Review: We're the Millers

Pop quiz: When was the last time you saw a good Jennifer Aniston movie?  Still thinking?  Well, if you have come to the conclusion that your answer is “maybe never” then you and I are in complete agreement.  If you take a quick look at her filmography, you’ll see it is littered with movies that you either completely forgot about or never saw.  Sure, there are a few decent ones in there, but none that you would say she absolutely carried.  Give her credit though; she’s managed to parlay her run on Friends into twenty years of relevancy.  Her latest movie, We’re the Millers, falls right in line with her others.  It’s not particularly good, and whatever merits it does possess, comes about because of the work of her cast mates.

The plot of the movie finds burnout drug dealer David Clark (Jason Sudeikis) in a bind and forced to make a drug smuggling run to Mexico at the behest of Brad Gurdlinger (Ed Helms).  In an effort to blend in, he bribes a stripper (Jennifer Aniston), a runaway (Emma Roberts), and a geek from his building (Will Poulter) to pose as his family.  Together they try to drive a Winnebago loaded with marijuana across the border and eventually into Colorado. 

In terms of the creative team, there’s not too much to say for director Rawson Marshall Thurber and writers Bob Fisher and Steve Faber.  This film is exactly what you would think it would be in regards to tone and direction – a clear attempt to cash in on some of the rated-R comedic success that Sudeikis has achieved in Horrible Bosses and Hall Pass.  The jokes are crude and only half of them hit, but there’s just enough to keep you going through the mediocre plot until its unraveling in the third act. 

As for the acting, here’s how each of the Millers fared:

Jennifer Aniston may have received top billing, but Jason Sudeikis is the star of this movie.  Putting aside the fact that Sudeikis is rumored to be a very difficult Hollywood personality (almost on par with Denzel Washington and Tommy Lee Jones), he has managed to carve out a decent niche beyond SNL in these sorts of rated-R comedies.  In We’re the Millers, his merits and deficiencies are on full display.  First and foremost, he’s funny in a sarcastic douchebaggery kind of way and that makes his emotive turn in the last act play better.  But when it comes to character development, you get a stark reminder that he is way more of a comedian than he is an actor.  Still, most of the laughs from this film come from him so he gets a check in the plus column.

Unfortunately, Jennifer Aniston as usual doesn’t hold up her end of the bargain.  As the proverbial stripper with a good heart, Aniston plays some iteration of the same character she has played for the past twenty years.  This time out, she is a more bitter, a bit more racy, and not nearly as funny.  The problem here is that she is supposed to be the emotional center of this film and one of the catalysts for Sudeikis’ emotional growth, but it just doesn’t play because Aniston’s onscreen characters are so difficult to root for.  In fact, her best contribution is to the film is not even in the movie itself; its her awkward reaction during an outtake from the gag reel.

Picking up the slack for Aniston in this movie is Will Poulter as Kenny, Sudeikis’ geeky faux son.  I haven’t seen Poulter in anything else, but he really nails the whole affable but awkward vibe necessary to set up some of his bigger gags.  You’ve probably seen the scene with him singing Waterfalls by TLC ad nauseum in every trailer and commercial, but he has plenty of other good moments in the movie and one or two over-the-top sight gags.

Last and certainly the least of the Millers clan is Emma Roberts as Casey.  If I ever there was someone who absolutely looked like they didn’t want to be in a movie, it would have to be Roberts in this one.  In some ways, this helps her performance because her character is supposed to come off as cynical and apathetic, but Roberts brings nothing to this movie.  From start to finish, she is a black hole on screen and adds no humor or hijinks to the proceedings. 

Conversely, the supporting cast is good.  Nick Offerman and Kathryn Hahn are hilarious as the Fitzgeralds and add a pump a good amount of jokes into the mix in very limited screen time and Tomer Sisley and Matthew Willig are satisfactory as the after-thought heavies chasing the Millers across the border.  If there is a weak link amongst the supporting players, it has to be Ed Helms who is way over-the-top (in a bad way) as a suburban drug kingpin and stands as a textbook example of bad stunt casting.

In a lot of ways, this movie reminds me of The Heat starring Melissa McCarthy and Sandra Bullock in that there are some genuinely funny moments but the connective tissue between those scenes just isn’t robust enough.  It’s one of those films that telegraphs the ending right from the outset so without a consistent flow of laugh inducing gags, the whole thing feels a bit thin.  So for me, We’re the Millers is a Netflix movie.  It will almost moderately entertain you for two thirds of its running time and then you’ll never think about it again.  Keep in mind that the more you spend on this one in terms of time and effort, the less you will enjoy it, so see it when you see it or see it not at all.

