Category Archives: New In Theaters

Reviews of what’s out now

New In Theaters

Because After Midnight, They’re Gonna Let It All Hang Down

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Before Midnight

by Hope Madden

The third installment of what may be the most understated trilogy in cinematic history, Before Midnight catches up with Jesse (Ethan Hawke) and Celine (Julie Delpy) – American writer and French muse – almost twenty years after their first meeting on that train.

Those two romantic kids Richard Linklater followed around Vienna back in 1994’s Before Sunrise, then again through Paris in 2004’s Before Sunset, are now a timeworn couple with kids on vacation in Greece. If nothing else, the pair does visit lovely spots.

For all the similarities in the three films, though, Linklater and his two leads/co-writers take the story in a very natural yet risky direction. The first two installments are among the most unabashedly romantic indie films ever made.

Before Midnight, on the other hand, is far more of a meditation on relationships – the compromises, selfishness, joys, tedium. This is untrod ground in Hollywood, where films find inspiration in either the beginning or the end of a romance. That long slog in the middle, though, that’s hidden from view.

As Celine and Jesse struggle with the consequences of their youthful decisions and wrestle against the weight of middle age, they take some time to examine their lives, flaws and desires. They talk it out.

This is certainly the talkiest film released this weekend, as it relies entirely on conversation to tell its story. There are times when the dialogue feels self-serving. At other times, it gives the film too pretentious an air. On the whole, though, these characters are recognizable in a way that is rarely achieved in film.

Delpy’s performance is particularly courageous, as she’s willing to be unlikeable in the way we all are when we’re feeling particularly bitter and put-upon. Hawke equals her performance, allowing Jesse’s entire demeanor to change in relation to Celine’s mood; after years together, he can predict what’s coming and maneuver to calm the storm. Their unerring take on couplehood is often unsettling, and it brings authenticity to every scene.

Warts and all, Before Midnight is a sort of miracle. It revisits beloved characters with subversive honesty, embraces mid-life without pretending it to be something other than what it is, and finds value in the struggle to remain inspired by your own love.

Verdict-4-0-Stars

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What – No Solomon Grundy?

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Man of Steel

by Hope Madden

Ever since Christopher Nolan’s smashing success rebooting Batman, a stripped down, gritty Superman seemed to be in the cards. But is it possible to Nolanize Superman?

Nolan produces and gets a story credit for Man of Steel, but unlike the flawed, oh-so-human Batman, Superman is hard to really care about because he isn’t human at all. He’s perfect. He’s God, basically. You can’t relate to him.

But Nolan, script writer David S. Goyer, and director Zack Snyder decide to just embrace those messianic qualities and see where that gets them. Hell, they even set the granite jawed hero in a church, a stained glass Savior over his shoulder. But in deciding to emphasize his perfect nature, they keep the audience from relating to him.

To keep fans happy, Snyder squeezes in all the necessary elements. Some, however – the Daily Planet, Lex Luthor, Metropolis, even the name Superman – get little more than a fly-by. He’s more interested in following the farm boy who was really an alien, and watching him struggle to uncover his identity and purpose.

Henry Cavill dons the red cape this time around, looking either rugged and outdoorsy (Clark Kent) or crisply matinee idol-esque (Kal-El). He looks good either way, but all he’s really asked to do as an actor is look good, exacerbating the distance between the character and the audience. For actual acting, Snyder has the rest of the cast.

The always reliable Amy Adams gives Lois Lane a much needed modernization, while Russell Crowe classes up the joint as Supe’s natural father.

A wondrously apoplectic Michael Shannon is on hand to inspire awe as the villainous General Zod. He’s after Supe because of an utterly preposterous piece of lazy screenwriting … I mean, a gift the boy took with him from Krypton. And Zod will exterminate the entire human race to get it. Well, he’ll probably exterminate us all anyway, but first things first.

