris (Woodley) and Four (James). They’re ready to follow the advice of the anonymous talking head from the end of “Insurgent” and go outside the walls surrounding the city. But Four’s mother, Evelyn (Naomi Watts) seems more focused on keeping everyone inside, sealing up the walls even further. She also seems enamored with publicly executing members of the old regime, rather than restructuring society.

Johanna (Octavia Spencer) is ready to declare Chicago her pet project as well, believing that peace can be achieved through forgiveness of members of the old regime. Of course she also has some firepower and disposable goons with weapons of her own to take on Evelyn. While the two women bicker over nothing (literally), Tris, Four, and others escape from Chicago. They begin to explore the world outside the walls, which looks like the remnants of a trailer park after a tornado, on Mars. Nuclear fallout is weird like that I guess. Of course, Tris and Four encounter the civilization outside their own civilization. And of course, there are no good guys there, just more big bad guys with nefarious deeds.

“Allegiant” has beaten me down. I no longer want to look for positives or find any positives to talk about. There are some, but it’d be futile consider it’s like attempting to compliment a corpse. I’m now even considering taking back positive things I’ve said about Shailene Woodley, Miles Teller, and other up-and-coming actors. I can at least forgive veteran actors, Octavia Spencer, Jeff Daniels, and Naomi Watts, because I can see that, “Did my check clear yet,” look in their eyes throughout.

Tris no longer seems like a heroine, but instead a hollow pawn inconsequently bumping into people, things, and plot devices. Then there’s Four, who seems like he’s a 30 pack away from giving Tris a black eye as he attempts to control and grab every person he comes in contact with. Miles Teller is in this movie. Mainly as a character that spouts off Kindergarten insults and sarcastic humor, but no one told him the script and serious line reading in this movie is already comedy relief enough.

What’s worse than everything I’ve said so far is that the movie has yet to stop with exposition. “Allegiant” is way more fascinated with introducing than it is concluding. The world outside Chicago needs explanation. The gadgets in this new world need detail and unnecessary character montage tutorials. The only thing lacking description is the key element to making this a somewhat worthwhile movie, the plot.

In the grand scheme of things, learning how to operate a new piece of military hardware should be much lower on the clarification totem pole. Especially when the new world we’re supposed to be learning about involves mass brainwashing, child abductions, and the crafting of a genetically pure human being. With two hours left in the franchise, I’m wondering if we’re going to have a logical conclusion to this cluttered mess or if it’ll be content with hitting the snooze button a few more time. It’s a safe bet for all of this to inevitably be trite.

I’m sure the fans of the books/movies will gobble it up and the people who watched the first movie and have already checked , will most likely be saving their money for “Batman V. Superman” next week. My apathy in this review matches my feelings towards this series. Both of the groups of people I just told you about will most likely not read this because they’ve already made up their mind. So let me talk to the few of you who have never seen these movies and may be interested in possibly starting this series. Don’t. Just don’t.

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Film Review “10 Cloverfield Lane”

Starring: John Goodman, Mary Elizabeth Winstead and John Gallagher, Jr.
Directed by: Dan Trachtenberg
Rated: PG 13
Running time: 1 hr 43 mins
Paramount

Our Score: 3.5 out of 5 stars

It’s happened to all of us.

You have a fight with your significant other, grab a bottle of the good stuff and drive off into the night, unsure of where you’re going. Next thing you know, you’re waking up in a small room chained to your bed. OK, it probably hasn’t happened to a lot of people but it does happen to Michelle (Winstead). Thus begins “10 Cloverfield Lane.”

Less a “member” of the “Cloverfield” family than a straight sequel, “10 Cloverfield Lane” is a tight little film featuring three very strong performances. After some confused moments, Michelle meets Howard (Goodman), who informs her that he pulled her from an auto accident and brought her to his home. Home happens to be an underground bunker, which conspiracy theorist Howard built and filled some time ago with the help of the other person in the bunker, Emmett (Gallagher) a drifter who found work with Howard. Unsure of Howard’s intentions, Michelle tells him that her boyfriend is probably looking for her. “No one is looking for you,” Howard replies. He then goes on to explain that “something” has happened in the world. He suspects an attack, though he can’t be sure if it was the Russians or the Martians. He has plenty of ideas on how to defeat both.

