Category: Film Review

Making his feature-length filmmaking debut, Joseph Gordon-Levitt has
selected a fascinating topic to build a picture around. Inspecting a man
addicted to internet pornography while keeping his life in meticulous
order, Gordon-Levitt threatens to make a Very Special Movie, teaching
the audience about the ills of objectification and all its temptations.
Mercifully, “Don Jon” doesn’t elect that approach, instead providing a
fresh view of an age-old weakness, updating the prowl of the New Jersey
Guido to include technological woes that match all the pumped-up macho
concerns.
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It’s bizarre to think that after 30 years of acting, Julia Louis-Dreyfus
seems like a newcomer when it comes to her big screen performances.
Finding monumental success on television, including her iconic run on
“Seinfeld,” Louis-Dreyfus hasn’t shown much interest in a movie career,
with this scarcity of credits preserving her ability to surprise. She
lands a humdinger of a role in “Enough Said,” teaming up with
writer/director Nicole Holofcener to work through a series of complex
emotions, all of them realistically executed and universally understood,
and she’s aces in every scene. Louis-Dreyfus gives “Enough Said”
exquisite vulnerability and crack comic timing, helping the helmer lift a
slightly tiresome plot off the ground, finding behavioral realism in
the midst of sitcom tension.
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Admittedly, the idea of Chucky the killer doll was always a little
goofy, but the original “Child’s Play” pulled off the tonality of horror
and absurdity with skill, launching the character as an unlikely horror
icon. While 1998’s “Bride of Chucky” had a certain irreverent snap to
it, the sequels have largely missed the mark when it comes to making the
doll menacing, with 2004’s “Seed of Chucky” representing the bottom of
the barrel in terms of creativity. After nearly a decade of dormancy,
creator Don Mancini just can’t let the Good Guy go, resurrecting the
plastic killer for “Curse of Chucky,” a DTV sequel that aims to restore
severity to the wheezing franchise, though it doesn’t bring anything new
to the table beyond a brief makeover for its knee-high star.
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To learn that “Baggage Claim” is based on a book is quite surprising.
There’s nothing in the feature that even remotely hints at any literary
inspiration, with most of the movie devoted to the romantic comedy
formula, hitting the same beats of flirtation and separation viewed in
thousands of pictures. Adapting his own novel for the screen,
writer/director David E. Talbert (“First Sunday”) plays the material in a
most obvious manner, hoping to achieve a little old-style Hollywood
glow, yet story certainly isn’t the effort’s strong suit, with “Baggage
Claim” more convincing with silliness than meaningful characterization.
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Reviewed at Fantastic Fest 2013

It’s become clear that director Ben Wheatley is only interested in
making pictures for his own pleasure. It’s a noble creative quest,
joining a few other helmers who’ve eschewed audience acceptance to forge
their own cinematic interests, and the distance suits Wheatley. After
the darkly comic delights and a rare turn of accessibility with
“Sightseers,” the helmer returns to the abstract, unexplained, and
interpretational impulses of his earlier work, including “Down Terrace”
and “Kill List.” “A Field in England” features top-shelf tech credits
and lively performances, and it will likely find a place of comfort near
the bosom of fiercely analytical moviegoers. But is the film
compelling? Not particularly, with Wheatley going about his business in a
casually numbing manner that almost completely turns its back on the
viewer.
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“Morning” tackles a devastating subject matter, surveying the
psychological wreckage left behind after the death of child. It’s
certainly not an easy filmmaking endeavor, demanding a special
sensitivity to avoid television movie hysterics, preserving the nuances
of such unfathomable pain. In director Leland Orser’s hands, “Morning”
eschews the organic grind of grief and all its unpredictable behaviors
to play out as an extended acting exercise, trying to pass off excessive
indication as profound feeling. It’s a difficult sit, and not nearly as
moving as it should be, with its central idea of lost communication
buried under layers of artificiality, damming the mournful flow.
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There is a great tradition in American comedy of Jewish performers, men
and women who conquered the funny business with exceptional wit, timing,
and stage presence, triumphing over prejudice and intense competition
to become legendary names. However, industry dominance has to start
somewhere, and for the likes of Jerry Lewis, Sid Caesar, and Jackie
Mason, that place was a Catskill Mountains, a sprawling landscape of
natural beauty that developed into a beloved tourist destination during
the 20th century. The documentary “When Comedy Went to School” delves
into the story of resort life, where Jewish families gathered to feast,
mingle, and enjoy up and coming comedians hungry for the spotlight.
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Reviewed at Fantastic Fest 2013

