Rated R, 118 minutes
"A Million Ways to Die in the West" shoots and misses most of time
If you enjoy the animated TV show "Family Guy," then you'll probably love the profane but lackluster new comedy "A Million Ways to Die in the West" from "Family Guy" creator Seth MacFarlane, who directs, produces and stars. For the rest of us, it's an excruciating, disappointing experience that's far different from his 2012 mega-hit "Ted", and this one doesn't have a cussing teddy bear to keep us entertained. After that film, this probably looked much better on paper than it does in its middling execution; it strives to be a re-telling of "Blazing Saddles" but is more of an overlong, lukewarm hop-a-long that's sporadically funny at best. To quote MacFarlane from a scene in the movie, it goes South and so quickly. It's set in Arizona in 1882 and MacFarlane is Albert Stark, a single sheep farmer who lacks courage and loses his girlfriend (Amanda Seyfried) to a douche with a mustache (Neil Patrick Harris) and ends up falling in love with the wife of a notorious killer (Charlize Theron and Liam Neeson), who comes into town seeking revenge. I so wanted to give MacFarlane and his movie a chance and admittedly he is a charming presence who works well with others, but honestly I just didn't find "A Million Ways" as wildly funny as I had hoped: it's one of the summer's biggest disappointments so far. The central problem may be with MacFarlane's sardonic, talky type of humor that works well on "Family Guy" and made "Ted" so fun but with a live-action comedy where pacing is crucial, MacFarlane's annoying blathering on and explanation of some jokes slows it down too much and its love story angle doesn't work well with the rest of the movie. While I enjoy seeing the lovely Theron do comedy, she needs better material than this that also wastes a fine comedic actor in Neil Patrick Harris. There are a couple of fun moments, including the "Moustache" song and anytime Sarah Silverman is on screen, but those fun moments are few and far between, and the last act in particular is much too long. The one truly brilliant scene in "A Million Ways" is a very brief but hilarious cameo from a very well-known time-traveler who all but steals this movie as well. There are a million ways to kill a movie, and MacFarlane does most of them in the unfunny, mediocre "A Million Ways to Die in the West," which is as hit-or-miss as his shooting in the film. My advice to MacFarlane: don't give up your TV gig, you'll need it after this.
Wes's Grade: C-
movies
Friday, May 30, 2014
Maleficent - B-
Rated PG, 98 minutes
Sleek Jolie is nice centerpiece of CGI-heavy "Maleficent"
"Maleficent" is Disney's new live-action re-imagining of the "Sleeping Beauty" fable told from the perspective of the antagonist, the iconic evil queen Maleficent. Entertaining and retold to give the villain more heart, Angelina Jolie is a regal queen and a nice centerpiece to a film that's both overdone in terms of CGI yet surprisingly short on story but overall still remarkably satisfying. Driven by revenge and a fierce desire to protect the moors over which she presides, Maleficent (Jolie) cruelly places an irrevocable curse upon the human king's (Sharlto Copely) newborn infant Aurora (later played by Elle Fanning) to an eternal sleep after she turns 16. Directed by special-effects master and Oscar-winner Robert Stromberg ("Avatar" and "Alice in Wonderland") in his feature film debut, the "Maleficent" boasts some strong, if not, overdone, visuals and extravagent production values and a memorable, inspiring turn by Jolie as the titular character who's made out to be both hero and villain in this version of the story. The story is a bit slow and sluggish early on, but Jolie struts off with the movie as the heavily made up, angular and very sleek queen and it picks up some energy in the film's latter chapters and a fun climax. The handsome, first-rate visuals and production values are Stromberg's strong suit, though they both add and detract to the film, though the real visual is Jolie herself in that wicked headpiece, who was seemingly born to play this role. Watch for Jolie's real daughter, Vivienne Jolie-Pitt, as a very young Aurora, and their brief screentime together is one of the film's treats. If it weren't for Jolie, the film wouldn't work near as well, and she makes the entertaining, crowd-pleasing "Maleficent" more fun to watch. With all this talk of "true love's kiss," as well as the dragon and the evil queen, I was expecting Shrek and Donkey to walk in, though that might be a little too easy. "Maleficent" is worth a look mainly for Jolie's strong turn.
Wes's Grade: B-
Sleek Jolie is nice centerpiece of CGI-heavy "Maleficent"
"Maleficent" is Disney's new live-action re-imagining of the "Sleeping Beauty" fable told from the perspective of the antagonist, the iconic evil queen Maleficent. Entertaining and retold to give the villain more heart, Angelina Jolie is a regal queen and a nice centerpiece to a film that's both overdone in terms of CGI yet surprisingly short on story but overall still remarkably satisfying. Driven by revenge and a fierce desire to protect the moors over which she presides, Maleficent (Jolie) cruelly places an irrevocable curse upon the human king's (Sharlto Copely) newborn infant Aurora (later played by Elle Fanning) to an eternal sleep after she turns 16. Directed by special-effects master and Oscar-winner Robert Stromberg ("Avatar" and "Alice in Wonderland") in his feature film debut, the "Maleficent" boasts some strong, if not, overdone, visuals and extravagent production values and a memorable, inspiring turn by Jolie as the titular character who's made out to be both hero and villain in this version of the story. The story is a bit slow and sluggish early on, but Jolie struts off with the movie as the heavily made up, angular and very sleek queen and it picks up some energy in the film's latter chapters and a fun climax. The handsome, first-rate visuals and production values are Stromberg's strong suit, though they both add and detract to the film, though the real visual is Jolie herself in that wicked headpiece, who was seemingly born to play this role. Watch for Jolie's real daughter, Vivienne Jolie-Pitt, as a very young Aurora, and their brief screentime together is one of the film's treats. If it weren't for Jolie, the film wouldn't work near as well, and she makes the entertaining, crowd-pleasing "Maleficent" more fun to watch. With all this talk of "true love's kiss," as well as the dragon and the evil queen, I was expecting Shrek and Donkey to walk in, though that might be a little too easy. "Maleficent" is worth a look mainly for Jolie's strong turn.
Wes's Grade: B-
Wednesday, May 28, 2014
Palo Alto - C
Rated R, 98 minutes
Pensive and joyless, well-acted "Palo Alto" is an aimless look at some young folks
The new teen indie drama "Palo Alto" is the latest film directed by yet another Coppola, Gia Coppola, and is based on a series of stories by James Franco. Coppola's engaging but meandering film is well-performed by the charming young cast but is a downbeat view of young life. "Palo Alto" centers around a group of rebellious high school kids in an urban environment and their experiences with drugs, alcohol, sex, and violence. There's the class virgin, shy and sensitive April (Emma Roberts), who becomes infatuated with her single-dad soccer coach (James Franco); introspective artist Teddy (Jack Kilmer, Val's son) who has a crush on April and gets into trouble as a result of his friendship with his very unpredictable, live wire friend Fred (Nat Wolff), who is on a path of self-destruction. "Palo Alto" is an engaging film that shows that Coppola, like other members of his family, have talent behind the camera, and it features solid turns by Kilmer, Wolff and Roberts, though the film is hardly anything original. As a matter of fact, the low-key, pensive pacing and tone feel similar to something Sofia Coppola would do ("Virgin Suicides" comes to mind here), and often you're bound to lose interest because there's seemingly little going on screen. But the memorable, affecting turns, particularly from Kilmer and Wolff, show that they have a future in acting. I wanted to like "Palo Alto" more, but I had trouble connecting with many of the characters, particularly the creepy coach played by Franco, who made a little uncomfortable (but then maybe that was the point). "Palo Alto" is worth a look for the performances, if you can stay awake through the sluggish, somewhat boring film.
