| WIN WIN Rated R for Language. Comedy/Drama 106 minutes 
4½ stars |
Sometimes seemingly small mistakes turn out to have momentous consequences down the road. Such is the case with Mike Flaherty (Paul Giamatti), a lawyer in small town New Jersey who is struggling to make a living. He doesn’t have big time clients, just everyday people with everyday problems. He has a supportive wife Jackie (Amy Ryan), and two young daughters, but also bills he can’t pay.
One of his more pathetic clients, Leo Poplar (Burt Young), is in the beginning stages of Alzheimer’s but he is estranged from his only child. Since they can’t locate his daughter, Mike decides no one will be hurt if he becomes Leo’s guardian-—along with collecting a monthly fee. Though Leo wants to be cared for at home and has the means for this, Mike puts him in a facility justifying this to himself by thinking Leo will be safer there, and less trouble for him.
But to Mike’s surprise, Leo’s grandson shows up on his doorstep. Kyle (Alex Shaffer) is a sullen kid with a black eye. Of course, Mike and Jackie take him in for a temporary time period. Mike is also a high school wrestling coach for a rag tag group, and Kyle just happens to have wrestled before.
That’s the setup, but what happens and how this plays out is so natural and believable that you begin to lose yourself in the story. It seems like a slow starter. Nothing much seems to be happening, but as the story progresses all the elements come together. Mike and Jackie are nice people. Mike’s best friend Terry Delfino (Bobby Cannavale) can’t get over his divorce. Mike’s partner Stephen Vigman (Jeffrey Tambor) helps him coach wrestling. Though Kyle doesn’t say much he begins to thrive with Mike and Jackie, even developing a friendship with a geek who is a terrible wrestler, called Stemler (David W. Thompson). He doesn’t share much about his life or mother Cindy (Melanie Lynskey), but she has been clearly neglectful having had a drug problem. When Cindy shows up the situation gets darker than Mike bargained for.
Paul Giamatti has made a career out of being an everyday guy put in circumstances that try his soul. This is one of his most engaging performances. You like Mike from the opening scenes and in this time of economic difficulty many can identify with his desperation. Amy Ryan is equally appealing as the tough-talking but tender Jackie. Alex Shaffer so perfectly embodies the troubled Kyle it feels that he is Kyle. Kudos to writer/director Thomas McCarthy for a winning screenplay.
It doesn’t seem that anything remarkable is happening in Win Win, but it does. Special moments and special people make life worthwhile, but they’re often missed in the rush of getting things done. This movie slows us down enough to show that we need to pay attention. These moments are important. Review by Ann Marie Oliva
| HANNA Rated PG-13 for intense sequences of violence and action, some sexual material and language. Action/Adventure/Mystery 111 minutes
3½ stars |
Hanna (Saoirse Ronan) is a teenager raised like a wild child deep in the forest by her “father” Erik (Eric Bana). She is some sort of human experiment. We never do learn the exact circumstances of her conception or birth, and it’s not really necessary to know because this is essentially a chase movie.
An agent from the United States government, of course, is after Hanna to destroy her, and therefore save the embarrassment of her existence. That agent Marissa (Cate Blanchett) doing her best iceberg princess impression won’t stop until she finds Hanna and disposes of her. What she didn’t count on is how well Erik taught Hanna to survive the dangers of the assassins’ world. Hanna is a teenager who is fragile-looking, with her thin frame and almost other-worldly looks, but has a steely will.
What may do Hanna in is her inability to function in regular society. How much time of your life are you going to spend killing people? Her encounters with “normal” people show how her childhood isolation cripples her. Yet, she does like the Brothers Grimm, and is childlike at times.
When Hanna escapes from one of our secure underground government enclaves the chase beings in earnest. Hanna takes off for Europe with Marissa and her bloodthirsty associates in hot pursuit. Hanna finds unsuspecting people to help her. Yet, many are disposed of without much thought. It also takes away some of the suspense. Hanna is able to get away from Marissa who by now is frustrated.
Saoirse Ronan is able to keep the audience’s attention on screen and hold her own against Eric Bana and Cate Blanchett. She has a luminous quality that should do her well as her career progresses. Mr. Bana and Ms. Blanchett are capable in their roles.
As simply a chase movie it is well done, but in giving the audience some kind of moral imperative, the message is muddled. Are we supposed to determine that we shouldn’t mess with Mother Nature (our genes)? Or that if we want to create a super-race, they may destroy us instead? Review by Ann Marie Oliva
| ARTHUR Rated PG-13 for alcohol use throughout, sexual content, language and some drug references. Comedy 110 minutes
2 stars |
Younger viewers won’t remember the original Arthur, and older viewers will. That’s the problem. Some will look back nostalgically at the older movie, while others have no idea why the older one was so popular. Russell Brand is the manic presence that is the new Arthur. He can be very funny as he was in Forgetting Sarah Marshall, but a little of Mr. Brand goes a long way. Helen Mirren plays Hobson, Arthur’s “nanny,” and as good an actress as she is, she deserves better lines.
Arthur is a drunken heir to a large fortune. His mother Vivienne (Geraldine James) wants him to grow up and take over the business by marrying a former girlfriend named Susan (Jennifer Garner). But Arthur doesn’t love Susan and senses her greed. He finds another eccentric like himself named Naomi (Greta Gerwig) from Queens who is a better match for him. Yet, Vivienne threatens to cut him off from his billions if he doesn’t marry Susan.
To see a child/man waste his life when many people are out of work in this economy seems a bit out of synch. Arthur is essentially a child and many of the gags focus on that. We are supposed to feel empathy for him since his mother is rather cold, but he is long past the age when he should have some direction. Even scenes that are supposed to tug at our hearts don't gather up much emotion. Alcholism isn't funny, either.
Helen Mirren does the best she can with the material she has, and Greta Gerwig is sweet as the girlfriend, but overall there is little here to applaud. Arthur is a disappointment.
Review by Ann Marie Oliva
| SOURCE CODE Rated PG-13 for some violence including disturbing images, and for language. Action/Sci-Fi/Thriller 93 minutes
4 stars |
Science fiction writers are fascinated by, among other things, breaking the limits of human consciousness. What is intriguing here is the way that idea is combined with the action genre to create a fast-paced, edge-of-your-seat film. Soldier Colter Stevens (Jake Gyllenhaal), wakes to find himself sitting opposite a pretty young woman named Christina Warren (Michelle Monaghan) who seems to know him. The problem is he doesn’t know who she is or any of the passengers on the train they are riding on. She keeps calling him Sean. Suddenly, the train blows up and when Colter wakes up again, he is in some kind of enclosure where he is strapped to a chair in his Army gear.
Understandably confused, Colter’s only connection is with a military type named Colleen Goodwin (Vera Farmiga), who appears on a screen in front of him. Since he is strapped in place, he demands to know what is happening to him. She explains over a period of time that the military has developed something called “Source Code” where a soldier enters another's mind and situation to try and change the outcome of an event. In this case, a bomb exploded on a commuter train in Chicago. Colter is to find the bomb and the killer so they can prevent the next attack by a psychopathic terrorist. He is on the train for the last eight minutes before the explosion. He will relive the last eight minutes over and over until he successfully completes the mission.
As Colter relives the events a number of times and gets closer to the cause, he gets to know not only Christina, but all the passengers who “Sean” has been commuting with for years. The audience, as well as Colter begins to care about them. When Colter looks in the mirror on the train, he doesn’t see himself but “Sean” whose mind he inhabits.
That gives you plenty to think about, yet the action moves along so quickly you really don’t have time to ruminate. Colter wants to rebel against having no choice in his assignment, but seems to be unable to extricate himself from the situation. The audience eventually finds out why this is so.
The acting is very good across the board with this being one of Jake Gyllenhaal’s most effective performances. Also notable are Michelle Monaghan as the unknowing woman on the train. She has a good rapport with Mr. Gyllenhaal, as does Vera Farmiga. Jeffrey Wright sets just the right tone as the smug Dr. Rutledge. Cinematography by Don Burgess, film editing by Paul Hirsch, and special and visual effects also add to the value overall.
Screenwriter Ben Ripley has written a tight script that stays true to the conventions of its premise, until the very end where it goes off course. We don’t know the limits of the human mind (and soul), but it’s something that is certain to be explored further. This is the kind of movie you will be thinking about long after you leave the theater.
Review by Ann Marie Oliva
| HOP Rated PG for some mild rude humor. Animation/Comedy/Family 95 minutes
3 stars |
It was bound to happen. With all the children’s Christmas stories, we now have an animated movie about Easter. But before you get all gooey about Easter Bunnies, baskets, and marshmallow chicks, this is not your grandmother’s Easter movie.
Even for the younger children, who will probably like this the most, modern touches have been added for “relevancy.” For instance, our hero is E.B. (voice of Russell Brand) a drum playing teenage rabbit who rebels against his father’s (Hugh Laurie) chosen profession for him, that of the Easter Bunny who brings candy and joy all over the world, with a few notable exceptions.
