Saturday, December 31, 2016

Rogue One: A Star Wars Story - 10 stars out of 10

Rogue One: A Star Wars Story - 10 stars out of 10

For 39 years, “Star Wars” fans have been curious about the events leading up to Episode IV.  We have become accustomed to the opening of “A New Hope” since most of us have seen it at least a dozen times, but it is actually rather perplexing.  Who would ever expect the most popular movie franchise of all time to begin with a written synopsis of an event from a non-existent movie, and then drop us into the middle of the event’s ensuing battle scene as if we missed the first half of it?  The abrasiveness has always made the opening feel incomplete to me but now the franchise has bridged the gap.  “Rogue One” actually completes Episode IV.  This is one of the smartest movie concepts that I have ever seen, particularly after so many years of wondering what happened in the Rebel spies’ mission to steal the Death Star plans.  I believe that the future of Star Wars lies in the expansion of its universe through this Anthology series.  It allows Lucasfilm (aka Disney) to continue the story for a new generation through Episodes VII, VIII, and IX while fleshing out the universe familiar to previous generations of Star Wars fans.  This strategy is the perfect combination of innovation and nostalgia.  Unlike the prequel trilogy, this film was done right.  There is an emphasis on quality acting, the special effects never feel like a video game, and the new characters have depth.  Honestly, the most important part of this film was the casting of Oscar-nominee Felicity Jones.  She puts this entire film on her shoulders and carries it from start to finish.  She delivers an emotional performance that is on par with any critically acclaimed drama while embodying the hope and heroism at the heart of the Star Wars franchise.  She is surrounded by quality actors including “Ip Man’s” Donnie Yen as the blind Chirrut Îmwe.  I consider him to be one of the best Star Wars characters in the galaxy with his unwavering faith in the force to protect him in battle.  Mads Mikkelsen is fantastic as Galen Erso, Forest Whitaker provides a familiar face, and it was magic to hear James Earl Jones reprise his role as Darth Vader’s voice.  I had heard that this film was significantly darker than the rest of the series and lacked the humor that we love to see between Han and Chewie, but I thought that some of the best comedy that I’ve seen in the entire series occured between Cassian and K-2SO.  Alan Tudyk puts on an awesome motion-capture performance as this robot.  One of the larger controversies of this film was the CGI recreation of the late Peter Cushing but I am fine with it.  The Cushing estate gave permission, they were included in the process and consulted down to the tiniest details of his mannerisms, and I view it as a tribute to make him such an important part of this story.  Creativity abounds in this film through the costuming, new alien beings, inclusion of similar-but-different characters as a throwback to the originals (like General Akbar’s relative), and brilliant new destinations.  The entire sequence on Scariff is incredibly beautiful, especially with the giant AT-ACT’s walking around.  I appreciate the inclusion of the names of each planet and moon as they travel throughout the galaxy.  Die-hard Star Wars fans know the name of every planet and its significance to the Empire or the Rebellion, but for everyone else it is helpful to have that clarification as the movie progresses.  I had a tough time accepting Michael Giacchino’s new theme.  There are many parts of this score that I completely loved but I found an abrupt disappointment each time that I heard the Rogue One theme.  Throughout the film, Giacchino pays tribute to John Williams’ original thematic material including The Force Theme and The Imperial March.  The results are stunning, until we hear this new theme.  We have been conditioned to expect the Star Wars theme any time that we hear an ascending sol-do-sol pattern, regardless of the style or genre of the music.  The problem is that, as a tribute, Giacchino used this same pattern to begin the Rogue One theme.  Each time that we hear those ascending tones, we anticipate the original theme and are let down when it is different.  The shame is that the Rogue One theme is absolutely gorgeous with its inclusion of an ascending minor 6th and then a Lydian-sounding resolution on the IV chord (ti resolving to do), but it is overshadowed because it isn’t the original.  I know that this theme will grow on me as I get used to it but it was distracting the first time around.  If you couldn’t tell, I loved this film and the writers saved the greatest movie magic for the end.  I won’t spoil anything but the final five minutes of this film will transport you back to your first time seeing “Star Wars.”  The previews for “Rogue One” created high expectations and I am glad to see that the producers have found a way to transport us back to the Star Wars universe that we grew up with while maintaining the quality of Episodes IV-VII.  I can’t wait to see what they create next!

