tappingjeff Reviews

Despicable Me (2010)

Despicably Cute

[5/10 · 2 July 2013]

THE GIST: Pierre Coffin and Chris Renaud's DESPICABLE ME is best described as "cute", which is a fine thing but not the best thing that this movie could have been. In the film, Gru (voiced by Steve Carell), our evil mastermind for a protagonist, inadvertently adopts three little girls in his quest to steal the moon and better his competing evil nemesis Vector (Jason Segel). The movie is a lot of fun, especially for the G-rated crowd. As for the adults, well...the serious laughs are few and far between and the movie tries too hard to be something its not that it never truly comes into its own. With such a fresh premise that is somewhere between MEGAMIND and MONSTERS INC., it is sad that the conflict is as thin as a Nick Jr. cartoon and the supporting characters overshadow everything else going on in the film. However, the film really owns its cuteness and its heartwarming ending shouldn't be overlooked.

THE BEST PART: The Minions, which are a cross between the Doozers from FRAGGLE ROCK and the aliens from TOY STORY, could carry a movie all their own.

THE VERDICT: Parts of DESPICABLE ME seem awfully familiar and there may not be enough weight in the story to carry a feature-length film, but its goofy enough to smile through and is a sure-fire hit with the under-10 crowd.

Inglourious Basterds (2009)

A Modern Masterwork

[9/10 · 2 July 2013]

THE GIST: Quentin Tarantino has defined himself as an auteur in the good sense of the word. His films have gone on to hallow the halls of the Cinematic Hall of Fame, but this, as a character says in the very film, may be his masterpiece. Full of rich, wonderful characters, careful plotting, a brilliant script, and unbelievably good performances (specifically from Christoph Waltz as the treacherous Nazi commander Hans Landa and Melanie Laurent as Shoshanna, the Jewish escapee). INGLOURIOUS BASTERDS is a wholly revelatory work of modern cinema, one of the most important films of the 21st century to date and a revisionist fantasy full of so much cinematic depth, it would take books and essays to cover all that is at play here. Some have called it the World War II film to end all World War II films, which I would agree with. The film's only hindrance comes in it's final act, or "chapter" as Mr. Tarantino would refer, which lacks some of the subtlety that the first 4 chapters had so enchantingly.

THE BEST PART: The thrilling and dynamic opening scene, full of suspense in the classic Hitchcockian sense of the word. One of the best opening scenes I've certainly ever seen.

THE VERDICT: Quentin Tarantino is a landmark filmmaker as proved especially with his truly awesome and provocative INGLOURIOUS BASTERDS. Continuing a discussion of cinema itself as well as revenge, both physically and mentally (for the audience), the film will live on as one of the modern classics of the era.

The Internship (2013)

The Film That Wishes It Was a Google Chrome Commercial

[2/10 · 2 July 2013]

THE GIST: Shawn Levy's latest film starring the dynamic duo of Owen Wilson and Vince Vaughn is a far, far cry from their last collaboration, the hilarious WEDDING CRASHERS. The story is seemingly simple: two go-for-broke guys in their 40's are stranded without jobs and look for the most obvious solution to solve their unemployment, an internship at Google. Somehow, though being an unexpected choice, the two get picked for the internship (does the film LEGALLY BLONDE ring a bell?). What ensues is basically MONSTERS UNIVERSITY without the humor, heart, and inventiveness of that fine film. Instead we're left with a film that inspires less "lol" and more "nla", or "not laughing at all". I can't discredit the film for the promising premise that could have showed, and does to a certain extent, the incoming generations lack of personal skills due to technological social interaction or perhaps the struggle of aging and finding a place in the newest era. But no, all of these ideas are certainly too big for the rather dumb script (the characters end up getting in a fist fight at a stripper bar...remind me what this one is about?) that the actors make work moderately, except for Rose Byrne who seems to find footing somewhere as a Google representative that Wilson pines after. The multitude of ethnicity (besides our two main characters, who are both white) is certainly nice to see on the big screen, and there are times where the film really hints at something kind of good.

THE BEST PART: The advertisement-loaded, yet creative and clever final credits sequence. Yes, the best part is the FINAL CREDITS.

THE VERDICT: There's so much going wrong with THE INTERNSHIP. Had it been an indie film in the hands of the right creative team and script it could have been something worth watching. Instead, you're almost wishing you were spending the overlong 2 hour runtime investigating the products on screen. So at least Google got their money's worth.

Up (2009)

Out of This World and So Much More

[9/10 · 2 July 2013]

THE GIST: A delightfully charming film from the animation titans at Pixar, UP is simple, concise, moving, hilarious, and a masterful showcase of storytelling at its finest. Hailed as one of the best films of 2009, UP is gorgeously animated and filled with such original and memorable characters and content, it is no wonder that it has established itself as a modern classic. The famous opening is lush and emotional and provides a strong backbone for the adventure that follows. Seen as an "unfinished love story" and coming-of-age movie, UP reminds us of the kid in all of us, and it will make you laugh and cry and laugh again (and cry again), all in thanks to the terrific director, Pete Doctor, and the wild and transcendent screenplay by Doctor and Bob Peterson. I could go on for days about how and why this is a great great film, but i digress. Watch it and you'll understand.

