Category Archives: New In Theaters

Reviews of what’s out now

Sam Rockwell Wants to Party with You

Better Living Through Chemistry

by Hope Madden

For a film about drug use, extramarital sex, feces smearing and conspiracy to commit murder, Better Living through Chemistry retains a surprisingly cheery disposition throughout. In its own way, it also champions wholesome values, all without ever really condemning the extramarital relations, drug use or attempted murder. It does seem to frown on that excrement thing, though, so there are lines it is willing to draw.

The always welcome Sam Rockwell plays beleaguered good guy/pharmacist Doug Varney with characteristic aplomb. Varney’s mild mannered, put-upon existence takes a sharp left when he meets Elizabeth (Olivia Wilde), a trophy wife and fashionable druggy with some lessons to share with the druggist.

Wilde and Rockwell share a fun, edgy chemistry while Michelle Monaghan, playing Varney’s ball-busting wife, steals her every scene. (Stealing a scene from Sam Rockwell is a noteworthy feat.) The three are a blast to watch. They have a lot of fun with the pseudo-subversive silliness and are entirely responsible for whatever enjoyment there is to find in the film.

Too bad the writing/directing pair of Geoff Moore and David Posamentier offers the acting trio too slight a script, as well as tone deaf direction. And their narration device is far less clever than they think.

The film lacks the bite of a true satire or dark comedy. If the point was one of consequence-free binging, the film would actually have been on better footing in that at least it would have been provocative. Instead, it’s a hollow exercise in finding your inner strength through drug-induced misbehavior, and then allowing convenient scripting to help you know when to say when.

 

Verdict-2-5-Stars

 

 

Breaking Very Bad

 

Need for Speed

by George Wolf

 

I never watched Breaking Bad, but I believe you when you say it is awesome, and that Aaron Paul is awesome as Jesse. I don’t doubt it for one second. Really.

But trust me, Need for Speed  isn’t Breaking Bad, it’s just bad.

Paul moves on from Jesse to star as Tobey Marshall, a badass gearhead/street racer who was framed for murder by an old adversary. After serving a prison stint, Tobey rejoins his old garage crew to enter a legendary cross-country race, and hatch a plan that will bring both sweet victory, and sweet revenge.

Even for a film based on a video game, Need for Speed is achingly shallow. Director Scott Waugh‘s biggest error is to give the film the same overly dramatic, utterly heroic tone he brought to Act of Valor.  It made sense on Valor, as Waugh was directing active-duty Navy SEALS who had trouble acting, but at least deserved the treatment.

Here, though, the approach is so over-the-top it results in a cornball mess of high octane ridiculousness. Though it’s hard to tell from the squeaky-clean garages, neatly pressed clothes and perfect fingernails, these are street racers, not world-savers. Lighten up already.

George Gatins’s sophomoric and painfully obvious screenplay doesn’t help, bursting as it is with groan-inducing dialog and plotting fit for coma patients.

I suppose there is something here if you like to see cars going fast, but even those sequences are bland, especially after Waugh makes the mistake of including a snippet from Bullitt, one of the greatest car movies ever made. Honestly, you can find more auto-excitica (you’re welcome) in The Town or one of those Jeff Gordon-in-disguise Pepsi commercials.

Even the music is awful, alternating between melodramatic crescendos and tone-deaf remakes of rock classics.

A sarcastic, tongue-in-cheek vibe would have worked wonders on Need for Speed. As it stands, it can’t outrun the stupid, no matter how fast it goes.

 

Verdict-1-0-Star

 

 

 

A New Grecian Formula

 

3oo: RISE OF AN EMPIRE

by Hope Madden

Back in 2006, director Zach Snyder paired a Frank Miller graphic novel with a mostly naked, very beefy Gerard Butler, and ancient Greek history was born. The visually arresting 300 was a stylistic breakthrough, if nothing else. Eight years later, though, it’s tough to understand the point of a sequel.

And yet, 300: Rise of an Empire picks up where 300 left off. It’s less a sequel or a prequel and more of a …meanwhile. That is to say that, while Leonidas (Butler) and his 300 Spartans battle Persian god-king Xerxes on the ground (the previous film’s climax), Themistokles (Sullivan Stapleton) and the rest of Greece takes on Xerxes’s navy, led by the angry Grecian ex-pat Artemisia (Eva Green).

Gone is the painterly quality of the original, an artistic choice that often pays off as it gives the sea battles a little more life. Don’t look for authenticity or gritty realism here, though; the sequel is very definitely cut from the same CGI-laden cloth as Snyder’s epic, but director Noam Murro (Smart People) makes some stylistic alterations here and there.