Writer/director Shane Carruth has only masterminded two pictures, 2004’s
“Primer” and last spring’s “Upstream Color,” yet he’s made enough of an
impression to inspire something of a knockoff of his brain-bleeding
work. “Coherence” is an ironic title for this twisty, talky indie
effort, which labors to braid wandering improvisations with the finer
points of quantum physics. As one might imagine, the results aren’t
exactly compelling, but writer/director James Ward Byrkit does have a
superb way of ratcheting up the suspense and mystery of the story,
making it the rare movie that actually improves as it unfolds, gradually
abandoning obvious acting to delve into the parallel universe panic
room with a band of bewildered friends.
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It’s a little weird to find mild-mannered director Ron Howard behind the
wheel of “Rush,” even though he has plenty of experience filming fast
cars, having kicked off his helming career with 1977’s “Grand Theft
Auto.” It’s just that spinning wheels and revving engines aren’t
expected out of him these days, coming off mild comedies (“The
Dilemma”), blockbusters (“Angels & Demons”), and Oscar-bait
(“Frost/Nixon”). “Rush” represents a change of pace for Howard, who
sinks his teeth into an R-rated Formula One race drama, giving this
volatile material an edgy concentration that’s uncommon. It’s a nervy
movie, supported by two exceptional performances from Chris Hemsworth
and Daniel Bruhl, who show a commitment to character dignity and the
unsteady steps of blossoming respect, making only spare use of
overpowering cliche.
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“A Single Shot” is an impressive detour in the career of Sam Rockwell.
After his entertaining but routine turn in last summer’s “The Way, Way
Back,” Rockwell returns to his dark side in this tense, unflinching
thriller. Similar in a few ways to Sam Raimi’s “A Simple Plan,” “A
Single Shot” has a spare quality that keeps it unsettling, while its
coldly violent attitude encourages a steady pace. And there’s Rockwell,
delivering a fantastic performance as a simple man in way over his head,
reining in his flashier, boogie fever instincts, allowing director
David M. Rosenthal’s gloomy mood of impending doom to carry the viewing
experience.
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“Prisoners” is a kidnapping drama that aspires to be a morally complex
tale of vigilante justice. It’s brutal, depressing, and supplied with a
leisurely run time, and it’s almost a completely compelling movie.
Director Denis Villeneuve gets the material 75% of the way there before
the production completely falls apart, taking something intimate and
ugly and turning it into a conventional slip ‘n slide of convenient
resolutions. “Prisoners” deserves credit for its unflinching approach to
the urgency at hand, asking viewers to sit through scenes of piercing
torment and tearful desperation. However, the picture doesn’t stick its
landing, a crucial misstep when working with such manipulative
scripting.
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Over the last decade, we’ve seen the rise and fall of the hip-hop dance
movie, with titles such as “You Got Served,” “Stomp the Yard,” and the
“Step Up” series riding the trend to box office heights. “Battle of the
Year” has arrived a little late to the party, though its concentration
on a particular “b-boy” movement lends it some much needed
individuality. Everything else in this pedestrian dance drama is either
absurdly corny or just plain moronic, though the feature does win points
for being so earnest with its hopeless pile of clichés, but it’s
certainly not enough to make the picture memorable.
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The French comedy “Populaire” is pure frosting. A lighthearted affair
with an unusual premise, the picture coasts on its enormous reservoir of
charm, with leads Romain Duris and Deborah Francois lighting up the
screen, while period production elements create a candy-coated mood that
supports the feature’s frothy intentions. Recalling the colorful zest
of a Jacques Demy movie from the 1960s, “Populaire” is an entertaining,
energetic effort, perhaps best appreciated for its dedication to the art
of escapism as it utilizes romantic formula to inspire its own take on
the competition film.
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The mystery of J.D. Salinger is mighty because the author refused to
provide the world with the details of his private life. Labeled a
recluse to ease understanding of his disinterest in fame, Salinger
positioned himself as the ultimate buried treasure for literary
fanatics, leaving few particulars about his upbringing and daily
business behind, thus creating rabid interest in anything connected to
the writer. Joining the quivering pile of admirers is screenwriter Shane
Salerno (“Aliens vs. Predator: Requiem,” “Armageddon”), who embarks on
an impossible storytelling task, striving to paint a portrait of an icon
who’s hidden all the color. Fascinating in spurts, maddeningly
melodramatic, and bizarrely unfulfilling despite a two-hour run time,
“Salinger” delivers a few facts worth further inspection, but the rest
has the tone of a circus sideshow, concentrating almost entirely on
Salinger’s oddity.
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1939’s “The Wizard of Oz” is a classic, adored by millions who grew up
with the picture during its days as a network television perennial,
where annual holiday showings bestowed the movie with its status as an
event. These days, the feature is widely accessible on home video and
cable, allowing the effort to be passed down to younger generations,
freshening appeal. To celebrate the 75th anniversary of “The Wizard of
Oz” (and to promote a new selection of DVD and Blu-ray releases), the
work has been handed an IMAX 3D makeover, updating the screen adventure
to the standards of a modern spectacle. There’s certainly no need for
this treatment, but for those interested in an alternate look at the
film, the overhaul is tasteful and engaging. Read the rest at Blu-ray.com