Wes's Grade: C
Pensive and joyless, well-acted "Palo Alto" is an aimless look at some young folks
The new teen indie drama "Palo Alto" is the latest film directed by yet another Coppola, Gia Coppola, and is based on a series of stories by James Franco. Coppola's engaging but meandering film is well-performed by the charming young cast but is a downbeat view of young life. "Palo Alto" centers around a group of rebellious high school kids in an urban environment and their experiences with drugs, alcohol, sex, and violence. There's the class virgin, shy and sensitive April (Emma Roberts), who becomes infatuated with her single-dad soccer coach (James Franco); introspective artist Teddy (Jack Kilmer, Val's son) who has a crush on April and gets into trouble as a result of his friendship with his very unpredictable, live wire friend Fred (Nat Wolff), who is on a path of self-destruction. "Palo Alto" is an engaging film that shows that Coppola, like other members of his family, have talent behind the camera, and it features solid turns by Kilmer, Wolff and Roberts, though the film is hardly anything original. As a matter of fact, the low-key, pensive pacing and tone feel similar to something Sofia Coppola would do ("Virgin Suicides" comes to mind here), and often you're bound to lose interest because there's seemingly little going on screen. But the memorable, affecting turns, particularly from Kilmer and Wolff, show that they have a future in acting. I wanted to like "Palo Alto" more, but I had trouble connecting with many of the characters, particularly the creepy coach played by Franco, who made a little uncomfortable (but then maybe that was the point). "Palo Alto" is worth a look for the performances, if you can stay awake through the sluggish, somewhat boring film.
Wes's Grade: C
This is Where We Live - B-
Unrated, 92 minutes
Affecting, low-key "This Is Where We Live" shows the power of simple relationships
The Texas-based and filmed independent drama "This is Where We Live" is a tender, restrained look at the value of relationships, even unconventional ones. Directed by and starring Marc Menchaca in an auspicious feature film debut and actor and director, it's a memorable but downbeat view on life in general. A struggling family's dynamics are challenged and a unique friendship is born when a small-town Texas handyman named Noah (Menchaca) becomes caregiver to their son August with cerebral palsy (played by Tobias Segal, in a remarkable performance for the actor who is not disabled). Handsomely filmed in the Hill Country of Texas and well-acted by a mostly unknown cast (except for the always familiar Barry Corbin in a small role), "This Is Where We Live" has been a hit on the festival circuit over the last year and just now getting a limited release, is worth your time if you stick with it. Slow-moving and somewhat obscure, the value of the film is the unusual but palpable relationship between Noah and August as Noah assimilates into this somewhat odd but caring family and seeing how much alike Noah and August really are, even though one cannot speak. Both Menchaca and Segal are excellent as is C.K. MacFarland as the Mom who is trying to keep the family together. "This Is Where We Live" doesn't have wide appeal and the pacing is very slow, but very moving in small ways if you stay with it and give it time to grow on you. An independent film worth a look, see it before it goes away.
Wes's Grade: B-
Affecting, low-key "This Is Where We Live" shows the power of simple relationships
The Texas-based and filmed independent drama "This is Where We Live" is a tender, restrained look at the value of relationships, even unconventional ones. Directed by and starring Marc Menchaca in an auspicious feature film debut and actor and director, it's a memorable but downbeat view on life in general. A struggling family's dynamics are challenged and a unique friendship is born when a small-town Texas handyman named Noah (Menchaca) becomes caregiver to their son August with cerebral palsy (played by Tobias Segal, in a remarkable performance for the actor who is not disabled). Handsomely filmed in the Hill Country of Texas and well-acted by a mostly unknown cast (except for the always familiar Barry Corbin in a small role), "This Is Where We Live" has been a hit on the festival circuit over the last year and just now getting a limited release, is worth your time if you stick with it. Slow-moving and somewhat obscure, the value of the film is the unusual but palpable relationship between Noah and August as Noah assimilates into this somewhat odd but caring family and seeing how much alike Noah and August really are, even though one cannot speak. Both Menchaca and Segal are excellent as is C.K. MacFarland as the Mom who is trying to keep the family together. "This Is Where We Live" doesn't have wide appeal and the pacing is very slow, but very moving in small ways if you stay with it and give it time to grow on you. An independent film worth a look, see it before it goes away.
Wes's Grade: B-
Thursday, May 22, 2014
Blended - D
Rated PG-13, 117 minutes
Even Barrymore can't save this crappy Sandler vehicle
Another year, another crappy Adam Sandler movie. At least this crappy Sandler movie is unoriginal, overly sentimental and has the grace to feature the lovely Drew Barrymore, who alone saves their new comedy "Blended" from getting a total F. It's also not as wildly, over-the-top crass as "Jack and Jill" or "That's My Boy," though even with Barrymore around he still manages to offend. After a bad blind date, single parents Jim Friedman (Sandler) and Lauren Reynolds (Barrymore) find themselves stuck together at a resort for families, where their attraction grows as their respective children benefit from the burgeoning relationship. The bland, unfunny "Blended" is tame PG-13 Sandler, and while easier to digest, it's still not a pleasant affair and leaves a bad aftertaste, which is mildly surprising, given the other two Sandler/Barrymore efforts are among Sandler's better films, "The Wedding Singer" and "50 First Dates," with the former considered one of his most charming films before he started making offensive, childish films catered for the masses. Directed by "Wedding Singer's" Frank Coraci in hopes of recreating some of that film's magic, this sweet but stupid "Brady Bunch" ripoff is easily the worst Sandler/Barrymore effort and one of Sandler's least embarrassing ones, though neither is saying much. Barrymore is lovely but wasted as Sandler's love interest, and there are long, painful stretches where nothing interesting (i.e. actually funny) really happens, alternating between the dumb and sentimental. Even with Barrymore around "Blended's" woeful, badly acted script still manages to offend in the treatment of women, children, minorities, foreign nationals and basically anything that moves. Sandler alum Terry Crews is energetic and fun to watch but not really funny, and "Bridesmaids" Wendi McLendon-Covey gets the only truly funny lines in a scene she shares with Sandler. "Blended," unlike some other recent Sandler fare, isn't horribly unwatchable, but it isn't necessarily a treat to watch, either. This silly, predictable mess even has some scattered laughs and sweet moments, but mostly it's another one to skip, even though Barrymore still comes out smelling a rose. And for the record, I hope Dick's Sporting Goods was paid a considerable amount of cash for product placement in this embarrassment, which will probably be another hit for the Sandler movie machine.
