3/5
It's funny, entertaining, surprisingly sentimental, and an all around good night out at the theater even if some of the gags fall a little flat.
Johnny Knoxville puts in a memorable performance as Irving Zissman, complete with stunningly brave acts of embarrassing situational comedy and a physical shift that convinces us and the people around him that he is, in fact, a horny old man. His child counterpart, Jackson Nicoll, has fantastic comedic timing and even sells the drama so you root for these two the entirety of the film. It is a buddy pairing I won't soon forget.
The plot itself is formulaic and predictable, which is one of the things that the original Jackass films avoided by essentially existing as a montage of gags. Here, the acting is good and the script is hysterical, but the cinematic beats are expected.
With a film like this, however, those things don't matter all too much. You will get what you paid for with this comedy, and try your best to avoid spoiler-y reviews and trailers...the less you know going in, the better. Some of the gags are so unexpected that they will leave you laughing from shock as well as from genuine comedic sentiment. I recommend this film as a night out that will leave you laughing, and with a smile long after you've exited the theater. A welcome addition: one-liners for years and years of repetition.
Reviews, awards predictions, best/worst lists, Flashback Reviews, and personal life inquiries with Daniel Moya.
Friday, October 25, 2013
Monday, October 21, 2013
Dallas Buyers Club (2013) Review
4/5
This film is topical, heart-wrenching, and passionate with two of the best performances you will see all year in Matthew McConaughey and Jared Leto.
What this film succeeds in is a desire to make you feel hopeful as opposed to overwhelmed by the gravity of what is happening. A fantastic script helps sway you to and from each scene with a kind of grace that doesn't let the sadness overpower the hope that vibrates through the film.
Jean-Marc Vallé has crafted a wonderful, with its angles and editing unique and fresh, keeping the film alive and moving (except a brief late second act dry spell) and getting you into the life of Ron Woodruff, convincing you he is a good guy despite his controversial views on things.
McConaughey is phenomenal, transforming his appearance and his demeanor to become a man who has a terminal illness but refuses to die without making a change. His gruff attitude towards those around him and his incredible sensibilities make this a performance worth watching throughout Oscar season, and one to be respected immensely. Jared Leto is something of superhero; every film he is in is made better by his presence, and he has an incredibly popular rock band '30 Seconds to Mars.' How does he pull it off, time after time. As Rayon, he shines with his innocence and will to live, and he will break your heart and put it back together in almost every scene. Best Supporting Actor is shaping up to be quite a race this year.
While it isn't perfect, is it a must-see film and I do believe it will enjoy a strong box office run and inspire conversation in many different areas.
This film is topical, heart-wrenching, and passionate with two of the best performances you will see all year in Matthew McConaughey and Jared Leto.
What this film succeeds in is a desire to make you feel hopeful as opposed to overwhelmed by the gravity of what is happening. A fantastic script helps sway you to and from each scene with a kind of grace that doesn't let the sadness overpower the hope that vibrates through the film.
Jean-Marc Vallé has crafted a wonderful, with its angles and editing unique and fresh, keeping the film alive and moving (except a brief late second act dry spell) and getting you into the life of Ron Woodruff, convincing you he is a good guy despite his controversial views on things.
McConaughey is phenomenal, transforming his appearance and his demeanor to become a man who has a terminal illness but refuses to die without making a change. His gruff attitude towards those around him and his incredible sensibilities make this a performance worth watching throughout Oscar season, and one to be respected immensely. Jared Leto is something of superhero; every film he is in is made better by his presence, and he has an incredibly popular rock band '30 Seconds to Mars.' How does he pull it off, time after time. As Rayon, he shines with his innocence and will to live, and he will break your heart and put it back together in almost every scene. Best Supporting Actor is shaping up to be quite a race this year.
While it isn't perfect, is it a must-see film and I do believe it will enjoy a strong box office run and inspire conversation in many different areas.
Friday, October 18, 2013
Nebraska (2013) Review
4.5/5
This is an incredibly charming and entirely worthwhile film that explores aging, family, communication, and location in an honest and subtle way that keeps you captivated and in love. The strength of this film lays in the characters, all of whom you grow to love or love to hate.
It is a true showcase for Bruce Dern, who gives us one of the year's best performances, and June Squibb, his sarcastic wife that never fails to steal a scene. Will Forte and Bob Odenkirk are believable in their portrayal of two sons unsure of their family's future, with most of the dramatic heft falling on Forte. Stacy Keach is a wonder as the antagonist, who can make your skin crawl with his eyes alone.
The script is an absolute blast and is refreshingly simplistic in its story. You know these characters, you've had dinner with them, you've tried to love them and sometimes you have. The comedy is funny, and the drama is palpable. The film bounces from scene to scene with the weight of a feather, and we take a journey as the audience that is memorable and exciting.
The cinematography is, in short, stunning. Capturing the vast landscape of the midwest United States in a high-contrast black and white while paying close attention to the characters and their emotions, this is the kind of film that looks as good as it sounds as good as it feels. Alexander Payne has given us a film as good as, if not better than, his 2004 feature Sideways.
Trust me when I tell you that this is a trip you will want to take, perhaps more than once. It is an incredibly nuanced and layered film that will linger long after the final, beautiful shot. I was impressed by this movie, and look very forward to experiencing it again. I have no doubt that its spell can be cast more than once to the same, wonderful effect.
This is an incredibly charming and entirely worthwhile film that explores aging, family, communication, and location in an honest and subtle way that keeps you captivated and in love. The strength of this film lays in the characters, all of whom you grow to love or love to hate.
It is a true showcase for Bruce Dern, who gives us one of the year's best performances, and June Squibb, his sarcastic wife that never fails to steal a scene. Will Forte and Bob Odenkirk are believable in their portrayal of two sons unsure of their family's future, with most of the dramatic heft falling on Forte. Stacy Keach is a wonder as the antagonist, who can make your skin crawl with his eyes alone.
The script is an absolute blast and is refreshingly simplistic in its story. You know these characters, you've had dinner with them, you've tried to love them and sometimes you have. The comedy is funny, and the drama is palpable. The film bounces from scene to scene with the weight of a feather, and we take a journey as the audience that is memorable and exciting.
The cinematography is, in short, stunning. Capturing the vast landscape of the midwest United States in a high-contrast black and white while paying close attention to the characters and their emotions, this is the kind of film that looks as good as it sounds as good as it feels. Alexander Payne has given us a film as good as, if not better than, his 2004 feature Sideways.
Trust me when I tell you that this is a trip you will want to take, perhaps more than once. It is an incredibly nuanced and layered film that will linger long after the final, beautiful shot. I was impressed by this movie, and look very forward to experiencing it again. I have no doubt that its spell can be cast more than once to the same, wonderful effect.
Thursday, October 17, 2013
Blue is the Warmest Color (2013) Review
4/5
This film won the Palme D'or at the Cannes Film Festival last May, and it is a wonderful film. The rating, therefore, may seem a little low for the quality it contains. I left ultimately a little distanced in that unexplainable way, but it is a truly phenomenally made film that should be seen by many.
Firstly, the performances must be mentioned. Adèle Exarchopolos is a powerhouse, effortlessly blending happiness with a shyness that is all at one cute and heart-breaking. Her expressions take us on their own journey, her eyes full of tears equal in force to the immense love in her heart, and her fearlessness to convey the passion that overcomes her brave and worthy of considerable respect. Léa Seydoux is the perfect match for Adèle, a woman who is enticing and able to portray emotion that renders the audience speechless particularly when both of these ladies are in a scene together. There is nothing false, nothing unsure; every shot is its own form of brutal truth and honesty, and that is in large part due to these two awards worthy performances.
The color blue is its own character, and a subject for much talk. The cinematography captures not only the color but the emotion that runs by the same name, keeping us close when we would like comfortably to left a little farther away, and for that it must be said that Abdellatif Kechiche is a very brave and talented director. Another major feat: the 179 minute runtime feels like 120 at most. It is consistently enthralling and captivating, leaving me to double-check my watch at the end because I could not believe it had been a full three hours. The story is that intense, and that enveloping. The filmmaking is that spectacular.
The sex scenes are as graphic as the hype as led you to believe by now, and the NC-17 rating is well deserved in terms of what is shown. I have an inherent problem with the rating of NC-17 for films like this and Blue Valentine for example, where the sex is an accent to the story and not an unnecessary addition for the sake of it. We had to be shown what we were in order to understand that the emotion was complemented by a very physical desire that would make it harder to say goodbye. Also, Adèle was discovering her lesbianism on both levels, so it would have been less of a commitment to only show one half to a very two-sided affair. That being said, it is quite explicit and I imagine the very idea will turn people away. I do hope you give it a shot, because the journey as a whole is worth the trip and one that you will think about in the days following.
This film won the Palme D'or at the Cannes Film Festival last May, and it is a wonderful film. The rating, therefore, may seem a little low for the quality it contains. I left ultimately a little distanced in that unexplainable way, but it is a truly phenomenally made film that should be seen by many.
Firstly, the performances must be mentioned. Adèle Exarchopolos is a powerhouse, effortlessly blending happiness with a shyness that is all at one cute and heart-breaking. Her expressions take us on their own journey, her eyes full of tears equal in force to the immense love in her heart, and her fearlessness to convey the passion that overcomes her brave and worthy of considerable respect. Léa Seydoux is the perfect match for Adèle, a woman who is enticing and able to portray emotion that renders the audience speechless particularly when both of these ladies are in a scene together. There is nothing false, nothing unsure; every shot is its own form of brutal truth and honesty, and that is in large part due to these two awards worthy performances.
The color blue is its own character, and a subject for much talk. The cinematography captures not only the color but the emotion that runs by the same name, keeping us close when we would like comfortably to left a little farther away, and for that it must be said that Abdellatif Kechiche is a very brave and talented director. Another major feat: the 179 minute runtime feels like 120 at most. It is consistently enthralling and captivating, leaving me to double-check my watch at the end because I could not believe it had been a full three hours. The story is that intense, and that enveloping. The filmmaking is that spectacular.
The sex scenes are as graphic as the hype as led you to believe by now, and the NC-17 rating is well deserved in terms of what is shown. I have an inherent problem with the rating of NC-17 for films like this and Blue Valentine for example, where the sex is an accent to the story and not an unnecessary addition for the sake of it. We had to be shown what we were in order to understand that the emotion was complemented by a very physical desire that would make it harder to say goodbye. Also, Adèle was discovering her lesbianism on both levels, so it would have been less of a commitment to only show one half to a very two-sided affair. That being said, it is quite explicit and I imagine the very idea will turn people away. I do hope you give it a shot, because the journey as a whole is worth the trip and one that you will think about in the days following.
Wednesday, October 16, 2013
12 Years a Slave (2013) Review
5/5
Call me what you will, but I'm going to say it: 12 Years a Slave is one of the best films ever made. Allow me to explain.
The subject matter is brutal and often hard to watch, and for that some audience members will come away saying they did not enjoy it. It is fair to not enjoy the film, but it is not fair to define it by its violence. What you must judge in the film is the filmmaking finesse, the incredible sense of direction and pace that Steve McQueen has and shares with us time and time again in films such as Hunger and Shame. Both of those are great, and would be considered masterpieces in a lesser director's repertoire. Here, those two and this one make for a filmography so incredibly diverse and breathtakingly flawless that he must be considered one of the great filmmakers ever to live.
The cinematography by Sean Bobbitt is nothing short of revelatory, integrating long shots and handheld where necessary, strung together by beautiful portrait-esque compositions that highlight the beauty in this otherwise ugly world. When the film makes you want to look away, you won't be able to. It's that perfectly shot.
The acting is so heart-wrenching and pure and true that it seems a trivial exercise to write about it any further. I cannot express the emotional highs and lows that these characters make you feel, and it is difficult to put into words how much they pull off and how effortlessly they do it. Chiwetel Ejiofor, Lupita Nyong'o, and Michael Fassbender get special shout-outs because they not only convince you that they have inhabited the characters completely, but they restored my faith in the kind of actors who embrace risk-taking as an art and for that they must be awarded. The entire cast though, truly, hits the mark ten-fold.
The script by John Ridley is a perfect soul searcher and it appears to be effortless; it is so epic and contained at the same time that the dialogue alone is often enough to send chills down your spine.
The rest of this year still has several big films from big directors to offer, but if they all were to tank and disappoint the masses, I do believe that audiences fifty years from now would consider 2013 a great year for film because this bona-fide masterpiece found its way into cinemas and changed the people who experienced it.
Call me what you will, but I'm going to say it: 12 Years a Slave is one of the best films ever made. Allow me to explain.
The subject matter is brutal and often hard to watch, and for that some audience members will come away saying they did not enjoy it. It is fair to not enjoy the film, but it is not fair to define it by its violence. What you must judge in the film is the filmmaking finesse, the incredible sense of direction and pace that Steve McQueen has and shares with us time and time again in films such as Hunger and Shame. Both of those are great, and would be considered masterpieces in a lesser director's repertoire. Here, those two and this one make for a filmography so incredibly diverse and breathtakingly flawless that he must be considered one of the great filmmakers ever to live.
The cinematography by Sean Bobbitt is nothing short of revelatory, integrating long shots and handheld where necessary, strung together by beautiful portrait-esque compositions that highlight the beauty in this otherwise ugly world. When the film makes you want to look away, you won't be able to. It's that perfectly shot.
The acting is so heart-wrenching and pure and true that it seems a trivial exercise to write about it any further. I cannot express the emotional highs and lows that these characters make you feel, and it is difficult to put into words how much they pull off and how effortlessly they do it. Chiwetel Ejiofor, Lupita Nyong'o, and Michael Fassbender get special shout-outs because they not only convince you that they have inhabited the characters completely, but they restored my faith in the kind of actors who embrace risk-taking as an art and for that they must be awarded. The entire cast though, truly, hits the mark ten-fold.
The script by John Ridley is a perfect soul searcher and it appears to be effortless; it is so epic and contained at the same time that the dialogue alone is often enough to send chills down your spine.
The rest of this year still has several big films from big directors to offer, but if they all were to tank and disappoint the masses, I do believe that audiences fifty years from now would consider 2013 a great year for film because this bona-fide masterpiece found its way into cinemas and changed the people who experienced it.
Tuesday, October 8, 2013
Oscars 2014: Best Actress Predictions
Behind every man, there is a strong woman. The race for Best Actress is just as tight as the Best Actor race this year, with predictions proving just as difficult. The time has come, as we are now well into October, to at least take a stab at it. Luckily, we are confident in our choices.
1. Cate Blanchett- Blue Jasmine
2. Judi Dench- Philomena
3. Meryl Streep- August: Osage County
4. Emma Thompson- Saving Mr. Banks
5. Julie Delpy- Before Midnight
I saw and loved Gravity, but my heart tells me Sandra Bullock might miss the cut this year. My head is telling me to include her, as I thought she was quite good, but I need to see more of an awards campaign in order to add her to this list.
Cate Blanchett is simply phenomenal in Blue Jasmine, and I would be shocked right now if she doesn't take it home. Stellar reviews and a healthy box office take help her case. Judi Dench is reportedly fantastic, and that is a performance I look very forward to seeing in early November. The same goes for Meryl Streep, who is arguably the most reliable actress alive, in August: Osage County. Saving Mr. Banks seems to be on everyone's good graces, but I was hesitant to fall in love with the trailer. I hope the film is as good as they say. And lastly, Before Midnight, one of my favorite films of the year, and this performance one of the best. It's a long shot considering how niche of a film it is, but I would love to hear her name called, along with Ethan Hawke's, come nomination morning.
More predictions to come as the Oscar season continues...
1. Cate Blanchett- Blue Jasmine
2. Judi Dench- Philomena
3. Meryl Streep- August: Osage County
4. Emma Thompson- Saving Mr. Banks
5. Julie Delpy- Before Midnight
I saw and loved Gravity, but my heart tells me Sandra Bullock might miss the cut this year. My head is telling me to include her, as I thought she was quite good, but I need to see more of an awards campaign in order to add her to this list.
Cate Blanchett is simply phenomenal in Blue Jasmine, and I would be shocked right now if she doesn't take it home. Stellar reviews and a healthy box office take help her case. Judi Dench is reportedly fantastic, and that is a performance I look very forward to seeing in early November. The same goes for Meryl Streep, who is arguably the most reliable actress alive, in August: Osage County. Saving Mr. Banks seems to be on everyone's good graces, but I was hesitant to fall in love with the trailer. I hope the film is as good as they say. And lastly, Before Midnight, one of my favorite films of the year, and this performance one of the best. It's a long shot considering how niche of a film it is, but I would love to hear her name called, along with Ethan Hawke's, come nomination morning.
