Tag Archives: movies

REVIEW: “Getaway”

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Getaway Poster

I have to start by addressing Ethan Hawke (because I’m so sure he reads this site). What were you thinking? I mean you’ve made some strange and questionable movie choices recently but none as mind-boggling as this. You’re a talented actor Mr. Hawke. Your work in movies like “Training Day” and the “Before” trilogy proves it. But if I may be blunt, your film “Getaway” absolutely sucked. And let me add a quick bit of advice. If anyone on your “staff”, whether it be an advisor or agent, recommended that you take this role, fire them immediately. Trust me, it’s for the good of your career.

Now with that out of the way, “Getaway” is one of these movies that has an obvious ambition but it fails to realize it in practically every regard. It’s poorly written, poorly acted, poorly directed, and poorly edited. Even the likable Ethan Hawke can’t save the film from its sleep-inducing monotony and overall lack of intelligence. It’s no surprise the film wasn’t able to come close to reaching its $18 million budget.

Hawke plays a former race car driver named Brent Magna (gotta love that name). One day he comes home from work to find his wife has been abducted. A mysterious man calls him to take responsibility and to give him a wild assortment of tasks to carry out in order to get her back. The first task leads him to a fully customized Shelby Mustang. It has all the normal accessories: AM/FM radio, power windows, automatic transmission, armored plating, bulletproof glass, and a number of cameras so that the kidnapper can keep up with Brent’s whereabouts. He takes the car and is told to follow the man’s instructions implicitly and if he gets caught by the cops his wife dies.

This way my reaction too after seeing "Getaway"

This way my reaction too after seeing “Getaway”

From there the movie collapses into eye-rolling stupidity. Some of these tasks that Brent is asked to do make no sense whatsoever. They are mainly just reasons to drive the car really fast. That’s really all this film is – an endless parade of high speed chases many of which are some of the worst ever filmed. They are extremely repetitious with little variation at all. At one point I honestly wondered if I was watching the same chase sequence from earlier in the film just from a different camera angle. There is very little creativity to them and practically no thrills. Just a mind-numbing assembly line of wrecked cars and engine roars.

“Getaway” does try to expand its tissue paper-thin plot by throwing in a girl known only as ‘The Kid’ (Selena Gomez). She ends up in the car and her role mainly consists of having a bad attitude and spitting out expletives. She is a terrible character shoehorned in by the dumbest contrivance. In fact, that’s a great way to summarize this movie. It’s one of the (unintentionally) dumbest movies of last year built around one of the worst scripts of the year. And the car chases (which should be the film’s saving grace) are the blandest and most repetitive scenes to endure. This is an awful movie and again I ask “Ethan Hawke, what were you thinking?”

VERDICT – 1 STAR

REVIEW: “Joe”

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Joe posterWhere on earth did Nicholas Cage’s career go? Cage’s early career was filled with good performances and good movies. He worked with top-notch directors such as the Coen Brothers and Spike Jonze and he even won an Academy Award. But movie fans know the story. His worldwide real estate spending spree led to financial woes and soon Cage was excepting any role he was given to help get out of his mess. There have been brief glimmers of the old Nick Cage but for the most part he has become so synonymous with crappy movies.

But Cage is still a likable guy which is why I’m so excited to talk about “Joe”. I’m not sure if I’m ready to say Nicholas Cage is back, but this is an eye-opening performance and a bold reminder of what he can do when given good material and a capable director to work with. David Gordon Green is a filmmaker who has had his share of misses especially when he jumped into the mainstream comedy arena. But he is also a smart and nuanced director who can draw so much out of his stories and characters. Last year’s “Prince Avalanche” was a great example of that and “Joe” makes him two-for-two.

The film is set in a low income, deep south community. Joe Ransom (Cage) is a timber worker who runs a hard working local crew. He has a good reputation among his men and some of the locals. He meets and befriends a 15-year old boy named Gary (Tye Sheridan). Gary has a tumultuous family life mainly due to his abusive and alcoholic father Wade (Gary Poulter). He finds an escape in Joe while also making some money to support his mother and sister.

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Early on Joe looks to be a good and stable mentor and father figure. He is a sharp antithesis to Gary’s real father who is despicable in ever regard. But perhaps the most compelling thing about the movie is how Joe’s character unfolds. Throughout the film one thin layer after another is peeled back revealing a deeply flawed man with an intensely troubled past. He is a tortured soul assaulted by demons that we don’t always fully meet. His inability to cope with them sometimes makes him his own worst enemy. This forms the central conflict which drives a lot of the story.