What is intriguing about the story here is that we are never sure what the truth is really. Was there an attack? Is Howard just a nice guy with some weird rules (the table in the kitchen is an heirloom, so coasters and placemats will be used at all times) or is he a kidnapper and, possibly, a murderer? You never really know. Goodman is so reliable in supporting work that you sometimes forget what a fine actor he is. Here he gives a full and fleshed out performance and you can’t help but feel sorry about his station in life. Winstead and Gallagher also have some chemistry, though more friendly than romantic.

A word to the wise; if you go into this film looking for the monsters from J.J. Abrams film “Cloverfield” you may be disappointed. However, if you are in the mood for a small and satisfying thriller, then brave the bunker at “10 Cloverfield Lane.”

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Film Review “American Bred”

Starring: Andy Martinez, Jr., Eva Tamargo and Michael Lerner
Directed by: Justin Chambers
Not Rated
Running time: 1 hr 49 mins
Crevice Entertainment

Our Score: 4.5 out of 5 stars

I was recently given an advance look at filmmaker Justin Chamber’s latest film, “American Bred,” which is premiering this Saturday at the D.C. Independent Film Festival.  I greatly enjoyed Chamber’s first feature, 2012’s “Broken Roads,” and am pleased to report that his latest film is an outstanding sophomore achievement. In the city of Detroit, if you need something, you speak to Francis Adamo (Lerner). Together with his wife, Catalina (Tamargo), he has made a life that many envy. The Adamo’s love America. And may God have mercy on those that would try to disparage that love.

A smartly made film that compares in style with “The Departed,” “American Bred” is a classic mob movie with a modern twist. The film is a study in trust – as in who you can and can’t. Loyalty and deception are the calling cards here when an order is given but not carried out and the question “who can you trust” overshadows everything.

The film is smartly written with complex but identifiable characters and smart, believable dialogue. In fact, Chambers screenplay won 1st Place in 2014 in The Writers Place Screenplay Competition. Besides a strong script, Chambers has cast some amazing actors, including Ms. Tamargo and Mr. Lerner. I’ve been a fan of Michael Lerner’s ever since he played Jack Ruby in a television film almost 40 years ago. In films like “Eight Men Out,” “Harlem Nights” and “Barton Fink,” for which he earned an Academy Award nomination, his presence on screen is always powerful. The film works technically as well. The direction is tight and the story moves smoothly, powered by an outstanding musical score by Ian Hughes.

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Film Review “Whiskey Tango Foxtrot”

Starring: Tina Fey, Margot Robbie and Martin Freeman
Directed by: Glenn Ficarra and John Requa
Rated: R
Running time: 1 hr 52 mins
Paramount
Our Score: 4 out of 5 (stars!)

It’s 2006 and we meet hard-driving Kim Baker (Fey) in the middle of an assignment as a news reporter imbedded in Afghanistan with a Marine regiment. Things are typically hectic, though Baker’s story isn’t.

Flashback to 2003 where we discover Kim Baker in a dead-end job as a news writer for television. As the war in Iraq has intensified, the station is looking for ANYONE that will volunteer to cover the “forgotten war” in Afghanistan. The only requirements are that you can’t be married or have kids. Taking this as a sign, Kim volunteers and soon finds herself in Kabul, where her bright orange backpack helps her stick out like a sore toe. She make the acquaintance of a fellow female journalist, the beautiful Tanya Vanderpole (Robbie). Tanya tries to cheer Kim up by pointing out that she is “Kabul cute,” meaning where she might be judged as a 6 back in the states she is a solid 8.5 or even a 9 overseas. Good news indeed.

