Film Review “5 to 7”

Starring: Anton Yelchin, Berenice Marlohe and Frank Langella
Directed by: Victor Levin
Rated: R
Running time: 1 hour 35 mins
IFC Films

Our Score: 3.5 out of 5 stars

Meet Brian (Yelchin). A struggling young author living in New York, he spends many of his waking hours walking in Central Park and observing the various dedications placed by loved ones on the many benches that fill the park. Though he is alone, he can’t help but muse that, when you are out in public, you are always “20 feet from someone you know or want to know.” One day Brian meets someone he most definitely wants to know. And that introduction changes everything.

Cleverly acted by a cast that truly believes in the material, “5 to 7” is a true May-December romance with a twist. The person Brian meets, the lovely Arielle (Marlohe), can only see Brian between the hours of 5 and 7 nightly. Brian soon learns that Arielle is married (her husband is a French diplomat). He’s very surprised to learn that hubby is fine with Arielle seeing Brian, especially since he has his own “friend,” ironically a publishing editor. Even more surprising is that the four of them hit it off like old friends whenever they’re together. Ooh-la-la!

Best known for his role in the current “Star Trek” films, Yelchin is very genuine as a young, sometimes naïve man making his way in the world. Marlohe is equally good as the older, more secure Arielle. Veterans Frank Langella and Glenn Close show up as Brian’s parents and give the film a nice shot of humor. Director Levin, who also wrote the script, allows his cameras to capture the sights of the city, which sets the moods of the film. Though the film runs just over an hour and a half, to me it felt like it should have ended 10 minutes before it did. Still, that being said, “5 to 7” is a small romance that deserves your time.

Film Review “Furious 7”

Starring: Vin Diesel, Paul Walker, and Jason Statham
Directed By: James Wan
Rated: PG-13
Running Time: 137 minutes
Universal Pictures

Our Score: 3.5 out 5 Stars

You know what? You really don’t need to any of the other movies in “The Fast and The Furious” franchise. This a series that’s gone from being about petty street racing thieves to illegal street racers globetrotting and fighting villain’s born from the military’s disenfranchised. If your idea of fun is watching cars parachute out of a plane and attack like a swarm of Navy SEALS or a car driving through three skyscrapers, then “Furious 7” is going to make your pants explode.

So what’s the story? A die hard “Furious” fan could probably lay out the little intricate details better than I can because I haven’t watched all of them. But it’s not a deep story that requires cliff notes. It’s a fairly simple story that anyone can acquaint themselves with quickly. The crew, Dominic (Diesel), Brian (Walker), Luke (Dwayne Johnson), Letty (Michelle Rodriguez), Roman (Tyrese Gibson) and Tej (Chris Bridges) are all back in the states, trying to maintain normal lives. However, hunting them one by one is the baddie of the film, Deckard (Statham). He’s a highly trained, professional, killer. The crew needs to get back together once again to turned become the hunters. But they’ll need to get a computer program that will track down the illusive Deckard.

There’s more to it than that, but I mean, who cares? Sure there are some blasé subplots, but you didn’t pay for a movie ticket to watch Dominic and Letty rekindle their romance or Brian attempting to live the suburbanite lifestyle. Hell no. You came to watch a camera follow wet hot, dripping girls, do things in slow motion, and watch cars whiz by at stupid high speeds, with stupid big explosions, and other stupid action that will leave you looking thunderstruck. “Furious 7” delivers that and more.

The problem with a movie that’s so exciting in terms of its action, is that it makes the emotional or dramatic scenes that much more stodgy. Obviously this is Paul Walker’s last film and it was important for the franchise, the actors, and everyone involved to send him off in a respectable way. But it really does nothing for me. This is a movie that has a predator drone fly around L.A and unblinkingly fires off missiles and blast it’s machine guns wildly, possibly killing numerous off-screen civilians. I’m not too concerned that Brian’s character gets to walk off peacefully into the sun with a catastrophic body count taking place.

What “Furious 7” needs to do is trim some story fat so that we have nothing, but the prime cut. But is “Furious 7” the action movie of the year? That’s yet to be seen with “Mad Max: Fury Road” coming out on the horizon. “Furious 7” will probably be the most profitable. Since watching the first “The Fast and the Furious” movie back in 2001, it’s definitely transitioned away from the somewhat respectable street racing movie that set the trend for others that followed it. It’s been a slow transition to the insane ride of “Furious 7” that attempts to one up every outlandish stunt. What we have after 14 years of treading through frivolous story is an insanely cartoonish movie. And that’s not necessarily a bad thing.

