The Big Short - 9 stars out of 10

The Big Short - 9 stars out of 10

“The Big Short” is set apart from other films by a completely unique style.  The subject matter is very serious and easily could have been presented in a hip, “The Social Network”-esque way; however, director Adam McKay took it in the opposite direction.  His portrayal of these events feels very personal, as if we are interacting with the characters throughout their experiences.  One of the most amazing aspects of the film is that it takes an incredibly confusing banking concept and makes it understandable to any layman by cutting away from the story to have Margot Robbie, Anthony Bourdain, and Selena Gomez blatantly explain it.  I wasn’t sure of how I felt about it at first but it works great.  They even show us a scene that plays out as we would expect… and then a character breaks the fourth wall to tell us that it actually happened differently.  It's genius.  The creative approach and execution of this style earned it Oscar nominations for Best Director, Best Adapted Screenplay, and Best Film Editing.  Editor Hank Corwin knows just when to make a quick cut between scenes and he creatively signifies the passing of time through montages of pop culture.  The acting is the quality that you would expect from Christian Bale, Steve Carell, Ryan Gosling, and Brad Pitt playing four completely opposite personalities.  Every scene is entertaining because every scene revolves around one of these actors.  I feel that Carell deserved an Oscar nomination more than Bale, and certainly deserved a nomination for this role more than he did last year for "Foxcatcher."  Then again, maybe I just loved him because his character was another iteration of Michael Scott from “The Office.”  Once the economic collapse occurs (don’t worry, that wasn’t a spoiler unless you somehow failed to realize that the United States suffered a horrific economic collapse in 2007), the story got a little difficult to follow.  Honestly, I think it’s because the film’s focus shifts to the economy and away from the personal interactions that we’ve felt with the main characters.  It’s amazing that all of this played out without anybody realizing what was going on until it was too late.  “The Big Short” captures a huge chapter in American history through an eccentric perspective.  There is a lot of language but the film is just something that you have to see to understand.

[Pictured: Carell's performance and the film's unique style make it a must-see]

DamNation - 2 stars out of 10

DamNation - 2 stars out of 10

"DamNation" is a lesson in the conservationist views on the protection of rivers and wildlife.  The best part of the film is its clever title.  The rest of the film comes off as a one-sided argument with a sense of superiority.  The arrogance of these filmmakers can be felt in every line of narration.  A persuasive film can equally represent both sides but the lack of diversity in this documentary makes it feel like propaganda.  While they make interesting points about lives that have been lost through dam malfunctions, a reduced salmon population, and the effects on the ecosystem, they ignore the fact that electricity is the commodity that allowed them to edit their documentary.  The focus of this documentary is very confused.  Is it about the history of dams being built in the United States?  Is it about saving the salmon?  Is it about graffiti artists?  Is it a caper film?  It explores a variety of topics without clearly tying them in to the film’s thesis.  They mention that the only reason not to destroy all of the dams at once is because it would be too expensive, but perhaps we should also consider that a balance is necessary to provide our country with enough electricity.  "DamNation" is informative if you would like to learn the environmentalist opinion on the issue of dams (and if you would like to hear a guy tell a ten-minute story about painting the side of a dam), but this is not the place to turn for a representation of both sides of this argument.

[Pictured: The graffiti is cool, but it is just one of many topics discussed without a clear connection to the film's thesis.]

Everest (2015) - 7 stars out of 10

Everest (2015) - 7 stars out of 10

“Everest” is a biographical disaster film that chronicles the events of the 1996 Mount Everest Disaster.  It is the second-coldest movie of 2015 (behind “The Revenant” but ahead of “The Hateful Eight”) and will certainly have you second-guessing that mountain climbing trip that you have planned.  The story is terribly sad but the visual effects are wonderfully impressive.  The world of Mt. Everest comes to life as you’ve never seen it before.  The combination of GCI and live footage transports you from base camp all the way up to Everest’s peak.  And the snow is real.  Giant refrigerating units were used to cool the sound stage below freezing while the combination of wind and snow was used to elicit real reactions from the actors.  In a weaker year for movies, “Everest” may have netted a nomination for Best Visual Effects but with such impressive competition,  it didn’t stand a chance.  The film boasts a lot of star power, though it was often underutilized.  Jason Clarke and Jake Gyllenhaal, cast as expedition leaders, appropriately drive the energy of the film.  Josh Brolin, John Hawkes, and Michael Kelly thrive in their secondary roles as they complicate the expedition due to the various challenges faced during the ascent of a mountain this high.  As far as actresses are concerned, Emily Watson delivers a great emotional performance but Keira Knightley and Robin Wright (whose names both appear above Watson’s) barely have any screen time and felt like wasted potential.  Still, all of the acting has the quality that makes us question whether we are watching history or a movie.  “Everest” may not have won any awards but it is a great recreation of history that will instill in you an appreciation for everybody who has reached Everest’s peak and a reverence for those who have lost their lives trying to get there.

