Rated R, 90 minutes
"La Bare" an entertaining, occasionally revealing look at the famous male strip club
"La Bare" is the real, untold story behind the dancers that helped inspire the Matthew McConaughey hit "Magic Mike." An enjoyable, behind the scenes documentary that's directed by actor Joe Manganiello ("Magic Mike" and "True Blood") in his debut as a director, the film goes behind the curtain, behind the stage and
behind the magic of the world's most popular male strip club, La Bare right here in Dallas, Texas. Featuring a unique ensemble of the club's most popular dancers, the documentary takes a provocative look into their rockstar lifestyle and
offers a front row seat to their lives, loves, laughs and losses. An entertaining, often fascinating look at the world of male stripping, "La Bare" is revealing in that it highlights the differences between men and women. Men are strictly visual and prefer big, busty women, while women prefer to enjoy a little show with their beefcake. It also highlights the many personalities and the reasons why these handsome men do what they do - some to earn a quick buck, some for the women, and others for legitimate business reasons. Speaking of which, one of the most fascinating characters Manganiello shows is Randy "Master Blaster" Ricks, who not only holds the Guinness World Record for longest consecutive male dancer (34 years and counting) but also takes it so seriously he mentors the younger guys and has his own successful male stripping business, with his own Mom answering the phones. Though the documentary was put into motion no doubt by the success of "Magic Mike," that film really owes its inspiration to these guys, who obviously know how to put on a show. Though "La Bare" often serves as an extended ad for the club itself, the documentary can be enjoyed by both sexes and is also an insightful look at the business of guys who take their clothes off for a living. Just put the dollar bills away until you get to the club.
Wes's Grade: B
movies
Saturday, June 28, 2014
The Grand Seduction - B-
Rated PG-13, 115 minutes
"The Grand Seduction" is unoriginal but charming, offbeat comedy
If the enjoyable Canadian comedy "The Grand Seduction" seems familiar, it is. It's a remake of the 2003 French comedy "La Grande Seduction" but it's also calculated, but in such a calculated way you may not mind. A small fishing village must procure a local doctor to secure a lucrative business contract. When unlikely candidate and big city doctor Paul Lewis (Taylor Kitsch) lands in their lap for a trial residence, the townsfolk rally together to charm him into staying. As the doctor's time in the village winds to a close, acting mayor Murray French (Brendan Gleeson) has no choice but to pull out all the stops and begin The Grand Seduction. Directed by Don McKellar ("The Red Violin"), The pleasant "The Grand Seduction" is silly and predictable but carried by a charming cast, with a memorable, heartwarming turn from the very likable Gleeson, who should be given more leads. Though a remake of the aforementioned French movie, it bears striking resemblance to an equally charming 1983 British film "Local Hero" that garnered some acclaim for Oscar-winner Burt Lancaster in his final years of making movies. The affable Kitsch is a good pairing for Glesson, though both are upstaged by veteran Canadian actor Gordon Pinsent as one of the cranky townspeople, and it comes as no surprise that Pinsent won a Supporting Actor Award from the Canadian Screen Awards earlier this year. "The Grand Seduction" meanders a bit in its second act and you wonder how some could be so stupid to fall for something like this, but it's all in good fun. Worth a look for Gleeson and the hilarious Pinsent.
Wes's Grade: B-
"The Grand Seduction" is unoriginal but charming, offbeat comedy
If the enjoyable Canadian comedy "The Grand Seduction" seems familiar, it is. It's a remake of the 2003 French comedy "La Grande Seduction" but it's also calculated, but in such a calculated way you may not mind. A small fishing village must procure a local doctor to secure a lucrative business contract. When unlikely candidate and big city doctor Paul Lewis (Taylor Kitsch) lands in their lap for a trial residence, the townsfolk rally together to charm him into staying. As the doctor's time in the village winds to a close, acting mayor Murray French (Brendan Gleeson) has no choice but to pull out all the stops and begin The Grand Seduction. Directed by Don McKellar ("The Red Violin"), The pleasant "The Grand Seduction" is silly and predictable but carried by a charming cast, with a memorable, heartwarming turn from the very likable Gleeson, who should be given more leads. Though a remake of the aforementioned French movie, it bears striking resemblance to an equally charming 1983 British film "Local Hero" that garnered some acclaim for Oscar-winner Burt Lancaster in his final years of making movies. The affable Kitsch is a good pairing for Glesson, though both are upstaged by veteran Canadian actor Gordon Pinsent as one of the cranky townspeople, and it comes as no surprise that Pinsent won a Supporting Actor Award from the Canadian Screen Awards earlier this year. "The Grand Seduction" meanders a bit in its second act and you wonder how some could be so stupid to fall for something like this, but it's all in good fun. Worth a look for Gleeson and the hilarious Pinsent.
Wes's Grade: B-
Friday, June 27, 2014
They Came Together - B
Rated R, 83 minutes
Poehler and Rudd make for the perfect anti rom com team in "They Came Together"
The new romantic comedy "They Came Together" is absolutely nothing new, and you can probably figure it out just by looking at the synopsis on paper. But it's well-written and features two funny leads (not to mention a stellar supporting cast) you'll fall in love in instantly. When Joel (Paul Rudd) and Molly (Amy Poehler) meet, it's hate at first
sight: his big Corporate Candy Company threatens to shut down her quirky
indie candy shop. Plus, Joel is hung up on his sexy ex (Cobie
Smulders). But amazingly, they fall in love, until they break up about
two thirds of the way through, and Molly starts dating her accountant
(Ed Helms). It's amazing these two forty-somethings ever get together. "They Came Together," in spite of its predictable "You Got Mail"-esque premise, is the anti-rom com and often does a terrific job of skewering the genre itself while at the same time embracing it. It's helps that it's directed and co-written by David Wain, who's directed Rudd before in "Role Models" and "Wanderlust," and Wain's co-writer is Michael Showalter of "Wet Hot American," another Rudd vehicle. In addition, Rudd and Poehler are the two most likable leads this side of Kate Hudson, and well-supported by a terrific supporting cast including Smulders, Helms, Christopher Meloni, Bill Hader, Kenan Thompson, and Ellie Kemper, among many others. There are some fun scenes, including the costume party section and other rom com cliches (New York City, breakups, coffee shops, montages, wistful songs, bookstores, etc) that are well-incorporated and satirized at the same time - you'll laugh out loud when Poehler places her order in the coffee shop and Rudd gets it right or when Rudd meets Poehler's screen parents. "They Came Together" is enjoyably short and sweet and if it weren't so darn likable and tongue-in-cheek, would be just another predictable, bland rom com. The difference is it's a sharply funny, well-written and predictable rom com.