More predictions to come as the Oscar season continues...
Saturday, October 5, 2013
Oscars 2014: Best Actor Predictions
It's about that time to move right along and set up predictions for the next category: Best Actor. This year will prove to be incredibly competitive, with over ten worthy contenders and only those five sacred spots. LCA Film is pretty confident with the selections.
1. Chiwetel Ejiofor- 12 Years a Slave
2. Leonardo DiCaprio- The Wolf of Wall Street
3. Bruce Dern- Nebraska
4. Matthew McConaughey- Dallas Buyers Club
5. Robert Redford- All is Lost
Now, we realize that some of these are a bit out of left field considering the opposition. Where is Idris Elba for Mandela: Long Walk to Freedom? Forest Whitaker for Lee Daniel's The Butler? Oscar Isaac for Inside Llewyn Davis? Michael B. Jordan for Fruitvale Station? Christian Bale for American Hustle? In reality, all of these could be nominated as they shine in their respective films (from what we've seen or heard).
So why these five? Ejiofor is the talk of the town for his performance in Steve McQueen's newest, and it is our most anticipated film of the year. Sure to be an event, and a heart-wrenching performance. Leonardo DiCaprio gets nominated (most times) and could very well win his first... if the film makes it out in 2013. Reports say that a recent cut of the film borders on NC-17 and is over 180 minutes long with Scorsese now working to cut it down. Bruce Dern is said to be wonderful and he is incredibly well respected; also, the decision to run him in Lead rather than Supporting should say something about how confident Paramount is. Matthew McConaughey has been on an incredible run of late, and this will most certainly earn him a nomination. If he is as good as they say, it could be his for the taking. Robert Redford spends most of All is Lost alone, and thus it can be expected that he delivers a powerhouse performance. A nomination is a given, as of now.
The tides can sway and names will rise and fall. For now, these seem to be safe. Look out for the others, though... this will be a year where studio push and celebrity campaigning could change the game entirely (The Blind Side, anyone?).
Friday, October 4, 2013
Gravity (2013) Review
4.5/5
The film starts and you're in it. That's the whole thing, the end game, the kit and kaboodle. This is as immersive an experience as you're likely to ever have at the cinema, and it is for this reason that you MUST seek it out on as large a 3D screen you can find. IMAX, IMAX, IMAX. Drive as far as you need to. Do whatever you must. The experience is worth it.
The single best visual showcase is housed within the frames of this film. I have never been as blown away by the visual component of a film as I was with this one. The cinematography is mind-blowing effective, which doesn't surprise me since Lubezki is at the camera, and it absolutely deserves the Oscar and yes I can say that now.
The score is a kind of wonderful nightmare, wrapping you in a sense of incredible foreboding while shaking you to your core and simultaneously inviting you to enjoy the beauty of the space-driven world. Steven Price may well be riding this to an Oscar, or at the very least a nomination, and it is well deserved. Tell me if your stomach isn't still rumbling when you're leaving the theater. Tell me if the underlying silence isn't a sort of brilliant miracle.
The acting is captivating and effective, as Sandra Bullock and George Clooney make us believe they are trapped in space. I'm not sure why they were given at points silly dialogue, but in a film like this all I can dock is .5 points because the experience is so visceral it just about doesn't matter.
Alfonso Cuarón has the finesse of a classic filmmaker. I've always admired the long takes and shot selection in his work, and here he most certainly does not disappoint. Since I refuse to divulge any plot details, I can only recommend the experience: take my word for it, it is well worth the price of admission.
The film starts and you're in it. That's the whole thing, the end game, the kit and kaboodle. This is as immersive an experience as you're likely to ever have at the cinema, and it is for this reason that you MUST seek it out on as large a 3D screen you can find. IMAX, IMAX, IMAX. Drive as far as you need to. Do whatever you must. The experience is worth it.
The single best visual showcase is housed within the frames of this film. I have never been as blown away by the visual component of a film as I was with this one. The cinematography is mind-blowing effective, which doesn't surprise me since Lubezki is at the camera, and it absolutely deserves the Oscar and yes I can say that now.
The score is a kind of wonderful nightmare, wrapping you in a sense of incredible foreboding while shaking you to your core and simultaneously inviting you to enjoy the beauty of the space-driven world. Steven Price may well be riding this to an Oscar, or at the very least a nomination, and it is well deserved. Tell me if your stomach isn't still rumbling when you're leaving the theater. Tell me if the underlying silence isn't a sort of brilliant miracle.
The acting is captivating and effective, as Sandra Bullock and George Clooney make us believe they are trapped in space. I'm not sure why they were given at points silly dialogue, but in a film like this all I can dock is .5 points because the experience is so visceral it just about doesn't matter.
Alfonso Cuarón has the finesse of a classic filmmaker. I've always admired the long takes and shot selection in his work, and here he most certainly does not disappoint. Since I refuse to divulge any plot details, I can only recommend the experience: take my word for it, it is well worth the price of admission.
Thursday, September 26, 2013
Highlights and Lowlights: Available now!
Our administrator has written his first novella, Highlights and Lowlights. Below are links to it on the iBookstore and Amazon Kindle store. We hope you consider giving it a read!
iBooks: here
Amazon Kindle: here
Thank you all, and keep checking back for all your movie news! Remember... it's Oscar season.
iBooks: here
Amazon Kindle: here
Thank you all, and keep checking back for all your movie news! Remember... it's Oscar season.
Tuesday, September 24, 2013
The Wizard of Oz: An IMAX 3D Experience (2013) Review
5/5
I won't be counting this as a best film of the year due to its nature as a re-release, but man, they nailed this. It is a flawless and stunning 3D restoration made better in the TCL Chinese Theater in Hollywood (formerly Grauman's) which shows the classic film in the "movie palace" sort of mentality it played in originally.
There was a point where I was watching and became so absorbed in the visuals, it was hard to draw myself out. The 3D works marvelously here, giving you depth and adding a layer to the already incredible cinematography. The moment where Dorothy first steps into the world of color, and we are taken on long shots exploring this land, has to sit among the finest movie moments ever and in this setting it shines.
Judy Garland makes you love her in one second flat. She has such a wit, a charm, and a bounce to her that her success is all you want. Her eyes paint a thousand pictures and her voice is wonderful. Even after all these years, this is one of the more commanding performances committed to film.
The supporting cast do their parts and well, laughs abound, and the moral hits home with the same intensity it must have prior. I love this film from a film standpoint, and the kid I was loves this film as well. If you miss seeing this in IMAX 3D, no matter where you are, you will have missed out and big. This is an experience you will remember forever, and love.
I won't be counting this as a best film of the year due to its nature as a re-release, but man, they nailed this. It is a flawless and stunning 3D restoration made better in the TCL Chinese Theater in Hollywood (formerly Grauman's) which shows the classic film in the "movie palace" sort of mentality it played in originally.
There was a point where I was watching and became so absorbed in the visuals, it was hard to draw myself out. The 3D works marvelously here, giving you depth and adding a layer to the already incredible cinematography. The moment where Dorothy first steps into the world of color, and we are taken on long shots exploring this land, has to sit among the finest movie moments ever and in this setting it shines.
Judy Garland makes you love her in one second flat. She has such a wit, a charm, and a bounce to her that her success is all you want. Her eyes paint a thousand pictures and her voice is wonderful. Even after all these years, this is one of the more commanding performances committed to film.
The supporting cast do their parts and well, laughs abound, and the moral hits home with the same intensity it must have prior. I love this film from a film standpoint, and the kid I was loves this film as well. If you miss seeing this in IMAX 3D, no matter where you are, you will have missed out and big. This is an experience you will remember forever, and love.
Saturday, September 21, 2013
Prisoners (2013) Review
4.5/5
This is a dark, dreary, and oft depressing film with a human touch and a clockmaker's efficiency. The guts that Villeneuve has to make a film that runs over 2 and a half hours with a story that is tough, grisly, violent and bleak are admirable and luckily he has the visual palate and pacing mastery to pull it off. The actors he had in the film helped tremendously.
Hugh Jackman is the man to be. He has an anger in his heart and a violence in his eyes that is never too much; on the contrary, he is convincing and captivating. He is the heart of the film, and it beats with his fury. Jake Gyllenhaal is quite the actor, and I think that Villeneuve is his match. The upcoming Enemy premiered to rave reviews at Toronto where they worked together, and here he extracts a performance that is so internal yet ridiculously powerful that it shakes you. Maria Bello, Terrence Howard, and Viola Davis all turn in star performances as parents grieving their children's abduction.
The score is wonderfully ominous, the script precise and sharp, and the cinematography by Roger Deakins an extraordinary shade of gray and beautifully shot as always.
It's been quite a while since a film was so powerful it could overcome a busted speaker in the theater and an annoying couple behind me who narrated every action in the film. The story leaves you with an immediate pit in your stomach that only worsens as the time passes which establishes it as not only a work of art but an intense filmgoing experience. Rarely has a film so clearly established a "what would you do" premise that leaves you breathless as Prisoners does.
This is an awards contender for sure, especially in the acting categories, and I strongly recommend you seek it out as one of the best films 2013 has had to offer thus far.
This is a dark, dreary, and oft depressing film with a human touch and a clockmaker's efficiency. The guts that Villeneuve has to make a film that runs over 2 and a half hours with a story that is tough, grisly, violent and bleak are admirable and luckily he has the visual palate and pacing mastery to pull it off. The actors he had in the film helped tremendously.
Hugh Jackman is the man to be. He has an anger in his heart and a violence in his eyes that is never too much; on the contrary, he is convincing and captivating. He is the heart of the film, and it beats with his fury. Jake Gyllenhaal is quite the actor, and I think that Villeneuve is his match. The upcoming Enemy premiered to rave reviews at Toronto where they worked together, and here he extracts a performance that is so internal yet ridiculously powerful that it shakes you. Maria Bello, Terrence Howard, and Viola Davis all turn in star performances as parents grieving their children's abduction.
The score is wonderfully ominous, the script precise and sharp, and the cinematography by Roger Deakins an extraordinary shade of gray and beautifully shot as always.
It's been quite a while since a film was so powerful it could overcome a busted speaker in the theater and an annoying couple behind me who narrated every action in the film. The story leaves you with an immediate pit in your stomach that only worsens as the time passes which establishes it as not only a work of art but an intense filmgoing experience. Rarely has a film so clearly established a "what would you do" premise that leaves you breathless as Prisoners does.
This is an awards contender for sure, especially in the acting categories, and I strongly recommend you seek it out as one of the best films 2013 has had to offer thus far.
Thursday, September 19, 2013
Insidious: Chapter 2 (2013) Review
4/5
I know that some people are going to scowl at that grade and wonder if my credibility has been tarnished, and to those people I would like to explain myself.
I loved Insidious. I think it is a witty and terrifying film that transcended what we have come to expect from a horror film. This is not that film.
This is a funnier and more fanciful version of that film, staying away from too much unnecessary silliness, but when they go for it they go for it. It's no mistake that you laugh, because it's humorous. When it wants to, though, it shines: you jump and it terrifies you. This isn't as scary as the first one, but its a completely acceptable and thoroughly entertaining follow-up.
The script is impressive because it gives backstory that is clever and frightening, while acknowledging the overall zaniness of what is going on. I totally bought into the backstory, and I always appreciate clever tie-ins to the first film.
The acting is good, with Wilson pulling most of the weight and Byrne is always talented. The children are good, and the supporting cast does their job as well.
I enjoyed the film very much, consistently invested, and left with a smile on my face. It's a good non-Oscar film in Oscar season, and for that it deserves attention.
I know that some people are going to scowl at that grade and wonder if my credibility has been tarnished, and to those people I would like to explain myself.
I loved Insidious. I think it is a witty and terrifying film that transcended what we have come to expect from a horror film. This is not that film.
This is a funnier and more fanciful version of that film, staying away from too much unnecessary silliness, but when they go for it they go for it. It's no mistake that you laugh, because it's humorous. When it wants to, though, it shines: you jump and it terrifies you. This isn't as scary as the first one, but its a completely acceptable and thoroughly entertaining follow-up.
The script is impressive because it gives backstory that is clever and frightening, while acknowledging the overall zaniness of what is going on. I totally bought into the backstory, and I always appreciate clever tie-ins to the first film.
The acting is good, with Wilson pulling most of the weight and Byrne is always talented. The children are good, and the supporting cast does their job as well.
I enjoyed the film very much, consistently invested, and left with a smile on my face. It's a good non-Oscar film in Oscar season, and for that it deserves attention.
Saturday, September 14, 2013
Rush (2013) Review
4.5/5
In terms of expectation to end result, this is one of the more pleasant experiences I've had in my moviegoing life. I do not believe the trailers look appealing (as sport or as drama) and here, Ron Howard delivers a compelling, captivating, and all-together entertaining film made with finesse and a professional eye.
The acting here is spectacular. Chris Hemsworth, known for playing Thor mostly, is something a powerhouse actor. He commands the screen with his bravado but can nestle safely and securely into the depths of despair. In dramatic scenes, he shines. An Oscar nomination is not entirely out of the question. Daniel Brühl, playing the rival driver Lauda, is spectacular. He is given scenes with more weight than Hemsworth and over-performs. His confidence can be at times snooty yet endearing, and when he is faced with challenges he takes comfort in the risk and is great. The interplay between them, their rivalry, is what brings this movie home. We feel their tension mount and as the audience it can be unclear who to root for, which makes their characters all the more relatable. The supporting cast give incredible turns individually, and make up quite the ensemble.
The script is spot on, giving us quotable lines and straying from cliches when lesser writers would have succumbed to them. The cinematography, editing, and sound design are all stellar and should absolutely be nominated for an Oscar as a perfect complement to the narrative, keeping you involved visually and audibly. And, of course, Ron Howard delivers with pacing and shot selection perfection.
This is a film I recommend to everyone because it is near impossible to dislike. I can't wait to take the drive again.
In terms of expectation to end result, this is one of the more pleasant experiences I've had in my moviegoing life. I do not believe the trailers look appealing (as sport or as drama) and here, Ron Howard delivers a compelling, captivating, and all-together entertaining film made with finesse and a professional eye.
The acting here is spectacular. Chris Hemsworth, known for playing Thor mostly, is something a powerhouse actor. He commands the screen with his bravado but can nestle safely and securely into the depths of despair. In dramatic scenes, he shines. An Oscar nomination is not entirely out of the question. Daniel Brühl, playing the rival driver Lauda, is spectacular. He is given scenes with more weight than Hemsworth and over-performs. His confidence can be at times snooty yet endearing, and when he is faced with challenges he takes comfort in the risk and is great. The interplay between them, their rivalry, is what brings this movie home. We feel their tension mount and as the audience it can be unclear who to root for, which makes their characters all the more relatable. The supporting cast give incredible turns individually, and make up quite the ensemble.
The script is spot on, giving us quotable lines and straying from cliches when lesser writers would have succumbed to them. The cinematography, editing, and sound design are all stellar and should absolutely be nominated for an Oscar as a perfect complement to the narrative, keeping you involved visually and audibly. And, of course, Ron Howard delivers with pacing and shot selection perfection.
This is a film I recommend to everyone because it is near impossible to dislike. I can't wait to take the drive again.
Monday, September 9, 2013
Back To The Action...
Sorry we've been gone. A move, incredibly drastic changes and a complete lack of time have prevented us from posting much of anything. No worries: we're back. And we're back when it counts.
Oscar season, baby. This is it. And 12 Years a Slave is coming. Gravity. Too many to name (check out our most anticipated list by clicking "Lists" above).
We've seen a few films since we've been in the dark, and here's a quick rundown. I have to make sure the review embargo of the other two have been lifted before I offer an opinion.
The Butler- 3/5
Further thoughts can be given if you ask in the comments below. Reviews will be written of films from now on if they have Oscar clout; otherwise, a number will be given as seen above.
Let's go, people. This is it. Back with more soon.
Oscar season, baby. This is it. And 12 Years a Slave is coming. Gravity. Too many to name (check out our most anticipated list by clicking "Lists" above).
We've seen a few films since we've been in the dark, and here's a quick rundown. I have to make sure the review embargo of the other two have been lifted before I offer an opinion.
The Butler- 3/5
Further thoughts can be given if you ask in the comments below. Reviews will be written of films from now on if they have Oscar clout; otherwise, a number will be given as seen above.
Let's go, people. This is it. Back with more soon.
Saturday, August 31, 2013
Life #7: Oscar Season Approaches...