Standout Performance:  Jason Sudeikis for his haircut scene.  Hilarious.

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Review: White House Down

Let’s get the comparison out of the way.  Olympus Has Fallen is a better movie than White House Down.  In what has to represent career lows for both Jamie Foxx and Channing Tatum, the duo have been outdone in the presidential catastrophe genre by the non-immortal Gerard Butler.  But in the interest of keeping things real, let me say that comparing these two movies is the equivalent of comparing Burger King and McDonald’s; both are almost equally terrible and in the long run will probably kill you.  It’s just that the stench from White House Down is a bit more pungent.

The plot of this latest movie from director Roland Emmerich finds former Marine Cale (played by Channing Tatum) looking to earn a job with the Secret Service and win the respect of his daughter (Joey King) while on a trip to the White House.  When a band of domestic terrorists unleash an assault on the White House in an effort to take the President and wreak political havoc, Cale is forced to take action in order to save both the Commander-in-Chief and his own daughter.

Clearly Emmerich and writer James Vanderbilt (The Amazing Spider-Man) are completely eschewing realism for this movie, but that should neither come as any surprise nor is it the kiss of death.  The problem here is that White House Down is the continuation of a downward spiral for Emmerich, who once upon a time knew how to deliver actions movies that were short on intelligence and long on fun.  More recently his films (2012, 10,000 BC) have shown his transformation into a caricature of himself as a director with action sequences that seem poorly planned and the kind of schlocky sentimentality that could send someone into sugar shock. 

Making matters worse are Channing Tatum and Jamie Foxx who act as gasoline to the flame that is Emmerich’s direction.  In my opinion Tatum is Mark Wahlberg redux – an actor who is funny (in a big goon kind of way a la 21 Jump Street), but is hard to take serious in any other kind of role.  He is only passably believable as a former Marine turned Cop, but has no credibility as a divorced father.  Sure, writer James Vanderbilt is feeding him terrible lines, but it feels like Tatum is making no attempt to exude any kind of charisma while delivering them.  Normally, I would call this a paycheck film for an actor, but with Tatum it’s really hard to distinguish because acting is not really his strong suit.

Then there is Jamie Foxx, who I have said repeatedly is a terrible actor.  In fact, he may be the worst actor ever to win an Academy Award…seriously.  And it seems in White House Down, he sets out to prove this sentiment true.  If ever there was a less believable performance in cinematic history than this one, I challenge one and all to find it.  Yes, he fumbles lines.  Yes, he fails at maintaining any kind of consistency in his character.  Yes, he has zero chemistry with his muscle-bound co-start.  And yes, he is actually a worse dramatic actor than Channing Tatum.

So with the two names sitting atop the marquee performing so poorly, it’s no wonder the movie wreaks so badly.  Even with fair performances from acting veterans Richard Jenkins (Speaker of the House), James Woods (head of the president’s Secret Service detail), and Jason Clarke (rogue Delta soldier), and a better-than-usual turn for Maggie Gyllenhaal, whom I will forever refer to as the weak link in the Dark Knight, nothing makes this viewing experience any better.  Not even a slightly better than average child performance from Joey King (Cale’s daughter) and good comedic relief from Nicolas Wright (as a White House tour guide)

There’s no nice way to put this.  White House Down stinks.  At best it’s a Sunday night FX movie at the end of a long weekend when you can’t really concentrate and you need something to put you down for the night.  Under any other circumstance, you will without a doubt find yourself struggling with the same regret I am plagued with as I type this review.  If it is action you seek, go with Independence Day as it will let you experience some of Emmerich’s better work from days long since passed, and it will also give you that White House demolition visual.  A refresh of that movie could be useful as Independence Day parts 2 and 3 are rumored to be in the works; also to be directed by Emmerich.  On second, you may want to take a pass on those movies as well. 

Standout Performance:  Richard Jenkins.  He’s solid in this movie and that’s saying a lot.