Well-made and much more serious than it’s being marketed, “Whiskey Tango Foxtrot” gives Tina Fey to flex some acting chops you may not know she possessed. She does have a few good one-liners, but the story keeps her character grounded in the middle of war and the carnage it continually provides. In between assignments Kim stays at a boarding house where unwinding after being involved in a firefight begins with alcohol and ends…well, sometimes it never ends. The film gives an inside look at the various cultural differences that many here in the states may only have heard hints of. Even the local women scold Kim harshly for the slightest offense. However, this new influx of excitement in her life keep her going.

The film is well cast, with each actor playing well off of the others. As a Scottish journalist interested in Kim, Freeman is well meaning and sympathetic. As the Marine general whose unit Kim follows, Billy Bob Thornton is strong and unflinching. And very thin. Someone buy this man a sandwich. Alfred Molina gets the majority of the humorous lines as an Afghani politician slowly working his way up the power ladder. The battle scenes are well staged and, again, the horrors of war may not be what audiences are expecting so be warned. War is still hell.

 

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Film Review “Zootopia”

Starring the Voices of: Ginnifer Goodwin, Jason Bateman and Idris Elba
Directed By: Bryan Howard, Rich Moore and Jared Bush
Rated: PG
Running Time: 108 minutes
Walt Disney Studios Motion Pictures

Our Score: 4.5 out of 5 Stars

I doubt that Disney had plans to release “Zootopia” in the thick of the 2016 election season. I’m sure they also couldn’t predict the uneasy distrust and fear of culturally different people that’s currently permeating throughout our society. “Zootopia”, obviously by coincidence, has a beautiful message about not judging books by a cover, petty bullying to get one’s way, and stereotyping. It also discusses that no matter how far we think we’ve come and all the things we claim to know, a lot of us, including the best of us, are sometimes still primitive with our feelings and attitudes.

The anthropomorphic animals in “Zootopia” seemingly live in harmony. Every animal is broken down into prey or predator, but cheetahs and other carnivores live peacefully alongside giraffes and other herbivores (which makes you wonder what’s on the dinner plates of all these meat-eaters). It seems like the world’s focal point is a massive city known as Zootopia, which itself is divided in different climates to suit the creatures living there.

The movie itself starts out in the vast lands and countryside surrounding Zootopia. In Bunnyburrow, we meet Judy Hopps (Goodwin), a hopeful bunny that hammers in another theme of the movie, never give up on your dreams. Despite her size, and the stigmas surrounding her breed, she wants to become a cop in Zootopia. Despite her childhood trauma involving a boy fox who claws her, and everyone telling her to give up on her aspirations (even her parents), she does join the law enforcement after enduring a tense trial and error process.

Once she arrives to Zootopia, she doesn’t get any respect from her superiors or co-workers and is relegated to meter maid duty. The insults by angry motorists clutching their tickets and being relegated to menial tasks don’t ever kill her chipper demeanor. But a mocking career con-man fox, Nick Wilde (Bateman), who enters the picture, certainly changes her optimistic outlook into a much sourer one. So when 14 animals go missing from Zootopia and she’s tasked with finding one of the animals, an otter, she tries to make the most of it, and even finds out that Nick may know where the otter went.

In a world where studios continue to franchise building, Disney may have crafted one of the most deep, rich, and visually thrilling worlds. “Zootopia” could easily have a couple of sequels, its own TV show, and spin-offs because of how well planned out and distinct everything is. Everything, from the mice scurrying about in their own community, to sloths operating the DMV, and polar bears as mafia boss underlings, feels so well thought out, organized, and fluid. Lesser writers, directors, and studios, would have fumbled everything or not even tried something this enterprising.

“Zootopia” is populated with more rich visual sight gags than it does animals. Some of the jokes require you to keep your eyes on the screen, your ears fixed on dialogue, and a decent understanding of American pop-culture (think contemporary top 40 music, AMC award-winning TV shows and AFI’s third greatest movie of all time). There are an even proportion of jokes for kids and adults and for kids with a mature side and adults who never grew up. Even those who don’t warm up to Judy’s vivacious personality and Goodwin’s bubbly line delivery will still admit this is the cutest movie of the year.

