The Guest (2014) - 7 stars out of 10

The Guest (2014) - 7 stars out of 10

“The Guest” is an unexpectedly good thriller that is full of surprises.  It starts off as a heartwarming film about a former soldier who wants to help the family of his fallen best friend.  His methods of aiding the family are questionable but we quickly cheer him on as we see his actions making a meaningful difference for this nice family.  As the story unfolds, the underlying mystery behind the main character’s true identity escalates exponentially until things spiral out of control.  This film gets pretty crazy but remains completely believable because of a strong setup from the beginning.  The casting is perfect with Dan Stevens perfectly embodying the fit, intimidating military man.  He delivers his dialogue in a way that always sounds sincere but also makes us question his motives.  Maika Monroe is great opposite of him as she blends admiration with suspicion.  Lance Reddick (you’ll recognize him from “Lost”) has the perfect look for the head of a government agency.  The script is clever, the situation feels authentic, and the action will keep you on the edge of your seat from start to finish.  “The Guest” didn’t receive a lot of fanfare when it was in theaters but this is a film that will engage you from the very start and leave you satisfied in the end.

[Pictured: Who is this guy?  He's the perfect blend of welcoming and intimidating]

The Red Turtle (La Tortue Rouge) - 9 stars out of 10

The Red Turtle (La Tortue Rouge) - 9 stars out of 10

“The Red Turtle” is a step away from Studio Ghibli’s anime comfort zone and a step toward sublime simplicity.  Animation has become very flashy over the past decade with complex-looking characters like Hank from “Finding Dory” and scenery that is so realistic that you will question whether it is animated.  “The Red Turtle” doesn’t have any of that.  Instead, it focuses on creating beautiful art in motion as it aspires beyond the typical animated kid’s movie.  This fable is told without dialogue, but the animators manage to develop an incredible array of emotion in the characters through facial expressions and body language.  It was a gutsy call that obviously paid off with its Oscar nomination for Best Animated Feature.  The animation style is reminiscent of an illustrated children's book, but the content serves as a reminder that animated films don't have to be exclusively targeted at children.  I can imagine a group of kids giving up on the film after 10 minutes to chaotically run around the room; meanwhile, the adults are all glued to the screen, mesmerized by the animation of shadows as the sun moves over the island.  Its beautifully dramatic score helps to engage our emotions from start to finish.  Whether it is the growing sense of helplessness that we feel with each attempt at building the raft or the contentedness of laying beneath the stars, the emotions transcend beyond the film and into our hearts.  One big warning: Don't spend the entire film searching for a metaphor because, as far as I can tell, there isn’t one!  The film’s supernatural element appears to be pure fantasy and we are meant to walk away from the film with a moral instead of a deeper meaning.  The style of the film appeals to adults while the story maintains its childlike simplicity.  “The Red Turtle” has beautiful artistry, impressive sound design, and a heartwarming story.  It definitely deserves to be represented alongside one of the strongest animated classes of any Oscar season that I can remember.

[Pictured: I never realized how much artistry could be added through a film through shadows]

Jackie (2016) - 7 stars out of 10

Jackie (2016) - 7 stars out of 10

“Jackie” tackles one of the largest political tragedies in modern American history: the assassination of President John F. Kennedy.  It examines the tragedy from the perspective of First Lady Jackie Kennedy, who had to pull herself together and deal with the grief of losing her husband while remaining in the national spotlight.  I did not know much about Mrs. Kennedy before seeing the film so it was interesting to get to know her demeanor and the public’s opinion of her through this portrayal.  Natalie Portman is magnificent in the titular role.  The entire film is her and I don't know how she managed to pull off that voice from start to finish.  The script sets her up for some amazing tear-filled moments and she hits a realism that we don't always encounter in a biopic.  That being said, I don't know that I see her winning the Oscar for Best Actress with this role.  I had an unrealistically high expectation for her performance and something major was lacking.  She as an individual was amazing but I didn't see much chemistry with the supporting cast.  The rest of the actors simply can’t keep up with Portman’s multifaceted character.  The film is also nominated in the Best Costume Design category.  The period costumes are typical Oscar bait and the iconic pink Chanel outfit that she wore on the day of the assassination provides enough (unfortunately sad) nostalgia that the nomination is no surprise.  I didn’t care for the musical score by Mica Levi at all.  Instead of a sweeping, romanticized musical theme that enhances the climactic moments of the film, the atonal score is tied together by a thematic violin glissando.  The orchestration is very thin and atypical of the scores that we usually see nominated for the Best Original Score Oscar.  Stravinski would be proud but I’m surprised that it caught the Academy’s ear.  It is difficult to rate “Jackie” because I would give Portman a 10 and the rest of the production a 5.  I’m going to put my rating right in the middle but warn you that when watching this film, you are watching solely for Portman and the costumes as the rest of the slow-moving film has little to offer.

