Category Archives: Movie Reviews – E

REVIEW: “Enough Said”

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“Enough Said” is an interesting romantic comedy/drama from writer and director Nicole Holofcener. It’s one of those films that has magically latched onto critics who were giving it rave reviews. It has one of the highest aggregate scores on Rotten Tomatoes and it has found its way on numerous Top 10 lists from well respected critics. But what is it about this movie that has earned such high praise? Here are a few things that come to mind: charm, wit, an intelligent script, and two very strong lead performances.

The true magic of “Enough Said” starts with two fine leads. Julia Louis-Dreyfus plays Eva, a divorced single mother and self-employed masseuse. Her life is in a repetitive rut at least until she meets Albert played by James Galdolfini in the first of his final two roles before his death. He two is divorced with a young daughter. The two decide to go on a date which launches a very unlikely relationship. In some ways the two couldn’t be more different. She is a fit and attractive middle-aged woman while he is an overweight middle-aged regular Joe. The film points out these physical differences on numerous occasions and I feel it’s for a specific reason. At first Eva may be desperate to fill a void in her life but soon she sees beyond physical appearances to what really anchors a relationship.

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“Enough Said” develops one of the purest depictions of an adult relationship you’ll see on screen. For years Hollywood has been fixated on divorcees when it comes to depicting relationships. That has fascinated and at times frustrated me. But here it is very pertinent to the story and more importantly to the characters themselves. Dreyfus and Gandolfini are fantastic and have a remarkable chemistry. You do root for them to make it and overcome their faults and past mistakes. Dreyfus has always had this infectious wit that I’ve been attracted to, and Gandolfini shows a brilliant range that many of us didn’t realize he had.

Holofcener’s script is smart and authentic but I have a few quibbles with it. There are a handful of subplots that are vaguely introduced but never really explored. A couple of them do reflect on our two main characters but others feel tacked on and unnecessary. There is also a twist with a character named Marianne (played by Catherine Keener). She and Eva become friends and they have some good moments together, but I couldn’t really buy into the overall idea behind the twist. I can see where it would work in a film a little more focused on straight comedy. But here it felt like a stretch.

Still, “Enough Said” is an intelligent and refreshing alternative to the bulk of what passes for romantic comedies these days. It’s mature in the sense of its middle-aged focus and it’s grounded in its portrayal of fallible and believable characters. But the biggest treat is watching Julia Louis-Dreyfus and James Gandolfini effortlessly embody these two characters. Both are fantastic and they are the real heart of the film. And for me, it’s their performances that are the biggest draw.

VERDICT – 4 STARS

REVIEW: “Escape Plan”

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ESCAPE PLAN MOVIE

Ever since the release of “The Expendables” in 2010 there has been a resurgence of 80s styled action pictures. Arnold Schwarzenegger and Sylvester Stallone, the two biggest names from that once immensely popular genre, have returned to the big screen with a number of bullet-riddled movies. The two stars join together, bicep to bicep, to bring us the silly and implausible “Escape Plan”. But who would go to a Sly and Arnie movie looking for something with deeper meaning?

In many regards “Escape Plan” is big, dumb throwback fun. The entire premise is a bit goofy and writers Miles Chapman and Jason Keller trip over themselves in the telling of the story. But still, there is a nostalgic satisfaction that this movie provides. It hearkens back to ‘the good old days’ for these two stars. They have more gray hair, they’re slower, they need more camera trickery to make them appear like the big screen tough guys they once were. But both still have charisma and an air of confidence that makes this film fun even amid its occasional eye-rolling bad dialogue, gaping plot holes, and overall silly concept.

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The story goes like this: Stallone plays a fellow named Ray Breslin and he wrote the book on prison escapes and I mean that literally. He is the head of a security firm that evaluates the strengths of maximum security prisons. How does he do this? He develops a false identity, has himself placed in the prison, and then breaks out. Helping him in this odd but apparently lucrative business is his skittish business partner Lester (Vincent D’Onofrio), his trusted associate (and possible romantic interest) Abigail (Amy Ryan), and a computer hacker named Hush (Curtis “50 Cent” Jackson).

One day Breslin and company are approached by a CIA operative (Caitriona Balfe) who wants him to test a top secret prison built for the worst criminals. It’s the mother of all prison breaks that comes with a healthy $10 million payday attached. Breslin decides the money is too good to pass up so he throws aside his standard safety protocols and allows himself to be captured, drugged, and transported to “The Tomb” (play ominous location music here). Once there he quickly learns he’s been set up and it will take the help of a surly fellow inmate named Rottmayer (Schwarzenegger) if he hopes to get out.