Film Review “It Follows”

Starring: Maika Monroe and Ker Gilchrist
Directed by: David Robert Mitchell
Rated: R
Running time: 1 hour 40 mins
Northern Lights Films

Our Score: 4 out of 5 stars

It delivers. From the opening sequence, to the final scene, this movie is a great watch. With a simplistic story, great score, believable performances and unobtrusive direction, It Follows absolutely shows the audience that tone and characters are what make a horror film. Not gore, flashy camera movies, and quick-cut editing.

Maika Monroe (The Guest) plays Jay Height, whom after a date with a new guy, is made aware that through their coital act he has passed on… something. And whatever it is will come for her until it kills her, or she passes it on to someone else. Think of it has a sexual chain-letter. It’s as simple as that. There is really no story beyond that premise. And nothing more is needed.

Utilizing the anamorphic widescreen frame, this film takes its time. Its set-ups are simple, its composition is nothing extraordinary; but it’s perfect. Each scene gives the actors time to perform, and nothing seems too forced. We aren’t subjected to meaningless subplots, or random scenes to show more gore or killings. Everything that happens is for a reason.

It Follows takes place in an unknown time period. With hints of present-day technology mixed in with console TVs with antennas, home phones with cords, and stacks of VHS cassettes; as well as old-school monster movies on the TV; it seems as if the director wants to keep you unaware as to when this story occurs. For this could happen anytime and anyplace. Brilliant may be a bit much, but I love that there are no cellular phones, text messages, computers, or references to on-line social networking sites. Leaving out those elements will help to ensure that this movie has a long life and won’t be dated.

While watching this film I kept thinking that It Follows could easily be viewed as this generation’s Halloween. It Follows is actually this generation’s It Follows. This movie stands on its own and feels completely original. Even with the horror film tropes – conversations about sex, absentee parents – It Follows takes you to fresh ground.

It’s creepy, it’s funny, and it’ll make you talk. Part of what I liked about this film is all that they left out. They pose questions that you can tell they never intended to answer; because leaving things unknown is very unsettling. One could easily get lost in trying to find a rational reason as to why it all happened; and even make you question some events that occur, but it doesn’t matter. It’s just a great movie.

The only negative I have about this film is the quality of the special effects. It’s a low-budget indie film, and I fully understand their restrictions. I will grant that they did well with what they had available; but they do stick out.

It Follows is absolutely worth seeing in theatre. Seeing it on a big screen with a full audience will only add to the experience.

Film Review “Home”

Starring the Voices Of: Jim Parsons, Rihanna, and Steve Martin
Directed By: Tim Johnson
Rated: PG
Running Time: 94 minutes
20th Century Fox

Our Score: 3.5 out of 5 stars

“Every once and a while…we knock it out of the park!” That should be Dreamworks Animation’s motto. “Home” will be their 31st movie, and since 1998, the studio hasn’t had as many home runs as Pixar and they only have two Oscars for Best Animated Feature. They won one for Best Original Song, but I’m sure no one at the office is hanging their hat on that one. “Home” is another adequate entry into Dreamworks Animation’s young history, but nothing to rave about.

“Home” is an adaptation of the book that I’ve never heard of, “The True Meaning of Smekday”. The movie revolves around the alien species, the Boov, but more specifically Oh (Parsons). He’s oblivious to his friendlessness and a general nuisance to the other Boov around him. His speech pattern is that of a Kindergartener learning proper English and his best qualities are made up of Olaf from “Frozen” and his worst qualities border on Jar-Jar Binks from an unmentionable prequel.

The Boov are a species that are constantly on the run, fearing the wrath of another alien race by the name of Gorg. Their tactic for avoiding destruction by the angry Gorg involves inhabiting Earth and forcibly abducting and relocating every human being on the planet to Australia; forcing them to live in gated communities (I’m sure the pitfalls of this plan are highly entertaining). Through a series of events, Oh accidentally alerts the Gorg to the Boov’s presence on Earth and becomes a fugitive of his own species. He runs into Tip (Rihanna), who has managed to avoid capture and is hiding out in her empty home, eating cans of pasta. This sets off a slightly amusing roadtrip/chase with a preteen and clueless space creature.