E.B. just wants to rock it out in a band, but dad says no, you must fulfill your destiny. So E.B. runs away to Hollywood, of course, where there is another kind of magic, or so he thinks. He winds up with a screw-up with the cutesy name Fred O’Hare (James Marsden) who can’t please his father (Gary Cole) either. The two actors actually resemble each other, unlike most movies with parent/child casting. Fred at first doesn’t believe what he is seeing. Who would when the bunny “releases” jelly beans from his body on the hood of Fred’s car? Yet before you can say bunny tail, Fred is all wide-eyed trying to keep E.B. from screwing up his pathetic life further.
Meanwhile, as Fred tries to find a job, back at the candy factory E.B.’s Dad has a rebellion on his hand started by the head chick Carlos (Hank Azaria), complete with accent. He gives rousing speeches to the other chicks and there’s plenty of running around. Who do you think will save the day?
As far as James Marsden, he does the best with what he has. His blue eyes pop out innocently at the goings on, which can’t be easy when you’re acting with nothing next to you. Russell Brand’s delivery of E.B. is humorous. The cast provide good support: Gary Cole, Elizabeth Perkins (wanted to see more of her), and Kaley Cuoco. Even David Hasselhoff puts in an appearance mocking himself.
This is a pretty silly movie where not a whole lot makes sense, but then it isn’t for logical adults. The mix of animation and live actors is interesting and done well for the most part. The candy factory scenes might remind you of the board game “Candy Land” with its pretty, inviting colors. It is occasionally funny, and children in the audience laughed and actually seemed delighted at times. The animation is not overly complicated and seems right for the movie.
Children’s movies have become a more standard fare for the studios as parents want to please their children, and well-known actors want to be involved if they have children, or are interested in voiceover. Some children’s movies include subplots in the storylines that appeal to adults, some don’t. This one doesn’t. Review by Ann Marie Oliva
| INSIDIOUS Rated PG-13 for thematic material, violence, terror and frightening images, and brief strong language. Fantasy/Horror/Thriller 102 minutes
3 stars |
If you like being scared at the movies, Insidious will accommodate you. It’s not frenetic, and in fact, takes a while to get started, but then speeds up at the end. That is both its strength and weakness. A seemingly normal family with three children moves into a large (spooky) house because the father, Josh Lambert (Patrick Wilson), has a new job. Strange occurrences begin to plague the family. They are especially evident to the fragile mother Renai (Rose Bryne). Objects move, strange noises ring out in the middle of the night, but the most frightening thing are beings that appear out of nowhere.
One of their sons name Dalton (Ty Simpkins) suddenly falls into a coma after hitting his head, but it doesn’t seem to have been that serious. Yet there is no explanation by the medical community, and after several months in the hospital he is moved home. Renai begs Josh to move to another house to get away from the beings, and he goes along with it. But then they are still tortured by whatever is haunting them at the new house. Josh’s mother Lorraine Lambert (Barbara Hershey) visits and tells them she knows someone who can help them.
At this point a woman named Elise Rainier (Lin Shaye) comes over with her two geeky assistants, Specs (Leigh Whannell, who happens to be the writer) and Tucker (Angus Sampson) to monitor what is happening with their equipment and begins to explain the paranormal goings on. The comic tone of assistants’ behavior seems out of synch with the rest of the movie, but also provides welcome relief from all the very serious explanations. These become comical themselves sometimes, but not in a good way.
Leigh Whannell and director James Wan are the “Saw” team. This movie is mercifully far from bloody, but takes advantage of the audience’s more frightening childhood nightmares where “something” tries to take you away in the night. They have obviously put much thought into the script, but it ultimately is a let down as it speeds toward the end.
Insidious is well cast. Patrick Wilson is a solid actor with good instincts who hasn’t had a chance to really show his talent. Rose Bryne’s fragility adds to the spookiness. Ty Simpkins gives an unaffected performance as the child in the center of the struggle. Also good are Lin Shaye, Barbara Hershey, and the rest of the supporting cast.
If you like the horror genre or stories about paranormal activity, this movie will probably be to your liking even if there is nothing remarkably original about it.
Review by Ann Marie Oliva
| THE LINCOLN LAWYER Rated R for some violence, sexual content and language. Drama 118 minutes
3 stars |
I’m often puzzled that some mediocre movies get more credit than they deserve. The Lincoln Lawyer is one of them. What may make it seem better than it actually is, is the number of good actors who elevate it slightly beyond television cop/courtroom dramas. Even Matthew McConaughey steps up to give a good performance within the limited range of characters he usually plays. Fortunately, this is not one of his usual lame rom-coms that have him half-naked at every turn. Here he plays Mick Haller, a sleazy defense lawyer being driven around in a Lincoln because he drinks too much and loses his license. Adapted from a crime novel by Michael Connelly, screenwriter John Romano keeps the story moving along, but at just under two hours the complex plot needs some trimming.
Mick is given a lead to defend rich pretty boy Louis Roulet (Ryan Phillippe) who is accused of raping and almost killing a prostitute. Louis claims he’s innocent, and his rich, dominating Mother (Frances Fisher) agrees. He almost has to tangle in court with his ex-wife Maggie McPherson (Marisa Tomei) who works for the prosecutor’s office, but gets herself excused. They have a daughter together and a still active love life.
Mick has a line-up of support personnel that he employs to dig up dirt, or other items, he needs to defend his clients including Frank Levin (William H. Macy) his investigator and friend. He also uses contacts with a motorcycle gang, and his limo driver. Of course, most things are not what they seem as the plot winds around to various discoveries. Characters lie, or misrepresent themselves or the truth all the time. This is not glamorous Los Angeles, this is the seamy underside of the city.
As Mick finds himself drawn into the sucking whirlpool of a psychopathic killer, the tension builds. Yet more than one resolution dilutes what is suspenseful, and makes it seem like several trick endings.
The harsh lighting is distracting and seems amateurish and not especially flattering to the actors, especially in close-ups, though the glare of the camera gives LA a realistic look. William H. Macy and Marisa Tomei always add positively to any movie. Also notable are Ryan Phillippe, John Leguizamo, Michael Peña, Frances Fisher, Michael Paré, Bryan Cranston, and even Trace Adkins. Josh Lucas isn’t given much to do, and has to play his character against all the more showy performances.
The Lincoln Lawyer is an okay cop/courtroom movie, and those that appreciate that genre will probably like it, yet there’s little urgency in seeing this on the big screen. Review by Ann Marie Oliva
| LIMITLESS Rated PG-13 for thematic material involving a drug, violence including disturbing images, sexuality and language. Thriller 105 minutes
4 stars |
If you had the chance to be smarter, better-looking, charismatic, and powerful, would you take it? You don’t have to be especially smart or good-looking if you have power over others. But if you don’t come by that power in some effortless way, it helps to be the smartest guy/woman in the room. Based on the novel The Dark Fields by Alan Glynn, Leslie Dixon’s screenplay poses intriguing questions about human nature and the need to exceed.
Eddie Morra (Bradley Cooper) narrates the movie. He is a blocked writer with little going his way. He is slovenly, lives in a seedy apartment, and gets dumped by his girlfriend Lindy (Abbie Cornish) at lunch. On his way home he runs into his slick ex-brother–in-law Vernon (Johnny Whitworth) who introduces him to not quite legal NZT, the pill that changes his life.
When Eddie takes NZT he suddenly finds tremendous energy. Everything becomes clearer and more heightened for him, his senses are acute, he remembers all he has ever seen and heard. He is able to finish the book he was been working on unsuccessfully. When the effects of the drug wear off, he visits Vernon to get more NZT. Instead, he takes his stash and begins to take the pills on a regular basis. Eddie’s transformation is nothing short of amazing with every move he makes improving his status, but now he has people coming after him for the pills, especially a sinister man in a tan jacket (Tomas Arana).
As Eddie goes from writer to stock broker to make scads of money, he gets back with Lindy who is totally impressed by the new Eddie. He has a chance to have business dealings with Carl Van Loon (Robert De Niro) where millions can multiple quickly. He’s able to stay ahead of those after him because of the drug, but he begins to have side effects like headaches, vomiting, and blackouts where he possibly turns violent. When Eddie tries to stop the pills, he slows down and those after him begin to catch up.
Bradley Cooper is credible as both the failed writer and superstar businessman. He has the acting ability to carry this movie, and even though his character proves to be less than honorable, the audience roots for him because he is more like us than we might want to admit. Also notable are Abbie Cornish, Anna Friel, Johnny Whitworth, Tomas Arana, Andrew Howard, and Robert De Niro who finally finds a character worthy of his talent.
Director Neil Burger keeps the tension moving at a quick but sustained pace. The periodically speeded up camera work by cinematographer Jo Willems mirrors Eddie’s racing mind. The pacing is also helped by the editing of Tracy Adams and Naomi Geraghty.