The sequel is bloodier and rape-ier than its original, all the lurid detail captured in vivid splatter-cam glory. There’s far less exposition and nearly no character development this time around. Murro’s plan of attack seemed to be action sequence followed by rousing speech followed by action sequence overdubbed with rousing speech, and so on.

Given the sheer volume of action (and speechifying), it’s surprising the film becomes so tedious so quickly. To enjoy the full 102 minutes, you might need to have a real itch to see beefcake in battle. (No to shirts, yes to capes in the military uniform? Really?).  That is, except for the ferocious presence of Eva Green.

Playing the bloodthirsty naval commander with a grudge against Greece, Green steals every scene and commands rapt attention. She delivers more badass per square inch than the entire Greek and Persian navy combined in a performance that entertains, but also exposes the blandness of the balance of the cast. Even without their shirts.

It’s not the worst waste of time onscreen right now, thanks to Green, but it’s nothing you’ll remember tomorrow, either.

Verdict-2-5-Stars

 

 

Airport 2014!

 

NON-STOP

 

by George Wolf

 

The long, national nightmare is over..the Airport franchise is back, baby!

Okay, not really. There’s no George Kennedy, or Charlton Heston, and no Love Boat-style parade of guest stars hoping for more face time, but Non-Stop brings the mid-air disaster back to the big screen with plenty of B-movie chutzpah.

Liam Neeson stars as Air Marshall Bill, a boozy grump with a tragic past who isn’t too happy with his latest assignment on a transatlantic flight. His particular set of skills is tested a few hours after takeoff, when he begins getting text messages from an unseen passenger. Wire 150 million dollars to a secret account, Bill is told, or every twenty minutes, someone on the plane will die.

It amounts to an interesting setup from a team of writers, one with a Hitchcock-meets-Agatha Christie vibe that director Jaume Collet-Serra (Unknown, another Neeson thriller) has no trouble fleshing out.  Things move fast and deliberately, as suspicions fall on a collection of interesting passengers, including the friendly redhead who insists on sitting next to Bill (Jullanne Moore, classing up the joint).

The clearer the resolution becomes, though, the more the film struggles with flimsy contrivance. Yes, it’s a bumpy ride, but Neeson again proves his mettle as a late-blooming action star, and there is just enough fun in Non-Stop to make it an enjoyable, if easily forgettable, trip.

 

 

Verdict-3-0-Stars

 

 

Welcome to Adulthood! Yes, It Does Suck

Adult World

by Hope Madden

“Fame is your generation’s Black Plague.” So says Rat Billings (John Cusack), world-wearied poet and reluctant mentor to naïve college grad and would-be poet, Amy (Emma Roberts).

Rat has lots of good lines – he is a poet, after all – about the strange era of newly formed adults who grew up working toward fame for fame’s sake. “Generation Mundane” he calls them.

Unbeknownst to Amy, she herself fits that description, and that irony is at the heart of the bright indie comedy Adult World. The chemistry at the heart of the film belongs to Roberts and Cusack.

When Roberts’s Amy leaves the nest 90K in college debt with no marketable skill (her degree is in poetry, after all), she takes a job at an old style porn shop. There, a unique and fascinating world revolves around her, but she’s too busy “feeling, deeply feeling” to notice. Which is, of course, the problem with her artistry – she’s trying to write when she has refused to live, so what could she have to write about?

We watch as Amy refuses to participate in life, insulated from the world by her misguided, socially-instilled belief in her own specialness. Thankfully, director Scott Coffey’s film – scripted with refreshing self-deprecation by Andy Cochran – is rarely too overt with its theme. Sometimes, sure, and you would never call the film exactly subtle. But it has some real freshness to offer instead.

While the cast on the whole is quite solid, Roberts really hits high gear in scenes with Cusack. When these characters are together we get to see each at his or her most potent. Films rarely offer such undiluted presences. Neither actor is afraid to embrace what is unlikeable about their own character, and their scenes together are a kind of joyous celebration of flaws. A giddy artistic energy flows between the two performers that is a blast to watch.

Not every pairing goes as well. Amy’s onscreen love interest is played by Roberts’s offscreen love (and American Horror Story co-star) Evan Peters. Though their romance is sweet, its course is also predictable.

Worse still, the great Cloris Leachman is underused, and Armando Riesco’s drag queen is tacked onto the story sloppily and without real meaning.

Still, much of this story rings true, and the approach taken to poke fun at Generation Mundane is clever and well-intentioned. More than anything, though, it’s great to see Cusack running on all cylinders and matched so well.

 

Verdict-3-0-Stars

 

The Weight

 

Generation Iron

 

by George Wolf

 

“We can do what 99.9 percent of people can’t do..lose fat and gain muscle at the same time.”