THE BEST PART: The opening montage, heartwarming and heartbreaking, set to the whimsical and lovely Academy Award-winning score by Michael Giacchino.

THE VERDICT: In every way, UP takes you there, and never lets your feet touch the ground for every fantastic minute. One of the best animated films ever, surely, and perhaps one of the greatest modern films from the past 20 years.

Goldfinger (1964)

Gold women! Flying hats! Kentucky!

[7/10 · 18 November 2012]

The third film in the Bond legacy is one of the most recognizable, with its sizzling style, crackling dialogue, Sean Connery's legendary Bond, and of course, the undeniable theme song. The journey that director Guy Hamilton takes us on is quite the adventure, just maybe not the one it could have been.

This film sits on a place of high rank in the Bond canon, being highly visual in its first act, with some delicious scenes and villains as it goes along. The gadgets, the girls, the lines, all cultivated in this film, which would go on to serve as a template for the entire series. Humorous, over-the-top, and as silly as it is, the fun factor is undeniable in this one. I can't help but wish that Goldfinger himself were a little more dastardly, and the audacious first act climaxes in…Kentucky? Huh? That being said the inane plot is handled nicely, with Connery giving one of his best Bonds, Odd Job laminating over the franchise as one of the most memorable villains, as well as Honor Blackman as a tempting Pussy Galore. It all comes together to create something quite unforgettable, a romp that will go down as one of the most fun films of its time.

A Bag of Hammers (2011)

A Bag of Indie-Wannabe

[5/10 · 4 November 2012]

Brian Crano's film A Bag of Hammers is part of the modern subset of indie dramedies, films that try to embrace cultural or social issues but finding a proper mix of quirky humor and twisted situations that somehow bizarrely mirror real life with a touch of humor and dash of heartbreak. While this mini-genre is at its fullest popularity, Crano's film doesn't reach the brilliance that other films similar has done.

Ben (Jason Ritter) and Alan (Jake Sandvig) are two friends who make a living by stealing cars through their valet service (how they aren't caught, the world may never know) and sublet part of their house to a struggling single mother, desperate to get a job and provide for her son. The boys end up taking care of the child themselves and must decide whether they are ready to move past their own adolescence to raise a son as their own.

The plot suggests class statements, coming-of-age, and a type of conflict that would usually inhabit a Fox sitcom or a 1980's comedy. While some of these ambitions play out, most of them fall flat or are too jumbled to reach any real potential. Ritter and Sandvig give it their all, with Chandler Canterbury given a misdirected performance of vague longing. The film relies on a soundtrack to convey emotion instead of proper, driven dialogue to propel the narrative to create something more. The film has it's heart in the right place, but the execution denies it's ultimate success.

C

Bachelorette (2012)

Snappy, Bitchy, and Surprisingly Fun!

[7/10 · 4 November 2012]

When I found out that there was a film called Bachelorette being released and indeed starring someone from the cast of a very similar film, I could only groan at the lack of originality. Bridesmaids was such a tremendous hit, it didn't surprise me that a rip-off of that film would be released the following year. As skeptical as I was going into Bachelorette, the new film written and directed by Leslye Headland is full of surprises.

The first one is that this film is so unlike Bridesmaids, that to properly compare them would seem a bit inappropriate. Yes, both films feature a bachelorette in a time of their friends wedding, both feature supporting roles played by sharp-tongued, unashamed big girl Rebel Wilson, and both display women behaving in an extremely raunchy comedic fashion. But this film is raunchy in a different form, more true to the style of the male-led Hangover films, and reunites friends, seemingly younger than the Bridesmaids gals, who haven't seen each other since high school. This fact injects a certain venom that audiences hate to love, but love nonetheless. This creates a unique blend of those classic bubble gum bitch comedies and the man-child ridiculous raunch that has become a mainstream staple.

The plot is pretty simple. Becky (Rebel Wilson) unexpectedly announces her engagement and her distant best friend Regan (Kirsten Dunst) and fake friends (but really tormentors) Gena (Lizzy Caplan) and Katie (Isla Fisher) come to be her bridesmaids. As bachelorette, Regan tries to keep control of the events, but as wild events ensue, that task becomes increasingly difficult. Despite the girls' position of bridesmaids seems a bit random and illogical, the film is smarmy and snappy, always on the corner of risqué and purely inappropriate. The writing is somehow as fresh as it can be, riding on the heels of its famous predecessor. The casting was purely brilliant, as all these gals, and the men they all pursue, turn in hilarious performances, particularly Isla Fisher and Lizzy Caplan as two drugged out bridesmaids on the edge. It may not be the most original, but the film tackles complex topics that other films similar didn't attempt and all under 90 minutes. For what it's worth, it is certainly not perfect, but it is a wild, silly, sexy, and certainly fun ride.