Gravity has premiered to rave reviews. Inside Llewyn Davis has premiered to rave reviews. 12 Years a Slave has premiered to rave reviews. Prisoners, All is Lost, and Blue is the Warmest Color the same. Scorsese, Jonze, Greengrass, Stiller, and Russell all have one on the way. Get pumped, it's here.
Friday, August 23, 2013
Ben Affleck is our new Batman
It was announced today that Ben Affleck is our new Batman for the upcoming 2015 release Batman vs. Superman. This is a choice I was not expecting, however I think he is a fine choice and will be able to bring his momentum as of late to this sure-to-be blockbuster. What are your thoughts?
Sunday, August 11, 2013
Elysium (2013) Review
3.5/5
This is an entertaining and often thrilling look at a bleak future for the world, complete with great acting and fantastic visuals. It also, however, has an agenda that requires a bit of conversation.
The visuals are arguably the best of the year, along with Pacific Rim. I'm a sucker for futuristic or CGI visuals implemented into a film over very rugged and real-looking settings. Add a handheld camera, and I'm sold. The director of this film helmed the previous Best Picture nominee District 9, and here, Neill Blomkamp uses the same visual panache to tell an even darker story. More on that in a minute. To sum it up, the visuals rock and keep you engaged the entire time.
Matt Damon is just the man for this film, as he successfully portrays a man driven by the will to live and alternately by the love of his life. His pain is palpable, his stress exudes tension, and we root for him from the opening frame. He has a working-man kind of humble sensibility about him that the audience wants to see succeed. Jodie Foster is great here as the brains behind the villainy, and Sharlto Copley is incredibly fierce as the brawn of the enemy. This is not the same Copley you will remember from District 9, and that fact makes him all the better of an actor.
This is a bleak, violent, and dark (sometimes darkly comical) look at what the United States will be in the year 2154. In a nutshell, it's not pretty. The privileged live on Elysium, a "habitat" above Earth, and the poor slubs who can't afford it live on Earth. It is an intriguing premise, but it also sets up a hole that it proved too ambitious to crawl out of. Aside from the lull in the second act, there is an issue here that prevented me from going higher than 3.5/5.
I appreciate a film with enough gall to stick with a political agenda so prevalent in today's world and integrate it into a story where it benefits from both the characters and the plot, as long as it is done subtly. Here, they just about paint their agenda onto a sledgehammer and pulverize your face with it. I was so invested in the story and the film itself, that I found myself a little turned off when I realized it was a device used to make me agree with their side. All politics aside, I don't believe that a film should do that.
Did it ruin the film? Not at all; on the contrary, you should seek it out as it's a hell of a good time. Enough of a good time to look past the agenda and just enjoy the film.
This is an entertaining and often thrilling look at a bleak future for the world, complete with great acting and fantastic visuals. It also, however, has an agenda that requires a bit of conversation.
The visuals are arguably the best of the year, along with Pacific Rim. I'm a sucker for futuristic or CGI visuals implemented into a film over very rugged and real-looking settings. Add a handheld camera, and I'm sold. The director of this film helmed the previous Best Picture nominee District 9, and here, Neill Blomkamp uses the same visual panache to tell an even darker story. More on that in a minute. To sum it up, the visuals rock and keep you engaged the entire time.
Matt Damon is just the man for this film, as he successfully portrays a man driven by the will to live and alternately by the love of his life. His pain is palpable, his stress exudes tension, and we root for him from the opening frame. He has a working-man kind of humble sensibility about him that the audience wants to see succeed. Jodie Foster is great here as the brains behind the villainy, and Sharlto Copley is incredibly fierce as the brawn of the enemy. This is not the same Copley you will remember from District 9, and that fact makes him all the better of an actor.
This is a bleak, violent, and dark (sometimes darkly comical) look at what the United States will be in the year 2154. In a nutshell, it's not pretty. The privileged live on Elysium, a "habitat" above Earth, and the poor slubs who can't afford it live on Earth. It is an intriguing premise, but it also sets up a hole that it proved too ambitious to crawl out of. Aside from the lull in the second act, there is an issue here that prevented me from going higher than 3.5/5.
I appreciate a film with enough gall to stick with a political agenda so prevalent in today's world and integrate it into a story where it benefits from both the characters and the plot, as long as it is done subtly. Here, they just about paint their agenda onto a sledgehammer and pulverize your face with it. I was so invested in the story and the film itself, that I found myself a little turned off when I realized it was a device used to make me agree with their side. All politics aside, I don't believe that a film should do that.
Did it ruin the film? Not at all; on the contrary, you should seek it out as it's a hell of a good time. Enough of a good time to look past the agenda and just enjoy the film.
Saturday, August 10, 2013
Top 10 Most Anticipated Oscar Season Films of 2013
Well, we are just about getting to it. The fall festival circuit kind of begins in Venice but really starts in Toronto, and with that it is generally accepted that the first day of TIFF is also the first official date of Oscar season. That date, ladies and gentlemen, is September 5th. Start your engines.
Here, LCA Film presents our top 10 most anticipated films of Oscar season. Most have serious awards prospects, and all have the pedigree to become instant classics. This is one of the more exciting posts we write, because it is becoming more and more real: the heartbeat of the Academy Awards is audible, and there are few things so exciting. Let's start our Oscar season here at LCA Film with this article, and we will start this article at #10. Keep in mind that this was a very difficult list to compile, and I would see any one of these at any given time if given the opportunity.
10. The Monuments Men- With a cast that includes Murray, Clooney, Blanchett, Damon, Dujardin and Goodman you scream "Oscar!" Hopefully, it'll be as good as it's heist-driven plot insinuates. Directed by Clooney, this has a real shot at Oscar in multiple categories. I'm not sure if it could bring in the gold, but the season is oh so young. My head says "yes," but my gut is wary. In any case, I'll be on line opening night.
9. August: Osage County- This has Meryl Streep. Oscar. This has Julia Roberts. Oscar. This is based on a universally loved play and has a supporting cast to make you cry with joy. Oscar. Drugs and death are involved. Oscar. Also, these are all reasons why I want to see this as well. It is a powerhouse of talent and will certainly move most audience members to tears.
8. The Counselor- Cormac McCarthy wrote No Country for Old Men (my second favorite movie ever), and wrote this script. I instantly want to see it. It's directed by Ridley Scott and stars one of my favorite actors working today: Michael Fassbender. Brad Pitt, Cameron Diaz, Javier Bardem and Penelope Cruz are all fantastic. I can't wait for this, truly.
7. American Hustle- David O. Russell is on an incredible hot streak and he assembled a hell of a cast for this film. I loved Silver Linings Playbook so much, and it surprised how Russell could tap into the genuine emotions of his characters. Add to the mix that the recently released trailer for this looks like a load of fun, and I am in 100%.
6. The Secret Life of Walter Mitty- I was absolutely floored by this trailer. For 2 minutes and 30 seconds I was transported, engulfed in a beautiful and fantastical world crafted by a master. Did I mention it was directed by Ben Stiller? I can't wait to spend more time in this world, and a wonderfully crafted world at that.
5. Inside Llewyn Davis- The Coen Brothers. That is all.
4. Her- Spike Jonze is one of the most underrated directors working today. His name rarely comes up in a conversations on the "greats" and it most certainly should; his body of work is more than enough proof at his insane creative talent. This movie, as evidenced by the trailer, will make you feel something in a totally unique way. Also, one of the best actors ever, Joaquin Phoenix, is the lead actor. What's there not to like?
3. The Wolf of Wall Street- I'll see anything done by Scorsese, and I'll see anything with DiCaprio, so I will certainly be first on line to see something with the both of them involved. The trailer promises zany fun with a necessary layer of drama, and a film that will be remembered for years to come.
2. Gravity- Alfonso Cuaron shooting in 3D with Sandra Bullock and George Clooney about getting lost in space that promises to be unlike anything that anyone has ever seen before? This is not just going to be a film, but a cinematic experience unlike any other and one that may very well put 3D back into the conversation of serious cinema.
1. 12 Years a Slave- Steve McQueen is one of the most brutal directors working today; his honesty with the camera leaves an audience torn and scathed yet changed and fulfilled. Shame was a masterpiece, Hunger was incredibly brave, and this looks to be a challenging yet masterful combination of the two. The cast (Fassbender, Pitt, Ejiofor, and Dano among others) will shine, and McQueen's steady yet unforgiving hand will force us into what will certainly be one of the best films of the year.
Here, LCA Film presents our top 10 most anticipated films of Oscar season. Most have serious awards prospects, and all have the pedigree to become instant classics. This is one of the more exciting posts we write, because it is becoming more and more real: the heartbeat of the Academy Awards is audible, and there are few things so exciting. Let's start our Oscar season here at LCA Film with this article, and we will start this article at #10. Keep in mind that this was a very difficult list to compile, and I would see any one of these at any given time if given the opportunity.
10. The Monuments Men- With a cast that includes Murray, Clooney, Blanchett, Damon, Dujardin and Goodman you scream "Oscar!" Hopefully, it'll be as good as it's heist-driven plot insinuates. Directed by Clooney, this has a real shot at Oscar in multiple categories. I'm not sure if it could bring in the gold, but the season is oh so young. My head says "yes," but my gut is wary. In any case, I'll be on line opening night.
9. August: Osage County- This has Meryl Streep. Oscar. This has Julia Roberts. Oscar. This is based on a universally loved play and has a supporting cast to make you cry with joy. Oscar. Drugs and death are involved. Oscar. Also, these are all reasons why I want to see this as well. It is a powerhouse of talent and will certainly move most audience members to tears.
8. The Counselor- Cormac McCarthy wrote No Country for Old Men (my second favorite movie ever), and wrote this script. I instantly want to see it. It's directed by Ridley Scott and stars one of my favorite actors working today: Michael Fassbender. Brad Pitt, Cameron Diaz, Javier Bardem and Penelope Cruz are all fantastic. I can't wait for this, truly.
7. American Hustle- David O. Russell is on an incredible hot streak and he assembled a hell of a cast for this film. I loved Silver Linings Playbook so much, and it surprised how Russell could tap into the genuine emotions of his characters. Add to the mix that the recently released trailer for this looks like a load of fun, and I am in 100%.
6. The Secret Life of Walter Mitty- I was absolutely floored by this trailer. For 2 minutes and 30 seconds I was transported, engulfed in a beautiful and fantastical world crafted by a master. Did I mention it was directed by Ben Stiller? I can't wait to spend more time in this world, and a wonderfully crafted world at that.
5. Inside Llewyn Davis- The Coen Brothers. That is all.
4. Her- Spike Jonze is one of the most underrated directors working today. His name rarely comes up in a conversations on the "greats" and it most certainly should; his body of work is more than enough proof at his insane creative talent. This movie, as evidenced by the trailer, will make you feel something in a totally unique way. Also, one of the best actors ever, Joaquin Phoenix, is the lead actor. What's there not to like?
3. The Wolf of Wall Street- I'll see anything done by Scorsese, and I'll see anything with DiCaprio, so I will certainly be first on line to see something with the both of them involved. The trailer promises zany fun with a necessary layer of drama, and a film that will be remembered for years to come.
2. Gravity- Alfonso Cuaron shooting in 3D with Sandra Bullock and George Clooney about getting lost in space that promises to be unlike anything that anyone has ever seen before? This is not just going to be a film, but a cinematic experience unlike any other and one that may very well put 3D back into the conversation of serious cinema.
1. 12 Years a Slave- Steve McQueen is one of the most brutal directors working today; his honesty with the camera leaves an audience torn and scathed yet changed and fulfilled. Shame was a masterpiece, Hunger was incredibly brave, and this looks to be a challenging yet masterful combination of the two. The cast (Fassbender, Pitt, Ejiofor, and Dano among others) will shine, and McQueen's steady yet unforgiving hand will force us into what will certainly be one of the best films of the year.
Friday, August 9, 2013
The Spectacular Now (2013) Review
3.5/5
I am the age that is depicted in this film, so my take it could be different from others that you may have read.
The acting from Miles Teller and Shailene Woodley is outstanding. These characters are believable in their relationship, and when they have conversations one on one they appear to be real life friends falling in love. The lives that they live outside of each other is where I found a problem. The script seems to find a bravery within their love that I wish it sustained throughout the rest of its running time. For most of the runtime, while these two fall for each other, I was hooked. I am not big on romantic film but this romance rang so true it was hard to ignore. Kyle Chandler is a scene-stealer in a role I won't give away, and the supporting cast carries their weight.
The relationships between the high schoolers are relationships I had throughout my high school experience. I wish I was able to view my experience from grades 9-12 like a movie so I could see, like I did in this film, where the happiness and trouble would come from. There is a disconnect between the brain and the heart that is well documented in this film, and it's made clear which the filmmakers intend you follow the next time such a decision needs to be made. Unfortunately, the plot moves into formulaic territory by the end of this film, and I wish it had the nerve to do what wasn't expected. I was rooting for the ending, but I have to think there may have been a more gorundbreaking way to do it that falls in line with the rest of this anything-but-ordinary film.
There were a lot of parts to this film that made me shiver with familiarity. In relationships, this film hits it out of the park. In terms of plot and extraneous story-lines this isn't the way that high schoolers live, or maybe just not the way that I've seen. There is a certain cinematic flourish added to this story that kept me from completely giving in to the relatable nature of the characters. I am still waiting to see a film that every teenager in the world can watch and feel like they have been exposed on the screen. A few have come close, but I still think that film needs to be made. This is still a film worth seeing, because when Teller and Woodley are on screen, they click in a way that makes you fall in love all over again.
I am the age that is depicted in this film, so my take it could be different from others that you may have read.
The acting from Miles Teller and Shailene Woodley is outstanding. These characters are believable in their relationship, and when they have conversations one on one they appear to be real life friends falling in love. The lives that they live outside of each other is where I found a problem. The script seems to find a bravery within their love that I wish it sustained throughout the rest of its running time. For most of the runtime, while these two fall for each other, I was hooked. I am not big on romantic film but this romance rang so true it was hard to ignore. Kyle Chandler is a scene-stealer in a role I won't give away, and the supporting cast carries their weight.
The relationships between the high schoolers are relationships I had throughout my high school experience. I wish I was able to view my experience from grades 9-12 like a movie so I could see, like I did in this film, where the happiness and trouble would come from. There is a disconnect between the brain and the heart that is well documented in this film, and it's made clear which the filmmakers intend you follow the next time such a decision needs to be made. Unfortunately, the plot moves into formulaic territory by the end of this film, and I wish it had the nerve to do what wasn't expected. I was rooting for the ending, but I have to think there may have been a more gorundbreaking way to do it that falls in line with the rest of this anything-but-ordinary film.
There were a lot of parts to this film that made me shiver with familiarity. In relationships, this film hits it out of the park. In terms of plot and extraneous story-lines this isn't the way that high schoolers live, or maybe just not the way that I've seen. There is a certain cinematic flourish added to this story that kept me from completely giving in to the relatable nature of the characters. I am still waiting to see a film that every teenager in the world can watch and feel like they have been exposed on the screen. A few have come close, but I still think that film needs to be made. This is still a film worth seeing, because when Teller and Woodley are on screen, they click in a way that makes you fall in love all over again.
How Much? Box Office Predictions- August 9-11
This week sees the release of four new motion pictures: Elysium, We're the Millers, Planes, and Percy Jackson: Sea of Monsters. Which will take first? LCA Film is taking Matt Damon and the director of hit District 9 to the top, followed by the movie Disney originally planned to release straight-to-DVD. Blue Jasmine and The Spectacular Now (review coming tomorrow) should expand nicely. The reviews available on LCA Film can be found by clicking the "Review" tab. Here are the weekend's predictions:
1. Elysium- $36.5 million
2. We're the Millers- $28.7 million
3. Planes- $24.1 million
4. Percy Jackson: Sea of Monsters- $17.4 million
5. 2 Guns- $16.3 million
6. The Wolverine- $11.2 million
7. The Smurfs 2- $8.6 million
8. The Conjuring- $8.4 million
9. Despicable Me 2- $6.2 million
10. Grown Ups 2- $4.3 million
1. Elysium- $36.5 million
2. We're the Millers- $28.7 million
3. Planes- $24.1 million
4. Percy Jackson: Sea of Monsters- $17.4 million
5. 2 Guns- $16.3 million
6. The Wolverine- $11.2 million
7. The Smurfs 2- $8.6 million
8. The Conjuring- $8.4 million
9. Despicable Me 2- $6.2 million
10. Grown Ups 2- $4.3 million
Thursday, August 8, 2013
We're the Millers (2013) Review
3.5/5
This is one of the most pleasantly surprising films of the summer, if not the year.
