Category Archives: Movie Reviews – R

REVIEW: “Room”

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Each year a handful of movies come along, movies I was completely unaware of, and they absolutely blow me away. It’s one of the real treats of the movie year – being blindsided by a high quality film. More often than not these are smaller independent pictures that unfortunately don’t get the same press or push offered to many lesser big budget films. The succinctly titled “Room” leads this year’s small but admired group of fantastic cinematic surprises.

Irish director Lenny Abrahamson’s “Room” is based on Emma Donoghue’s 2010 award-winning novel of the same name. Donoghue was hired to handle the screenplay of what is essentially two stories. The first half is an entrancing mystery thriller while the second half deals directly with the emotional aftermath. But the core thread that runs from start to finish and the true centerpiece of the picture is the relationship between a mother and her son.

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Brie Larson plays a young woman named Joy. At age 17 she was kidnapped by a man we only know as “Old Nick” (Sean Bridgers). Repeatedly raped over a seven year period, she is kept locked up in a semi-furnished garden shed. During that time she became pregnant and gave birth to Jack (played with startling authenticity by Jacob Tremblay). The two call their 10 x 10 home ‘Room’. Everything in it has meaning to young Jack (he often starts the day saying good morning to their few possessions). They have a bed, sink, toilet, bathtub, TV, a makeshift kitchen, and a skylight. They are never allowed outside. This is literally 5 year-old Jack’s interpretation of the world.

The first half of the film shows us life inside Room. Over the years Joy has created a fabricated sense of normalcy for her son. Room is the world and TV represents make-believe. Joy does everything she can to protect Jack from the reality of their situation. But sensing she can’t take anymore, Joy begins breaking down the pretend walls she created to protect her son and puts together a risky plan of escape.

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The second half of the picture deals with a young boy’s discovery of the real world and a mother coming to terms with a truly horrible ordeal. We are introduced to Joy’s parents who have split up in the seven years their daughter has been missing. William H. Macy plays Joy’s father who still can’t cope with his guilt and grief. Joan Allen is fabulous as Joy’s mom, a much more stabilizing and supportive force.

Much of the film is seen from Jack’s perspective. Abrahamson does a strong job capturing the amazement of hearing a telephone or seeing a skyline for the first time. We also witness the anxiety and fears of talking to other people or even walking down a set of stairs. Everything is new to Jack (when hearing a knock on the door for the first time he warns “The door is ticking.” Even the camera works to relay these feelings, often subtly dropping to Jack’s height to observe a conversation or move from one place to another.

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Young Tremblay’s performance is astonishingly genuine and the amount of emotional detail he gives is beyond his young age. And his chemistry with Larson is warm, truthful, and without a hint of artifice. Larson proved herself to be a strong dramatic actress in 2013’s “Short Term 12”. Here we see her taking on a much more complicated and demanding role. Here she does work so rich with feeling and nuance. It’s a career defining performance.

“Room” plays with so many compelling ideas – child rearing, media manipulation, maternal bonding, post-traumatic stress, and isolation just to name a few. It pulls you through a range of emotions, breaking your heart multiple times along the way. But there is an underlying hope to “Room” that is even present during the most grim moments. And ultimately this is a story of the power and saving quality of love. It’s not always easy to watch, but that beautiful theme shines brightly through the film’s uncomfortable and harrowing exterior.

VERDICT – 4.5 STARS

4.5 STARS

REVIEW: “The Railway Man”

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RAILWAY POSTER If “The Railway Man” wasn’t based on a true story it would probably be dismissed as unbelievable hyper-drama. But it is based on a true story which for me made it all the more fascinating. It’s adapted from the bestselling autobiography of Eric Lomax and it strikes a number of heavy emotional chords. It looks at the stresses of war but not through the normal battlefield lens. Instead it examines the trauma some are left with well after the war has ended.

The first thing the film does right is its casting. Colin Firth is unquestionably one of the best actors in the business and this is material he can certainly handle. He plays Eric Lomax and we first meet him as a reserved if not slightly awkward train enthusiast. He sits down with a group of friends and tells them about his chance meeting with a woman named Patti who is stunningly played without an ounce of flash or glamour by Nicole Kidman. The two fall in love and eventually get married.