[Pictured: Everest's visuals are stunning and enjoyable... until disaster strikes.  Then we wish that this expedition had never begun.]

Bridge of Spies - 8 stars out of 10

Bridge of Spies - 8 stars out of 10

"Bridge of Spies" is a Cold War drama that tells the story of James Donovan, an unlikely lawyer who became the negotiator in an international prisoner exchange.  The film deludes Donovan's credentials to make his recruitment more dramatic while in actuality, he was a logical choice for this mission.  It also takes a few liberties with the timeline but keeps the important events intact.  If you are not well educated in the Cold War, this film sheds an interesting light on the political climate, how the spies operated, and the building of the Berlin Wall.  You might think that this material would be pretty dry but is actually very suspenseful.  It has created classic cinematic moments like Donovan’s Supreme Court appeal, an attempt to escape over the Berlin Wall, and the final scene on the bridge.  I was surprised that it was nominated for 6 Oscars (including Best Picture) because it isn't Steven Spielberg's finest work; yet, if you don't approach it with the expectation of Spielberg's output, it is a great movie.  Mark Rylance puts on an excellent performance as the Soviet spy Rudolf Abel, though there may have been other 2015 performances more deserving of a Best Supporting Actor nomination (Harrison Ford, Jacob Tremblay).  Tom Hanks always manages to jump into the spotlight just as we start to forget about him.  He was incredible as Walt Disney in "Saving Mr. Banks," disappeared for two years, and then came back with another impressive performance as Donovan.  We just have to accept that he will always be a perennially great actor, regardless of how much time passes.  I appreciated this film for its clean content.  It carries a PG-13 rating but strays away from the language and sexual content that we typically expect with this rating.  I also appreciate that it tells its story in a straightforward manner without unnecessary special effects of gimmicks.  The characters are well developed and carry the story from start to finish.  I wouldn't expect "Bridge of Spies" to win any Oscars but it is certainly of an Oscar caliber and worthy of the acknowledgement.

[Pictured: Bridge of Spies is part courtroom drama, part Cold War thriller]

Breakfast at Tiffany's - 10 stars out of 10

Breakfast at Tiffany's - 10 stars out of 10

“Breakfast at Tiffany’s” is one of the all-time film classics. The screenplay, adapted from a novella by Truman Capote, breaks the expectation of a romantic film.  It tells the story of Holly Golightly, a “real phony” who cannot find direction in her life because she doesn’t know what she wants.  Audrey Hepburn’s multi-layered performance is magnificent as her charm and sophistication mask a lonely girl that struggles with commitment.  Her thoughtful delivery of every line creates a series of heartbreaking highs and lows that should have won an Oscar.  She is perfectly paired with George Peppard whose character exudes strength even though he is equally searching for inspiration in his life.  These actors carry so much chemistry from the first time that she climbs the fire escape to their perfect day in New York City and the tearjerker ending.  But the story again breaks the mold by allowing Hepburn to examine her life a la Cat rather than having a man give her that purpose.  Buddy Ebsen also turns in a noteworthy performance as Doc.  This character adds a huge layer into the understanding of Holly’s fleeting commitments and Ebsen garners a lot of compassion in a very short amount of time.  The story is inspired as different characters seem to have one purpose but then serve a very different one (Paul’s “designer” eventually leads him to meet Doc, Sally Tomato leads to a change in Holly’s South American plans).  Every line of dialogue is fascinating and unexpected.  It just flows beautifully as the seemingly neverending series of plot twists never feel suddenly or out of place.  The one thing that does seem out of place is the casting of Mickey Rooney as the Japanese Mr. Yunioshi.  There isn’t really anything to be said that this that hasn’t already been said.  At the time it was socially acceptable, today it feels pretty offensive, but we can’t allow that poor decision to ruin the magic that occurs during the other 96% of the film.  The film did receive recognition from the Academy Awards for Henry Mancini’s song “Moon River” and his score that uses the theme at key moments through various styles and instrumentation.  I find one of the most recognizable characteristics of the score to be the dramatic vibraphone chord (maybe a half-diminished chord?) at the end of transitional music to set up important moments.  If you haven’t seen “Breakfast at Tiffany’s,” it is a must.  It digs much deeper than a chick flick as the heart of the story revolves around a lost soul and the one man who can save her from herself.

[Pictured: Hepburn is the pinnacle of class and style]