Category Archives: New In Theaters

Reviews of what’s out now

New In Theaters

About Half

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by George Wolf

 

About Last Night opens cold to the funky sound of James Brown’s “Sex Machine,” which is good because a) that song is awesome and b) it lets you know this remake has more “movin’, doin’ it, you know” on the brain than the 1986 original.

Of course, both films are based on David Mamet’s 1974 play Sexual Perversity in Chicago, though Mamet long ago dismissed its move to the big screen, recalling his selling of the work an act of “a callow youth.”

This latest adaptation strays even farther from the source work, as the setting moves West to LA, where buddies Danny (Michael Ealy) and Bernie (Kevin Hart) sell restaurant supplies by day and hit the bars in search of hookups by night.

While Bernie is enjoying a new sex kitten named Joan (Regina Hall), Danny is still hurting from a recent breakup. So, why not make it a double date with Joan’s friend Debbie (Joy Bryant) and see what happens? Well, we know what happens, but the setup underscores the fact that this time out, Debbie and Danny aren’t really the main attraction.

Whether that decision was made before casting the role of Bernie or not, Hart simply owns this movie. He’s fast, frenetic, charismatic and often uproarious, with Hall nearly matching him step for step in their raunchy back and forth. The Bernie and Joan characters were never made a couple before, but here, they are the only couple we care about.

Bryant and Ealy may both be great looking, but beyond a physical attraction, nothing about Debbie and Danny rings true.

Director Steve Pink (Hot Tub Time Machine) and screenwriter Leslye Headland (Bachelorette) want to make their film funny, while still keeping the original focus on the complexities of modern relationships. The funny works, nothing else does.

The Debbie/Danny love story ventures only surface deep, giving the entire relationship a rushed feel that brings no emotion to the highs and lows of their life together. Flat performances from both Bryant and Ealy don’t help, nor does a disastrous cameo from Paula Patton as Danny’s ex, proving once again she has zero comic timing.

Thanks to Hart and Hall, about half of About Last Night is a damn funny sex comedy.

The rest may leave you hating yourself in the morning.

 

Verdict-2-5-Stars

 

 

 

New In Theaters

Sure Feels Endless

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Endless Love

by Hope Madden

Thirty three years ago (what?), Brooke Shields played a 15-year-old in love. Like everything else the wee lass made during her formative years, there was a lot of sex involved. In this case, it was all filmed with cheese cloths and the mistaken idea that teenage love is unchanging and everlasting, and that kids are not idiots. Which they most certainly are. It was melodramatic and tawdry in the most ludicrous way, but it wasn’t Blue Lagoon, so in a way, we were lucky. Except for that song, which would not die.

But fast forward  a full third of a century and teens today are blessedly unaware of Ms. Shields’s canon. And what generation doesn’t need its own pandering, shallow, weakly scripted and poorly acted version of Romeo & Juliet?

The reboot is the third strike for writer/director Shana Feste (The Greatest, Country Strong). She’s pulled the most hyperbolic pulp out of Scott Spencer’s novel, settling for a tone that’s a little less soap opera, a little more CW drama.

Innocent young Jade Butterfield (Gabrielle Wilde in the Brooke Shields role) waits until high school graduation to finally pull her delicate nose out of her homework and notice hot valet/classmate David, who looks for all the world like a 25-year-old man (25-year-old Alex Pettyfer – pretty, yet bereft of any natural acting talent).

They swoon. Oh, isn’t young love swoon-worthy? Jade’s mom (Joely Richardson) thinks so, in a borderline creepy way. No! She’s just supportive. Just really, weirdly supportive of the highly sexual relationship her teen is having in her house.

And who wouldn’t be? Who would seek to crush such obvious, deep, abiding and eternal – endless, even – love? Well, Jade’s douchebag of a dad, that’s who. And lest you believe this is just a naturally protective father trying to shield his daughter from any STDs or unwanted pregnancies that would derail her pre-med undergrad at Brown, that is not solely the case. He’s also a controlling asshole. Gawd!

If it were only the indulgent teen fantasy element that offended, the film would be almost tolerable. Unfortunately, Pettyfer has lines. Plus, he’s asked to perform with other actors, which means reactions, gestures, expression – how exactly was he supposed to have picked those skills up in his previous employment as an Urban Outfitter mannequin?

Next to him, Wilde looks borderline competent. Which she may be. At a certain point my eyes began rolling uncontrollably.

Valentine’s Day or not, Endless Love will cause you to lose the will to live. Keep yourself safe, and more importantly, keep the world safe from an onslaught of Brooke Shields remakes. Just stay home.

 

Verdict-1-0-Star

 

 

http://www.youtube.com/watch?v=Ha3UWDkkuEQ

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No Donuts Required

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by George Wolf

 

Rebooting 1987’s RoboCop seems like such an obvious idea, you may wonder why it took this long. No matter, the new RoboCop is here now, ready to clean up the streets and pump some fun (along with a decent amount of lead) into your Valentine’s date plans.