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Swedish director Mikael Håfström does a fairly good job of keeping things moving once it gets started and there are some interesting twists along the way. The Tomb itself is pretty neat with its honeycomb glass cells and intriguing secret. The guards wear black uniforms and cool futuristic masquerade ball masks (although I’m not sure why). Then there is Jim Caviezel who is a ton of fun as the soft speaking sadistic warden. His deliveries and mannerisms offer an entertaining variation of a fairly familiar character type. And while Stallone is in serious mode most of the time, Arnie gives the film some humor. Amid his sometimes corny dialogue and patented wooden line reading, he tosses out some pretty decent laughs.

All of that sounds good but unfortunately the problems I mentioned earlier do stand out. You’ll have to accept its absurdity and understand that there are several questions you’ll never get sufficient answers for. The storytelling is a little sloppy in places, the dialogue a bit cheesy, and it doesn’t have many of those big moments that we’re used to getting from these fellows. But I still give the film some credit. Stallone and Schwarzenegger aren’t spring chickens any more but the fact that they still have those big infectious action-packed personalities says something. And that’s a big reason they’re able to make this film work.

VERDICT – 2.5 STARS

REVIEW: “Edge of Tomorrow”

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EDGE PSOTER

Some folks immediately dismissed “Edge of Darkness” once they heard the name Tom Cruise and science-fiction joined together again. Not me. This was one of my most anticipated films of 2014. Unlike many I enjoyed Cruise’s last sci-fi project “Oblivion” although it was a movie with noticeable flaws. Now he’s back playing in a science fiction sandbox filled with a strong script, cool special effects, and a time loop angle that makes this film feel undeniably unique despite it dabbling in familiar territory.

“Edge of Darkness” is based on a Japanese graphic novel entitled “All You Need Is Kill”. At first glance it may come across as a typical, run-of-the-mill alien invasion picture. Times are bad on planet earth and the human race is close to extinction. Our last hope lies in a big beach invasion on the European coast akin to D-Day. But while many aspects of that will sound very familiar, the movie throws us a clever curveball which is not only fresh but very entertaining.

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Cruise takes on a very different role than we are used to seeing him in. He plays Major William Cage. That may sound like a macho military tough guy name but actually he’s a public relations specialist who works to encourage people into service while avoiding it himself. There’s no heroic and attractive golden boy aura. He’s actually an unlikable and cowardly man who soon finds himself tossed onto the frontlines of the big invasion. The battle doesn’t go well and the untrained and combat-ineffective Cage is killed in action. But instantly after death he wakes up at a past point before the invasion took place. Over and over this takes place and Cage must adapt while repeatedly reliving the doomed invasion.

We are also introduced to a character named Rita Vrataski (Emily Blunt). She’s a Special Forces Sergeant who has an almost legendary status following her inspirational fighting in an earlier battle against the aliens. She crosses paths with Cage on the battlefield but their connection may go beyond that. Vrataski is a really cool component and not only does she add a lot to the story, but she gives us a strong and capable female lead. I was immediately drawn to her toughness and resolve.

If you’ve read other reviews you’ve probably heard this film compared to the Harold Ramis comedy “Groundhog Day”. That’s an undeniable comparison. Someone else said it best – “Edge of Tomorrow” is an entertaining mix of “Groundhog Day” and “Starship Troopers”. The trippy time loop element works really well within the sci-fi environment and its definitely more than just a gimmick. Director Doug Liman uses it as a focal point and it could have easily went bad. Instead it’s a ton fun and not only does it make for a great plot device, but it also opens the door for some of the movies genuinely funny moments.

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Tom Cruise does a nice job going against type and reminding us that he is still a quality actor when given good material. I quite liked him here and he showed that he is still an actor with noticeable range. Emily Blunt once again shows that she is an actress who can play almost any role that she takes on. She never flinches in response to the physical demands of her character and you never doubt her authenticity. We also get Bill Paxton having fun playing with Master Sergeant stereotypes and we get Brendan Gleeson who is always good regardless of what he is in.

So far 2014 has been the year of the really good blockbuster. That is rarely the case but we’ve had several this year that have really won me over. Add “Edge of Tomorrow” to that list. Now it would be very easy to nitpick this movie to death and to point to a few plot points that don’t exactly make sense. But I think the movie works extremely well as a complete package. There’s some good science fiction, strategic funny moments, exhilarating action, and a smart and sharp story that never grows dull. I was thoroughly entertained by “Edge of Tomorrow” and that was exactly what I was hoping for.