[Pictured: The writers did a great job of creating new characters that feel familiar and quickly win over our hearts]

Friday, December 30, 2016

Kingpin (1996) - 2 stars out of 10

Kingpin (1996) - 2 stars out of 10

“Kingpin” is a goofball comedy that isn’t very funny.  I know that it is a well-known fact that you can put Bill Murray into any comedy with a supporting role and his humor will immediately elevate the film, but even that couldn’t save this one.  As a last ditch effort, they featured Blues Traveler dressed in Amish garb during the closing credits song… These are the sorts of things that you can expect to find in “Kingpin.”  Rule number one of goofball comedies: if you make them too vulgar or too mean-spirited, their tone will be completely off.  This is the main issue with the “Hangover” series.  There comes a point where you feel so bad for the characters that you can’t laugh at their misfortune.  This film strikes that note in the first 15 minutes when the main character loses his bowling hand.  I realize that the story is contingent on this event, but they don’t have to smash windshields and aggressively thrust a man’s hand into a bowling ball return.  Woody Harrelson is okay (but definitely not close to his best), Randy Quaid is alright (but not as good as his typical character roles), and the rest of the cast don’t offer much either.  “Kingpin” was a waste of time and I’m going to stick with “Dumb & Dumber” the next time that I want to watch a brainless comedy by The Ferrelly Brothers.

[Pictured: Bill Murray running around with Woody Harrelson’s fake hand is one of the more normal things to happen in this odd film]

Thursday, December 29, 2016

Cinderella Man - 9 stars out of 10

Cinderella Man - 9 stars out of 10

“Cinderella Man” tells the redemptive story of depression-era boxer James J. Braddock.  This story works on two levels.  First, Braddock as a man who struggles to provide from his family when The Great Depression limits the number of jobs for working class men.  Second, Braddock as a symbol of hope for all Americans who are struggling to get by.  Director Ron Howard brings both of these levels together in this period drama.  There has been criticism that Max Baer is inaccurately depicted as vicious bully.  While he was known to be a gentleman outside of the ring, this depiction personifies the brute that he became inside of the ring; moreover, Baer is an important part of the film’s symbolism as the American people must “get into the ring” with their hardships if they want to reverse their desperate situations.  The period costumes and atmosphere are an important part of this film but the key to its success is Russell Crowe.  He provides the emotions, expression, and believable boxing abilities necessary to connect with the audience as both a father and as a boxer.  The other X-factor of this film is Paul Giamatti whose portrayal of manager Joe Gould was rightfully rewarded with an Oscar nomination for Best Supporting Actor.  Giamatti is one of my favorite character actors and he brings an incredible amount of heart to this performance.  I was rather unimpressed with Renée Zellweger as Braddock’s wife.  She was an Oscar nominee three years in a row (including a win for “Cold Mountain”) so I always have high expectations, but I found that most of the emotion in her scenes were a result of Crowe’s acting and not her own.  Everything is tied together by a beautiful score by Thomas Newman that keeps us focused on the heart of the story.  This heart of the story is the hopes and dreams of America which seemingly all lay on the success of Braddock, though it also works as a great boxing film.  The scenes are cut in a fast-paced yet easy to follow manner, which probably accounts of the Best Editing Oscar nomination.  “Cinderella Man” is a solid picture that will please a diverse grouping of audience members.  This is a great choice whether you are feeling down and looking for inspiration or simply in the mood to experience some American history.

[Pictured: Giamatti and Crowe make a great pair in this inspirational sports drama]

Wednesday, December 28, 2016

16 Blocks - 5 stars out of 10

16 Blocks - 5 stars out of 10

“16 Blocks” is an adrenaline-pumping action film that is unique because of its plot and real time storytelling.  It becomes predictable after it reveals the big twist 30 minutes into the movie, but it still gives us everything that we want in a Bruce Willis film where he faces impossible odds so that justice can be served.  I have always loved the concept: Transport a criminal through New York City to the courthouse that is 16 blocks away while the enemy tries to take you down.  At points, it seems like the concept is better than the execution.  I appreciate that the writers try to go beyond your typical action flick by incorporating a down-on-his-luck-alcoholic-transforms-into-a-hero storyline; however, it comes off as overdramatic.  I don’t know if it is because of the acting, the sometimes cheesy musical score, or Willis’ creeper mustache, but it seemed out of place amongst the action.  Meanwhile, Mos Def steals the show as the likable criminal, Eddie.  His nasal manner of speaking helps us to view him as a victim instead of a criminal which creates the empathy that drives the story.  David Morse makes an excellent villain, especially because we can easily view him as a good guy and a bad guy at the same time.  “16 Blocks” contains plenty of farfetched moments but you’re probably watching this for the action sequences and not the realism of the story.

