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.
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