 

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But in one of the movie’s few clunky bits of storytelling Patti and the audience learn that Eric is holding a lot of inner anguish. Patti’s love for her husband and nursing instincts wants to help him, but he continually shuts her out. She seeks information about Eric’s wartime past from his friend Finlay (Stellan Skarsgård). She finds out that during World War 2 he and some fellow British soldiers were captured by the Japanese and were placed in a hard labor camp where they worked on the railway between Thailand and Burma. During that time Eric endured unspeakable torture which has left him a broken man.

The audience gets to witness the events through a series of well done flashbacks. Jeremy Irvine plays the younger Eric and his resemblance to Firth is uncanny. Irvine was a big surprise and his performance stands right there with Firth’s and Kidman’s. In a great bit of method acting Irvine lost a significant amount of weight for the part. I also read where he did all of his own torture scenes. It’s truly impressive work. Actually I found all of the flashback sequences to be impressive in terms of production and in how it fits in the narrative.

The movie could have easily settled in as a traditional historical war film, but it doesn’t. Instead these flashback scenes work hand-in-hand with the film’s greater focus – an emotionally fragile man, the relationships surrounding him, and his ability to face and overcome the scars left from such traumatic savagery. I loved how these two narrative components worked together. For me each gave the other more meaning. Director Jonathan Teplitzky does a good job of maintaining a necessary cohesion between the two minus a couple of jarring instances where it seems key information was left out.

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An argument has been made that “The Railway Man” is too polished and it takes the “safe route”. Others have pointed to its sentimentality feeling unearned. And then there are some who have taken issue with the liberties the film takes with the actual account. For example revenge fuels the film’s version of Eric, but in reality that doesn’t seem to have been the case at all. Each of these criticisms bring up valid points , but I can honestly say none of them hindered my enjoyment of the film or my connection to the characters in any way.

Ultimately “The Railway Man” works because of the amazing story and the fabulous performances that bring it to life. Firth is enthralling and unforgettable. Kidman is precise and beautifully reserved. Irvine shines in what should be breakthrough work. Sure, at times it is emotionally-driven and undeniably sentimental. It may be polished up and too much of a ‘prestige film’ for some. But to let those things hinder your experience would be a shame. I did find myself longing for information that the film chooses to skip over, but that’s my only gripe in what is otherwise a beautiful and moving movie.

VERDICT – 4 STARS

REVIEW: “The Rover”

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Director David Michôd made a splash in 2010 with his critically acclaimed debut film “Animal Kingdom”. The movie would capture many people’s attention as well as numerous awards nominations. “The Rover” is Michôd’s sophomore effort and in many ways it is vastly different from his first film. It’s a much more visual experience that employs atmosphere and environment over a stricter and more focused narrative. For some people that seems to have been a turn-off. I found it to be a fresh, unsettling, and thoroughly exhilarating package.

Michôd wrote the screenplay based on a story he created with actor Joel Edgerton. The film begins with the words “Australia. 10 Years after the collapse”. Basically the world economy has crumbled and the Australian Outback has dissolved into a violent dystopia. The rule of law has disintegrated with the exception of small groups of soldiers who occasionally patrol the areas. Two very different men come together on this wasteland. Eric (Guy Pearce) is a bitter and enigmatic loner. He always seems to be laboring to keep his violent anger under control. Rey (Robert Pattinson) is a very simple and dependent American who is left behind by his brother and accomplices after a robbery goes bad.

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Rey’s brother Henry is played by Scoot McNairy who always delivers in small roles like this. After leaving a wounded Rey behind Henry and his crew steal Eric’s car after wrecking theirs. We quickly understand that Eric’s car is extremely important to him, perhaps the last thing of any value that he has left. He sets out to get it back and in doing so crosses paths with Rey. The two develop a tempestuous relationship as Eric’s barely bridled violence clashes with Rey’s emotionally delicate neediness. Eric keeps Rey close as a convenience. He needs to get Rey’s brother while Rey just needs someone to cling to.

The dialogue in “The Rover” is sparse and I had to adjust to its style of storytelling. But I quickly found myself enamored with the effectiveness of Michôd’s methods. I had no trouble comprehending the desolation and rigidity of the world these characters inhabit. I had no trouble seeing the violent complexities of Eric or the fractured yet sympathetic psyche of Rey.