“We” refers to the best bodybuilders on the planet, and Generation Iron reveals their world in thoughtful, compelling fashion.

In fact, after nearly forty years, we may have the perfect companion piece to 1977’s Pumping Iron. That film, or course, gave young Arnold Schwarzenegger a big push on his path to icon status, as it followed his attempt to defend the Mr. Olympia title in 1975.

Writer/director Vlad Yudin crafts Generation Iron in similar fashion, focusing on the 2012 Mr. Olympia competition, as champion Phil Heath prepares to takes on several challengers, most notably Kai Greene. But, while parts of Pumping Iron were scripted, Yudin plays it straight, presenting a fascinating look at bodybuilding and the athletes who devote their lives to the sport.

Yudin’s instinct for pacing is spot on, as he moves between the different competitors and their training regimes. We get to know them, and their honesty (well, except about steroids) makes us care. Bodybuilding is not only their sport, it is their job, and the amount of devotion it requires can come with a high price.

The presentation of the film also holds your attention, even for those who may not have an interest in bodybuilding. Yudin follows competitors on a trip to the zoo (creating a nice contrast between the animals on display and massive physiques out in the real world) and a casting call, as the shadow of Arnold’s superstardom continues to loom large.

As it builds toward the showdown competition, a certain philosophical nature envelopes the film, though it comes more from the athletes themselves than from Mickey Rourke’s whispered, often melodramatic narration.

Generation Iron not only informs and entertains, but leaves you eager for a sequel focusing on female bodybuilders.

 

Verdict-4-0-Stars

 

 

 

http://www.youtube.com/watch?v=Qd-4qBhUSR4

Miyazaki’s Final Film?

The Wind Rises

by Hope Madden

The Wind Rises – the Oscar nominated, animated, fantastical biopic of Japanese aeronautical engineer Jiro Horikoshi – may be genius filmmaker Hayao Miyazaki’s final film.

A body of work like his – Spirited Away, My Neighbor Totoro, Ponyo, Princess Mononoke and so many more – deserves a unique capstone, and The Wind Rises is certainly unique. This film is not only unlike anything else Miyazaki has crafted, but unlike anything else period.

Set in Japan in the early 1920s, the film offers a fictionalized account of a nearsighted boy who dreams – literally – of aircraft. In Jiro’s dreams, Italian aeronautical pioneer Gianni Caproni enlightens the boy to the elegant, creative possibilities of airplanes. Unable to become a pilot because of his eyesight, Jiro determines to design planes.

Like everything Miyazaki does, Wind is a visual glory. Whether crowded city streets, mountainside locales, or cloud-speckled heavens, the scenery in this film is breathtaking. Touching, intimate moments and catastrophic acts of God or of war, Miyazaki treats them with the same poetic brushstroke.

The subject matter here proves more adult than his previous efforts, though, and he limits the fantastical elements because of it. Though the dream sequences are a joy, don’t expect to find unusual creatures or outright feats of magic in this one.

Rather, Miyazaki attends to some of Japan’s most epic historic moments, contextualized behind the journey of one quiet, delicate young man’s voyage through life. The result is less giddily entertaining than what you might expect from the filmmaker, but no less captivating.

Maybe we can hope for just one more?

We’re Going to Need Another Bodice!

 

IN SECRET

 

by George Wolf

 

To put it mildly, the story at the heart of In Secret has staying power.

It’s the latest telling of Therese Raquin, a novel by Emile Zola that has seen countless adaptations since its debut in 1867. The classic tale of lust, betrayal and murder has seen big and small screen productions, live stagings, and been sampled in a range of films, ranging from the noir staple The Postman Always Rings Twice to the Korean vampire flick Thirst.

This latest version sees writer/director Charlie Stratton adapting Neal Bell’s play and chasing Zola’s stated desire to produce a “study in temperament.” 

Elizabeth Olsen is Therese, who is stuck in a passionless marriage to Camille (Tom Felton), her sickly first cousin. They live with Camille’s doting mother Madame Raquin (Jessica Lange) in Paris, above the small shop she owns and Therese helps to keep running.

Camille brings his old friend Laurent (Oscar Isaac) home to visit, which ignites the long-repressed passions in Therese. Soon, she and Laurent are stealing every possible moment for bouts of bodice-ripping, which eventually leads to the pair imaging how nice it would be if Camille were to turn up dead,

Stratton, in his feature debut, is effective at setting the period, and the mood. The entire affair is laced with desperation, both before and after the murderous deed, and Stratton is able to differentiate between the shifting motivations of the characters.

