The Longest Ride - 5 stars out of 10

The Longest Ride - 5 stars out of 10

Nicholas Sparks serves up another tear-jerker, but it falls short of our expectation that all Sparks stories will be as good as “The Notebook.”  The concept is similar – a love story is told through letters and flashbacks, but there are enough unique pieces to this puzzle (the love stories involve two different sets of characters, there is some action, one character is in physical danger) that it doesn’t feel like an uncreative repeat.  Britt Robertson was decent but her performance in “Tomorrowland” far outshines this one.  I felt the same way about Scott Eastwood – he’s decent but not very memorable.  Alan Alda is the real reason to watch this film.  From the moment that you first hear his unique voice, you won’t be able to turn your attention away.  Oona Chaplin was the unexpected surprise of the film.  She has excellence in her blood (granddaughter of Charlie Chaplin, great-granddaughter of Eugene O’Neill), and her performance was mesmerizing.  Perhaps I connected with her because I am a teacher, but I found her character to be one of the best-written characters I have encountered in a while.  I can see this role being a launching point for her career.  The film has some unnecessary sexual content that easily could have been implied but, in our “50 Shades of Grey” society, I suppose that directors feel the pressure to compete.  It is sad that a nice love story has to be tarnished by films of the same ilk as the aforementioned grotesquely sexual trash that make it seem like every love story has to be about sex.  I much prefer Ira’s story, which revolves around traditional love and values.  All of that aside, “The Longest Ride” is an enjoyable story with a heartwarming twist ending, but don’t walk into this film expecting “The Notebook.”

[Pictured: This is definitely the more memorable portion of the story]

Dead Man Walking (1995) - 10 stars out of 10

Dead Man Walking (1995) - 10 stars out of 10

"Dead Man Walking" is the unbelievable true story of a nun who counsels a murderer on death row and the community who persecutes her for doing so.  If you want to learn about subtle dramatic acting, this is the film to watch.  Susan Sarandon received the Oscar for Best Actress with her calculated crescendo of emotions.  Throughout the film, her character is put into situations that could justify a strong emotional climax, but she saves it for the end.  The final result is a progression of frustrations and overall sadness that all add up in a devastating moment.  Sean Penn, Oscar-nominated for Best Actor with this role, creates a similar effect.  In his case, the transformation is from denial to acceptance.  When a film receives Oscar nominations for Best Actor, Actress, and Director, you know that you will find quality performances.  The poignancy of this film lies in its honest story and powerful imagery.  The death penalty is a hot-button issue.  Rather than preach an opinion, this film opens your mind to thinking deeply on the topic.  It vividly shows the crime and the consequences so that you feel the pain of the guilty and the innocent, the predator and the victim, the forgiven and the unforgiven.  Is the punishment worthy of the crime?  Director Tim Robbins leaves it up to us to decide with one of the most emotionally charged endings that you will ever see.

[Pictured: Some scenes are legitimately difficult to watch]

Bandits (2001) - 7 stars out of 10

Bandits (2001) - 7 stars out of 10

“Bandits” was a surprisingly good crime-comedy film.  Let’s take a minute to address the elephant in the room: Bruce Willis looks really bad with hair.  Now that we’ve cleared the air, I was really pleased with the unexpected turns and the comical characterization.  The script was well-written, beginning with an impossible situation that becomes believable as the movie progresses and then shifting the movie in a new direction that you don’t anticipate.  The ending is the best part, revealing clues that help you to slowly decipher what is actually happening instead of throwing a sudden twist in your face.  The real highlight of this film is the acting.  Comedies often rely on blatant jokes instead of quality acting, but the comedy in this film is a direct result of the chemistry between Willis and Billy Bob Thornton.  They are a true odd couple, particularly with the introduction of their X-factor, Cate Blanchett (the highlight of the film).  “Bandits” combines the best elements of a heist film, a chick flick, an action film, and a comedy to create a film full of laughter and intrigue.