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Review: Mama

Horror films are usually reserved for those unknown not-ready-for-primetime actors or for those past their prime looking for a few more days in the proverbial sun.  So when one of these films drop with an A-list name attached to it, it tends to garner extra notice.  Such is the case with Mama – a film produced by fan boy favorite Guillermo Del Toro and starring Jessica Chastain; she of Zero Dark Thirty, The Help, and The Tree of Life fame.  And while I was initially tepid about this film as presented in the trailer, I went into it with elevated expectations.  The presence of Chastain and the strong word of mouth buzz this movie had generated left me expecting to find the genre elevated in ways I had never seen before.

What I found was anything but that. 

The plot of the film finds two young girls (Victoria and Lilly) stranded in the woods after a violent murder/suicide leaves them orphaned.  When they are finally found several years later and brought into the care if their uncle and his not-ready-for-domesticity girlfriend, the spirit that nurtured them all those years in the woods proves unwilling to let them go.  Thus begins a paranormal onslaught upon their newly formed familial unit.

The premise is moderately unique in regards to the plight of the two young girls in the woods, but seemingly every horror movie over the last ten years centers on a spirit with unresolved issues that is tethering them to the world of the living.  Mama is no exception to this trend, which has become so pervasive that a frail female entity with long dark ravenous hair lurking in the corners of every ceiling has become the ultimate cliché.  Because of this, every tense scene or cheap scare cooked up by director Andres Muschietti feels tired and unimaginative; not exactly a winning blueprint to a successful cinematic thriller.

Despite the absence of a strong antagonist to strike fear into the hearts of viewers, most of the cast turn in a better than average performance for your typical horror fare.  It is by no means Chastain’s best work, but for the most part she comes as advertised.  She blends so far into the role that you forget that you are watching the Academy Award nominee onscreen.  This is no easy feat for one who sits on the A-list.  Sure, it helps that her trademark red mane is tucked beneath a black wig, but that it no way lessens her commitment to the role.  Sadly though, her turn as a wannabe rocker cum stepmother completely unravels, though this is undoubtedly the result of the film’s catastrophic climax rather than Chastain’s acting competency.

Working opposite Chastain is Game of Thrones’ star Nikolaj Coster-Waldau as Jeffrey.  Waldau turns in a nice but unremarkable performance hitting the right notes as the concerned yet somewhat oblivious uncle.  While he never misses a beat in this movie and convincingly conveys the characters complete affability, he does nothing to distinguish himself from any number of stock characters that typically embody the same characteristics in nearly every single film.  Simply put, his Jeffrey comes off as just another good guy and that’s clearly not good enough for a movie lacking quality plot mechanisms.

Rounding out the cast are Isabelle Nelisse and Megan Charpentier as Victoria and Lilly, and Daniel Kash as the doctor who is investigating their case.  I found Nelisse and Charpentier to be your typical run of the mill child actors, meaning they were hit-or-miss from scene-to-scene, offering little to distinguish themselves from their peers.  As for Kash, he is good as the sometimes genuinely concerned / sometimes morally questionable psychologist and because of this ambiguous turn, his Dr. Dreyfuss is the most curious of the lot.

Still, despite some decent-to-good acting, I found this movie disappointing.  Part of it, no doubt, is fuel by elevated expectations.  But really, my tepid reaction to this film probably had a lot to do with first seeing The Conjuring, which greatly surpasses Mama as an exercise in cinematic terror.  Is it fair to make such a comparison?  Absolutely, and in my opinion, these two movies are not in the same class.  Judged on its own merits, Mama will offer horror enthusiasts a few good scares, but not nearly enough to make this a must see.  At its core, Mama is a cable TV movie – nothing more and nothing less, and best saved for the Halloween season when all things that go bump in the night have a way of igniting the imagination.

Standout Performance:  Jessica Chastain.  Despite the characters shortcomings, kudos to her for disappearing into the role.

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Review: The Wolverine

Who doesn’t love Marvel Studios?  Iron Man, Thor, Captain America, The Avengers – those movies make money; they entertain; they sell toys; they help Disney stay in the black even when they produce stinkers like The Lone Ranger.  The most amazing thing is that this success has been achieved while focusing on what most would consider second tier properties.  Truth be told, the cinematic rights to Marvel’s two largest assets, Spiderman and The X-Men, reside with Sony Pictures and 20^th Century Fox respectively.  For fans of The X-Men, and more specifically Wolverine, this is an unfortunate situation, because try as they might, the fine folks at Fox just can’t seem to get Marvel Properties right.  If you need evidence, go back and watch Fantastic Four 1 and 2, Daredevil, X-Men 3, and X-Men Origins: Wolverine.