B

Bel Ami (2012)

A Cordial Dud

[4/10 · 4 November 2012]

So apparently not every period drama can shape up to be as great as Downton Abbey, a series that longingly comes to mind when watching Declan Donnellan and Nick Oremerod's Bel Ami. What the two have in common: naughty drama in a period setting, adultery, backstabbing, blackmail, and class distinction. What separates the two is the sheer lack of liveliness in the film; an idea that never gets to be fully fleshed out as it might want to be and leaves us hungry for more…just maybe not more of the same.

The film takes on the story of Georges Duroy (Robert Pattinson), whose ambition to climb the social ladder and establish himself as a legitimate journalist is threatened by the very people he manipulates to get ahead: three mistresses of the men who stand in his way, played by Uma Thurman, Kristin Scott Thomas, and Christina Ricci, respectively. As adultery, death, and utter conniving ensue, one would think this would be an irresistible drama. Pattinson's performance in addition to the lackluster screenplay all play into the films demise.

Pattinson's brooding charm and good looks are not, unfortunately, enough to deliver the type of depth of this period literary character and certainly not enough to carry this costume erotic drama on the hinges of his shoulders. The three women that he ends up courting over the course of the film provide sensual and theatrically arresting performances, but can't elevate the film to serve it's political and social thematic ambitions. With so much to explore, deriving from Guy de Maupassant's classic novel, it is a pity that the screenplay and filmmakers never bother spending too much time developing any of them.

The characters feel as if they were ripped from the pages without all of the insight that they deserve. Not being fully fleshed out, not even the melodrama can be completely effective. I've never read the novel that the film is based on, but a sense of emptiness can be felt within the adaptation. The film tries to create a drama out of developments that perhaps should have been made in the first act of the film, but ultimately never make it in. With a better and richer screenplay, the film could have actually benefited from an added half hour, to truly liven up the drama. However, I am not convinced that Pattinson's performance could have driven the narrative to any spectacular heights. Although Rachel Portman's score is layered and wonderful, it is the one of the only worthwhile aspects of the film. So for all the naughty melodrama that could have been fascinating with someone like Julian Fellowes at the helm and an actor such as Tom Hardy, but instead we get quite the opposite: ineffective lifelessness.

D+

Hotel Transylvania (2012)

Frighteningly Fun

[5/10 · 4 November 2012]

This cute fish-out-of-water story centers around Jonathan, a human hiker who stumbles upon Hotel Transylvania, a hotel for monsters, vampires, werewolves, and more run by non other than Count Dracula himself. Trouble ensues when old Dracula's daughter, Mavis meets the human Jonathan, a romance that Dracula will do anything to end.

Drawing on the classic set of spooky characters, the writers have a lot of material to work with. What the film becomes is a delightful Halloween romp with a slew of clever characters. The celebrity voice cast do a modest job of bringing these ghouls to life and the writers really play with the notions of these characters that we've all become familiar with. That being said, the film never veers into the hilarity of the animated films at Dreamworks, and, though it attempts at an emotional father/daughter relationship, it doesn't end up with the emotional pull or sheer animation beauty of a Pixar film. However, it is a witty, fun, and ultimately worthwhile trip, especially during the Halloween season, where family films seem to be in the rare.

B-

Arbitrage (2012)

Slick and Savvy Doesn't Always Win the Race

[3/10 · 3 November 2012]

Arbitrage, Nicholas Jerecki's drama set in the world of high-finance, has the bare bones of quite a captivating story: fraud, family conflict, a mysterious death, and the threat of the collapse of an empire. What the film makes all of these is a disappointment on the narrative level. The film centers around Robert Miller (Richard Gere), a financial guru who made decisions that make him a certifiable criminal. In addition, Miller has an additional drama when conflict arises between him and his mistress. For his security, he tries to sell his company and must turn to an unlikely person for help.

Nicholas Jerecki makes for a strong debut, directorial-wise, and has the tact to effectively shoot a drama such as this, but his screenplay makes for a different story. While not necessarily over-cooked or clunky, it the story just never amounts to all that much, leaving us with a quasi character study and some attempt at a thriller. Neither of these are achieved very well.

The two conflicts that surround Richard Gere's characters and propel the drama never seem to cross effectively or impact the story in any particular way. The suspense of the narrative rarely reaches a level of intensity that would make this film significantly worthwhile. The only instance is an argument between Richard Gere and his wife, played by Susan Sarandon, in a very wasted role, where we get a glimpse of what could have been, of the intensity that is so needed to make this film gel. The financial situations depicted in the film have been effectively shown in films, such as Margin Call, but instead ends up a bit confusing, and over-bloated. Gere gives a solid performance, but unfortunately I don't find that Jarecki provided a script monumental enough to build much from. That said, Gere does come through and pull this film from the depths that it could be in.

Pina (2011)

Fascinating Work of Art

[8/10 · 25 February 2012]

Wim Wenders fantastic documentary tributed to world-renowned choreographer Pina Bausch has a wild kinetic energy to it, and through it's brilliance, it's irresistible. Shot in Germany with a fantastic cast and shot in innovative and truly mesmerizing ways. More performance art than dance, the genius of Pina is matched perfectly by Wenders' crafty filmmaking. It explores Pina's most established works in a fabulous recreation that leaves you utterly breathless. Taken from the modern sense of the choreography, the film, which is being presented in 3D, is a true testament to the possibilities and power of the medium when handled in the right way. A truly fascinating work of art for one of the worlds most innovative and fascinating storytellers.