Cage absolutely owns this character. His performance is saturated with grit and authenticity. He is the centerpiece of the picture and for those not familiar with his once promising acting chops, this is a spectacular showcase. Tye Sheridan follows up his wonderful work in “Mud” with a darker and more mature performance. He handles the heavy and emotionally charged material with the skill of a veteran. His opening scene with Poulter is piercing and uncomfortable and it sets the table for the rest of the picture. Speaking of Poulter, the realism in his performance is surreal and effectively disturbing. Even more unnerving is Poulter’s real story. He was homeless and a terrible alcoholic when Green cast him. This undoubtedly fueled his performance with such honesty. Sadly Poulter was found dead on the streets of Austin, Texas shortly before the film was set to debut.

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Another key strength of the film is Green’s impeccable southern vision. The striking detail he puts in every little thing helps to create this otherworldly setting which is actually more real than many realize. The story flourishes in this sad and smothering environment and it just gets darker and darker as things progress. It could be said the film exploits southern stereotypes in order to create such a setting and sometimes the movie slips off the rails in its attempts. But ultimately it is a vivid and ferocious setting that never allows us to feel comfortable (and that is a good thing).

“Joe” isn’t an easy movie to digest. It is southern gothic to the core with an emphasis on the unpleasant and disturbing. It’s not a movie for the faint of heart. But it is an exciting return of sorts for Nicholas Cage and one can only hope it is a sign of things to come. “Joe” is uncomfortable and unflinching yet it is almost impossible to take your eyes off it. It may be a bit too abrasive, but the story at the heart of the film is what shines through in the end.

VERDICT – 4 STARS

Your Voices: On “Casablanca”

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Your Voices

Your Voices is a simple concept created to encourage conversation and opinions between movie lovers. It works like this: I throw out a certain topic and I’ll take time to make my case or share my opinions. Then it’s time for Your Voices. Head to the comments section and let fellow readers and moviegoers know your thoughts on the topic for that day!

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Bogart and Bergman – “Casablanca”

As regular readers have noticed, this is a week-long celebration of the 1942 classic “Casablanca”. Now many films have been granted the title of “classic” but they often times don’t deserve them. Some of these films have stood the test of time while others have seen their praise shrink and new criticisms surface. So how does “Casablanca” stand now that over 70 years have passed? Has it maintained the magic that once heralded it as a motion picture classic or has it faded like many of the Golden Age flowers?

For me the answer is simple. “Casablanca” is the greatest movie ever made (yes I know that is an impossible title to justify). “Casablanca” managed to capture the perfect mixture of ingredients that not only produced a phenomenal movie of its time, but it has only gotten better with age. The cinematic mastery both in front of and behind the camera is a true rarity. The simmering chemistry between Bogart and Bergman. The top-notch supporting cast featuring Henreid, Rains, Veidt, Lorre, Greenstreet, etc. Curtiz’s impeccable direction. The Epsteins (and Koch) flawless script. For me “Casablanca” is the perfect film and it is one of the few movies that I would categorize as timeless. But those are my thoughts. What about you?

YOUR VOICES: “Casablanca” – One of the best films ever made or just a good movie?

Now it’s time for Your Voices. So what do YOU think of “Casablanca”? Does it deserve the high praise it has received? Do you even like the film? Please share your thoughts and opinions in the comments section below. After all, this is all about Your Voices and I can’t wait to hear what you have to say.

5 Phenomenal Kevin Costner Films

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This coming weekend will bring the release of Kevin Costner’s third (yes I said third) film of 2014. I’m a huge fan of Costner and I can say it’s great to see him back after a lengthy hiatus. So in light of his return I thought it would be cool to spotlight this great actor in this week’s Phenomenal 5. Now the wonderful movies that didn’t make this list are a testament to the fantastic career he has had. Considering that I wouldn’t call this the definitive list. Still I have no trouble calling these five Kevin Costner films absolutely phenomenal.

#5 – “Open Range”

In 2003 Costner headed back to the old west alongside Robert Duvall in “Open Range”. Costner also hopped back into the director’s chair and reminded us of what an incredible cinematic eye he has. The story revolves around free grazing cattlemen who run into an Irish land hoarder who doesn’t want them anywhere around. A violent wild west clash explodes between the two groups ending in one of the best western shootouts ever put on screen. Costner is fabulous both in front and behind the camera which is the main reason the movie works so well.