The most recent miss in Fox’s version of the Marvel cinematic universe is simply titled The Wolverine.  The movie, which is set after the events of Brett Ratner’s stinker X-Men 3, marks Hugh Jackman’s sixth time playing the character.  The plot of the film is based on one of the most popular Wolverine story arcs, which finds Wolverine in Japan and embroiled in a battle between a Japanese conglomerate and the Yakuza.  When his mutant abilities are compromised, he must fid a way to protect an heiress (Mariko played by Tao Okamoto) with whom he has fallen in love with from harm, while struggling to reconcile the events surrounding Jean Grey’s demise.

So let’s get right to it.  What works best in this movie is the action.  It’s not “blow your mind” next-level stuff, but it’s solid and the shots are framed well by director James Mangold and crew.  The pacing of those scenes makes it feel like what’s happening onscreen really means something as opposed to the action-for-the-sake-of-action that sometimes takes over in big budget flicks.  It also helps that there are ninjas wielding bows and arrows and samurai swords.  Actions fans across the board tend to geek out when these silent warriors make their way onto screen so in this regard, they will not be disappointed.

What does not work quite as well is Hugh Jackman in the lead role.  This is tough for me to say because I am a big fan of Jackman.  He is a true triple threat as an actor as he can act, sing, and dance.  The problem then is not that his performance is terrible.  To the contrary, he sells the anger, remorse, and defiance that are written into the script.  The issue is more that it’s no longer Wolverine that you see onscreen but Hugh Jackman playing Wolverine.  While I am no X-Men purist, it’s become evident that the scripts are written with Jackman in mind rather than the spirit of the character.  This doesn’t necessarily cripple the movie, but it makes you wonder what makes this a Wolverine movie beyond the protruding claws.

As for what really hurts this movie, that distinction goes to writer Mark Bomback.  For two thirds of the movie, there is action and some exposition that for the most part does not offend.  But in the third act, when everything comes to a head and threads are meant to be tied up in a neat bow, the plot completely falls apart.  Too many transparent attempts at misdirection, a completely telegraphed twist, and some head scratching logic compromise what for the most part had been a competent albeit unspectacular action movie.  And while this should not completely obliterate all of what is good in this film, it’s hard to walk out of a cinema feeling entertained when the last act completely falls flat. 

As for the cast, it’s hard for me to really rip almost anyone and equally difficult to heap loads of praise.  Tao Okamoto (as Mariko) displays good screen presence and shares good chemistry with Jackman though at times her acting inexperience shows.  The same can be said for Rila Fukushima as Yukio, a trained warrior, who becomes something of a sidekick for Jackman’s Wolverine.  Hiroyuki Sanada, Svetlana Khodchenkova, and Brian Tee  are just adequate as one-dimensional antagonists in this film, but this is as much the result of poor writing as it is their respective active talents.

The lone cast member that I feel compelled to single out from this film is Famke Janssen as Jean Grey.  While her presence is clearly an attempt to tie the standalone film back to the original X-Men franchise, she never really played the character particularly well in the previous movies and in this one she is even worse.  Janssen delivers a performance that would be more suited for a really cheesy bitter film on Lifetime Network than a big budget theatrical release.  Every time she appeared onscreen, my eyes began to roll into the back of my head.

So when you look at all the different pieces in this film and how they work and don’t work to varying degrees, it becomes apparent that The Wolverine is a rental if and only if you enjoy action movies.  If you crave character development, intelligent story telling, and a clear and fluid arc, this is definitely not the film for you.  The good news is that if you are somehow roped into watching this film, it won’t stick in your memory too long.  It’s fairly forgettable.  In regards to superhero movies, Disney and WB have upped the ante, but judging by this outing the folks working with Fox’s Marvel properties never received the memo. 

Standout Performance:  The post credit scene.  It’s by far the most interesting part of the film and clearly is a lead in for Bryan Singer’s X-Men: Days of Future Past.

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Review: The To Do List

Cheeky raucous sex romp comedies that pay homage to the past by brutally tearing them apart have been a staple of American cinema for the better part of the last four decades.  When they work, they have the dual effect of making you feel nostalgic and embarrassed by the dated pop culture phenomena that defined your hormonally driven past.  When they don’t work, the scenes feel like one of those forced conversation about things that no one really wants to talk about.  While I had low expectations for The To DoList, a sexual coming-of-age movie set in the 90’s, I am sorry to say that it was more the latter than the former.  At best it is a complete mixed bag of innuendo and sentiment adding up to one complete mess.