Martha Marcy May Marlene (2011)

More Than Meets the Eye

[8/10 · 6 December 2011]

Sean Durkin's first feature is quite the trip. Durkin's sensibility as a director shines with this film, and shows undeniable promise. The really crazy thing about this film is that it's quietness is only juxtaposed by the really messed up things that are happening in the plot. An intriguing analytical mess of reality, memory, and fantasy, Martha Marcy May Marlene is about a paranoia, an extreme desire to escape the past, though it always comes back to haunt you. It is the isolation and the trouble that comes with that, that Martha really suffers from-- the cult has a certain way of thinking and the film geniously explores the psychological persuasion into a way of thinking…the way that the cult tries to make their ethics and morality universal is a terrifying, and intriguing thing. Elizabeth Olsen does a helluva job as Martha, giving her dewey eyed complexity, both bewilderment, shock, disgust, and intrigue. She gives quiet moments great momentum, and is an actress to keep an eye on. Jody Lee Lipes' cinematography is eerily distant and then uncomfortably close; the mixed bag reflects Martha's psyche in an interesting way. The scariest thing about Martha Marcy May Marlene is that it actually could happen. It may have even benefited from taking that dive a bit further, let us know just how paranoid and altered Martha is, and especially contrasting that with the old Martha, and the only complaint I might have is that we never get to see what the original Martha was like; it is only inferred as to why she would even accept and join this group in the first place, or what exactly she was running away from. But perhaps that makes the film only more intriguing—running away brought her to this society, and of course it looks fine on the outside, with it's acceptable living conditions and always a "family' of sorts around you. But, ah, there's always more than meets the eye. B+

The Muppets (2011)

The Muppets are BACK!

[8/10 · 30 November 2011]

The gang is back! And thank God for that! As I walked into the theatre I got such a sense of enormous joy and excitement to see what the Muppets can bring, after a nearly ten year absence from pop culture altogether. They've always been there, distilled in numerous films, television shows, and random videos but never were given the chance for a true comeback. I was extremely happy to find out that they did not disappoint. Walter, a Muppet-obsessed Muppet, is dying to visit the old Muppet studios, and finally gets his chance when his best friend Gary (writer Jason Segel) and his girlfriend Mary (a delightful Amy Adams) vacation to Los Angeles. They finally meet Kermit, to Walter's shock, who tells them that the entire Muppet studios is being renovated...but what Kermit doesn't know is that Tex Richman, a meta-name if there ever is one, is planning on tearing down the studios to drill for oil. Unless Kermit and the classic Muppet gang, who have long separated and moved on since their days together, can come up with 1 million dollars, they will lose their beloved studio. So what else to do than put on a show?! The new venture isn't perfect. There needs to be more Muppets...many of the sequences and musical numbers are hardly performed by the crew that the film is titled after! Other problems consist of a lack true Muppet heart...the film feels all too much like a fun nostalgia trip, than a new addition to the Muppets canon. Some characters have been reduced: Rowlfe barely has a personality at all, while Rizzo is there in merely passing glances. But it does a whole lot of things right. It has the zany, cooky energy that the Muppets have lost and an endearing quality is back that has been missing since Jim Henson's death. The simple nature, the meta-awareness, and this film finally brings back the great comedy that the Muppets are capable of. The songs, though short and often forgettable, express a lightheartedness and Amy Adams is just the kind of celebrity who would be a guest host, if the Muppet show were around today. She proves herself Muppet worth in this film for sure, though her character gets shifted at times due to the films lack of focus. To me, this film is great but could have been more, and maybe that's just what will happen. The nostalgia is only nostalgia for those who knew the Muppets, but kids today have no idea who these felt creatures are! As an introduction, the film is lovely. It's heartwarming, and may create a few tears for true Muppet fans...when Kermit begins to sing "The Rainbow Connection," it is a reminder of what the Muppets have always been about: suspending disbelief and keeping the dream alive. They've infiltrated the hearts of America almost like no other since their inception, and judging by the box office reports, I don't think we've seen the last of them. It may not fully capture all the magic of the Muppets in their golden age, but The Muppets a brilliant, hilarious, and positively gleeful time to be shared, and certainly a promise of the greatness to come. B+

The Ides of March (2011)

Tricky Political Character Drama

[7/10 · 29 October 2011]

George Clooney's newest film The Ides of March is anything but safe. This tale of a young Junior Campaign Manager, Stephen Meyers (Ryan Gosling) who is working on winning his candidate, Mike Morris (George Clooney), the Demoicratic primary in Ohio to become the Democratic nominee in a modern-times election. With this battle comes private battles of their own. The angst between Meyers and Morris' Senior Campaign Manager Paul Zara (Philip Seymour Hoffman) to get things done. The pace quickly picks up as Meyer's secretly meets with the opposing candidates manager (Paul Giamatti) and becomes romantically involved with one of the interns working on the campaign (Evan Rachel Wood). There are twists and turns along the way, and the action only rises from there.

