Category Archives: New In Theaters

Reviews of what’s out now

New In Theaters

Machete Bores

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by George Wolf

 

So disappointing.

The legend of Machete began in 2007, with director Robert Rodriguez‘s standout faux trailer in Grindhouse. That trailer screamed for an actual feature, and Rodriguez obliged in 2010 with Machete, a wonderful homage to 70s exploitation films.

The original had many things going for it, but Machete‘s secret weapon was what it didn’t have:  comic parody.

Sadly, that is all Machete Kills is interested in offering.

Danny Trejo is back as the titular badass, but this time his exploits deteriorate into an Austin Powers-type mission to thwart the plans of a Dr. Evil-type madman (Mel Gibson). Nothing feels like a hat-tip to the genre, especially the female characters, scripted this time with less fun and more degradation. It is all so incredibly dumb and misguided that an hour and forty minute running time feels like twice that.

Just weeks ago, Kick-Ass 2 failed in a similar fashion, as new filmmakers took over the franchise and completely abandoned everything that made the source film so worthy.

The demise of Machete Kills is a little harder to understand, as Rodriguez is back to direct, and, as in Machete, the screen is filled with wild casting choices (Carlos Estevez aka Charlie Sheen, Cuba Gooding, Jr, Sofia Vergara, Lady Gaga). The screenplay, duties, though, this time fall to newcomer Kyle Ward, which raises some questions.

How old is he? Did he even see the original Machete? Why did Rodriguez accept this travesty?

Machete in space?

Noooooooooooooo!

 

Verdict-1-5-Stars

 

 

http://www.youtube.com/watch?v=BO1WwOQowlg

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A Skipper Brave and Sure

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by George Wolf

 

If the story of Captain Phillips wasn’t true, someone in Hollywood would have dreamed it up for a new Paul Greengrass adventure film starring Tom Hanks. That movie would have been pretty good.

The reality-based version, though, is pretty great.

In 2009, Phillips was at the helm of the Mearsk Alabama when it was attacked and boarded by Somali pirates. Failing to take control of the ship, the pirates took Phillips hostage, holding him in a lifeboat for days until a Navy SEAL team did what Navy SEALs do.

As this is not a documentary, some of the details may be exaggerated, a fact which takes nothing away from the film’s effectiveness. Greengrass (The Bourne Supremacy and Ultimatum, United 93) utilizes the shaky camera movements and extreme closeups he’s known for to create solid tension early on, and then to slowly increase the pressure as events unfold.

In much the same vein as the fact- based films Argo and Zero Dark Thirty, Captain Phillips chronicles a crisis from recent history, and tells the story well enough to make you bite your nails over an outcome you already know.

Ironically, that story gets off to a bit of a rocky start. In setting up a contrast between the respective worlds of Phillips and the lead pirate Muse (Barkhad Abdi, in a stunning acting debut), Greengrass and screenwriter Billy Ray (The Hunger Games, State of Play) seem a bit hurried.

Not only is Phillips’s pre-trip routine very reminiscent of Hanks’s pre-flight scenes in Castaway, but, more importantly, in attempting to explain the attack, the opening minutes skirt with reducing the entire ordeal to little more than black savages against white heroes.

If you’ll pardon the pun, the ship is righted once the attack begins. From the moment Phillips spies the pirate boat through his binoculars, the tension is palpable. Greengrass creates an effective hide-and-seek between the pirates and the crew of the Alabama, culminating with the capture of Phillips himself.

The claustrophobic depiction of the days inside the lifeboat, mixed with scenes of a rescue being planned and implemented are nothing short of gripping, as Hanks delivers what is possibly the best work of his career.

His status as Hollywood heavyweight and all around swell guy has at times made it easy to forget that Hanks is damn good. This performance slaps the memory back into you. Hanks gives Phillips the humanity needed to ground a tale such as this, and drives the entire film into your psyche with one of the finest depictions of post-trauma shock ever seen on film.

By the time you are breathing a sigh of relief, you can’t imagine the story of Captain Phillips in better hands.

 

 

Verdict-4-0-Stars

 

 

http://www.youtube.com/watch?v=Sp6jpeDeQmE

New In Theaters

A Unique Voice

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by George Wolf

 

Well, I admit it, I didn’t see this coming from Lake Bell.