Snyder and Goyer – who, incidentally, co-wrote the Dark Knight trilogy – balance the SciFi nonsense with a lot of superficial political jabs and even more comic book nerd nods. (Check the lettering on that satellite.) It’s all part and parcel of their mishmash approach, which works as often as it doesn’t, surprisingly. Unfortunately, they let the pacing bog here and there, and go into Wham! Bap! Zonk! overkill in the climax.

It’s a fresh take on the stale classic, but Snyder’s no Nolan, and Superman’s no Batman.

Verdict-3-0-Stars

 

 

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Dead Man’s Party

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by George Wolf

 

You know what This Is the End made me think of? Dear, departed Father Art from my church.

Stay with me.

Father Art used to surprise the faithful by occasionally dropping Howard Stern’s name into the homily, citing Stern as someone who, underneath the raunch, had a positive message:  do what you’re supposed to do.

This Is The End also has a positive message, stressing selflessness as a key to salvation. Sure, this message is mixed with heapin’ helpings of sex, drugs and profanity, but it’s a combination that produces some pretty funny shit.

Your reaction will most likely depend on how much you enjoy the comedy stylings of Seth Rogan and Evan Goldberg, seen at their peak in films such as Pineapple Express, Superbad and Knocked Up. Co-writing and directing This Is the End, they’ve expanded their 2007 short Jay and Seth Versus the Apocalypse into the funniest film of the year.

Seth is Rogan, and Jay is his buddy Jay Baruchel, who comes to LA hoping for a low-key visit. Instead, Rogan takes him to a rockin’ party at James Franco‘s place where, amid plenty of famous faces, the rapture begins.

As the final battle rages outside, Franco, Rogan and Baruchel are joined by Jonah Hill, Craig Robinson and Danny McBride for a star studded celebrity survivor sleepover!

Things get pretty crude (so much so that Rogan has said he expected an NC-17 rating instead of the R they received), but the result is far from dumb humor. Self-deprecation is always endearing, and the gang uses it well, lampooning their films, their images, and the self-absorbed nature of celebrity culture.

It’s a wild ride featuring great cameos (well done Channing Tatum and Michael Cera) and fine ensemble work from a bunch of funny guys who play themselves with undeniable comic chemistry and a sense of camaraderie that makes them fine company for the end of days.

Remember, they have a plan to be among the chosen, and you’ll most likely be laughing too hard to argue with it.

 

Verdict-4-0-Stars

 

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Comedy Help Wanted

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The Internship


by Hope Madden

Vince Vaughn and Owen Wilson try to prove they’re not comic dinosaurs by playing a couple of guys trying to prove they’re not unemployable dinosaurs. Yes, comedy has changed since the two wrought wedding reception mayhem in 2005’s Wedding Crashers. Vaughn and Wilson have not.

The buddies again play buddies, a top notch selling duo pushing high end watches until their company closes because wristwatches are obsolete, what with cell phones to check for the time. Wilson’s Nick takes a humiliating gig working for a weirdo mattress salesman (Will Farrell. Mom! The Meatloaf!), but BFF Billy has bigger plans: an internship with Google.

Fish out of water comedy allows the twosome to acquire some new skills while reassuring a middle aged audience that kids today still have a little something to learn. Tired gags about SciFi nerdery and lacking social skills mix with formula clichés about underdog competition, all of it brought somewhat pleasantly to life by two actors with a warm, comfortable chemistry.

They could each use a hit, as their output has been less than stellar in the last 8 years. From Vaughn we’ve seen The Dilemma, The Watch, Fred Claus, Couples’ Retreat – that’s a whole lot of stink right there. Wilson’s not smelling much better, but for every Drillbit Taylor there’s a Midnight in Paris, for every Marley & Me there’s a Fantastic Mr. Fox, so he’s at least splitting the difference.

The Internship is far too safe and uninspired a film to compete with raucous comedies like next week’s This Is the End, but that shouldn’t come as a surprise from a film that begs us to appreciate a couple of geezers for their big hearted friendliness, regardless of the fact that they don’t have the skills required to make it in their chosen industry.