[Pictured: Mos Def is great, Willis' mustache is disconcerting]

Tuesday, December 27, 2016

Beyond the Lights (2014) - 6 stars out of 10

Beyond the Lights (2014) - 6 stars out of 10

“Beyond the Lights” is a drama that examines a famous singer from two different angles.  On the surface, this is a love story between a singer and the police officer who saved her life.  Beneath the surface, we find a much darker tale of a girl who is forced to mask her true self in order to achieve fame and her struggle to take charge of her life again.  It sounds cheesy (and is a little bit) but this drama sends a strong message about being yourself and nobody else.  It features a diverse performance by Gugu Mbatha-Raw as she expresses several different facets of her character.  She successfully portrays vulnerability and a confident façade at the same time.  Her inner transformation is directly linked to the change of her physical appearance as she tried to find herself.  Mbatha-Raw’s impressive performance is offset by Nate Parker as he looks like he is in a constant state of confusion.  I wasn’t buying his character and feel that a different casting choice could have improved the film.   Minnie Driver pours her maximum effort into each scene.  She plays the role as well as it can be played and has a chance to show some intense emotions, but I don’t know if the part was written well enough to accomplish everything that she hoped.  It’s worth noting that Danny Glover is in this film, but probably as a favor to someone since the role doesn’t offer him much screen time.  The music in the film represents several different genres from rap and hip hop to blues.  I appreciate the importance of Nina Simone throughout the film as her outspokenness becomes symbolic of Noni’s struggle to find her own voice and use it.  “Beyond the Lights” isn’t going to blow your mind but the performance of Mbatha-Raw is a hidden gem and worth seeing just for her transformation.

[Pictured: The film strikes an interesting balance of Mbatha-Raw putting on an amazing performance while Parker looks confused.]

Monday, December 26, 2016

The Amityville Horror (2005) - 8 stars out of 10

The Amityville Horror (2005) - 8 stars out of 10

This is the film that made me love horror films.  “The Amityville Horror” hits all of the right notes for a supernatural horror film.  Terrifying imagery, jump scares, a mystery that keeps you on edge, the worst babysitter ever, creepy little kids, figures lurking around corners, and more!  It is the complete package and the best part may be its bold opening.  Many horror films ease into the terror or even try to lure us into a false sense of security.  This film opens with the graphic homicide of a family and little explanation.  What follows are 90 compelling minutes with frequent moments so tense that your stomach will be twisted in knots.  I have found that many “scary movies” are actually intense thrillers with a few scary images (“The Sixth Sense,” “The Uninvited”) but the scary moments in this film run from start to finish.  They keep us on edge so that we never know what may pop out next.  While there are plenty of jump scares, the unknown evil at the core of this story is what makes it truly scary.  Homeowners will wonder if their house may have a tragic history, parents will worry about who an imaginary friend could actually be, and we will all be filled with a sense of dread during moments like the dog scene.  The film was criticized for showing too much horror instead of implying what is happening but sometimes we need to see the scary sights instead of imagining them.  Ryan Reynolds does a great job of creating two separate personas but making them similar enough that we believe that he possesses both.  Melissa George drives the emotional aspects of the film and Chloë Grace Moretz successfully creeps us out as Chelsea.  The role of Father Callaway is downplayed from the original film but I actually think that it benefits the story by making it one piece of the puzzle instead of the main focus.  Philip Baker Hall is great in this role.  My largest complaint is the ending.  It seems like a cop out instead of a well thought out resolution but it certainly doesn’t ruin the film (like the jump scare at the end of “The Woman in Black”).  My love for “The Amityville Horror” is part nostalgia looking back on myself as a budding film buff at the impressionable age of 20 (who went to the theater twice in 3 days to engulf myself in this bloody bath of horror), but revisiting this film in my 30’s has let me see that there is a lot of quality in this take-your-breath-away chiller.

[Pictured: The scenes in the closet will completely freak you out]