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We are asked to seek answers and information through our senses and I really responded to that. Michôd’s camera frames some truly captivating shots. I’m not familiar with Natasha Braier, but she was credited with the cinematography and I’ll definitely be looking for her name in the future. The two create a visually terrifying dystopian world that is both beautiful and threatening. Filming took place in the Australian desert and the cameras utilize the location to its fullest. All of this contributes to the storytelling but I do feel as if the film withholds small bits of meaningful information. I’m not saying I need or want everything spelled out for me. I think that would ruin the film. But just a touch more background would do wonders.

And how can I talk about the film and not mention the two lead performances? Readers of this blog will know that Guy Pearce is an absolute favorite of mine and his work here illustrates why. He gives one of my favorite performances of the year. He defines his character through several unconventional ways – through expressions, mannerisms, and even his bursts of violence. He hasn’t much dialogue but he doesn’t need it. He is mesmerizing. But for me the real revelation is Robert Pattinson, someone I’ve never believed in as an actor. Pattinson sheds every glimpse of his past “Twilight” pretty-boy status. It’s a very demanding role and I found myself shocked at how well he pulled it off. This could be a turning point for him.

In many ways “The Rover” reminded me of an end-of-the-world western. It quickly initiated thoughts of everything from “Mad Max” to “No Country for Old Men” to Sergio Leone’s spaghetti westerns. It’s a grubby, callous, and ferocious film that takes what looks like limitations and uses them as great strengths. This isn’t a movie that will resonate with everyone. It’s grim, violent, and hopeless. But it’s also captivating cinema that I couldn’t turn away from.

VERDICT – 4.5 STARS

REVIEW: “The Raid 2”

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I’m not sure if anyone expected “The Raid: Redemption” to be such a worldwide success, but that’s exactly what happened with the 2011 Indonesian martial arts picture from writer and director Gareth Edwards. Now we get “The Raid 2”, a sequel armed with a bigger budget and much more ambition. This first film was built around minimal story but a very interesting premise. This film greatly expands the story while featuring the same entertaining, high-octane, and sometimes brutal action that energized its predecessor.

“The Raid 2” moves beyond the closed confines of a tenement and quickly develops itself as something bigger. SWAT Team member Rama (Iko Uwais) returns, and this time he finds himself in a web of two rival mob gangs and corrupt police officers. After his brother is killed by one of the gangs, Rama is persuaded to join a secret task force set on infiltrating the gangs and exposing the crooked cops. He befriends the ambitious but overzealous son of one the mob bosses which gives him an inside track. But as you may guess, things aren’t nearly as easy as Rama would like.

“The Raid 2” pulls from numerous classic crime films and mob movies. You can’t help but notice it throughout the entire story. If you’re familiar with some of these plot points you’ll know exactly how things are going to play out. While that did take away any sense of curiosity or surprise for me, Edwards still handles it very well and it’s the injections of action (a very unique style of action) that very much separates this film from the gangster movies it otherwise emulates. There are plenty of wickedly choreographed martial arts sequences, but there are also some insanely good shootouts and one particular car chase sequence that blew my mind.

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That’s really what “The Raid 2” is all about. It’s a full blown action picture and that is where it makes its money. And let me just say that some of it isn’t for the faint of heart. Blood splashes, arteries are severed, limbs are broken. After all this is the movie that gives us characters simply known as Hammer Girl and Baseball Bat Man. Now obviously she didn’t get her name because of her carpentry skills and he didn’t get his because of his high batting average. Both characters are outrageous but they are also good examples of how much fun the movie is.

“The Raid 2” is a film that will definitely be appreciated by fans of the first movie. It remembers what made its predecessor successful and it builds upon it. Surprisingly there is a lot more story this time around which isn’t necessarily original but it is entertaining. The acting is adequate, but no one is looking at this film for Oscar-winning performances. Most people will be coming to it for action and they will get plenty of it. And it’s no joke either. It’s exhilarating, violent, and jaw-dropping and it will unquestionably satisfy the thirst of any true action movie fan.