There’s a lot to unpack with “Zootopia”, because it fires on all cylinders. The voice acting is spot-on, the visuals are crisp and engaging, and the three directors, two scriptwriters, and seven story writers never lost sight of what they wanted to do. They came together and layered every little bit instead of crowding our senses with it. A week after the 88th Academy Awards, we’re already looking at next year’s contender for Best Animated Feature.

 

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Film Review “Gods of Egypt”

Starring: Nikolaj Coster-Waldau, Brenton Thwaites and Chadwick Boseman
Directed By: Alex Proyas
Rated: PG-13
Running Time: 127 minutes
Lionsgate
Our Score: 2.5 out of 5 Stars

The short voice over and quick crash course lesson in Gods, mortals, and other random nonsense populating “Gods of Egypt” in the first five minutes were definite signs for concerns. My worries about choosing the wrong movie to screen for the week began to come to fruition as I furrowed my brow at Set (Gerard Butler) spouting outrage over soap opera drama at Osiris (Bryan Brown) and being denied his inherent birthright by Ra (Geoffrey Rush) while Osiris’ son, Horus (Coster-Waldau) watches in shocking horror. Despite the visual theatrics, I immediately thought, “What the hell is happening?”

“Gods of Egypt” takes a while to settle into its own mythos, which is rubbish. There is a cause for concern about CGI heavy films in an ancient setting ever since the 2010 remake of “Clash of the Titans”. While “Clash of the Titans” used computer animation as a crutch for a lack of plot and acting, “Gods of Egypt” manages to blend the sword-and-sandal concept with child-like wonder through the CGI. It also helps that it never takes itself too seriously, allowing for small moments of seriousness to squeeze into the visual thrills and action set pieces.

I don’t mean to leave you hanging on what the hell this movie is about, because I assure you that it does pick-up after its bumbling beginning. Horus has his powers, which are his eyes, removed by his uncle, Set. Egypt goes from a civilization of peace to one dominated by war and slavery. The human, Bek (Thwaites), through the persuasion of his love in life, Zaya (Courtney Eaton), manages to steal one of Horus’ eyeballs and return it to the drunk and exiled God.

From that point on, Bek and Horus team up to get vengeance and restore some level of sanity (which seems like a useless word in a movie like this) to Egypt. There are more characters that show up and join Bek and Horus, but their introductions seem more natural because we’re not being bombarded with dozens of other characters all at once. Once “Gods of Egypt” has established the rules of its world, we’re able to follow along, relax, and enjoy the movie for what it is, dumb, shameful fun.

I feel a little guilty for liking this movie. Maybe that’s because it feels like such contemptible cash-in on the part of Lionsgate, even though they’re more than likely burning their earnings from “The Hunger Games” franchise on this one. Part of me doesn’t feel guilty though. The movies in the past that are very much like this, “Prince of Persia” and “Clash of the Titans” were actually attempting to cash-in on a different platform’s success or degrading it’s source material. “Gods of Egypt” is an original work and such ambition, even when it’s not necessarily very good, should be viewed in a different light as opposed to audacious remakes and reboots.

There is some Hollywood whitewashing and it does come at an inappropriate time, with the Oscars happening in the same weekend. Although, having Gerard Butler with a tan play an Egyptian God doesn’t feel as visually gross as Joel Edgerton plays Ramses II. That doesn’t excuse “Gods of Egypt” from lack of ethics, but like I said earlier, it’s shameful fun. The highest praise I can give “Gods of Egypt” is that it’s a decent waste of two hours, but I wouldn’t recommend you drop a single buck on this one.

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Film Review “Triple 9”

Starring: Casey Affleck, Chiwetel Ejiofor and Woody Harrelson
Directed by: John Hillcoat
Rated: R
Running time: 1 hr 55 mins
Open Road Films
Our Score: 4 out of 5 (stars!)