We’re back in crime-ridden Detroit with honest cop Alex Murphy (Joel Kinnamen) but beyond that, the backstory is rightly, and effectively, re-imagined for a new audience.

Robot drones built by global conglomerate OmniCorp have become commonplace in American military action overseas. OmniCorp would like to expand but Congress, bowing to public sentiment against these “soulless” enforcers in our own backyards, has blocked any attempt to put the same robots to work in law enforcement here at home.

That’s a problem for OmniCorp honcho Raymond Sellars (Michael Keaton), and for uber-outraged TV host Pat Novak (Samuel L. Jackson, just as hilariously over-the-top in his Bill O’Reilly sendup as you would expect).

The chance to turn the public tide their way comes when Murphy is blown nearly to bits by the local crime lord. OmniCorp scientist Dr. Dennet Norton (Gary Oldman) and his team spring into action, meticulously bringing Murphy back to ass-kicking life via the super suit!

Director Jose Padiha (a Brazilian film veteran making his English language debut) has no trouble delivering the frenetic action and impressive visuals, so much so that any motion- sensitive viewers might want to skip the IMAX print. Otherwise, strap in and enjoy the ride! It’s one that Padiha paces well, hitting the gas just when events start to bog down in melodrama.

Screenwriter Joshua Zetumer dials back the misanthropy of the original to provide more thoughtful inner conflict, as Murphy/RoboCop fights to overcome the engineering which allows him only the “illusion of free will.” Less subtle, but still worthwhile, are the nods to the ongoing debate about liberty versus security.

What’s missed in this new version is the knowing approach the original brought to the entire cop genre. Murphy’s fight to bring down the crime boss and his cronies is stitched together with nothing but well-worn cliche, and just doesn’t mesh next to the satirical layers that bubble up elsewhere.

No, RoboCop 2014 ain’t perfect, but it’s sleek and exciting enough to make the inevitable sequels feel much more promising.

 

Verdict-3-0-Stars

 

 

http://www.youtube.com/watch?v=INmtQXUXez8

New In Theaters

Beautiful Indeed

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by George Wolf

 

Ambitious in scope and bursting with visual wonder in nearly every frame, the Oscar-nominated The Great Beauty (La grande bellezza) is an Italian film that not only embraces Fellini comparisons, but revels in updating the “Fellini-esque” moniker with thoroughly modern sentiments.

Director/co-writer Paolo Sorrentino takes us into the upper crust of Rome society through the eyes of Jep Gambardella (the marvelous Toni Servillo), a writer, playboy and all-around rascal who for years has enjoyed living his longtime dream of being the one guest with enough social clout “to make the party a failure.”

Shortly after his 65th birthday bash, though, Jep is shaken by news regarding a friend from his past, and he begins to look beyond the superficial pleasures, searching for the simple, exquisite beauty he never stopped to appreciate.

Sorrentino displays a masterful ability to combine wry satire, silly comedy, and keen social commentary. Working with a loose, often surrealistic narrative and an unhurried pace, Sorrentino employs  veteran cinematographer Luca Bigazzi to unveil countless scenes of beauty, brilliantly driving home the point that Jep merely has to open his eyes to find what he is seeking.

Awash in wealth and decadence but grounded in the simple joys of life, The Great Beauty is an endlessly fascinating ride that never fails to live up to the grandness of its title.

 

 

Verdict-4-0-Stars

 

 

 

New In Theaters

A Movie Worthy of the Awesomeness of Legos

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The Lego Movie

by Hope Madden

Legos! Has there ever been a cooler toy? It’s ideal for unbridled creativity as well as meticulous attention to directions and every tendency in between, so basically, it’s perfect. And it’s a weirdly apt building block for a movie.

Phil Lord and Christopher Miller – writers and directors behind the surprise hit Cloudy with a Chance of Meatballs as well as the even more surprising 21 Jump Street – return to animation with this artistic gem that pleases on all fronts.

Regular guy Emmett, construction worker and follow-the-directions type, falls into an adventure with wild idea creatives who are fighting to keep evil Lord Business from ending the Lego world as they know it.

It’s a solid, even familiar premise, and it offers these talented filmmakers a lot of opportunities. The tone is fresh and irreverent, the direction endlessly clever, and the voice talent spot-on.

Chris Pratt, Elizabeth Banks, Will Ferrell and Morgan Freeman anchor the tale, with great cameos (Jonah Hill and Billy Dee Williams are the biggest hoot) and talented supporting turns helping to keep every scene interesting.