Verdict-2-0-Stars

 

 

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A Bumpy Night

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by George Wolf

 

In less than ten years, America will be a land full of jobs and free of crime, with citizens reciting a pledge to the “new founding fathers.” The catch? Once a year, all laws are lifted for a twelve hour free-for-all, as Americans are encouraged to cleanse their souls of rage.

That’s the premise of The Purge, and it’s a pretty solid one, with deep roots easily traced to  The Hunger Games, A Clockwork Orange, and classic short stories such as The Most Dangerous Game and The Lottery.

There are countless other film examples, and no surprise,  a visionary director is usually the difference the good (Straw Dogs) and the bad (Hostel).

The Purge falls somewhere in the middle. Writer/director James DeMonaco sets a firm hook, as security system salesman James Sandin (Ethan Hawke) comes home to his family in an upper crust neighborhood. He bids his friends and neighbors a “safe night,” puts flowers on the lawn to show his public support for the purge, and battens down the family hatches, hoping to survive the night.

DeMonaco isn’t subtle with the message of the haves feeding off the have-nots. Give him credit, though, for weaving liberal guilt, right-wing rage, racial tensions, paranoia, national security and more into the mix, creating a tense, subversive clash of moral ambiguities.

Of course, it does turn out to be a bumpy night for the Sandins, and when the film shifts into home-invasion standoff mode, trouble comes a-knockin’.

The intruders are modeled heavily on the killers from both The Strangers and Funny Games, there are cliches and lapses in plausibility, but still, DeMonaco finds ways keep you interested. Nifty camera work, a quick pace and some good playoffs do much to overcome the flaws. You get the feeling DeMonaco wrote the script and the storyboard together, letting his director side step in when doubts arose, reassuring his writer side that they could make it work.

In a way, they were both right. The screenwriter has much on his mind, but after a solid start, boxes himself in and chooses the easy way out. The director takes it from there, finding some stylishly resourceful ways to make The Purge worth a look.

 

Verdict-3-0-Stars

 

 

 

 

New In Theaters

Earth..the Boring Frontier

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by George Wolf

 

At the recent screening of After Earth, I overheard one lady say to another, “I don’t think I’ve ever seen a Will Smith movie I didn’t like.”

No doubt, the man has been a pretty reliable crowd pleaser for many years. His latest, though, is little more than a weak attempt to make his son the next big movie star in the house.

Jaden Smith gets top billing here, and well he should. Will is merely the co-star in a completely pedestrian sci-fi yarn about facing your fears, reaching your destiny, becoming a man, and zzzzzzzzzzz…..

It’s one thousand years in the future, and mankind has fled to a new home planet, after ravaging Earth until it was no longer hospitable. The bravery of military commander Cypher Raige (Will) has earned him hero status, leaving his son Katai (Jaden)  as a young cadet with big shoes to fill.

A crash-landing on the now-quarantined Earth leaves the father with two broken legs, and the son as the only hope for survival. Katai must journey through the dangers Earthlings left behind, as he searches for a distress signal miles away from their crash site.

Director/co writer M. Night Shyamalan, working from Will Smith’s story idea, continues his streak of films that make you wonder what the heck happened to the young auteur who gave us The Sixth Sense, Unbreakable, and Signs. There’s no reason to care about anything in the film; it comes at you without a hint of subtlety, as if you’re just expected to buy in simply because they’re selling.

It’s all so trite and obvious, from the environmental scolding to the boy yelling in the wilderness for his father to believe in him.

Will, apparently due to his character’s legendary calm and fearless nature, gives a one note performance anchored in scowling and lowering his voice. Jaden, after a nice breakthrough performance in the fine remake of The Karate Kid, can’t quite make Katai’s quest for manhood a convincing journey.

Heck, it doesn’t even have the look of a summer blockbuster, especially after the sublime scorched-Earth visuals just seen in Oblivion.