A group of men rush into a local bank. Brandishing weapons they wordlessly force the manager into the vault. Soon they have what they came for and run out. A few hours later they change clothes, put on their badges and go to work.

A well-crafted thriller, “Triple 9” is a game of one-upmanship between a group of dirty cops and the wife of an imprisoned gangster. It seems that one of the gang had a child with the wife’s sister and now she is holding their son hostage until she gets what she wants. What she wants is achievable but to buy the time necessary they need to have a “Triple 9” – a police call that signifies that an officer has been shot. Who will be the unlucky boy in blue?

Sharply written and featuring an amazing cast, “Triple 9” is an early spring present for movie goers. As the leader of the baddies, Ejiofor is strong. Hot when he needs to be, but always cool, it is easy to see why the men follow him. Anthony Mackie, Norman Reedus and Aaron Paul are among the bad apples, and the rapport they share on screen is strong. Harrelson is a veteran detective who is helping mentor his nephew (Affleck), the new guy on the block and the cop with a bullseye on his back.

The action set-pieces are well performed and director Hillcoat keeps the film moving from the first frame to the last. The film’s tone is set and runs on the original music and songs created by a very talented quartet of young men. The music is often able to further the plot in a way that simple dialogue cannot. Who is bad and who is good? Instead of hitting you over the head, “Triple 9” lets you decide on your own.

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Film Review “Eddie The Eagle”

Starring: Taron Egerton, Hugh Jackman and Christopher Walken
Directed by: Dexter Fletcher
Rated: PG 13
Running time: 1 hr 45 mins
20th Century Fox
Our Score: 3.5 out of 5

If anyone ever took the slogan “Follow Your Dreams” to heart, it was England’s Eddie Edwards. Even though he grew up with braces on his legs, the young man knew, even as a boy, that he was destined for the Olympics. Too bad nobody let destiny in on the secret.

An enjoyable film, more in the tradition of “Cool Runnings” than “Remember the Titans,” “Eddie the Eagle” follows young Eddie (Egerton) as he tries, repeatedly, to find a sport he can represent his home country of England in the Olympics. His mother (Jo Hartley) does her best to encourage him, even giving him a biscuit tin to “hold all of your medals.” Unfortunately the only thing Eddie is able to collect is a growing number of broken eye glasses. Finally, he discovers ski-walking and is soon excelling in it. However, his odd personality and life class are used to keep him off of England’s Olympic Team. Heartbroken, he stumbles upon a sport where England hasn’t competed in almost 50 years – ski-jumping. If he can handle the landings he just may have his wish granted.

Hollywood loves promoting the stories of the underdog. Ironically, the Jamaican Bobsled Team that was the basis of the film “Cool Runnings” also competed, alongside Edwards, in the 1988 Olympics. Even though the outcome of these films is already known, a good movie will hold your attention. This one does almost in spite of itself. Egerton is fine as Edwards, and he bears a strong resemblance to the awkward young athlete. Supporting Egerton is Hugh Jackman, who plays a former ski-jumper named Bronson Peary now working at the international training facility in Germany. Jackman has always had a way of lighting up a screen when he shows up and he doesn’t disappoint here. What takes you out of the story is how, with the exception of the Finnish team, nobody else apparently needs to train for the games. Eddie pretty much just walks into the facility and begins throwing himself off of 40 meter jumps – nobody stops him. Because nobody is there. Just Eddie, Bronson, the chick who owns the bar and the Finnish team.

That being said, the production values are pretty good, especially the point-of-view shots coming down the ski jumps. “Eddie the Eagle” doesn’t soar as high as it could have, but at least it doesn’t crash.

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Filed Under: Film Reviews Tagged With: eagle, eddie, film, review

Director Jon Cassar Talks About His New Film, “Forsaken” and the Possible Return of “24”

You may know the name Jon Cassar from his Emmy Award winning association with the popular television series, “24.” But when he’s not putting Jack Bauer through his paces, he’s taking the reigns of one of the best Westerns of the past decade.