Wes's Grade: D
Even Barrymore can't save this crappy Sandler vehicle
Another year, another crappy Adam Sandler movie. At least this crappy Sandler movie is unoriginal, overly sentimental and has the grace to feature the lovely Drew Barrymore, who alone saves their new comedy "Blended" from getting a total F. It's also not as wildly, over-the-top crass as "Jack and Jill" or "That's My Boy," though even with Barrymore around he still manages to offend. After a bad blind date, single parents Jim Friedman (Sandler) and Lauren Reynolds (Barrymore) find themselves stuck together at a resort for families, where their attraction grows as their respective children benefit from the burgeoning relationship. The bland, unfunny "Blended" is tame PG-13 Sandler, and while easier to digest, it's still not a pleasant affair and leaves a bad aftertaste, which is mildly surprising, given the other two Sandler/Barrymore efforts are among Sandler's better films, "The Wedding Singer" and "50 First Dates," with the former considered one of his most charming films before he started making offensive, childish films catered for the masses. Directed by "Wedding Singer's" Frank Coraci in hopes of recreating some of that film's magic, this sweet but stupid "Brady Bunch" ripoff is easily the worst Sandler/Barrymore effort and one of Sandler's least embarrassing ones, though neither is saying much. Barrymore is lovely but wasted as Sandler's love interest, and there are long, painful stretches where nothing interesting (i.e. actually funny) really happens, alternating between the dumb and sentimental. Even with Barrymore around "Blended's" woeful, badly acted script still manages to offend in the treatment of women, children, minorities, foreign nationals and basically anything that moves. Sandler alum Terry Crews is energetic and fun to watch but not really funny, and "Bridesmaids" Wendi McLendon-Covey gets the only truly funny lines in a scene she shares with Sandler. "Blended," unlike some other recent Sandler fare, isn't horribly unwatchable, but it isn't necessarily a treat to watch, either. This silly, predictable mess even has some scattered laughs and sweet moments, but mostly it's another one to skip, even though Barrymore still comes out smelling a rose. And for the record, I hope Dick's Sporting Goods was paid a considerable amount of cash for product placement in this embarrassment, which will probably be another hit for the Sandler movie machine.
Wes's Grade: D
X-Men: Days of Future Past - B
Rated PG-13, 130 minutes
Lots to track of, but "X-Men: Days of Future Past" is rollicking fun
I will say up front, in the latest "X-Men" offering, there's loads of characters, plots and Marvel comic book references that should more than please the fan boy set. As for the rest of us, the epic, enjoyable "X-Men: Days of Future Past" is the best "X-Men" since "X-Men: The Last Stand" and a decent thrill ride as we enter the summer movie-going season with full force. It also helps that "Days of Future Past" is more of a throwback nod to the original film series, given that it's directed by Bryan Singer and features more characters and actors you're familiar with. The film opens in a dystopian future as the mutants are being hunted to exinction by some mutant-hunting robots called the Sentinels. Professor X (Patrick Stewart) and Magneto (Ian McKellan) send Wolverine (Hugh Jackman) back in time to 1973 to aid the younger Professor X and Magneto (James McAvoy and Michael Fassbender, both terrific here) in stopping Raven/Mystique (Jennifer Lawrence) from killing a noted scientist (Peter Dinklage) whose efforts started the war between the Sentinels and the Mutants. Directed by Singer and a screenplay by Simon Kinberg, "X-Men: Days of Future Past" is energetic, charming fun that mixes both old and new "X-Men" to provide the most pleasing "X-Men" film in this new series, on par with the original film series, two of which were helmed by Singer himself. It's great to have Singer back as director, and it's nice seeing Stewart and McKellan as well, with nods (albeit small) to all the old group (stay around till the end and you'll see everyone, but you didn't hear that from me). McAvoy and Fassbender go at it with considerable charm along with Jackman and Lawrence and a very large ensemble cast filled with numerous Marvel characters, most memorable Nicholas Hoult as the young Beast and Evan Peters as Quicksilver, who steals a few scenes early on from McAvoy and Fassbender. There's too many characters and plot to keep track of, but there's enough to keep you engaged for this action-packed ride; Singer manages to stage some nice action set pieces, including the interesting climax with none other than Richard Nixon, as well as filling it with some enjoyable visuals and nice special effects. As with almost all of these types of films, you'll want to stay over for an end-credits scene that sets up the next film and will most make sense if you're into the Marvel comic books. Even if you're unfamiliar with the comic book series, and count me as one of those, there's still plenty of fun to be had in the dark, intense and crowd-pleasing "X-Men: Days of Future Past."
Wes's Grade: B
Lots to track of, but "X-Men: Days of Future Past" is rollicking fun
I will say up front, in the latest "X-Men" offering, there's loads of characters, plots and Marvel comic book references that should more than please the fan boy set. As for the rest of us, the epic, enjoyable "X-Men: Days of Future Past" is the best "X-Men" since "X-Men: The Last Stand" and a decent thrill ride as we enter the summer movie-going season with full force. It also helps that "Days of Future Past" is more of a throwback nod to the original film series, given that it's directed by Bryan Singer and features more characters and actors you're familiar with. The film opens in a dystopian future as the mutants are being hunted to exinction by some mutant-hunting robots called the Sentinels. Professor X (Patrick Stewart) and Magneto (Ian McKellan) send Wolverine (Hugh Jackman) back in time to 1973 to aid the younger Professor X and Magneto (James McAvoy and Michael Fassbender, both terrific here) in stopping Raven/Mystique (Jennifer Lawrence) from killing a noted scientist (Peter Dinklage) whose efforts started the war between the Sentinels and the Mutants. Directed by Singer and a screenplay by Simon Kinberg, "X-Men: Days of Future Past" is energetic, charming fun that mixes both old and new "X-Men" to provide the most pleasing "X-Men" film in this new series, on par with the original film series, two of which were helmed by Singer himself. It's great to have Singer back as director, and it's nice seeing Stewart and McKellan as well, with nods (albeit small) to all the old group (stay around till the end and you'll see everyone, but you didn't hear that from me). McAvoy and Fassbender go at it with considerable charm along with Jackman and Lawrence and a very large ensemble cast filled with numerous Marvel characters, most memorable Nicholas Hoult as the young Beast and Evan Peters as Quicksilver, who steals a few scenes early on from McAvoy and Fassbender. There's too many characters and plot to keep track of, but there's enough to keep you engaged for this action-packed ride; Singer manages to stage some nice action set pieces, including the interesting climax with none other than Richard Nixon, as well as filling it with some enjoyable visuals and nice special effects. As with almost all of these types of films, you'll want to stay over for an end-credits scene that sets up the next film and will most make sense if you're into the Marvel comic books. Even if you're unfamiliar with the comic book series, and count me as one of those, there's still plenty of fun to be had in the dark, intense and crowd-pleasing "X-Men: Days of Future Past."