Wes's Grade: B
Poehler and Rudd make for the perfect anti rom com team in "They Came Together"
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| Paul Rudd and Amy Poehler |
Wes's Grade: B
Thursday, June 26, 2014
Transformers: Age of Extinction: C
Rated PG-13, 167 minutes
Latest, action-packed "Transformers" is more exhaustive clanging
Michael Bay and company are back with the latest "Transformers" outing, this time called "Age of Extinction" (unfortunately referring to the Transformers, not to the movie series) and with it comes a new human cast and some new machines. A few new shiny offerings doesn't necessarily equate to a better movie, and the modestly entertaining but wildly exhausting and overstuffed "Age of Extinction" only proves that Bay can pack even more into the clangy movie, represented by the 167 minute running time (and that's without credits). "Extinction" picks up a few years after the Chicago battle in the third movie. As humanity picks up the pieces, a shadowy group reveals itself in an attempt to control the direction of history...while an ancient, powerful new menace sets Earth in its crosshairs. With help from a determined Texas inventor (Mark Wahlberg), Optimus Prime and the Autobots rise to meet their most fearsome challenge yet and are swept up in a war of good and evil, ultimately leading to a climactic battle across the world. The excessively loud, action-packed "Transformers: Age of Extinction" may well be the biggest movie of the summer in terms of receipts, just don't expect it to be the best. Along with popcorn and soda, take a generous helping of Aleve gel caps and maybe a muscle relaxer to calm your nerves after finishing with the nearly three-hour opus, as you'll be considerably exhausted by it. The shiny, impressive visuals and action, like the previous two installments, is the most memorable, and one thing is for sure, this is where Bay and company consistently deliver, and I enjoyed seeing Optimus Prime as much as anyone. Everything else, including the story and acting, even with the talents of Wahlberg, not to mention a fun Stanley Tucci and a scowling Kelsey Grammer (yep, Frasier is the lead baddie here), is third-rate at best, though most will go for the special-effects and not for the depth of its human characters. On that note, the action-set pieces deliver just fine, though the redundant "Extinction" simply goes on and on much too long, with the final, headache-inducing, China-set battle going on for what seems like an eternity. Regardless of what I have to say about it, the uber-intense but overdone "Transformers: Age of Extinction," will clang its way to the top of the box-office, no doubt producing yet another chapter, "Transformers 5: The Migraine Age." Sprinkle some Excedrin on your popcorn and you'll be just fine.
Wes's Grade: C
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| Mark Wahlberg |
Michael Bay and company are back with the latest "Transformers" outing, this time called "Age of Extinction" (unfortunately referring to the Transformers, not to the movie series) and with it comes a new human cast and some new machines. A few new shiny offerings doesn't necessarily equate to a better movie, and the modestly entertaining but wildly exhausting and overstuffed "Age of Extinction" only proves that Bay can pack even more into the clangy movie, represented by the 167 minute running time (and that's without credits). "Extinction" picks up a few years after the Chicago battle in the third movie. As humanity picks up the pieces, a shadowy group reveals itself in an attempt to control the direction of history...while an ancient, powerful new menace sets Earth in its crosshairs. With help from a determined Texas inventor (Mark Wahlberg), Optimus Prime and the Autobots rise to meet their most fearsome challenge yet and are swept up in a war of good and evil, ultimately leading to a climactic battle across the world. The excessively loud, action-packed "Transformers: Age of Extinction" may well be the biggest movie of the summer in terms of receipts, just don't expect it to be the best. Along with popcorn and soda, take a generous helping of Aleve gel caps and maybe a muscle relaxer to calm your nerves after finishing with the nearly three-hour opus, as you'll be considerably exhausted by it. The shiny, impressive visuals and action, like the previous two installments, is the most memorable, and one thing is for sure, this is where Bay and company consistently deliver, and I enjoyed seeing Optimus Prime as much as anyone. Everything else, including the story and acting, even with the talents of Wahlberg, not to mention a fun Stanley Tucci and a scowling Kelsey Grammer (yep, Frasier is the lead baddie here), is third-rate at best, though most will go for the special-effects and not for the depth of its human characters. On that note, the action-set pieces deliver just fine, though the redundant "Extinction" simply goes on and on much too long, with the final, headache-inducing, China-set battle going on for what seems like an eternity. Regardless of what I have to say about it, the uber-intense but overdone "Transformers: Age of Extinction," will clang its way to the top of the box-office, no doubt producing yet another chapter, "Transformers 5: The Migraine Age." Sprinkle some Excedrin on your popcorn and you'll be just fine.