A clear love of Legos infects the entire proceedings, with hilarious Lego pieces and familiar characters and creations popping up everywhere. But the core ideas are even stronger and more thoughtful, the satire bright and evident, and the final themes appropriate for the kids you took with you as your excuse to see this movie.

Lord and Miller manage to entertain every possible audience here, poking fun at modern blockbusters and reveling in youthful creativity. They are aided immeasurably by animators who offer vivid, imaginative action sequences that embrace the themes of the film and mirror the energetic fantasy world of childhood.

The result is a joyous voyage, a perfect match between content and presentation, and a super cool movie.

 

Verdict-4-0-Stars

 

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Art for History’s Sake

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by George Wolf

 

There are many stories in war, some better known than others. With The Monuments Men, George Clooney shines a bright Hollywood spotlight on one of the lesser known aspects of World War II, and manages to make it an informative and entertaining affair.

True, the story of how the Nazis stole countless art treasures in Europe was outlined by the excellent 2006 documentary The Rape of Europa, and 42 years before that, Burt Lancaster tried to keep precious artifacts from reaching Germany in The Train. But the tale of this heroic group is fresh territory, and in adapting the source book, director Clooney and his usual co-writer Grant Heslov again show fine instincts for making a historical drama resonate.

Clooney also stars as the leader of the titular platoon, an older group of art experts called into military service and tasked with rescuing the stolen works and when possible, returning them to the rightful owners. He’s surrounded by a winning cast with plenty of star power, including Matt Damon, John Goodman, Bill Murray, and Cate Blanchett as a suspicious Frenchwoman who becomes very helpful to the cause.

Factual liberties are taken, of course, but give Clooney and Heslov credit for keeping a good heart beating beneath the big-scale production. The heavy toll of war, the enduring power of art, and the souls at the center of each are given due respect, even as the film becomes a nail-biting chase to rescue a priceless Michelangelo before it falls into wrong hands.

As a director, Clooney is a bit more obvious this time out, and there are segments when things becomes a tad too lighthearted, such as reminders of some of the cast’s previous films which may or may not have been intentional.  In fact, the struggle to find a suitable tone is the film’s main weakness, as the cinematic heights Clooney reached in Good Night and Good Luck or The Ides of March are sacrificed to give the film more mass appeal.

But ultimately, The Monuments Men is a tale that deserves a wide audience, and Clooney may prove just the right artist to get that job done.

 

 

Verdict-3-0-Stars

 

 

http://www.youtube.com/watch?v=CreneTs7sGs

New In Theaters

The 2014 Oscar Nominated Documentary Shorts

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The Academy Award nominations can drive you crazy between the snubs and the needless accolades. Some years are so bad, you may think you’ll never forgive them. But every year, however misguided their big ticket nominations, the academy does at least one wonderful thing. They draw attention to short films that would otherwise go unnoticed. Do yourself a favor and head to the Gateway Film Center to catch all fifteen of these magnificent short subject works of art, including these 5 fascinating documentaries.

 

Facing Fear

A reformed skinhead who spent years addicted to violence, and the gay man he beat nearly to death, form an unlikely bond in an ironic setting.

 

Cave Digger

The title sells short the elaborate caves excavated by sculptor Ra Paulette. He’s driven to the point of defying his own patrons, and you simply won’t believe the structures that come from this one man’s obsession.

 

Karama Has No Walls

A tragic day of protest in Yemen is chronicled through heart-wrenching interviews and breathtaking first-hand video. Simply stunning.

http://www.youtube.com/watch?v=UgC6pr6nREk

 

The Lady in Number 6

You will never forget 109-year-old Alice Sommer, the world’s oldest Holocaust survivor who continues to entertain on the piano. Her relentless optimism, even in the face of the most tragic consequences, will reduce you to mush. If this film tied for the Oscar with Karama Has No Walls, we’d be happy.

 

Prison Terminal: the Last Days of Private Jack Hall

Debuting March 31st on HBO, this is an intimate look inside a prison hospice system, and the final days of a convicted murderer. Director Edgar Barens succeeds in finding both hope and humanity within a stark, unforgiving subject.

http://www.youtube.com/watch?v=iYCL47ass7E

New In Theaters

The 2014 Oscar Nominated Animated Shorts

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The Academy Award nominations can drive you crazy between the snubs and the needless accolades. Some years are so bad, you may think you’ll never forgive them. But every year, however misguided their big ticket nominations, the academy does at least one wonderful thing. They draw attention to short films that would otherwise go unnoticed. Do yourself a favor and head to the Gateway Film Center to catch all fifteen of these magnificent short subject works of art, starting with five brilliant and varied animated features.

The nominations this year net a variety of styles and tones. The clear frontrunner for the Oscar is Disney’s Get a Horse, the 3-D short that accompanied their popular (and prescient!) Frozen. Director Lauren MacMullen’s six minute ‘toon is a joyous ode to animation history, bridging Disney’s past with its future by mixing archival Mickey Mouse animation with modern cinematic storytelling.