#4 – “Field of Dreams”

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Kevin Costner has always had a heart for baseball movies. He made several throughout his career but for me his best is also the quintessential baseball film. “Field of Dreams” works for a variety of reasons. It captures everything that makes baseball so special to me. It also pricks my heart by telling a moving family story with a father as its centerpiece. And what a great cast. But Costner leads the way and he doesn’t miss a best. There is so much heart in this film and it’s one of those that I never get tired of watching.

#3 – “No Way Out”

No Way Out

If you look at Costner’s great filmography “No Way Out” is one that may get lost among the bigger titles and bigger hits. But I absolutely love the film and it is one of the best thrillers to come out of the 80’s. Costner plays a U.S Navy Lieutenant who gets caught up in a web of scandal, corruption, and espionage. There is a great supporting cast featuring Gene Hackman, Sean Young, and Will Patton but it’s Costner who ratchets up the nervousness and intrigue. It’s impossible not to get caught up in the story and it will keep you on edge right up to its big surprise finale.

#2 – “The Untouchables”

Untouchables

In many ways this is a nostalgic and sentimental choice but I can’t help myself. I love Brian De Palma’s “The Untouchables”. The film gives a very cinematic version of Agent Eliot Ness (Costner) and his Prohibition Era mission to bring gangster Al Capone (Robert De Niro) to justice. The movie takes a ton of liberties with the characters and the actual accounts but in terms of pure cinema it is hard to beat what De Palma gives us. Costner is perfectly cast and alongside the great Sean Connery he gives this story such vivid life.

#1 – “Dances with Wolves”

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Many critics have viewed “Dances with Wolves” as a good movie but undeserving of the Oscar accolades it received. I have to disagree. I think the film is beautiful, captivating, and epic. Costner directed and starred in the film which won seven Oscars including Best Picture, Best Director, Best Cinematography, and Best Original Score. There is no doubt that “Dances with Wolves” tinkers with historical fact for dramatic effect but it also tells a moving story and challenges many perceptions. But most importantly it is a great overall movie and despite the naysayers Costner pulled off a grand achievement.

So there are my five phenomenal movies from Kevin Costner. I automatically know a few that will be brought up (and should be) in the comments section below. I can’t wait to hear them and other Costner movies that may have made your list.

REVIEW: “Veronica Mars”

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VERONICA

It’s hard for me to pinpoint exactly what stirred my interest in the recent television-to-big screen movie “Veronica Mars”. I have never watched a second of the UPN and later CW television series. In fact I had no idea what the show was about or who Veronica Mars was. I had also heard practically nothing about the movie itself, how it ties into the series, and if a prior knowledge of the show was essential to understanding the film. So what on earth was it that drew me to see “Veronica Mars”?

I finally concluded that one of my attractions to the project was the perky and infectious Kristen Bell. She is certainly not what you would call a top-tier actress and she has made her share of stinker films. Yet there has always been something about her that I find fun. I was also attracted to the story behind how the film was eventually made. Some six years after the show was cancelled, show creator Rob Thomas and Bell started a fundraiser via Kickstarter in hopes of bringing “Veronica Mars” to the big screen. After a month the campaign had earned over $5.7 million from donors and Warner Brothers picked it up for distribution.

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The film starts out with a brief narrated summary of the series mainly intended for newbies like me. Nine years have passed and Veronica (Bell) has moved out of Neptune, California. She lives in New York City, has a great boyfriend, and is on the verge of landing a prominent job at a prestigious law firm. But then she hears the news that a former classmate and current self-destructive rock star has been murdered and Veronica’s ex-boyfriend Logan (Jason Dohring) has been accused of committing the crime. Veronica agrees to go back to Neptune to help Logan select the best council for the upcoming trials.

But of course if that is all there was this would be one boring movie. While back in Neptune Veronica runs into many of the same headaches and conflicts as before – the people who made her high school life miserable, the high society arrogance, and the unbridled corruption of the local sheriff’s department. On the good side she gets to spend time with her private detective father (Enrico Colantoni) and reconnect with few good friends she left behind. There is clearly a lot of connections that make these relationships meaningful – connections that saw their genesis in the television series. But writer and director Rob Thomas does a good job of giving us the general idea of who these people are.

And then there is the murder case. Soon Veronica finds herself drawn into the mystery and the revelations of small clues are just enough to keep her in Neptune a little longer. Well, the clues and Logan. I know nothing about their past relationship and their reconnection is one of the aspects of the film that suffered (from the perspective of someone unfamiliar with the original material). They do have a nice chemistry and you genuinely get the sense that Veronica wants to help this old friend. There are also a number of other characters that pop up as well as an assortment of cameos.