[Pictured: Portman hits some powerful chords in this retelling of the days that followed the JFK Assassination]

An Inconvenient Truth - 6 stars out of 10

An Inconvenient Truth - 6 stars out of 10

"An Inconvenient Truth" is Al Gore's Oscar-winning documentary about global warming.  Regardless of your stance on the issue, his PowerPoint presentation that details the science behind the theory is very interesting. In an attempt to add substance so that this documentary feels like more than a video archive of a lecture, the directors interspersed some random musings from Gore's childhood about playing in nature.  It is an attempt to humanize the politician but seems more awkward than anything.  Gore adds some comedy into his talk to keep it from being too dry, including a Simpsons-style animation to explain global warming and his demonstration of numbers being off the chart.  These are in good taste but the film could've delivered its global warming message without taking cheap shots at George W. Bush for being elected president.  That sequence feels more like sour grapes than a motivator in spreading Gore's environmental message.  "An Inconvenient Truth" is very informative if you aren't well-informed on the theory of global warming and the potential effects on the earth if it exists.  Even if you don't buy it, this will allow everyone to have an educated discussion on this environmentalist crusade.

[Pictured: Gore's comical representation of measurements that are off the chard is informative and gets the point across]

Hail, Caesar! (2016) - 8 stars out of 10

Hail, Caesar! (2016) - 8 stars out of 10

“Hail, Caesar!” is a witty Hollywood comedy by the Coen Brothers.  It is formatted as a series of vignettes that explore the behind the scenes mishaps of several productions at a film studio.  The ensemble cast creates a mosaic of 1950’s Hollywood that encompasses several different perspectives.  First, it serves as an homage to classic film production as many scenes introduce an onscreen performance and then transition into the production going on behind the cameras.  This backstage look reveals the drama at the center of the story.  The film also pays tribute to the popular genres of the 50’s including ancient Roman epics, cheesy musical comedies, aquatic spectacles, period dramas, and Westerns.  Finally, it reveals the necessity for studios in this era to produce overly optimistic (and often subpar) films in order to battle the fear created by the Cold War.  The script is delightful, filled with the clever dialogue that is characteristic of a Coen Brothers script.  The religious discussion is one of my favorite scenes of 2016 and the film really deserved an Oscar nomination for Best Original Screenplay.  Each member of the ensemble cast pitches in for an entertaining ride though no character really emerges as the star.  I expected George Clooney to be at the center of the plot but it was actually Josh Brolin who tied the whole story together.  Tilda Swinton never receives enough credit and her turn as the twin rival gossip columnists is another highly entertaining example of her acting talent and ability to be memorable even in the smallest of roles.  Her comedic timing is wonderful, as is also the case with Ralph Fiennes and Frances McDormand.  The chemistry between Alden Ehrenrich and Emily Beecham was adorable and it will be interesting to see Ehrenrich transform from this singing cowboy into Han Solo in the upcoming "Star Wars" spinoff.  Finally, I truly believe that a movie studio needs to cast Channing Tatum in his own 1950's tap dance extravaganza.  I was completely mesmerized by his dance sequence and found it to be the highlight of the film.  Despite only being nominated for one Oscar, I think that it is appropriate for the nomination to be for Best Production Design.  Each “working film” represented in this story required an elaborate onscreen set and an elaborate backstage work area that are divided by a fourth wall that is maintained and then removed mid-scene.  The entire thing is well-conceived and even better executed.  “Hail, Caesar!” was one of the best comedies of 2016 and is a must-see, even if the Oscar nominations did not give it enough credit.