Wes's Grade: C
Tuesday, June 24, 2014
The Rover - B-
Rated R, 102 minutes
"The Rover" dark, depressing yet intriguing post-apocalyptic tale
"The Rover" is not a film for everyone. It's moody, downbeat and moves slowly at times, and though flawed, its "Mad Max" overtones and the leads chemistry helps make the film watchable. The movie, filmed in and set in post-apocalyptic Australia follows hardened loner Eric (Guy Pearce) as he travels the desolate towns and roads of the outback. When a gang of thieves steals his car they leave behind a wounded Rey ("Twilight's" Robert Pattinson) in their wake. Forcing Rey to help track the gang, Eric will go to any lengths to take back the one thing that still matters to him. Directed, written and co-produced by David Michod in a follow-up to his 2010 stylized mobster hit "Animal Kingdom," "The Rover" is an intriguing, original and quite dusty post-apoclyptic tale, just know going into it that it's not exactly the most uplifting film of late. Maybe pair this with a double feature like the recent comic hit "22 Jump Street" to effectively balance your moods out. The dour, sometimes erratic pacing and tone is balanced by some electric scenes of blood and violence that reminds of "Mad Max." It also helps that Pearce and Pattinson make for one of the most unconventional cinematic teams of late, with Pattinson in particular an odd-casting choice (not to mention the inexplicable Southern white trash accent he uses in the midst of Australia) though it works well particularly in the last act. Michod's crime drama "Animal Kingdom," which also featured Pearce, is better than this depressing, futuristic movie, but the Australian-produced "The Rover" is worth a look with some nicely handled, albeit dark moments that add a little flavor to an otherwise down-and-dirty movie that not everyone will enjoy.
Wes's Grade: B-
"The Rover" dark, depressing yet intriguing post-apocalyptic tale
"The Rover" is not a film for everyone. It's moody, downbeat and moves slowly at times, and though flawed, its "Mad Max" overtones and the leads chemistry helps make the film watchable. The movie, filmed in and set in post-apocalyptic Australia follows hardened loner Eric (Guy Pearce) as he travels the desolate towns and roads of the outback. When a gang of thieves steals his car they leave behind a wounded Rey ("Twilight's" Robert Pattinson) in their wake. Forcing Rey to help track the gang, Eric will go to any lengths to take back the one thing that still matters to him. Directed, written and co-produced by David Michod in a follow-up to his 2010 stylized mobster hit "Animal Kingdom," "The Rover" is an intriguing, original and quite dusty post-apoclyptic tale, just know going into it that it's not exactly the most uplifting film of late. Maybe pair this with a double feature like the recent comic hit "22 Jump Street" to effectively balance your moods out. The dour, sometimes erratic pacing and tone is balanced by some electric scenes of blood and violence that reminds of "Mad Max." It also helps that Pearce and Pattinson make for one of the most unconventional cinematic teams of late, with Pattinson in particular an odd-casting choice (not to mention the inexplicable Southern white trash accent he uses in the midst of Australia) though it works well particularly in the last act. Michod's crime drama "Animal Kingdom," which also featured Pearce, is better than this depressing, futuristic movie, but the Australian-produced "The Rover" is worth a look with some nicely handled, albeit dark moments that add a little flavor to an otherwise down-and-dirty movie that not everyone will enjoy.
Wes's Grade: B-
Thursday, June 19, 2014
Think Like a Man Too - C-
Rated PG-13, 106 minutes
"Think Like a Man Too" a mildly charming, woefully unoriginal tale of love and marriage
Speaking as a single man, if the relationships in the new comedy sequel "Think Like a Man Too" represent marriage, then I don't want it. I'm always a little hesitant when sequels misuse the word "too" for "two" - it's meant to be fun but really just lazy, which is what this film is. A sequel to the 2012 hit "Think Like A Man," it has the charm but is so predictable and unoriginal you know how it'll end up before it gets started. All the couples are back for Candace and Michael's (Regina Hall and Terrence J) wedding in Las Vegas. But plans for a romantic weekend go awry when their various misadventures get all of the couples (including Kevin Hart, Michael Ealy, Jerry Ferrera, Meagan Good, Romany Malco, Gabrielle Union and Wendi McLendon-Covey) into some compromising situations that threaten to derail the big event. Directed by Tim Story, this uninspired, derivative sequel to the film inspired by comedian Steve Harvey's best-seller "Act Like A Lady, Think Like a Man," the movie has the spirit and the charm but lacks solid storytelling. The laziness of the script gives a "you've seen it before" vibe, and you have, if you saw the first film or "The Hangover" or just about anything Cameron Diaz and/or Ashton Kutcher has done in the last 5 years and about as good. The antics lack the raunch or surprise of "The Hangover," though the cast, led by resident loudmouth Hart, seem to be enjoy themselves, though they'd be among the few who really did after sitting through much of the unfunny jokes or contrived situations these couples get themselves into. There wasn't much to the first film, and there's even less to work with here, particularly less of statuesque talk show host Wendy Williams, who gives Hart a run for his funny in the laugh department and steals all of her brief scenes (even though she's seen only on a phone for most of them). Money problems, your past, relationship ruts are among the many cliches uneventfully explored in "Think Like a Man Too," which ends exactly as you might think. I just hope the filmmakers learn how to spell (and make a substantial movie) if there's a third outing. Not worth it unless you really, really enjoyed the first film. If this is what marriage is about, ask for a divorce.