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“Veronica Mars” is definitely a budget film. Everything about it feels like a television show and it never rises above standard television production value. The camera work, the dialogue, the story structure – it all feels like it could have melded right in with the TV series. But is that automatically a bad thing? Considering the budget constraints and its television roots, “Veronica Mars” actually feels right at home. More importantly it tells a good and intriguing story. There are momentary contrivances and the occasional strained dialogue, but ultimately the movie works.

Do you have to be knowledgeable of the TV series to enjoy “Veronica Mars”? Thankfully no. But there were plenty of times where I felt out of the loop (I still don’t know what marshmallows have to do with anything). It certainly doesn’t lean on cinematic grandeur nor is the script without a few bumps. But “Veronica Mars” does deliver where it counts. It’s entertaining, Bell is fantastic, and I was engaged with it from the start. It’s clear that a lot of heart was behind the project and I tip my hat to the filmmakers, the stars, and the fans who had the passion to make a movie like this happen. And don’t worry, the pieces were definitely put in place for yet another trip to Neptune.

VERDICT – 3.5 STARS

REVIEW: “The Darjeeling Limited”

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DARJEELING POSTER

I’m a huge Wes Anderson fan so whenever he makes a film I take notice. But oddly enough his 2007 comedy/drama “The Darjeeling Limited” is one I still needed to see. In true Anderson style “The Darjeeling Limited” has a quirky sense of humor and it dabbles in several of the filmmaker’s familiar themes. It also features some of Anderson’s acting staples including his old college buddy Owen Wilson, Jason Schwartzman, Adrien Brody, and Bill Murray. And while some people consider this some of Anderson’s lesser work, I think it’s a movie that captures what I like about his films while carving out its own unique path.

In this offbeat concoction the opening scene is important. In India a businessman (Murray) tries unsuccessfully to catch his train as it departs the station. While he fails another man, encumbered by heavy luggage, just manages to board the train as it heads down the tracks. This short sequence is a microcosm of the entire film. It’s strange, funny, well shot, and filled with meaning.

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The man who made the train is Peter (Brody). He is onboard the Darjeeling Limited passenger train to meet his two brothers, the controlling and downright anal Francis (Wilson) and the brokenhearted and obsessive Jack (Schwartzman). The three haven’t seen each other since their father’s funeral and Francis sets up the reunion in hopes of bringing them closer together. The train trip across India is framed as being a spiritual awakening of sorts but Francis may have something else as his motivation.

The movie pulls many laughs from these odd personalities, but that shouldn’t come as any surprise. Wes Anderson’s wacky cinematic worlds routinely feature idiosyncratic people with an assortment of troubles and in various states of despair and melancholy. His humor can be a bit prickly. By that I mean it isn’t easy for some viewers to cozy up to. Personally I love his unique brand and we get plenty of it in this film. But there is also a strong dramatic thread that runs throughout the film and really shows itself in the last act. This mix of well executed comedy and heartfelt, meaningful drama is what drives the picture.

Considering the amounts of dry kooky humor, it may surprise some people to find this much heart. But Anderson has always had a knack for that. He’s always dealing with family troubles as well as feelings of isolation and despondency. We certainly get that in this film. There is symbolism scattered throughout the film that deals on more emotional levels once they are realized. For example, take the aforementioned luggage. Anderson takes something simple like luggage, weaves it throughout the narrative, and uses it to make one of the movie’s more effective points. These treats are clever and satisfying.

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I also must give credit to Wilson, Brody, and Shwartzman. These guys work so well within Anderson’s narrative style which probably explains why he keeps going back to them. The three offer great subtlety in their humor and watching them play off each other is a lot of fun. But they also dial it back when the story calls for it which is vital. Theres some good supporting work from Amara Karan as a train stewardess, Wallace Wolodarsky as Francis’ “assistant, and Waris Ahluwalia as the Darjeeling’s chief steward. Bill Murray has a brief but fun role and Anjelica Huston has a small yet important appearance. There are also some nice cameos from Natalie Portman (remember Hotel Chevalier?) and Irrfan Khan.

“The Darjeeling Limited” is soaked with Wes Anderson’s style. Whether it’s the humor and storytelling or his visual methods which include panning cameras, use of colors, or his particular use of music. There are a few lulls that the film experiences particularly in the second half. They never last long but they are noticeable and maybe they do keep this from being some of Anderson’s best work. Regardless I’m still a big fan of this film. I laughed a lot and I really responded to the emotional tugs we get later on. In the end it’s yet another example of why I love Wes Anderson movies.

VERDICT – 4 STARS