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.
Showing posts with label Reviews. Show all posts
Showing posts with label Reviews. Show all posts
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.
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.
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.
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.
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.
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.
Thursday, August 1, 2013
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.
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
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
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.
Thursday, July 18, 2013
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.
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