NZT is an imaginary drug, but the idea of it fascinates us; it’s a perfect drug for the "information superhighway," where information is the most important currency of all (think about Facebook). This story is really an allegory about power. Once you find it, it is a drug you can’t easily give up. Review by Ann Marie Oliva
| PAUL Rated R for language including sexual references, and some drug use. Adventure/Comedy/Sci-fi 104 minutes
3½ stars |
Smart-mouth alien meets Comic Con geeks. Simon Pegg as Graeme Willy and Nick Frost as Clive Gollings write and star in this satirical comedy about British sci-fi nerds who make it to the USA and Comic Con then plan a trip to all the sci-fi high spots across the Southwest including Area 51. Hilarity doesn’t exactly ensue, but it is a fun trip even parts of it are a rehash of other bits you’ve seen before.
As Graeme and Clive begin their trip they happen upon one of those little green men with the huge head and the unlikely name of Paul (voice of Seth Rogen). He has been a prisoner for sixty years and escaped into the desert when he comes upon the astounded duo. Paul convinces them to take him to the one place he can be safe and make contact with his space ship. Of course, there are complications, for instance the government agents who are following them to recapture Paul. They include Jason Bateman as Agent Zoil, Bill Hader as Haggard, and Joe Lo Truglio as O’Reilly. Jane Lynch does a small bit as a blonde waitress, Sigourney Weaver is heard before she’s seen as a vampy big shot, Stephen Spielberg also lends his voice as himself, and Jeffrey Tambor does the amusing role of a quintessential egotistical sci-fi novelist.
Along the way they meet Ruth Buggs (Kristin Wiig) who accidentally sees Paul and must come along as her religious father Moses Buggs (John Carroll Lynch) pursues them vowing to get her back. She and Graeme are attracted to each other, but they are shy even though now out of her father’s influence she begins to curse with every other word. Of course the guys mess up everything they touch, but Paul, with his alien powers comes to their defense more than once.
Seth Rogen’s droll delivery is likely familiar to most movie fans. Paul is about as cool as an alien can get with sixty years of pop culture under his belt. Director Greg Mottola knows how to set up scenes for laughs though Simon Pegg and Nick Frost’s script seems familiar. Kristin Wigg adds considerably to the mix though she’s not given very much to do. The CGI is fine, but Paul is not unlike standard aliens you’ve seen before, say like the pictures of Roswell, New Mexico aliens.
The humor is often adolescent with cursing, sex jokes, and drug jokes used as punch lines. Any violence is the cartoon-type variety. It won’t tax your brain, but Paul is one terminally cool alien. Review by Ann Marie Oliva
| BATTLE: LOS ANGELES Rated PG-13 for sustained and intense sequences of war violence and destruction, and for language. Action/Sci-fi/Thriller 116 minutes
2½ stars |
This movie is very heavy on “the message,” and in case you miss it, the MARINES NEVER QUIT---uh-rah! If aliens come to your city, have as many Marines on hand as possible because they will not leave you, or each other. Of course, this is very comforting in its way, except who wants to be attacked by robot-like aliens in the first place? At almost two hours, with filmmakers using hand held cameras too much of the time in often jerky movements, you begin to wonder when it’s going to be over already. But if you like video games, recruiting films, or war movies with loads of explosions and bodies, both alien and human, being thrown around like dolls, then you will get your money’s worth out of Battle: Los Angeles.
The movie has just about every soldier stereotype you can think of, but of course, the CGI is the real main attraction here. Yet, the alien command center looks very similar to the spaceship in District 9. Aaron Eckhart plays Staff Sgt. Michael Nantz, who has suffered a terrible personal defeat/loss in his 20 year career when some soldiers under his command die in Afghanistan. The word is that Nantz left them, which is a cardinal sin for any one to leave his fellow soldiers behind. Nantz is so troubled by this that on this particular day he decides to retire as he is having difficulty living with the guilt. This is a tip-off that there is no way he’s going anywhere. Credit to Aaron Eckhart for doing the best he can with this character given he doesn’t have much to work with, especially in his dialogue.
As the aliens begin to invade and try to wipe out Los Angeles, Nantz is told he is needed to command some men under a newly commissioned officer named 2nd Lt. William Martinez (Ramon Rodriquez). They need to go into an area under siege and save a group of people hiding at the Los Angeles Police Department. The enlisted men are wary of Nantz and at times are hostile as they have heard the rumors and don’t trust him, especially a soldier whose brother happened to be one of those killed. How coincidental is that?
Several soldiers join them along the way including Michelle Rodriguez as TSgt. Elena Santos, who is feisty and can hang with the men. This is becoming her specialty. The aliens have laser-like weapons, but our guys have bombs, grenades, missiles, and ammunition to arm themselves as well. Too bad the filmmakers didn't spend as much time on the story as they did making the weapons pop. Review by Ann Marie Oliva
| RED RIDING HOOD Rated PG-13 for violence and creature terror, and some sensuality. Fantasy/Horror/Mystery 100 minutes
2 stars |
A twist is added to the fairy tale of Little Red Riding Hood by changing the wolf to a werewolf who terrorizes a small, isolated medieval village. The director Catherine Hardwicke directed the first Twilight movie, and it’s not difficult to see the similarities. Both have other worldly creatures. In that movie it was vampires, here a werewolf. The same pre-teen audience is being appealed to by the filmmakers.
A pretty girl named Valerie (Amanda Seyfried) is in love with her childhood friend Peter (Shiloh Fernandez), but her parents have set up an arranged marriage with Henry (Max Irons), a boy from a wealthy family. Naturally her parents Cesaire and Suzette (Billy Burke and Virginia Madsen), want the best match for their daughter. Billy Burke happens to be the father in the Twilight series, too.
Though the villagers are wary, there has been peace because an offering is left every month for the werewolf and he pretty much leaves them alone. But then during a blood red moon Valerie’s sister is murdered by the werewolf and panic races through the village because no one is safe. The local priest Father Auguste (Lucas Haas) sends for a werewolf hunter named Father Solomon (Gary Oldman) who sets about trying to kill the werewolf. He cautions them that the wolf must be someone who lives among them. There are several more murders as the CGI werewolf shows up to kill again. Valerie’s Grandmother, played by Julie Christie, lives alone on the edge of village and scary trips are necessary to get there. They have a close relationship.
The visuals are eye-catching consisting of shots of sweeping landscapes with snowy evergreens on mountain tops and a gauzy appearance in close ups provided by cinematographer Mandy Walker. It’s fitting for a fairy tale. Where the movie goes wrong is the muddled story. I’m not really sure what the point is supposed to be aside from making a more grown-up Red Riding Hood who is tragically in love. When the moment comes, and you know it will, when Valerie says those words to her grandmother, “what big eyes you have, etc.” you wonder how the actors keep a straight face. In our screening a child burst into laughter, and most of the audience followed.
This idea might have worked but ends up being a jumbled mess. The movie can’t seem to decide what it wants to be. The acting is stiff for the most part, yet what would we do without Gary Oldman? But even he seems not quite in his element here. The movie looks pretty, but lacks energy and heart, and leaves you as cold as the snowy landscape. Review by Ann Marie Oliva
| MARS NEEDS MOMS Rated PG for sci-fi action and peril. Animation/Adventure/Comedy 88 minutes
3 stars |
Nobody needs moms more than the kids right here on earth, but that’s another movie. In this one, the beings on Mars raise their young with nanny-bots, but since they are machines they don’t have that special touch that moms provide. It looks like their civilization devalues men and puts them down below to organize the garbage. If so, that must be the first time the female of the species has run a planet without the help of men.
That’s a problem, because even though this is a cute movie that is supposed to be a tribute to moms, when you start to think about it, it doesn’t make much sense. Excuse me for being logical, but how are these offspring conceived? They are stored in containers until they are born, but they have no contact with either parent? Also, if the beings of Mars are so advanced, why can’t they figure this out without having to kidnap an Earth mother? If females run the planet it doesn’t seem that they would abandon their offspring. That might be more what the males would do. But then that takes your mind to places you don't want to go.
The animation is serviceable, but the 3D doesn’t add much to the overall quality of the movie. Yet, the human characters are well done.
Milo (voiced by Seth Green) is a smart-Alec kid who is alone with his Mom (voiced by Joan Cusack), and when he gets into trouble says a hurtful thing to her. When he decides to apologize, he’s too late as she’s being loaded onto a spaceship to Mars. In an effort to save her, he jumps on board and goes along. When they arrive on Mars he escapes only to find Gribble (voiced by Dan Fogler), an obnoxious man-boy. Milo begs Gribble to help him find his mother, but of course, Gribble messes up so he can redeem himself down the line. Along the way, they meet the rebellious Ki (Elisabeth Harnois) who is heavy into 1960s television culture that she somehow views on one of the numerous screens.