“Forsaken,” which Mr. Cassar directed, boasts a strong script and an even stronger cast, including Donald and Keifer Sutherland, who star as father and son. Mr. Cassar took some time out to talk to me about “Forsaken,” the return of the Kennedys and what may be next for “24.”

MIKE SMITH: What attracted you to “Forsaken?”
JON CASSAR: Actually I was there when the project was born. A few of us were sitting around on the set of “24” talking, waiting to set up a shot when we started asking each other, ‘what would be a great thing to do once “24” ends?’ Eventually we all decided, ‘let’s do a Western together.’ So that’s really where it started. Once we decided on that Keifer came along. He wanted to do a film with his father so everything just worked. I’m happy to say that I was there at the inception. We got a brilliant writer (Brad Mirman) who not only wrote us a classic Western but also a touching father/son story. So by then I had Keifer, I had a great script and THEN I get Donald Sutherland? There’s no way I wasn’t going to be involved!

MS: Any trepidations about taking on a Western? They seem to be so hit and miss these days.
JC: Yeah, of course. I mean you do worry about it. I mean at one point it was the most popular film genre’. The most popular television genre’ also. I mean, it’s amazing how many popular television shows were Westerns. But it did, of course, begin to fall out of favor, all though it is making a little bitty comeback over the past few months. But you’re right. But I knew I had a great Western story. And I knew I had a great father/son story that people could connect with. I knew that relationship was really the heart of it and if we did it right I knew if would connect. And it’s fun doing something that isn’t a true CGI film. It’s fun doing something where the effects are more simple.

MS: What was it like as an observer to watch Keifer and his father work together?
JC: It was great. I’m very fortunate to have had a front row seat to watch Keifer and Donald working together. From the first time it was fantastic. They are both veteran actors and, in my opinion, two of the best actors of our time. To watch them work together was a pleasure. As it was watching all of the actors. Demi Moore. Brian Cox. Michael Wincott. They are all so experienced. I was very lucky to have a front row seat and watch them work.

MS: Keifer. Michael Wincott. Greg Ellis. You used quite a few of your “24” company in the film. Was that because you already had a good familiarity with them and their work?
JC: Absolutely. First of all, you have to know that all of the actors in the film were basically my friends. I didn’t have a studio dictating who was going to play what part. We actually got to pick who we liked. A lot of them were Keifer’s friends. And of course, by having done “24,” they knew me so it made the connection easier for sure.

MS; The recent return of “24” was very successful. I’ve heard rumors that Fox is considering re-booting the show. Is that something you plan to be involved with?
JC: Nothing is official yet. I am involved and we have talked. I can say that if it goes forward I won’t be involved in the pilot but I do hope to be involved in the series. However, at this point I’m not.

MS: What else are you working on now?
JC: A few years ago I did a mini-series called “The Kennedys,” which was an eight-part mini-series that starred Greg Kinnear as JFK and Katie Holmes as Jackie. We’re doing a sequel to that, called “After Camelot,” based on a book. It will deal with what happened to the Kennedys after John and Robert died. It’s mostly the Jackie story and it follow her during her marriage to Onassis as well as John Jr. and Ted Kennedy. It will encompass all of that history. We shoot that soon in Toronto. It will run on the Reelz Channel. It’s actually a fun project for me to do because we’re re-creating all of the history that we all grew up with.

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Filed Under: Film Interviews, Interviews Tagged With: 24, cassar, director, film, foresaken, jon, ...

Chantel Riley Talks About Broadway’s “The Lion King” and Her Role in the New Film “Race”

Born in Toronto, Chantel Riley’s path to stardom began when she realized she wasn’t doing what she truly wanted in her life. She is now. Since 2012 she has starred as Nala in the Broadway musical “The Lion King” and last year was able to take time off from the show to begin her movie career with a pivotal role in the new Jesse Owens bio-film RACE.