Wes's Grade: C-
"Think Like a Man Too" a mildly charming, woefully unoriginal tale of love and marriage
Speaking as a single man, if the relationships in the new comedy sequel "Think Like a Man Too" represent marriage, then I don't want it. I'm always a little hesitant when sequels misuse the word "too" for "two" - it's meant to be fun but really just lazy, which is what this film is. A sequel to the 2012 hit "Think Like A Man," it has the charm but is so predictable and unoriginal you know how it'll end up before it gets started. All the couples are back for Candace and Michael's (Regina Hall and Terrence J) wedding in Las Vegas. But plans for a romantic weekend go awry when their various misadventures get all of the couples (including Kevin Hart, Michael Ealy, Jerry Ferrera, Meagan Good, Romany Malco, Gabrielle Union and Wendi McLendon-Covey) into some compromising situations that threaten to derail the big event. Directed by Tim Story, this uninspired, derivative sequel to the film inspired by comedian Steve Harvey's best-seller "Act Like A Lady, Think Like a Man," the movie has the spirit and the charm but lacks solid storytelling. The laziness of the script gives a "you've seen it before" vibe, and you have, if you saw the first film or "The Hangover" or just about anything Cameron Diaz and/or Ashton Kutcher has done in the last 5 years and about as good. The antics lack the raunch or surprise of "The Hangover," though the cast, led by resident loudmouth Hart, seem to be enjoy themselves, though they'd be among the few who really did after sitting through much of the unfunny jokes or contrived situations these couples get themselves into. There wasn't much to the first film, and there's even less to work with here, particularly less of statuesque talk show host Wendy Williams, who gives Hart a run for his funny in the laugh department and steals all of her brief scenes (even though she's seen only on a phone for most of them). Money problems, your past, relationship ruts are among the many cliches uneventfully explored in "Think Like a Man Too," which ends exactly as you might think. I just hope the filmmakers learn how to spell (and make a substantial movie) if there's a third outing. Not worth it unless you really, really enjoyed the first film. If this is what marriage is about, ask for a divorce.
Wes's Grade: C-
Jersey Boys - B-
Rated R, 134 minutes
Music the highlight of the charming, flawed "Jersey Boys"
Transforming a Broadway smash musical into a hit movie can be a tricky and unpredictable thing, exhibit A being the disastrous 2011 film version of "Rock of Ages." The good news is the charming new Clint Eastwood-directed film version of the Tony-award winning hit "Jersey Boys," while flawed, fares much better. The overly-familiar narrative, based on the story of the rise of Frankie Valli and the Four Seasons, is uneven and doesn't translate as well from the stage but the highlight is that it's filled with many rousing Four Seasons hits, including "Sherry," "Walk Like a Man" and "December, 1963 (Oh, What a Night)." "Jersey Boys" is the account of how Valli (Tony-award winner John Lloyd Young, from the original U.S. stage version), along with Bob Gaudio (Erich Bergen), Tommy DeVito (Vincent Piazza) and Nick Massi (Michael Lomenda) overcame a rough upbringing and numerous other obstacles to become one of rock and roll's most beloved groups and eventual Hall of Fame inductees. Yes, the Broadway hit is still better, and the rags-to-riches story is so well-worn and so-well known at this point it becomes a bit redundant, but the Eastwood-helmed "Jersey Boys" still has enough energy and fun moments, all coming from the music, that you'll be humming as you exit the theater. Eastwood, known for such heavier, dramatic films such as "Unforgiven" and "Million Dollar Baby," is seemingly an odd choice to direct something like this, though if you really know anything about Eastwood he's an accomplished musician himself, and he actually gives the film some dramatic balance along with the fun musical scenes that people will expect from a musical like this. It also helps having Tony-award winner Young from the original musical, who looks and sounds like Valli and is unsurprisingly the standout here, not to mention the fun addition of Christopher Walken as a mobster friend. The last act is a little too uneven, veers too far away from the music and loses some of the timeline; also, one aspect of the stage version that doesn't translate well from stage to film is the fourth-wall narration from the various characters. It's awkwardly integrated by Eastwood and would've worked much better with voice-overs, not to mention we don't hear from Valli as much given really this is his story. Flaws aside, "Jersey Boys" still works because you get to hear all the fun Four Seasons music that made it (and them) such a big hit in the first place. Worth a look for musical Broadway aficionados (and Baby Boomers, who will certainly get the most out of it) just know you'll appreciate the stage version more.
Wes's Grade: B-
Music the highlight of the charming, flawed "Jersey Boys"
Transforming a Broadway smash musical into a hit movie can be a tricky and unpredictable thing, exhibit A being the disastrous 2011 film version of "Rock of Ages." The good news is the charming new Clint Eastwood-directed film version of the Tony-award winning hit "Jersey Boys," while flawed, fares much better. The overly-familiar narrative, based on the story of the rise of Frankie Valli and the Four Seasons, is uneven and doesn't translate as well from the stage but the highlight is that it's filled with many rousing Four Seasons hits, including "Sherry," "Walk Like a Man" and "December, 1963 (Oh, What a Night)." "Jersey Boys" is the account of how Valli (Tony-award winner John Lloyd Young, from the original U.S. stage version), along with Bob Gaudio (Erich Bergen), Tommy DeVito (Vincent Piazza) and Nick Massi (Michael Lomenda) overcame a rough upbringing and numerous other obstacles to become one of rock and roll's most beloved groups and eventual Hall of Fame inductees. Yes, the Broadway hit is still better, and the rags-to-riches story is so well-worn and so-well known at this point it becomes a bit redundant, but the Eastwood-helmed "Jersey Boys" still has enough energy and fun moments, all coming from the music, that you'll be humming as you exit the theater. Eastwood, known for such heavier, dramatic films such as "Unforgiven" and "Million Dollar Baby," is seemingly an odd choice to direct something like this, though if you really know anything about Eastwood he's an accomplished musician himself, and he actually gives the film some dramatic balance along with the fun musical scenes that people will expect from a musical like this. It also helps having Tony-award winner Young from the original musical, who looks and sounds like Valli and is unsurprisingly the standout here, not to mention the fun addition of Christopher Walken as a mobster friend. The last act is a little too uneven, veers too far away from the music and loses some of the timeline; also, one aspect of the stage version that doesn't translate well from stage to film is the fourth-wall narration from the various characters. It's awkwardly integrated by Eastwood and would've worked much better with voice-overs, not to mention we don't hear from Valli as much given really this is his story. Flaws aside, "Jersey Boys" still works because you get to hear all the fun Four Seasons music that made it (and them) such a big hit in the first place. Worth a look for musical Broadway aficionados (and Baby Boomers, who will certainly get the most out of it) just know you'll appreciate the stage version more.
