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.

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 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.

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.

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!

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.

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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.

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.

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)

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.

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)

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.

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.

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!

Pacific Rim (2013) Review

4/5

I went into this film wanting the most badass and entertaining summer spectacle of the year and it delivered on every count. I don't remember the last time I have been so entertained and amazed by destruction, with a pretty good plot to back it all up.

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. 

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.

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

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.

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.

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!

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 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.

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.

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!

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!

Life #4: LCA Film is on Facebook!

Hey everybody!

LCA Film is officially on Facebook. Click here for the link.

Also, to the right of the homepage towards the top is a button to share the blog on Facebook. It would be much appreciated and easy as one click!

Thank you!
LCA Film

How Much? Box Office Predictions- July 5-7

This weekend, I would like to introduce a segment called "How Much?" that consists of Box Office predictions every Thursday and results as compared to my predictions every Sunday when the studios announce their films' grosses. Keep in mind that Despicable Me 2, The Lone Ranger, and Kevin Hart: Let Me Explain were released to today, so they have two days worth of built up grosses going into the true weekend. Please feel free to comment your own predictions below!

1. Despicable Me 2- 96.3 Million (Review: http://licacfilm.blogspot.com/2013/07/despicable-me-2-2013-review.html)

2. The Lone Ranger- 46.2 Million (Review: http://licacfilm.blogspot.com/2013/07/the-lone-ranger-2013-review.html)

3. The Heat- 23.6 Million (Review: http://licacfilm.blogspot.com/2013/06/the-heat-2013-review.html)

4. Monsters University- 21.3 Million (Review: http://licacfilm.blogspot.com/2013/06/monsters-university-2013-review.html)

5. World War Z- 17.4 Million (Review: http://licacfilm.blogspot.com/2013/06/world-war-z-2013-review.html)

6. White House Down- 15.8 Million (Review: Coming Soon)

7. Man of Steel- 13.9 Million

8. Kevin Hart: Let Me Explain- 9.5 Million (Review: Coming Soon)

9. This Is The End- 6.4 Million

10. Now You See Me- 2.8 Million

Life #3: Happy Fourth of July!

I don't really have much to say, other than have a great Fourth of July. The next few days look pretty busy movie wise... Stay tuned!

Flashback: Pulp Fiction (1994) Review

5/5

This film shouldn't have worked. How could a budding filmmaker make a movie of epic proportions with an all-star cast doing terribly illegal things... out of order? It shouldn't have worked, really. The result is my favorite film of all time.
Yes, if I had to pick a single favorite film of all time, it would be this masterpiece of dark comedy and impeccable writing. Is there a more immensely quotable film in existence? A few come close, but this has something unique: innumerable quotable one-liners that form conversations, the entirety of which is memorable. I can rattle many off the top of my head, and it really did deserve Best Picture. It was the ballsiest (and best) film of the decade, and possibly ever. Forrest who?
It is a brazenly brave and fantastically original series of stories that mesh in a climax that had me staring so hard at the screen that I didn't want to blink in fear of missing something. Every frame is a masterpiece, either in its brutality, comedy, or honesty. The musical choices added an incredible sense of realism and and a gung-ho attitude, throwing itself at the audience in the most reserved way possible. It is a true work of art.
The acting on all counts is beyond superb. There are no other actors to deliver the lines the way they did, and turn the entire film into a pop culture movement. Samuel L., Bruce, John, Uma, Harvey, Ving, Amanda, Eric. I mean, nobody else. This is one of the most expertly assembled casts of all time.
The credit, of course, goes in large part to Mr. Quentin Tarantino, a personal hero of mine. He does things because he wants to, and makes films for himself. Luckily, they are perfect (at least this one is) and we are lucky to have him as a tour-de-force creative mind in this world. If you haven't seen this film, you are missing one of the most important cinematic experiences ever committed to celluloid. Save yourself the embarrassment of not knowing the references when they come up, and watch this film. It is worth your time, tenfold.