During a break in her busy schedule, Ms. Riley took the time to speak with me about the physicality of “The Lion King,” her role in RACE and why one day she hopes to be able to “ease on down the road!”

MIKE SMITH: Tell us a little bit about your background? How did you end up on Broadway?
CHANTEL RILEY: I’m originally from Toronto and I went to University in Toronto. After school I pretty much got a 9-5 job but after about a year and a half I realized it definitely wasn’t my thing. (laughs) Because I was a performer. I had taken dance lessons and I had grown up singing in my church. I just had an idea that something else was out there for me. I had no idea what it was but I knew I needed a change. A friend of mine told me about an open casting call they were having in Toronto for “The Lion King.” I had never auditioned for anything before in my life. This was my first time doing anything like this. So I went to the audition and got a few callbacks, which was very exciting. I had a couple well extended lunch breaks…I kept having to go downtown for these callbacks. A couple months later I got a call from my agent and they wanted me to audition to be part of the cast of “The Lion King” in Germany. So I flew to Germany, did the audition and booked the job on the spot. I did the show there for about a year and then I auditioned again for Julie Taymor, who directed “The Lion King” on Broadway, and was offered the role of Nala in New York on the Broadway stage. And here I am!

MS: So basically you’re just like Shirley Jones…you just show up and you’re on Broadway!
CR: (laughing) Exactly!

MS: You’ve portrayed Nala for quite a while now. Do you have to prepare anything special for yourself to keep the performance fresh? I can imagine doing the same thing 8 shows a week for a couple of years might get boring after awhile.
CR: Yes I do. I keep occupied by taking classes and making short films. These things keep me thinking outside the box. I also use what I learn from the classes and the films and bring it with me on the stage. It gives me a new sense at how I look at each performance every night. And this also gives me the chance to try something new. Every night we have a new audience. So it’s a great way for me to try new techniques and to find different ways of performing.

MS: I’ve never seen the show on Broadway but I’ve seen photos and the occasional video clip. It’s a lot more than just standing on a stage and singing. Is the show more difficult physically as opposed to musically?
CR: The show is very physical. We’re constantly on stage and we play lions and zebras and other animals. My role has me constantly running around. If Nala isn’t jumping on-stage she’s jumping off-stage. There’s a lot of activity. AND singing. I sing two songs in the show. We sing live and the dancers are moving non-stop. So it is a very physical show.

MS: You have an important role in the upcoming film RACE. What is your character’s relationship to Jesse Owens in the film?
CR: Quincella Nickerson was someone who was very close to Jesse Owens. She was not only his friend but a huge fan of his. She was a socialite whose father owned a huge insurance company in California. At that time that was pretty huge…that an African-American could be that affluent. She spent a lot of time with Jesse…attending parties and things. There were rumors going around that she and Jesse were engaged to be married. They spent a lot of time together. So we see a lot of that in the film…a lot of her in the film.

MS: If you could play one role on Broadway, either current or a show from the past, what would it be?
CR: Definitely Dorothy from “The Wiz.” I think that would be such a fun role. It would be so exciting. And it’s such fun music. That would be so much fun!

MS: What do you have coming up next?
CR: I’m working on a new short film with James Brown-Orleans, a fellow cast member from “The Lion King.” We’ve done a lot of short films together. Our most recent film, “Teacher’s Nightmare,” just won the Wendy’s International Short Film Award for Best Drama. That’s pretty cool.

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Filed Under: Art/Theatre, Film Interviews, Interviews Tagged With: broadways, chantel, film, king, lion, race, ...

Film Review “Forsaken”

Starring: Keifer Sutherland, Donald Sutherland and Demi Moore
Directed by: John Cassar
Rated: R
Running time: 1 hr 30 mins
Moving Pictures Media
Our Score: 4 out of 5 stars

Here’s a little trivia for you. Donald Sutherland and his son, Keifer, have appeared in two films together. One is A TIME TO KILL though they did not share a scene together. The other is MAX DUGAN RETURNS, which came out in 1983. The bad news is that it took the father/son duo more than three decades to team up on the big screen again. The good news is a new film called FORSAKEN.