What’s strange about “The Colony” is how it’s a feature film that seems
like it would be more comfortable as a short. There’s not much dramatic
meat on these bones, but it’s a perfectly watchable B-movie distraction,
with a passable eco-disaster storyline that collides unexpectedly with
horror elements midway through the effort. Recognizable performers such
as Bill Paxton and Laurence Fishburne certainly add to the experience,
but this is not a substantial enterprise, requiring a few extra beats of
storytelling and panic to pass as a full cinematic meal. Good for a few
moments, “The Colony” doesn’t have enough ambition to make its intended
impact.
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A sensual drama such as “And While We Were Here” doesn’t have to present
likable characters, but something near the vicinity of understandable
is a must. Flavorless and a tad mean-spirited, the feature asks the
audience to accept the development of a life-altering affair when the
participants have only known each other for less than a day, also forced
to digest rather unsavory behavior as the couple quickly forges their
unlikely bond. Warmth isn’t a priority, as writer/director Kat Coiro is
actually making a movie about opportunity, creating a void where genuine
feeling and confusion should reside. A sluggish, confused picture, “And
While We Were Here” is cold to the touch.
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“Short Term 12” doesn’t cover any new dramatic ground, exploring the
tentative connection created by shattered foster kids and their
revolving door of handlers. It’s been fodder for television and movies
for decades. There’s familiarity here, leaving writer/director Destin
Cretton to find spaces of emotional complexity and guarded acts of
vulnerability to explore with an emphasis on behavioral nuance. The
filmmaker nails every single beat of personal expression and stymied
confession, creating a picture that triggers a turbulent ride of
reactions, hitting exquisite points of breakthrough and regression.
“Short Term 12” is a beautiful effort that refuses the lure of cheap
sentiment, electing to fashion characters worth inspection, feeling
around the woe and frustration that informs each one of these superbly
scripted personalities.
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It’s been a little over a decade since Billy Bob Thornton last directed a
feature. That’s a long time between efforts, especially when the
previous movie was 2001’s “Daddy and Them,” a forgotten southern story
that effectively grounded Thornton’s interests in the job after securing
accolades for his helming debut, “Sling Blade.” “Jayne Mansfield’s Car”
plays directly to the lauded actor’s strengths, taking viewers down to
the heart of Alabama to explore the fits and foibles of a dysfunctional
family, leaving room for an able ensemble to bloody their fists some
with a barbed screenplay, with Thornton a permissive leader, hoping to
catch blips of fury and vulnerability as the picture takes a leisurely
stroll down a path of self-destruction. Read the rest at Blu-ray.com

Some films just don’t need sequels. 2011’s “Insidious” was a fine fright
machine with plenty of atmosphere, a corker of a plot, and a genre
drive to rattle its audience with a surefire burst of scary material.
Its conclusion wasn’t open-ended, but it was definitive in its idea of
inescapability, goosing the audience one last time before the end
credits rolled. However, the movie was a hit, reviving director James
Wan’s wilting career, opening the door for a follow-up. Admirably,
“Insidious: Chapter 2” is determined to transform a one-note story into a
franchise, but the energy is misspent, wasted a continuation that’s
labored and dull, with only a few crisp ideas to aid digestion. Instead
of furthering the premise to the next level of engagement, the
production scrambles to make sense of itself, with a desire to pave a
cleaner path to “Chapter 3.”
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