Clooney has a great sense of character (not uncommon coming from a director with an acting background). The manipulation of characters plays perfectly into the greedy twisty political interplay that everyone is basically akin to, but Clooney, along with screenwriters Grant Heslov and Beau Willmon do it in a way that maneuvers human emotion of the characters, a true strength of the film, and one that Moneyball REALLY wished it could have had. The performances were solid all around, even despite Gosling being a bit miscast in the role. Evan Rachel Wood is climbing a ladder of greatness, and her next few projects, whatever she decides those are, are going to take her to new levels; talk about a promising actress. It is no surprise that Clooney fits into the mold of his character extremely well, and the supporting cast (including a fabulous Marisa Tomei) are excellent.

The social context of the film is intriguingly displayed, with the plot revolving around an Obama-esque character, so soon to the start of his re-election campaign. It's a film about winning and what that costs to the person themselves. And it's handled pretty admirable. B+

Meek's Cutoff (2010)

A Subtle Triumph

[7/10 · 22 October 2011]

Meek's Cutoff, the 2011 Western by Kelly Reichardt, is a film all about chances. What will chances bring? What chance are you willing to take to survive, to live, what path is the correct path? Essentially, it could be looked at as a metaphoric film, but, luckily, there is so much more there underneath. Michelle Williams plays Emily Tetherow, a purebred settler, bonnet and all, heading out on the Oregon High Desert, with a small band of other settlers. They are following Meek (Bruce Greenwood), a so-called leader, who is attempting to get them to fertile land, but their short journey has taken much more time than they expected. Thirsty, hungry, and in desperate need of salvation, they take in a Native American to guide them to resources. But do they trust this captive? Will he lead them to what they need or set them up in a trap? This film has as much dialogue as the wildlife surrounding the deserted plains the characters walk on. It is just about the quietest Western ever made, with very little action and so focused on the people themselves and, even more prominently, the landscape, which becomes a character of its own. Filmed with skill and beauty by Kelly Reichardt and cinematographer Chris Blauvelt, Meek's Cutoff is stunning. Though the subdued nature of the film prevents any real powerhouse performances, the actor's take shape in this film almost as if they were in a painting. It is understated, that's for sure, but there is still a sense of urgency; a wary tension that builds until the characters must make the decision of where to follow, and essentially where they want their lives to go. Do they take the risk? Or do they comply and hopelessly wander? It is a question that Reichardt poses so subtly, but its done in a way with class, undeniable style, and a calm so intense, it never crosses into dullness. B+

The Trip (I) (2010)

No Excess, Just Class

[7/10 · 22 October 2011]

What a winning combination can be found in Steve Coogan and Rob Brydon in Michael Winterbottom's comedy The Trip. Utilizing every inch of British humor that they can, Coogan and Brydon take the witty script even further, making real characters out of themselves and playing it straight, whether it's hilarious or a little heartbreaking. Set up as a mockumentary, Steve Coogan (playing himself) is asked to make a country-wide tour of England and explore the best restaurants in the country. Unable to take his girlfriend, he ends up taking his actor best friend Rob Brydon (also playing himself), and the two must endure the trip together, which becomes quite a challenge for Steve and Rob. They make quite the pair from there, often feeding into one another's humor brilliantly and in only a classy way, as they try to pass the time. They deal with their (sometimes dismal) outside life, which helps the film get some weight, but mainly focuses on the silly things they do when they are on the trip, which is usually impersonating people they admire or dreaming about roles and films they wish they would and I suppose could make. Even when their humor starts to repeat itself, it is surprisingly still intriguing. This is probably because it is such a refreshing contrast from the loud and obnoxious comedies we have been accustomed to in the Hollywood market. This film is quieter, but it's so damn funny. It finds its humor from not playing dumb to the audience, and higher minded viewers will appreciate that while simpler minded viewers might even find the film dull or droning. What I found is a hilarious, classy, British comedy that never tries too hard, and in doing so, it succeeds where other comedies only wish they could. A-

50/50 (2011)

50/50: A Chance Worth Taking

[8/10 · 7 October 2011]

Jonathan Levine's new dramedy 50/50 hits all the right notes. It takes the most essential of the human heartbreak and turns it into something real, emotional, and, surprisingly, hilarious.

Joseph Gordon-Levitt plays Adam, a young man stuck in a flux between his girlfriend (Bryce Dallas Howard) and his nagging, desperate mother (Anjelica Huston). Matters only get worse, naturally, when Adam finds out he has an extremely rare form of cancer on his spine. His best friend (Seth Rogen) tries to find the positives in the situation, like getting laid out of sympathy, while Adam tries to figure everything out with his young, inexperienced psychologist (Anna Kendrick). As you can imagine, there is a good amount of heartwrenching scenes, but the thing that makes them great is they're not overcooked. It plays so much on the realism, that makes it even more powerful.