VERDICT – 4.5 STARS

REVIEW: “Elysium”

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Elysium Poster

Neill Blomkamp surprised a lot of people with his 2009 science fiction thriller “District 9”. While I wasn’t drawn to it, the majority of critics gave it high marks. It would go on to earn four Academy Award nominations including one for Best Picture. His eagerly anticipated follow up comes in the form of “Elysium”, another sci-fi foray soaked in social commentary. It’s a bleak, gritty, and violent film with high ambition and a much bigger budget.

Blomkamp once again writes and directs the movie which starts with a pretty heavy-handed setup. Blatantly obvious political statements on immigration, healthcare, and class warfare are thrown at the audience without an ounce of tact or subtlety. In fact it’s so painfully obvious that I started rolling my eyes and began to dread what was ahead. But to my surprise the film steers away from that and instead of shoving its positions in our face it allows them to simmer underneath the surface which definitely better serves the movie.

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The story basically goes like this – in the distant future Earth is an impoverished and overpopulated planet. People struggle against starvation, disease, and a brutish robot police force. But while the poor make up the Earth’s population, the rich upper-class live on a luxurious space station community known as Elysium. This orbital paradise features mansions, lush gardens, and machines able to cure any health problem instantly. But here’s the catch – only the wealthy and powerful are allowed on Elysium and there are strict government and military bodies that enforce that rule. As I said, not an ounce of subtlety.

Enter Max De Costa (Matt Damon), a struggling assembly line worker on Earth who has an accident which exposes him to lethal amounts of radiation. He learns he has only five days to live, but he’s not ready to kick the bucket just yet. He has to get to Elysium for treatment so he makes a deal with an underground smuggler. In exchange for a trip he must steal some important information from a corrupt military contractor. Seeing Max’s failing health, the smuggler has his doctors implant him with a super-strength robotic exoskeleton and cerebral implant to help with the mission. But Elysium’s Defense Secretary Jessica Delacourt (Jodie Foster) also wants that information for her own nefarious reasons and she will do anything to get it.

Oddly enough “Elysium” drastically changes course as the film goes along. It moves from an obvious heavy-handed social critique to a fairly conventional sci-fi action flick. It uses several all too familiar approaches and it’s fairly easy to gain a sense of how things are going to end. That said, Blomkamp’s pacing is spot on. He keeps things moving which keeps the audience attached. He also has wonderful visual senses. The movie looks great whether it’s the big sweeping location shots or the intense and sometimes brutal action (and there is quite a bit of it). I loved the contrasting aesthetics between the dirty, rundown vision of Los Angeles (which was actually filmed in the Mexico City area) and the spotless Eden-like Elysium. Blomkamp has an unquestionable knack for visual filmmaking.

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Matt Damon is a solid choice to portray a ‘regular guy’. There’s not a lot of flash or bravado to his performance. He’s not a bold or larger-than-life character. In fact I would call him a very atypical hero and that works well within the story. But then there is Jodie Foster. I have no idea what she’s doing in this movie. Her erratic performance is all over the map and her accent morphs from French to British to something I’ve never heard before. I also thought Sharlto Copley was pretty bad as a ruthless sleeper agent who works for Delacourt. He certainly looks the part but that’s it. I don’t know if it’s his voice or his line delivery but nearly all of his dialogue feels terribly off. But thankfully this is Damon’s movie and he carries most of the load.

There’s no doubt that Neill Blomkamp is a gifted visual storyteller. I loved the overall look of “Elysium” from the futuristic technologies to the locations. I also thought the action scenes popped with intensity and grit. Unfortunately his writing prompts the question mark. Early on he uses a mighty broad brush to paint his social/political landscape and later the movie turns into a fairly conventional action film – two issues that I think keeps “Elysium” from being the really good movie that we get glimpses of. Still it has its moments. and as conventional as it may be, the action and pure visual spectacle keep it from being a total loss.

VERDICT – 2.5 STARS

REVIEW: “Eternal Sunshine of the Spotless Mind”

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ETERNALPOSTER

Occasionally I will come across a movie that despite its obvious strengths and critical acclaim never connects with me. Often times it can be traced to a bad initial reaction or maybe to specific themes or performances that I didn’t care for. But there are also occasions where a movie will leave a slight mark in the back of my mind. These are films that deserve to be wrestled with regardless of my initial misgivings. “Eternal Sunshine of the Spotless Mind” is one of those films. After a fairly tepid first impression I was ready to dismiss the movie, but overwhelmingly positive reviews and a tinge of curiosity convinced me that this film deserved a second viewing.