No offense to ladies at the screening, but even Will Smith isn’t likable enough to save After Earth.

 

Verdict-1-5-Stars

 

 

 

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Nothing to See Here

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Now You See Me

By Hope Madden

In the fall of 2006 we saw back to back films about magicians – The Illusionist and The Prestige. I remember thinking, really? Why?

Well, with just two months separating the release of The Incredible Bomb about Burt Wonderstone from this weekend’s Now You See Me, it’s hard not to scratch your head again at Hollywood’s insistence on our interest in magic.

At least Prestige and Illusionist were half decent films.

Jesse Eisenberg and Woody Harrelson lead a group of magicians who seem to pull off a bank heist during their show, and promise more of the same. Mark Ruffalo turns into the Hulk and smashes up their hall of mirrors.

If only!

No, instead he teams with Inglorious Basterds’s Melanie Laurent – an INTERPOL agent – to prove there’s no such thing as magic and that these guys are plain old crooks.

Unless it’s all an illusion…

Cons, comeuppance, love and daddy issues crisscross with lackluster acting to keep you from wondering whether Michael Caine (who was also in The Prestige. Of course he was!) or Morgan Freeman have milkier eyes. They’re both getting quite old. Maybe they should turn down one or two of the films released in any given year. Perhaps see an ophthalmologist.

They both certainly deserve better than this undercooked mess, directed by style-over-substance maestro Louis Leterrier (The Transporter, Clash of the Titans). With his characters talking incessantly about sleight of hand, you’d think Leterrier might employ that particular tactic on his own. Maybe razzle dazzle us while the con happens right under our noses.

Instead, perfectly ludicrous tricks and schemes are re-enacted without regard to plausibility. Rather than lifting the curtain to unveil anything tricky, the approach only uncovers some very lazy filmmaking.

Wasting a cast that has accumulated a combined 3 Oscars and another 4 nominations is a trick in itself, but aside from Harrelson’s natural charm, nothing about the performers impresses. Workhorses Freeman and Caine come closest to delivering something akin to acting. When push comes to shove, the usually impressive Ruffalo is badly miscast, Isla Fisher flails against hideous dialogue, and Eisenberg phones in just another turn as a hyper-intelligent dick.

And on top of it all, they play magicians.

Seriously, who gives a shit about magicians?

Verdict-2-0-Stars

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

New In Theaters

Settle Down, Frances

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Frances Ha

By Hope Madden

As a filmmaker, Noah Baumbach tends to bombard an audience with characters he dares you to find sympathetic. From The Squid and the Whale to Margo at the Wedding to Greenberg, Baumbach has filled the screen with damaged, self-absorbed neurotics. But his casual misanthropy met its match when he cast the effortlessly likeable Greta Gerwig in Greenberg.

The two team up again for Frances Ha. They share writing duties and Baumbach directs while Gerwig stars as a far cheerier spin on the helmsman’s typical protagonist.

A loosely sketched character study, the film relies heavily on Gerwig’s talent and honesty as she portrays Frances, a free floater who’s trying to change that about herself. Frances is a 27-year-old modern dance intern whose shelf life is becoming too apparent. Her BFF Sophie (an agreeably natural Mickey Sumner – Sting’s daughter) has even moved on to career and commitment.

Suddenly Frances feels she’s outworn the welcome of her carefree youth, and as Frances tries to shake free from her own arrested adolescence, a delightful journey emerges.

The film is far less structured than anything Baumbach’s done to date, feeling a bit closer to Gerwig’s mumblecore roots. But in sometimes subtle ways, Baumbach’s craftsmanship shines. This film is a carefully articulated idea masquerading as improv.

The result is equal parts Woody Allen, French New Wave and Jim Jarmusch, and amazingly enough, it never feels too hip for its own good. That’s likely because, swimming in Brooklynite hipsters, Frances is an adorable dork.

Gerwig says she and Baumbach began with snippets of conversations and small encounters, pushing those little moments to grow into a full picture. The result is as loose and musical yet precisely choreographed as a dance.