His sublime cast is a huge help. Olsen continues to prove gifted at conveying much with the slightest of glances, and Isaac, fresh from his triumph in Inside LLewyn Davis, easily conveys Laurent’s penchant for blindly following his impulses.

Felton may be the biggest surprise. Since originating the Draco Malfoy role in the Harry Potter series, Felton has shown an impressive growth, and here he deftly gives Camille the dim-witted vulnerability which makes him an easy mark for,the scheming lovers.

And Lange? Well at this point, what can you say? She’s delicious, digging into a role which she makes even more effective once her character is forced to rely on her son’s killers for survival. Lange has been doing some of the best work of her storied career recently, people, take note!

In Secret is a pure, old-fashioned Gothic thriller, one that purposely takes a detached approach to the scheming. Those looking for a deep psychological look within the characters won’t get it.

You will get a filmmaker determined to stay as true as possible to the intent of its source material, and a cast talented enough to bring that vision to a satisfying fruition.

 

Verdict-3-5-Stars

 

 





There Are Better Ways to Spend Your Days

3 Days to Kill

by Hope Madden

Remember when the first Charlie’s Angels movie came out, and it was much less terrible than we’d all expected – mostly thanks to Bill Murray? So much so that people marveled? Who’s this McG person, I’m sure someone said of the newcomer director. Look at his loose comic style and action movie flair.

Well, five tired films later, not that many people are still buzzing about McG, and his latest, 3 Days to Kill, isn’t likely to change that.

Kevin Costner stars as Ethan Renner, an aging CIA assassin with a bad doctor’s report who wants to spend what little time he has left in Paris with his estranged family. But a mysterious upper level agent (Amber Heard) offers him an experimental drug in exchange for one last assignment.

Little more than another riff on the old stand-by Luc Besson tale (who produced and co-scripted), the film feels worn out before it even gets started.

Costner’s casually humorous presence gives the movie some heart and McG coordinates some car sequences with a panache reminiscent of his earlier work, but otherwise you can expect a mishmash of every theme, scene, lesson and cliché in Besson’s arsenal.

Heard proves again that she doesn’t have the chops to act her way out of one-dimensional roles or the charisma to leave a mark within them. Hailee Steinfeld, playing combustible teen Zooey, does not use this particular project to live up to the promise of her spectacular performance in True Grit. Connie Nielson is wasted as her mother.

The subplot with a family of squatters in Ethan’s apartment is almost offensively clichéd. (Thanks, you noble clan, for teaching Ethan a thing or two about family!)

A blandly derivative middle age fantasy, 3 Days is about on par with everything else Besson, McG, Heard or Costner has done in the last few years.

Maybe we can still hold out hope for Draft Day?

Verdict-2-0-Stars

 





Volcano Dead Ahead!

 

POMPEII

 

by George Wolf

 

Two doomed lovers kept apart by the strict class system of their era, fighting to be together as disaster looms. Plus there’s a scene with handcuffs and a haunting love theme at the end.

This remake of Titanic is called Pompeii, with a CGI Mt. Vesuvius showing tremendous range in the role of the iceberg.

The smoldering Milo (Kit Harington) is a gladiator/slave who catches the eye of Cassia (Emily Browning) , the daughter of a wealthy Pompeii businessman. Trouble is, she is unwillingly betrothed to the menacing Corvus, a visiting senator from Rome (Keifer Sutherland, unapologetically hammy).

As Milo and the other gladiators begin combat in the crowded arena, Vesuvius uncorks in very angry fashion, leaving an entire city scrambling for a seat on one of the boats to safety..seriously.

There’s just no way to watch this film without thinking of Titanic, except in the moments when a Sutherland is standing before a crowd to “open the games” and then you’re thinking of The Hunger Games and wouldn’t you rather be watching that?

Pompeii offers very little substance. Harington (staying in his Games of Thrones comfort zone) and Browning (Sucker Punch, Sleeping Beauty) fail to generate any chemistry or emotion, while the screenplay relies on empty cliches such as, “Welcome to your new home, savages!”

Director Paul W.S. Anderson (Resident Evil series, Event Horizon) is a bit lost in the quieter scenes, as if he’s just impatient, and hankerin’ to get back to the action. The abundance of shirtless hunks, along with Anderson’s knack for keeping M’lady cleavage in the frame whenever possible rank as weak attempts to keep attention from waning.

He’s much more at home creating a spectacle, and once the volcano erupts and madness ensues, Anderson does manage a few scenes that are visually impressive. So there’s that.

Still, Pompeii continues to ignore the most pressing issue.

Wasn’t there enough room on that piece of shipwreck for both Jack and Rose?

 

Verdict-2-0-Stars