The laughs roll in one after the other, with what I would call a 3:1 hit to miss ratio, and enough crazy antics to satisfy an audience member just looking to be entertained.
This is not a film meant for Oscars, but a film meant to keep you laughing and make you like these characters who really have no business being liked.
Jason Sudeikis is a fantastic leading man who keeps up the energy and gives us someone to root for. Jennifer Aniston has amazing talent and somehow manages to elevate films like this above what they would otherwise be. Emma Roberts is convincing and has one of the more realistic character arcs, but Will Poulter damn near steals the show with his oft confused look and deadpan delivery. Ed Helms is always welcome in any capacity. Nick Offerman is a tad underused here, as his expressions alone are classic (you may know him as Ron Swanson in the television series Parks and Recreation).
Normally, any amount of sentimentality in a comedy such as this is an instant turn-off, but there is something honest about the beginning snapshots into "tell-a-message" land that I didn't mind. By the end of the film, there are just about slapping you in the face with it.
There is enough raw comedy here to please just about everyone, and a post-credit blooper is well worth the price of admission alone. The characters here are so likable, I must admit I would be happy to see them again.
This is one of the most pleasantly surprising films of the summer, if not the year.
The laughs roll in one after the other, with what I would call a 3:1 hit to miss ratio, and enough crazy antics to satisfy an audience member just looking to be entertained.
This is not a film meant for Oscars, but a film meant to keep you laughing and make you like these characters who really have no business being liked.
Jason Sudeikis is a fantastic leading man who keeps up the energy and gives us someone to root for. Jennifer Aniston has amazing talent and somehow manages to elevate films like this above what they would otherwise be. Emma Roberts is convincing and has one of the more realistic character arcs, but Will Poulter damn near steals the show with his oft confused look and deadpan delivery. Ed Helms is always welcome in any capacity. Nick Offerman is a tad underused here, as his expressions alone are classic (you may know him as Ron Swanson in the television series Parks and Recreation).
Normally, any amount of sentimentality in a comedy such as this is an instant turn-off, but there is something honest about the beginning snapshots into "tell-a-message" land that I didn't mind. By the end of the film, there are just about slapping you in the face with it.
There is enough raw comedy here to please just about everyone, and a post-credit blooper is well worth the price of admission alone. The characters here are so likable, I must admit I would be happy to see them again.
Monday, August 5, 2013
How Much? Box Office Results- August 2-4
The family dollar couldn't trump the charm of Denzel and Mark. Woody Allen's latest did phenomenally with $2 million in 50 theaters, and the now is spectacular for The Spectacular Now as it grossed $200,000 is just 4 theaters. Th Wolverine held much better than his last solo outing, and it is incredible to watch The Conjuring keep trucking along. You can find our available reviews by clicking the "Review" tab above. Here are the results:
1. 2 Guns- $27.4 million
2. The Wolverine- $21.7 million
3. The Smurfs 2- $18.7 million
4. The Conjuring- $13.7 million
5. Despicable Me 2- $10.4 million
6. Grown Ups 2- $8.1 million
7. Turbo- $6.4 million
8. Red 2- $5.7 million
9. The Heat- $4.7 million
10. Pacific Rim- $4.6 million
There you have it, folks! Did you see any of the films this weekend? What did you think?
1. 2 Guns- $27.4 million
2. The Wolverine- $21.7 million
3. The Smurfs 2- $18.7 million
4. The Conjuring- $13.7 million
5. Despicable Me 2- $10.4 million
6. Grown Ups 2- $8.1 million
7. Turbo- $6.4 million
8. Red 2- $5.7 million
9. The Heat- $4.7 million
10. Pacific Rim- $4.6 million
There you have it, folks! Did you see any of the films this weekend? What did you think?
Sunday, August 4, 2013
Batman vs. Superman... Who should fill Bruce Wayne's shoes?
Warner Brothers and DC Comics announced a 2015 feature starring Batman and Superman to be called either Batman vs. Superman or Batman & Superman. Henry Cavill is taking over Superman as he did in Man of Steel, but the internet is ablaze at the moment because nobody know who is going to play the legendary Batman (AKA who wants to fill Christian Bale's shoes). Comment below with your thoughts! Here are some options from LCA Film:
1. Jason Clarke- He proved he can be good-guy badass with Zero Dark Thirty, and bad-guy badass with White House Down. Let the man just be an overall badass Batman.
2. Guy Pearce- He has the look and can do gnarly roles like this pretty well. He would bring an emotional weight to Batman as well.
3. Christian Bale- The studios definitely want him back, and he said he's not doing it. This would be great though because he is the man who carried all three of Nolan's blockbuster films and he did perfectly.
4. Unknown Actor- It may not fill the seats like Bale did, so this is probably not going to happen. But audiences may appreciate seeing someone in the role who is talented yet acting on screen for the first time so there are no preconceived notions of what they should be doing.
Remember, comment below with your casting thoughts!
1. Jason Clarke- He proved he can be good-guy badass with Zero Dark Thirty, and bad-guy badass with White House Down. Let the man just be an overall badass Batman.
2. Guy Pearce- He has the look and can do gnarly roles like this pretty well. He would bring an emotional weight to Batman as well.
3. Christian Bale- The studios definitely want him back, and he said he's not doing it. This would be great though because he is the man who carried all three of Nolan's blockbuster films and he did perfectly.
4. Unknown Actor- It may not fill the seats like Bale did, so this is probably not going to happen. But audiences may appreciate seeing someone in the role who is talented yet acting on screen for the first time so there are no preconceived notions of what they should be doing.
Remember, comment below with your casting thoughts!
Saturday, August 3, 2013
2 Guns (2013) Review
3/5
It is hard to critique a film when it accomplishes its mission to entertain and be over-the-top. Luckily, this film hits the mark, due in large part to its charismatic and talented stars Denzel Washington and Mark Wahlberg.
When these actors are on screen, it is impossible to dislike them. They have wit, and they play off each other effortlessly. It makes for an enjoyable time at the cinema just to watch these two joke with each other, out-do each other, and fight with each other (and others). The rest of the cast does well also; Paula Patton, James Marsden, Edward James Olmos, and Bill Paxton each do their part and give fun, sometimes zany performances.
That the direction is quick and light on its feet is a bonus, and the editing keeps things tight and well-put together. The plot has some holes, however, but it doesn't really ruin the entertainment value. This isn't a perfect film, but it is a perfect late-summer action comedy.
It is my opinion that any film featuring Washington and Wahlberg shooting up a cartel back to back as they are showered in $100 bills that are on fire is worth the price of admission. This will leave you with a smile on your face and a few memorable lines, which is sometimes all you need.
It is hard to critique a film when it accomplishes its mission to entertain and be over-the-top. Luckily, this film hits the mark, due in large part to its charismatic and talented stars Denzel Washington and Mark Wahlberg.
When these actors are on screen, it is impossible to dislike them. They have wit, and they play off each other effortlessly. It makes for an enjoyable time at the cinema just to watch these two joke with each other, out-do each other, and fight with each other (and others). The rest of the cast does well also; Paula Patton, James Marsden, Edward James Olmos, and Bill Paxton each do their part and give fun, sometimes zany performances.
That the direction is quick and light on its feet is a bonus, and the editing keeps things tight and well-put together. The plot has some holes, however, but it doesn't really ruin the entertainment value. This isn't a perfect film, but it is a perfect late-summer action comedy.
It is my opinion that any film featuring Washington and Wahlberg shooting up a cartel back to back as they are showered in $100 bills that are on fire is worth the price of admission. This will leave you with a smile on your face and a few memorable lines, which is sometimes all you need.
Friday, August 2, 2013
Spike Lee & Kickstarter: An Opinion
Titled "The Newest Hottest Spike Lee Joint," Spike Lee has initiated a huge deal of controversy with both supporters and naysayers taking to the social media streets and voicing their opinions on this new Kickstarter campaign. Allow us here at LCA Film to do the same.
Spike Lee is one of the most influential and important filmmakers in cinematic history. Do The Right Thing, Malcolm X, and Jungle Fever are examples of his more talked about fare, and one can see why; blending visual panache with societal undertones is no easy feat and Lee pulls it off effortlessly. In terms of credibility, there is no question of his reach and power.
There seems to be a common thread among the "haters" (as Lee put it) of this crowdfunding campaign: "Why, in his wealth, does he need me to help him fund this movie?" It's not about needing the money, but where the money is coming from. Us. The fans. And not just fans of his, but fans of cinema. In his initial campaign update, he writes about how Hollywood cranks out blockbuster moneymakers but audiences want more than that. While an explosion fest is a good time, it is true; the cinema that sustains and that proven to pass the test of time have good and relatable characters, beautiful cinematography, and a worthwhile story to tell that is told with an artist's touch. Lee has proven he can do that.
Another thing about the campaign that I love is the lack of detail on the film. This is the full synopsis as of now: "Human beings who are addicted to blood. Funny, sexy, and bloody (and it's not "Blacula")..." When questioned on the lack of plot, he replied "It's a THRILLER." What this tells us is that he is concerned with good-old fashioned storytelling. No leaks, no spoilers, no nothing. He wants us to trust him and give him our money in order to make this film, and we are behind him 100%. I backed the film with no reservation. So did Steven Soderbergh, showing yet again that he truly cares about good cinema moving forward, with a $10,000 pledge that buys him dinner and a Knicks game with Lee in his court-side seats (and over 25 other people have pledged the $10,000 as well). Yes, there are prizes for pledging and most of them are worthwhile. A Knicks game, a day in the editing room, a smorgasbord of signed memorabilia...the list goes on and on.
It is exciting when a filmmaker (and Lee describes himself as an "indie filmmaker") experiments with the changing times and pulls something like this. We are just hoping he can pull it off before the end of the campaign so we can see the film that will certainly generate a massive amount of buzz upon its release. If history tells us anything, it'll be damn good as well.
Spike Lee is one of the most influential and important filmmakers in cinematic history. Do The Right Thing, Malcolm X, and Jungle Fever are examples of his more talked about fare, and one can see why; blending visual panache with societal undertones is no easy feat and Lee pulls it off effortlessly. In terms of credibility, there is no question of his reach and power.
There seems to be a common thread among the "haters" (as Lee put it) of this crowdfunding campaign: "Why, in his wealth, does he need me to help him fund this movie?" It's not about needing the money, but where the money is coming from. Us. The fans. And not just fans of his, but fans of cinema. In his initial campaign update, he writes about how Hollywood cranks out blockbuster moneymakers but audiences want more than that. While an explosion fest is a good time, it is true; the cinema that sustains and that proven to pass the test of time have good and relatable characters, beautiful cinematography, and a worthwhile story to tell that is told with an artist's touch. Lee has proven he can do that.
Another thing about the campaign that I love is the lack of detail on the film. This is the full synopsis as of now: "Human beings who are addicted to blood. Funny, sexy, and bloody (and it's not "Blacula")..." When questioned on the lack of plot, he replied "It's a THRILLER." What this tells us is that he is concerned with good-old fashioned storytelling. No leaks, no spoilers, no nothing. He wants us to trust him and give him our money in order to make this film, and we are behind him 100%. I backed the film with no reservation. So did Steven Soderbergh, showing yet again that he truly cares about good cinema moving forward, with a $10,000 pledge that buys him dinner and a Knicks game with Lee in his court-side seats (and over 25 other people have pledged the $10,000 as well). Yes, there are prizes for pledging and most of them are worthwhile. A Knicks game, a day in the editing room, a smorgasbord of signed memorabilia...the list goes on and on.
It is exciting when a filmmaker (and Lee describes himself as an "indie filmmaker") experiments with the changing times and pulls something like this. We are just hoping he can pull it off before the end of the campaign so we can see the film that will certainly generate a massive amount of buzz upon its release. If history tells us anything, it'll be damn good as well.
We have our OSCAR HOST!
For the second time, Ellen DeGeneres will serve as this year's host for the Academy Awards ceremony, insuring a night of witty observations and improvisational observations. I, for one, think this is a great choice. Even if the recipients of the awards are disagreeable, I think DeGeneres will keep the night moving.
LCA Film is on Twitter! @LCA_Film
@LCA_Film
Follow at the above Twitter name for reviews, box office news, awards predictions, best/worst lists, and things from around the web worth sharing.
Follow today for up-to-date offerings, and some shorter thoughts that may not call for a whole post on the site! This is a big step toward completing the full LCA Film social media experience, so stay involved!
Follow at the above Twitter name for reviews, box office news, awards predictions, best/worst lists, and things from around the web worth sharing.
Follow today for up-to-date offerings, and some shorter thoughts that may not call for a whole post on the site! This is a big step toward completing the full LCA Film social media experience, so stay involved!
Thursday, August 1, 2013
How Much? Box Office Predictions- August 2-4
The summer's final month has come and now we see if 2013 will truly attain the "summer to match" title it seems to be striving for. 2 Guns, The Smurfs 2, and The Spectacular Now all try to make a name for themselves while The Wolverine tries not to tumble too far and Blue Jasmine should expand nicely. Most people see family film with a franchise and think #1 but I'm going a slightly different direction. As always, the available reviews are posted with much more soon to come, (except The Smurfs 2). Let's have a gander at the predictions:
1. 2 Guns- $32 million (Review: Coming Soon)
2. The Smurfs 2- $23 million (I am not reviewing this one)
3. The Wolverine- $22.7 million (Review: Coming Soon)
4. The Conjuring- $16.3 million (Review)
5. Despicable Me 2- $11.6 million (Review)
6. Turbo- $9 million (Review)
7. Grown Ups 2- $5.3 million (Review)
8. Red 2- $5 million (Review)
9. Pacific Rim- $4.8 million (Review)
10. The Heat- $3.4 million (Review)
LIMITED RELEASE
Blue Jasmine- $1.2 million (Review)
The Spectacular Now- $340,000 (Review: Coming Soon)
1. 2 Guns- $32 million (Review: Coming Soon)
2. The Smurfs 2- $23 million (I am not reviewing this one)
3. The Wolverine- $22.7 million (Review: Coming Soon)
4. The Conjuring- $16.3 million (Review)
5. Despicable Me 2- $11.6 million (Review)
6. Turbo- $9 million (Review)
7. Grown Ups 2- $5.3 million (Review)
8. Red 2- $5 million (Review)
9. Pacific Rim- $4.8 million (Review)
10. The Heat- $3.4 million (Review)
LIMITED RELEASE
Blue Jasmine- $1.2 million (Review)
The Spectacular Now- $340,000 (Review: Coming Soon)
Museum Hours (2013) Review
4/5
This is not so much a narrative film as it is an art piece reflecting the world upon which it is set: an art museum in Vienna. Jem Cohen (serving as director, writer, cinematographer, editor and producer) has crafted a story in which each and every shot serves as a kind of moving portrait, and the eye searches vigorously around the frame to pick up every hidden and wonderful detail, akin to how one would treat a painting. It is a truly stunning cinematic feat to construct each frame with an artist's delicate touch and fill it with the beauty of a thousand brushstrokes.
The film, essentially, is like walking through a museum. We stop at each frame for sometimes a minute or two, and we look around it as we bathe in its overreaching glow. The beauty of it is that, within each frame, Cohen has populated the space with enough to keep the mind stimulated and the eye lively. Then, every so often as the mood shifts or the theme transitions, we cut to black and simulate the walking period between pictures as we stroll through this particular exhibit.
The cinematography, as if it had to be said, is stunning. Mary Margaret O'Hara, Bobby Sommer, and Ela Piplits put in very natural performances and help create this world and give it an emotional weight. They bounce off each other with calm elegance, and appear to have been living as these characters for many years. I do feel that the film could have been 15-20 minutes shorter and have gotten the same, if not greater effect. In any case, it is cinematically brilliant as is and is worth your seeking it out.
I would like to close by briefly discussing one moment in the film. It isn't a spoiler, however if you wish for your experience to be completely untainted you should stop reading now.
As the visitors of the museum in Vienna stroll through and watch, we watch them. It is an odd, almost surreal moment of tasteful visual eavesdropping, until the camera pans out and we see that each of these patrons are naked, completely, much like the subjects they look at. This is the moment where it is made most clear that the film is a museum of its own: we are looking in on this living artwork, in this time, in the present moment, as the subjects pose to inspect a painting or judge a sculpture. It is one of the most breathtakingly brave, gorgeous, and philosophical moments in any film this year. This moment alone is worth the price of admission, and the experience as a whole is one to be had in a theater.