“Home” is obviously setting its sights on the children in the audience, with very few inside jokes for adults; although most will enjoy the comical voice stylings of Steve Martin as the leader of the Boov, Smek. You might wince at seeing Rihanna’s name, considering her persona in the entertainment industry and how she’s portrayed in the media. You also might be scratching your head at that acting choice considering her previous credits are “Battleship” and “This is the End”. She doesn’t quite carry the same silliness that Martin and Parsons bring to their character, but she has a believable tween voice. Her voice always sounds playful and youthful, and it’s actually a creditable dose of voice work on her part.

Halfway through I noticed that Rihanna’s contract must have stipulated that the entire soundtrack must be crafted by her since she’s seemingly on every song. It’s hard to pack an emotional punch when a movie’s soundtrack consists of “As Real As You and Me” and “Drop That”. It’s almost like creators of some of these movies are worried they won’t speak to an eight-year-old if they don’t throw in some contemporary hip-hop dance tracks.

“Home” is still an enjoyable time. Some moments move at blistering speeds, with aliens zipping to and fro with visual jokes and audible humor firing off left and right. When it has to rely on our two lone heroes with nothing, but themselves in a car, it struggles. Maybe Dreamworks should start cherry picking what they want to do next, or at the very least, put more effort into their promising projects. “Home” has the pieces for something remarkable, but none of the heart to stay with us.

Film Review “Get Hard”

Starring: Will Ferrell, Kevin Hart and Craig T. Nelson
Directed by: Etan Cohen
Rated: R
Running time: 1 hour 40
Warner Brothers

Our Score: 4 out of 5 stars

James King (Ferrell) has it all. Money. A beautiful fiancé (Alison Brie). And he’s just been made a partner in the investment firm started and run by his father-in-law (Nelson). He spares nothing on the finer things, including having his car detailed by Darnell Lewis (Hart), a man with a family hoping to buy a home. Out of the blue, James is arrested for fraud. Encouraged by his boss to take a plea bargain James refuses, so insistent is he of his innocence. Sadly, he is not believed and the judge, looking send a message to white collar criminals, sentences him to 10 years hard labor. With 30 days to get his affairs in order, James decides he needs to learn how to survive prison and decides to get advice from the only black man he knows.

Outrageously funny, though often bordering on bad taste, “Get Hard” confirms the star-making talent shown by Kevin Hart in “The Wedding Ringer” as well as the consistently funny-film streak of Will Ferrell. Both are at the top of their game here, and their chemistry is quite obvious. While both men are constantly entertaining, it’s Hart that drives the film, with Ferrell acting as straight man a little more than usual. Encouraged to tell James his story, Darnell instead gives a one-man performance of “Boys in the Hood.” This scene, and one where Hart plays three different inmates, are among the best in the film.

The script, co-written by director Cohen and Jay Martell and Ian Roberts, is constantly funny, even when it approaches the lines of race and prejudicial assumptions. Yet in spite of the humor, there are some nice moments between Ferrell and Hart as well as Hart and his on-screen family. If you’re looking to laugh this weekend, this is the film to see!

Film Review “Insurgent”

Starring: Shailene Woodley, Theo James, and Kate Winslet
Directed By: Robert Schwentke
Rated: PG-13
Running Time: 119 minutes
Summit Entertainment

Our Score: 1 out of 5 stars

The dystopian young adult movie genre is becoming crowded as of late. The worst of the bunch were once a mere fatigue, but are now becoming a headache pounding hangover. As long as there is a cash cow to milk, we can expect more attractive heroes and heroines facing off against dull malefactors with penchants for tyranny. Some of these, like the “The Hunger Games”, are quite good. But the Divergent series appears to be an exercise in futility and “Insurgent” is the latest offering in ineptitude.

I tried as hard as I could to put the events of “Divergent” out of my mind, but unfortunately for me, there’s a lot of character exposition and annoying recounts to begin our movie. Tris (Woodley) is still the individualistic focal point of our story. She’s on the lam with her lover Four (James), and a duo of actors who make up Woodley’s on-screen romances in other films. These four are hiding out in Amity, one of the factions in the five personality-based factions inhabiting this world. Amity is this movie’s version of hippies, without the LSD, so they’re perfectly content with harmful fugitives arguing amongst themselves in their peaceful farming village.

This won’t last long because this world’s odious, self-imposed ruler, Jeanine (Winslet), is scouring the lands for them. She leads the Dauntless, the army of this dystopian wasteland. And big surprise, they’re the ones trying to find a way to control and eliminate the other factions. Of course you would know all this if you’re a fan of the series or saw the first movie. If you’re neither of these, I would like to tell you that “Cinderella” is still in theaters and a much better bang for your buck, and less harmful for your young ones.