The evil ruler of all this chaos is the Supervisor (voiced by Mindy Sterling) who is made to look old and ugly compared with everyone else on the planet. What does that say?
The audience at the screening was filled with moms and kids, and I do remember hearing some sniffles from the adults as we were exiting. It’s rare to find a movie, even a flawed one, where moms are appreciated. Review by Ann Marie Oliva
| RANGO Rated PG for rude humor, language, action and smoking. Animation/Action/Adventure 107 minutes
3½ stars |
It’s not warm and fuzzy animation. The creatures that inhabit this world are lizards, armadillos, snakes and various other unappetizing-looking animations that are not typical of what audiences usually see and hear in these kinds of movies. Johnny Depp voices the eventually-named “Rango” who is rudely taken from his nice bland existence directing inanimate objects to instead finding himself in the desert with previously mentioned armadillo (voiced by Alfred Molina).
The lizard ends up on the other side of a highway from his known civilization going through the parched area right into the Wild West town of Dirt, because well, there’s lots if it, but a severe shortage of water. You remember the movie Chinatown, right? Whoever controls the water, controls...everything. There are plenty of references to other famous movies and stars, too, including one who built his reputation on so-called Spaghetti Westerns. Hans Zimmer's music adds to the old-time atmosphere.
Director Gore Verbinski and his cast seem to be having a great time working in-jokes into the script from John Logan. Among those who show up are: Isla Fisher as Beans, the love interest, Ned Beatty as the Mayor, the villain, Bill Nighy as Jake the Rattlesnake, the mean killer. You also get Abigail Breslin, Harry Dean Stanton, Ray Winstone, and Timothy Oliphant lending their voices to this odd, but engaging bit of action/adventure.
Rango becomes a reluctant sheriff in the town of Dirt but let’s just say he eventually manages to do some good for this group of misfits and contrarians, leading them into more trouble as things get worse before getting better in some funny chases. The good thing about animation is the impossible is always possible.
The movie doesn’t forget it’s an animation, but gives the characters much to worry about as life is reduced to very simple needs. In the desert you get water or die. Desperation is evident. Rango knows the lines of the Western movie heroes. He talks the talk partner, but can he walk the walk?
The movie is rated PG, but it isn’t meant for small children who might find the characters or situations somewhat scary. Older children and their parents should be ready to be amused. Review by Ann Marie Oliva
| THE ADJUSTMENT BUREAU Rated PG-13 for brief strong language, some sexuality and a violent image. Romance/Thriller 105 minutes
3 stars |
Writer/director George Nolfi adapts one of sci-fi writer Philip K. Dick’s short stories to give us The Adjustment Bureau. Mr. Dick’s work is being well-mined by Hollywood after the belated huge success of Blade Runner, based on his novel, which was made into a film in 1982. This story doesn’t have the depth of that masterpiece, and after the first half, turns into a chase movie that has a predictable ending. Yet, it’s interesting at times, though not overwhelming trip.
A young politician named David Norris (Matt Damon) on the verge of his first defeat shows signs of taking it all for granted. When he does lose he meets a beautiful woman named Elise Sellas (Emily Blunt) in a men’s bathroom, though he doesn’t know her name at the time. It’s all right; they are the only ones there. She is in a stall and hears him practicing his concession speech. This is a good scene as it sets up motivation for the rest of the movie. With a small amount of dialogue and good chemistry, you quickly get it. These two are meant to be together. Or that’s what the audience expects and wants.
Through a series of events we learn that, in fact, they are not meant to be together. Men in 1950s style hats from the titled Adjustment Bureau warn David that he will ruin the “plan” the Chairman has for him if she persists in pursuing her. By now we’ve seen enough sci-fi fantasy to know that this is a higher being of your choosing. The point is David goes through heartbreaking angst without Elise, his lovely, funny dancer. What do you think he will do?
The New York locations are superbly photographed by cinematographer John Toll. New York politicians, newscasters, and various celebrities make for interesting viewing, such as the current Mayor Michael Bloomberg of New York, Chuck Scarborough, and Jon Stewart. Matt Damon and Emily Blunt have chemistry that makes their bond believable. Terence Stamp has the appropriate demeanor for a character who comes closest to being a villain. Anthony Mackie shows compassion as Harry Mitchell, one of those men with a hat.
If there is an alternate reality out there filled with men in hats who watch our every move to make sure we are living out our life plan, then why are there wild cards, and/or chance built into the system? If things can be changed, is it really fate, or something else? How much free will do we really have? But I suppose, logic isn’t the point.
Review by Ann Marie Oliva
| CEDAR RAPIDS Rated R for crude and sexual content, language and drug use. Comedy 87 minutes
3 stars |
I wonder if Midwesterners ever get annoyed at having some of their native sons portrayed as innocents having values, but not much brainpower? In this case, he is the main character. His name is Tim Lippe (Ed helms) who is a decided man-child, living in a small town in Wisconsin. Tim sells insurance and is sure that he is helping to protect other people’s dreams. When he is sent by necessity to an insurance convention in the large city of Cedar Rapids, you know immediately what’s going to happen.
He has two roommates at the hotel, the stable, friendly Ronald Wilkes (Isiah Whitlock, Jr.), and the reported wild man Dean Ziegler (John C. Reilly). He also meets savvy, sexy Joan Ostrowski-Fox (Anne Heche). All three of these agents have been in the game long enough to teach the naïve Tim a few things. He has been “pre-engaged” to his former elementary school teacher Macy Vanderhei (Sigourney Weaver) for a long time, in one of the funniest bits in the movie. So you know that he’s going to get into some shenanigans, especially when he meets Bree (Alia Shawkat), a girl he think is being friendly when she’s actually offering sex for a price.
The situations are not unlike you would see in other films, or at real conventions for that matter when people think they are getting away with something because they are away from home. Tim’s better-late-then-never coming of age is painful in many ways, though mostly funny for the audience.
Ed Helms can carry off this kind of role, and does his best to make Tim seem like a real guy whose development has been stunted rather than being just stupid. You know his Midwestern values will win out in the end. Isiah Whitlock, Jr., Anne Heche, and especially John C. Reilly work well together and bring likeability to their characters.
Is there something new to be said about insurance? Is there something new to be gleaned about going to conventions? Maybe not, but there are some funny lines in this movie. This is pretty much a kinder, gentler comedy than is out there lately, and that in itself is something to smile about. Review by Ann Marie Oliva
| BEASTLY Rated PG-13 for language including crude comments, brief violence and some thematic material. (edited version) Drama/Fantasy/Romance 95 minutes
2 stars |
This update on Beauty and the Beast leaves the audience to fill in the blanks for itself. A good looking, arrogant high school student named Kyle (Alex Pettyfer) runs for class president. He tells his classmates that beautiful people have it made and makes no apologies that he is rich, handsome, and uses it as much as he can to get what he wants. They agree and elect him. The smart girl Lindy (Vanessa Hudgens) doesn’t buy his lines, but “senses” something more to him. Kyle has no mother, but has a famous newscaster father named Rob (Peter Krause), also handsome whose superficial values he has mimicked.
Meanwhile, a witch named Kendra (Mary-Kate Olsen) thinks he needs to be taught a lesson. She casts a spell that makes Kyle ugly. Amazingly, since witches and spells are so prevalent in an urban environment, no questions are asked about how Kyle turned into this ugly beast. It seems everyone just accepts that this has happened. The makeup is good. Kyle is certainly ugly with deep slashes in his face and body and extensive tattoos that help detract from his features. Immediately after the spell Rob takes Kyle to a doctor who says he can’t do anything to help. What? That in itself is unbelievable.
Since Rob is embarrassed he takes Kyle to an apartment to hide him away with the housekeeper Zola (Lisa Gay Hamilton), and Will the blind tutor (Neil Patrick Harris). That’s it for Rob. He never shows up again in the movie. The spell lasts for a year, to make sure that Kyle is properly humbled. If after a year no one says “I love you” and means it, Kyle must stay ugly for the rest of his life.
Re-enter Lindy who has father issues herself. There is a convoluted incident that pushes the would-be lovers together by moving her into Kyle's (now called Hunter) lavish apartment. Will Kyle’s newfound sensitivity charm Lindy over the course of the remainder of the year and give him his good looks back? What do you think?
This is a classic story and certainly had potential to be better with two actors that younger audience members can identify with, but it falls flat, embarrassingly so. Director Daniel Barnz’s screenplay from Alex Flinn’s novel takes shortcuts that leave the story dangling. Alex Pettyfer tries, but pretty Vanessa Hudgens has a vacant smile for much of the movie. Lisa Gay Hamilton has a thankless role, and even Neil Patrick Harris channeling his character’s sarcastic humor from the television show How I Met Your Mother doesn’t help.