Tuesday, July 30, 2013
Blue Jasmine (2013) Review
3.5/5
Should you buy a ticket? Yes. However, there are a few things to keep in mind. This is not your typical Woody Allen film. There is very little comedy (but the comedy that does exist works) and it moves at a pace I didn't quite settle in with. I was surprised to feel, upon the conclusion, a bit of an emptiness toward the film, but perhaps that was the point. It tells a story, a full and complete and, of course, superbly told story, yet I didn't connect with it on a level I felt I should have. I did enjoy it, and heartily recommend it. The best aspect of the film, however, is another entity entirely.
Cate Blanchett. Wow. Wow, wow, wow. Wow. Wow. Wow. Wow. I forgot I was watching an actress in this role as she completely melts into the script and the character and becomes Jasmine. She is a true chameleon, a true artist, and here, as her descent into madness is slowly surely occurring and documented with precision she shines and establishes herself not merely as the frontrunner for the Best Actress Oscar, but as one of the best actresses of our generation if not ever. She has proven herself time and time again and this time she outdoes herself and makes you believe that she herself is an unstable and unpredictable, somewhat crazed yet always human woman. Wow is right.
The supporting characters all play their parts very well. Alec Baldwin turns in a brave performance, Sally Hawkins is cheery and depressed all at once with skill, Bobby Cannavale is convincing, Peter Sarsgaard is always welcome, Louis C.K. is good yet tragically underused, and Andrew Dice Clay will surprise you with his ability to pull at your heartstrings. The cast rocks.
Woody Allen, one of the most important filmmakers of all time, is worthy of praise here. He has written characters that resonate and a story that is relevant and moves quickly. I do hope you seek out this film, as it has so many positive attributes it is not to be ignored.
Should you buy a ticket? Yes. However, there are a few things to keep in mind. This is not your typical Woody Allen film. There is very little comedy (but the comedy that does exist works) and it moves at a pace I didn't quite settle in with. I was surprised to feel, upon the conclusion, a bit of an emptiness toward the film, but perhaps that was the point. It tells a story, a full and complete and, of course, superbly told story, yet I didn't connect with it on a level I felt I should have. I did enjoy it, and heartily recommend it. The best aspect of the film, however, is another entity entirely.
Cate Blanchett. Wow. Wow, wow, wow. Wow. Wow. Wow. Wow. I forgot I was watching an actress in this role as she completely melts into the script and the character and becomes Jasmine. She is a true chameleon, a true artist, and here, as her descent into madness is slowly surely occurring and documented with precision she shines and establishes herself not merely as the frontrunner for the Best Actress Oscar, but as one of the best actresses of our generation if not ever. She has proven herself time and time again and this time she outdoes herself and makes you believe that she herself is an unstable and unpredictable, somewhat crazed yet always human woman. Wow is right.
The supporting characters all play their parts very well. Alec Baldwin turns in a brave performance, Sally Hawkins is cheery and depressed all at once with skill, Bobby Cannavale is convincing, Peter Sarsgaard is always welcome, Louis C.K. is good yet tragically underused, and Andrew Dice Clay will surprise you with his ability to pull at your heartstrings. The cast rocks.
Woody Allen, one of the most important filmmakers of all time, is worthy of praise here. He has written characters that resonate and a story that is relevant and moves quickly. I do hope you seek out this film, as it has so many positive attributes it is not to be ignored.
Sunday, July 28, 2013
How Much? Box Office Results- July 26-28
It's Sunday, and that means its time for the Results portion of the weekly How Much? Box Office game!
The Wolverine made a splash at the box office compared to other films this weekend, but compared to the X-Men series as a whole it was slightly underwhelming. I do think that it means good things, however, for X-Men: Days of Future Past that this film received an A- Cinemascore. The people who saw it liked it and will most likely come back for a second helping in 2014 when the X-Men are reunited. Despicable Me 2 crossed the $300 million mark domestically, which is a huge milestone. The Conjuring held on magnificently well, is a day from passing Paranormal Activity 2 and will almost certainly pass Paranormal Activity 3 at the box office. This horror film (which is great) is doing fantastically well and should spawn a sequel in the near future. Fruitvale Station and The Way, Way Back fared pretty well in their nationwide expansions, but the news indie-wise belongs to Woody Allen's newest feature Blue Jasmine (review coming tomorrow). With a $102,167 per theater average from 6 theaters, this is one to watch and admire for its reception thus far. People (including myself) love Woody Allen and will always turn up for his films. This is Mr. Allen's highest per theater average for an opening weekend of his film yet, a result I'm sure he is happy with.
In terms of my predictions, the order was right up until #9, where I left out R.I.P.D. all together and overshot Fruitvale Station and The Way, Way Back. I went high on The Wolverine, and was within 0.1 million on Grown Ups 2 and The Heat. As always, find reviews to the films I've seen (8 out of 10 with the other 2 coming) linked next to the posted result.
Here are the results:
The Wolverine made a splash at the box office compared to other films this weekend, but compared to the X-Men series as a whole it was slightly underwhelming. I do think that it means good things, however, for X-Men: Days of Future Past that this film received an A- Cinemascore. The people who saw it liked it and will most likely come back for a second helping in 2014 when the X-Men are reunited. Despicable Me 2 crossed the $300 million mark domestically, which is a huge milestone. The Conjuring held on magnificently well, is a day from passing Paranormal Activity 2 and will almost certainly pass Paranormal Activity 3 at the box office. This horror film (which is great) is doing fantastically well and should spawn a sequel in the near future. Fruitvale Station and The Way, Way Back fared pretty well in their nationwide expansions, but the news indie-wise belongs to Woody Allen's newest feature Blue Jasmine (review coming tomorrow). With a $102,167 per theater average from 6 theaters, this is one to watch and admire for its reception thus far. People (including myself) love Woody Allen and will always turn up for his films. This is Mr. Allen's highest per theater average for an opening weekend of his film yet, a result I'm sure he is happy with.
In terms of my predictions, the order was right up until #9, where I left out R.I.P.D. all together and overshot Fruitvale Station and The Way, Way Back. I went high on The Wolverine, and was within 0.1 million on Grown Ups 2 and The Heat. As always, find reviews to the films I've seen (8 out of 10 with the other 2 coming) linked next to the posted result.
Here are the results:
Saturday, July 27, 2013
The Way, Way Back (2013) Review
4.5/5
This is an often hysterical and magnificently acted film that embodies the trials of being a teenager while standing up to the darker parts of family life.
It has been a long, long time since a film had this many characters who are all memorable. Each person that walks on screen, no matter how much screen time is had, leaves a mark on the film. Everyone has such energy that I was always involved with the events of the screen not only because the script is fantastic, but because the actors are so natural it goes down like sugar. Allison Janney and Sam Rockwell are incredibly vivid and completely necessary in this film, as they are in all films, and their presence is felt through the heart and the laughing that they provide. Liam James and AnnaSophia Robb are excellent as teenagers navigating their own path (and James is a perfectly capable frontman). Maya Rudolph, Rob Corddry, and Amanda Peet are all vital though small parts. Nat Faxon and Jim Rash, the writers and directors, also have small and hysterical parts. Also, for a bit of the most inspired casting in a long while, get ready to see the wonderful Steve Carell in a whole new light. Each of these actors, and the rest of the cast, bring a life to the world that Faxon and Rash created, and they live perfectly within this world as if they've been there all their lives.
The script is spot on, not just alternating between hilarious one liners, awkward situations, and heartfelt conversation but making them all work together which really provides an excellent experience in both comedy and drama. The camerawork gets the job done, and the direction really keeps the whole thing moving at a lovely pace. I do wish that it avoided being formulaic by just a hair, but honestly, as my grade can back up, I didn't care too much. I was absorbed by the film and I loved every second. Seeing it with my girlfriend helped to heighten the experience, because it is relatable in every sense of the word. If you can, see with your significant other.
I recommend this highly, and hope you check it out. It is one of the better films 2013 has had to offer thus far.
This is an often hysterical and magnificently acted film that embodies the trials of being a teenager while standing up to the darker parts of family life.
It has been a long, long time since a film had this many characters who are all memorable. Each person that walks on screen, no matter how much screen time is had, leaves a mark on the film. Everyone has such energy that I was always involved with the events of the screen not only because the script is fantastic, but because the actors are so natural it goes down like sugar. Allison Janney and Sam Rockwell are incredibly vivid and completely necessary in this film, as they are in all films, and their presence is felt through the heart and the laughing that they provide. Liam James and AnnaSophia Robb are excellent as teenagers navigating their own path (and James is a perfectly capable frontman). Maya Rudolph, Rob Corddry, and Amanda Peet are all vital though small parts. Nat Faxon and Jim Rash, the writers and directors, also have small and hysterical parts. Also, for a bit of the most inspired casting in a long while, get ready to see the wonderful Steve Carell in a whole new light. Each of these actors, and the rest of the cast, bring a life to the world that Faxon and Rash created, and they live perfectly within this world as if they've been there all their lives.
The script is spot on, not just alternating between hilarious one liners, awkward situations, and heartfelt conversation but making them all work together which really provides an excellent experience in both comedy and drama. The camerawork gets the job done, and the direction really keeps the whole thing moving at a lovely pace. I do wish that it avoided being formulaic by just a hair, but honestly, as my grade can back up, I didn't care too much. I was absorbed by the film and I loved every second. Seeing it with my girlfriend helped to heighten the experience, because it is relatable in every sense of the word. If you can, see with your significant other.
I recommend this highly, and hope you check it out. It is one of the better films 2013 has had to offer thus far.
Turbo (2013) Review
3.5/5
This is an engaging if formulaic story told with consistently intriguing camera work, incredibly spirited voice work, and vividly beautiful visuals. Although you know how its going to end the minute you sit down, there are surprises and there are moments that had me genuinely laughing. I got chills where I was supposed to and I connected with the right characters.
I wish that they had broken the color-by-numbers way of telling this unique tale, because it is a premise I have certainly never seen before. It feels fresh and old at the same time, but it is always entertaining. It is the most fun I've had at an animated film this summer.
The voice work from Ryan Reynolds is passionate and I thought he was a perfect choice. Samuel L. Jackson, Bill Hader, Paul Giamatti, Michael Pena, Ken Jeong, Richard Jenkins, Snoop Dogg (or Snoop Lion?) and the rest of the cast provide equally compelling turns that will have you rooting for this little snail more and more.
All Turbo wants is speed, and luckily the filmmakers knew that in order to keep an audience involved with a unique premise and an old formula, they have to keep the film moving at whiplash velocity with truly funny moments and a hero worth loving. I am happy to report that they succeed on all three counts.
This is an engaging if formulaic story told with consistently intriguing camera work, incredibly spirited voice work, and vividly beautiful visuals. Although you know how its going to end the minute you sit down, there are surprises and there are moments that had me genuinely laughing. I got chills where I was supposed to and I connected with the right characters.
I wish that they had broken the color-by-numbers way of telling this unique tale, because it is a premise I have certainly never seen before. It feels fresh and old at the same time, but it is always entertaining. It is the most fun I've had at an animated film this summer.
The voice work from Ryan Reynolds is passionate and I thought he was a perfect choice. Samuel L. Jackson, Bill Hader, Paul Giamatti, Michael Pena, Ken Jeong, Richard Jenkins, Snoop Dogg (or Snoop Lion?) and the rest of the cast provide equally compelling turns that will have you rooting for this little snail more and more.
All Turbo wants is speed, and luckily the filmmakers knew that in order to keep an audience involved with a unique premise and an old formula, they have to keep the film moving at whiplash velocity with truly funny moments and a hero worth loving. I am happy to report that they succeed on all three counts.
Thursday, July 25, 2013
How Much? Box Office Predictions- July 26-28
I know there's only a few minutes left with today being Thursday, but I refuse to go off schedule and present this edition of How Much? just barely on time. But still, it's on time.
Only one new nationwide release, The Wolverine, means that it will handily win the weekend, but by how much? Where will newly expanded Fruitvale Station fall? Click the word "Review" next to their prediction for my review. Here are my predictions:
1. The Wolverine- $66.7 million (Review: Coming Soon)
2. The Conjuring- $25.9 million (Review)
3. Despicable Me 2- $19.2 million (Review)
4. Turbo- $14.1 million (Review: Coming Soon)
5. Grown Ups 2- $11.6 million (Review)
6. Red 2- $10.3 million (Review)
7. Pacific Rim- $8.1 million (Review)
8. The Heat- $6.8 million (Review)
9. Fruitvale Station- $6.3 million (Review)
10. The Way, Way Back- $4.6 million (Review: Coming Soon)
Check back Sunday for results, and throughout the weekend for reviews!
Only one new nationwide release, The Wolverine, means that it will handily win the weekend, but by how much? Where will newly expanded Fruitvale Station fall? Click the word "Review" next to their prediction for my review. Here are my predictions:
1. The Wolverine- $66.7 million (Review: Coming Soon)
2. The Conjuring- $25.9 million (Review)
3. Despicable Me 2- $19.2 million (Review)
4. Turbo- $14.1 million (Review: Coming Soon)
5. Grown Ups 2- $11.6 million (Review)
6. Red 2- $10.3 million (Review)
7. Pacific Rim- $8.1 million (Review)
8. The Heat- $6.8 million (Review)
9. Fruitvale Station- $6.3 million (Review)
10. The Way, Way Back- $4.6 million (Review: Coming Soon)
Check back Sunday for results, and throughout the weekend for reviews!
I'm So Excited! (2013) Review
3.5/5
This is a fluffy, often comedic, sometimes drab yet mostly entertaining 90 minute venture that will leave you unchanged, yet satisfied. This is a high grade for something like this from me which shows that the talent involved is worthy of praise, and Almodovar's eye is always a gift. While I tend to prefer more drama based films in general and from Almodovar (The Skin I Live In, anyone?) this is a good time and worth a few laughs.
The writing is spot on, and it gives the actors a lot to play with. The comedic cues click even as we read the subtitles which is a testament to the timing. There's a truth to this oddity that I don't see often, a tone that is set that is a rare blend of sexual intensity and urgent moral/physical dilemma rarely successful in film, let alone funny. The actors are incredible (including 2 fantastic cameos), and it features one of the weirdest yet zanily entertaining musical numbers in history.
There is an unnecessary (and wholly unwanted) detour in plot off of the plane to better explain the story of one of the plane's passengers, but my question is "who cares?" All of the characters we love, love to hate, and hate are on the plane so why break the flow by leaving? It is a weird and maddening choice, but it does not detract from my overall involvement and enjoyment of the film.
I hope people seek this film out because it is a genuinely energetic ride on a turbulent and circling airplane with characters and zippy dialogue you are sure to remember, if remain unmoved by.
This is a fluffy, often comedic, sometimes drab yet mostly entertaining 90 minute venture that will leave you unchanged, yet satisfied. This is a high grade for something like this from me which shows that the talent involved is worthy of praise, and Almodovar's eye is always a gift. While I tend to prefer more drama based films in general and from Almodovar (The Skin I Live In, anyone?) this is a good time and worth a few laughs.
The writing is spot on, and it gives the actors a lot to play with. The comedic cues click even as we read the subtitles which is a testament to the timing. There's a truth to this oddity that I don't see often, a tone that is set that is a rare blend of sexual intensity and urgent moral/physical dilemma rarely successful in film, let alone funny. The actors are incredible (including 2 fantastic cameos), and it features one of the weirdest yet zanily entertaining musical numbers in history.
There is an unnecessary (and wholly unwanted) detour in plot off of the plane to better explain the story of one of the plane's passengers, but my question is "who cares?" All of the characters we love, love to hate, and hate are on the plane so why break the flow by leaving? It is a weird and maddening choice, but it does not detract from my overall involvement and enjoyment of the film.
I hope people seek this film out because it is a genuinely energetic ride on a turbulent and circling airplane with characters and zippy dialogue you are sure to remember, if remain unmoved by.
Wednesday, July 24, 2013
LCA Film on Facebook!
Like LCA Film on Facebook today! It's a great way to stay up-to-date with us and all of our film offerings. Find the page by clicking here.
The Pixar Theory
Jon Negroni deserves some kind of award. There is nothing I love more than someone who dissects something down to the nth degree and puts it up for the world to talk about, mull over, and fight through. By creating a theory that connects all of the Pixar films and their characters to the same universe, he has effectively given an aded layer of depth, one that transcends plot and enters philosophy, to one of the biggest studios on the planet.
I grew up with Pixar, and he has changed the way I look at the films. I loved (most of) them and to see that they are connected is impressive on Pixar's and Negroni's part. You won't believe what you read until you think about it, and it all makes sense. It is an accomplishment.
Find the threory by clicking here.