Will Reiser's script calls for a lot more than tragedy, however. It's a tricky subject to tackle, but Reiser does it almost perfectly. As much sadness that could be in a film about cancer, there is just as much, if not more, time for laughs. Seth Rogen gives his usual performance, but the personal aspect of this film (he essentially plays himself; Gordon-Levitt being a form of Reiser) takes him to a slightly new, better level of the performance he has given countless times before. The only real problem with the film is its misogynistic undertones, mainly from Rogen's character, which don't add to the film, and essentially demoralize it in a way. It was funny once, but the continuing notion seems a bit too crude for such an emotional story.

Joseph Gordon-Levitt plays Adam perfectly; he is sweet and charming but you feel his struggle and the confusion as to what to do when faced with this in your life. Both supporting women give great performances. Anjelica Huston plays Adam's mother with a desperation to find someone; her husband has Alzheimer's and her son now with cancer, it drives all of Huston's choices and though she plays her kind of crazy, you understand all the while. Anna Kendrick gives her finest performance. Very grounded, but so well-crafted, her performance is not loud in any way. I often forgot that there was a celebrity behind the character, that's how great she was. If Up in the Air didn't prove Kendrick as a rising star, 50/50 has to.

Director Jonathan Levine doesn't seem to intervene too much in this film. The film feels well-guided but not super-imposed, like many other directors feel. The film feels so true to life, to the subtle triumphs that everyone with cancer has to at least tackle. He doesn't turn it into a sappy epic, he allows the characters to play as they would play in real life, and that is maybe the most resonant of them all. A

Contagion (2011)

Contagion: Art of Disaster

[6/10 · 24 September 2011]

I have rarely been as scared at a film than I was in Steven Soderbergh's Contagion. That's not to say it was a horror movie, but it will seep into your conscience like a disease, and for what it's worth, it really does it's job well.

The entire pandemic of fear comes after a mom (Gwyneth Paltrow) comes home from a trip to Japan and begins the spread of a terrifying disease that begins to infect the entire world. People attempt to stop it (Kate Winslet, Laurence Fishburne at that) and there are a whole slew of celebrities filling in for characters either working against, working with, or dying from this disease. Soderbergh has an extremely effective sense of detail, and he is able to spin this into one of the most realistic pandemic horror films. Soderbergh uses the state of global anxiety and focuses that through a medical lens, creating a sense of bio-terrorism; one that seems so close to home as Contagion opened 2 days before the 10th anniversary of September 11th. Though there is rarely use of subtlety in his notions, the ideas and concepts of fear in Contagion may just keep you away from restaurants, and up all night long.

However nicely Mr. Soderbergh's detailed film plays out, it certainly gets lost within itself along the way. Scott Z. Burns' script gave plenty of hokey dialogue, and though the cast probably has more Oscar nominations between them than anyone would care to count, most of them are wasted here. Almost none of the characters are given sufficient depth; I left the film not remembering a single characters name. And perhaps that wasn't the point; perhaps the idea behind Contagion was the widespread nature of this fear, this disease. But even then, several characters and plot lines were complete unnecessary and only hindered the film from reaching it's full potential. Kate Winslet turns in an excellent performance as Dr. Erin Mears, an Intelligence Service Officer, who is on a mission to figure out whats causing this catastrophe. Winslet is intense, and real, and the audience is with her all the way. Unfortunately, out of the dizzying amounts of people we're introduced to, she is the only one you can feel for. And that very well may be part of Contagion's cold, bleak plan: to disconnect because of fear, only drives the fear itself. Makes you wonder, what's the real pandemic going on here? B

Hobo with a Shotgun (2011)

A Horror, Alright

[4/10 · 28 August 2011]

What do you expect from a movie called Hobo With a Shotgun? While it's campy violence certainly makes for some huge laughs, it's sadistic tone tends to be too much for me.

Rutger Hauer is devouring his role (though with perfect teeth, no doubt). It's literally hell on Earth, and the only person out there to stop them is Superman the hobo with a shotgun. The film certainly gives us plenty of motives for why this man is killing, and what would seem deranged is then taken for a sort of heroism. That might be one of the working points of the film, a sort of metaphor for class dynamic and conflict, but that would be a much deeper reading into the film than it ever probably intended.

I appreciate the exploitation throwback to the classic slasher genres, but that still doesn't qualify it as a necessarily good film, not that it ever tries to be more than a B, no more like Z, horror movie. It is a film to be enjoyed on the basis of it's own ridiculousness, much like the hilarious Piranha 3D, but unlike Piranha, this one might leave an unwanted uneasiness in your stomach. If your into that, this totally works as a parody film (fans of this genre will revel in the consistently inventive ways the filmmakers kill of characters), but for me I couldn't get past the incessant grotesque nature, right down to the over-the-top horrific color palette. C-

13 Assassins (2010)

Holy Crap!

[7/10 · 28 August 2011]

It should just be said right now that there is a 40 minute long action sequence that closes Takashi Miike's 13 Assassins, and if you can just sit through the film for that alone, it's totally worth it. Luckily, there are still more reasons than just that to catch this samurai epic.