Wes's Grade: B-
Obvious Child - B
Rated R, 83 minutes
"Obvious Child" tackles sensitive subject with grace and wit
Up front, the new movie "Obvious Child" is widely known as "the abortion comedy." That misplaced notion should tell you right there it's going to be interesting, to say the least. With sensitive subject in hand, the heartfelt "Obvious Child" is a witty and often touching comedy about navigating life challenges, and regardless of where you might stand on this issue, you'll find it relevant. For aspiring New York City comedian Donna Stern (Jenny Slate), everyday life as a female twenty-something provides ample material for her incredibly relatable brand of humor. Donna is unapologetic in most area of her life, but when she gets dumped, loses her job, and finds herself pregnant just in time for Valentine's Day, she has to navigate the murky waters of independent adulthood for the first time. Directed and written by Gillian Robespierre (in her feature film debut) and based on a short film of the same name by Robespierre, "Obvious Child" is a keen, contemporary and often insightful comedy for these ages in which women must make some crucial choices. The choices espoused in the film are certainly controversial, often hotly debated ones, but "Obvious Child" is less about preaching and politics than about maturity and adulthood, and while this review will not debate the issues, I can say that much of its observations are very sharp. The quick-witted and charming Slate (a familiar face of many TV shows and movies, including "Saturday Night Live") is a genuine talent and she grounds the film well along with Jake Lacy ("The Office") as her clean-cut, opposites-attract Gentile boyfriend who is a little unsure of it all. Director and writer Robespierre is also a solid talent, with her thin storyline pleasantly thoughtful, while occasionally meandering NYC skyline in a Seinfeld or Woody Allen-esque manner. "Obvious Child" is most moving when it focuses on the complexity and pain of our relationships and decisions; if you agree or don't agree with it that's fine, but life is filled with growing pains, and on that level it works far better as a unique coming-of-age comedy than as an "abortion comedy."
Wes's Grade: B
"Obvious Child" tackles sensitive subject with grace and wit
Up front, the new movie "Obvious Child" is widely known as "the abortion comedy." That misplaced notion should tell you right there it's going to be interesting, to say the least. With sensitive subject in hand, the heartfelt "Obvious Child" is a witty and often touching comedy about navigating life challenges, and regardless of where you might stand on this issue, you'll find it relevant. For aspiring New York City comedian Donna Stern (Jenny Slate), everyday life as a female twenty-something provides ample material for her incredibly relatable brand of humor. Donna is unapologetic in most area of her life, but when she gets dumped, loses her job, and finds herself pregnant just in time for Valentine's Day, she has to navigate the murky waters of independent adulthood for the first time. Directed and written by Gillian Robespierre (in her feature film debut) and based on a short film of the same name by Robespierre, "Obvious Child" is a keen, contemporary and often insightful comedy for these ages in which women must make some crucial choices. The choices espoused in the film are certainly controversial, often hotly debated ones, but "Obvious Child" is less about preaching and politics than about maturity and adulthood, and while this review will not debate the issues, I can say that much of its observations are very sharp. The quick-witted and charming Slate (a familiar face of many TV shows and movies, including "Saturday Night Live") is a genuine talent and she grounds the film well along with Jake Lacy ("The Office") as her clean-cut, opposites-attract Gentile boyfriend who is a little unsure of it all. Director and writer Robespierre is also a solid talent, with her thin storyline pleasantly thoughtful, while occasionally meandering NYC skyline in a Seinfeld or Woody Allen-esque manner. "Obvious Child" is most moving when it focuses on the complexity and pain of our relationships and decisions; if you agree or don't agree with it that's fine, but life is filled with growing pains, and on that level it works far better as a unique coming-of-age comedy than as an "abortion comedy."
Wes's Grade: B
Tuesday, June 17, 2014
Words and Pictures - C
Rated PG-13, 111 minutes
Love the leads, but contrived "Words and Pictures" fails to connect
"Words and Pictures" is a glossy, mildly engaging though contrived romantic comedy. With two immensely likable, watchable leads, "Words and Pictures" has a flimsy, silly storyline that somehow wants you to believe these two opposites would actually fall in love. Prep school English teacher Jack Marcus (Clive Owen) laments his students' obsession with social media and good grades rather than engaging with the power of the written word. A one-time literary star, Jack has not published in years filling his spare time with drink versus the art of language. He meets his match in Dina Delsanto (Juliette Binoche) - an abstract painter and new teacher on campus, who was once celebrated for her art. From the start, the two flirt and provoke each other while falling for each other. Directed by Fred Schepisi ("Empire Falls") and written by Gerald DiPego ("Angel Eyes"), the best thing about it are the attractive stars, especially Oscar-winner Binoche, who could bewitch by simply reading the phone book. Owen is also nice, though as written, his character is one of the most annoying of recent memory, with incessant definitions of words and the grating syllable games he plays throughout the film. Both Owen and Binoche give it their all, and while Owen has the most affecting monologue, it's Binoche who easily walks away with the movie, complete with lovely artwork in tow. The glossy "Words and Pictures" wants to be an opposites-attract, tit-for-tat slightly humorous affair, but it ends up a plodding, labored affair that would be much harder to take with less talented actors. It struggles to find a real identity and loses itself behind some unnecessary subplots that add little to the texture of the film, which in fact has little to say (except until the end) or make any real connection to its "Words and Pictures." A disappointment considering everyone involved, though I could watch the radiant Binoche in just about anything (if you blink, you'll miss her in the recent big-budget "Godzilla" remake).