VERDICT – 3.5 STARS

REVIEW: “The Royal Tenenbaums”

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Filmmaker Wes Anderson has always loved making movies that deal with family, family dynamics, and family struggles. They often focus on flawed relationships between brothers, children and their parents, or in the case of the 2001 film “The Royal Tenenbaums” an entire family. This was Anderson’s third movie and the first to incorporate one of his big and unique ensemble casts. It’s also the first film of his to fully utilize his peculiar comedic and visual style. You’ll notice it from the opening frame all the way to the end credits.

The story is about the Tenenbaum family. Royal (Gene Hackman) and Etheline (Anjelica Huston) Tenenbaum had three children who were geniuses at a young age. Chas was a business and financial wizard even before high school. Margot was their adopted daughter who was also a young playwright. Richie was a child tennis prodigy and aspiring artist. Eccentricities aside, the three Tenenbaum children had excelled beyond measure in their particular passions. But all of their promise of future success was dashed upon hearing the news that Royal and Etheline were separating.

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The film then bolts ahead several years. The kids have all faced their share of disappointment and heartache. Chas (Ben Stiller) lost his wife in a plane crash and is now obsessed with the safety of his two young sons. Margot (Gwyneth Paltrow) is unhappily married to a neurologist and author (Bill Murray) and she spends six hours a day locked in the bathroom. Richie (Luke Wilson) shocked the world by retiring from tennis at the age of 26 after a meltdown during an important match. Etheline is a successful archaeologist who is being courted by her accountant Henry (Danny Glover). Royal on the other hand hasn’t spoken with this family in several years. He’s lost his law practice and has just been thrown out of the hotel he has lived in for years. To top it off he has found out that he is dying and he decides that it’s time to make amends with his family.

A variety of circumstances brings the Tenenbaum family back together under one roof. All sorts of complicated and strained family dynamics surface. None of the family is happy to see Royal other than Richie who was always the object of his father’s favoritism. Chas hates his father. Margot and Richie have a tension that also involves childhood friend Eli (Owen Wilson). Etheline and Royal have friction particularly over Henry. I could go on and on but you get the point. This is a highly dysfunctional family that was damaged when Royal first left and is now in chaos since he has returned.

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On the surface nothing about what I have described sounds funny does it? But remember, this is a Wes Anderson film. Sprinkled in between the various disagreements and peculiarities are the signature bits of dry and often absurd humor that he brings to his pictures. It’s often times seen in a bit of dialogue or some quirky visual flair. Sometimes Anderson slips his humor into the backdrop or in a particular prop or detail. Little quirks like the matching bushy hair and Adidas jumpsuits that Chas and his sons wear. The reappearing beat up cabs from Gypsy Taxi. Every small line from family friend and servant Pagoda (Kumar Pallana). There are so many bits of Anderson flavor and you’ll probably find something new with each viewing.

But as usual, Anderson mixes his humor with a darker side of the story. Royal is truly a despicable man and father. You can’t help but laugh at some of his antics. On the flipside, his character and the consequences of his actions are much darker realities. The film touches on several other gloomier themes such as depression, alienation, suicide, and drug abuse. And then of course there is the aforementioned examination of family. The film takes a look at numerous facets of family life and difficulties which I believe gives the story more weight. As funny as “The Royal Tenenbaums” is, there are layers upon layers of thematic inflections.

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And a brief word about the performances. Gene Hackman is fantastic which shouldn’t come as a surprise. He dives right into the role, hamming it up and pulling it back when required. He was a bit reluctant to take the role at first but he is a perfect fit. Everyone else also falls perfectly onto Wes Anderson’s canvas. Whether it’s his reliable favorites such as Murray and the Wilsons, or others such as Paltrow, Glover and Stiller, the characters are a key component to the film and the casting of each role is spot on. Even Alec Baldwin pops up as the unseen narrator.

As you can expect there is an overload of visual style in this picture. If you aren’t keen on Anderson’s odd period style setting and unique camera quirks then you may have a hard time embracing this film. Personally I love the looks of his work. “The Royal Tenenbaums” is a little slow out of the gate but it doesn’t take long before it hits its stride. Things do tidy up a tad too much at the end, but the final scene is priceless and it leaves the movie on just the right note. I couldn’t help but laugh and think to myself that Wes Anderson had done it again.