Wes's Grade: B
Friday, May 16, 2014
Million Dollar Arm - C
Rated PG, 120 minutes
"Million Dollar Arm" is predictable, crowd-pleasing true-story Disney fluff
Walt Disney Pictures, in addition to making animated films for children, also enjoys finding inspiring, against-the-odds sports stories such as "The Rookie" and "Invincible" in hopes of cornering the family market as well. They've enjoyed modest success with these types of movies, and they've made another with the true baseball story "Million Dollar Arm," about a sports agent who goes to India to find Major League Baseball's next big thing. American sports agent J.B. Bernstein (Jon Hamm) go to India seeking baseball pitchers, through a reality show called Million Dollar Arm. They find two Indians (Madhur Mittal and Shuraj Sharma) who they hope to transform into Major League Baseball players. Directed by Craig Gillespie ("Lars and the Real Girl") and written by Thomas McCarthy, "Million Dollar Arm" is a mildly entertaining and pleasant but overly calculated true-story that's not as near as inspiring as the real story of Dinesh Patel and Rinku Singh, who were plucked from small towns in India and eventually signed with a Major League Team, all done "American Idol"-style. As the two wide-eyed young Indian boys who get their big break, Mittal (featured in "Slumdog Millionaire") and Sharma (the charming actor from "Life of Pi") are the most affecting and memorable, even with the dashing smile from "Mad Men's" Hamm and the crustyness of Alan Arkin as one of the baseball scouts. The central problem with some of these crowd-pleasingly true stories in the internet age is the ability to Google the story, essentially negating the need to see the movie. That is the problem with "Million Dollar Arm" as well. "Million Dollar Arm" is pleasantly inspiring in its own way, but if you Google it there's really no need to see the movie.
Wes's Grade: C
"Million Dollar Arm" is predictable, crowd-pleasing true-story Disney fluff
Walt Disney Pictures, in addition to making animated films for children, also enjoys finding inspiring, against-the-odds sports stories such as "The Rookie" and "Invincible" in hopes of cornering the family market as well. They've enjoyed modest success with these types of movies, and they've made another with the true baseball story "Million Dollar Arm," about a sports agent who goes to India to find Major League Baseball's next big thing. American sports agent J.B. Bernstein (Jon Hamm) go to India seeking baseball pitchers, through a reality show called Million Dollar Arm. They find two Indians (Madhur Mittal and Shuraj Sharma) who they hope to transform into Major League Baseball players. Directed by Craig Gillespie ("Lars and the Real Girl") and written by Thomas McCarthy, "Million Dollar Arm" is a mildly entertaining and pleasant but overly calculated true-story that's not as near as inspiring as the real story of Dinesh Patel and Rinku Singh, who were plucked from small towns in India and eventually signed with a Major League Team, all done "American Idol"-style. As the two wide-eyed young Indian boys who get their big break, Mittal (featured in "Slumdog Millionaire") and Sharma (the charming actor from "Life of Pi") are the most affecting and memorable, even with the dashing smile from "Mad Men's" Hamm and the crustyness of Alan Arkin as one of the baseball scouts. The central problem with some of these crowd-pleasingly true stories in the internet age is the ability to Google the story, essentially negating the need to see the movie. That is the problem with "Million Dollar Arm" as well. "Million Dollar Arm" is pleasantly inspiring in its own way, but if you Google it there's really no need to see the movie.
Wes's Grade: C
Thursday, May 15, 2014
Godzilla - B-
Rated PG-13, 121 minutes
Well-made, entertaining "Godzilla" still needs more monster
The grandaddy of all monsters gets another big-screen, big-budget reboot in "Godzilla," highlighted by the action sequences and gigantic creatures that go head-to-head. As fun as those CG action sequences might be, it's hampered by too much story, slow pacing and some of the hammiest acting seen this side of Pacino and DeNiro. Godzilla, a gigantic fire-breathing prehistoric monster wakened from his sleep at the bottom of the Pacific Ocean by nuclear testing in 1954, returns to wreak destruction and chaos across the face of civilization. Now a nuclear engineer (Bryan Cranston) teams with his son (Aaron Taylor-Johnson) to save the rest of humanity against an indestructible foe (called "Muto's") that might be nature's revenge against mankind's arrogance. "Godzilla" is directed Gareth Edwards, whose feature debut was a terrific 2010 indie film aptly titled "Monsters" and written by newcomer Max Borenstein, it's an enjoyable, mostly memorable film with the titular creature an anti-hero rather than villain, and is peppered with some serviceable action sequences and creatures that should place this well ahead of the 1998 Matthew Broderick disaster. On the plus side, when there is action, Edwards does it well, yet the biggest problem is there's too much story, a sluggish first hour and cardboard characters, and not enough Godzilla, who doesn't make an appearance until nearly an hour into it and is essentially a supporting character. Even an international cast featuring Oscar-nominated Sally Hawkins, Ken Watanabe, as well as Aaron Taylor-Johnson (from the "Kick-Ass" movies) and Elizabeth Olsen can't save the drab script though one comes close. "Breaking Bad's" Emmy-winner Cranston, a terrific character actor, tries to enliven the first hour with one of his hammiest turns ever, but he is the standout amongst the other lower-key performances, including the lovely Juliette Binoche, who makes a much, much too early exit. Things pop much more in the second hour, so you have to stay with it, and while I like the smart edge to making Godzilla an anti-hero, sort of the Walter White of the creature world, "Godzilla" is entertaining, but it needs far more monster if it plans on being a tent-pole success in future films.
Wes's Grade: B-
Well-made, entertaining "Godzilla" still needs more monster
The grandaddy of all monsters gets another big-screen, big-budget reboot in "Godzilla," highlighted by the action sequences and gigantic creatures that go head-to-head. As fun as those CG action sequences might be, it's hampered by too much story, slow pacing and some of the hammiest acting seen this side of Pacino and DeNiro. Godzilla, a gigantic fire-breathing prehistoric monster wakened from his sleep at the bottom of the Pacific Ocean by nuclear testing in 1954, returns to wreak destruction and chaos across the face of civilization. Now a nuclear engineer (Bryan Cranston) teams with his son (Aaron Taylor-Johnson) to save the rest of humanity against an indestructible foe (called "Muto's") that might be nature's revenge against mankind's arrogance. "Godzilla" is directed Gareth Edwards, whose feature debut was a terrific 2010 indie film aptly titled "Monsters" and written by newcomer Max Borenstein, it's an enjoyable, mostly memorable film with the titular creature an anti-hero rather than villain, and is peppered with some serviceable action sequences and creatures that should place this well ahead of the 1998 Matthew Broderick disaster. On the plus side, when there is action, Edwards does it well, yet the biggest problem is there's too much story, a sluggish first hour and cardboard characters, and not enough Godzilla, who doesn't make an appearance until nearly an hour into it and is essentially a supporting character. Even an international cast featuring Oscar-nominated Sally Hawkins, Ken Watanabe, as well as Aaron Taylor-Johnson (from the "Kick-Ass" movies) and Elizabeth Olsen can't save the drab script though one comes close. "Breaking Bad's" Emmy-winner Cranston, a terrific character actor, tries to enliven the first hour with one of his hammiest turns ever, but he is the standout amongst the other lower-key performances, including the lovely Juliette Binoche, who makes a much, much too early exit. Things pop much more in the second hour, so you have to stay with it, and while I like the smart edge to making Godzilla an anti-hero, sort of the Walter White of the creature world, "Godzilla" is entertaining, but it needs far more monster if it plans on being a tent-pole success in future films.