Acclaimed screenwriter Charlie Kaufman wrote the screenplay which was based on a story he created along with director Michael Gondry and Pierre Bismuth. It cleverly develops itself as a romantic drama but incorporates a subtle bit of science fiction to create a cerebral and multifaceted story. Kaufman and Gondry steer clear of any traditional mode of storytelling and instead engage the audience on an intellectual and emotional level. There’s nothing conventional about “Eternal Sunshine” and at times its lack of clarity may be a little frustrating. But having a firm understanding of the periphery allows you to better understand what is going on inside at the heart of the film.

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The story starts by introducing us to a morose and withdrawn man named Joel Barish (Jim Carrey). One morning while waiting on the train for his morning commute he takes off on a whim and hops aboard another train heading out of the city. While aimlessly strolling down a Long Island beach he notices a woman named Clementine (Kate Winslet) who appears to be doing the same thing. A couple of chance meetings later and the two are on the same train heading back into the city. Eventually a relationship forms between these two lost souls, but before we get a good taste of it there is a dramatic narrative shift.

The film leaps forward in time which is the first of many transitions in Kaufman’s fractured storytelling. We find out that Clementine has visited a clinic called Lacuna, Inc. which specializes in wiping certain people or things from an individual’s mind. Clementine has had Joel erased. There is a real challenge here for the audience because neither we nor Joel know why she has done it. You have to wade through this information gap until Kaufman is ready to give you more. An angry Joel decides to enact his own form of revenge by visiting Lacuna himself and having Clementine wiped from his mind.

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Lacuna, Inc. is the brainchild of Dr. Howard Mierzwiak (Tom Wilkinson). His staff is made up of his peppy receptionist Mary (Kirsten Dunst), his frazzly haired chief technician Stan (Mark Ruffalo), and his technician’s assistant Patrick (Elijah Wood). Each have their own surprising role to play in this absurd but utterly fascinating procedure that Joel undergoes. They also each have their own bits to add to a lightweight but intriguing side story. From there the majority of the film takes place in Joel’s mind as he has a sudden change of heart and tries to cling to and hide away any memory of Clementine before they can be erased.

The movie snaps back and forth between the surreal world inside Joel’s brain and the real world where an assortment of things play out between the Lacuna gang and Clementine. To go any further would be a criminal injustice to those who haven’t seen the picture but suffice it to say it’s some unique and compelling stuff. Also, you can’t simplify what is going on as I did during my first viewing. Kaufman and Gondry aren’t interested in a straight-line narrative or generic over-used tropes. There is a fragmented structure that is made challenging by the playing around with with chronology and order. But there is a method to the messiness that I didn’t appreciate before.

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I also didn’t appreciate just how good of a performance that Carrey gives. Over the past couple of years the actor hasn’t help his sputtering career with some rather dopey decisions he has made. But this is a performance that shows a comedic actor embracing something different and really doing it well. Winslet is her usual rock-solid self. It’s an odd and erratic role but she never struggles with it. The supporting cast is also very good at handling what they are asked to do.

I still think “Eternal Sunshine of the Spotless Mind” is a bit indulgent and I do think there are some moments where it doesn’t hit the emotional note that it is going for. But to say my opinion of the film has changed would be an understatement. I can honestly say that “I got it” during my second viewing and my appreciation for what the movie does is unquestioned. I still feel the need to see it again after the birth of my new feelings towards it, but this time it won’t be for the same reasons.

VERDICT – 4 STARS

REVIEW: “Evil Dead” (2013)

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EVIL DEAD POSTER

It was 32 years ago that childhood friends Sam Raimi and Bruce Campbell introduced a small, low budget horror film that would influence the genre for decades and become one of the biggest cult classics in film history. That movie was “The Evil Dead”. With little money and a cast and crew made up mostly of family and friends, Raimi and Campbell still managed to craft a visceral, gory, and frightening gem that remains one of my very favorite horror pictures of all time.