I say that because “Insurgent” ups the violence ante with more bloodless fights, a gratuitous, yet nudeless “love” scene, and a lot of off-screen gun executions. For such a passionless movie, it doesn’t help that there’s so much soulless murder of characters. Even as an adult, and having seen my fair share of unjustifiable bloodletting in movies, watching violence without purpose in something that is attempting to cash in on the young adult crowd, feels malformed.

While the brutality adds to the directionless narrative, the acting talents of many of the stars in this movie are wasted throughout. Despite some great efforts, and dreary stares by stars like Kate Winslet and Naomi Watts, the acting gets lost in laughably bad scenes and confusing character motivations. Take for instance the fact that Jeanine wants to open a mystery box that she believes holds the key to destroying the Divergents, but it can only be opened by a Divergent. Which seems like an odd thesis on Jeanine’s part, further complicated by the fact that she operates the military and could simply just wipe out all the Divergents with countless killing machines at her disposal. Maybe I’m just overthinking that one.

At the end of the day, you know the mystery box will be opened and you know it will be Tris who ends up opening it. “Insurgent” is as predictable as it is vapid. It’s offensive to decent writing and a slap in the face to well thought out young adult movies that grow and mature. Instead of distinguishing itself, it takes some tired old clichés and believes that the casual viewer will go for mere eye candy and “heart pounding” action. Please tell the conniving studio executives you’re tired of unimaginative filth by not seeing “Insurgent”. And save me the time and anguish because someone told me there’s still a third book they can make into a movie.

Film Review “The Gunman”

Starring: Sean Penn, Ray Winstone and Javier Bardem
Directed by: Pierre Morel
Rated: R
Running time: 1 hour 55 mins
Open Road

Our Score: 2.5 out of 5 stars

Last week we had another Liam Neeson “bad ass” film, a series that started with “Taken.” This week we get Sean Penn in the new film by “Taken’s” director. Does Sean have a future in action films? I’ll tell you later.

Meet Jim Terrier (Penn). It’s 2006 and he’s working for a mining company in the Congo. He spends his time off with his girlfriend, Annie (Jasmine Trinca) and best buddy Felix (Bardem). When the country’s new Minister of Mining begins to enforce the law, Jim’s company asks Jim to do what he does best. One well-placed rifle shot later, Jim is in the wind, leaving his friends, and the life he knew, behind.

Heavy on the gunfire and light on believability, “The Gunman” is a nice looking (lots of exotic locales) yet unsatisfying film barely kept afloat by its star. Penn, with two Oscars on his mantle, is well above the material here and manages to not be pulled down into the mess that encompasses his co-stars. Bardem, an Oscar-winner himself, seems to have signed on in order to get a free trip to Spain. From frame one you know Felix has eyes for Annie and that, with Jim out of the picture, they will end up with each other. Trinca sleepwalks through the film as Annie, showing more skin than emotion in many scenes. As Terrier’s old buddy with all of the connections, Winstone give the film some life when on screen while Mark Rylance and Idris Elba add some Brit-level class to the production. Penn, who apparently borrowed Sylvester Stallone’s body, circa 1985, is given the chore of making Jim and his actions believable. With a mustache and soul patch that makes him look like the popular Guy Fawkes mask and an apparently unending supply of bullets, Terrier manages to escape death even while suffering from painful headaches.

Eight years pass between the time Jim leaves the Congo and he learns he’s a hunted man, yet nobody appears to have aged. Maybe all of those push-up Penn did helped him stay youthful. He should have used some of that time to read the script. Besides limitless bullets and the ability to always be the best shot in the room, Jim’s adventures put him in the midst of a bull fight, in a country that has not only outlawed bull fighting but insisted that fact be pointed out in the end credits.

As for Penn the action star? He obviously has the chops for the job. He just needs better material.

Film Review “Backcountry”

Starring: Missy Peregrym, Jeff Roop, Eric Balfour
Directed By: Adam MacDonald
Running Time: 91 mins
IFC Midnight

Our Score: 2.5 out of 5 stars

In Backcountry, lawyer Jenn (Missy Peregrym) is lead by boyfriend, Alex (Jeff Roop) on her very first camping trip. Their route is the ominously titled Blackfoot Trail that Alex is supposedly familiar with from youthful visits. In Jenn’s case, never has a failed “Rate Your Boyfriend!” magazine quiz ever been more foreboding.