Wes's Grade: B-
Wednesday, May 14, 2014
Chef - B
Rated R, 115 minutes
"Chef" a charming, delectable comedy about trying new things
The mostly winning new dramedy from "IronMan's" Jon Favreau serves up a satisfying, crowd-pleasing menu and proves that it doesn't hurt to try something new from time to time. Assembling a great cast, it goes on a tad too long and the ending a little pat, but there are enough fun moments you'll leave with a big smile. When Miami-born workaholic chef Carl Casper (Favreau) is fired from the restaurant in Los Angeles whose kitchen he manages, he returns to Miami and ends up fixing up a food truck he names El Jefe Cubanos. He plans to drive across the country with one of his former line cooks (John Leguizamo) reclaim his success in L.A. and also reconnect with his son (newcome EmJay Anthony) who tags along with them. Written, directed, produced and starring the portly Favreau, "Chef" is a change of pace for Favreau, as it does not have "IronMan's" action though it does feature a couple of the Avengers, Scarlet Johansson and Robert Downey Jr., in small roles (Downey's is really a cameo), not to mention Oliver Platt, Oscar-winner Dustin Hoffman and "Modern Family's" Sofia Vergara in supporting roles as well (and also watch for comedian Amy Sedaris in a hiliarious cameo). It's Favreau's cast that really shines here, and after a slow start, it picks up energy midway through when it hits the road in the truck, where the most fun occurs with warm chemistry amongst Favreau, Leguizamo and newcomer Anthony, who's also quite affecting here. "Chef" could've trimmed the five-course menu to about three, as it goes on a little too long and the ending a little all-too happy, but still crowd-pleasing nonetheless. It won't please those looking for action, but you'll still have a good time. And you'll have a different view of molten cake after seeing the film (Favreau's showdown with Platt midway through is the film's best scene). Worth a look.
Wes's Grade: B
"Chef" a charming, delectable comedy about trying new things
The mostly winning new dramedy from "IronMan's" Jon Favreau serves up a satisfying, crowd-pleasing menu and proves that it doesn't hurt to try something new from time to time. Assembling a great cast, it goes on a tad too long and the ending a little pat, but there are enough fun moments you'll leave with a big smile. When Miami-born workaholic chef Carl Casper (Favreau) is fired from the restaurant in Los Angeles whose kitchen he manages, he returns to Miami and ends up fixing up a food truck he names El Jefe Cubanos. He plans to drive across the country with one of his former line cooks (John Leguizamo) reclaim his success in L.A. and also reconnect with his son (newcome EmJay Anthony) who tags along with them. Written, directed, produced and starring the portly Favreau, "Chef" is a change of pace for Favreau, as it does not have "IronMan's" action though it does feature a couple of the Avengers, Scarlet Johansson and Robert Downey Jr., in small roles (Downey's is really a cameo), not to mention Oliver Platt, Oscar-winner Dustin Hoffman and "Modern Family's" Sofia Vergara in supporting roles as well (and also watch for comedian Amy Sedaris in a hiliarious cameo). It's Favreau's cast that really shines here, and after a slow start, it picks up energy midway through when it hits the road in the truck, where the most fun occurs with warm chemistry amongst Favreau, Leguizamo and newcomer Anthony, who's also quite affecting here. "Chef" could've trimmed the five-course menu to about three, as it goes on a little too long and the ending a little all-too happy, but still crowd-pleasing nonetheless. It won't please those looking for action, but you'll still have a good time. And you'll have a different view of molten cake after seeing the film (Favreau's showdown with Platt midway through is the film's best scene). Worth a look.
Wes's Grade: B
Friday, May 9, 2014
Locke - B-
Rated R, 84 minutes
Hardy is superb as "Locke" in tense, one-man ride
The low-budget, independent film "Locke" is a tense, well-acted thriller directed by Steven Knight, the screenwriter from "Eastern Promises" and "Dirty Pretty Things." It's also a one man show, starring "The Dark Rises" Tom Hardy (he was bad guy Bane in that film), and he holds your interest well. Construction foreman Ivan Locke (Hardy) leaves an important job in Birmingham and drives down to London. Along the way, he tries to settle stressful personal and professional problems on his mobile phone while having imaginary conversations with his long deceased father. For a one-person film that spends its entire 84 minutes inside a car, "Locke" is intense, taut and keeps you engaged much more than you might think as Locke has a serious of mostly unfortunate phone conversations on his hands free device. Films with a limited cast sometimes work well other times they don't (the recent Redford flick "All is Lost" is one of the better ones of late), but it's held together by the masterful performance of Hardy and Knight's sturdy direction. The film veers off time to time and meanders somewhat midfilm under a load of different conversations, but it's a tense, watchable ride, even if you really wouldn't want to be in the car with him during these conversations. "Locke" may be a little too tricky and talky from some and admittedly it's not perfect, but it's worth a look from a tour-de-force performance from Hardy.
Wes's Grade: B-
Hardy is superb as "Locke" in tense, one-man ride
The low-budget, independent film "Locke" is a tense, well-acted thriller directed by Steven Knight, the screenwriter from "Eastern Promises" and "Dirty Pretty Things." It's also a one man show, starring "The Dark Rises" Tom Hardy (he was bad guy Bane in that film), and he holds your interest well. Construction foreman Ivan Locke (Hardy) leaves an important job in Birmingham and drives down to London. Along the way, he tries to settle stressful personal and professional problems on his mobile phone while having imaginary conversations with his long deceased father. For a one-person film that spends its entire 84 minutes inside a car, "Locke" is intense, taut and keeps you engaged much more than you might think as Locke has a serious of mostly unfortunate phone conversations on his hands free device. Films with a limited cast sometimes work well other times they don't (the recent Redford flick "All is Lost" is one of the better ones of late), but it's held together by the masterful performance of Hardy and Knight's sturdy direction. The film veers off time to time and meanders somewhat midfilm under a load of different conversations, but it's a tense, watchable ride, even if you really wouldn't want to be in the car with him during these conversations. "Locke" may be a little too tricky and talky from some and admittedly it's not perfect, but it's worth a look from a tour-de-force performance from Hardy.