Bell, known mainly as an actress from her multiple film and television roles, does have experience writing and directing short films. Even so, In a World…, her debut feature as writer/director/star, has the assured confidence of a much more seasoned filmmaker.

It is a clever, witty, insightful film, uniquely set inside the professional voiceover industry.

Bell plays Carol, a voice coach who also happens to be the daughter of one of the most legendary voices heard in movie trailers (Fred Melamed). Though Carol would love to follow in her father’s buttery-voiced footsteps, she’s repeatedly told it is not an area where women are welcomed.

While her personal life spirals downward, Carol’s professional life sees an uptick. Unexpectedly, she finds herself in direct competition with her arrogant father and his douche of a protege (Ken Marino) for a coveted gig voicing the trailers of a new, Hunger Games-style “quadrilogy.”

Though never really laugh out loud hilarious, In a World… offers much to keep you engaged and smiling. Bell’s script delivers finely drawn characters, smart dialogue, and honest takes on love and sexism that feel refreshingly real.

Bell elicits wining performances from her ensemble cast (along with a couple nice cameos) and delivers a star-worthy performance herself, moving easily between emotional, goofy or sexy.

Surprise or not, In a World… establishes Bell as an original filmmaking voice with great potential. It is a movie that knows where it’s going from the opening frame, and Bell has no trouble keeping you thoroughly charmed as she slyly drops some knowledge.

 

Verdict-3-5-Stars

 

http://www.youtube.com/watch?v=CjP54lV8qFI

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SciFi of Significance

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by Hope Madden

The wondrous galactic epic Gravity delivers an unmatched cinematic achievement. Co-writer/director Alfonso Cuarón sets you adrift in space, and for 90 minutes he leaves you breathless at the glory of the universe, and wrung out at the drama of attempted survival.

His work will make you remember why you go to movies – to the dark auditorium with the big, big screen. It will make you remember a time when a trip to the cinema utterly dwarfed the experience of movie night at home.

To create this magnificent beast, Cuarón created tools and technology that simply did not exist prior to this film. He created what he needed to authentically craft the sense of zero gravity, utter silence, cosmic lighting – all in 3D, no less.

When it comes to the vehicle for all this gadgetry, Cuarón, along with co-writer and son Jonás, seems to understand that simplicity is his friend. He refuses to complicate the tale, and the paired down narrative allows the primal terror and exhilaration of the space adventure to take hold.

Cuarón’s camera takes us to the outer reaches, and then crawls inside the space suit, allowing us to hurl unmoored through space along with Sandra Bullock’s novice astronaut. She is a medical researcher on her first space voyage, and she is in over her head, unprepared for all that she will experience. Just like us.

A playful George Clooney tags along for camaraderie, helping Cuarón create a joyous calm before the crisis. They’re astronauts. Look how cool that is! No wonder they risk almost unimaginable peril to do it.

Though the narrative makes a misstep here and there with emotional trickery and melodrama, what errors Cuarón makes with words he more than compensates for with the overwhelming visual experience.

The action will wring you out as you curse the clumsy suits, rail against the unpredictability of gravity, strain with heroes desperate to rush in a silent calm that will not allow it. Gravity doesn’t just deliver a magnificent view of space; it also offers perhaps the most breathlessly exciting action adventure of the year.

Visually glorious does not begin to describe Cuarón’s film. More than that, Gravity is realistic – jaw droppingly so. And this is why people began making movies in the first place – to transport you someplace magical, someplace otherworldly. Few if any have succeeded in this quest quite as Cuarón has with Gravity.

 

Verdict-4-5-Stars

 

 

New In Theaters

Airsick

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by George Wolf

 

Want to know if you’ll enjoy the new romantic comedy Baggage Claim? Just take this quick test!

Dig, if you will, this picture:  our heroine is caught in a sticky situation in a man’s apartment and needs a fast way out. After exclaiming “I am NOT going out on that fire escape!” there is a quick cut and she’s…out on the fire escape. She then makes a sad face and wonders, “could this get any worse?” After which, it immediately starts raining.

If that’s funny to you, please pick up the courtesy phone enjoy Baggage Claim. If not, stay far away, because that’s just a taste of the overly contrived, sadly obvious attempts to be charming that this lousy film is lousy with.