[Pictured: The disguises just add to the fun]

Daylight (1996) - 2 stars out of 10

Daylight (1996) - 2 stars out of 10

“Daylight” is everything that you hoped it would not be.  The concept is actually pretty interesting and could have become an amazing disaster film, but the acting is simply some of the worst that you will ever encounter.  There came a point where I starting rooting for certain characters to die just so that I didn’t have to watch them act anymore.  It is just atrocious.  Stallone set a poor precedence for the rest of his castmates.  After watching this wooden performance, nobody would ever believe that he was once nominated for an Oscar.  The acting is painful to watch (especially the Birdemic-level performance of Jay O. Sanders), but there are also some major issues with the script.  Nothing spoils an intense moment like a felon on a prison transport blubbering like a baby and a woman wrestling around with an electrical wire for 20 minutes with boots on her hands.  While it may seem like the campiness of the film might make it a fun watch, it takes itself too seriously to be funny.  Watch if you must, but there are dozens of disaster films that I’d rather watch.

[Pictured: Even the cool explosions couldn't save this film]

The Hunchback of Notre Dame (1996) - 8 stars out of 10

The Hunchback of Notre Dame (1996) - 8 stars out of 10

“The Hunchback of Notre Dame” is an unfairly forgotten Disney classic.  You would be hard-pressed to find anybody who calls this their favorite Disney film, and yet the strength of the story, quality of the animation, and inspired musical score is on par with all of the classics.  The thing that segregates this film from the others is its surprisingly dark tone (making it arguably the darkest animated film every created).  The content is mature, the main character is the ugliest face in Disney animation, the music is operatic, and the sequence in which Frollo expresses his debauched desires for Esmeralda to a chorus of red-hooded figures that burst into flames is completely disturbing.  That sequence has earned its fame as one of the greatest Disney villain sequences of all time, but it also makes me question whether this film was designed with children in mind.  When you add in the treatment of Quasimodo at the Festival of Fools, the philosophy on how to properly whip a prisoner, a family’s home being purposely set on fire with them inside, and the marching two main characters to the gallows/trying to burn the other at the stake, it is clear that this film is not intended for young children.  The scariest part of the film is Judge Frollo, who has one of the most villainous voices of any Disney character.  You wouldn’t expect it from his appearance and that goofy-looking hat, which is why the voice is such a necessity to make him scary.  The beady black pupils and creative “camera angles” that make him look like a giant also help.  If you don’t have any other reason to watch this film, it is worth experiencing for Tony Jay’s truly disturbing performance.  The voice casting of Quasimodo was detrimental to the success of this film.  Kids weren’t exactly snuggling up with their hunchback plush doll when the film came out, so it was important that this character had a voice that would make him seem familiar and non-threatening.  Tom Hulce’s unique, childlike voice is very “Amadeus” but also perfectly fits this youthful rendition of Quasimodo.  While I appreciate that he provided the speaking AND singing voice for the character, this is one instance where a substitute singer would have been preferred.  Hulce has the singing ability, but his tone quality and distracting vibrato did not suit the character’s appearance as convincingly as his speaking voice.  One of the film’s greatest strengths is the absolutely gorgeous animation of Notre Dame.  The distinct style of the Disney Renaissance can be seen in the detail and colors of the stone.  Alan Menken’s dark scoring captures the Gothic mystery of this story from the opening chant to the haunting minor orchestral themes that manifest themselves in each song.  Menken has always had an affinity for writing a catchy hit, but he elevates the music to artistic expression throughout this film.  The artistry is at its finest as he weaves the mass texts in and out of the various songs, with particular effectiveness when the Dies Irae mixes with “The Bells of Notre Dame” and using the Confiteor (a prayer of confession) as an introduction to “Hellfire.”  Meanwhile, “God Help the Outcasts” is one of the most beautiful songs ever written for a Disney film and “Out There” has that magical Disney sound, but the operatic nature of the music has caused the soundtrack to fade out of popularity.  One of the biggest flaws of this film is its misuse of comic relief.  Whenever that old guy gains his freedom, the expectation of him losing it again could be one of the classic comical Disney movies; unfortunately, his reactionary “Dangit!” is an unnecessary anachronism that takes us completely out of the moment.  Moreover, the comical sidekicks (a.k.a. gargoyles) are way over the top.  Sebastian, Abu, Mushu … all of these sidekicks manage to add comic relief without ruining the serious moments.  Even Timon and Pumba , who comically introduce the romantic “Can You Feel the Love Tonight” sequence in “The Lion King,” disappear during the important moments and then reappear at the end of the song to transition us back into the story.  But these gargoyles are a constant interruption and the “A Guy Like You” song feels totally misplaced as Paris is burning down.  Disney often releases the tension with a lighthearted number, but it feels inappropriate due to the serious nature of this story.  Outside of the gargoyles, a lot of the comic relief feels like an attempt to make the film kid-friendly, but I just wish that Disney would have gone for it and created a truly dark animated film.  I wish that they would have ended the film with the epically high final note of “The Bells of Notre Dame” instead of spoiling it with another cheesy gargoyle line.  I wish that the “Hellfire” sequence was longer.  There are a lot of things that could have been better, but the bottom line is that “The Hunchback of Notre Dame” is an underappreciated masterpiece that deserves to be mentioned alongside the great films of the Disney Renaissance.  If you have not watched this film as an adult, you just may find its dark themes to be a refreshing departure from the Hakuna Matata  tales that defined our Disney development.