The plot of the movie follows Aubrey Plaza’s Brady Klark, the anal valedictorian of her high school class, as she embarks on the summer before starting college.  After an encounter with Rusty Waters (Scott Porter) - a twenty-something burnout/aspiring musician - sparks her sexual awakening, she with the help of her friends creates a checklist of sexual experiences she believes will prepare her for college. 

Fifteen minutes into the film, I felt like writer/director Maggie Carey had something going with her assault on the early 90’s.  Truth be told, it’s a time period that is just so rich in embarrassing pop culture phenomena.  About thirty-minute later, the jokes really started to get old; clearly the result of going to the well far too many times.  It felt like every time the plot stalled, a joke about hyper color t-shirts or the movie Beaches would find its way into the dialogue.  Does this make the movie a complete disaster?  No.  There are other elements far more damaging, but it is emblematic of just how thin this film runs on laughs after the first act.

Where things really go awry is when the plot twists becomes overly raunchy for no other reason than for the sake of being raunchy.  It’s at those moments where you feel like Carey has completely run out of jokes or plot threads.  It’s unfortunate, because there are some very good comedic moments and solid one-liners to build off of, but ultimately the flow of the narrative gets stifled by these forced scenes.  A bit more attention to both the overall arc and some character development would have gone a long way in remedying this issue.  Again, this film was never intended to be an Oscar nominee (obviously), so one would imagine that this would not have been an insurmountable fix.

One of the more positive aspects of the movie is the cast.  Protagonist Aubrey Plaza of Parks and Recreation is quirky and sarcastic with her signature dry delivery and more often than not she is able to pull off the uptight, nerdy, and  sexually uncomfortable vibe required for the role.  As the movie wears on though, it becomes increasingly evident that she isn’t quite up to the task of carrying a feature film, but it’s not for a lack of trying.  She goes for it and that is highly commendable.

Joining Plaza on this ride is Bill Hader as the degenerate boss of the local public pool.  As one would expect, Hader is very funny in his typical off beat moronic way, but also brings a nice touch of sentimentality to the film.  Connie Britton and Clark Gregg (as Mr. and Mrs. Klark) also do a good job in The To Do List, providing an unbalanced parental presence and generating laughter with their respective perspectives on sex.  Their scenes are especially funny when Rachel Bilson (as Plaza’s more vacuous and more sexually experienced older sister) joins in on the dysfunctional family hijinks. 

Not fairing quite as well is Bilson’s Heart of Dixie co-star, Scott Porter.  As Rusty Waters – the object of Plaza’s desire, Porter fails to really stand out.  His time on screen amounts to little more than flexing by the pool and strumming an acoustic guitar.  His shortcomings however are made up for by the trio of Johnny Simmons, Alia Skawkat, and Sarah Steele - the trio of friends orbiting around Plaza’s R-rated chicanery. 

There were a lot of reasons why I wanted to like this movie.  Its premise is set in a time and place that I can relate to; the cast features two of my favorite Friday Night Lights actors; and Plaza is without a doubt the best thing about Parks and Recreation.  Still, I didn’t walk out of the theater loving this one.  It should have been a rental anyway, but even under those circumstances I don’t know that my appreciation for this movie would have increased.  There are times when the film is really funny, but those scenes don’t outweigh the bad ones.  And without that brand of fun, it’s hard to overlook the movie’s many blemishes.  Save this one for a really really slow night when you are in desperate need for any kind of comedic relief with few other available options.  This gives you the best chance of finding great value in this project.

Standout Performance:  Bill Hader.  Not everything he does in this movie works, but he hits at a higher percentage than his cast mates.  

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August 2013 Movie Guide

AUGUST 2, 2013

2 GUNS

Starring: Denzel Washington, Mark Wahlberg, Paula Patton, Bill Paxton

Why You Should See It: Because Denzel almost always delivers.
Why You Should Avoid It: Because Mark Wahlberg in a serious role is a hit-or-miss proposition.

And the Magic 8 Ball Says: Flip a coin.

THE SPECTACULAR NOW

Starring: Shailene Woodley, Mary Elizabeth Winstead, Miles Teller, Brie Larson

Why You Should See It: Mary Elizabeth Winstead
Why You Should Avoid It: Shailene Woodley.

And the Magic 8 Ball Says: Rental.