Not only does Alex fail that fun roadtrip timekiller, he then proceeds to reject common sense essentials like cell phones and maps to take on this ideal hike. His foolishness only further asserts itself when on the first night a charismatic Irish trail guide (Eric Balfour) splits an awkward campfire fish dinner with the couple and insinuates Alex knows less about the woods than he’s letting on. Instead of admitting his directional knowledge is limited, Alex doggedly resumes their wandering with a view to reach a beautiful lakeside that he assures Jenn will be worth the trouble. As you may have guessed, it’s really not.

It’s difficult to judge this film’s plausibility given that it’s touted as being based on a true story, but Alex’s stubborn trudge against all logical precautions—not to mention the blatant disregard for the safety of his girlfriend while he’s at it—can be an astoundingly frustrating watch for seasoned horror film viewers. He flouted the advice of the weathered old townie at the outpost five minutes in for pete’s sake! It also takes far too long to really understand just why Alex is so aggressively set on their destination, long enough to question Jenn’s intelligence too I found. When they finally do have a confrontation, the actors do so admirably and it felt a great relief to finally have Alex’s ignorance called out, but it seemed just too little too late. Alex is right up there with the Quiji-board buying boyfriend from Paranormal Activity in the bad choices department.

The edge is taken off of that frustration a bit by the impressive cinematography that can go from encompassing the vastness of the Canadian wilderness—beautiful in any other context, really— to zeroing in extremely on the couple’s very visceral woodland injuries. Furthermore, MacDonald subtly escalates the threat of bears in the woods to a suitably gorey crescendo after some early chilling encounters along the way that had our audience squirming in their seats. If MacDonald is aiming to do for the woods what Open Water did for the ocean, he pretty much succeeds, with the added cringe-factor that a bear’s leftovers don’t get washed away in the tide…

Film Review “Spring”

Starring: Lou Taylor Pucci, Nadia Hilker
Directed by: Justin Benson, Aaron Moorhead
Rated: R
Running time: 1 hr 50 mins
XYZ Films

Our rating: 2 out of 5 stars

“Spring” is a movie that is barely – just barely – saved by its beautiful scenery. In fact, if it weren’t for the film’s location, there wouldn’t be much here to watch.

After the death of his mother, Evan (Lou Taylor Pucci) finds himself lost, and needing more from life. A drunken altercation in a bar leads him to be wanted by the local police, so he flees to Italy. He finds a job as a farm-hand, and meets a mysterious young woman, Louise (Nadia Hilker). With a complete lack of chemistry between the two main characters, and a unappealing performance by Pucci – which leaves Evan unlikeable, or just mediocre – this story falls into a series of humdrum scenes with nothing but conversations full of platitudes.

Slowly the “horror” elements begin to build, but even here too much is shown far too soon. There is almost no anticipation, and no mystery at all. There are questions, but no suspense. Too much is given away too early, and the film is never able to fully explain or payoff what it tried to set up. It’s not scary, and it’s not enigmatic. It’s just dull.

The film is part horror, part comedy, and part love story. But none of those elements are built upon enough to really call this film any of those. It’s not a horror movie; it’s not a comedy; and it’s not a romance. It falls flat from beginning to end. The cinematography helps the film a great deal; but even most of that work was done by having a great setting. No matter where they put the camera the location was beautiful.

It’s easy to see what the filmmakers were intending to do, but it doesn’t quite hit the mark. The performance by Hilker was the best of anyone in the film; it seemed that she could have gone much further with her character, if she had a stronger male lead to act opposite of.

At times the scenes intended to be suspenseful or eerie, were funny. And the attempts at humor didn’t land as well as they should. And again, the romance was lacking due to poor chemistry.
A fresh attempt at an horror cliche here just leaves the audience confused as to how they are supposed to feel.

Overall, this film just felt uneven. Within the same scene the characters’ emotions change wildly, with out any real motivation as to why. I can’t suggest seeing this film in theatre, but wouldn’t be a waste of time if caught on VOD.