The whole film is greatly directed; the action sequences are both comprehensible and thrilling and the work before that is equally as impressive. The cinematography by Nobuyasu Kita captures the sweeping grandness of the story and it's certainly clear why these assassins are so passionate to kill this villain. It's full of typical samurai thematics such as honor and bravery, while also accenting the struggle to respect the declining samurai genre directly through the characters who also try to honor the brethren with who they once stood with. It manages that, to a point, though it lacks the depth of a Kurosawa film and might have too many characters to ever get invested in any of them. But as a purely enjoyable action film, those last 40 minutes and the final denouement sequence will leave you breathless. B-

Manhattan (1979)

Rhapsody in Delight

[9/10 · 27 August 2011]

From the very beginning of George Gershwin's dazzling "Rhapsody in Blue" at the start of Woody Allen's 1979 film Manhattan, you can feel the genuine nature of the passion of this film, and the artistry to boot. It will suffice to say, it's undoubtedly one of Woody Allen's masterpieces.

Allen plays a twice-divorced New Yorker, Isaac, on the brink of a mid-life crisis: he is struggling with his career and is dating a 17 year old girl (Mariel Hemingway). His best friend (Michael Murphy) is having an affair with culturally savvy Mary (Diane Keaton), the clash of classes so obviously seen. Despite the differences, Isaac falls for Mary and Mary falls for Isaac, quite the relational web for these characters, but so much more deep than one would imagine.

Manhattan evokes some sort of lost romanticism, the most effective use of idealized post- modern charm. It's both relaxing and utterly thrilling, with Allen's usual notions of his passion and love for New York, shown brilliantly in Gordon Willis' black and white cinematography, which manages to highlight the beauty of New York, wrapped up in the gritty industrialism. Every nuance of the film has New York written all over it. From the iconic places and iconic music, it creates some iconic visuals. It is Allen's adoration of the city and for cinema itself that make it an intimate spectacle on the backdrop of the epic concrete jungle.

The relationships and characters are as lively and complex as the gorgeous city around them. The way Manhattan never gives easy answers for it's characters is one of the strengths of this film, and certainly one of the biggest weaknesses of the modern romantic comedy. He writes these characters as real human beings, with depth beyond adolescent themes and more into his common exploration of psychology and sexual desire, among other things. He really knows how to bring out the best in his cast. There is not a single performance that could be considered less than authentically magnificent, and Allen's top-notch writing certainly helps. Diane Keaton gives another effortless performance, and she fits this film so perfectly: independent, confused, but ultimately bearing psychological American complexities that drive her character to choose what she chooses in the end. Mariel Hemingway is the most subtle, perhaps because of the ingenuity of her character, but always acting so true to form, as if she is living the life of her character and her transitions from bright-eyed-young-girl to bright- eyed-young-woman are done brilliantly. Of course Woody Allen is especially earnest, and throw in Meryl Streep and you've got one of the best casts ever assembled.

It's such a romantic and charming story of loss, that you almost forget that Isaac is so wistful (like Allen himself), but he does what he does out of passion; for his city, for his love, and ultimately for himself. A-

The Beaver (2011)

Art Imitates Life Imitates Art

[7/10 · 25 August 2011]

The fact that Jodie Foster was brave enough to tackle on such a unique and risky screenplay as The Beaver should be applauded all on its own. The fact that she cast Mel Gibson in the main role was just plain smart.

The Beaver is a film about a toy executive named Walter (Gibson), who, despite his work with all things fun, is severely depressed, and has no idea of what his life has become. His son (Anton Yelchin) hates him, and is trying everything he can to shake off any and all traces of his father, and his wife (Jodie Foster) kicks him out of the house, unable to cope with the mess he has become. Walter's remedy for his depression becomes adopting a puppet beaver he finds in a dumpster as an alternate personality for himself. Odd, that it may be, Foster's direction and the truly great performances in the film elevate the silliness, to a certain extent.

The screenplay by Kyle Killen is brilliant for about 85% of the film. It treats its bizarre premise like one of those once-in-a-lifetime stories you see on the news; it sounds insane but it's treated with a straight-forward approach that gives the film earnestness, but also devastating heart. It lets the audience experience just as much confusion as the characters themselves, never knowing whether to laugh or to cry, and that ambiguity only strengthens the film, for me at least. Others might find the same aspect the films downfall. But then the story, both of Gibson's character and his sons becomes a little predictable, and the classic Hollywood uplift at the end doesn't quite fit the rest of the film, which balances comedy and drama nicely, but always with a sadly melancholy undertone. Foster's instinct as a director has the sensibility of the quirky indie-like plot but with the polish of a studio production, and it's all handled admirably well.

All the performances are great. From the adorable maturity of Anton Yelchin to Jodie Foster's performance of Walter's wife, desperate to understand his antics and treat him with the care he needs, the cast certainly make this movie what it is. None more so than Gibson, who commits so greatly to the role, that some might question how close to nature his character is to himself at this point. It certainly seems poignant and that was one of the reasons why Gibson is such a smart choice for this role. Another reason why is because he's fantastic. He let's us feel the pain and struggle for happiness that Walter is going through; the pawn in this allegory for isolation, that is otherwise written as relatively unrelatable character. He is funny at all the right moments and anguishing the next, and he pulls it off exceptionally. One might even say it's the best he's ever been. Whether that is the art or whether that is the life, you can decide. B

Cars 2 (2011)

Out the Heart, In the Fun

[7/10 · 23 August 2011]

Cars 2 may be one of Pixar's weakest, but that's certainly the biggest weakness of them all.