VERDICT – 4 STARS

REVIEW: “Robocop” (2014)

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I can’t tell you how many times I watched the original “RoboCop” during my teen years. The 1987 sci-fi action flick was such a wild ride. It had a really cool mixture of wacky humor, slick satire, a great villain, and some insane (and frequently graphic) action sequences. Then I heard that MGM was bringing RoboCop back. Yes, yet another remake of a popular 1980’s movie. Then I see where this new RoboCop film was getting the dreaded February release date. All things pointed to this being a crappy movie.

But what a surprise it was to find this to be a cool and competent action movie. Let me say it again,”RoboCop” is surprisingly good and I am as shocked as anyone. This is essentially a reboot that takes many of the elements from the original film and adds a modern touch. It shuffles up the narrative a bit and it gets a fresh coat of CGI paint. But the core of the film is the same. It falls short of the first film in several areas, but it makes its own satisfying statement in others. Again, I was really surprised.

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This “RoboCop” quickly lays out its politically charged landscape. The United States government has handed over its military reins to a multinational corporation known as OmniCorp. These guys have mastered advanced robot technology which allows for mechanical soldiers to replace humans. Their sales pitch points to how many lives have been saved in American military interests around the world. OmniCorp’s next big moneymaking venture is selling their products to local law enforcement. But a group of strong-willed senators and a very concerned public opinion stands in the way. This hodgepodge of political wrangling and big corporate greed is clearly intended as some sort of social satire. Well the message didn’t resonate with me, but it did set up an interesting landscape for the main story.

Speaking of the main story, this time around Swedish born actor Joel Kinnaman plays Detroit police detective Alex Murphy. He and his partner have been working undercover to bring down a local crime boss. But as he gets closer to blowing the top off the case, the bad guys get nervous and try to take Murphy out. A car bomb goes off leaving Murphy with severe burns, amputations, and no hope for survival. OmniCorp CEO Raymond Sellars (Michael Keaton) approaches Murphy’s wife Clara (played by the lovely Abbie Cornish) and offers to save her husband’s life by placing him in a permanent robotic suit. Of course Sellars real intent is to put a face on his robot program in hopes of swaying public opinion.

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One thing I was looking forward to was the return of Michael Keaton to a larger big screen role. I’ve always loved him dating back to his early madcap comedy style. While he is written to be your standard corporate baddie, Keaton brings a certain slimy panache to the role. It was great to see him back. There was also the casting of Gary Oldman as a scientist who struggles with the moral complexity of the RoboCop project. It’s a great role for Oldman and as you would expect he is fabulous. Then there is Samuel L. Jackson who plays a loud and opinionated cable news talk show host. We only see him via his broadcast and he is funny in spurts. But by his fourth appearance I was tired of him.

The funny thing about this film is that it flirts with a number of satirical themes and the story teases going in several different directions. But it pulls back on a number of occasions choosing to play it safe. There are several interesting turns that really hooked me and I wanted them to go further than they actually do. Still, there was enough in and around the central story to keep me involved. Some of the plot directions are really effective and very well conceived.

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But many people will go to “RoboCop” looking for some good, old-fashioned action. They will definitely get it here. Director José Padilha definitely knows how to shoot action. There are some butt-kicking standout sequences, none better than a wicked shootout in a pitch black gang hideout. It’s stylish, kinetic, and a ton of fun. The technology is cool, the RoboCop suit looks great, and there are several other visual flares that I loved. For example one scene shows what is left of Murphy once he is stripped of his armor. It’s a wild and disturbing special effect that also fuels one of the movie’s bigger emotional moments.

So many of these modern remakes have turned out terrible (I’m looking at you “Red Dawn” and “Total Recall”). The good news is “RoboCop” certainly isn’t terrible. It isn’t as provocative as it wants to be. It isn’t as clever as it tries to be. It isn’t as witty as it needs to be. But it is more fun than I ever expected it to be. There is some great action, some really good performances, and enough depth to the story to make it a worthwhile science fiction romp. Don’t expect a deep cerebral experience. After all this is RoboCop. But I can honestly say, that it had a lot more to offer than I was ever expecting.

VERDICT – 3.5 STARS