 

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Enter to Win DVD of Ryan Reynolds’ New Film “The Captive” [ENDED]


To celebrate the release of “The Captive” starring Ryan Reynolds and Scott Speedman. Media Mikes would like to give our fans a chance to win a DVD of the film. If you want to win this great prize, please leave us a comment below or send us an email with your favorite Ryan Reynolds film. This giveaway will remain open until March 27th at Noon, Eastern Time. This is open to our readers in US and Canada only. One entry per person, per household. All other entries will be considered invalid. Media Mikes will randomly select winners. Winners will be alerted via email.

In this psychological thriller from Academy Award Nominated director Atom Egoyan, Matthew (Ryan Reynolds) steps briefly into a diner and comes out to find that his young daughter Cassandra has vanished without a trace from the back of his truck. Her unsolved abduction destroys Matthew’s once-happy relationship with his wife, Tina (Mireille Enos), who, haunted by mementos of Cassandra that appear mysteriously at her work, suspects her husband of foul play. Years later, when detectives Nicole (Rosario Dawson) and Jeffrey (Scott Speedman) discover recent images of Cassandra online, Matthew risks everything to ensure his daughter’s safe return – and to save himself and Tina from the limbo of unrelenting despair.

Film Review “Cinderella (2015)”

Starring: Lily James, Richard Madden, and Cate Blanchett
Directed By: Kenneth Branagh
Rated: PG
Running Time: 112 Minutes
Walt Disney Studios Motion Pictures

Our Score 4 out of 5 stars

From European folk tale to Disney classic to one of the most reincarnated, reimagined and adapted movies in my life. Just a quick Internet search turned up at least a dozen adaptations within my lifetime of the fairy tale. I’m certain that further research could uncover at least one redesign of the beloved movie for every year I’ve been alive. I merely point this out because a lot could have gone wrong with this live-action update, but I’m happy to say it greatly exceeded my bare minimum expectations.

We all know the story of “Cinderella” right? I mean, unless you’re eight-years-old or younger or you’re Amish, there’s a high probability that you know the story. There are some cruel stepsisters, an even more fiendish stepmother that berates the unfortunately orphaned Cinderella. Cinderella beats out the odds and misfortunes of life with the help of a fairy godmother. With magical help, she attends a lavish ball, enchants the prince and leaves a memento for him to chase her down with, a glass slipper. This is a story that’s been told hundreds of times, so I hope you know what I’m talking about. Now, I’m not here to argue the necessity of another or new “Cinderella” movie, but I’m going to tell you that it’s not a rushed cash grab. It probably is a cash grab for the young ones who don’t know “Cinderella”, but at least they’re getting something of quality and substance.

While Lily James, who plays Cinderella, is obviously the focal point, Blanchett really steals the scenes as her venomous stepmother. She starts as a haughty socialite, but Blanchett transforms slowly over the movie into a bitter hag who puppeteers the weakest people around her. Helena Bonham Carter enters as the fairy godmother and is also quite delightful in her small, but significant role. As for Richard Madden as the prince who inevitably falls for Cinderella, he just stands there and looks pretty; Which isn’t a bad thing.

The real high marks for me in this movie are the set and costume designs. While the wide shots of the sprawling castle are obviously CGI, the exquisite ball and all its guests are real and in real costumes. The vast, but snug cottage that Cinderella is in has a Victorian appeal. The movie feels grand while remaining intimate in it’s settings. Everything could have easily been green screened, but it’s great to see a filmmaker and crew that understands tradition and puts in a time-honored effort of good old fashioned design. It’s a well-made, guilty pleasure for Disneyphiles and a refreshing blast from Disney’s treasured past for everyone else.

Film Review “Run All Night”

Starring: Liam Neeson, Joel Kinnaman and Ed Harris
Directed by: Jaume Collet-Serra
Rated: R
Running time: 1 hour 54 mins
Warner Brothers

Our Score: 4 out of 5 stars

When we first meet Jimmy Conlon (Neeson) he’s flat on his back with a bullet in the side, trying to explain how he got that way. Though the story is a little long, it’s well worth learning.

Jimmy and Shawn Maguire (Harris, in another outstanding character role) have been friends for almost five decades. Doing what they needed to do to earn a living, they both found themselves on the wrong side of the road. However, while Shawn has become a very successful “businessman,” Jimmy likes to drink and play cat and mouse with a police detective (Vincent D’Onofrio), who is trying to pin no less than 17 murders on Jimmy. Both men have sons – Shawn’s boy, Danny (Boyd Holbrook) is a chip off the old block while Michael Conlon (Kinnaman) has distanced himself from his father, earning money as a limo driver while teaching inner-city youths how to box. When a deal Danny organizes, against his father’s wishes, goes bad, Michael inadvertently finds himself on the wrong side of things, causing him to reluctantly have to rely on his pop.