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

At the other end of the spectrum is Ferel, a shadowy, impressionistic tale of a wild boy found by a hunter and introduced to society. Smokey images in shades of grey underscore the story’s haunting nature.

http://www.youtube.com/watch?v=s2vywZvg9uA

Equally haunted, though in a more literal and offbeat manner, is Shuhei Morita’s Possessions. A fix-it man travels, wares on his back, through a terrible storm. He takes shelter in an abandoned shack to witness the discarded items there come to life. It’s a lively, entertaining piece on a consume-and-discard culture.

Room on the Broom is a longer, stop-action style film aimed at a younger crowd. Simon Pegg voices the narration for the tale of a good hearted witch who never met a new friend she didn’t want to make, regardless of her cat’s preferences. It’s a sweet image of acceptance and family.

http://www.youtube.com/watch?v=LjhF37MpUYs

The best of the bunch, though likely not to be the winner, is the appealing Mr. Hublot. In a clattery, mechanical future world, idiosyncratic Mr. Hublot lives alone with his OCD. His days are full – straightening picture frames, turning the lights on and off, on and off, on and off. Back to straightening frames – though he can’t help but hear that abandoned, barking puppy out there in the weather. Writer Laurent Witz, along with his co-director Alexandre Espigares, creates an endearing image of familial love and acceptance with this charmer.

Every one’s a winner regardless of the final vote. Catch them while you can.

New In Theaters

The 2014 Oscar Nominated Live Action Shorts

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The Academy Award nominations can drive you crazy between the snubs and the needless accolades. Some years are so bad, you may think you’ll never forgive them. But every year, however misguided their big ticket nominations, the academy does at least one wonderful thing. They draw attention to short films that would otherwise go unnoticed. Do yourself a favor and head to the Gateway Film Center to catch all fifteen of these magnificent short subject works of art, including these 5 wildly different live action gems.

 

Helium

A hospital janitor befriends a dying boy, and begins entertaining him with tales about a magical land called “Helium.” As  the boy gets closer to death, it becomes clear the storytelling sessions are something the janitor needs just as much as his young friend.

 

The Voorman Problem

Martin Freeman (The Hobbit) stars in this brisk, clever tale of a psychologist questioning a new patient who believes himself to be a God.

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

 

Do I Have to Take Care of Everything?

From Finland, this 7 minute entry is the shortest of the lot, bu it packs plenty of whimsy into the tale of a harried mom trying to get her husband and kids ready to leave for a wedding.

http://www.youtube.com/watch?v=D0XJRHxK4Y8

 

Just Before Losing Everything

In French with subtitles, this would be our pick to win. It is the subtle, yet stirring look at a woman in the midst of a desperate attempt to leave her abusive husband. Director Xavier Legrand’s spare style keeps details to a minimum, and that makes all the difference.

 

That Wasn’t Me

This Spanish import follows aid workers in Africa who become pawns in a violent civil war. Alejandra Lorente delivers a compelling lead performance in a film that searches for hope amid savagery.

http://www.youtube.com/watch?v=TR9Fdn-a9-Q

 

 

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What Gives?

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by George Wolf

Walking out of the preview screening for Labor Day, a woman behind me remarked, “I don’t know..I need action, a hook in the back or something!”

So, while the film won’t please the “hook in back” demographic, it will also let down fans of writer/director Jason Reitman, who makes a curious left turn into overcooked melodrama.

Adapted from the source novel by Joyce Maynard, it is a story told in flashback narration by Henry (Tobey Maquire), recalling one memorable Labor Day weekend from his youth.

While shopping with his mother Adele (Kate Winslet), young Henry is approached by Frank (Josh Brolin), an escaped convict on the run.  Quietly forcing his will upon them, Frank takes refuge in their New Hampshire home, nursing the wounds from his jailbreak and slowly becoming a savior to both mother and son.

The breakdown of her marriage has left Adele constantly depressed, and left Henry without a strong male role model. How fortunate that Frank cooks, fixes most anything, knows baseball, swears he’s not the monster the papers say he is, and oh, yeah, simmers with sexuality.

As does most of the film, juxtaposing Adele’s clear ache for a man with young Henry’s exploding hormones. It’s all very earnest and obvious, miles away from the brilliant edge Reitman brought to every other feature he’s done (Thank You for Smoking, Juno, Up in the Air, Young Adult).

It makes you wonder just what inspired Reitman to film this story, one that is equal parts Douglas Sirk and Nicholas Sparks. Perhaps it was just the challenge of elevating it, to see if his talents, combined with those of strong actors, could give it resonance.

While Labor Day is indeed better for all of their efforts, the air of disappointment lingers.

 

Verdict-2-5-Stars