[Pictured: Great set design, fun period costumes, a clever script, and Channing Tatum’s tap skills make “Hail, Caesar!” an enjoyable trip back to 1950’s Hollywood]

Deepwater Horizon - 7 stars out of 10

Deepwater Horizon - 7 stars out of 10

"Deepwater Horizon" is a no-holds-barred look at the deepwater drilling rig explosion and subsequent oil spill in the Gulf of Mexico.  It makes no attempt to help BP save face for this disaster as it directly blames them for the cutting of corners that resulted in the loss of life and pollution of the Gulf.  In the tradition of disaster films, "Deepwater Horizon" is one long series of visual effects but wow, it certainly is a stunning series of shots.  I had written it off as another action film without much substance but its visuals are reason enough to give it a shot.  I was initially surprised to see its Oscar nomination for Best Visual Effects alongside films like “Rogue One” and “The Jungle Book,” but now there is no question in my mind that it deserves to be there.  I don’t think that it will win but hopefully this acknowledgement will encourage movie lovers to rent it and experience the stunning recreation of the rig and vividly realistic fire.  None of it looks like CGI and will have you wondering if they actually recreated this explosion.  It has a better chance of winning the Best Sound Editing Oscar as its sound effects are reminiscent of the loud, unique sound designs that typically take this category.  Beyond the technical effects, the story is substantial.  The script cleverly creates an understanding of the oil drilling process through diagrams and explanations that are woven into the framework of the story.  We develop a bond with the main character, gain a basic comprehension of the jobs that are being performed on the rig, and have our emotions engaged as we watch a hero emerge amidst the chaos.  The film is well-cast with Mark Wahlberg playing his “everyday man” role to easily gain our empathy, John Malkovich as the selfish BP company man, and a nearly indistinguishable Kurt Russell as the intense supervisor who stands up to the man.  Kate Hudson wasn’t utilized that well as Wahlberg’s wife but I was really struck by Trace Adkins’ cameo as a grieving father.  In less than two minutes of screen time, he managed to tap into some deep emotions and keep the families of the victims on our minds.  My main criticism of this film is that its ending feels very abrupt.  The bulk of the disaster sequence happens pretty quickly (which is fine as it keeps in line with the speed with which the situation developed) but it seems like they missed the potential to explore the court case or effects on the families of the victims.  Or maybe I’m just thinking about “Sully” and imagining how this story could have fit into that format.  Regardless, “Deepwater Horizon” is an interesting biopic disaster film that is most notable for its visual effects but also delivers a story filled with substance.

Here is a great article on the challenges of recreating the rig as a practical set and finding a balance between real and computer effects: http://www.latimes.com/entertainment/movies/la-ca-mn-0904-sneaks-deepwater-horizon-20160808-snap-story.html

[Pictured: The team effort of the set builders and visual effects artists resulted in a stunning depiction of this extinct oil rig]

Hell or High Water - 7 stars out of 10

Hell or High Water - 7 stars out of 10

"Hell or High Water" combines the action of a heist film with the slow development of a Western.  I love heist films and I’m not a huge fan of Westerns, so this has been a difficult film for me to assess.  The story is clever, the characters are dynamic, the acting is solid, and the cinematography is beautiful.  On the other hand, I believe that the film would benefit from a faster pace.  It wasn’t my favorite but I would argue that if this is the future of Westerns, we are headed in the right direction.  It has a “No Country for Old Men” feel to it from the very start.  It got to the point where I kept expecting Tommy Lee Jones to walk into each scene and couldn’t help but picture his face behind Jeff Bridges’ sunglasses and the brim of his hat.  Bridges offers a strong “old man” performance that combines the strong will of a weathered lawman with the tiredness of a near retiree.  It is memorable but I wouldn’t consider it to be a performance worthy of an Oscar nomination.  Chris Pine has some impressive moments and plays well off of Ben Foster, who finds the right balance between being despicable and likeable.  My favorite performance actually comes from Margaret Bowman as the old, sassy waitress.  The t-bone steak scene was probably my favorite part of the movie and a well-timed moment of comic relief.  The heist is well constructed from the selection of banks to the use of a casino for money laundering.  Visually, the interesting camera angles and filming locations perfectly capture the Western setting.  I don’t believe that “Hell of High Water” will win any Oscars (in fact, I believe that there were better candidates to have nominations in the categories of Film Editing and Supporting Actor) but its interesting bank robbery story and modern take on a Western are worth seeing.

[Pictured: This film is worth watching solely for this t-bone stteak scene]