Wes's Grade: B-
Belle - B+
Rated PG, 105 minutes
Fact-based period drama "Belle" a compelling look at treatment of race and gender
The affecting, relevant new period British drama "Belle" is inspired by the story behind an actual painting. Thought-provoking and well-acted, it's a memorable look at the treatment of women and minorities in England a few hundred years ago. Dido Belle (newcomer and British actress Gugu Mbatha-Raw), the illegitimate mixed-race daughter of a Royal Navy officer, is brought to England by her father and left in the care of his uncle, Lord Mansfield and his wife (Tom Wilkinson and Emily Watson). Though the social mores of the time make her an outsider, Dido is raised by Mansfield as an aristocrat alongside her cousin Elizabeth (Sarah Gadon). Dido's burgeoning relationships with local men bring her controversy, not to mention an important slavery case that her uncle is overseeing. Handsomely photographed and pertinent regardless of the age it's set in, "Belle" touches on issues we've seen before, though from a different perspective, an aristrocratic one, though regardless of how Belle was raised, we see there were issues with minorities even back then. Newcomer Mbatha-Raw shines in a breakout turn as Belle, in a performance that's shaded with heartbreak and emotion that's beyond surface level (she longs to be a different color to be treated better) and more memorable than her fellow veteran actors Wilkinson, Watson and Miranda Richardson, all who have acted in a movie or two over the years. "Belle" is an important film with an an important message, though it doesn't try to be too preachy. As with many period dramas, it's a slow and talky for some people's taste who enjoy all the blood and action, but "Belle" is a film to be seen and enjoyed. Worth a look.
Wes's Grade: B+
Fact-based period drama "Belle" a compelling look at treatment of race and gender
The affecting, relevant new period British drama "Belle" is inspired by the story behind an actual painting. Thought-provoking and well-acted, it's a memorable look at the treatment of women and minorities in England a few hundred years ago. Dido Belle (newcomer and British actress Gugu Mbatha-Raw), the illegitimate mixed-race daughter of a Royal Navy officer, is brought to England by her father and left in the care of his uncle, Lord Mansfield and his wife (Tom Wilkinson and Emily Watson). Though the social mores of the time make her an outsider, Dido is raised by Mansfield as an aristocrat alongside her cousin Elizabeth (Sarah Gadon). Dido's burgeoning relationships with local men bring her controversy, not to mention an important slavery case that her uncle is overseeing. Handsomely photographed and pertinent regardless of the age it's set in, "Belle" touches on issues we've seen before, though from a different perspective, an aristrocratic one, though regardless of how Belle was raised, we see there were issues with minorities even back then. Newcomer Mbatha-Raw shines in a breakout turn as Belle, in a performance that's shaded with heartbreak and emotion that's beyond surface level (she longs to be a different color to be treated better) and more memorable than her fellow veteran actors Wilkinson, Watson and Miranda Richardson, all who have acted in a movie or two over the years. "Belle" is an important film with an an important message, though it doesn't try to be too preachy. As with many period dramas, it's a slow and talky for some people's taste who enjoy all the blood and action, but "Belle" is a film to be seen and enjoyed. Worth a look.
Wes's Grade: B+
Fading Gigolo - C
Rated R, 97 minutes
Mildly entertaining but vulgar and eneven "Fading Gigolo"
Much like sex itself, the strange new comedy "Fading Gigolo" has some fun moments but in the end a vulgar mess of a movie. Directed, written by and starring John Turturro, it's about the oldest known profession - yes that profession - except from the male perspective and as many tricks as it tries to turn, it fails to really make a connection (or much sense for that matter). Fioravante (Turturro) decides to become a professional Don Juan as a way of making money to help his cash-strapped friend, Murray (Woody Allen). With Murray acting as his "manager", the duo quickly finds themselves caught up in the crosscurrents of love and money, including two rich women (Sharon Stone and Sofia Vergara) who fight over gets to use his services. "Fading Gigolo" has a handful of fun moments, mostly the chatty chemistry between Allen (how he managed to get Allen - who doesn't direct or write here - to do this is beyond me) and Turturro. Stone and Vergara are wasted, as is Liev Schreiber, but worst of all the movie is just preposterous when you think about it, though it seems people will do just about anything for money, including making a movie about Woody Allen as your pimp.
Wes's Grade: C
Mildly entertaining but vulgar and eneven "Fading Gigolo"
Much like sex itself, the strange new comedy "Fading Gigolo" has some fun moments but in the end a vulgar mess of a movie. Directed, written by and starring John Turturro, it's about the oldest known profession - yes that profession - except from the male perspective and as many tricks as it tries to turn, it fails to really make a connection (or much sense for that matter). Fioravante (Turturro) decides to become a professional Don Juan as a way of making money to help his cash-strapped friend, Murray (Woody Allen). With Murray acting as his "manager", the duo quickly finds themselves caught up in the crosscurrents of love and money, including two rich women (Sharon Stone and Sofia Vergara) who fight over gets to use his services. "Fading Gigolo" has a handful of fun moments, mostly the chatty chemistry between Allen (how he managed to get Allen - who doesn't direct or write here - to do this is beyond me) and Turturro. Stone and Vergara are wasted, as is Liev Schreiber, but worst of all the movie is just preposterous when you think about it, though it seems people will do just about anything for money, including making a movie about Woody Allen as your pimp.
Wes's Grade: C
Neighbors - B
Rated R, 97 minutes
Unoriginal but crowd-pleasing "Neighbors" is profane, adult fun
If you want to know what it's like living next door to a frat house, then the energetic new comedy "Neighbors" will give you insight into that. While not exactly revelatory (or realistic for that matter), it's still tremendous fun from its less-annoying-than-usual starts, Zac Efron and Seth Rogen. A couple (Rogen and Rose Byrne) with a newborn baby move into a new neighborhood and face unexpected difficulties following the establishment of a frat house in the adjacent residence. An intensive conflict between the two parties (Zac Efron, Dave Franco and others) ensues. Directed by Nicholas Stoller ("The Five Year Engagement"), it's as bawdy and dirty as you might expect, but you'll find yourself laughing more than expected as well, even if it's as predictable as the day is long. It earns its laughs, and more than earns than R-rating, and this is a very adult comedy that definitely isn't for the kids. The frat-versus-family premise runs its course redundantly by the last act, and there really isn't a clear message, except that everyone, including frat brothers, are family and must take care of each other. Rogen's chatty uncoolness comes in handy here, as does Efron's blank, handsome stares that still resemble posing. Parties, hijinks and all sorts of other things happen (a hilarious bit with some airbags is the most memorable), most of which can't be published on this family site. The predictable "Neighbors" is a bawdy crowd-pleaser and on that note it does its job just fine and should be a welcome hit for both Efron and Rogen.