Other theatrical releases:  Cockneys vs. Zombies, Drift, Europa Report

AUGUST 7, 2013

PERCY JACKSON: SEA OF MONSTERS

Starring: Logan Lerman, Alexandra Daddario, Nathan Fillion, Sean Bean

Why You Should See It: Lerman was good in Perks of Being a Wallflower and Daddario was easy on the eyes in Texas Chainsaw 3D.

Why You Should Avoid It: The first Percy Jackson movie was brutal.

And the Magic 8 Ball Says:  TNT, TBS, FX movie all the way.

AUGUST 9, 2013

ELYSIUM

Starring: Matt Damon, Jodie Foster, Sharlto Copley, William Fichtner

Why You Should See It: Because Matt Damon is almost always really really good.

Why You Should Avoid It: Because it's hard to recall the last  Jodie Foster movie that was actually good.

And the Magic 8 Ball Says:  The only must see movie for the mont of August.

WE’RE THE MILLERS

Starring: Jason Sudeikis, Jennifer Aniston, Emma Roberts, Will Poulter

Why You Should See It: When I think of a reason I will let you know.

Why You Should Avoid It: Jennifer Aniston's movies always stink.

And the Magic 8 Ball Says:  Not even a rental.

Other theatrical releases: Planes, Lovelace, I Give It a Year, Jug Face.

AUGUST 16, 2013

KICK-ASS 2

Starring: Aaron Taylor Johnson, Chloe Moretz, Jim Carrey, Christopher Mintz-Plasse

Why You Should See It: Because the first one was a hyper-violent homage to the comic book superhero genre.  And to spite Jim Carrey.

Why You Should Avoid It: Because you don’t like over-the-top violence.

And the Magic 8 Ball Says:  See it.

THE BUTLER

Starring: Forest Whitaker, Liev Schreiber, Robin Williams, Alan Rickman

Why You Should See It: Good source material, great cast, and distributed by the Weinstein Company.

Why You Should Avoid It: Because it wreaks of a slow narrative.

And the Magic 8 Ball Says:  Game time decision.

PARANOIA

Starring: Amber Heard, Liam Hemsworth, Harrison Ford, Gary Oldman

Why You Should See It: Amber Heard

Why You Should Avoid It: Liam Hemsworth.

And the Magic 8 Ball Says:  Take it or leave it, but really...leave it.

JOBS

Starring: Ashton Kutcher, James Woods, Dermot Mulroney, Josh Gad

Why You Should See It: Because Steve Jobs was one of the most interesting figures in the technology space in the last fifty years.

Why You Should Avoid It: Because Ashton Kutcher can't act.

And the Magic 8 Ball Says:  Cable TV movie at best.

Other theatrical releases:  Austenland, Ain’t Them Bodies Saints, Prince Avalanche

AUGUST 23, 2013

THE WORLD’S END

Starring: Rosamund Pike, Simon Pegg, Bill Nighy, Pierce Brosnan

Why You Should See It: Because it has a great cast.

Why You Should Avoid It: Because that British sensibility doesn't always resonate outside the UK.

And the Magic 8 Ball Says:  A good rental.

THE MORTAL INSTRUMENTS: CITY OF BONES

Starring: Lily Collins, Lena Headey, Jonathan Rhys Meyers, Jamie Campbell Bower

Why You Should See It: Decent cast.

Why You Should Avoid It: Because it looks like just another tween movie.

And the Magic 8 Ball Says:  Never.

Other theatrical releases:  You’re Next, The Grandmaster, Drinking Buddies, The Colony

AUGUST 30, 2013

GETAWAY

Starring: Ethan Hawke, Selena Gomez, Jon Voight

Why You Should See It: Because it's the last major release of the summer.

Why You Should Avoid It: Because Selena Gomez is getting second billing in this movie.

And the Magic 8 Ball Says:  Netflix, Red Box, iTunes, et al.

Other theatrical releases:  Random, The Lifeguard, Afternoon Delight, Instructions Not Included

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Review: The Way Way Back

It’s been an interesting year at the theater and not necessarily in a good way.  To say that the slate has been pretty lean would be an understatement.  There have been some big blockbusters that I’ve really enjoyed (Man of Steel, Star Trek Into Darkness) and a few pleasant surprises (The Conjuring, Warm Bodies), but I had yet to find something that I thought would receive awards season recognition.  That is, until I saw The Way Way Back, a small in budget and scale, but large in scope coming-of-age story that masterfully tells a coming-of-age story set against a jumbled mass of complex relationships.