Gorgeously filmed (director Collet-Serra and cinematographer Martin Rhue give New York City its own starring role in the film) and strongly acted, “Run All Night” is another in a long line of “bad ass with a heart of gold” roles for Liam Neeson. Here he plays a tough Irishman who drinks, which I’m pretty sure wasn’t much of a stretch. And while he’s very good here, as he is in pretty much everything he does, I miss the romantic Neeson…the “Love, Actually” Neeson. Here he gets to mete out some fatherly advice while constantly making sure that Michael never fires a shot, afraid he will follow him down hell’s path. The best part of the films are when Neeson and Harris meet up and talk about their lives and their plans. Both men are mesmerizing on screen and they’re fun to watch. They know that their sons are suffering because of them and when they’re in the same room together, the tension grows so fast you may need to take a breath on occasion. The film does manage to run a little long, and an almost “forced” reminder of the New York Rangers hockey team take a little glow off of the film, but all in all, it’s a well recommended film!

Film Review “Unfinished Business”

Starring: Vince Vaughn, Tom Wilkinson, and Dave Franco
Directed By: Ken Scott
Rated: R
Running Time: 91 Minutes
20th Century Fox

Our Score: 1 out of 5 stars

I would have really liked to enjoy “Unfinished Business”. I really would have. I like Vince Vaughn and believe that his mere presence can perk up the lamest of scripts and that his demeanor can bring life into the dullest of ideas. He’s managed to polish up some of Hollywood’s comedic turds into something that’s passable, but maybe he’s finally hit that wall where he can’t save a script. Or that charm has finally run out for me. Either way, “Unfinished Business” is the low point of Vince Vaughn’s career.

Dan Trunkman (Vaughn) has started his own small sales business and his only employees are Timothy McWinters (Wilkinson) and Mike Pancake (Franco), and that last name is not a typo. His last name is Pancake. If that didn’t make you laugh, then I hate to tell you that that’s a reoccurring that joke that wears thin after the first time, much like most of the humor in this movie.

Dan is the only character with any form of depth or range. He’s a family man who’s struggling to keep his tiny firm above water and worries about whether his children can continue going to private school. There’s also the struggle of being a role model for those kids and the two incompetent employees he’s ended up with. As for Tim, he’s just a dirty old man. Mike is the opposite. He’s a naive boy who apparently hasn’t lost his virginity until all three men need to make a business trip overseas to Europe. Tim and Mike play as one note jokes with Tim constantly talking about how much he wants to wheelbarrow (look it up) a girl and Mike who constantly gives a goofy grin and schoolboy chuckle, followed by an ingenuous question. I honestly can’t think of any other jokes that this movie attempted.

There is this plot about Dan having to land a deal with a company and facing off against his former boss/colleague, but it’s never played out and adds to the general incomplete feeling this movie finds itself in. It pitches itself as a debauchery filled trip for the little guy in corporate America, but there’s only about two to five minutes dedicated to the actually vulgarity of partying and half of that is montages. As for the little guy sticking it to the big bad businesses they find themselves competing with, that’s a missed opportunity heaped upon other missed other opportunities. Most of “Unfinished Business” finds itself stumbling into lazy gags and foreign scenery.

When I heard that Vince Vaughn would be on the second season of HBO’s “True Detective”, I was excited because Vaughn has so much thespianism to offer, but consistently finds himself biting on low hanging fruit. After watching “Unfinished Business”, I’m not as excited and worried that he may be relegated to a secondary character that’s still unbecoming of his acting gift.

Film Review “The Second Best Exotic Marigold Hotel”

Starring: Dev Patel, Judi Dench, Bill Nighy and Maggie Smith
Directed by: John Madden
Rated: PG
Running time: 2 hours 2 mins
Fox Searchlight Pictures

Our Score: 4.5 out of 5 stars

The irony about being a film critic is that, sometimes, I’m the one that gets criticized for what I’ve written. I know what to expect when I recommend an Adam Sandler film. Sue me, I’m a 13 year old boy in an old man’s body. But this afternoon, as I was preparing this review, I saw a criticism I never would have expected. While going back to see what I had rated the original “Best Exotic Marigold Hotel” I noticed a comment had been left. Basically it read:

There is NO WAY English senior’s immune, digestive system can handle Indian foods, whatsoever. Yet again this is nothing but another nonsensical story set in a place which Western senior-transplants haven’t ANY possibility of surviving. (sic)

Wow! Someone sure had a lot of time on his hands. As well as a much better understanding of the British digestive system then I do. Anyway, I thought I’d share that. And now, on with the show.