Wes's Grade: B
Unoriginal but crowd-pleasing "Neighbors" is profane, adult fun
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| Zac Efron and Seth Rogen |
Wes's Grade: B
Thursday, May 8, 2014
Blue Ruin - B
Rated R, 92 minutes
“Blue Ruin” a tense, dark revenge thriller that allows the weak to become strong
“Blue Ruin”is the dark, intense new thriller about family ties and revenge that will likely be one of the year’s best movies about revenge made by and starring people you haven’t heard of. Directed, written and photographed by Jeremy Saulnier (“Murder Party”) and starring frequent collaborator and childhood friend Macon Blair, it’s brooding and engaging, even if it’s slow pacing relies on a handful of all-too familiar cinematic conventions. Blair is Dwight Evans, a homeless drifter traumatized by the murder of his parents 20 years earlier by the jilted spouse whose wife was having an affair with Dwight’s father. When the supposed killer is released, it propels Dwight to take matters into his own hands, erupting into a war between he and the killer’s dangerous extended family. Filmed on location in Virginia, Delaware and surrounding states, with the gripping, well-acted “Blue Ruin,” Saulnier mines the fascination behind Dwight’s revenge, given that Dwight is more or less a normal schlump thrust into a situation he’d rather not be in. Newcomer Blair, whose screen credits have been limited to most projects with old friend Saulnier, he provides a humanity to Dwight and allowing him to rise from weakling to temporary assassin, and how important family ties are to him. Unfortunately, they’re also important to the killer’s family, which provokes Dwight to rise up and become an unwitting hero. “Blue Ruin” will likely be most notable for the supporting roles, played by some familiar faces you may not have seen in awhile. Watch for “Homeland’s” Amy Hargreaves in a brief, affecting role as Dwight’s sister, former child actor Devin Ratray (Buzz from the “Home Alone” films) stealing scenes as a high school pal who schools him in the art of guns, and in a nice bit of stunt casting, Eve Plumb (aka Jan Brady from “The Brady Bunch”) in a brief cameo in the film’s climax. The dark film is peppered with blood and intensity, particularly a home invasion scene and the gripping climax, alternated with Dwight’s coming-of-age as a killer himself. The last act is a bit predictable and leans toward the tragic side, but “Blue Ruin” is an often fascinating, if not overly downbeat, look at how important family is to some.
Wes’s Grade: B
Saturday, May 3, 2014
Finding Vivian Maier - B
Unrated, 84 minutes
Fascinating doc "Finding Vivian Maier" attempts to give insight into reclusive photographer
There are seemingly endless documentaries about whatever subject you want to choose, but "Finding Vivian Maier" is one of the more oddly fascinating ones as it seeks to uncover the mystery behind a famous street photographer. Exactly who is Vivian Maier? Now considered a famous American street photographer who lived in Chicago, Vivian Maier was a nanny for 40 years who secretly took over 100,000 photographs that went unseen during her lifetime. Since buying her work by chance at auction, amateur historian John Maloof has crusaded to put this prolific photographer in the history books. Maier's strange and riveting life and art are revealed through never-before-seen photographs, films, and interviews with dozens who thought they knew her. Unconventional but compelling, "Finding Vivan Maier" tries to give historical record to a fascinating, mysterious photography who was little known by those around her. There are dozens of interviews by historian and documentary filmmaker Maloof, including talk show host Phil Donahue of all people, who hired Maier as his nanny, though most of the details of Maier's life come through the thousands of her arresting (and mostly black-and-white) photographs taken anonymously on the streets of Chicago and other places. As interesting a subject as Maier is, there's only so much you can say about a reclusive artist who had no family and no close friends to speak of (it sheds little light on her personal life except for the brief interactions people had with her), except to show her many photographs, which Maloof does abundantly. Maier's story, as bizarre as she/it was, deserves to be told, but more important is her work that came from the mystery of who she really was.
Wes's Grade: B
Fascinating doc "Finding Vivian Maier" attempts to give insight into reclusive photographer
There are seemingly endless documentaries about whatever subject you want to choose, but "Finding Vivian Maier" is one of the more oddly fascinating ones as it seeks to uncover the mystery behind a famous street photographer. Exactly who is Vivian Maier? Now considered a famous American street photographer who lived in Chicago, Vivian Maier was a nanny for 40 years who secretly took over 100,000 photographs that went unseen during her lifetime. Since buying her work by chance at auction, amateur historian John Maloof has crusaded to put this prolific photographer in the history books. Maier's strange and riveting life and art are revealed through never-before-seen photographs, films, and interviews with dozens who thought they knew her. Unconventional but compelling, "Finding Vivan Maier" tries to give historical record to a fascinating, mysterious photography who was little known by those around her. There are dozens of interviews by historian and documentary filmmaker Maloof, including talk show host Phil Donahue of all people, who hired Maier as his nanny, though most of the details of Maier's life come through the thousands of her arresting (and mostly black-and-white) photographs taken anonymously on the streets of Chicago and other places. As interesting a subject as Maier is, there's only so much you can say about a reclusive artist who had no family and no close friends to speak of (it sheds little light on her personal life except for the brief interactions people had with her), except to show her many photographs, which Maloof does abundantly. Maier's story, as bizarre as she/it was, deserves to be told, but more important is her work that came from the mystery of who she really was.
Wes's Grade: B
Dom Hemingway - B
Rated R, 98 minutes
Law's "Dom Hemingway" is an effusive, sometimes dark firecracker
Sometimes crime can be fun, and the charming but dark new British crime comedy "Dom Hemingway" starring Jude Law certainly steals some laughs amidst a thin premise. After twelve years in prison, Dom (Law) sets off with his partner in crime Dickie (Richard E. Grant) looking to collect what he's owed for keeping his mouth shut and protecting his boss Mr. Fontaine (Demian Bichir). After a near death experience, Dom tries to re-connect with his estranged daughter (Emilia Clarke), but is soon drawn back into the only world he knows, looking to settle the ultimate debt. Directed and written by TV director Richard Shepard, "Dom Hemingway" is a dark comedy with an emphasis on the dark and it mines similar territory as the recent "In Bruges," but it's made watchable by the talented Law in a hilarious turn. Dom is a louse with some terribly bad luck, but he's a charming louse as played by the well-dressed Law, it's funny/sad how Dom keeps getting up after he's knocked down by his awful luck. As his long-suffering, one-handed partner, British character actor Grant keeps pace with Law in a terrific, funny supporting turn, and he's a great pairing with Law that provides some of the film's more memorable moments. Shepard's screenplay is a bit thin and predictable and you have a sense that it will turn out OK for Dom in the end, but it's fun getting there. "Dom Hemingway" is a dark British comedy that's worth a look for the charming, witty performances.