 

Verdict-4-0-Stars

 

 

New In Theaters

Get to Know This Guy

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by George Wolf

 

He has one Oscar nomination (Best Supporting Actor for Revolutionary Road in 2009), co-starred on HBO’s Boardwalk Empire, scored a recent viral hit reading that crazy sorority email on video, and is about to battle Superman as General Zod in the upcoming Man of Steel. Still, Michael Shannon may be the best actor nobody knows.

He has been flat out great in films no one saw (Bug, The Runaways) and was nothing short of astonishing in Take Shelter, another film that, tragically, few learned about.

And, he’s great again in The Iceman, though the chances of the film attracting a wide audience may also be slim.

It is the dark, violent, true-life story of Richard Kuklinski, a contract killer who murdered an estimated 100 people.

Shannon plays him with a simmering intensity, daring you to look away as Kuklinski is casually drawn into a deadly profession. Rising from a violent childhood, Kuklinski cares only for his wife and children, showing no remorse as his body count rises.

In one chilling scene, he grants a soon-to-be-victim time to pray for his life. Kuklinski stands idly by, full of contempt as he openly challenges God to stop him.

Director/co-writer Ariel Vroman gives Shannon a sharp, edgy script and surrounds him with an excellent supporting cast featuring Winona Ryder, Ray Liotta, Chris Evans and a couple surprising cameos.

To fit the story, Vroman keeps the setting smokey and grim, creating a chilling dichotomy of the loving family man who kills without sympathy, and asks for none in return.

You’ll find no happy endings from The Iceman, just a hypnotic tale anchored by another stellar performance from “that guy” named Michael Shannon.

 

Verdict-4-0-Stars

 

 

 

http://www.youtube.com/watch?v=8Z1EDW784Qk

New In Theaters

Sadness Lies Beyond the Hills

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Beyond the Hills

By Hope Madden

Cristian Mungiu once again drops us into the world of two desperate women coping with the brutal realities of Romanian culture. Beyond the Hills leaves behind the urgent pace of his stellar 2007 output 4 Months, 3 Weeks and 2 Days, but the outlook for vulnerable women is no less grim.

Alina (Cristina Flutur) and Voichita (Cosmina Stratan) grew up together in a Romanian orphanage. Now adults, both young women have sought security in different places. Alina moved to Germany to work, and returns for Voichita and a chance for the two to waitress on a vacation boat.

Voichita, however, has found a very different kind of solace as a novice nun.

At its core, Beyond the Hills is a potent story of two people who love, but ask too much of, each other. With clandestine love as his compelling core, Mungiu goes on to paint a picture of all that works against the weak as they seek happiness.

What goes unsaid holds more power than anything else in the film, and Mungiu vividly depicts the danger of their love in this community. More than an indictment of religion – although it certainly is that – Mungiu’s film begs you to look deeper. Without fanfare or editorialization, we witness the damage done by childhood abandonment, lifelong institutionalization, an inadequate healthcare system, and the culminating effect of a dangerous desperation to be loved, accepted and safe.

The leads balance each other beautifully. Flutur animates a suspicious, stubborn and alarmingly authentic mix of naïveté and world-wearied cynicism while Stratan’s soulful quiet betrays one more willing to submit for the sake of survival. Their love is never less than genuine, and Mungiu’s canvas of brutal primitivism versus soulless progress would have fallen part without that.

His eye remains impartial, misguided as the behavior onscreen may be. It allows the audience to delay judgment, but also makes it a struggle to find connections with characters. The resolutely unhurried pace also allows the story to open up in its own time, while it tests audience patience. But his tale is worth the effort.

Mungiu has a tragic love story to share, tragic because it finds itself inside a culture in which progress and superstition embrace, perhaps because neither serves the population particularly well on its own.

Verdict-3-5-Stars

http://www.youtube.com/watch?v=auY8X8hguYM