Paula Patton stars as Montana Moore, a flight attendant whose love life is a bit stagnant…oh, wait, I mean stalled on the runway! With her younger sister’s wedding approaching, “Mo” feels family pressure to find her future husband in time for the ceremony.

For help, she turns to her best buds at work: the oversexed Gail (Jill Scott) and the requisite gay friend Sam (Adam Brody). The three hatch a ridiculous plan to manipulate travel schedules so Mo can conveniently cross paths with traveling ex-boyfriends.

And, of course, all the exes immediately want to talk marriage when these meetings occur, because that’s what happens when exes run into each other, right?

There are so many things wrong with this film, and Patton is no help. Yes, she’s lovely, but while she’s been barely passable in her dramatic roles, her comedy chops amount to little more than exaggerated mannerisms and mugging for the camera.

Then again, considering her director, David E Talbert, also wrote the source novel and adapted the screenplay, this drama club approach must have been the goal all along.

Scott and Brody both have talent, but are saddled with roles written as tired caricatures, which is perfectly consistent with the entire script.

Check that, there are four funny lines in the film. Deadpan and sarcastically witty, they stand out like a smack upside the head, leaving you looking around wondering what just happened.

What happened is you’ve wasted time and money on a film assembled from the corpses of a thousand lazy rom-coms, waiting for the happy ending you’ve already guessed.

 

 

Verdict-1-5-Stars

 

 

New In Theaters

A Bittersweet Farewell

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by Hope Madden

How bittersweet that the great James Gandolfini goes out on such a high note. The man who may have been the all time best onscreen Mafia boss showed surprising versatility throughout his film career, and this talent is on beautiful display in one of his final performances.

In writer/director Nicole Holofcener’s new indie gem Enough Said, Gandolfini plays Albert, the unlikely yet fitting new suitor in Eva’s (Julia Louis-Dreyfus) life.

Both are divorced and facing the prospect of empty nests as their daughters head off to college, and together they develop a sweet crush that is a joy to watch as it blossoms.

Disheveled and genuine, Louis-Dreyfus has never been better, and together these veterans best known for their epically impressive television careers sparkle with tender onscreen chemistry.

Holofcener’s made a career of exploring the issues facing privileged, urban dwelling women. While this may seem too trite to tolerate, her laid back style, dialed-down neuroticism and eye for casting tend to balance things out.

Characteristically, Holofcener’s focus in Enough Said is the day to day struggle with intimacy, connection, and the compromise that accompanies a relationship. Still, this film is probably her most mainstream and accessible to date because the problems themselves are more universal.

Expect the loose narrative and slice of life structure, but with Louis-Dreyfus and her infectious chuckle driving the story, everything seems cheerier, more forgivable, and ultimately hopeful.

The film’s conflict feels a little contrived, but Louis-Dreyfus’s comic timing and unadorned performance keep things honest. She’s aided immeasurably by a cast eyeball deep in talent.

The always excellent Catherine Keener and Toni Collette are impressive, of course. Ben Falcone also gets in some good lines, and keep a look out for Toby Huss as Eva’s ex. (He’s The Wiz, and nobody beats him! Seriously, it’s that guy from Seinfeld. You’re welcome.)

Holofcener’s crafted a wise and affectionate look at middle age. Her writing is just as incisive as ever, but this cast finds more heart in the humor – Gandolfini in particular. As he did with all of his best work, he uncovers the vulnerability in the character that makes him human, recognizably flawed and therefore compelling.

That’s right. He could even play the romantic lead. The guy could do anything.

Verdict-4-0-Stars

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Drama and Spectacle

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by George Wolf

Yes, it’s clichéd irony, but here goes:  Rush, a movie steeped in the world of Formula One (F1) racing, excels because it downshifts, taking the time to examine the intricacies of a rivalry between two very distinct personalities.

Those two are James Hunt and Niki Lauda, legendary drivers who rose through the ranks together, ultimately waging an epic battle for the 1976 F1 championship. In the midst of that battle, Lauda suffered a near fatal accident, then subjected himself to the accelerated, painful rehabilitation needed to get back in the car before season’s end.

Rush is the latest in a line of historical dramas from veteran director Ron Howard, and thankfully, it’s one that favors the insightful subtlety of Frost/Nixon more than the overwrought melodrama of Cinderella Man.