In the latest installment, Lightning McQueen (Owen Wilson) is getting ready for a worldwide competition, the World Grand Prix, and takes his old pal Mater (Larry the Cable Guy) with him to the opening race. A turn of events gets Mater caught up in a secret spy mission, led by Finn McMissile and Holley Shiftwell, to stop the "lemon" cars from initiating an attach against new electric oil, Allinol, for their more profitable and less eco-savvy crude oil reserves. Sounds like a high concept story for a kids film, but Cars 2 succeeds, because it doesn't ever treat it's audience like their in a childlike fantasy that the characters would otherwise seem to make up.

With big eyes, and cars with mouths, it's the most ridiculous (and adolescent) of Pixar's features, and yet the rest of the animation is stunning; the flashy, high-energy kinetic vibe of Tokyo to the dreamy Italian landscape, all of the animation in this film is stunning; i would daresay some of Pixar's best. This film, unlike many other sequels, actually attempts something new. It brings a whole new definition to the previously established series, this time accenting the youth-obsessed sports car age, both with the James Bond-esque plot and the eco-savvy thematic conflicts. It's high voltage, and it's a whole lot of fun. The pacing is non- stop and the action sequences are done brilliantly. That being said, what it makes of thrills and action, it sags in emotional heart and laughs.

Though the film banks on current environmental arguments to delve into the theme of being proud of who you truly are and the value of friendship, it it loses the depth of the film in the action that we have come to expect from Pixar. In fact, having seen Pixar's other films is the weakest aspect. You know how good they can be, so to see them not on their A-game (I would call it at least a B-game), many critics took it down. But even though it's animation outshines it's emotional core, it's a whole lot of fun. B+

Winnie the Pooh (2011)

Lighthearted Classic

[7/10 · 23 August 2011]

AWWW! That's the main thing that will be running through head as you watch the latest Disney animated film, Winnie the Pooh. At just over an hour run time, it's the perfect way to spend an afternoon with your little one.

You know what to expect. Pooh, Piglet, Owl, Rabbit, Eeyore, the whole gang are back and they have to deal with the extreme harshness of life: Eeyore loses his tail, Pooh is hungry for some honey (promptly spelled "huny"), and they all are looking for their pal Christopher Robin, fearing he has been taken from a mysterious monster called the "Backsoon". The film has a lighthearted attitude towards the animation and characters that is enchanting and relaxing; Pooh is an old friend who's come back to make you smile. The storybook animation and concept is adorable and the dialogue is tongue-in-cheek clever, that will make younger views laugh while also bringing a grin to an older audience. The new songs aren't the most memorable, but Zooey Deschanel brings a summer-sweet delightfulness to some of the older tunes, and she perfectly fits the world of the Hundred Acre Wood. While this Winnie the Pooh doesn't try anything new with the characters or the series, we don't really expect or want it to. It's just Pooh fretting over his friend and honey, exploring the fun of imagination and to not be afraid of what we don't know. It turns out Christopher Robin comes "back soon" and we sure hope Pooh does as well. Oh, botha. B+

Marty (1955)

Marty: The Essence of Character

[7/10 · 21 August 2011]

Delbert Mann's 1955 Oscar-winning film Marty is a character driven delight. It's the story of social outcasts, striving to fit the mold and expectations that have been placed upon them for various reasons. Marty (Ernest Borgnine) is approaching middle-age, overweight, awkward, Italian, and unmarried. Clara (Betsy Blair), a simple schoolteacher, feels like she should be so much more and is abandoned on a blind date. The two meet, unexpectedly, at a ballroom and chat away about lost ambitions and troubling loneliness. It sounds almost like the indie art film before Hollywood even knew what it was. Not surprisingly, it's one of the few films that won top prizes at both the Academy Awards and the Cannes Film Festival.

Borgnine brings a classic charm to the role, with a humble pluckiness that makes the work come to life. His melancholy alienation makes you feel every layer of his pain, from his trying to please his nagging mother to simply respecting himself. Betsy Blair is a marvel, in a simple and undramatic turn that ends up being completely engaging. It helps that they are given a spectacular screenplay by Paddy Chayefsky, who mixes humor, realism, and heartbreaking American immobilization in a mild but felt manner; a scene following a successful first date has Marty calling a cab with a newfound passion for love and life he makes this rare expense, it's triumphant and a great moment in cinema!

Other times, it doesn't work so much. There are some subplots and minor characters that detract from the heart of the story and slow down the momentum towards the end of the film. If Chayefsky had a narrower focus on the romance and anticipated connection of the characters, it would have wrapped the film up with a lovely bow, but instead we get just a few thoughtless ribbons on top of a gorgeous package. That being said, the a characters are so well-realized and written, that you almost forget anything or anyone else in the film matters. This is both the greatest and weakest aspects of the film. B