*Remember to comment on this post: http://licacfilm.blogspot.com/2013/07/suggest-films-for-review.html with your suggestions for film reviews!*

Despicable Me 2 (2013) Review

3/5

I try to go into films with no expectations, and I feel with this I succeeded because I didn't love it. I could have forced myself to love it based on the amount of respect I have for the first one, but I did not. I saw it for what it was.
The animation is spectacular, with the characters expressions reverberating off one another and the settings vibrating with energy. The 3D, for once in a blue moon, is worth it; things do come popping off the screen to the screams of delight from kids and adults alike. The vocal work from Steve Carrell is spot-on; I truly believe the man has many talents. Kristen Wiig is Kristen Wiig in animation form, Russell Brand isn't used enough, and Benjamin Bratt plays up the Spanish thing to great success. The scene-stealers, and you already knew this, are the Minions.
The Minions (who are getting their own movie in December of 2014 called, yep, Minions) are incredible in two ways: visually and comedically. They come into and out of frame like they own the place, tearing things in half with random objects and they do not disappoint. They look funny, they act funny, and they seem like genuine friends. The Minions are an accomplishment within the film, same as the first, because they keep the thing moving when the actual plot does not.
There is a love story that drags on and a villain without much motive. These are plot killers, but the kids won't care. Although there are extended breaks between zany action sequences, I do think kids will be entertained. Parents can cling onto their kids' laughter, surprise, and the many pop culture references. There is something for everyone, but less so than the first time around.
I do think that there is a successful film somewhere within this decent one, but the one we get makes us love two things: the Minions, and the first film.

Fill the Void (2013) Review

5/5

Well, that didn't take long. I was wondering how many films I'd have to see until I got my first 5/5 to write about (not in the year, but since starting this site) and the answer came to me starting at 6:30 this evening. What a way to start the best of the best.
Fill the Void is a story so simple, one wouldn't think it deserves a feature length film. A girl (Hadas Yaron) must decide whether, in order to keep her family together, to marry the groom (Yiftach Klein) of her tragically deceased sister. One would ask how this simple sentence fills a 90 minute film, and the answer is wonderfully.
The story is set in Israel in a Hasidic neighborhood. All of the characters are Hasidic. Their story, however, transcends religion and race and location. It belongs to each of us, within us, and for that it should be viewed by the masses. There is much more to admire.
The acting on all counts is just exemplary. Though Yaron and Klein generally dominate screen time, it is a feat accomplished when the supporting characters each have their own life and share a story with their eyes that drives the audience to recognize and emotionally connect to them. The love is palpable and the lack thereof is tense, which is a tribute to these actors.
Rama Burshtein is something of a magician. Her debut feature moves like it is her fifteenth, her actors respond and convey true emotion, and she frames each shot with a kind of grace I admire and am inspired by. What draws you in immediately, however, is the focus. She uses the focus of the shot to tell you what to see, what you should see coming, and to convey emotion almost as if it is a character of its own. This is what filmmakers aspire to: turn the camera into a storyteller. Burshtein succeeds with her very first feature. It is an understatement to say I am excited to see what she does next.
If there is one thing I will remember about this film, and I will in all likelihood remember more than one thing, but should there only be one then it will be the ending. As the emotional climax of the film approached and arrived, I welled up with tears. I was struck by the beauty of the shot, the majesty of the filmmaking and the raw nature of the frame. Then, just as I was hoping for the screen to go black, the film continues. "That does it," I thought, "no more 5/5." The ending that Burshtein decided was best, as it turns out, was best. The ending I expected was just that: expected. Burshtein was not content with that, and gives an ending that not only shifts the entire film altogether but ends with a tone that doesn't align from the film. That's where the genius of it all lies: in taking simplicity and making it complex.

Suggest Films for Review!

Hello everyone!