[Pictured: Disney's darkest film is definitely better suited for adults]

The Boy in the Striped Pajamas - 10 stars out of 10

The Boy in the Striped Pajamas - 10 stars out of 10

There are a lot of things that need to be said about “The Boy in the Striped Pajamas,” but I am not sure that I can put them into words.  It doesn't get much heavier than this one. The anachronism between the childlike innocence of the main characters and the horrific genocide that took place in the concentration camps captures the darkness of this sad chapter in human history.  The story is effective because of its deliberate progression.  It begins with a happy, seemingly normal family, but an uncomfortable dissonance arises from the transformation of each character:  The daughter’s loss of innocence through Nazi propaganda, the increasing heartlessness of David Thewlis, the transformation of Vera Farmiga as her growing understanding of the concentration camp causes her to completely unravel (she should have received an Oscar nomination for this performance), and the ability of a young child to look through a striped uniform (and an electric fence) to see that these persecuted Jews were just regular people.  Asa Butterfield puts on a stunning performance and his lack of transformation is a key factor in the story, reminding us that many German's would have helped the Jews if they could.  The story is effective because it begins quietly with the family in Berlin and slowly forms a crescendo that ends in a deafening climax.  Without question, this movie contains one the most heart-wrenching scenes in all of movie history.  I found myself frozen in place, paralyzed by James Horner's mortifying orchestration as the final events of this movie unfold.  You will be unable to breathe at the conclusion of this movie - prepare yourself in advance, but you need to see this.  There have been many graphic portrayals of the Holocaust, but “The Boy in the Striped Pajamas” downplays the politics and emphasizes the humanity of the Jews by showing history through the lens of childlike innocence.

[Pictured: Only a child could look past the fence and the clothes and see a friend]

Left Behind (2014) - 1 star out of 10

Left Behind (2014) - 1 star out of 10

The “Left Behind” reboot sure is a piece of work.  After the series’ first disappointing iteration with Kirk Cameron (produced on an understandably low budget), it seemed as if the only way to go was up.  Enter: Nicholas Cage.  His very association has spelled doom for any film over the past 10 years, and this one takes the cake.  While poor acting is one of the main faults of this film, much of the blame should be assigned to the script and the misappropriation of funds (the special effects looked like something off of a Wednesday night tv show, not a $15 million budget).  The “Left Behind” series tells such a fascinating story and it is a shame that this film is limited to little more than a far-fetched-emergency-plane-landing-disaster-story.  Character development is important but every aspect of the 12-book series revolves around the Rapture and its impact on the world.  The writers delay this big event until nearly the second half of the movie, effectively causing the first half to suffer from a major identity crisis in which we have to question whether something will actually happen during the course of this film.  To make matters worse, they decided that it was not important to introduce the main antagonist of the series and end the movie without covering the final 1/3 of the first book.  When you stretch this abbreviated version of the story over an hour and a half, it is no wonder that the movie felt so slow!  Still, the actors could have added interest to this failed script but there was not much good acting occurring in this film.  While the smaller names on the cast list delivered their lines with monotone inflection, Nicholas Cage, Lea Thompson, and Chad Michael Murray weren’t much better.  I was looking forward to this reboot of one of my favorite stories, but I’m afraid that “Left Behind” has simply provided the world with another opportunity to mock Christianity instead of bringing light to a very important topic. 

[Pictured: Someday, they will get this movie right.  But not today.]