I grew up with Pixar, and he has changed the way I look at the films. I loved (most of) them and to see that they are connected is impressive on Pixar's and Negroni's part. You won't believe what you read until you think about it, and it all makes sense. It is an accomplishment.
Find the threory by clicking here.
Red 2 (2013) Review
3/5
I wish that Red 2 didn't have quite as many dead spots. I wish that it was just a little shorter. But Red 2 is one thing: irresistible. Just like the first one, it is a good time. You will leave entertained, and mostly due to the actors.
Bruce Willis is great at doing the "good guy with a gun" thing and he carries the film well. Mary-Louise Parker and Catherine Zeta-Jones are wonderfully envious and very strong female characters. John Malkovich, is well, perfect. His expressions are worth the price of admission, his one liners fierce and hysterical, and his sincerity in this zany popcorn fluff incredible. Anthony Hopkins and Helen Mirren are always a joy to watch, and having all of these actors on screen at once is just a treat.
This isn't so much a movie to be reviewed because everyone walking into Red 2 will want something, and I believe that that something is what Red 2 turns out to be. It is satisfying, and reliably good fun. It will have you laughing, involved, though at times, bored. The plot gets somewhat convoluted, but the action and level of destruction is actually quite insane. Everything negative here is forgivable, and everything positive remains conducive to an enjoyable night at the cinema where you are likely to leave with a smile on your face.
Sunday, July 21, 2013
How Much? Box Office Results- July 19-21
The Conjuring came, saw, and conquered this weekend. I couldn't be more happy for the team behind this effective and thought-provoking creeper picture. R.I.P.D. was fresh as a dead corpse, and Turbo placed third in the Indy 500 Box Office race. Red 2 made an appearance and didn't disappoint, although it was down on the first installment. Despicable Me 2 proved once again that audiences of all ages love the minions and their antics.
Only God Forgives (find review link at bottom of post) opened well, especially for the kind of film it is, with $315,000 at 78 theaters. Fruitvale Station held on remarkably well and rightly so (find review link at bottom of post) with $734,000 from 34 theaters. Indie films making a name for themselves!
My predictions were all over the board, making this the first weekend at LCA Film where my predicted order wasn't correct. They say all good things must come to an end, and here's to a new winning streak starting next weekend!
Here are the results:
1. The Conjuring- $41.5 million (Review: http://licacfilm.blogspot.com/2013/07/the-conjuring-2013-review.html)
2. Despicable Me 2- $25.1 million (Review: http://licacfilm.blogspot.com/2013/07/despicable-me-2-2013-review.html)
3. Turbo- $21.5 million (Review: Coming Soon)
4. Grown Ups 2- $20 million (Review: http://licacfilm.blogspot.com/2013/07/grown-ups-2-2013-review.html)
5. Red 2- $18.5 million (Review: Coming Soon)
6. Pacific Rim- $16 million (Review: http://licacfilm.blogspot.com/2013/07/pacific-rim-2013-review.html)
7. R.I.P.D.- $12.8 million (Review: Coming Soon)
8. The Heat- $9.3 million (Review: http://licacfilm.blogspot.com/2013/06/the-heat-2013-review.html)
9. World War Z- $5.2 million (Review: http://licacfilm.blogspot.com/2013/06/world-war-z-2013-review.html)
10. Monsters University- $5 million (Review: http://licacfilm.blogspot.com/2013/06/monsters-university-2013-review.html)
Indie:
Only God Forgives (Review: http://licacfilm.blogspot.com/2013/07/only-god-forgives-2013-review.html)
Fruitvale Station- (Review: http://licacfilm.blogspot.com/2013/07/fruitvale-station-2013-review.html)
The Way, Way Back- (Review: Coming VERY Soon)
Only God Forgives (find review link at bottom of post) opened well, especially for the kind of film it is, with $315,000 at 78 theaters. Fruitvale Station held on remarkably well and rightly so (find review link at bottom of post) with $734,000 from 34 theaters. Indie films making a name for themselves!
My predictions were all over the board, making this the first weekend at LCA Film where my predicted order wasn't correct. They say all good things must come to an end, and here's to a new winning streak starting next weekend!
Here are the results:
1. The Conjuring- $41.5 million (Review: http://licacfilm.blogspot.com/2013/07/the-conjuring-2013-review.html)
2. Despicable Me 2- $25.1 million (Review: http://licacfilm.blogspot.com/2013/07/despicable-me-2-2013-review.html)
3. Turbo- $21.5 million (Review: Coming Soon)
4. Grown Ups 2- $20 million (Review: http://licacfilm.blogspot.com/2013/07/grown-ups-2-2013-review.html)
5. Red 2- $18.5 million (Review: Coming Soon)
6. Pacific Rim- $16 million (Review: http://licacfilm.blogspot.com/2013/07/pacific-rim-2013-review.html)
7. R.I.P.D.- $12.8 million (Review: Coming Soon)
8. The Heat- $9.3 million (Review: http://licacfilm.blogspot.com/2013/06/the-heat-2013-review.html)
9. World War Z- $5.2 million (Review: http://licacfilm.blogspot.com/2013/06/world-war-z-2013-review.html)
10. Monsters University- $5 million (Review: http://licacfilm.blogspot.com/2013/06/monsters-university-2013-review.html)
Indie:
Only God Forgives (Review: http://licacfilm.blogspot.com/2013/07/only-god-forgives-2013-review.html)
Fruitvale Station- (Review: http://licacfilm.blogspot.com/2013/07/fruitvale-station-2013-review.html)
The Way, Way Back- (Review: Coming VERY Soon)
Saturday, July 20, 2013
Flashback: Traffic (2000) Review
5/5
Steven Soderbergh won Best Director at the Oscars for this, but Gladiator took the Best Picture prize. It looks like I may have to re-watch Gladiator to decide for myself once and for all if it is a snub, because as of now I think that it is. That isn't to say that Gladiator is anything less than a fantastic film, but Traffic is, well, Traffic.
This was my first foray into this sprawling drug epic and I must say that, even with the 13 years of built in hype, this film delivers on every level.
This film is disturbing and hard to watch at points. It graphically depicts drug use, but the reason it is impossible to turn away is because the depictions occur to serve a greater purpose: the effect of drugs on the global and personal scale. I was moved by the film in many ways, and upon its conclusion, I felt that I had been through something of value, as if my experiencing the film will in some way make an impact. I know it is hoopla, but that's how I felt.
There are three distinct story-lines occurring simultaneously, and the beauty is that all three are quite strong and, if forced, could stand alone. That they weave into and out of each other with grace and compel the audience to give their full attention is a feat, the success of which belongs to Mr. Soderbergh. Drenching each story in its own hue, playing with the focus of the camera, and getting only top notch performances out of his cast are things he does consistently. Watching him do it on this scale, however, is a treat.
The cast is something from a dream: Benecio Del Toro (Best Supporting Actor Oscar winner for this), Michael Douglas, Catherine Zeta-Jones, Don Cheadle, Luis Guzman, Topher Grace, Albert Finney, James Brolin, Dennis Quaid, Viola Davis and more... honestly, one of the best casts ever assembled. Thankfully they all more than do their part and give performances that keep the story rooted in reality and that's all that is necessary.
Soderbergh is one of the best directors ever in my opinion, and I hope he returns from his retirement sooner rather than later as he is a cinematic force that Hollywood, and the rest of the world, will sorely miss.
Steven Soderbergh won Best Director at the Oscars for this, but Gladiator took the Best Picture prize. It looks like I may have to re-watch Gladiator to decide for myself once and for all if it is a snub, because as of now I think that it is. That isn't to say that Gladiator is anything less than a fantastic film, but Traffic is, well, Traffic.
This was my first foray into this sprawling drug epic and I must say that, even with the 13 years of built in hype, this film delivers on every level.
This film is disturbing and hard to watch at points. It graphically depicts drug use, but the reason it is impossible to turn away is because the depictions occur to serve a greater purpose: the effect of drugs on the global and personal scale. I was moved by the film in many ways, and upon its conclusion, I felt that I had been through something of value, as if my experiencing the film will in some way make an impact. I know it is hoopla, but that's how I felt.
There are three distinct story-lines occurring simultaneously, and the beauty is that all three are quite strong and, if forced, could stand alone. That they weave into and out of each other with grace and compel the audience to give their full attention is a feat, the success of which belongs to Mr. Soderbergh. Drenching each story in its own hue, playing with the focus of the camera, and getting only top notch performances out of his cast are things he does consistently. Watching him do it on this scale, however, is a treat.
The cast is something from a dream: Benecio Del Toro (Best Supporting Actor Oscar winner for this), Michael Douglas, Catherine Zeta-Jones, Don Cheadle, Luis Guzman, Topher Grace, Albert Finney, James Brolin, Dennis Quaid, Viola Davis and more... honestly, one of the best casts ever assembled. Thankfully they all more than do their part and give performances that keep the story rooted in reality and that's all that is necessary.
Soderbergh is one of the best directors ever in my opinion, and I hope he returns from his retirement sooner rather than later as he is a cinematic force that Hollywood, and the rest of the world, will sorely miss.
Thursday, July 18, 2013
How Much? Box Office Predictions- July 19-21
This week sees not one, two, or three but four new contenders at the box office: R.I.P.D., Turbo, The Conjuring, and Red 2. How will they fare? Will box office cannibalism keep one from breaking out too far, or will audiences make their choice distinct and their wallets a little lighter? As always, find reviews available linked next to the film. Those that aren't available will be soon. Let's take a look at how I feel this weekend will play out:
1. Turbo- 34.9 million (Review: Coming Soon)
2. The Conjuring- 31.2 million (Review: http://licacfilm.blogspot.com/2013/07/the-conjuring-2013-review.html)
3. Red 2- 25.4 million (Review: Coming Soon)
4. Despicable Me 2- 21.3 million (Review: http://licacfilm.blogspot.com/2013/07/despicable-me-2-2013-review.html)
5. R.I.P.D.- 20.1 million (Review: Coming Soon)
6. Grown Ups 2- 19.9 million (Review: http://licacfilm.blogspot.com/2013/07/grown-ups-2-2013-review.html)
7. Pacific Rim- 18.6 million (Review: http://licacfilm.blogspot.com/2013/07/pacific-rim-2013-review.html)
8. The Heat- 8.1 million (Review: http://licacfilm.blogspot.com/2013/06/the-heat-2013-review.html)
9. Monsters University- 7.2 million (Review: http://licacfilm.blogspot.com/2013/06/monsters-university-2013-review.html)
10. The Lone Ranger- 4.5 million (Review: http://licacfilm.blogspot.com/2013/07/the-lone-ranger-2013-review.html)
1. Turbo- 34.9 million (Review: Coming Soon)
2. The Conjuring- 31.2 million (Review: http://licacfilm.blogspot.com/2013/07/the-conjuring-2013-review.html)
3. Red 2- 25.4 million (Review: Coming Soon)
4. Despicable Me 2- 21.3 million (Review: http://licacfilm.blogspot.com/2013/07/despicable-me-2-2013-review.html)
5. R.I.P.D.- 20.1 million (Review: Coming Soon)
6. Grown Ups 2- 19.9 million (Review: http://licacfilm.blogspot.com/2013/07/grown-ups-2-2013-review.html)
7. Pacific Rim- 18.6 million (Review: http://licacfilm.blogspot.com/2013/07/pacific-rim-2013-review.html)
8. The Heat- 8.1 million (Review: http://licacfilm.blogspot.com/2013/06/the-heat-2013-review.html)
9. Monsters University- 7.2 million (Review: http://licacfilm.blogspot.com/2013/06/monsters-university-2013-review.html)
10. The Lone Ranger- 4.5 million (Review: http://licacfilm.blogspot.com/2013/07/the-lone-ranger-2013-review.html)
Only God Forgives (2013) Review
4.5/5
I saw this film and the director, Nicolas Winding Refn, was in attendance for a Q&A. He described Drive as "cocaine" and Only God Forgives as "an acid trip," and he was spot on. I loved Drive immensely and originally thought that this would be a film in the same vein, until I heard the negative press coming out of Cannes Film Festival this past May. "What?" I thought, "Refn's new film is getting booed?" I was eager to see it for myself, and it most certainly did not disappoint.
This film doesn't play so much as it breathes. It has a life and a definite pulse. You can feel it as you watch it, living in its beating rhythm and techno synths. It is a visceral film less to be enjoyed and more to be experienced. The visuals and score washed over me like a cascading wave, and every so often it crashed me down onto a jagged rock or lurking urchin. It is one of the more transcendent and transportive experiences I've had in the cinema recently.
The cinematography by Larry Smith is breathtaking. Each frame it appears is worthy of a frame all its own and a place on my wall. It is crafted with an atmospheric tension that only Refn seems able to concoct; a devilishly superior blend of mood, tone, and setting to create a film seared into the retina of the audience. The lighting, with its reds and blues and neons, only adds to the drama and is never a distractor. They pick the colors to light the scenes directly from what an audience member's soul is displaying in that moment, or at least it seems that way.
The score by Cliff Martinez is, in a word, perfect. A pulsating and brooding mix of dark electro beats and twangs of powerful bass amplify moments to levels of near exuberance and can sink you into depths so low it seems a chore to escape. I have no complaints about the score whatsoever.
Ryan Gosling has a magnetic force around him that I can never seem to shake off. Similarly to the fantastic The Place Beyond the Pines earlier this year, his eyes tell the story and when he is looking at something all we want to do is look with him. He is an actor, a true actor, capable of walking the line between mainstream and indie, and it is a joy watching him work. Given, there is just one too many shots of him staring. Kristen Scott Thomas is incredibly convincing and very, very good, perhaps worth the price of admission herself. Vithaya Pansringarm, the villain, is a master of the evil look and kill method, and he is one of the best adversaries to hit screens in recent memory. Yayaying Rhatha Phongam is sultry, smooth, sexual and convincing as a prostitute who is deeper than her job title suggests.
Yes, the film is bloody. Yes, there are extreme levels of violence that had me cringing. Mainstream audiences will be turned off by the grotesque and heinous nature of some gory acts in this film. Some of these scenes are done tongue-in-cheek, others are just brutal. The important thing, though, is that they exist for a reason. This film is best when you go in knowing nothing. The plot may appear paper thin at first, but if you dig for a reason and are willing to work, it will appear.
The mastermind behind this all is Nicolas Winding Refn. All of the things I mentioned above would be impossible without his commitment to fulfilling his dark, "erotic" visions and I think cinema is better for having him share his talent. As an aspiring filmmaker, I love good quotes from my favorites and when I saw him at the Q&A, the moderator asked him if he thinks spelling things out for an audience is important, or if he prefers just letting things sit and leave for interpretation. His response: "It may be true but it doesn't make it interesting." If you're willing to get behind that quote, as I wholeheartedly am, you will love this film as much as I did.
Monday, July 15, 2013
Fruitvale Station (2013) Review
I saw this film a second time, and felt so strongly about it that I have to revise my grade. This doesn't happen often. 4.5/5 is no longer the grade I feel this film deserves. The new grade is below.
5/5
Believe the hype, because this film is a masterpiece.
When I was shown a handheld tape of the real incident prior to the title card, I was floored. The theater sat in silence as the brutality unfolded. Some people let out a murmur, others a sob. I sat, stunned, in a kind of quiet loneliness in knowing that other people are capable of this monstrosity. I had no idea that by the time Coogler's version came around, I would be numb.
The acting is amazing. Amazing. Michael B. Jordan is some kind of revelation as Oscar Grant, and this performance will make him a star. It has to. His eyes go from sympathetic to enraged in a matter of seconds, but throughout it all he finds the humanity in Grant and for that he should be lauded as it connects the audience to the tragedy on an astronomical level. Melonie Diaz is fierce and loving as the girlfriend and mother to Oscar's child, walking the tightrope between love and hate with grace. Octavia Spencer, well, we know what she can do and here her talent is on full display as she portrays Oscar's mother who will not treat him as anything less than a man. Ariana Neal, as Oscar's daughter, has an innocence that has been forever seared into my mind as the true heartbreaking crux of this film. These people made me laugh, and cry, and shake. They are beyond words.
Ryan Coogler, (an alumnus of my soon-to-be alma mater, USC) is a cinematic tour-de-force that I predict will have a long and storied career. The first half, humanizing Grant, is necessary. You will not know why until the second half. Everyone knows the story going in, so how did Coogler make it not only suspenseful but surprising? How did he craft a thriller out of the story we were expecting, and one that he "gave away" himself with the actual handheld video in the beginning? He is talented, and he takes nothing for granted. I will say this: the second half of this film is filmmaking at its finest and, come years' end, will rival any other film for the title of most cinematically brilliant. When a deafening silence engulfs a theater upon its last frame crashing into a sea of black then you know the filmmaker has done his job. Coogler may be riding this wave into his first Oscar nomination for his first feature film.