Wes's Grade: C
Love the leads, but contrived "Words and Pictures" fails to connect
"Words and Pictures" is a glossy, mildly engaging though contrived romantic comedy. With two immensely likable, watchable leads, "Words and Pictures" has a flimsy, silly storyline that somehow wants you to believe these two opposites would actually fall in love. Prep school English teacher Jack Marcus (Clive Owen) laments his students' obsession with social media and good grades rather than engaging with the power of the written word. A one-time literary star, Jack has not published in years filling his spare time with drink versus the art of language. He meets his match in Dina Delsanto (Juliette Binoche) - an abstract painter and new teacher on campus, who was once celebrated for her art. From the start, the two flirt and provoke each other while falling for each other. Directed by Fred Schepisi ("Empire Falls") and written by Gerald DiPego ("Angel Eyes"), the best thing about it are the attractive stars, especially Oscar-winner Binoche, who could bewitch by simply reading the phone book. Owen is also nice, though as written, his character is one of the most annoying of recent memory, with incessant definitions of words and the grating syllable games he plays throughout the film. Both Owen and Binoche give it their all, and while Owen has the most affecting monologue, it's Binoche who easily walks away with the movie, complete with lovely artwork in tow. The glossy "Words and Pictures" wants to be an opposites-attract, tit-for-tat slightly humorous affair, but it ends up a plodding, labored affair that would be much harder to take with less talented actors. It struggles to find a real identity and loses itself behind some unnecessary subplots that add little to the texture of the film, which in fact has little to say (except until the end) or make any real connection to its "Words and Pictures." A disappointment considering everyone involved, though I could watch the radiant Binoche in just about anything (if you blink, you'll miss her in the recent big-budget "Godzilla" remake).
Wes's Grade: C
Thursday, June 12, 2014
22 Jump Street - B
Rated R, 109 minutes
Witty "22 Jump Street" is nothing new, but still crackles with fun
I will admit I wasn't a fan of the big-screen comic adaptation of "21 Jump Street," but then I wasn't a fan of the 1980s Fox TV show, either, which provided some fun moments but little else. The witty, charming "22 Jump Street" continues the hijinks on a bigger scale (and budget) with more foul-mouthed hijinks and criminals. It's hardly original yet filled with some pure energy and fun, not to mention the leads' solid chemistry. Think of "22 Jump Street" as this generation's "Lethal Weapon." After making their way through high school (twice), big changes are in store for officers Schmidt (Jonah Hill) and Jenko (Channing Tatum) when they go deep undercover at a local college to solve a murder that revolves around a new high-powered drug. They must work to crack the case before drug use spreads and their professional and personal relationship is put to the test. Directed by the team of Phil Lord and Christopher Miller, who directed the first outing, "22 Jump Street" is a more elaborate, more adult comedic sequel that is hardly anything new and goes on a little too long in the last act, but it's still one of the wittier comedies of late, crackling with some laugh-out moments. Even more so, the inspired chemistry of the leads almost single-handedly carries the film, and without it, it wouldn't be near as good. Tatum and Hill obviously enjoy working together, and Hill in particular is bursting with comic prowess, even if the thin, predictable plotting is pretty standard (drugs - again - ho hum) even by crime comedy standards. If Tatum and Hill are the Gibson and Glover of today, then Ice Cube is their Joe Pesci, their exceedingly (and largely unnecessary) foul-mouthed pain-in-the-rear, though he does provide a couple of the film's better moments, one involving his character's daughter hooking up with Schmidt. "22 Jump Street" (which is definitely not for the kids) still delivers some fine, crowd-pleasing moments that puts it a notch above the rest in this genre, though it could use some more original touches. Speaking of which, stay over for the credits and some hilarious moments as the duo skewer their own sequel and popularity, along with some star cameos. The energetic, entertaining "22 Jump Street" should please fans of the first film and maybe even win over a few new fans along the way.
Wes's Grade: B
Witty "22 Jump Street" is nothing new, but still crackles with fun
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| Jonah Hill and Channing Tatum |
I will admit I wasn't a fan of the big-screen comic adaptation of "21 Jump Street," but then I wasn't a fan of the 1980s Fox TV show, either, which provided some fun moments but little else. The witty, charming "22 Jump Street" continues the hijinks on a bigger scale (and budget) with more foul-mouthed hijinks and criminals. It's hardly original yet filled with some pure energy and fun, not to mention the leads' solid chemistry. Think of "22 Jump Street" as this generation's "Lethal Weapon." After making their way through high school (twice), big changes are in store for officers Schmidt (Jonah Hill) and Jenko (Channing Tatum) when they go deep undercover at a local college to solve a murder that revolves around a new high-powered drug. They must work to crack the case before drug use spreads and their professional and personal relationship is put to the test. Directed by the team of Phil Lord and Christopher Miller, who directed the first outing, "22 Jump Street" is a more elaborate, more adult comedic sequel that is hardly anything new and goes on a little too long in the last act, but it's still one of the wittier comedies of late, crackling with some laugh-out moments. Even more so, the inspired chemistry of the leads almost single-handedly carries the film, and without it, it wouldn't be near as good. Tatum and Hill obviously enjoy working together, and Hill in particular is bursting with comic prowess, even if the thin, predictable plotting is pretty standard (drugs - again - ho hum) even by crime comedy standards. If Tatum and Hill are the Gibson and Glover of today, then Ice Cube is their Joe Pesci, their exceedingly (and largely unnecessary) foul-mouthed pain-in-the-rear, though he does provide a couple of the film's better moments, one involving his character's daughter hooking up with Schmidt. "22 Jump Street" (which is definitely not for the kids) still delivers some fine, crowd-pleasing moments that puts it a notch above the rest in this genre, though it could use some more original touches. Speaking of which, stay over for the credits and some hilarious moments as the duo skewer their own sequel and popularity, along with some star cameos. The energetic, entertaining "22 Jump Street" should please fans of the first film and maybe even win over a few new fans along the way.