The plot of the movie focuses on Duncan (Liam James), an awkward teen who is forced to take a summer trip with his single mother (Toni Collette) and her douche bag boyfriend (Steve Carell).  Thrust into a beach community that more closely resembles a camp for 40-somethings engaging in social debauchery, Duncan befriends Owen (Sam Rockwell) - a local who works at a nearby water park, and with his help ventures outside his comfort zone to learn more about himself and about those in his life.

Any discussion of this film must begin and end with Sam Rockwell.  He is that good in this movie.  In a lot of ways, his performance is set up by the dour oppressive atmosphere established by James’ timid and awkward Duncan and Steve Carell’s spot on portrayal of a man who can best be described as miserable and selfish.  The strength of those two performances allows Rockwell to absolutely deliver as the sarcastic but affable manager of the Water Wizz.  Every moment that he is onscreen feels like a breath of fresh air and the snappy delivery with which he speaks his comedic lines picks up the pace of the film immediately.  The contrast between his character and Carell’s is one of the key elements that makes this movie really pop.

Still, the success of this movie ultimately rests on the shoulders of one of the youngest cast members - Liam James.  I have no idea what kind of actor James is, as I’ve never seen him in anything else, but he marvelously captures the intense timidity and suffocating awkwardness of Duncan.  His character is a most sympathetic figure that puts himself in cringe-inducing moments and it’s this quality that draws you in emotionally and makes the payoff feel so cathartic. 

Toni Collette plays off of this character well as Duncan’s mother Pam.  Collette plays a good-natured but damaged single mother – a role that she is quite familiar with and quite adept at playing.  She’s both maddening and endearing, adding a significant layer to this coming-of-age narrative.  The other woman in Duncan’s life, AnnaSophia Robb (as love interest Susana) also shows well in this film, because her character acts as a great contrast to James’ as one who is dynamic, outgoing, and expressive.

As for the rest of the cast, the work is truly top solid from top to bottom.  The crew at the Water Wizz led by Maya Rudolph and Nat Faxon represent the heart of the film and their scenes represent some of the most joyous in the film.  The group of adults that revolve around Carell’s Trent – including Rob Corddry, Amanda Peet, and Allison Janney – while not as impressive as Rudolph and Faxon, do a nice job of portraying manic, morally decayed, forty-somethings lost in a sea of their respective mid-life crises.  And in doing so, they close the loop on the recurring theme of contrasts that permeates this film.

With the way this film is treated and the quality of the finished product, it comes as no surprise that writer and director are one in the same.  Nat Faxon and Jim Rash collectively wear both hats and it’s immediately evident that the creative team is invested in this intensely personal narrative that addresses universal themes.  Any film that gets you to care about its characters tends to be a good one.  While any film that gets you to not only care but also to relate to the characters almost always is a great one.  The Way Way Back is definitely closer to the latter bucket.

In a sea of movies loaded with big explosions, wild gunplay, and fisticuffs, The Way Way Back is that rare summer movie that feels intimate, authentic, and personal.  The nature of the film suggests that it does not need to be seen on the big screen, but it is a very good movie that deserves to be seen in a big-feel setting.  Good for a date night or just hanging with friend, I would highly recommend this movie to one and all; even those whose taste skew towards pure action.  There is a little something for everyone in this movie and will leave you feeling like you got your money’s worth.  Without a doubt, The Way Way Back is one of my favorite movies of the year.

Standout Performance:  Sam Rockwell - by a landslide.

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Review: The Conjuring

If you’ve never heard of director James Wan, then you are probably not a fan of horror movies.  He, of Saw and Insidious fame, is slated to direct the seventh installment of the Fast & Furious franchise where he is sure to gain a lot more mainstream notoriety.  But before departing the genre in which he made his mark, he has delivered yet another an edge-of-your-seat narrative in The Conjuring – a movie whose slick trailers have promised tense storytelling and scream inducing visuals.  In a time when most movie trailers prove more entertaining than the actual feature film, I am happy to say that Wan’s film delivers on most of its promises.

The plot of The Conjuring focuses on Ed and Lorraine Warren – two paranormal investigators, whose real-life exploits and questions about their legitimacy can be found via a quick Google search.  The events of this film find the Warrens investigating a series of paranormal occurrences that are plaguing the Perrons,  a family of seven who have recently moved into a new home.  As they work to discover the mystery behind the hauntings, the Warrens find that all involved may be in great peril. 