In keeping with Hollywood’s current remake fetish and creative brain freeze it seems only logical that we would get “Evil Dead”, an update on the 1981 classic. When I first heard about this project red flags went up everywhere. How dare they mess which such a cult favorite and one that I personally hold as sacred. I was instantly skeptical and uninterested. That was until I heard some very interesting details. Sam Raimi and Bruce Campbell would be producing the movie. Game on! From that moment on I’ve been anxious to see this film. My anticipation grew after seeing the first trailer and after hearing Campbell and Raimi’s enthusiasm. But I still had a deep burning question – could they even come close to capturing what made the original so great?

They certainly weren’t afraid to set the bar high. The movie poster features the line “The most terrifying film you will ever experience”. While I wouldn’t go that far, “Evil Dead” is still a creepy, gore-soaked, step back in time that’s sure to entertain old-school horror fans and shock newer viewers who are more accustomed to the popular PG-13 ghost stories of today. Raimi and Campbell hand over the directing keys to Fede Alvarez but their bloody fingerprints are all over this picture. And while there are question marks and a few plot holes, I still found this to be satisfying horror ride and a perfectly acceptable reimagining.

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There are several noticeable story changes in this film. Instead of it being five friends taking a fun filled vacation in the Tennessee hills, these five folks come together for a much more serious purpose. Mia (Jane Levy) has struggled with a drug problem and after a serious overdose her friends Olivia (Jessica Lewis) and Eric (Lou Taylor Pucci) decide to take her away to her family’s remote rundown cabin to help her quit cold turkey. Mia’s brother David (Shiloh Fernandez) and his girlfriend Natalie (Elizabeth Blackmore) meet them there to help. After making a grisly discovery in the basement, the group uncover a book bound in human skin and filled with disturbing text and images.

Now fans of the original know this is the Necronomicon (The Book of the Dead) and that by quoting a specific set of words from the book, you would awaken an evil presence in the woods. Well that’s what happens and quite literally all Hell breaks loose. One demon possession later and the creepiness shoots through the roof and the blood starts to flow. Now you should know this going in but in case you don’t let me emphasize that this is an extremely graphic film. A crowbar, an electric knife, a machete, a box cutter – these are just some of the instruments of defense of death and this film isn’t shy about using them.

The spectacular special effects only makes the eeriness more pronounced and the gore more vivid. This is worth mentioning because Alvarez was emphatic that no CGI be used. What you see is the real deal – old school visual effects with some clever illusions and slick camera tricks. I loved this decision. It’s a clear reminder that great effects can be done without the cheaper and often times more obvious CGI. The visuals work hand-in-hand with the brilliant use of sound. Every creak from the cabin, every flick of a switch, and every chord from the score help in giving the movie an eerie and intense feel. This is a very technically impressive film and I can just see Raimi wanting to play with all the visual toys that weren’t available to him in 1981.

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Now perhaps the biggest question that will be asked by many centers around the horror. Is “Evil Dead” scary? This is almost impossible for me to gauge because movies never really scare me. For me effective horror pictures are one the creep me out, not necessarily scare me. While not on the same level as its inspiration, this film definitely has its creepy and disturbing moments. But it certainly scared some people during my screening so if that’s what your looking for, you should find it here.

But you won’t find the same sly and subtle humor that’s in the original. Everything here is dead serious (pun intended) and I honestly missed those lighter moments. There were also a few minor things that didn’t quite work as the movie intended. There’s an opening scene showing a disturbing past event that had happened in the cabin’s basement. The trouble is the entire scene felt completely disconnected from the rest of the movie. I had so many unanswered questions about it and I just don’t understand why it’s there. Then there is a scene close to the big finale featuring a bit of creative (and utterly preposterous) engineering. I’m not going to give anything away but it and its subsequent scene was just too ridiculous to buy into. Thankfully the movie doesn’t waste any time moving past it and making its way to its entertaining, blood-soaked ending. It too is different from the original but it worked for me.

Even though this is a remake of a true classic horror picture, for me it was important to not judge this movie strictly by the 1981 film or to go to far in comparing them. This movie stands on its own and it does it well. But it never forgets its roots and that’s the main reason I found it to be a success. It follows the pattern set forth by the earlier film and then amps things up 110%. It’s gruesome, it’s gory, it’s relentless, and it all fits perfectly with the films frightening tone. Fans of the classic will love the various tips of the hat to the original and new fans will be rocked by their visceral dose of old-school horror. I see it appealing to both groups. “Evil Dead” worked for me not only as a solid modern-day remake but as one of the better horror pictures to come around in years. It looks like Raimi and Campbell’s tried and true formula still works today.

VERDICT – 3.5 STARS