Wes's Grade: B
How to Train Your Dragon 2 - B+
Rated PG, 105 minutes
Colorful "How to Train Your Dragon 2" has as much heart as the first
Disney look out. The winning new Dreamworks animated "How to Train Your Dragon 2" is as much fun as the original 2009 film with as much sharp, crisp and detailed animation that's clearly on the par with anything that Pixar might turn out and is the animated romp of the summer for sure. This one picks up 5 years after the first film, as Hiccup (Jay Baruchel) and his dragon Toothless must battle an insane conqueror named Drago (Djimon Hounsou) whose goal is to overtake the world through controlling the dragons. Along the way, Hiccup is reunited with his longlost mother (Cate Blanchett) as he must prove his worth to his father Stoick (Gerard Butler) and the rest of the kingdom. Directed by Dean DeBlois, who handled the first "Dragon" film, the touching, fun "How to Train Your Dragon 2" is one of those rare sequels that's as good, and in some ways, surpasses the original, at least in terms of animated and CG quality. Dreamworks clearly spent a lot to money on "Dragon 2," and every penny shows in the richness and color that bursts on screen, with a solid story that expounds on the characters of the original (and never fear, a third film is coming), even if some of it becomes a little predictable by the final act. Comedian Baruchel is an inspired voice talent, and he's well supported by Butler, Hounsou and especially Blanchett, though the movie is nearly stolen by Kristen Wiig with the best lines and scenes in a small part. The dragons are as colorful as the humans, and they upstage the humans frequently; in addition to the handsome visuals, the film is elegantly scored and energetically paced to keep the young set interested. The vastly entertaining, funny "How to Train Your Dragon" is a winner and if you enjoyed the first one, you'll definitely get a kick out of this one too. A must-see for families and kids.
Wes's Grade: B+
Colorful "How to Train Your Dragon 2" has as much heart as the first
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| Hiccup, Toothless and the whole gang are back |
Disney look out. The winning new Dreamworks animated "How to Train Your Dragon 2" is as much fun as the original 2009 film with as much sharp, crisp and detailed animation that's clearly on the par with anything that Pixar might turn out and is the animated romp of the summer for sure. This one picks up 5 years after the first film, as Hiccup (Jay Baruchel) and his dragon Toothless must battle an insane conqueror named Drago (Djimon Hounsou) whose goal is to overtake the world through controlling the dragons. Along the way, Hiccup is reunited with his longlost mother (Cate Blanchett) as he must prove his worth to his father Stoick (Gerard Butler) and the rest of the kingdom. Directed by Dean DeBlois, who handled the first "Dragon" film, the touching, fun "How to Train Your Dragon 2" is one of those rare sequels that's as good, and in some ways, surpasses the original, at least in terms of animated and CG quality. Dreamworks clearly spent a lot to money on "Dragon 2," and every penny shows in the richness and color that bursts on screen, with a solid story that expounds on the characters of the original (and never fear, a third film is coming), even if some of it becomes a little predictable by the final act. Comedian Baruchel is an inspired voice talent, and he's well supported by Butler, Hounsou and especially Blanchett, though the movie is nearly stolen by Kristen Wiig with the best lines and scenes in a small part. The dragons are as colorful as the humans, and they upstage the humans frequently; in addition to the handsome visuals, the film is elegantly scored and energetically paced to keep the young set interested. The vastly entertaining, funny "How to Train Your Dragon" is a winner and if you enjoyed the first one, you'll definitely get a kick out of this one too. A must-see for families and kids.
Wes's Grade: B+
Thursday, June 5, 2014
The Fault in Our Stars - B-
Rated PG-13, 125 minutes
"Fault in Our Stars" a weepy, well-acted romantic tale for the young set
If you like your cry with a little movie, then you'll be glad that the first guaranteed two-hanky movie (i.e. "chick flick") of the summer is here with the moving "The Fault in Our Stars," based on the weepy John Green 2012 young adult bestseller of the same name that becomes a weepy movie for young adults highlighted by the charming leads. Hazel (Shailene Woodley) and Augustus (Ansel Elgort) are two teenagers who meet at a cancer support group. The two forge an unlikely romance and friendship as they hope to grant Hazel's dream of meeting her favorite author in Amsterdam. Low-key and pensive, "The Fault in Our Stars" is most memorable for the strong turns from Elgort and Woodley (who played siblings earlier this year in "Divergent"). Directed by Josh Boone ("Stuck in Love"), it's a largely faithful adaptation of Green's novel though fans of the book will notice some minor changes, especially towards the end, but it retains much of the spirit and themes of the book, which means you better take plenty of tissues. Woodley's star continues to rise, and her touching performance in "Fault" may gain her more notice and fans, though Elgort is just as believable as her slightly goofy, geeky counterpart in Gus, who falls for "Hazel Grace" almost immediately. Woodley and Elgort's warm chemistry brightens the film and keeps it from drowning in its own sorrow not to mention a strong supporting cast; watch for small but memorable turns from the Nat Wolff as their funny, fellow cancer-stricken friend Isaac, Laura Dern as Hazel's sympathetic mom and Willem Dafoe as the drunken author of Hazel's favorite book. "Fault" could've benefited from a stronger director than Boone and the story becomes too soft around the edges near the end once you know the direction the tragic love story takes. But if you're a fan of Green's book, you're bound to be a fan of this too: at a recent screening, I was sitting in the midst of some adolescent girls who were audibly moved, so if you take girls in this target age group to see this film - be forewarned. A tad too long, a little too predictable, yet still, the touching performances of the pensive film is the chief reason to see "The Fault in Our Stars" and enough to advise that you'll be sniffling when it's all over. Recommend, and you'll heart will be tugged.