If you can think of a film that you'd like me to review, old or new, just comment on this post with your suggestions. If I've seen it before, I'll re-watch. If I haven't, I love watching new films! I look forward to reading your suggestions and watching, watching, watching.

Daniel

The Lone Ranger (2013) Review

2.5/5

This film is confused. Is it a Western? An action-adventure? A comedy? A historical rewrite? I honestly don't think it could pick, and therefore tried to be all four to no avail. One scene is action-packed summer blockbuster entertainment, the next is awkward (and sometimes effective) comedy, and the next feels like a family based drama. It doesn't gel. And at 2 hours and 29 minutes, it is too long. Too long. There is just no other way to say it. It is TOO LONG. This is not to say that the film didn't have its positives.
Johnny Depp, right in his Jack Sparrow wheelhouse, is a great Tonto. He is an actor adept at weaving into and out of expressional comedy and expressional drama. His one liners stick, and his sight gags work. Working with his Pirates of the Caribbean producer and director, he seems to fit right into that niche. Nothing totally new, but very entertaining. Armie Hammer, talented as an actor, seems out of his element. I don't think it was his fault, as the character had a lot of tonal imbalances.
The direction is wonderful during the action scenes, but the dialogue scenes drag. The writing during the action scenes are great because they flow wonderfully, but the dialogue scenes drag. A few whip-smart comedy bits save face. The score is Hans Zimmer at his Hans Zimmerest, which is to say it is pretty good but no Inception or The Dark Knight. The visual effects are impressive, and the most surprising thing about the film for me was how brutal the violence was. For a PG-13, they push the limit here a few times, and I think that when it does happen it adds a welcome pick-me-up to the often grey cinematography. Grey, but impressive, as many shots are framed beautifully and show off the beautiful Western landscape.
This is a frustrating film because it has a lot of good elements, but it doesn't really mesh. I do believe that, should they make a second one, it will be better because the bland backstory will be out of the way. This one suffers from a lack of super-glue and an over-abundance of grand ideas. Not every idea has to be included, and if that principle was followed, it would have made for a much tighter and ravishing film.

Laurence Anyways (2013) Review

4.5/5

It is something of a miracle when a film that clocks in at 2 hours and 48 minutes and covers a 10 year span doesn't prompt an audience member to check the time even once, and that is exactly what I experienced with this work of art. It has a lone slow spot, and it is brief, and it is for that 10 minute stretch that this film is not a 5/5. It is damn close to perfect. Damn close.
There is a moment in the film where the air in the theater seemed to disappear and we were left staring at the screen as though it would be our only reprieve. When the tension released, we stayed captivated if not teetering on the brink of unconsciousness. A truly magical accomplishment.
The acting in the film is superb. Melvil Poupaud is a revelation as Laurence, a man who is not homosexual but wants to be a woman, having felt trapped in a man's body for the thirty-five years he has been alive. Suzanne Clement, astonishing, is the girlfriend that Laurence connects with on a deep personal level during this transformational phase. The way that these actors laugh, fight, and love is beyond acting: it is living. I have to admit that it is hard to praise these actors enough, and if they don't start finding more work and hopefully staying with the challenging and personal roles then I will have to hire them myself should I be in that position. In a just world, Oscar nominations would be in their future.
The talent behind the camera is just as intense. The cinematography, a healthy blend of handheld and static shots, is gorgeous. The way that landscape, light, and texture are used, along with very carefully planned shot selection that leads to a reveal of sometimes the most unexpected things is breathtaking. Truly inspiring. The direction and writing are professional as everything feels very real and bold. The editing is crisp and taut, keeping a level of suspense and constant conviction across this ambitious runtime.
Laurence Anyways isn't playing in very many theaters, but I encourage you to seek it out. I saw it at the Angelika in Manhattan. If you find yourself with three hours to spare, check it out. If you listen to me, then you should cancel what you are doing tomorrow and go.