That shouldn’t be a huge surprise. Oscar-nominated screenwriter Peter Morgan, who penned Frost/Nixon (as well as The Queen and The Last King of Scotland) delivers another thoughtful, character-driven script that supplies Howard with the sharp dialogue and wonderful themes necessary to develop the engrossing drama Rush ultimately becomes.

While Morgan again proves himself a master wordsmith, Howard displays a deft command of the pacing and camerawork needed to balance the human drama with the sports spectacle.

There are stories floating around that the film became a dual character study only because Howard didn’t have the budget necessary for all the racing he wanted to film. True or not, what matters is we get the best of both, with some truly pulse-pounding race sequences amid a faithful recreation of the international F1 scene during the swinging 70s.

Still, a  superior drama requires superlative lead performances, and Rush offers those as well. Chris Hemsworth (Thor) puts his charisma to good use, painting Hunt as the cavalier playboy who drifted through life looking for something, or someone, that could give him the high he got from his race car. Hemsworth’s looks and movie star status make him an easy choice for the Rush poster, but while his turn is strong, it his co-star who drives the film.

As Lauda, Daniel Bruhl creates a persona that becomes utterly fascinating, especially when pitted against his rival. While Hunt is raw talent, charm and bravado, Lauda is brainy, meticulous, blunt and socially inept. In a commanding performance that needs to remembered come awards season, Bruhl (Inglourious Basterds) makes an “unlikeable” character both sympathetic and compelling, drawing you into how Lauda views Hunt, and the world.

Exciting, enlightening, heartfelt and humorous, Rush flat out delivers, on all pumped-up cylinders.

 

 

Verdict-4-0-Stars

 

 

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Tony Danza, Scarlett Johansson and Porn

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by Hope Madden

Look at little Tommy Solomon! Joseph Gordon-Levitt has proven himself a versatile actor in the years since his TV career in the guise of a pre-pubescent Earthling. With his newest effort, Don Jon, he exhibits surprising confidence and aptitude as both a screenwriter and a director.

The film follows Jon (Gordon-Levitt), a Jersey player who cares deeply about only a handful of things: his bod, his pad, his ride, his family, his church, his boys, his girls, his porn.

Guess which one of those gets him into trouble.

Maybe the best way to appreciate what Don Jon is, is to quickly cover what it is not. Don Jon is not a traditional romantic comedy. It is not a sexy romp, or a perfect flick for hangin’ with your bros.

No. It’s a sexually frank, cleverly written, confidently directed independent comedy/drama about our culture of objectification. It’s an alert comment on a society that fears intimacy, collects trophies, and looks to get more than it gives; a culture that raises girls to want to be princesses, and guys to collect sexual conquests. A culture where a fast food restaurant honestly advertises its newest sandwich by having an oiled up, bikini clad super model spread her legs while she enjoys the tasty burger.

The effort certainly carries its flaws, but JGL gets credit for upending expectations, and for brilliantly paralleling romantic comedies and porn – because, let’s be honest, they are equally damaging to our concept of relationship.

Writing and direction are nothing without a cast, and Gordon-Levitt proves just as savvy in that department. Tony F. Danza, ladies and gentlemen! Danza has fun as Jon’s role model father, while this season’s go-to girl Brie Larson – with barely a word – scores as his observant sister.

Gordon-Levitt’s own perfectly crafted swagger finds its match in a gum-chewing Scarlett Johansson, whose sultry manipulator is spot-on.

The fledgling auteur stumbles by Act 3 – quite a letdown after such a well articulated premise. The underdeveloped resolution would hinder the effort more were it not for the presence of Julianne Moore as the eccentric and wise Esther. The role may be a bit clichéd, but Moore is incapable of anything less than excellence.

It won’t be long before we’re saying the same of Joseph Gordon-Levitt. Until the end, he proves himself an insightful observer of his times, a cagey storyteller, and an artist with limitless potential.

 

Verdict-4-0-Stars

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Make Sure You’re Prepared

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by George Wolf

 

Pre-game warmups aren’t usually part of the moviegoing experience, but Prisoners may require a little preparation.

Quite simply, it will wear you out.

Director Denis Villeneuve and writer Aaron Guzikowski have crafted a relentlessly intense, utterly engrossing mystery/thriller that will bludgeon your nerves, tease your sensibilities and leave your morals in disarray.