Wes's Grade: B
Law's "Dom Hemingway" is an effusive, sometimes dark firecracker
Sometimes crime can be fun, and the charming but dark new British crime comedy "Dom Hemingway" starring Jude Law certainly steals some laughs amidst a thin premise. After twelve years in prison, Dom (Law) sets off with his partner in crime Dickie (Richard E. Grant) looking to collect what he's owed for keeping his mouth shut and protecting his boss Mr. Fontaine (Demian Bichir). After a near death experience, Dom tries to re-connect with his estranged daughter (Emilia Clarke), but is soon drawn back into the only world he knows, looking to settle the ultimate debt. Directed and written by TV director Richard Shepard, "Dom Hemingway" is a dark comedy with an emphasis on the dark and it mines similar territory as the recent "In Bruges," but it's made watchable by the talented Law in a hilarious turn. Dom is a louse with some terribly bad luck, but he's a charming louse as played by the well-dressed Law, it's funny/sad how Dom keeps getting up after he's knocked down by his awful luck. As his long-suffering, one-handed partner, British character actor Grant keeps pace with Law in a terrific, funny supporting turn, and he's a great pairing with Law that provides some of the film's more memorable moments. Shepard's screenplay is a bit thin and predictable and you have a sense that it will turn out OK for Dom in the end, but it's fun getting there. "Dom Hemingway" is a dark British comedy that's worth a look for the charming, witty performances.
Wes's Grade: B
Only Lovers Left Alive - B-
Rated R, 122 minutes
"Only Lovers Left Alive" is Jarmush's droll, arresting take vampires
Jim Jarmusch, independent filmmaker of such films as "Ghost Dog," "Coffee and Cigarettes" and "Broken Flowers" is certainly an acquired taste, and his intriguing, well-acted new vampire film "Only Lovers Left Alive" is no different than many of his other films: visually sublime but slow-paced and talky. Still, Jarmusch has some interesting ideas about vampires that's worth a look. Tom Hiddleston is Adam, a reclusive, depressed and wealthy musician living in Detroit. Tilda Swinton is his somber wife Eve, who lives in Tangiers. They each survive by living on blood on suppliers, Adam from a blood bank, Eve from a fellow, elder vampire named Marlowe (John Hurt), who supposedly wrote most of Shakespeare's plays. The idyllic couple reunites but their modern world is upended by Eve's younger, uncontrollable sister (Mia Wasikowska). "Only Lovers Left Alives" is a visually absorbing, droll drama with excellent performances by an inspired cast that keep the slow-moving film alive. Oscar-winner Swinton has always been a bit of an oddity but with flowing robes and teased blonde hair she fits perfectly in here, and Hiddleston's low-key turn may make you forget anything related to Thor or Loki, though both are upstaged by Wasikowska's energy. Jarmusch's original screenplay has some nice, unique touches that you have to watch closely for, such as Adam's inventions or Marlowe's contributions to Shakespeare's work, not to mention that humans are (a little confusingly) referred to as "zombies." If it weren't for the cast, this vampire drama might suck more, but thanks to Jarmusch's inventive direction and screenplay, this is worth seeing, just know it often feels slower than molasses.
Wes's Grade: B-
"Only Lovers Left Alive" is Jarmush's droll, arresting take vampires
Jim Jarmusch, independent filmmaker of such films as "Ghost Dog," "Coffee and Cigarettes" and "Broken Flowers" is certainly an acquired taste, and his intriguing, well-acted new vampire film "Only Lovers Left Alive" is no different than many of his other films: visually sublime but slow-paced and talky. Still, Jarmusch has some interesting ideas about vampires that's worth a look. Tom Hiddleston is Adam, a reclusive, depressed and wealthy musician living in Detroit. Tilda Swinton is his somber wife Eve, who lives in Tangiers. They each survive by living on blood on suppliers, Adam from a blood bank, Eve from a fellow, elder vampire named Marlowe (John Hurt), who supposedly wrote most of Shakespeare's plays. The idyllic couple reunites but their modern world is upended by Eve's younger, uncontrollable sister (Mia Wasikowska). "Only Lovers Left Alives" is a visually absorbing, droll drama with excellent performances by an inspired cast that keep the slow-moving film alive. Oscar-winner Swinton has always been a bit of an oddity but with flowing robes and teased blonde hair she fits perfectly in here, and Hiddleston's low-key turn may make you forget anything related to Thor or Loki, though both are upstaged by Wasikowska's energy. Jarmusch's original screenplay has some nice, unique touches that you have to watch closely for, such as Adam's inventions or Marlowe's contributions to Shakespeare's work, not to mention that humans are (a little confusingly) referred to as "zombies." If it weren't for the cast, this vampire drama might suck more, but thanks to Jarmusch's inventive direction and screenplay, this is worth seeing, just know it often feels slower than molasses.
Wes's Grade: B-
Thursday, May 1, 2014
The Amazing Spider-Man 2 - C+
Rated PG-13, 142 minutes
Meet the new, not-so-amazing "Spider-Man 2"
With great power comes great responsibility...to make an amazing superhero movie, and "The Amazing Spider-Man 2" is not that movie, maybe more like "The So-So Spider-Man 2." This Spidey installment is a little bittersweet, a little dark and filled with plenty of action and exciting visuals, but it's also too long and lacks the emotional gravitas and grit of "The Dark Knight Rises," which this is clearly trying to emulate. Peter Parker/Spider-Man's (Andrew Garfield) battles this time out include Electro (Jamie Foxx), once a normal schlub and OsCorp employee who by accident turns into a mutual electrical generator, as well as his old friend Harry Osborn (Dane DeHaan), who longs for a piece of Spider-Man to stay alive, all the while trying to save the most important thing in his life: his longtime love Gwen Stacy (Emma Stone). Entertaining but uneven, "The Amazing Spider-Man" is a sequel to "The Amazing Spider-Man" (2012), the (and what some feel was an unnecessary) reboot of the beloved Spider-Man franchise; this outing is enjoyably overstuffed with too much - villains, special effects, loads of unnecessary backstory - except what it really needs: a good dose of heart (not to mention a better script), which this lacks. Director Marc Webb is back for this outing and fills it with some nice touches and some serviceably enjoyable action sequences, especially the Times Square showdown early on, though the clunky storytelling drags it down (do we really need all this backstory? not so much). A miscast Garfield remains a lanky, somewhat wimpy Spidey, crying at every turn, giving way to villains who steal the movie from him: a scowling Foxx as Electro and a brooding, well-cast DeHaan as Harry/The Green Goblin, whose dark vibe will cast an interesting glow on the next Spider-Man outing, of which he is clearly set up to be a major part of. "The Amazing Spider-Man 2" goes on too long and its last act in particular could've been trimmed, and on that note some won't care for the bittersweet ending, which finds a major character killed off. I didn't hate "The Amazing Spider-Man 2" but I didn't love it, either. Spider-Man isn't my favorite superhero (my favorites are still Batman and IronMan) but some still find him amazing. In this outing, he's simply mediocre.
Wes's Grade: C+
Meet the new, not-so-amazing "Spider-Man 2"
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| Andrew Garfield and Emma Stone |
Wes's Grade: C+
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