When the film was over, and the darkness of the screen stayed still in what seemed like mourning for the events it had just played, I felt like I had been instantly marked for life with visuals I will never forget, and a message as powerful as any that exists. It was only then that I noticed my limbs quivering from the intensity, and I was able to acknowledge the power of cinema that still exists. Thankfully, people like Coogler and the rest of this cast and crew exist to remind us of it.
5/5
Believe the hype, because this film is a masterpiece.
When I was shown a handheld tape of the real incident prior to the title card, I was floored. The theater sat in silence as the brutality unfolded. Some people let out a murmur, others a sob. I sat, stunned, in a kind of quiet loneliness in knowing that other people are capable of this monstrosity. I had no idea that by the time Coogler's version came around, I would be numb.
The acting is amazing. Amazing. Michael B. Jordan is some kind of revelation as Oscar Grant, and this performance will make him a star. It has to. His eyes go from sympathetic to enraged in a matter of seconds, but throughout it all he finds the humanity in Grant and for that he should be lauded as it connects the audience to the tragedy on an astronomical level. Melonie Diaz is fierce and loving as the girlfriend and mother to Oscar's child, walking the tightrope between love and hate with grace. Octavia Spencer, well, we know what she can do and here her talent is on full display as she portrays Oscar's mother who will not treat him as anything less than a man. Ariana Neal, as Oscar's daughter, has an innocence that has been forever seared into my mind as the true heartbreaking crux of this film. These people made me laugh, and cry, and shake. They are beyond words.
Ryan Coogler, (an alumnus of my soon-to-be alma mater, USC) is a cinematic tour-de-force that I predict will have a long and storied career. The first half, humanizing Grant, is necessary. You will not know why until the second half. Everyone knows the story going in, so how did Coogler make it not only suspenseful but surprising? How did he craft a thriller out of the story we were expecting, and one that he "gave away" himself with the actual handheld video in the beginning? He is talented, and he takes nothing for granted. I will say this: the second half of this film is filmmaking at its finest and, come years' end, will rival any other film for the title of most cinematically brilliant. When a deafening silence engulfs a theater upon its last frame crashing into a sea of black then you know the filmmaker has done his job. Coogler may be riding this wave into his first Oscar nomination for his first feature film.
When the film was over, and the darkness of the screen stayed still in what seemed like mourning for the events it had just played, I felt like I had been instantly marked for life with visuals I will never forget, and a message as powerful as any that exists. It was only then that I noticed my limbs quivering from the intensity, and I was able to acknowledge the power of cinema that still exists. Thankfully, people like Coogler and the rest of this cast and crew exist to remind us of it.
Sunday, July 14, 2013
How Much? Box Office Results- July 12-14
For the second week in a row, I correctly predicted all 10 films in the correct order. It was a tough call considering there were appealing new releases, but I stuck with my gut in trusting Gru and his Minions and they did not disappoint. Grown Ups 2 performed very well (which is saddening) and Pacific Rim underperformed (which is saddening). I was within $3 million of each individual prediction also!
In limited release news, Fruitvale Station (review coming very soon) performed extremely well with $377,000 from only 7 theaters, or a $53,857 per theater gross. Sold out show after sold out show and it is expanding in the coming weeks. The Way, Way Back (review coming soon) is also expanding due to its healthy gross of $1.1 million from 79 theaters, or a $14,051 per theater gross in its sophomore session.
I have reviews for 9 of the 10 top films, and they are posted right next to the weekend gross. Here are the results:
1. Despicable Me 2- $44.8 million (http://licacfilm.blogspot.com/2013/07/despicable-me-2-2013-review.html)
2. Grown Ups 2- $42.5 million (http://licacfilm.blogspot.com/2013/07/grown-ups-2-2013-review.html)
3. Pacific Rim- $38.3 million (http://licacfilm.blogspot.com/2013/07/pacific-rim-2013-review.html)
4. The Heat- $14 million (http://licacfilm.blogspot.com/2013/06/the-heat-2013-review.html)
5. The Lone Ranger- $11.1 million (http://licacfilm.blogspot.com/2013/07/the-lone-ranger-2013-review.html)
6. Monsters University- $10.6 million (http://licacfilm.blogspot.com/2013/06/monsters-university-2013-review.html)
7. World War Z- $9.4 million (http://licacfilm.blogspot.com/2013/06/world-war-z-2013-review.html)
8. White House Down- $6.2 million (http://licacfilm.blogspot.com/2013/07/white-house-down-2013-review.html)
9. Kevin Hart: Let Me Explain- $5 million (http://licacfilm.blogspot.com/2013/07/kevin-hart-let-me-explain-2013-review.html)
10. Man of Steel- $4.8 million
That does it for this week! Tune in on Thursday for next weekend's predictions, and throughout the week for reviews and other content!
In limited release news, Fruitvale Station (review coming very soon) performed extremely well with $377,000 from only 7 theaters, or a $53,857 per theater gross. Sold out show after sold out show and it is expanding in the coming weeks. The Way, Way Back (review coming soon) is also expanding due to its healthy gross of $1.1 million from 79 theaters, or a $14,051 per theater gross in its sophomore session.
I have reviews for 9 of the 10 top films, and they are posted right next to the weekend gross. Here are the results:
1. Despicable Me 2- $44.8 million (http://licacfilm.blogspot.com/2013/07/despicable-me-2-2013-review.html)
2. Grown Ups 2- $42.5 million (http://licacfilm.blogspot.com/2013/07/grown-ups-2-2013-review.html)
3. Pacific Rim- $38.3 million (http://licacfilm.blogspot.com/2013/07/pacific-rim-2013-review.html)
4. The Heat- $14 million (http://licacfilm.blogspot.com/2013/06/the-heat-2013-review.html)
5. The Lone Ranger- $11.1 million (http://licacfilm.blogspot.com/2013/07/the-lone-ranger-2013-review.html)
6. Monsters University- $10.6 million (http://licacfilm.blogspot.com/2013/06/monsters-university-2013-review.html)
7. World War Z- $9.4 million (http://licacfilm.blogspot.com/2013/06/world-war-z-2013-review.html)
8. White House Down- $6.2 million (http://licacfilm.blogspot.com/2013/07/white-house-down-2013-review.html)
9. Kevin Hart: Let Me Explain- $5 million (http://licacfilm.blogspot.com/2013/07/kevin-hart-let-me-explain-2013-review.html)
10. Man of Steel- $4.8 million
That does it for this week! Tune in on Thursday for next weekend's predictions, and throughout the week for reviews and other content!
Saturday, July 13, 2013
Pacific Rim (2013) Review
4/5
First off, I must say that I saw this film in IMAX 3D, and I mean true IMAX. 8 stories wide by 6 stories high. It was the most perfect IMAX 3D film I have ever seen. If you have access to one of these screens, go. If you have access to a smaller IMAX (or LieMax), it is worth it. At least see it in 3D in a normal theater, and if that isn't an option, see it in 2D. Honestly, the experience is heightened in a dramatic way with the addition of IMAX and 3D. 100% worth the up-charge.
Of course, it is important to discuss the visuals. They are stunning. No other way to put it. The sound design is wonderful as well, with every punch landing with an enormous thud and every building crashing with a thunderous roar. And the fights are merciless; the alien are hellbent on killing humans and the robots, and the robots will stop at nothing to literally tear the aliens apart. It is a glorious sight to see.
Guillermo del Toro is bold, realizing his vision with the money necessary to make it work and the visual prowess to make this savagery beautiful. I can't express enough how joyful I felt while watching this film. He had the gall to make a ridiculously expensive sci-fi destruction extravaganza that is ORIGINAL and release it in the middle of summer. The joy, of course, is that it rocks. It is admirable and it is fantastic.
The script has some wonderfully corny lines and some not so wonderfully corny lines. This isn't a film you go into hoping to see a Best Picture winner, but some lines and line delivery are beyond forgiveness. The acting is unremarkable, save Idris Elba who manages to bring a certain patriarchal grace to this blockbuster character and the film is better for it.
The part of the film that surprised me the most was the backstory to the alien race. I will not give it away here, but it is a deliciously twisted and somewhat thought-provoking explanation that could exist within the real world. It gave the fight scenes some dramatic weight, and puts it within the reach of our imagination to grasp on to in reality.
As I left the theater, excited and invigorated, I imagined an alien and robot tearing through my city with their ferocity and force, and it made me smile to know that this film has images so powerful I had begun to see them through my own eyes. This is a fun film, and definitely the most fun you'll have had so far this summer.
Thursday, July 11, 2013
Grown Ups 2 (2013) Review
0.5/5
This movie is full of funny people, has a director who has made funny films, and a potentially funny premise. The talent involved is crazy good, but nobody is applied very much at all. There is an audience out there for this, and they will love it. There was just too much fart, vomit, pee, poop, burping, and sneezing humor for me. I don't think that bodily functions by themselves are funny; accompanied with a joke, perhaps, but an endless machine gun barrage of "burp snarts" is not my cup of tea. I think that the film will make money, and that fans of the first will appreciate it. I did like the first because it felt new, but here it feels as though they are going through the motions just for the hell of it.
The .5 of the grade given is due to the fact that it looks like they had so much fun to make this film and its hard not to respect that and admire it. These people have made storied careers for themselves and here they got together to make more money and have more fun on top of a film they already made money and had fun on. It's a joy to watch these actors on screen together just for the fact they are together, but I wish they had been used in a way that showcased their very real and very strong talent. I really wish they had.
There are worse things out there than Grown Ups 2. It is not a cinematic adventure and I didn't find it particularly funny, nor did I become invested in or amused with the story. It isn't the worst film I've ever seen, but it is disappointing to a degree of no return. Here's hoping the people involved go back to making true comedy which they are all more than capable of and have done before.
This movie is full of funny people, has a director who has made funny films, and a potentially funny premise. The talent involved is crazy good, but nobody is applied very much at all. There is an audience out there for this, and they will love it. There was just too much fart, vomit, pee, poop, burping, and sneezing humor for me. I don't think that bodily functions by themselves are funny; accompanied with a joke, perhaps, but an endless machine gun barrage of "burp snarts" is not my cup of tea. I think that the film will make money, and that fans of the first will appreciate it. I did like the first because it felt new, but here it feels as though they are going through the motions just for the hell of it.
The .5 of the grade given is due to the fact that it looks like they had so much fun to make this film and its hard not to respect that and admire it. These people have made storied careers for themselves and here they got together to make more money and have more fun on top of a film they already made money and had fun on. It's a joy to watch these actors on screen together just for the fact they are together, but I wish they had been used in a way that showcased their very real and very strong talent. I really wish they had.
There are worse things out there than Grown Ups 2. It is not a cinematic adventure and I didn't find it particularly funny, nor did I become invested in or amused with the story. It isn't the worst film I've ever seen, but it is disappointing to a degree of no return. Here's hoping the people involved go back to making true comedy which they are all more than capable of and have done before.
How Much? Box Office Predictions- July 12-14
This weekend we see the releases of two movies aimed at teenagers; the question is whether they want to laugh (Grown Ups 2) or marvel at destruction (Pacific Rim). How does Despicable Me 2 hold up? Will this be the last weekend we see Man of Steel in the top 10? I have reviews posted for 7 out of the 10 predicted films and the links are next to their predicted box office take. 2 more are coming very soon. Here are my predictions for the weekend:
1. Despicable Me 2- 46.7 million (Review: http://licacfilm.blogspot.com/2013/07/despicable-me-2-2013-review.html)
2. Grown Ups 2- 44.5 million (Review: Coming Soon)
3. Pacific Rim- 39.6 million (Review: Coming Soon)
4. The Heat- 17.4 million (Review: http://licacfilm.blogspot.com/2013/06/the-heat-2013-review.html)
5. The Lone Ranger- 12.1 million (Review: http://licacfilm.blogspot.com/2013/07/the-lone-ranger-2013-review.html)
6. Monsters University- 9.8 million (Review: http://licacfilm.blogspot.com/2013/06/monsters-university-2013-review.html)
7. World War Z- 8.2 million (Review: http://licacfilm.blogspot.com/2013/06/world-war-z-2013-review.html)
8. White House Down- 7.3 million (Review: http://licacfilm.blogspot.com/2013/07/white-house-down-2013-review.html)
9. Kevin Hart: Let Me Explain- 5.7 million (Review: http://licacfilm.blogspot.com/2013/07/kevin-hart-let-me-explain-2013-review.html)
10. Man Of Steel- 5.2 million
1. Despicable Me 2- 46.7 million (Review: http://licacfilm.blogspot.com/2013/07/despicable-me-2-2013-review.html)
2. Grown Ups 2- 44.5 million (Review: Coming Soon)
3. Pacific Rim- 39.6 million (Review: Coming Soon)
4. The Heat- 17.4 million (Review: http://licacfilm.blogspot.com/2013/06/the-heat-2013-review.html)
5. The Lone Ranger- 12.1 million (Review: http://licacfilm.blogspot.com/2013/07/the-lone-ranger-2013-review.html)
6. Monsters University- 9.8 million (Review: http://licacfilm.blogspot.com/2013/06/monsters-university-2013-review.html)
7. World War Z- 8.2 million (Review: http://licacfilm.blogspot.com/2013/06/world-war-z-2013-review.html)
8. White House Down- 7.3 million (Review: http://licacfilm.blogspot.com/2013/07/white-house-down-2013-review.html)
9. Kevin Hart: Let Me Explain- 5.7 million (Review: http://licacfilm.blogspot.com/2013/07/kevin-hart-let-me-explain-2013-review.html)
10. Man Of Steel- 5.2 million
White House Down (2013) Review
3/5
When you pay for a movie that is called White House Down directed by Roland Emmerich and rated PG-13, you kind of know what you're going to get. A high octane spectacle of special effects and ridiculous action leading up to a conclusion with a twist or two to keep the whole thing from being entirely formulaic. I just wish he'd have gotten to the insane stuff sooner, and didn't try to incorporate as much story in the opening half-hour.
Yes, it takes what feels like four hours until we hear the first gunshot, see the first explosion, watch someone crash through a window or drive with a turret coming out of the trunk. This isn't quite on the epic scale of 2012, but within the confines of the White House, the movie does a pretty good job of tearing the place apart.
In terms of entertainment, this is a blast (after the opening "plot" sequences) and watching James Woods do his thing is worth the price of admission just so you can say you watched James Woods on screen for a considerable amount of time. Tatum is at his best when he's shooting up bad guys, and Jamie Foxx often surprises me with the depth he can bring to what could be a rote character. The real bright spot among the cast, however, is Jason Clarke. This man can act. He has an intensity that we saw in Zero Dark Thirty (the "I'm not your friend" agent) and here, whereas another actor would play the villain as a kind of crazy psychopath, he brings a subtle sense of humanity to that raging murderer stereotype. It's always a pleasure to have Richard Jenkins as part of a cast, and Maggie Gyllenhaal has the most impeccable timing of all time because every phone call she makes is cut short by the receiver getting pummeled into a staircase or something. Joey King is making a name for herself... I imagine she is one to watch.
The script is not great, but it doesn't need to be. If you can look past the cliches and plot holes and cheesy dialogue, which I can't beyond a 3/5, this is a perfectly serviceable summer popcorn adventure that will leave you an unchanged yet entertained person ready for the next event in their day, and sometimes that's just what you need.
When you pay for a movie that is called White House Down directed by Roland Emmerich and rated PG-13, you kind of know what you're going to get. A high octane spectacle of special effects and ridiculous action leading up to a conclusion with a twist or two to keep the whole thing from being entirely formulaic. I just wish he'd have gotten to the insane stuff sooner, and didn't try to incorporate as much story in the opening half-hour.
Yes, it takes what feels like four hours until we hear the first gunshot, see the first explosion, watch someone crash through a window or drive with a turret coming out of the trunk. This isn't quite on the epic scale of 2012, but within the confines of the White House, the movie does a pretty good job of tearing the place apart.
In terms of entertainment, this is a blast (after the opening "plot" sequences) and watching James Woods do his thing is worth the price of admission just so you can say you watched James Woods on screen for a considerable amount of time. Tatum is at his best when he's shooting up bad guys, and Jamie Foxx often surprises me with the depth he can bring to what could be a rote character. The real bright spot among the cast, however, is Jason Clarke. This man can act. He has an intensity that we saw in Zero Dark Thirty (the "I'm not your friend" agent) and here, whereas another actor would play the villain as a kind of crazy psychopath, he brings a subtle sense of humanity to that raging murderer stereotype. It's always a pleasure to have Richard Jenkins as part of a cast, and Maggie Gyllenhaal has the most impeccable timing of all time because every phone call she makes is cut short by the receiver getting pummeled into a staircase or something. Joey King is making a name for herself... I imagine she is one to watch.