When we last left our over enthusiastic innkeeper Sonny Kapoor (Patel), he had just convinced a group of elderly British citizens to call his burgeoning hotel “home.” Today we find him visiting the United States, speeding down the historic Route 66 with the barb-tongued Mrs. Donnelly (Smith) by his side. They meet with the owner of a large international hotel chain (David Strathairn) in the hopes of having him finance Sonny’s dream of another hotel and the beginnings of an empire. Sonny is soon due to marry the lovely Sunaina (Tina Desai) and he wants a new hotel to be a wedding gift to his bride. Sonny and Mrs. Donnelly return to India assured that an inspector from the hotel chain would visit to see how Sonny runs his operation. But when more than one new guest shows up to register for a stay, it is obvious that the Best Exotic Marigold Hotel can use some expansion help.

Cleverly written and expertly acted, “The Second Best Exotic Marigold Hotel” is a welcome, sunny treat during these final weeks of winter. Bolstered by Patel’s exuberance and a first rate cast of British acting veterans, the film sometimes returns to the same situations that occupied the first film but with enough charm that it survives on its own merits. Joining the returning cast is Richard Gere, a recently divorced man looking for a quiet place to write a novel. He is smitten with Sonny’s mother (Lillete Dubey), who is unsure how to accept this Western man’s advances. As for the returning residents, we find Evelyn (Dench) now gainfully employed while Douglas (Nighy), continues to silently pine for her. And of course, Mrs Donnelly is as feisty as ever, delivering such lines as “just because I’m looking at you when you’re speaking doesn’t mean I’m paying attention to you,” with the timing of Groucho Marx. These stories, and others, once again intertwine as the wedding day gets closer. Gere is especially good here, doing what he does best, romance. Even at age 65, Gere is, as Sonny points out, “so handsome that even I question my own sexuality.”

Director John Madden, who also helmed the first film as well as “Shakespeare in Love,” has reteamed with writer Ol Parker to bring old friends back together and introduce us to new ones. Not sure if there’s a third story on this hotel, but it’s certainly one I’d be more than happy to visit.

 

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Film Review “Deli Man”

Starring: Ziggy Gruber, Larry King, Jerry Stiller
Directed By: Eric Greenberg Anjou
Running Time: 91 mins
Cohen Media Group

Our Score: 3 out of 5 stars

Viewers would be advised to eat and eat well before attending a screening of Erik Greenberg Anjou’s charming, if a bit long, documentary Deli Man. With copious shots of deli menu staples, if they take nothing else from the film, it will likely be a craving or two. Fortunately there is more to like in the doc than just the matzo ball soup.

Deli Man follows the cultural and economic origins of this Jewish food institution at time when they’re fading out in America. More importantly it follows the quirky characters behind and in front of the counter who are around to make sure it doesn’t despite all obstacles. Anjou’s assembled a broad range of deli aficionados of authors and celebrities including Jerry Stiller and Larry King (the newsman hilariously credited instead as a “Deli Maven”) who gleefully extol the virtues of the perfect corn beef sandwich while peppering in plenty of Yiddish—don’t worry if you’re not of the Jewish persuasion Anjou helpfully has plenty of lower third definitions to keep you up to speed.

More specifically the doc follows one Ziggy Gruber, the affable owner of Kenny & Ziggy’s New York Delicatessen in Houston Texas. Gruber, himself a Cordon Bleu trained chef, opted to forego high class restaurants in order to uphold the traditional foods of his grandparents. He’s a fun character to be around and his passion for the food and his heritage is contagious. In a touching sequence he returns to the church where his grandparents were married. Gruber is also surrounded by plenty of loving enablers who, while not in the deli business themselves, respect its importance to Ziggy.

The history side of Deli Man is extensive and interesting (those crazy 1900s kids craved more spices than their elders!) though sharing the screen with Gruber leads to the film to feel divided in focus, making the runtime seem longer than it is. Still, the film is extremely likeable and like the delis themselves, sustained by the impassioned characters in front of the counter.

Deli Man begins its limited run on February 27th and expands further on March 6th, for a complete list of cities visit the film’s website.

 

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