Review by Ann Marie Oliva
| HALL PASS Rated R for crude and sexual humor throughout, language, some graphic nudity and drug use. Comedy 105 minutes
2 stars |
Yep, the Farrelly brothers have secured their place as the top gross, not to be confused with top grossing, filmmakers today. Yet, I have to admit, as much as it’s not my kind of humor, people in the audience were howling with laughter. Some of the scenes are the crudest ever shot on film, comedy or not. Is that supposed to be an excuse? Saying comedy filmmakers can do whatever they want because they are supposed to push the envelope is to miss the point.
Two husbands played by Owen Wilson (Rick), and Jason Sudeikis (Fred) are not getting enough sex from their wives Jenna Fischer (Maggie) and Christina Applegate (Grace). So, of course, they obsess about it. The wives are on to them and disgusted and so give them a “hall pass” where they have one full week to do whatever they want without any consequences. This movie is adolescent which is right in the Farrelly wheelhouse, though they’ve moved on to guys who are 40ish.
The movie is at its worst when it wants to be serious. Are we supposed to be convinced that the Farrelly brothers are trying to make sociological comments on the habits of immature, straying husbands? Of course, the sad truth is that many husbands want to, and do stray. It’s just that here they are total nitwits. It seems the writers/directors try to give women the upper hand by suggesting they are smarter than their libido-driven husbands, but that gets lost in the nudity, bathroom humor, and generally crude/obnoxious behavior of almost everyone involved.
Rick and Fred see the world as full of constant temptations that they can’t take advantage of such as Rick’s sexy babysitter, or the hot barista who takes their coffee orders. Yet, this all seems an excuse for those moments when they can titillate/amuse/shock the audience.
Owen Wilson and Jason Sudeikis make an okay pair of jerks, with the former playing a character similar to one he has done many times before. Jenna Fischer seems the most normal, or regular, wife, while Christina Applegate makes the best of her character.
If you like the Farrelly brothers’ type humor and their previous comedies you will probably think this is hilarious stuff, but be warned, if you have any sense of taste you may walk out. The movie is better than I expected, but that’s not saying much.
Review by Ann Marie Oliva
| DRIVE ANGRY 3D Rated R for strong brutal violence throughout, grisly images, some graphic sexual content, nudity & pervasive language. Action/Comedy/Fantasy 104 minutes
3 stars |
It’s a violent blood-fest, but campy. Twenty/thirty-somethings who have grown up on Quentin Tarantino and Robert Rodriguez get it, fifty-somethings do not. Then there’s Nicolas Cage who has become something of an enigma himself. The talk about the Academy Award winner and why he has chosen certain movies that can be described as at a lesser level of artistic excellence threatens to dominate any review of his work. One thing can be said, though, he gives every movie, no matter what type, his full commitment of serious, angry, grimacing face. So let’s move on, shall we?
Writer/director Patrick Lussier along with fellow screenwriter Todd Farmer come up with an interesting premise, that being, that John Milton (Mr. Cage) has escaped from Hell as a kind of avenging tortured soul with one mission: to keep a devil-worshiping cult from sacrificing his dead daughter’s baby at the full moon. Some may not get the reference to another John Milton who wrote “Paradise Lost” where wrong doers are cast out of Heaven and the rebellious fallen angel Satan is thrown out of Heaven into the depths of Hell. This Milton drives out of Hell somehow and now the “accountant” (William Fichtner) is after him to bring him back. Both are super-humanly strong and can’t be killed because they are conveniently already dead.
Though Milton is indestructible he opportunely needs rides to get to the cult led by crazy/murderous Jonah King (Billy Burke) and his devil people. For this he finds a tough waitress named Piper (Amber Heard) who has a souped up car, and only needs to dump her abusive boyfriend. As they go about their road trip, Piper and Milton bond, even when she finds out she’s been traveling with a dead guy.
This movie has a high body count with plenty of spurting blood, severed limbs, killing, and car stunts. The 3D, as in many movies, is not necessary. Mostly it’s metal in the form of car parts, but especially bullets that come flying at you.
Along with Mr. Cage, the presence of actors like William Fichtner is quite helpful. He provides some laughs when he meets people and gives them an accounting of when he will be seeing them which could be in many years or five seconds. Billy Burke is believably sinister as the cult leader; David Morse has a small supporting role but makes the most of it. Amber Heard, probably one of the most beautiful young actresses today does a good job, though with all the beatings she takes doesn’t have one bruise to mar her pretty face or body.
Certain story elements are not logical, but then hellions on earth don’t have to apologize or explain. As an audience member you just kind of go with it, or you don’t go at all. Review by Ann Marie Oliva
| UNKNOWN Rated PG-13 for some intense sequences of violence and action, and brief sexual content. Drama/Mystery/Thriller 113 minutes
3½ stars |
Who is he? Liam Neeson’s character drives to a hotel in Berlin with his wife Elizabeth (January Jones, in a purposely expressionless role), remembers he left a suitcase at the airport, gets in a taxi to go back and retrieve it. On the way he and taxi driver Gina (Diane Kruger) get in an accident and drive off a bridge into the water. When he awakens from a four day coma, no one believes he is an American named Dr. Martin Harris, a botanist presenting his research at a conference. When he goes back to the hotel and approaches his wife she denies he is Martin Harris and proves it by calling over the “real” Dr Martin Harris (Aidan Quinn).
This is the premise of a now familiar plot that has touches of the Bourne movies and Hitchcock. Liam Neeson has plenty of good will from the desperate father in Taken, and there are similarities. Except here, the Unknown man is desperate to find out why everyone denies he exists. He makes contact with a colleague named Professor Bressler (an earnest Sebastian Koch), only to find the other Dr. Martin Harris there, where both end up repeating the same information to him at the same time. Very suspicious... A sympathetic nurse (Eva Löbau) gives him the name of someone she thinks can help him, a former Stasi agent named Ernst Jürgen (the excellent Bruno Ganz). He starts to put the pieces together. In the meantime, Unknown realizes he is being followed and an assassin is trying to kill him, only he has no idea why. Unknown finds Gina and then puts her in danger, too, so she is on the run with him.
Now we have an Unknown man who can’t speak the language of the foreign city where is stranded without a passport, and has people trying to kill him though he doesn’t know why. Several exciting car chases later, Frank Langella, so good at being sinister, shows up and resolves the mystery, though not Unknown’s problem.
Mr. Neeson’s character seems a regular guy who is likable and realistic in his fear for his safety. As the movie goes on, however, it gets more twisted and starts to lose its way with plot reversals that strain credulity. Yet, there have been far worse entanglements that audiences have been subjected to and have accepted. It doesn’t take away from the wild ride provided for most of the movie. Director Jaume Collet-Serra keeps the pressure ratcheted up from the adapted screenplay of Didier Van Cauwelaert’s novel Out of My Head.
If you like this kind of story/movie you will enjoy Unknown, as long as you keep your expectations in check. Review by Ann Marie Oliva
| I AM NUMBER FOUR Rated PG-13 for intense sequences of violence and action, and for language. Action/Sci-fi/Thriller 110 minutes
1½ stars |
Will teenagers save the world as we know it, or will it be destroyed because of them? The answer seems to be both in I Am Number Four because it is not resolved by the end of the movie. (Can you say “sequel” boys and girls?) Of course, the teenager in this case is an alien (Alex Pettyfer, adequate), and his alien enemies called Mogadorians, a group of thoroughly despicable and ugly beings are intent on killing him and others who were sent to earth a long time ago. It seems the Numbered good guys are the only thing between us and total annihilation on earth, but it is never explained why the Mogs want to destroy us.
The mood is set immediately as we see the Mogs kill other Numbers and the teenager who is Number Four must leave his idyllic Florida paradise with his protector Henri (Timothy Oliphant, the best thing in the movie) to go to Paradise, Ohio. Though Henri doesn’t want Number Four, now John Smith, to go to school, you guessed it, he goes anyway. It seems John likes humans and wants to be one with a stable life, friends and a girlfriend. The race is on for the Mogs to find John and kill him too, though Henri does his best to keep John safe.
As the new kid at school John makes the faux pas of befriending the weird kid Sam (Callan McAuliffe, the only actor in the movie who looks like an actual teenager). He is also instantly attracted to another outcast named Sarah (Dianne Argon, pretty, but mostly bland). John’s yearning for basic human family values puts him in harm’s way. So while he has to contend with a jealous ex-boyfriend and his buddies, the fate of the world rests on his shoulders.
Adapted from the novel by Pittacus Lore, listed as Jobie Hughes and James Frey, it is derivative and uninspired sci-fi. Though director D.J. Caruso does give the audience a few moments of suspense with some good CGI, the result is still a disappointment. Review by Ann Marie Oliva
| THE EAGLE Rated PG-13 for battle sequences and some disturbing images. Drama 114 minutes
3½ stars |
Honor was important to ancient people. The Eagle is the journey of Marcus Flavius Aquila (Channing Tatum) to restore honor to his vanished military commander father and by extension the Romans who conquered and ruled Britain around 140 AD. Based on the book The Eagle of the Ninth by Rosemary Sutcliff, the book was written for young adults, so the screenplay by Jeremy Brock doesn’t get too deep or overly complicated. It attempts to explain the legend of the disappearance of the legion. They entered the rugged land of Northern Britain called Caledonia, now Scotland, and never returned.