The script is not great, but it doesn't need to be. If you can look past the cliches and plot holes and cheesy dialogue, which I can't beyond a 3/5, this is a perfectly serviceable summer popcorn adventure that will leave you an unchanged yet entertained person ready for the next event in their day, and sometimes that's just what you need.
Tuesday, July 9, 2013
The Conjuring (2013) Review
4/5
This is the special advanced review I had mentioned, being posted a full 10 days ahead of its release. Luckily, it was worth an hour-and-a-half drive, a near failure in a tunnel and a boatload of MTA fares as we crossed state lines. This film, in short, is great.
This is a film where the less you know going in, the better. If a trailer comes on and you are around then you should leave and look away. That being said, I will comment on a few general themes of the film without revealing anything.
Paranormal investigators Ed and Lorraine Warren gather evidence to support a family's claim that their house is haunted. Basic plot, moving on. It may not sound as original as it is.
James Wan is some kind of mastermind. Having helmed the first Saw (my favorite Saw and the one of most value) and Insidious (which is more terrifying than this film), he has indeed singled himself out as the leading mind in smart horror films. He moves the camera in ways that amplify the dark tonal atmosphere, providing close-ups when all we want to see is the setting and vice versa. He builds us up, and pushes us off a cliff. He is a good, no, great filmmaker.
The acting from all corners is superb. They're meant for this kind of stuff, especially Vera Farmiga and Patrick Wilson who pull no stops; they are committed. They know how to do this kind of work and do it very well. The supporting cast are equally game and are willing to go the extra mile to achieve the mood of this film.
There are some points where information is too quickly thrown at the audience in an attempt to get back at the fun stuff, and what that does is raise questions. This is not a totally negative thing, but it would have been a more complete film if all corners were given the proper attention. That being said, there was a very spirited conversation between my friend and I as we traveled back so perhaps the lack of information was intentional. It could have been explored in a tasteful way.
There are smart scares here, yet what I would call this is not a "scary movie" but a "thriller." It is smart, and when it wants to it does rattle you, but the supreme accomplishment in this film is the fact that it had my heart racing for more than three-quarters of its running time. It is intense, and not for the faint of heart. I implore you to take the plunge because, if for nothing else, it's a damn good time at the movies.
This is the special advanced review I had mentioned, being posted a full 10 days ahead of its release. Luckily, it was worth an hour-and-a-half drive, a near failure in a tunnel and a boatload of MTA fares as we crossed state lines. This film, in short, is great.
This is a film where the less you know going in, the better. If a trailer comes on and you are around then you should leave and look away. That being said, I will comment on a few general themes of the film without revealing anything.
Paranormal investigators Ed and Lorraine Warren gather evidence to support a family's claim that their house is haunted. Basic plot, moving on. It may not sound as original as it is.
James Wan is some kind of mastermind. Having helmed the first Saw (my favorite Saw and the one of most value) and Insidious (which is more terrifying than this film), he has indeed singled himself out as the leading mind in smart horror films. He moves the camera in ways that amplify the dark tonal atmosphere, providing close-ups when all we want to see is the setting and vice versa. He builds us up, and pushes us off a cliff. He is a good, no, great filmmaker.
The acting from all corners is superb. They're meant for this kind of stuff, especially Vera Farmiga and Patrick Wilson who pull no stops; they are committed. They know how to do this kind of work and do it very well. The supporting cast are equally game and are willing to go the extra mile to achieve the mood of this film.
There are some points where information is too quickly thrown at the audience in an attempt to get back at the fun stuff, and what that does is raise questions. This is not a totally negative thing, but it would have been a more complete film if all corners were given the proper attention. That being said, there was a very spirited conversation between my friend and I as we traveled back so perhaps the lack of information was intentional. It could have been explored in a tasteful way.
There are smart scares here, yet what I would call this is not a "scary movie" but a "thriller." It is smart, and when it wants to it does rattle you, but the supreme accomplishment in this film is the fact that it had my heart racing for more than three-quarters of its running time. It is intense, and not for the faint of heart. I implore you to take the plunge because, if for nothing else, it's a damn good time at the movies.
Life #6: Special Review Coming...
Be on the lookout for a very special advanced review sometime in the next 36 hours... could go up at any time! You're not going to want to miss it!
Monday, July 8, 2013
Kevin Hart: Let Me Explain (2013) Review
3/5
The number above may seem a little harsh for the review I am writing, but it has its place. Don't get me wrong, this is a very funny and fast-moving film. People that go in should get what they pay for as the jokes roll out and they are often gut-bustingly funny. The pre-film is great, and the montage at the end is equal parts hilarious and heartwarming. I have always been a big Hart fan, so I felt like this was a worthy notch in his belt.
There were, however, some flaws. The film starts funny with a pre-film of sorts and gives a quick update on his tour (which has sold out in multiple countries). He has an air of supremacy about him, and it feels warranted; his films make money, his shows make money, people recognize him in Norway, and he sold out Madison Square Garden (where this film was shot) twice. Something to be proud of. But, to review this as a film, there has to be more.
I wish that during the stand-up routine, which 90% of the time lands with a laugh, had been trimmed and interspersed with tour footage like the footage shown in the perfect montage at the end. It would have broken up the stand-up, given the audience another laugh in a different way, and by trimming the 10% that doesn't work it would have been a tighter and more cohesive unit. Also, if they showed one more close-up of an audience member seizing with laughter I was going to throw up. Taraji P. Henson makes an appearance as a crying audience member which was an interesting aside.
All in all, this was a successful stand-up routine if not a successful film. I would recommend it for the laughs it provides, but not as any sort of film. It is worth the price of admission.
The number above may seem a little harsh for the review I am writing, but it has its place. Don't get me wrong, this is a very funny and fast-moving film. People that go in should get what they pay for as the jokes roll out and they are often gut-bustingly funny. The pre-film is great, and the montage at the end is equal parts hilarious and heartwarming. I have always been a big Hart fan, so I felt like this was a worthy notch in his belt.
There were, however, some flaws. The film starts funny with a pre-film of sorts and gives a quick update on his tour (which has sold out in multiple countries). He has an air of supremacy about him, and it feels warranted; his films make money, his shows make money, people recognize him in Norway, and he sold out Madison Square Garden (where this film was shot) twice. Something to be proud of. But, to review this as a film, there has to be more.
I wish that during the stand-up routine, which 90% of the time lands with a laugh, had been trimmed and interspersed with tour footage like the footage shown in the perfect montage at the end. It would have broken up the stand-up, given the audience another laugh in a different way, and by trimming the 10% that doesn't work it would have been a tighter and more cohesive unit. Also, if they showed one more close-up of an audience member seizing with laughter I was going to throw up. Taraji P. Henson makes an appearance as a crying audience member which was an interesting aside.
All in all, this was a successful stand-up routine if not a successful film. I would recommend it for the laughs it provides, but not as any sort of film. It is worth the price of admission.
The Attack (2013) Review
3.5/5
There were two people in the back of the theater I was in who felt the need to narrate the film, and it is a testament to this film that those people did not take away from the tension I felt in the scene playing out. They were shushed, but like the film, they did not let off the gas and continued their jabbering as the movie played out and increased it's tense moments in both weight and payoff.
I did not love this film, but I really liked it. I thought it built up moments really well and, after my heart was done racing, the filmmakers seemed to say "take a moment" and they gave us time to recoup, but it was too much time. If it was a little tighter, a little more like a series of punches one after another, it would have been a far more effective thriller. It seemed like it wanted to be a thriller, and there thrilling moments. But just moments.
The cinematography is outstanding, and for a moment I thought the focus was off until I realized that they purposely highlight the setting behind the characters for two reasons I believe: to show that the state of mind of the characters are out of focus themselves, and that the place in which this story is set is instrumental to the plot.
Set in Israel and Palestine, the conflict is an underlying tone throughout the film, adding a constant layer of suspense to the events of the screen and prompting thought internally. This presents a problem, though: should I be focused on the characters' dilemmas, or the dilemmas of the world? It is something I think the film wrestles with, and we wrestle with it. It isn't completely aware of its own implications.
The acting is very good, with lighting that highlights their emotive and often heartbreaking expressions. The direction is well-done, as it never feels forced or coerced in any way. It feels natural, if not totally confident.
Unfortunately, there were five glaring subtitle issues (i.e. "anwers" instead of "answers") and a thing like that pulls you right out of the film for that split second. Luckily, I was too involved to be completely perturbed. This is worth the price of admission, if not the best film you see all year.
There were two people in the back of the theater I was in who felt the need to narrate the film, and it is a testament to this film that those people did not take away from the tension I felt in the scene playing out. They were shushed, but like the film, they did not let off the gas and continued their jabbering as the movie played out and increased it's tense moments in both weight and payoff.
I did not love this film, but I really liked it. I thought it built up moments really well and, after my heart was done racing, the filmmakers seemed to say "take a moment" and they gave us time to recoup, but it was too much time. If it was a little tighter, a little more like a series of punches one after another, it would have been a far more effective thriller. It seemed like it wanted to be a thriller, and there thrilling moments. But just moments.
The cinematography is outstanding, and for a moment I thought the focus was off until I realized that they purposely highlight the setting behind the characters for two reasons I believe: to show that the state of mind of the characters are out of focus themselves, and that the place in which this story is set is instrumental to the plot.
Set in Israel and Palestine, the conflict is an underlying tone throughout the film, adding a constant layer of suspense to the events of the screen and prompting thought internally. This presents a problem, though: should I be focused on the characters' dilemmas, or the dilemmas of the world? It is something I think the film wrestles with, and we wrestle with it. It isn't completely aware of its own implications.
The acting is very good, with lighting that highlights their emotive and often heartbreaking expressions. The direction is well-done, as it never feels forced or coerced in any way. It feels natural, if not totally confident.
Unfortunately, there were five glaring subtitle issues (i.e. "anwers" instead of "answers") and a thing like that pulls you right out of the film for that split second. Luckily, I was too involved to be completely perturbed. This is worth the price of admission, if not the best film you see all year.
Life #5: So Many Movies, So Little Time. Why Do It?
I am trying to plan a double feature for each of the next three days. People must think that I am wasting my time, but it is only because this is what I love. It's the same as practicing on a team or rehearsing for a show. I love film and spending my time with it. Each film is another reminder of why it exists, and what I do or don't think works in the medium. It is where I want my life to go, and, when I sit in a dark theater, I feel like I have found my niche. In that old seat.
Sunday, July 7, 2013
Flashback: Amour (2012) Review
5/5
This film has been called dreary, depressing, and dismal, and I agree. It is a sad film, one where its heartbreaking conclusion is known and we are meant to sit through the slow processions until we end up at that point. It is, however, a mesmerizing ride. Michael Haneke, the filmmaker behind this true artistry, is one of my favorite filmmakers because he does not shy away from the tough stuff; rather, he embraces it. He revels in the darkness of the human soul and somehow, even with subject matter like old age, death, and desperation, he manages to find hope. The film's title (which is French for "Love") is no mistake. This is a film about love, and what love will push people to and away from.
There are very long shots of what seems like nothing, but it is within these shots that Haneke's genius lies: people live their lives doing ordinary things, and by capturing that, he succeeds at one of the base goals of filmmaking which is to make the characters relatable. We see these two elderly people eat, watch a concert, talk, sit, and I was moved to tears by the end because I felt like I knew them. They were, essentially, people in love and people who were close to losing it.
Putting the inspiring filmmaking aside leaves room to talk of the actors, Emmanuelle Riva (nominated for Best Actress at the 2012 Academy Awards) and Jean-Louis Trintignant (unjustly robbed of a nomination) are revelatory. Their love is palpable and it keeps us watching when the throws of old age envelop them, and us, in sadness.
This movie was nominated for Best Picture, Best Director, Best Actress, Best Original Screenplay, and Best Foreign Language Film, winning Best Foreign Language Film. I am relieved to know that the Academy is willing to nominate and award such challenging, "art house," and foreign fare. If there was ever a film to garner such respect, this one deserves it. Its honest imagery and brutal reality will stay with me forever, and that is something to cherish.
Suggested by Mimi L. on this page:
http://licacfilm.blogspot.com/2013/07/suggest-films-for-review.html?showComment=1373220243712#c7780678843943451987
Suggest your own for review!
This film has been called dreary, depressing, and dismal, and I agree. It is a sad film, one where its heartbreaking conclusion is known and we are meant to sit through the slow processions until we end up at that point. It is, however, a mesmerizing ride. Michael Haneke, the filmmaker behind this true artistry, is one of my favorite filmmakers because he does not shy away from the tough stuff; rather, he embraces it. He revels in the darkness of the human soul and somehow, even with subject matter like old age, death, and desperation, he manages to find hope. The film's title (which is French for "Love") is no mistake. This is a film about love, and what love will push people to and away from.
There are very long shots of what seems like nothing, but it is within these shots that Haneke's genius lies: people live their lives doing ordinary things, and by capturing that, he succeeds at one of the base goals of filmmaking which is to make the characters relatable. We see these two elderly people eat, watch a concert, talk, sit, and I was moved to tears by the end because I felt like I knew them. They were, essentially, people in love and people who were close to losing it.
Putting the inspiring filmmaking aside leaves room to talk of the actors, Emmanuelle Riva (nominated for Best Actress at the 2012 Academy Awards) and Jean-Louis Trintignant (unjustly robbed of a nomination) are revelatory. Their love is palpable and it keeps us watching when the throws of old age envelop them, and us, in sadness.
This movie was nominated for Best Picture, Best Director, Best Actress, Best Original Screenplay, and Best Foreign Language Film, winning Best Foreign Language Film. I am relieved to know that the Academy is willing to nominate and award such challenging, "art house," and foreign fare. If there was ever a film to garner such respect, this one deserves it. Its honest imagery and brutal reality will stay with me forever, and that is something to cherish.
Suggested by Mimi L. on this page:
http://licacfilm.blogspot.com/2013/07/suggest-films-for-review.html?showComment=1373220243712#c7780678843943451987
Suggest your own for review!
How Much? Box Office Results- July 5-7
The results are in. Despicable Me 2 has broken the record for 5-day gross of an animated film, The Lone Ranger bombed hard, and Kevin Hart is getting closer and closer to becoming a household name. Also, The Way, Way Back opened heartily with $575,000 in only 19 theaters; not enough to make the top 10 but an impressive limited release gross nonetheless.
White House Down continued to disappoint, but I don't think this has as much to do with the people involved as with the fact that a movie about the exact same thing, Olympus Has Fallen, opened earlier this year. The Heat held on very nicely, and Monsters University wasn't completely obliterated by Gru and his minions in Despicable Me 2.
From my predictions from Thursday, I got the order of all ten films correct, and was high on the top 2 films but about right with the other 8. Not a bad way to start off the "How Much?" box office game on LCA Film.
Here are the results:
1. Despicable Me 2- $82.5 million
2. The Lone Ranger- $29.3 million
3. The Heat- $25 million
4. Monsters University- $19.5 million
5. World War Z- $18.2 million
6. White House Down- $13.5 million
7. Man of Steel- $11.4 million
8. Kevin Hart: Let Me Explain- $10.1 million
9. This is the End- $5 million
10. Now You See Me- $2.7 million
Be sure to keep up on the "How Much?" segment every Thursday and Sunday, where you can comment with your own predictions and thoughts!
White House Down continued to disappoint, but I don't think this has as much to do with the people involved as with the fact that a movie about the exact same thing, Olympus Has Fallen, opened earlier this year. The Heat held on very nicely, and Monsters University wasn't completely obliterated by Gru and his minions in Despicable Me 2.
From my predictions from Thursday, I got the order of all ten films correct, and was high on the top 2 films but about right with the other 8. Not a bad way to start off the "How Much?" box office game on LCA Film.
Here are the results:
1. Despicable Me 2- $82.5 million
2. The Lone Ranger- $29.3 million
3. The Heat- $25 million
4. Monsters University- $19.5 million
5. World War Z- $18.2 million
6. White House Down- $13.5 million
7. Man of Steel- $11.4 million
8. Kevin Hart: Let Me Explain- $10.1 million
9. This is the End- $5 million
10. Now You See Me- $2.7 million
Be sure to keep up on the "How Much?" segment every Thursday and Sunday, where you can comment with your own predictions and thoughts!
Subscribe to:
Posts (Atom)