The plot of the film is based on a true story albeit a highly contested one.  Coupled with the creative license that Hollywood tends to employ in such circumstances, it seems the “true story” tagline is more a marketing tool than anything else – especially considering some of the over-the-top sensational visuals.  And truth be told, there are times where the film wreaks of cheese, but none of this in any way detracts from the entertainment value of the movie.  It is quite thrilling.  That is no small compliment given that the saturation of the horror genre has rendered most suspense inducing plot mechanisms tired and contrived.  Still Wan manages to do a good job of pacing the film and bringing the terror to a slow boil.

What really helps here is the presence of Patrick Wilson.  Wan and Wilson worked together on the surprising Insidious and its apparent that director and actor have chemistry.  Wilson brings depth and layers to the role of Ed Warren that most protagonists in horror films seem to lack.  His Warren is a believer and a family man with a mix of resolve and doubt that makes him feel authentic.  Vera Farmiga, as his wife Lorraine, is not quite as impressive.  In some of the slower scenes reserved for character development, she overplays her hand and hams up Lorraine’s clairvoyant abilities.  She does however faire better during action sequences immersing herself more naturally into character.

As for the rest of the cast, collectively they do a nice job. Ron Livingston and Lili Taylor are good as the Perrons – portraying the sheer sense of terror and claustrophobia associated with the paranormal attack on their home.  As the victims of many of the paranormal assaults, Shanley Caswell, Hayley McFarland, Joey King, Mackenzie Foy, and Kyla Deaver likewise do a solid job adding to the film’s tension by portraying raw unbridled fear.  Lastly, Shannon Kook (Drew) and John Brotherton (Brad) balance out the proceedings by providing a bit of comic relief to the tense emotional pressure that permeates this film.

So yes, The Conjuring is not cinematic art and at times feels a bit cheesey, but the narrative is taut, suspenseful, and punctuated by a strong sense of isolationism and creepy 70’s décor.  It is so rare that I enjoy horror films these days and even more rare when I recommend one, but I absolutely recommend seeing The Conjuring and seeing it in the cinema.  The crowd that I watched it with was engaged, terrified, and very expressive and this wholly enhanced the viewing experience.  And if the post-movie chatter is any indication, every person who walked out of their room felt as though they had gotten their money’s worth.  What more could anyone ask for from a film?

Standout Performance:  Patrick Wilson.  Amongst a bevy of capable performances, his was the most compelling.

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Rental Rewind: 2001

It was the year 2001, when Time Magazine named Rudolph Giuliani the Man of the Year for his post 9/11 presence in New York City.  Beyonce was still fronting Destiny’s Child and Janet Jackson’s All for You dominated the summer music charts.  It was a very difficult year in sports as the Baltimore Ravens won the most uneventful Super Bowl in recent memory and the Los Angeles Lakers and Duke Blue Devils ruled the basketball landscape.  Still, the year was not a complete loss as there were some really good movies that debuted in cinemas.   Here’s a look at ten movies (not necessarily the ten best) from 2001 that you may want to go back and take a look at:

10. LEGALLY BLONDE

Starring: Reese Witherspoon, Luke Wilson, Selma Blair

9. THE FAST AND THE FURIOUS

Starring: Vin Diesel, Paul Walker, Jordana Brewster, Michelle Rodriguez

8. SERENDIPITY

Starring: John Cusack, Kate Beckinsale, Bridget Moynihan, Jeremy Piven, Molly Shannon

7. ZOOLANDER

Starring: Ben Stiller, Owen Wilson, Will Ferrell, Christine Johnson

6. THE LORD OF THE RINGS: FELLOWSHIP OF THE RING

Starring: Viggo Mortensen, Elijah Wood, Ian McKellen, Orlando Bloom

5. LIFE AS A HOUSE

Starring: Kevin Kline, Hayden Christensen, Kristin Scott Thomas, Jena Malone

4. TRAINING DAY

Starring: Denzel Washington, Ethan Hawke, Eva Mendes

3. OCEAN’S ELEVEN

Starring: George Clooney, Brad Pitt, Matt Damon, Julia Roberts, Don Cheadle

2. VANILLA SKY

Starring: Tom Cruise, Penelope Cruz, Cameron Diaz, Jason Lee

1. BLACK HAWK DOWN

Starring: Eric Bana, Josh Hartnett, Jeremy Piven, Tom Sizemore, Ewan McGregor

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