Marcus Aquila, as a young Roman centurion requests to be stationed in Britain. He was a child when his father disappeared and is haunted by stories that consider his father a failure, or worse, a coward. Marcus is good soldier: brave, proud, and compassionate. When he is injured in battle his father’s brother (Donald Sutherland) takes him in to recuperate. He survives, but is later discharged from the army because of the severity of his wounds.
As he begins to heal he attends gladiator games and saves a proud young British slave named Esca (Jamie Bell) who would then become his slave. When Marcus is no longer in the army he feels useless, but decides he will travel, only accompanied by Esca, past Hadrian’s Wall in Caledonia to find the secret of the missing legion. He is also searching for the missing golden Eagle statue that was carried into battle and was the symbol of Rome. This is considered suicide since no Roman has returned from the wild land. (The tribe of the Seal people may remind you of the blue painted warriors in Braveheart). Marcus and Esca bond and there is a parallel to their stories since Esca’s father was a commander too, but will Esca betray Marcus once he is among his own people?
Director Kevin Macdonald does a workman-like job with the adapted screenplay but with one exception. Normally a British accent is used in costume dramas, but here, an American accent is used. No objections to that, except some of the actors sound like they were born in the 20th century. Sure, I wasn’t in ancient Rome, but I’m sure the Romans were a bit more formal with their syntax than some of the actors who sound too relaxed in addressing their military superiors.
Channing Tatum and Jamie Bell have a good rapport as master/slave, then as companions/friends. Mr. Tatum has charisma on screen and maybe suffers a bit from being too good-looking, yet he is believable as a stoic hero. Mr. Bell is even more intense, and just as credible. Since the former is an athlete and the latter a dancer (Billy Elliot) the battle scenes are well done because they move with grace. Of course, no one does a supporting role better than old pro and scene stealer Donald Sutherland. Mark Strong has a small, but pivotal role. There is no love interest or woman in any major role, and even Marcus’ mother is never seen or heard. Did the men spring forth fully formed from childhood? Overall, well cast except for the unfortunate mixing of accents.
The Eagle contains violence in the battle scenes and brutality as befits the times, yet it is not unnecessarily bloody. There is no way to know exactly what happened, but it is certainly an entertaining way to learn about a piece of history. Review by Ann Marie Oliva
NEVER SAY NEVER |
JUSTIN BIEBER: NEVER SAY NEVER Rated G – 3D Biopic 100 minutes
3½ stars |
The most important take away from this movie, despite all the screaming and hype, is that Justin Bieber is actually a talented musician. That he attained the status of superstardom in one year culminating in a sold out show at Madison Square Garden may be attributed, in part, to the internet and popularity of Youtube.
Justin’s story begins in the small town of Stratford, Ontario Canada where his teenage mother and Justin’s father split when he was still a baby. His mother received help from her parents and he and his grandfather have a special bond to this day. Video of Justin through the years shows his natural musical abilities and an uncanny confidence in himself. How interesting is it that his coach says young Justin would never pass the ball wanting to keep it to himself? When he is at home or out with his boyhood friends he goofs around like a typical teenager.
As Justin grows he plays drums and guitar as a pre-teen parking himself in front of a theater busking and trying to get attention. When his mother puts up several of his videos on Youtube he becomes a sensation and is noticed by producer Scooter Braun who contacts his mother and brings him to Atlanta. Though he is turned down initially, Usher, who becomes his mentor, quickly notices his talent and the rapid rise begins.
The confidence that Justin has is clearly evident when he is performing. He is not at all intimidated by the huge crowd, screaming girls, and fireworks all for the benefit of his show. Joining him on stage at Madison Square Garden are Boys II Men, Miley Cyrus, Jaden Smith, and Usher.
This slick movie going back and forth in time is also about his family who seem happy but astonished by it all. How difficult will it be for Justin to keep the sweet, guileless personality he has now? Success comes with its cost. Because he does so many performances, Justin develops a throat infection that causes him to cancel a show. He doesn’t want to cancel, but his vocal coach Mama Jan, reminds him if he doesn’t he may have to cancel six or seven down the line. Typical Justin, he doesn’t want to let down his fans. Mama Jan is made to be the enforcer when there’s bad news to deliver. She is not afraid to tell him what’s best for him.
At this point, Justin reminds me of Leonardo DiCaprio when he made Titanic. Like him, Justin is not fully physically mature yet, but the good-looking man he will be is already evident. What is less evident is the trajectory his career will take. The people around him seem to have his best interest at heart, but even energetic teenagers can get burned out. The frenetic pace of touring, public appearances, and television shows while getting him attention can cause jealousy and a backlash. What happens when the girls grow up and stop screaming? Yet, to see the person Justin Bieber is today is to like him, and wish him well. Review by Ann Marie Oliva
| GNOMEO AND JULIET Rated G with parental advisory Animation/Adventure/Comedy 84 minutes
3 stars |
The English are famous for their gardens. The producers have created this tale of star-crossed lovers of the gnome variety to reflect that. The red group and the blue group live next door to each other, but are mortal enemies. Just as children always suspect that inanimate objects come to life when they are asleep, sure enough, the gnomes come alive when the man and woman who own the separate gardens leave for work every day.
Life for the gnomes consists of keeping the gardens looking lovely as well as mower races in the alley. A full cast of voice actors including: Michael Caine, Maggie Smith, Patrick Stewart, Julie Walters, Jason Statham, Ozzy Osborne, and Hulk Hogan make for an interesting mix.
Juliet (Emily Blunt) gets tired of standing in place though her over-protective father tries to keep her there. She sees a cupid flower on the top of a nearby greenhouse and decides she must have it. Meanwhile, Gnomeo (James McAvoy) is wandering around and they meet cute. As quick as you can say Valentine’s Day, they fall in gnome love. To keep the secret they must meet in various out of the way places.
Overly-clever bits of dialogue make fun of Shakespeare’s lovers, recent movies and celebrities, and even Shakespeare himself. Elton John’s music, especially “Don’t Go Breaking My Heart” is used to advantage in the movie to keep it upbeat and lively. Though danger lurks all around, like savage dogs and fast traffic, you know in the end tragedy will be averted.
The animation is interesting since gnomes are not the first thing you would think of for this kind of story, but much thought and detail has gone into their creation. Lines, cracks, and small faults are clearly meant to be there. The worst thing that can happen is for one of the gnomes to fall and break, thus “killing” it.
The biggest problem is that the movie goes on too long with too many characters introduced. It begins to feel frenetic, though you may certainly feel you get your money’s worth. The 3D is marginally appealing as in most movies using it today. Every once in a while something appears thrown at the screen or lifts up in front of other objects, but overall, it doesn’t seem necessary.
The main characters of Gnomeo and Juliet are not difficult to relate to despite their unreal status. It is yet another variation of the old theme of keeping lovers apart, which makes them want to get together all the more. Review by Ann Marie Oliva
| COMPANY MEN Rated R for language and brief nudity. Drama 104 minutes
2½ stars |
It’s a tough time for workers, blue, pink or white collar. This movie is about the once untouchable corporate men and women who are now facing unemployment like everyone else. The difference is they have made more money in a year than some make in a lifetime, but many have spent it on lavish lifestyles. They don’t know how to process the change and their position in life and live like the rest of us mere mortals.
The shipping company owner, Greg built his business from the ground up with his college roommate and best friend Tommy Lee Jones. It has become a mammoth making both men rich as well as the top management. As the recession hits, decisions have to be made to let people go. Hot shot Ben Affleck is in complete denial. He won’t admit the family needs to scale back even though his wife who is a nurse tries to reason with him.
As the characters get axed one by one they are sent to a kind of resettlement office where they get exit counseling and either a cubicle or an office depending on their former status. Though it can be difficult to watch, and some characters do elicit sympathy you wonder why these people deserve extra sympathy.
If you’ve been loyal to a company and think of people there as your family, it can feel like a betrayal. Or if you think the party is never going to end and you’ve been living it up, the reality is pretty harsh. Yet, many workers have been vulnerable for a long time now. As a result, the tone of the movie is off.
Tommy Lee Jones who often delivers powerful performances seems to phone it in here. Craig T. Nelson, however, is very good as the boss without a heart who looks out for number one, and points out that he made his money from the company and didn’t refuse it. Kevin Costner is miscast as the carpenter brother-in-law. Maria Bello has a thankless role as a hatchet woman. Chris Cooper does his best with a character that is not fleshed out enough.