Wes's Grade: B-
"Fault in Our Stars" a weepy, well-acted romantic tale for the young set
If you like your cry with a little movie, then you'll be glad that the first guaranteed two-hanky movie (i.e. "chick flick") of the summer is here with the moving "The Fault in Our Stars," based on the weepy John Green 2012 young adult bestseller of the same name that becomes a weepy movie for young adults highlighted by the charming leads. Hazel (Shailene Woodley) and Augustus (Ansel Elgort) are two teenagers who meet at a cancer support group. The two forge an unlikely romance and friendship as they hope to grant Hazel's dream of meeting her favorite author in Amsterdam. Low-key and pensive, "The Fault in Our Stars" is most memorable for the strong turns from Elgort and Woodley (who played siblings earlier this year in "Divergent"). Directed by Josh Boone ("Stuck in Love"), it's a largely faithful adaptation of Green's novel though fans of the book will notice some minor changes, especially towards the end, but it retains much of the spirit and themes of the book, which means you better take plenty of tissues. Woodley's star continues to rise, and her touching performance in "Fault" may gain her more notice and fans, though Elgort is just as believable as her slightly goofy, geeky counterpart in Gus, who falls for "Hazel Grace" almost immediately. Woodley and Elgort's warm chemistry brightens the film and keeps it from drowning in its own sorrow not to mention a strong supporting cast; watch for small but memorable turns from the Nat Wolff as their funny, fellow cancer-stricken friend Isaac, Laura Dern as Hazel's sympathetic mom and Willem Dafoe as the drunken author of Hazel's favorite book. "Fault" could've benefited from a stronger director than Boone and the story becomes too soft around the edges near the end once you know the direction the tragic love story takes. But if you're a fan of Green's book, you're bound to be a fan of this too: at a recent screening, I was sitting in the midst of some adolescent girls who were audibly moved, so if you take girls in this target age group to see this film - be forewarned. A tad too long, a little too predictable, yet still, the touching performances of the pensive film is the chief reason to see "The Fault in Our Stars" and enough to advise that you'll be sniffling when it's all over. Recommend, and you'll heart will be tugged.
Wes's Grade: B-
Edge of Tomorrow - B
Rated PG-13, 113 minutes
"Edge of Tomorrow" a dizzying sci-fi thriller with Cruise back in fine form
The new Tom Cruise science-fiction action thriller "Edge of Tomorrow" will have you on the edge of your seat with a dizzying array of special-effects and fast-paced action, though it's essentially a futuristic "Groundhog Day" with a mix of "Aliens" minus Bill Murray. Set in the near future with a massive, worldwide alient assault as the backdrop, Cruise is Major William Cage, who is sent on a suicide mission but ends up in a terrifying time-loop, living and dying each day in the same brutal combat. Cage realizes he can use his special powers working along side Special Forces warrior Rita Vrtraski (Emily Blunt) in the ultimate mission to defeat the enemy. Based on the Japanese light science-fiction novel "All You Need Is Kill" by Hiroshi Sakurazaka (which is a much better title than the vague "Edge of Tomorrow") and directed by Doug Liman ("The Bourne Identity"), the intense, entertaining "Edge of Tomorrow" has Cruise back in better, less-annoying form, which usually means it's spy or sci-fi. Co-written by Oscar-winner Christopher McQuarrie ("The Usual Suspects"), the advantage with "Edge of Tomorrow" is that the story and visuals take center stage and Cruise is less earnest than usual, not to mention he's placed alongside the lovely, always charming Blunt, who usually makes most things better. The busy script, fashioned in a "Groundhog Day"-ish way, particularly in its initial chapters, has some plot inconsistencies as far as the time loop is concerned, but you can overlook those once the movie unfolds and really gets going in the second act, though for a film Rated PG-13, there are some rather intense and violent scenes. In reference to Cameron's aforementioned "Aliens," it's also nice having around Bill Paxton for comic measure in a cheeky, fun supporting part as a Southern-talking commander, though those nasty, nasty aliens, who look like calamari on an acid trip, steal the movie from Cruise and company. Even if you're not a fan of Cruise, "Edge of Tomorrow" is still an enjoyable, sci-fi action flick with some fun visuals and Paxton thrown in for good measure. An intense ride worth a look this weekend.
Wes's Grade: B
"Edge of Tomorrow" a dizzying sci-fi thriller with Cruise back in fine form
The new Tom Cruise science-fiction action thriller "Edge of Tomorrow" will have you on the edge of your seat with a dizzying array of special-effects and fast-paced action, though it's essentially a futuristic "Groundhog Day" with a mix of "Aliens" minus Bill Murray. Set in the near future with a massive, worldwide alient assault as the backdrop, Cruise is Major William Cage, who is sent on a suicide mission but ends up in a terrifying time-loop, living and dying each day in the same brutal combat. Cage realizes he can use his special powers working along side Special Forces warrior Rita Vrtraski (Emily Blunt) in the ultimate mission to defeat the enemy. Based on the Japanese light science-fiction novel "All You Need Is Kill" by Hiroshi Sakurazaka (which is a much better title than the vague "Edge of Tomorrow") and directed by Doug Liman ("The Bourne Identity"), the intense, entertaining "Edge of Tomorrow" has Cruise back in better, less-annoying form, which usually means it's spy or sci-fi. Co-written by Oscar-winner Christopher McQuarrie ("The Usual Suspects"), the advantage with "Edge of Tomorrow" is that the story and visuals take center stage and Cruise is less earnest than usual, not to mention he's placed alongside the lovely, always charming Blunt, who usually makes most things better. The busy script, fashioned in a "Groundhog Day"-ish way, particularly in its initial chapters, has some plot inconsistencies as far as the time loop is concerned, but you can overlook those once the movie unfolds and really gets going in the second act, though for a film Rated PG-13, there are some rather intense and violent scenes. In reference to Cameron's aforementioned "Aliens," it's also nice having around Bill Paxton for comic measure in a cheeky, fun supporting part as a Southern-talking commander, though those nasty, nasty aliens, who look like calamari on an acid trip, steal the movie from Cruise and company. Even if you're not a fan of Cruise, "Edge of Tomorrow" is still an enjoyable, sci-fi action flick with some fun visuals and Paxton thrown in for good measure. An intense ride worth a look this weekend.
Wes's Grade: B
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