Hugh Jackman is unbelievably great as a father desperate for answers after his daughter, and his neighbor’s daughter, are abducted on Thanksgiving Day. The assigned detective (Jake Gyllenhaal) believes a troubled local man (Paul Dano) is to blame, but can’t find the evidence to hold him. Jackman’s character, overcome with rage, takes matters into his own hands.

That’s all the info you need, but just a tiny fraction of the complex chain of events set in motion by the crime. Guzikowski, who adapted the Contraband screenplay last year, delivers a twisting, intelligent script that lulls you with the familiarity of the premise all the while it’s leading you places you may not want to go.

Villeneuve, best known for writing and directing the Oscar-nominated Incendies three years ago, makes a stunning English language debut that succeeds on many levels. If a thriller was all it was, it would be a good one, relying on a substance that recalls years of Hollywood films from Death Wish to Gone Baby Gone.

Prisoners transcends the genre in the way it forces its audience to face the same moral ambiguities the characters are up against. The stupendous cast, which also includes greats such as Terence Howard, Viola Davis and Melissa Leo, fills each character with gritty realism, allowing actions that seem justified in one set of circumstances to be easily called into question.  As surprises mount,  the film lands solid blows to perceptions of torture, fear-mongering, religious fanaticism, and even basic parenting.

Sound like a lot? It is, and the film earns every minute of its two and a half hour running time. It is a dark, cathartic journey that is not for the squeamish, and the film’s length only serves to reinforce the hell these people are going through.  They want it to end, and so do you, but only because the film has hooked you so deeply.

You’ll need to pay attention and listen hard, and though you probably won’t figure things out early, the clues are all there in front of you. Prisoners is a breathtaking ride that rewards the effort it demands, ultimately providing a satisfying payoff, capped by an unforgettable final scene that may very well find its way into your dreams.

 

 

Verdict-4-0-Stars

 

 

 

New In Theaters

Please Put Your Pants On

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Thanks for Sharing

by Hope Madden

In 2010, Stuart Blumberg wrote a film that frankly depicted the crisis of a loving but stagnant marriage upended by infidelity. Though it may have been the intrigue of “new era family” that piqued audience interest in The Kids Are All Right, it was the talented cast and the casually insightful writing that made the film worth seeing.

In fact, Blumberg has made a career out of clever scripts that take a familiar approach to an unfamiliar topic, such as  The Girl Next Door, the teen romance between a shy young man and his porn star neighbor.

For his directorial debut he pulled from a screenplay he co-wrote with Matt Winston. Thanks for Sharing offers a romantic dramedy about sex addiction.

The great Mark Ruffalo anchors the cast as Adam, sex addict. Adam’s been sober for 5 years, thanks in part to the salty wisdom of his sponsor, Mike (Tim Robbins), though he’s having trouble with his new court-appointed sponsee Neil (Josh Gad), who isn’t taking the program seriously.

Complications arise for all three addicts, who face temptation anew as life asks them to juggle adversity and addiction simultaneously. The film is refreshingly clear on the point that overcoming addition is harder than most movies make it out to be.

Credit Blumberg once again for his script’s candor. Every character is gifted with sharp dialogue that does more than shape the role; it articulates profound difficulty of overcoming this particular problem. This cast takes advantage.

Ruffalo finds humanity in every character, and his take on Adam’s wobbly sense of control is touching. Gwyneth Paltrow offers another strong turn, and both actors benefit as much from Blumberg’s bright dialogue as the film benefits from the duo’s easy onscreen chemistry.

Though Robbins delivers a lot of the film’s funnier lines, Gad brings schlubby humor while sparring with a charmingly vulgar Alecia Moore (taking a break from her day job as pop star “Pink”).

Unfortunately, Blumberg the director is less confident than Blumberg the writer. He’s too uncomfortable with the tension he creates, switching from one storyline to the next when things get dark and confining his characters with predictable, tidy formulas.

It may be impossible to watch a film about sex addiction without remembering Michael Fassbender’s scarring performance in 2011’s Shame. While that film wallows in the filth and self loathing, Thanks for Sharing dips a toe and quickly hoses off. For a man who’s made a career of exploiting the mundane inner workings of naughtiness, he should be more comfortable getting a little messy.

 

Verdict-3-0-Stars

 

 

http://www.youtube.com/watch?v=bvituQpwkfI