Corporate greed is nothing new, but even those at the top are finding out how truly cruel it can be. Review by Ann Marie Oliva
| ANOTHER YEAR Rated PG-13 for some language. Comedy/Drama 129 minutes
4 stars |
People often make the same mistakes over and over, never evolving into mature adults. While it is true that life can hurl some regrettable circumstances in one’s path, not everyone has the resilience to bounce back. Writer/director Mike Leigh has made a movie of average middle-class people who are not living lives on the edge, but rather negotiating normal days, nights, and seasons as they pass. What is remarkable is that it works so well and is so involving.
The movie is divided into the four seasons. It revolves around a long-married happy couple named Tom (Jim Broadbent) and Gerri (Ruth Sheen). They are caring, considerate, and maintain a sense of humor with each other—-not exactly high comedy/drama. Mr. Leigh leaves that for their friends and family. The person who delivers most of the drama is Mary, Gerri’s long time friend from work, in a stunning performance by Leslie Manville. The way the character evolves over the course of the movie is striking, because many of us have known self-involved, deluded, desperately lonely people like Mary. Ms. Manville’s portrayal is award-worthy, and I hope she gets the attention for it she deserves.
All the characters have some connection to or through the couple, and often to each other as would often be the case with acquaintances. Gerri is a counselor, kind and patient with Mary. Though she is big on taking “personal responsibility” you may be wondering when she will get fed up with Mary’s invasiveness and drinking. Tom is a geological engineer, a generous stable man with an ironic wit. Over the course of the two hour movie, the audience meets their son Joe (Oliver Maltman), Tom’s brother Ronnie (David Bradley), and Tom’s friend Ken (Peter Wight) among others.
Aside from the fine job by Mr. Leigh, the entire cast is excellent. The ensemble work, given the way he works, where much is improvised, is well done and scenes seem absolutely natural. If the movie itself is slow-moving, the emotions of the characters feel spontaneous and real.
Though Tom and Geri are happy, a perpetual cloud of depression hangs over several of the characters, often because of their own actions. This certainly feels like more of a drama with some comedic dialogue. Just as in real life, you may wish you could run up to the screen and shake some of the characters by the shoulders, yet no answers or solutions are given to the problems presented. Another year passes, and life goes on. Review by Ann Marie Oliva
| BIUTIFUL Rated R for disturbing images, language, some sexual content, nudity and drug use. Foreign Film – Mexico/Spain Drama 147 minutes
4 stars |
The title is ironic. This is a dark film with precious few “beautiful” moments of happiness or relief from the dreary existence of a family barely surviving in a poor area of Barcelona. Director Alejandro González Iñárritu, also partially credited for the screenplay, maintains that tone throughout. The character Uxbal (Javier Bardem) is trapped by circumstance and his own bad decisions. The fact that he’s a decent sort despite being a thief gives him complexity and the audience’s sympathy, but what really makes it work is the Mr. Bardem’s performance.
Uxbal wants his children to have a better life than he had growing up. He never knew his father who died when he was small. This haunts him, and figures prominently later in the movie. He and his playboy brother are involved in criminal activity, but the police are no deterrent as some of them are corrupt. Yet the crime bosses put pressure on them, mostly Uxbal because his brother spends most of his time partying. He is involved with a sweatshop owner and human trafficking, but does what he can to show some humanity to the hapless victims.
He also has a “gift” where he is able to communicate beyond normal boundaries. He reluctantly takes money for this, again showing he is a decent man in the midst of horrible circumstances.
Not far into the movie Uxbal finds he is ill. His driving motivation is to find someone to care for his two young children. He is separated from his bi-polar wife. His brother is uncaring and unreliable. Although he has a babysitter, she becomes unavailable shall we say. He has no money so he can’t afford to pay anyone. This agonizing dilemma causes him more grief than his own physical pain.
Mr. Bardem gives an excellent performance, nuanced and multifaceted. The rest of the cast is quite good supporting his character.
The cinematography captures the squalor, hopeless overcrowding, and inescapable monotony of everyday life in the city’s run-down sections. Uxbal does what he can to lighten the heaviness that weighs on all of them, including the children.
Some mystical elements in the film give the impression of predetermined destiny, suggesting that death is not an end in itself but a continuum, a part of life, not separate from it. For Uxbal, this is his only comfort. Review by Ann Marie Oliva
| THE MECHANIC Rated R for strong brutal violence throughout, language, some sexual content and nudity. Action/Adventure/Remake 100 minutes
3 stars |
Most of the men in the audience came out of the screening liking this remake of the 1972 movie that starred Charles Bronson, Jan-Michael Vincent, and Keenan Wynn. I imagine the update is every bit as violent as the original, though more sophisticated since that one was so long ago. Jason Statham plays Arthur Bishop the cold-blooded killer role with the same hardened, inexpressive style as the popular Mr. Bronson had those many years ago. And I think that’s the appeal of the character. He is independent, macho, and seemingly indestructible. No one tells him what to do; they have to negotiate with him.
Arthur is an expensive, high-powered hit man. He takes jobs from Harry McKenna (Donald Sutherland, in a familiar role) who in turn works for some unnamed evil corporation, with a man named Dean in charge of it all. Arthur’s hits are pro forma. He completes his work as efficiently and quickly as possible. He has some affection, as much as he’s capable of anyway, for Harry who is aging and in a wheelchair with a good-for-nothing druggie son named Steve (Ben Foster playing the loose cannon well) who is a major disappointment to him. The plot thickens when Harry has a hit put out on him and is murdered. Arthur ends up mentoring Steve and the movie proceeds to show some intricate hits as Arthur shows Steve the hit man ropes, and there is a bonding of sorts.
Arthur’s solitary lifestyle includes a woman he sees occasionally, but for the most part he has little contact with anyone until Steve joins him. The violent blood-letting gets cranked up as the movie moves along. There are plenty of guns, car chases, and crashes. Aside from his icy persona Arthur is intelligent enough to make use of some clever modern day devices for his business. Both Steve and Arthur are determined to pursue the person/persons ordering Harry’s hit and plan to take him or them out.
Director Simon West manages the actors and action as fits the genre. The stunts are well done as are the CGI sequences. If you like this kind of action/adventure/thriller, and also Jason Stratham, you will be entertained. Review by Ann Marie Oliva
| THE RITE PG-13 for disturbing thematic material, violence, frightening images, and language including sexual references. Drama/Adaptation 127 minutes
2 stars |
In the credits we are informed that Matt Baglio’s book, The Rite: The Making of An Exorcist is the inspiration for the Michael Petroni’s screenplay, and while it’s respectful to appreciate an author’s work, it may be the biggest problem with the movie. The story plods along at two hours at a very slow pace. Unlike when The Exorcist was first released in 1972, most of us are already familiar with the idea of the devil entering and taking over a person’s body in order to get his/her soul to hell. Catholic priests trained in the Rite of exorcism battle the devil with prayer, holy water, and faith.
Seminarian Michael Kovak (Colin O'Donoghue) is conflicted about the priesthood. He wants to leave for lack of faith, but is instead sent to Rome to study exorcism. Through the course of the film it is clear Michael has reason to doubt. His mother died when he was a child and he observes his undertaker father (Rutger Hauer) preparing her body. He believes he has only two choices: become an undertaker or a priest. Though he chooses the latter, it’s more to escape the morbid life of his cold, unresponsive father.
In Rome he studies with Father Xavier (Ciarán Hinds) who sends him to Father Lucas Trevant (Anthony Hopkins) to witness exorcisms first hand. An Italian journalist named Angelina, also studying exorcism becomes his ally. It’s isn’t until later in the movie that Father Lucas himself becomes a problem.
Michael thinks the victims he has seen probably have psychiatric disorders and are not possessed, but then there is a significant numbers of unexplained goings on. People have information known only to Michael; nightmares plague him, various animals that are symbols of evil keep appearing. Moments make the audience jump, but out of surprise, not fear. The slow pace drains any scary scenes of impact, even the showdown between Father Michael and Father Lucas.
Irish actor Colin O’Donoghue is quite handsome, but rather stiff at times as Father Michael. Alice Braga lends fine support as Angelina. Ciarán Hinds can play enigmatic well. Rutger Hauer has a small part as Michael’s father, but is more frightening than Anthony Hopkins who seems to keep channeling his character from Silence of the Lambs, though he still adds some unique touches here.
Though director Mikael Håfström is reverential toward this story and topic it doesn’t feel original enough to make an impact. Review by Ann Marie Oliva
| NO STRINGS ATTACHED Rated R for sexual content, language and some drug material. Comedy/Romance 110 minutes
2½ stars |
The history of most romantic relationships is bumpy, and that’s the basis for romantic comedies. How we get to the end where there are declarations of love and tears is the real issue in these movies. Unfortunately, over the course of the genre filmmakers seem to have the mistaken belief that if the two leads are good-looking, popular actors, you can have a mediocre story/script. No Strings Attached is supposed to strike us as cool because it’s the young woman Emma (Natalie Portman) who is reluctant to commit and not the guy Adam (Ashton Kutcher). But, even in these days of anything goes crude language and references hardly seem an innovation.