“Your mother’s dead.” These are the first words that Reverend Clayton (Donald Sutherland) speaks to his son, John Henry (Keifer Sutherland) as he returns home after a 10-year absence. John Henry left home to fight in the Civil War but wound up a notorious gunslinger. He has come home to reconcile with his father, and the townspeople, who view the “new” John Henry warily. He has also come home to find that one of the town’s leaders, James McCurdy (Brian Cox) is using force to make people “want” to sell their farms and leave town. Those who don’t sell soon find themselves dead. McCurdy has hired notorious gunfighter Dave Turner (a very subtle Michael Wincott) to oversee the townsfolk and their migration. One of Turner’s men, Will Pickard (Landon Liboiron, in creep mode) enjoys violence and goes out of his way to belittle John Henry, who no longer wears a gun. That is, of course, until he has to.

FORSAKEN borrows from some of the best westerns of the past 30 years, including SILVERADO, UNFORGIVEN and HBO’s “Deadwood.” Both Sutherlands are in fine form and it is a genuine treat to see them together on screen. Their scenes together, especially those strictly devoted to being loving father and estranged son, are brilliant. A lot of people think of Brian Cox as a smooth character actor, but they never remember that he was the original Hannibal Lecter in the film MANHUNTER. While not as creepy here, his performance is strong and commanding. Wincott is also smooth and southern, obviously embracing the role of gunslinger as much as John Henry is trying to distance himself. As the woman he left behind, now married, Demi Moore makes a rare appearance and is also solid. Production values are well done and director Cassar, one of the driving forces behind television’s “24,” keeps the story moving smoothly. If you’re a fan of the genre’ you won’t be disappointed by FORSAKEN.

 

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Filed Under: Film Reviews Tagged With: film, foresaken, review

Film Review “45 Years”

Starring: Charlotte Rampling and Tom Courtenay
Directed by: Andrew Haigh
Rated: R
Running time: 1 hr 35 mins
IFC Films

Our Score: 4 out of 5 stars

I love actors. When placed in the right mouths, words that may seem meaningless become poetry when those mouths open. Two of the best ever, at least in my generation, are Charlotte Rampling and Tom Courtenay. You may remember Rampling as the dishonest love interest of Paul Newman in ‘The Verdict” and Courtenay holding his own against Albert Finney (both men earning Oscar nominations) in “”The Dresser.” Three decades later these two are still at the top of their game in the new film “45 Years.”

Meet Kate (Rampling) and Geoff (Courtenay) Mercer. They are full of excitement as they prepare to celebrate 45 years of marriage. As Geoff was ill when year 40 rolled around, Kate has decided to make this event one for the ages, and the majority of their small town will be at the celebration But as the day approaches Geoff receives a mysterious letter from Switzerland. He learns that the body of Katia, his first love, has been discovered. She disappeared over 50 years ago. Due to the circumstances she is literally frozen in ice, as beautiful as she was the day she disappeared. Even though Geoff feigns a slight interest, it is evident to Kate that the news is effecting him. Investigating on her own, Kate discovers secrets that make her question not only Geoff’s love, but their marriage.

A film this small scale – there are very few cast members – is only as good as its cast and the two veterans deliver in spades. Rampling, still beautiful at 70 — I’m sorry….is that a sexist statement…like I shouldn’t expect her to be beautiful at this age — says as much with her expressions and mannerisms as she does her words. Courtenay is her acting match here, observing small things and affecting small changes in his life. It’s obvious to both that the mystery of Katia is something that will linger for a long time.

The film is slight as far as subject matter is concerned but the two stars keep the pace moving, with Rampling shining in an Academy Award nominated performance. A fine alternative if you’re tired of bears, both grizzlies and pandas.

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Filed Under: Film Reviews Tagged With: 45, film, review, years
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