Adam and Emma first meet at a camp, then a frat party, then as adults when Emma is a medical intern and Adam is a production assistant/budding writer trying to escape the reputation of his television-famous father (Kevin Kline). When Adam discovers that his father and former girlfriend Vanessa (Ophelia Lovibond) are a couple he does the mature thing and gets drunk out of his mind and ends up at Emma’s apartment which she shares with other interns. Oh, he’s naked by the way. They immediately and enthusiastically hop into bed and make a pact to have sex whenever they can because of her hectic schedule.
Adam is of course happy to accommodate her but she makes it clear they can’t become emotionally attached. Is this reverse psychology? Would he want her as much if she was all over him like some other characters in the movie?
Ashton Kutcher does a variation on characters he’s played for the last few years. Natalie Portman does the best with a sketchy character. You know you’re in trouble when both Adam and Emma’s mother (Talia Balsam) give the audience exposition about her actions. What happened to show, don’t tell?
Greta Gerwig and Olivia Thurlby do their parts as best they can. Lake Bell also plays a familiar character for her, the supposedly funny second banana, and she would be if her lines were better. Still, she’s about the most watchable character in the movie. Then there’s Kevin Kline. What can you say of an actor capable of so much more, wasted in this kind of part?
No Strings Attached? It’s true---it’s forgettable as soon as you leave the theater. Review by Ann Marie Oliva
| BLUE VALENTINE Rated R on appeal for strong graphic sexual content, language, and a beating; originally rated NC-17 for a scene of explicit sexual content. Drama/Romance 112 minutes
4½ stars |
The end of love, after a promising start, is the sad story portrayed movingly and realistically in Blue Valentine. Anchored by two sterling performances, the demise of this particular marriage, inevitable in retrospect, cannot be salvaged even by the affection they share for their daughter. Although somewhat slow in unraveling its story, there is an emotional payoff near the end that invests all that came before with a powerful poignancy. This is a movie of genuine feeling.
The couple featured here are Dean and Cindy, portrayed by Ryan Gosling and Michelle Williams with complete believability/sincerity/conviction. The film is structured to reveal the couple at three different moments in their relationship. We see them, in brief flashback, before they meet. He is a bit of a drifter wise guy and something of a romantic, she a college student with ambition to be a doctor involved with a shallow jock. In another set of flashbacks, we watch them encounter one other (he smitten on sight, she standoffish) and the seeds of love planted and blossom.
But, the bulk of the film focuses on the drawn out decline and last gasps of a relationship that, despite desperate attempts, is beyond repair. Dean dearly loves both his wife and daughter Frankie (Faith Wladyka, adorable) and seeks nothing more, he is content with the status quo. Cindy has greater aspirations, seeks her own identity, wants to be recognized as capable and intelligent. There is scant room for middle ground. In fact, the only remaining tie is Frankie, but even here there is disagreement. Dean is indulgent, Cindy more structured. He is child-like, she always parental.
Futility permeates the present day situation of the couple. Dean drinks to relieve the pain while Cindy is absent in every way save physically. There is a sense of nothing left to say, that arguing has long since lost any possibility of effecting change, rendering them not speechless but too weary to do other than repeat their words over and over (e.g., Dean’s argument in the car, Cindy’s litany in the doctor’s office, their complaints about their partner). Yet, they still make a valiant effort to salvage the marriage. The reason why, and the regret it now entails, are revealed in a moving scene of the high point of their early love that, once upon a time, quietly promised to last forever.
The script, written by Derek Cianfrance, Cami Delavigne and Joey Curtis, skillfully captures the mundane, but no less painful, playing out of a love perhaps doomed from the start in a script that is intelligent and worldly wise. Also directing, Cianfrance has a sure handle on the material and production elements as well as, and very high marks for their superb performances, guiding the two main actors, Ryan Gosling and Michelle Williams. Occasionally the flashback transitions can be awkward or confusing and in some instances the pacing might have benefited from cutting. On the other hand, the movie contains emotional truth, honesty, and welcome food for thought.
Blue Valentine – Sad, but touching, tale of good love gone away. Review by Charles Zio
| THE GREEN HORNET Rated PG-13 for sequences of violent action, language, sensuality and drug content. Action/Crime/Thriller 119 minutes
3 stars |
The Green Hornet movie is based on the masked hero radio program of the 1930s and comic book series of the 1940s, though writers Seth Rogen and Evan Goldberg have updated the character. He’s not handsome, sympathetic, endearing, sexy, especially intelligent, caring, or socially conscious. He’s even over-ruled in picking a name for himself. What I like about The Green Hornet is the self-mocking tone. Britt Reid (Seth Rogen) who dreams up the superhero is an immature, selfish, arrogant man/child who is unable to fend for himself. He counts on chauffeur/partner/martial arts expert Kato (John Chou) to help him out of tough spots. So while this is fun in the beginning, at times you wonder when Britt is going to grow up.
What redeems the character is when he realizes his father (Tim Wilkinson), who dies early on, is not the monster he made him out to be, and resolves to be a more serious person himself. But given that the movie is just under two hours, it takes a long time to get him to that point. As his father’s only heir Britt inherits the Daily Sentinel newspaper, but he has little interest in it. He leaves running the paper to his father’s editor Axford (Edward James Olmos). It’s only when he decides that there needs to be some kind of superhero to focus on city crime that he decides he can use the newspaper for publicity for The Green Hornet.
Britt is so shallow that his partying lifestyle must begin everyday with a cup of coffee exactly like he wants it. Since he fired all his father’s employees he has to bring Kato back to show him how to do it. When he realizes Kato is an inventive genius they go cruising in a special car Kato built. So begins a muddled crime fighting duo because Britt wants them to be thought of as not crime fighters, but criminals, yet they will take down the bad guys. If you can follow that. Lenore Case (Cameron Diaz) becomes Britt’s secretary and is serious about being a journalist. She does research that (unknowingly) directs them in their crime fighting. Christoph Waltz is fun as a sadistic villain.
One of the most entertaining things about the movie is the car that is practically indestructible. It has guns that pop up, tires that fix themselves when flat, and ejector seats. The violence in the movie is plentiful though cartoonish. The dialogue has some witty lines, though it’s a fine line between wit and self-indulgence.
Seth Rogen seems to have mined a persona in this and other movies that appeals to a certain audience. It’s a good thing he has John Chou as Kato.
Review by Ann Marie Oliva
| COUNTRY STRONG Rated PG-13 for thematic elements involving alcohol abuse and some sexual content. Drama/Music 112 minutes
2½ stars |
Tim McGraw is a country music star. He doesn’t sing in Country Strong. What? That’s just one of the many questionable choices in this movie. The musical performances are the most enjoyable part, and there are flashes of good acting here and there, but the real problem is with the screenplay by writer/director Shana Feste. The story doesn’t flow. It feels disjointed because it goes from one dramatic scene right to another dramatic scene without much in-between, a build-up, or back story. One effect of this is not feeling emotionally connected to the characters. Country music is all about emotion, yet aside from the intermittent hysterics, the characters don’t feel like genuine people.
Gwyneth Paltrow plays the fading country star Kelly Canter who is pulled out of rehab early by angry/ambitious husband/manager James Canter (Tim McGraw). Kelly is a fragile, promiscuous alcoholic, but hey, got to get back on the road. The ultimate goal is to play Dallas where a drunk and pregnant Kelly fell off a stage and lost her baby. So this is supposed to be a comeback of sorts for her.
While in rehab she meets a guitar playing worker named Beau Hutton (Garrett Hedlund, sure to attract attention for his singing and masculine good looks). They have a thing going and since Beau is a new age country boy he is kind and worries about Kelly's sobriety, while her marriage to James appears damaged beyond repair. Both Kelly and James do hurtful things to each other. He withholds love, affection, and the validation that Kelly desperately needs. Not to mention he doesn't know, and seems to care even less, about the disease of alcoholism.
When James sets up a comeback road trip he convinces Beau to go along as Kelly’s opening act, and to keep an eye on her. He also brings along a beauty queen/singer with stage fright named Chiles Stanton (Leighton Meester, very good at being vulnerable yet ambitious). Ms. Paltrow, Ms. Meester, and Mr. Hedlund can all sing and perform convincingly. Yet, songs are sometimes cut off to go to downer scenes. I would have preferred to see the entire songs performed.
Garrett Hedlund and Leighton Meester have more chemistry than Gwyneth Paltrow and Tim McGraw, though it’s not entirely their fault. Ms. Paltrow’s story is such a cliché that at times there is a temptation to laugh. You can see what’s coming a mile down the road. Ms. Paltrow's most touching scene is actually with a little boy who is ill.
The production values are excellent, of course, but the waste of time and talent in this movie is just a country cryin’ shame. Review by Ann Marie Oliva